Bouncy techno
| Bouncy techno | |
|---|---|
| Stylistic origins | Gabber, breakbeat hardcore, 4-beat, Italo house |
| Cultural origins | 1990s United Kingdom, Netherlands, Germany |
| Typical instruments | Synthesizer, keyboard, drum machine, sequencer, sampler, personal computer |
| Derivative forms | UK hardcore |
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(complete list) |
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| Regional scenes | |
| Japan, UK, Netherlands, Germany, Russia | |
Bouncy techno is a hardcore dance music rave style that developed in the early 1990s from Scotland and North England. Described as an accessible gabber-like form, it was popularised by Scott Brown under numerous aliases. The sound became prominent in the northern United Kingdom rave scene before it broke into the hardcore homeland of the Netherlands through Paul Elstak, where it became known there as happy hardcore (i.e.: happy gabber) and funcore .
A subsequent mainstream-aimed Eurodance tangent appeared in Germany and itself back into the Netherlands. The music of Brown also changed the Southern England happy breakbeat style away from its breakbeat foundation and into a bouncy derivative. These different country entrails created a single pan European hardcore briefly in the mid-1990s. Bouncy techno rapidly declined from this point for a variety of reasons.
The breakbeat hardcore style that dominated raves across England was generally not popular in Scotland. This is attributed to regional music,cultural and racial differences across the UK; with breakbeat regarded in Scotland as a "black English thing" and an "alien musical culture".
The few Scottish-based DJs who supported this music found it difficult to be booked locally. DJ Kid told the crowd to "fuck off" on the mic before he stormed off stage when ravers turned hostile towards him playing such a set. A divide in the United Kingdom rave scene occurred as a result with separate musical paths of development.
Scotland instead favoured techno and vocal/piano rave music. The Time Frequency (TTF) led the charge of local bands. After three chart hit records in the UK Singles Chart Top 40 across 1993, which peaked with "Real Love" at number eight, their commercial success in part resulted in a backlash against the band. With the vocal/piano approach now tainted, ravers turned their attention to an alternative form of underground music that had since materialised.
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