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Speedcore
Speedcore
Speedcore
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Speedcore
Stylistic origins
Cultural originsMid-1990s[1]
Subgenres
  • Extratone
  • Flashcore
  • Splittercore
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]

Characteristics

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Common speedcore logo

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]

History

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Origins (1992–1993)

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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]

Early speedcore (1994–1999)

[edit]
Excerpt from "NYC Speedcore" (1997) by Disciples of Annihilation, a seminal speedcore track.

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]

Spread (early 2000s)

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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.

Internet growth (2010s)

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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.

Subgenres

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Splittercore

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Speedcore is often called splittercore when the BPM count is between 600 and 1,000.[5] Splittercore is subsequently identified with kick patterns resembling machine gun fire. In the 1990s splittercore was sometimes referred to as nosebleed techno.[4]

Flashcore

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Flashcore is a genre that grew out of speedcore, industrial hardcore and IDM. 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 mainstream EDM genre. Most of the genre's works focus on intense, rhythmic, and layered soundscapes.[11]

Extratone

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Speedcore with a tempo of 1,000 or higher is called extratone. In this range of tempo, the separation between kicks are negligible to the human ear and thus 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 tone (sound).[5]

See also

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References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Speedcore

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Speedcore is an extreme subgenre of hardcore techno defined by its blisteringly fast tempos, typically ranging from 300 to over 1,000 beats per minute (BPM), aggressive distorted kick drums, and chaotic, abrasive with minimal melodic elements. Emerging from the underground and scenes of the early 1990s, it pushes the boundaries of through hyperactive rhythms and industrial influences, often creating a sense of relentless intensity suited for rather than traditional dancing. The genre's origins trace back to the early 1990s in Europe and North America, building on the accelerating tempos of hardcore techno and gabber, with foundational tracks like Cybersonik's 1992 Jackhammer EP and Moby's 1993 Thousand marking early experiments in speeds exceeding 200 BPM. By the mid-1990s, producers such as Lenny Dee and The Prophet formalized speedcore through labels like Industrial Strength Records, with the name gaining traction via 1995 releases like the Speedcore Mix by Liza N Eliaz and Jessy James. The late 1990s and 2000s saw its global expansion amid digital production advances, peaking in the "Speedcore Youth" era (1999–2003) before evolving into subgenres and experiencing a resurgence in the 2010s through streaming platforms and nostalgia-driven events, continuing into a recent revival as of 2025 with online communities and new releases. Key characteristics of speedcore include straight, pounding beats with occasional breaks, heavily distorted basslines, noise elements drawn from industrial and metal music, and short track lengths of 1–3 minutes to maintain frenetic energy. It has spawned subgenres such as splittercore (600–1,000+ BPM with glitchy breakdowns), flashcore (500+ BPM, pioneered around 2005 by artists like La Peste), and extratone (900+ BPM extremes). Notable pioneers and artists include (e.g., 1994's Extreme Terror), Delta 9 (1995's The Hate Tank), The Berzerker (2000 album), Passenger of Shit, and Rotator, whose works emphasize the genre's raw aggression and cultural ties to punk, , and Japanese pop scenes.

Overview

Definition

Speedcore is an extreme subgenre of hardcore , defined by its blisteringly high tempos that typically exceed 300 beats per minute (BPM), aggressive beats, and heavily distorted sounds designed to create an overwhelming auditory assault. Tracks in the genre are characteristically brief, often lasting 1-3 minutes, prioritizing rapid escalation and impact over extended development. Rooted in the underground rave culture of the early , speedcore evolved as a deliberate push against the decelerating tempos of mainstream , embracing "breakneck" speeds to amplify raw energy and sonic extremity. This form of (EDM) shifts focus from melodic structures to sheer intensity, utilizing chaotic and harsh noise elements to evoke a sense of unrelenting urgency.

