Breakbeat hardcore (also referred to as hardcore rave, oldskool hardcore or simply 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.[1]
The
rave scene expanded rapidly in the very early
1990s, both at
clubs up and down the country including
Labrynth,
Shelley's Laserdome,
The Eclipse, and
Sanctuary Music Arena, and large raves in
Warehouses and in the open air attracting 20–50,000 whether put on legally from promoters such as
Fantazia and
Raindance, or unlicensed by
free partysound systems such as
Spiral Tribe. Breakbeat hardcore drew its melting pot of sound from a vast array of influences – from
new beat and
Belgian techno that had for a short period been prominent in the UK
rave scene, to
house and
acid house, and furthermore drawing on
hip hop and
reggae culture.[2] Amongst the influences from within the rave scene itself upon which this strain of hardcore drew were such acts as
Manix,
The Hypnotist,
CJ Bolland with his "Ravesignal" series, and
T99.[3] The huge increase in producers was also driven by the increasing availability of cheap home computer-based studio setups, particularly
Cubase for the
Atari ST.[4]
Mid-1990s: fragmentation
By late 1992, breakbeat hardcore started to fragment into a number of subsequent
genres:
darkcore (piano rolls giving way to dark-themed samples and stabs),
hardcore jungle (where reggae basslines and samples became prominent), and
happy hardcore (retaining piano rolls and more uplifting vocals).[5]
2000s: revival
In the 2000s, the style experienced a revival as part of the nu-rave scene.[citation needed]
Hardcore breaks is a style of breakbeat hardcore that appeared in early-to-mid 2000s as part of growing
nu-rave scene. The style is inspired by the sound and characteristics of old school breakbeat, while being fused with modern production techniques that distinguish the genre from the classic hardcore breakbeat sound.[6] The music is composed of looped, edited and processed breakbeat samples, intense bassline sounds, melodic piano lines, staccato synthesizer riffs, and various vocal samples (mostly taken from old house records). The speed of this genre typically fell between the range of 145–155 bpm, while the speed may variate on live sets. Originally being produced by a small group of artists with the vision of carrying on where oldskool hardcore left off before the
jungle and
happy hardcore split using new production techniques and technology, its appeal has now expanded to include artists from the original breakbeat hardcore scene creating new productions.[7] By the late 2000s, hardcore breaks tend to be produced and played at a bit faster tempos, often between 160–180 bpm. Therefore, it is often played at
UK hardcore, freeform hardcore and
drum and bass events.
^Reynolds 2013, p. 96, "1990 also saw the genesis of a distinctively British rave sound, 'hard core', which decisively broke with the mould of Detroit and Chicago, and ended the dependency on American imports. By 1991 this underground sound – actually a confederacy of hybrid genres and regional styles – was assaulting the mainstream pop charts.".
^Reynolds 2013, pp. 96–97, "Between 1990 and 1993, hardcore in Britain referred by turns to the Northern bleep-and-bass sound of Warp and Unique 3, to the hip-house and ragga-techno sounds of the Shut Up And Dance label, to the anthemic pop-rave of acts like N-Joi and Shades of Rhythm, to Belgian and German brutalist techno, and, finally to the breakbeat-driven furore of hardcore jungle...Influenced by reggae and hip hop, hardcore producers intensified the sub-bass frequencies, used looped breakbeats to funk up house's four-to-the-floor machine-beat, and embraced sampling with deranged glee. Following the lead of the bombastic Belgians and Germans, UK producers deployed riff-like 'stabs' and bursts of glaring noise.".
^Reynolds 2013, p. 120, "On the outskirts of the Top Forty, tracks by Manix, T99, the Hypnotist, Quadrophonia, Ravesignal, A Split Second, Congress and UHF exacerbated the sense of a barbarian horde waiting to overrun the pop citadel. In terms of hit rate, this 'golden age of hardcore' compares with the punk/New Wave period of the late seventies.".
^Reynolds 2013, p. 266, "Back in 1993, when hardcore plunged into the 'darkside', a breakaway faction of DJ-producers like Seduction, Vibes and Slipmatt continued to make celebratory, upful tunes based around hectic breakbeats. By the end of 1994, happy hardcore had coalesced into a scene that operated in parallel with its estranged cousin, jungle.".