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speedcore
The introduction to this article is too long. Please help Wikipedia by improving the introduction according to the guidelines at , moving some material from the introduction into the body of the article.Speedcore is a form of hardcore techno that is typically identified by its high rate of beats per minute and aggressive themes. Tracks can range from 240 BPM all the way up to 1000 BPM. Unlike other styles of aggressive dance music such as Gabber, the high rate of BPM makes speedcore less accessible as a danceable genre, although most fans of the genre headbang and mosh to the music.A sub-genre of speedcore, Extratone, can be chiefly classified as extreme speedcore. Whereas general speedcore tracks range from the high 200 BPMs to a 1000, Extratone tracks are produced at a bare minimum of speedcore's upper limit - 1000 BPM. Ergo, the boundary between speedcore and Extratone tracks lies in that BPM figure.The typical speedcore track is characterized by a general anti-music and anti-establishment sentiment. The music is angry, aggressive and often attempts to foster an atmosphere of hostility for the listener. Speedcore DJs push the boundaries of electronic dance music and often use offensive themes in their music to create such extremes.While most speedcore artists are content to attack the normal standards of music, or even the gabber music that spawned them, the extremism of speedcore has caused some to turn inwards and parody the standards of the genre. Much like how happy hardcore relates to gabber and hardcore techno, these songs utilize samples of lighter and more manic themes, like Bing Crosby and Futurama, to create their extreme sound.Speedcore tracks often contain elements of its musical brethren - noizecore, gabber, and terrorcore. To the untrained ear, tracks belonging to these genres sound similar.Characteristics
Aside from the very fast tempo of speedcore, which rarely drops below 240 BPM, speedcore can often be distinguished from other forms of hardcore techno by an aggressive and overridden electronic percussion track that is often punctuated with hyperactive snare or tom-tom fills. The Roland TR-909 is often the drum machine of choice for speedcore producers due to its ability to generate heavily distorted bass-drum kicks that anchor the percussion tracks.As with many other forms of techno, synthesizers are also heavily used, often producing heavily distorted and/or disharmonic melodies to complement the underlying drums. Although any analog or hybrid synth can be used, the analog/digital hybrid Roland Juno-106 is a common favorite with speedcore artists. Pure digital synthesizers are comparatively rare in speedcore.Samples are often used to further heighten the aggressive nature of speedcore, with many artists using audio samples of violent scenes from movies by directors such as Martin Scorsese and Stanley Kubrick. Samples of actors such as Joe Pesci and R. Lee Ermey are especially popular, especially in older speedcore works. Some artists are content to sample shouted obscenities and incorporate these samples into their music.Phonograph turntables, usually specialized belt-drive and direct-drive models, are frequently used during the recording process to produce various "scratching" and speed distortion effects that are often difficult to produce with synthesizers. During live performances, most speedcore artists and DJs consider turntables indispensable.History
The first authentic speedcore artist or ensemble appears to be Disciples of Annihilation (D.O.A.), which was formed in New York City in 1993 by Sal Mineo, Nick Marchetti and Carl Carinci. One year later, the trio began releasing material on Industrial Strength Records, including the "Industrial Power 9D4" single. After playing several shows in hardcore techno's homebase of Scotland, D.O.A. signed a deal with UK record label Earache. The group's debut album, New York City Speedcore, appeared in early 1997. Marchetti died that same year, resulting in the demise of D.O.A., but not the new sound.Raves and the "Scene"
Taken by itself, listening to speedcore on vinyl or a CD can be an exhilarating experience. Within the context of a speedcore rave, however, external stimuli such as strobe lights, fog machines, and even costumes worn by some performers can heighten the adrenaline rush. Some choose to use alcohol and/or illicit drugs to amplify the experience even more so. The preferred drug in this situation is often ecstasy due to its stimulating effects.Speedcore raves often take place in "underground" dance clubs or industrial warehouses. While the average raver (including many gabbers) wear any kind of clothing that strikes their fancy, from campy "club kid" outfits to street clothes, speedcore aficionados often wear black or camouflage clothing, often imprinted with apolitical or anarchistic messages. Any outward expressions of political sentiment or actual calls for the use of violence to achieve social or political change are heavily discouraged, if not banned outright. Satirization of political themes is often common, with Nazism being a frequent target for abuse.The main reason for attending a speedcore rave, however, is similar to the reasons for slam-dancing at a hardcore punk concert or thrashing around in a mosh pit - it's an energy release where speedcore ravers gather to release their collective frustrations with the many facets of society with their friends, and lots of loud, fast, aggressive music.Speedcore has always been an undergroundscene within an undergroundscene. Speedcore should therefore mainly be seen as a powerful statement: Where hardcore already stands a far way from 'regular' music, speedcore takes it a step further. The dancability of speedcore is questionable, especially when played for long periods, and especially without the use of certain drugs. This of course only adds to the statement speedcore tries to make: 'We resent society'. ...... sent to me by random speedcore feind..."THIS REVIEW WAS WRITTEN FOR BETTER PROPAGANDA"............
As written for betterpropaganda.com by"TERBO TED" SPAZ /otherworld,oakland.........................................
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396 is one very deep musician. Part of the East Bay Breakcore Underground that has so far spawned the more well-known yet less adverturesome kid606, 396 aka Joel Cadena is still on his way into people's eardrums. Relatively young, he's a monster on the drums, the sampler, on the turntable, and on the mic. All of these skills come together when he produces an original track. Sick, twisted beats tumble apart in shredded non-sequiter passages meant for masochistic eardrums and soon to be blown speakerstacks. Certainly, 396 is the antithesis of easy listening, and it doesn't help that he's so completely comfortable discarding understood genres while making his beats.His fearlessness musically might have something to do with his enormous physical stature; he's a larger than life cat at way over six feet tall, and his streetsmart and rugged exterior can be quite intimidating, especially at a recent show where he was reported to smash his own 12" records into small pieces after yanking them off the decks.As a DJ, he's a highly adept turntablist, can rock out some oldies, knows all the hip hop tricks, loves european teknival beats, and has some of the hardest tracks ever cut to vinyl passing through his hands, as he's a beacon for hardcore artists coming to the Bay from the East Coast. He's also a behind the scenes player involved in the production of a wide range of underground events, including work on Madame Chao's Noise Battles in his local area. He's also a proud member of hardcore lunatic co-op "Team Bring It."
