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Belgian hardcore techno (also referred to as Belgian techno or rave techno) is an early style of hardcore techno that emerged from new beat as EBM and techno influences became more prevalent in this genre. This particular style has been described as an "apocalyptic, almost Wagnerian, bombastic techno", due to its use of dramatic orchestral stabs and menacing synth tones that set it apart from earlier forms of electronic dance music. It flourished in Belgium and influenced the sound of early hardcore from Netherlands, Germany, Italy, UK and North America during the early-1990s, as a part of the rave movement during that period.Simon Reynolds: Energy Flash: A Journey through Rave Music and Dance Culture. Soft Skull Press 2012, , p. 110.
Belgian hardcore is related to both Techno and hardcore techno, being generally considered an early form of the latter. The genre is referred to by several other names, such as "Belgian rave" and "bretter tekkno".
The immediate predecessors of Belgian hardcore were two short-lived new beat subgenres called "hard beat"Nikki van Lierop: Hard Beat 1st Compilation., 1989.
"Hard Beat is the perfect link between Electronic Body Music and New Beat." and "skizzo".Maurice Engelen: Skizzo - A New Method Of Dance., 1990.
The genre was spearheaded by Belgian producers from the new beat scene, like Frank de Wulf, Olivier Abbeloos, Maurice Engelen, Oliver Adams and Nikki Van Lierop. This style of music was also pioneered by Dutch projects like Human Resource, L.A. Style and Holy Noise. Outside mainland Europe, a small group of producers adopted the style in the UK. The main labels that developed this style in the UK were Kickin’ Records, Vinyl Solution, Rabbit City, Edge and Rising High. Producer Caspar Pound of Rising High Records, known by its stage name "The Hypnotist", was a vocal supporter of this style of hardcore techno.
The most notable achievement of this style of hardcore in the pop charts is L.A. Style's single "James Brown Is Dead" reaching the Billboard's Hot 100 Airplay chart. Notable acts like The Immortals, 2 Unlimited, 2 Fabiola and AB Logic achieved relative success blending the style with dance-pop. After a brief period of expansion during the mid 90s, the style lost popularity, while modern hardcore techno (gabber), Trance music, happy hardcore and jungle music took place as the leading genres within the rave circuit.
It is a mainly a four on the floor style of dance music, harder and faster than its new beat and techno predecessors, but slower (between 120 and 140 BPM) than gabber and modern hardcore techno. In comparison to these styles, it also lacks the highly distorted drum kick. It also differs from breakbeat hardcore in that it does not focus on the breakbeat drum pattern or lacks it altogether.Stuart Borthwick & Ron Moy: Popular Music Genres: An Introduction. Edinburgh University Press 2004, , p. 197-220. Many of the songs in this style take cue from the KLF's 1988 instrumental anthem "What Time Is Love?", with similar , blended with rock-like patterns similar to Rhythm Device's 1989 new beat song "Acid Rock". The heavy use of synth "stabs" (short, one-hit samples of orchestra hits or synth chords), is considered one of the main characteristics of this style, a feature that was pioneered by Belgian producers and set this style apart from previous styles of house and techno, paving the way for the emergence of breakbeat hardcore and gabber.
Music journalism Simon Reynolds has written detailed accounts on Belgian hardcore techno, covering bands like Joey Beltram, T99, L.A. Style and Human Resource. Many iconic synth sounds or "stabs" of the early rave scene were popularized by these and other producers during the early 1990s, like the "mentasm" or hoover sound and the "Anasthasia" stabs. Brooklyn's DJ-producer Joey Beltram musical contribution to the Belgian label R&S Records was a cornerstone of the iconic Belgian rave sounds and anthems that emerged in this period. (2026). 9780472130672, University of Michigan Press. ISBN 9780472130672 These synth sounds and other sound-effects like alarms, sirens and church bells were widely used in the genre, creating a sense of emergency and insurgency through music.
Many of the iconic rave sounds that emerged initially within Belgian hardcore, would later be adopted by genres like breakbeat hardcore, jungle music, darkcore, techstep,, p. 357. gabber,, p. 256. hard house, hard NRG, happy hardcore, hardstyle and
Jaimie Fanatic – Old School Is My School, Trash Fashion– Rave Dave (Bryan Cox & Le Nimh Remix)
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