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The History of Our World: The Hardcore Continuum Debate
SIMON REYNOLDS
Early in 2009, I became embroiled in a vigorous and at times heated debate about the
retroactive validity and future viability of a concept I came up with a decade earlier:
the “hardcore continuum”. For a succinct explanation of what the term refers to and
the background to the concept’s emergence, check this piece in e Wire
<www.thewire.co.uk/articles/2009/>; and for a much longer and more detailed
account from me, check this: <energyashbysimonreynolds.blogspot.com/2009/02/
hardcore-continuum-or-theory-and-its.html>
At Dancecult’s invitation, I am returning to historicize the concept and pinpoint what
it refers to. I’ll also attempt to historicize the controversy itself and account for some
of the heat of the exchanges.
I want to start by taking slight issue with a comment of my esteemed colleague
(and good friend) Mark Fisher in the rst of this journal’s commentaries on the
hardcore continuum debate last issue. He characterized the approach I took in my talk
at FACT in Liverpoool February 2009 (which if it didn’t catalyze the pro- and anti-
hardcore continuum debate, certainly raised it to a new pitch of intensity) as involving
a strategic retreat from theory, which he regarded as a mistake. I take issue with this
characterization. ere’s been no retreat from theorizing towards the empirical: there
has actually been, on my part, a consistency of approach. My theorizing about the
hardcore continuum, including the coinage of the term itself, emerged from eld
research, in the sense that it was the byproduct of a long period of extensive scene-
reporting as a working music journalist of, combined with years of intense involve-
ment as a fan in, the subculture. On the one hand, I was interviewing people involved
in the scene, writing genre overviews, reviewing albums and compilations and DJ
performances, doing round-ups of new 12-inch releases. On the other hand, I was
dancing at raves and clubs, going down the record store on a weekly basis to buy new
tracks, tuning in to pirate radio stations and taping their broadcasts on the occasions I
was in London, and then, when I was back in New York, importuning my London
friends to tape the shows and mail them to me. But I didn’t really separate these
activities, or consciously think of it as a form of participant-observer research: it was
all one unied front of passion and evangelism. Aer coining the concept in 1999, its
theorization as it developed through the Noughties continued to be inseparable from
the activities of journalism and fandom (with blogging falling somewhere in between
the two), especially in the rst half of the decade with grime, which was especially
thought-provoking and fanaticism-catalyzing.
http://www.youtube.com/watch?v=Nwkgc6vs4
Lethal B featuring Fumin, D Double E, Nappa, Jamakabi, Neeko, Flow Dan, Ozzi B, Forcer,
Demon & HotShot, “Pow (Forward)”, 2004
Dancecult: Journal of Electronic Dance Music Culture 1(2) 2010, 69-76
ISSN 1947-5403 ©2010 Dancecult http://www.dancecult.net/
DOI 10.12801/1947-5403.2010.01.02.05
conversations
Now I’m sure there are sound philosophical reasons for worrying away at the
concept of the empirical, but I’m happily ignorant of them and for me it’s always been
the case that the two activities – eld research and theoretical speculation – are in-
separable.
Fisher also made some interesting points about the abstract reality of the hard-
core continuum, making an analogy with the credit crunch and the recession: “e
reality of the hardcore continuum is not of the order of a physical fact, but of an ab-
stract entity. e notion of an abstract-real materiality may cause commonsense to
recoil, yet a moment’s reection makes us realise, not only that abstract entities are
real, but that there is nothing more real than them”. As Fisher suggests, the “abstract-
real” is possibly a dicult concept for most people to grasp. “Abstract” seems like it is
the opposite of “concrete”, and most people would place “reality” on the side of the
concrete, the material, the experiential. But I think Fisher is on to something here.
One place to recognise where this apparent empirical/theoretical clash is resolved is
within history itself. ey are plenty of examples of social and economic phenomena
that are real and material but are not necessarily consciously apprehended in their
systemic totality by the subjects who constitute and sustain them. And it strikes me
that the hardcore continuum could be usefully seen as a system: a structure, a set of
relations, a means of musical production. Although vastly smaller in scale and signi-
cance, it is analogous to socioeconomic and cultural-political formations such as impe-
rialism, slavery, or manorialism (a.k.a. serfdom). All three of those things are at the
same time historically existent entities and sites of theorization on the part of scholars.