Influences and Precursors

Speedcore emerged as an extremity of hardcore techno, drawing direct influence from the aggressive rhythms and high-energy structures of early 1990s hardcore, which itself built on faster iterations of and . The genre's relentless pace and distorted sound palettes also reflect borrowings from industrial music's mechanical harshness and noise experimentation, as well as punk's raw, confrontational attitude toward rhythm and intensity. Heavy metal contributed to this aesthetic through its emphasis on speed and overdriven aggression, particularly evident in gabber's fusion of metallic riff-like kicks with electronic beats. , with its hypnotic basslines and repetitive builds, provided an earlier foundation for the euphoric escalation that hardcore producers amplified into chaotic frenzy. Key precursors include tracks from the burgeoning scene that experimented with accelerated tempos, such as Moby's "Thousand" (1993), which peaked at approximately 1,000 BPM and earned a for the fastest released single, foreshadowing speedcore's obsession with velocity. The Dutch gabber scene, centered in , served as a critical bridge, with producers pushing hardcore tempos from 180 BPM toward 250 BPM. These early anthems, often remixed or sped up on the fly, exemplified the shift from structured to unbridled electronic aggression. The cultural backdrop for these influences lay in the underground European parties of the early , where DJs in venues like Rotterdam's Thunderdome events manipulated turntables to accelerate tracks, fostering an atmosphere of euphoric chaos and communal release amid the era's post- experimentation. This scene's DIY ethos and resistance to mainstream dance norms echoed punk's rebellious spirit, while the industrial undertones mirrored the gritty, factory-like environments of many illicit gatherings, ultimately catalyzing speedcore's formation as a hyper-intensified response to these roots.

Characteristics

Tempo and Rhythm

Speedcore's defining rhythmic element is its extraordinarily high tempo, typically spanning 300 to 600 beats per minute (BPM), which generates a relentless and disorienting that overwhelms listeners with unyielding momentum. This accelerated pace distinguishes the genre from slower electronic forms, emphasizing raw over melodic development. In more extreme variants within subgenres, tempos can surpass 1000 BPM, amplifying the chaotic auditory experience to near-inaudible frequencies. At its core, speedcore's rhythm adheres to a four-on-the-floor pattern in 4/4 time, dominated by heavily distorted kick drums that provide an aggressive, hammering foundation. These kicks, often derived from modified 909 samples, drive the track's propulsion, with rapid snare or tom-tom fills inserted every 1/16th or 1/32nd note to heighten the frenetic intensity and prevent rhythmic monotony. The distorted kicks serve as particularly aggressive elements, their overdriven contributing to the genre's brutal sonic assault. Track structures in speedcore prioritize sustained intensity over conventional song forms, often lasting 1 to 3 minutes to avoid fatigue at such extreme speeds. Compositions eschew traditional verses or choruses, instead progressing from sparse breakdowns to escalating peaks of layered chaos, where rhythmic elements collide in a barrage of percussion. This concise format ensures the pulse remains uncompromised, focusing on immersive, high-impact delivery.

Sound Design and Structure

Speedcore's sound design is characterized by an emphasis on abrasive and intense auditory elements that prioritize raw aggression over harmonic complexity. Central to the genre are heavily distorted bass kicks, which form the foundational pulse and deliver a punishing, mechanical force. These are often layered with noise bursts and harsh industrial textures, creating a dense that evokes industrial machinery or sonic violence. Screeching synth leads, typically produced with detuned sawtooth waves or acid-style basslines, cut through the mix with piercing, dissonant tones, further amplifying the chaotic energy. Sampled aggression, including horror movie screams, metallic impacts, and fragments of metal riffs, integrates found sounds to heighten the visceral impact. In terms of , speedcore employs minimalist arrangements that foreground percussion and while largely eschewing traditional or progression. Tracks typically feature relentless loops of distorted kicks and layers, with abrupt cuts and sudden drops that disrupt any sense of continuity and mimic auditory overload. Layered elements, including sirens and foley recordings, build chaotic textures through repetition and automation, maintaining a forward momentum without resolution. This percussive dominance results in concise compositions, often lasting only a few minutes, designed to immerse listeners in unrelenting intensity rather than narrative development. Thematic aggression permeates speedcore's sonic palette, with samples and occasional vocal elements drawing on violent, apocalyptic, or dark motifs to reinforce the genre's raw emotional core. Horror and film-derived samples, such as screams or ominous effects, embed narratives of destruction and unease directly into the . Industrial and metal-inspired fragments contribute to themes of mechanical , enhancing the overall sense of hostility and . These elements collectively evoke a sense of primal fury, where the high tempos serve to escalate the aggressive delivery without overshadowing the core design.

