Piano Guidance
Piano Guidance
Photo: George Milton
In 1993 mainstream producer Moby released the track “Thousand”. As the title suggests, it was one of the first recorded songs to reach past 1,000 beats per minute, registering at approximately 1,015BPM at its peak. The vigorous tune was later recognised by Guinness World Records for its extreme tempo.
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Read More »In 1993 mainstream producer Moby released the track “Thousand”. As the title suggests, it was one of the first recorded songs to reach past 1,000 beats per minute, registering at approximately 1,015BPM at its peak. The vigorous tune was later recognised by Guinness World Records for its extreme tempo. “Thousand” has more recently been recast for contemporary ears; techno producer Perc created his own edit in 2014 which was used to close his Boiler Room set that same year. While users in the comment sections of happyhardcore.com have declared this extreme BPM range the least listenable music on the internet, officially, it goes by the name extratone. AKA the world’s fastest genre, and the high-point of a BPM arms-race that’s been building in dance music since the mid-’90s. Most commercial billboard singles clock in between 118-122 BPM, whereas typical hardcore and gabber tracks sit between the 150 and 200 BPM range. This makes them at least manageable for a dancefloor. From here, however, genres like Breakcore and terrorcore (characterized by a maximum BPM of 300) or speedcore (300 plus), generate a sonic assault quite unlike any other strain of dance music. When the BPM hits the thousands it becomes extratone. The point at which, to many, it no longer resembles music. “Past 1000BPM, the sounds become frequencies,” notes Federico Chiari, a hardcore researcher based in Milan. “Humans are capable of discerning these sounds on a speculative level, but not on a listening level.” Chiari has spent the past decade piecing together the history of niche hardcore styles and their respective scenes worldwide. As hardcore has enjoyed its recent revival, Chiari feels many of these subgenres have been misrepresented. “The revival is taking the mainstream hardcore of the ‘90s and focusing on the dress code, more than the music,” Chiari laments. “Gabbers now are much more interested in the clothing,” he goes on to explain. “People are bringing back the stylistic stereotypes, but what was really interesting from this time is missing [in the revival].”
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Read More »The European rave scene began to split in 1992, the techno, house, trance and hardcore scenes separating out into respective communities. Around this time a scene emerged in Rotterdam, ravers pushing hardcore techno beyond 160BPM, utilising the iconic Hoover Sound of the Roland Alpha Juno synths to create breakneck tracks. Rotterdam Records founder and Dutch DJ Paul Elstak is regarded as the central innovator behind the gabber wave that swept outwards from the Netherlands in 1992. At this point of increasing genre elitism, producers like Euromasters released unbelievably fast hardcore tracks in an effort to provoke house music purists. This strain of hardcore was initially much darker before the commercialisation of the Dutch scene in the late ‘90s, when much larger audiences began listening to mainstream hardcore and the scene mutated into happy hardcore.
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Read More »German label Influence Recordings released Influid’s “The Destroyer (1.2million BPM mix)” in 1994, on which the artist increases the beat until it disappears into a continuous sound, as the capabilities of the human ear reach their absolute limit. Then, the beat returns as the BPM slows down. “There’s this interesting moment of the beat and rhythm disappearing into pure frequency and going beyond the 20,000Hz threshold of the human ear,” Chiari reckons. “It’s a very dark track.” These defining elements are what coined the term extratone: the extreme speed morphs the beats into a tone rather than a rhythm. The spaces between the beats are too minute for the brain to register. Extratone developed during the internet era and through contemporary labels like the UK’s Slime City Records. It’s the sound hardcore devotees label as the ultimate extreme underground sound – a race for speed and velocity within music. The term extratone was born in speedcore forums online, born from people pumping out experiments to upload and share with the same goal as the first pioneers of the speedcore scene: to shock and annoy genre-purists by creating the hardest sound that they could.
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