This article has multiple issues. Please help improve it or discuss these issues on the talk page . (Learn how and when to remove these messages)
|
Speedcore | |
---|---|
Stylistic origins | |
Cultural origins | Mid-1990s [1] |
Subgenres | |
| |
Fusion genres | |
Cybergrind | |
Regional scenes | |
Other topics | |
Speedcore is a form of electronic music that is characterized by a high tempo and aggressive themes. [1] It was created in the early to mid-1990s and the name originates from the hardcore genre as well as the high tempo used. Songs are usually classified as speedcore at around 300+ beats per minute (BPM), but this can vary. [3]
Aside from the very fast tempo, speedcore can often be distinguished from other forms of hardcore by an aggressive and overridden electronic percussion track that is often punctuated with a hyperactive snare or tom-tom fills. Most producers will overdrive their kicks so far that they become square waves. [4] Speedcore DJs often use violent, vulgar, and offensive themes in their music to push the boundaries of the genre. [5]
Since the 2000s, the use of digital audio workstations (DAWs) has grown versus the use of analog synthesizers or trackers. [4]
Speedcore is a natural progression of hardcore techno. Hardcore was already considered fast, however, there were those who were not content to stay at the established speed. Early speedcore was about pushing the limits of BPM and aggression level. One of the first songs to explore higher speeds was "Thousand" by Moby in 1992, which peaked at approximately 1,015 BPM. [6] [5]
The term speedcore in reference to high tempo hardcore/gabber can be traced as far back as 1995. [7] [8] Disciples Of Annihilation coined the name of the genre with their track "NYC Speedcore". [4] Belgian artist DJ Einrich refined the sound in the late 1990s, using oscillators to transform fast kick drums into notes in octaves. [5]
It was not until the early 2000s that the genre was commonly referred to as speedcore. Before then, many tracks that would be considered speedcore were referred to as "gabba". [9] [10]
The early 2000s saw the birth of many netlabels dedicated to speedcore. Many labels who produced vinyl were also publishing MP3 files on their websites, which became increasingly popular and made it easier for new producers to enter the scene.
The 2010s saw a large growth in netlabels. DAWs made it cheaper and easier for new musicians to make experimental music. The internet allowed producers from around the world to communicate with each other and share their works through netlabels. Compilation albums became very popular for artists to share their music as they could get more exposure than by themselves. A large portion of the speedcore scene now occurs online from netlabels to speedcore promotion channels on YouTube. Speedcore was no longer restrained to localized areas where raves occurred and records were released.
Speedcore is often called splittercore when the BPM count is between 600 and 1,000. [5] Splittercore is identified by its minigun sounding kicks. In the 1990s splittercore was sometimes referred to as nosebleed techno. [4]
Flashcore is a genre that grew out of speedcore and industrial hardcore. While being originally related to speedcore, flashcore is defined by its complex avant-garde structures and abstract sounds, making it more similar to electroacoustic music and experimental music rather than any EDM genre. Most of the genre's works focus on intense, rhythmic, and layered soundscapes. [11]
Songs with a BPM of 1,000 to 1,200,000 are known as extratone songs. At this tempo, the kicks happen so fast that the beat sounds like one constant note with a shifting pitch; extratone often has sudden increases or decreases in tempo to change the pitch of the tone. The name "Extratone" originates from combining the two German words extrahieren (to extract) and ton (sound). [5]
Melodic speedcore is a genre based on both speedcore and happy hardcore. This genre is usually characterized by complex melodies and chord progressions mixed in with the aggressive sounds of traditional speedcore. This genre emerged in the early 2000s, with artists such as DJ Sharpnel and m1dy being the first to compose this type of speedcore. [12]
Songs with a BPM of 1,200,000 or higher are considered hypertone. The first track to reach this BPM was Introduxia Dimensii Hypertone, created by Zustand D. [13] Hypertone has many subgenres created by popular hypertone artists like Darkblack XIII and Cuntspiltterkor.
Drum and bass is a genre of electronic dance music characterised by fast breakbeats with heavy bass and sub-bass lines, samples, and synthesizers. The genre grew out of the UK's jungle scene in the 1990s.
Breakbeat hardcore is a music genre that spawned from the UK rave scene during the early 1990s. It combines four-on-the-floor rhythms with breakbeats usually sampled from hip hop. In addition to the inclusion of breakbeats, the genre also features shuffled drum machine patterns, hoover, and other noises originating from new beat and Belgian techno, sounds from acid house and bleep techno, and often upbeat house piano riffs and vocals.
Breakbeat is a broad type of electronic music that tends to use drum breaks sampled from early recordings of funk, jazz, and R&B. Breakbeats have been used in styles such as Florida breaks, hip hop, jungle, drum and bass, big beat, breakbeat hardcore, and UK garage styles.
Psychedelic trance, psytrance, or psy is a subgenre of trance music characterized by arrangements of rhythms and layered melodies created by high tempo riffs. The genre offers variety in terms of mood, tempo, and style. Some examples include full on, darkpsy, forest, minimal (Zenonesque), hitech psy, progressive, suomi, psy-chill, psycore, psybient, psybreaks, or "adapted" tracks from other music genres. Goa trance preceded psytrance; when digital media became more commonly used psytrance evolved. Goa continues to develop alongside the other genres.