History

Origins (1992–1994)

Speedcore emerged in the early 1990s as an extreme extension of hardcore techno within the underground scenes of , particularly in the and , where DJs and producers began accelerating track tempos beyond 200 beats per minute (BPM) to heighten intensity and energy. This development occurred amid a broader reaction to the perceived slowdown of mainstream , as Dutch and German artists sought to recapture the raw, frenetic drive of earlier sounds through faster rhythms and distorted elements. Influenced briefly by the aggressive structures of and , these experiments marked the genre's proto-form, emphasizing relentless speed over melodic accessibility. A pivotal early example came in 1993 with Moby's "Thousand," a track recorded in 1992 and reaching an unprecedented 1,015 BPM through rapid patterns and acceleration, earning recognition from the Guinness Book of World Records as the fastest production at the time. While not fully embodying later speedcore aesthetics, it exemplified the era's push toward sonic extremes in underground settings. German producer Marc Acardipane, operating under aliases like Rave Creator, contributed foundational releases on his Planet Core Productions (PCP) label, such as the 1993 track “At War (Remix)” by The Leathernecks, which featured high-tempo hardcore at 225 BPM with pounding kicks and synthetic aggression that prefigured speedcore's velocity. These works circulated in and raves, where attendees embraced the disorienting pace as a counter to commercial electronica's moderation. By 1994, initial speedcore-adjacent releases proliferated on European labels, including Industrial Strength Records' Extreme Terror by DJ Skinhead, blending rapid-fire breaks with noise-infused hardcore at tempos exceeding 250 BPM. This period solidified the genre's underground roots, driven by a small network of producers who prioritized extremity in dimly lit warehouses and illegal parties, setting the stage for speedcore's maturation without yet achieving widespread definition.

Early Development (1995–1999)

During the mid-to-late , speedcore began to solidify as a distinct subgenre of hardcore techno, evolving from the proto-hardcore raves of the early by pushing tempos and sonic aggression to new extremes. Producers focused on accelerating kick drum patterns beyond 250 BPM, with tracks increasingly exceeding 300 BPM to create an unrelenting, disorienting energy that distinguished speedcore from standard . This period marked a shift toward more structured releases on dedicated labels, fostering underground communities in and beyond. A pivotal moment came in 1996 with DJ Skinhead's "Extreme Terror III," released on Industrial Strength Records, which exemplified the genre's emerging standard of 300+ BPM through its frantic, distorted beats and raw aggression. As part of the influential Extreme Terror series, the track—produced by Lenny Dee and others—helped cement speedcore's identity in the New York scene, blending hardcore's pounding rhythm with heightened velocity to evoke a sense of sonic overload. This release not only showcased the feasibility of sustained high-tempo production but also influenced subsequent artists by demonstrating how speed could amplify the genre's chaotic ethos. Innovations in during this era included the widespread adoption of digital distortion applied to kick drums, creating a gritty, overdriven texture that enhanced the music's intensity, alongside the integration of noise elements like screeching synths and feedback loops to fill the high-speed framework. These techniques, often achieved through early workstations, allowed producers to manipulate percussion for without losing rhythmic drive, setting speedcore apart from slower hardcore variants. Events such as the hardcore festivals in , including Thunderdome gatherings, played a crucial role in amplifying visibility, where DJs tested these extreme sounds on packed crowds, bridging the Dutch gabber scene with speedcore's faster evolution. The scene's growth extended internationally with the formation and expansion of labels like Australia's Bloody Fist Records, established in 1994 but ramping up speedcore output by 1995–1999 through lo-fi, DIY releases that captured the genre's raw edge. Key outputs included Embolism's "Massacre EP" (1996), featuring blistering tracks with distorted kicks at elevated tempos, which exemplified the label's commitment to experimental hardcore variants. Bloody Fist's cassette and vinyl runs, produced on limited budgets, cultivated a punk-infused underground following in . Speedcore's reach into during this time relied heavily on imports and distribution networks, with U.S. labels like Industrial Strength reissuing international material to introduce the genre to American ravers. The 1995 "Bloody Fist Sampler" on Industrial Strength, compiling Australian hardcore tracks, facilitated this trans-Pacific exchange, exposing U.S. audiences to high-BPM experiments and sparking localized production. This import-driven dissemination laid the groundwork for a nascent North American speedcore contingent, centered around urban scenes in New York and beyond.