No one would deny the existence of the European empires (British, French,
Belgian, etc). At the same time there are numerous theories of imperialism, a erce and
long-running debate across a spectrum from Marxist analysis and anti-colonialist
critiques to revisionist defenders. Now, the empires actually called themselves empires.
With manorialism/serfdom, I don’t think people in that system necessarily conceived
of their lived reality as a system, in the same way that it’s unlikely that any peasant
declared, a la Monty Python’s Holy Grail, “Now we see the violence inherent in the
system!”. But that doesn’t mean that the systemicity didn’t exist, or that there wasn’t
violence inherent in the system. Manorialism/serfdom, then, I think makes a par-
ticularly good analogy with the hardcore continuum: these are specialist terms, used
retrospectively by historians rather than the actual inhabitants of what they describe,
for systems that, nonetheless, existed (in the case of manorialism, taking the form of
relations of fealty, property rights, division of land, farming methods, inheri-tance
customs, etc) as both an abstract structure and a lived reality. e manorial system had
variations regionally and across Europe; it evolved through time, rising and declining.
It also co-existed with other kinds of socioeconomic activity and social relations, like
the guild system and merchant trade, which evolved into the early forms of capitalism,
and so forth. But the manorial or seigneurial system lingered in vestigial form, for a
long time aer its prime.
What is the systemic “core” of the hardcore continuum then? It’s a particular set
of relations based around pirate radio, dubplates, raves and rave-style clubs, along with
certain kinds of music-making technology. e system coalesced gradually, enjoyed a
prime, but now may well be fading away or disintegrating. I’ve argued that the hard-
core continuum is a UK adaption of the Jamaican system. Instead of sound systems
mutating into raves or clubs (the obvious adaption, you might have thought), I think
what happened was that pirate radio stations took the place of sound systems: they
were sounds on the air. Another major UK mutation of the Jamaican approach was
70 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2
with dubplates. In Jamaica and in the direct UK transplant of the Jamaican approach
in the form of UK reggae systems, dubplate specials were the unique property of a
single sound system. In the UK hardcore raves scene, a more complicated system de-
veloped because of the guest DJ circuit that sprang up from the late Eighties onwards
as a result of house music. is meant that DJs, instead of being tied to a sound system
or a club residency, became independent operators playing at dierent raves and clubs.
Dubplates then evolved into a kind of patronage system or symbiotic exchange rela-
tionship between a DJ and a loose stable of producers. Sometimes, with a really power-
ful DJ, that becomes an exclusive relationship (Grooverider’s “boys” would give only
him their tracks; he would choose which ones out of many oered to make up as dub-
plates). Sometimes it would be semi-exclusive (a name producer giving dubs to a select
group of DJs). And of course you had DJs who were producers themselves and cut
dubs of their own music.
Nowadays, as has been noted by some commentators, this particular system is
eroding as terrestrial broadcast pirate radio wanes in importance, while DJs
increasingly move to digital formats and make a name for themselves with give-away
mixes and podcasts on the web. Similar to the emergence of merchant trade and early
capitalism in parallel with a waning feudalism, a new system, fully integrated with the
web, eclipses the older one.
e fact that new modes of transmission and dissemination are emerging,
though, does not somehow retroactively erase the existence of the preceding and for-
merly dominant system (which is the conclusion that some seem eager to jump to). It
also seems likely that pirate radio will continue as a residual force for a good while yet,
servicing local populations in particular urban areas.
History is not a closed book, but it is not a completely open one either. Interpre-
tations are constantly changing; new information comes to light. For instance, when I
studied history in the early Eighties, I specialized in American history, including the
Civil War, slavery and Reconstruction. At that point, relatively recent research had
signicantly expanded and altered the understanding of slavery as an institution and
practice. As it turned out, the plantation system – everybody’s received idea of the
Deep South (the big house, the labor and cultural division between house servants and
the eld workers, etc) – was an incomplete picture of slavery. Many slaves were actually
owned by small farmers: a few slaves, sometimes just one, oen lived in intimate prox-
imity with their masters, who didn’t comport themselves as leisurely aristocrats in
some Walter Scott-type Dixie fantasy, but lived modest, hardworking lives.
But there are limits to perspectivalism. Slavery existed, imperialism existed, the
manorial system existed. e hardcore continuum is an historical phenomenon of that
kind.
