Editing Speedcore (section)

== History ==
=== Origins (1992–1993) ===
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 (song)|Thousand]]" by [[Moby]] in 1992, which peaked at approximately 1,015 BPM.<ref>{{Cite book|editor-last=Buckley|editor-first=Peter|title=The Rough Guide to Rock: The Definitive Guide to More Than 1200 Artists and Bands|date=2003|publisher=[[Rough Guides]]|location=London|isbn=978-1-84353-105-0|page=[https://archive.org/details/roughguidetorock0003unse/page/683 683]|edition=3rd|last=Luke|first=George|chapter=Moby|chapter-url=https://books.google.com/books?id=7ctjc6UWCm4C&pg=PT690|accessdate=June 2, 2016|url=https://archive.org/details/roughguidetorock0003unse/page/683}}</ref><ref name="extratone" /> 

=== Early speedcore (1994–1999) ===
[[File:Disciples of Annihilation - NYC Speedcore.ogg|thumb|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.<ref>{{Cite web|url=https://partyflock.nl/en/party/195274:Dead-By-Dawn|title=Techno Speedcore Party|date=1995|website=Partyflock|access-date=April 9, 2018}}</ref><ref>{{Cite web|url=https://datacide-magazine.com/test-tube-kid-interview-1995/|title=Interview with Test Tube Kid|last=Krämer|first=Patrick|date=1995|website=datacide|access-date=April 9, 2018}}</ref> Disciples Of Annihilation coined the name of the genre with their track "NYC Speedcore".<ref name="corehistory" /> Belgian artist DJ Einrich refined the sound in the late 1990s, using oscillators to transform fast kick drums into notes in octaves.<ref name="extratone" />

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 "[[gabber music|gabba]]".<ref name="Riccardo">{{Cite book |last=Riccardo |first=Balli |url=https://dj.dancecult.net/index.php/dancecult/article/view/523/495 |title=Apocalypso Disco: La Rave-o-luzione della Post Techno |publisher=Agenzia X |year=2013 |isbn=978-88-95029-69-6 |language=it |oclc=857387083}}</ref><ref>{{Cite journal |title=Gabber: Raising hell in technoculture1 {{!}} Intellect |url=https://intellectdiscover.com/content/journals/10.1386/mms_00057_1 |access-date=2024-04-24 |website=intellectdiscover.com |doi=10.1386/mms_00057_1}}</ref>

=== Spread (early 2000s) ===
The early 2000s saw the birth of many [[netlabel]]s dedicated to speedcore. Many labels who produced [[Phonograph record|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. [[Digital audio workstation|DAW]]s 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 album]]s 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.