Global Spread (2000–2009)

During the early 2000s, speedcore began to expand beyond its European roots through the proliferation of netlabels and specialized imprints that facilitated international distribution and collaboration. Labels such as Deathchant in the UK occasionally ventured into speedcore territory, releasing rare but influential tracks that bridged hardcore and higher-tempo extremes, exemplified by the 2003 EP Deathchant 44 featuring speedcore elements from artists like Radium and Hellfish. This period also saw the rise of digital platforms, with growing online forums enabling fans and producers to share tracks and builds, fostering a nascent global community despite limited physical infrastructure. A significant milestone in speedcore's internationalization occurred in , particularly , where artists adapted the genre's aggression with a distinctive cute and melodic aesthetic known as "kawaii core." Formed in 2000, the duo —comprising DJ Jea and —pioneered this style through releases blending speedcore with and influences, often collaborating with contemporaries like m1dy and M-Project on labels such as Sharpnelsound. These acts contributed to speedcore's inclusion in broader hardcore events across and , including underground raves that highlighted its cross-cultural appeal. In , speedcore gained fringe exposure through crossovers with metal genres, most notably via The Berzerker, a Melbourne-based industrial project that integrated and speedcore drum programming into its sound. The band's 2002 album Dissimulate and 2008 The Reawakening showcased this fusion, drawing from speedcore's relentless tempos to enhance grindcore's intensity, thus introducing the genre to metal audiences via . Despite its extremity—often exceeding 300 BPM with distorted kicks and noise elements—speedcore remained niche, limited by its abrasive nature to dedicated underground scenes rather than mainstream festivals. However, such metal hybrids like The Berzerker's work helped sustain its momentum amid challenges of accessibility and commercial viability.

Digital Expansion (2010–2019)

During the , the played a pivotal role in popularizing speedcore by providing accessible platforms for sharing and distributing high-BPM tracks, shifting the genre from underground physical releases to a more democratized digital landscape. and rose as key venues for artists to upload experimental compositions, allowing listeners worldwide to discover and engage with the music's aggressive, fast-paced sound without geographic limitations. This era witnessed substantial growth in free netlabels and digital distribution sites like , which lowered barriers for emerging producers to release material. Speedcore Worldwide Audio Netlabel, established in 2012 as an international independent operation based in , became a prominent example, specializing in digital releases that emphasized the genre's diversity and intensity. The label issued numerous compilations and solo projects during the decade, such as the 2013 "Best Of Pigeon Cadaver 2010-2013: Introduction To A New Era," which curated tracks from the early 2010s and highlighted ongoing innovation in speedcore production. Flashcore experiments further exemplified the online push toward extreme tempos, with producers leveraging digital tools to create tracks surpassing 1000 BPM and sharing them directly on streaming services for immediate feedback and iteration. These boundary-testing works, often featuring distorted kicks and chaotic rhythms, proliferated through netlabel channels and helped solidify speedcore's reputation as an electronic form. The resulting online communities amplified fan involvement, spurring collaborative and culture that integrated speedcore elements into viral content, thereby sustaining and expanding the genre's niche appeal.