Mainstream hardcore, mainstyle or nu style gabber is a subgenre of hardcore techno. The essence of mainstream hardcore sound is a distorted bass drum sound, overdriven to the point where it becomes clipped into a distorted square wave and makes a recognizably melodic tone.
Microhouse, buftech or sometimes just minimal, is a subgenre of house music strongly influenced by minimalism and 1990s techno.
Hardcore is a genre of electronic dance music that originated in the Netherlands, Belgium, and Germany in the early 1990s. It is distinguished by faster tempos and a distorted sawtooth kick, the intensity of the kicks and the synthesized bass, the rhythm and the atmosphere of the themes, the usage of saturation and experimentation close to that of industrial dance music. It would spawn subgenres such as gabber.
Deep house is a subgenre of house music that originated in the 1980s, initially fusing elements of Chicago house with the lush chords of 1980s jazz-funk and touches of soul music. Its origins are attributed to the early recordings of Larry Heard, including his influential track "Can You Feel It".
Hardstyle is an electronic dance genre that emerged in the late 1990s, with origins in the Netherlands, Belgium and Italy. Hardstyle mixes influences from techno, new beat and hardcore.
Free tekno, also known as tekno, freetekno and hardtek, is the music predominantly played at free parties in Europe. The spelling tekno is deliberately used to differentiate the musical style from techno. The music is fast and it can vary between 150 and 185 bpm and is characterised by a pounding repetitive kick drum. Nevertheless, bass drum distortion by clipping is used less often as in the related genre of mainstyle hardcore. Nowadays, some tekno producers also use drum sets that rather sound trancey, since many members of the tekno subculture as well as the psytrance subculture frequently attend the same raves and the two scenes are closely connected.
Hangars Liquides, also known as HL, is a French electronic label. It was created by La Peste in 1998. Initially Hangars Liquides was Speedcore-oriented but was quickly categorized as experimental music within the hardcore techno scene. HL quickly gained a very good reputation and has been played around the world in many different music scenes: industrial, noise, techno, acousmatic, hardcore, electronica, ambient and post rock.
Hard NRG, nu-NRG, filthy hard house, or more recently just filth, is an electronic dance music genre similar in structure to UK hard house form, taking influences from German hard trance. The main difference is in the musical/thematic content of each style.
Footwork, also called juke, or Chicago juke, is a genre of electronic dance music derived from ghetto house with elements of hip hop, first appearing in Chicago in the late 1990s. The music style evolved from the earlier, rapid rhythms of ghetto house, a change pioneered by RP Boo, DJ Rashad and DJ Clent. It may draw from the rapid rhythms and sub-bass frequencies of drum & bass. Tracks also frequently feature heavily syncopated samples from rap, pop and other sources, and are often around 160 bpm. The term juke music may be used as a synonym for footwork music, or may be used to differentiate between footwork the closely related proper juke music born in the 1990s from ghetto house together with footwork music, and somewhat predating it.
Electro house is a genre of electronic dance music and a subgenre of house music characterized by heavy bass and a tempo around 125–135 beats per minute. The term has been used to describe the music of many DJ Mag Top 100 DJs, including Benny Benassi, Skrillex, Steve Aoki, and Deadmau5.
Frenchcore is a subgenre of hardcore techno. The style differs from other forms of hardcore in terms of a faster tempo, usually above 160 –185 BPM, and a loud and distorted offbeat bassline.
Since the mid-2000s, a counterculture has taken place where numerous netlabels, online labels that release their music for free, located in Japan have been formed and garnered a huge amount of publicity which, according to writer Patrick St. Michel, has shaped how popular Japanese music is produced. Japan's netlabel phenomenon was the first time in the history of the nation's music industry where underground musicians could produce their works however they wanted to and have their music noticed by the public; this is an aspect that was previously absent at a time when major labels in the country followed a conservative method where they managed how artists would produce their music. Starting in the 2010s, the netlabel scene has crossed over to the mainstream music landscape and all across the world, with netlabel producers transitioning into working for bigger labels and western producers like Cashmere Cat and Ryan Hemsworth being influenced by the music of Japanese netlabels.
Belgian hardcore techno is an early style of hardcore techno that emerged from new beat as EBM and techno influences became more prevalent in this genre. This particular style has been described as an "apocalyptic, almost Wagnerian, bombastic techno", due to its use of dramatic orchestral stabs and menacing synth tones that set it apart from earlier forms of electronic dance music. It flourished in Belgium and influenced the sound of early hardcore from Netherlands, Germany, Italy, UK and North America during the early-1990s, as a part of the rave movement during that period.
Funkot is an electronic dance music genre from Indonesia that emerged in the 1990s. Funkot is a mix of House music with a tempo of 160 to 220 bpm. Many other names exist for this genre, namely "Hardfunk", "House Kota", "Indonesian House", and "Indonesian Hardcore".