Speedcore is a form of electronic music that is characterized by a high tempo and aggressive themes. It was created in the early 1990s, the name originating from the hardcore genre as well as the high tempo used. Songs are usually classified as speedcore at around 300 BPM upwards to 600 BPM but can vary subjectively with a lower bound of 240 retroactively fitted onto earlier tracks.
Characteristics
Aside from tempo, speedcore can often be distinguished from other forms of hardcore mainly by the accompanying space now being punctuated with percussion fills. Most producers will overdrive their kicks to an extent of overtly resembling square waves. Producers often resort to transgressive themes in their music to push the boundaries of the genre.
Since the 2000s, the use of digital audio workstations (DAWs) has grown, preferred to the use of analog synthesizers or trackers. Disciples of Annihilation coined the name of the genre with their track "N.Y.C. Speedcore".
Spread (early 2000s)
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)
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. Compilations became preferred for artists to share their music for getting wider exposure than if a release were to be self-published/distributed. 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
Splittercore
Speedcore is often called splittercore when at a tempo through 600 to 1,000.
Extratone
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 susceptible to rhythmic alterations which can modify the timbre of the resulting tonal illusion. Extratone often uses minims, quavers and semiquavers to change the pitch of the tone by a number of octaves. The name "extratone" originates from combining the two German words extrahieren (to extract) and tone (sound).