Recent Revival (2020–present)

Following the , speedcore underwent a notable online resurgence, driven by the proliferation of sped-up and variants on platforms like , which popularized high-BPM electronic edits among younger audiences seeking fast-paced, viral content. This trend aligned with broader post-2020 shifts in digital consumption, where accelerated of mainstream tracks often incorporated speedcore's relentless rhythms, fostering new entry points for the genre. Streaming platforms further amplified this revival, with dedicated speedcore playlists and compilations experiencing sustained growth through the mid-2020s; for instance, Spotify's "Sped Up Nightcore Speedcore Songs / TikTok Speed Up Music 2024" playlist amassed over 1,100 saves, reflecting heightened discoverability. Artists such as femtanyl, a Toronto-based digital hardcore and jungle project, gained prominence in this era, releasing albums like REACTOR (2024) and GIRL HELL 1999 (2023) that blended breakbeat intensity with speedcore-adjacent elements, appearing on genre-curated lists and achieving millions of streams. These developments extended the digital foundations laid in the 2010s internet communities, adapting to algorithmic recommendations and social media virality. Innovations in production marked the period, including the rise of AI-generated tracks that democratized speedcore creation; tools like Sonauto's AI music generator produced high-energy speedcore compositions blending chaotic rhythms and electronic , enabling rapid experimentation without traditional studio barriers. In 2025, Diabarha's Cold LP, released on Speedcore Abyss Records, exemplified evolving by integrating industrial hardcore and extratone influences across 15 tracks exploring themes of fear at tempos ranging from 175 BPM to extremes exceeding 2000 BPM. Events within the broader hardcore scene increasingly adopted hybrid virtual-physical formats, streaming live sets to global audiences while hosting in-person gatherings to rebuild community post-pandemic.

Subgenres

Splittercore

Splittercore is an extreme subgenre of speedcore characterized by tempos ranging from to 1000 BPM, pushing the boundaries of rhythmic intensity beyond standard speedcore tracks. This range creates a frenetic pace often described as machine-gun-like, amplifying speedcore's inherent aggression through unrelenting percussion. The style emerged in the late to early within European and North American electronic scenes, evolving from the high-tempo experiments of speedcore pioneers. Central to splittercore's sound is its emphasis on rhythmic complexity and noise separation, achieved via rapid percussion patterns with maintained kick spacing that produce a gritty, splitting stream of sound, often layered with breakbeats and glitchy distortions. These elements create a disorienting "splitting" effect, where the drum programming fragments into rapid bursts that challenge perceptual limits while maintaining a hardcore foundation. The result is a noisy, abrasive aesthetic that prioritizes auditory overload over , distinguishing it through its focus on percussive intensity rather than sheer alone. The genre gained formal recognition in the speedcore community around 2007 with the release of the compilation Splitter Destruction by Splitterblast , which showcased various artists exploring these high-speed, fragmented rhythms. Notable early examples include tracks by DJ Plague, such as those on his 2003 album Bloody Kill Death Terror, featuring compositions around 666 BPM that influenced experiments in the early by blending raw aggression with intricate beat manipulation. These works helped solidify splittercore's role in extending speedcore's legacy of extremity into more structurally chaotic territories. As of 2025, splittercore continues to thrive in underground scenes with new releases emphasizing its high-energy percussion.

Flashcore

Flashcore emerged in the late 1990s, developing in the early 2000s as an ultra-fast, minimalist subgenre of speedcore, defined by tempos ranging from 250 to 1000 BPM and tracks that typically last under one minute, creating brief, intense "flashes" of and sonic extremity. This brevity and speed distinguish it from broader speedcore forms, emphasizing rapid, ephemeral bursts over sustained compositions. Key characteristics include sparse, repetitive elements such as a single looped kick drum layered with digital glitches, artifacts, and abstract noise, prioritizing raw digital harshness and structural over complexity. Influenced by the rise of online sharing platforms in the , flashcore proliferated through netlabel releases, which facilitated its experimental dissemination and peaked in output around 2012. These digital artifacts often evoke a sense of technological overload, with tracks functioning as concise sonic assaults rather than pieces. As of 2025, flashcore maintains a niche presence in experimental electronic communities via streaming and DIY platforms. Notable examples draw from producers inspired by ' breakcore innovations, adapting his glitchy, high-speed aesthetics into even more accelerated formats, as seen in various netlabel compilations and EPs from the early . Flashcore occasionally references splittercore's rhythmic intricacies in its looped patterns but maintains a focus on simplicity and brevity.

Extratone

Extratone represents the most extreme variant of speedcore, emerging in the late , with prominence continuing into the 2000s and as producers pushed tempos beyond the limits of perceptible rhythm. Defined by beats per minute (BPM) rates exceeding 1,000 and often reaching 3,600 or higher, extratone transforms traditional kick drums into a continuous tonal , where individual beats blur into a buzzing, textural mass rather than a discernible pulse. This shift occurs because at such velocities, the rapid succession of kicks—typically structured as quarter notes or 16th notes—creates a "tonal beast" that emphasizes sonic overload and absurdity over conventional musical structure. The genre's characteristics center on extreme , blending brutal with occasional melodic fragments to evoke a of self-destructive intensity, often described as a "buzzing textural, tonal trip." Producers achieve these inaudibly high speeds through experimental techniques, including the use of time-stretching software in variants like suizidcore, which accelerates audio samples to absurd velocities while preserving pitch, resulting in glitchy, heavier layers. Unlike flashcore's digital minimalism with brief perceptible bursts up to 1,000 BPM, extratone delves into post-audibility extremes, prioritizing unrelenting immersion. As of 2025, extratone persists in DIY and online communities, with artists exploring even higher BPM extremes. A notable example is the work of artist Pressterror, whose tracks like those on the 2013 Extratone Sampler Vol. 1 exemplify the subgenre's chaotic essence, featuring layered distortions and BPMs well over 1,000 that dissolve rhythm into pure tonal chaos. Pressterror's output, including releases such as This Is Drrrrrr (2018), has sparked debate over whether it constitutes a pure extratone style or a hybrid suizidcore extension, yet it gained status within online electronic music communities by 2015 for its uncompromised absurdity and technical innovation. These tracks highlight extratone's DIY , where the focus on auditory extremity fosters a niche appreciation among listeners seeking the genre's boundary-pushing overload.

Melodic Speedcore

Melodic speedcore emerged as a subgenre of speedcore in the mid-1990s, characterized by tempos typically ranging from 300 to 500 BPM while integrating prominent melodic elements into its high-speed structure. This variant retains the aggressive, distorted rhythms of core speedcore but distinguishes itself through the addition of synth-driven harmonies that provide emotional depth amid the frenetic pace. Key characteristics of melodic speedcore include rare but impactful melodic leads layered over heavily distorted basslines and kicks, creating a contrast between chaotic intensity and tuneful euphoria. Influenced by trance's emphasis on atmospheric builds and soaring synth lines, the style gained traction in early European underground scenes, particularly in the , where it appealed to audiences seeking a more accessible entry into speedcore's extremity. These tracks often feature build-ups that evoke uplifting hardcore, balancing the genre's raw aggression with harmonious progressions. A notable example is the work of Dutch producer Imil (real name Jeroen Adriaanse), whose releases such as those on the 2012 album A Speedcore State of Mind exemplify melodic speedcore by bridging high-BPM speedcore with uplifting hardcore elements, as seen in tracks like "Our Generation." Imil's contributions, highlighted in compilations, underscore the subgenre's role in making speedcore more melodically engaging for broader electronic music listeners.

Thrashkick

Thrashkick emerged in the mid-2010s as a specialized subgenre of speedcore, primarily designed to enhance its suitability for DJ performances and mixing. Unlike traditional speedcore tracks, which often feature erratic BPM variations and abrupt structures lacking clear intros and outros, thrashkick standardizes elements to facilitate seamless transitions in sets. This approach addresses the challenges of DJing high- electronic by emphasizing consistency in and sound balance, allowing for more reliable and flow during live mixes. Key characteristics of thrashkick include a fixed BPM around 300, an even distribution of sonic intensity to avoid extreme peaks or drops, and structured song formats with defined introductory and concluding sections. These features draw from speedcore's heritage of heavy and aggressive beats while prioritizing practicality for club and environments. The subgenre maintains the raw, high-energy essence of speedcore but refines it for professional DJ use, often resulting in tracks that are more mixable without sacrificing intensity. Originating in the Japanese electronic music scene, thrashkick was pioneered by DJ and producer m1dy, who released the inaugural EP Speedcore For DJs in 2016 under the EZiKi label, marking the subgenre's debut. m1dy collaborated with figures like hardcore DJ M-Project to define its parameters, focusing on accessibility for younger DJs entering the speedcore world. The subgenre quickly gained traction through compilation releases, such as Thrashkick Must Die v1.0 in 2017 and its 2017 follow-up v2.0, which showcased contributions from various artists and solidified thrashkick's role in evolving speedcore toward more performative formats. A notable example is m1dy's 2019 EP THRASHKICKIN', which exemplifies the subgenre's blend of structured aggression and mixability, featuring tracks with precise kick patterns and sustained energy suitable for extended sets. By the late 2010s, thrashkick had influenced hybrids incorporating elements from adjacent styles like uptempo hardcore, expanding its scope while retaining core speedcore roots. This evolution reflects broader trends in electronic music toward genres optimized for live manipulation and digital performance tools.

Production Techniques

Tools and Software

Speedcore production relies on digital audio workstations (DAWs) optimized for handling rapid sequencing and high tempos, with , , and emerging as primary choices among producers. 's session view and real-time manipulation features make it suitable for layering complex, fast-paced patterns typical of electronic genres including hardcore variants like speedcore. is frequently employed for constructing melodic leads and overall track assembly, leveraging its for precise note placement at elevated BPMs. , a tracker-based DAW, supports underground speedcore workflows through its matrix-style editing, which facilitates overlapping loops and odd-length patterns (e.g., 360 lines) for mechanical grooves without overwhelming computational demands. Key plugins enhance sound design within these DAWs, particularly for generating distorted synths and effects. Wavetable synthesizers like Serum provide the foundation for leads, starting with sawtooth waves and unison detuning before applying , as seen in speedcore melody creation. Additional processing tools include ShaperBox for multiband , Valhalla Supermassive for expansive delays on leads, and compression via OTT or Camel Crusher to tighten frequencies and add grit. Built-in FL Studio effects like Fruity Reverb and Fruity Compressor further refine these elements, often with large room settings for spatial depth. A core workflow in speedcore involves pitch-shifting samples to attain extreme speeds, altering audio pitch upward to effectively double or quadruple perceived without inflating the project's base BPM, which helps maintain playability beyond 1000 BPM. Producers often set project between 150-300 BPM and simulate higher rates (e.g., 440 BPM from 220 BPM) using double kicks per beat, layered with pitch-shifted breaks or vocals for intensity. This approach, combined with sidechain compression on kicks, ensures rhythmic clarity amid dense arrangements. The tools for speedcore have evolved alongside electronic music production, transitioning from 1990s analog synthesizers—such as the for acidic basslines in early hardcore—to 2010s digital software, which offers granular control over tempos exceeding 1000 BPM through and virtual instruments. This shift democratized access, allowing bedroom producers to sequence intricate, high-speed patterns previously limited by hardware constraints.

Distortion and Effects

In speedcore production, overdrive and bitcrushing are essential techniques applied to kick drums to produce the genre's signature gritty texture. Overdrive simulates analog clipping by gradually boosting harmonics and compressing peaks, adding warmth and aggression to the core rhythmic element that drives tracks at extreme tempos. Bitcrushing, meanwhile, deliberately degrades audio quality by reducing bit depth and sample rate, introducing digital artifacts that enhance the raw, abrasive quality of kicks while evoking early digital synthesis imperfections. Reverb and delay effects are frequently layered onto noise elements to generate spatial chaos, transforming static harshness into a swirling, immersive disorientation that amplifies speedcore's chaotic intensity. These time-based effects stretch noise bursts across the stereo field, creating depth and unpredictability without overpowering the relentless percussion. Producers face significant challenges in managing aliasing at high BPMs, where rapid oscillations and distortion-generated harmonics exceed the Nyquist limit, resulting in harsh, unintended digital artifacts. Anti-aliasing filters, often built into digital audio workstations or plugins, are employed to attenuate these high frequencies pre-processing, preserving clarity amid the genre's frenetic pace. Layering multiple distortions—such as combining overdrive with saturation or fuzz—further builds depth, allowing for nuanced tonal complexity while mitigating muddiness through careful gain staging. The evolution of distortion in speedcore reflects broader shifts in electronic music production, transitioning from hardware pedals like overdrive and fuzz units adapted from guitar effects to achieve raw analog grit, to 2020s software plugins such as iZotope Trash for precise, multiband modeling. Early hardware setups enabled the genre's foundational aggression through physical signal alteration, while modern tools offer convolution-based impulses and dynamic processing for greater control and experimentation.

Notable Artists and Labels

Pioneers

DJ Skinhead, whose real name is , was a foundational figure in the development of speedcore, emerging from the terrorcore scene of the . His seminal release "Extreme Terror" on Industrial Strength Records marked one of the earliest influential terrorcore tracks at around 170 beats per minute (BPM), establishing an aggressive sound that influenced the genre's evolution toward extreme speeds. Delta 9, a Chicago-based producer active in the late 1990s and early 2000s, contributed significantly to speedcore through releases on Industrial Strength Records and earlier on Drop Bass Network, including tracks like "Hate Tank" (1995), which blended hardcore and speedcore elements to amplify the genre's raw intensity. Noisekick, the alias of Dutch producer Rudmer Reitsma, began producing speedcore in 1995 and gained prominence in the early 2000s with high-tempo works such as the "Access666" EP (2005), helping to solidify the genre's presence in European underground circuits through relentless, distorted rhythms. Industrial Strength Records, founded in 1991 by Lenny Dee in New York, played a pivotal role in speedcore's foundations by releasing early terrorcore-influenced material and compiling the influential "Extreme Terror" series, which showcased high-BPM tracks and helped disseminate the sound globally from its hardcore roots. Bloody Fist Records, an Australian label operating from 1994 to 2004 and run by Mark Newlands, was instrumental in the and for compiling some of the first speedcore anthologies, such as "NCL Trax v1.0" (), which featured raw, lo-fi tracks from acts like Nasenbluten and promoted the genre's DIY in the . These pioneers emerged amid the 1990s hardcore scenes, where speedcore began as an acceleration of terrorcore's aggressive sound.

Contemporary Figures

Contemporary speedcore artists continue to push the genre's boundaries with extreme tempos often exceeding 600 BPM, incorporating elements of splittercore, extratone, and while maintaining its aggressive, distorted core. Polish producer Diabarha (Łukasz Detka) has emerged as a prominent figure, blending melodic speedcore with emotional narratives in releases like Confession of Lazarus (2021) and Ilda Owns Two Masters (2024), which showcase his signature use of intricate synth leads and high-speed breakdowns. In , the duo AKIRADEATH has sustained the digital hardcore-speedcore fusion since the mid-2000s, with recent albums such as Killer Family Business (June 2024) and Death Collection (October 2024) featuring chaotic, sample-heavy tracks that integrate punk influences and rapid-fire percussion. Their work on the Fujimi Industry Records label highlights ongoing innovation in the Asian speedcore scene. Kobaryo (Rei Furuba), another Japanese artist active since 2010, specializes in "tool-assisted" speedcore that combines elements with brutal rhythms, as evident in Super Key Generator (2023) and various collaborations emphasizing phantasmagoric . His output through HiTNEX TRAX has influenced the global speedcore community's appreciation for melodic yet hyper-accelerated compositions. European producers like Germany's Qualkommando maintain the terrorcore-speedcore lineage with relentless, industrial-tinged releases, including Ausnahmezustand (2021), which features tracks with high-tempo distorted kicks and noise layers. Their long-standing presence since 1997 underscores the genre's enduring underground vitality in .

References

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