When you take into consideration the systemic infrastructure that underlies the
hardcore continuum’s sonic evolution, it enables you to see how the macro-scene has
remained coherent even when there’s been drastic mutations in sound, huge leaps or
drops in tempo, signicant dierences in “vibe” between various micro-scenes within
the larger continuum. It also enables you to see past supercial similarities of sound
between hardcore continuum genres and others that are not, in any real historical
sense, part of the continuum.
A good example here is Big Beat. Now this is a genre I happen to like a lot. In its
prime, it produced some fantastic records and some of the best dancing nights of my
life. I’ll always be fond of, and ready to defend, Fatboy Slim, Chemical Brothers, and
various other gures in that area. Now Big Beat actually had some resemblances to the
Reynolds • e History of Our World 71
breakbeat hardcore sound of the early Nineties, both sonically and in terms of atti-
tude: the collision of hip hop and house, the riy-ness, the hell-for-leather drugginess.
But from an historical perspective, there is no link between Big Beat and the hardcore
continuum. All those Big Beat people came out of the Balearic/”Madchester”/indie-
dance lineage. Big Beat was also organized around a completely dierent systemic in-
frastructure to the hardcore continuum. ere were no Big Beat pirate stations. Big
Beat was much more intimately connected with the mainstream record industry, there
were relationships to certain major-league indie-rock bands (which, as Britpop took
o, became the biggest rock bands in the land), there was the connection with the
power nexus of Heavenly (the record label/publicity/management organization, who
launched the key early Big Beat club, the Heavenly Social, in 1994). Big Beat was
based around a dierent circuit of clubs and had a markedly dierent audience com-
position (much more white and middle class). ere were dierent rituals. For in-
stance, the role of the MC in hardcore continuum genres was not paralleled in Big
Beat, nor was the rewind as derived from Jamaican sound system culture, and as far as
I’m aware, dubplates were not part of Big Beat.
http://www.youtube.com/watch?v=g04lgcOijYg
e Chemical Brothers, “Loops of Fury”, 1996
http://www.youtube.com/watch?v=s5EUpPiXp-4
Fatboy Slim, “Song For Lindy”, 1997
Now, as I say, I have great aection for Big Beat as a moment. So it is no slight on
Big Beat but just simple historical accuracy to say that it isn’t part of the continuum
narrative. However, I would also venture to suggest that the reason Big Beat didn’t lead
to anything much (in terms of subsequent genres or a legacy beyond itself ) is related
to the fact that it wasn’t based around as radical and fertile a systemic structure as the
econo-cultural engine that sustained hardcore/jungle/UK garage/grime/dubstep.
http://www.youtube.com/watch?v=QJFUKl1Ehpk
Phuture Assassins, “Roots 'N Future”, 1992
If I was to attempt to boil the hardcore continuum debate down to a single
exchange, it would go like this:
Anti-Continuum: “You’ve mistaken the model for reality”.
Pro-Continuum: “On the contrary, you’ve mistaken the reality for a model”.
Unpacking that last bit: the antipathy felt by some to the theory (and in a few
cases, to the theory’s prominent exponents) has undergone a slippage, becoming a
wishful hostility to the thing itself… a desire to wish away the historical reality of the
connections between these genres: the family tree that runs hardcore/jungle /UK
garage/grime/dubstep/funky.
As a result, the whole debate about the continuum has been framed incorrectly.
e doubter’s stance is: “do we still need this model, this way of looking at the recent
musical past?” (e implication being that it’s optional, just one choice of prism from
many). e right question is: “what actually happened back then?” From there, the
72 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2
next questions are “what did it mean?” and “what, if anything, can we learn from it, in
terms of how music and culture works?”
I promised to historicize the controversy, and to account for the heat of the
argument. e prominent participants have their own angles and motivations, I’m
sure, but on a general level my sense is that there is a generational aspect to the dispute.
And appropriately enough, this revolves around the issue of history itself. ere are
three facets to this.
1. History felt as burden/obstacle/impediment/shackle.
e continuum has been “a game of two halves” and the storied glory of the rst half
of the match (the Nineties) seems increasingly to be something from which many
younger participants in this music culture no longer draw nourishment, but would
much rather like to shrug o (and if you happen to be a historian of that History you
might well come to be associated with this “thing in the way”).
2. The desire to turn the page in the book of History, start a fresh chapter.
is is understandable and, in fact, something I feel myself. e strange and slightly
morbid attachment that some young people have to genres like hip hop or house that
have been around for three decades mysties me (why aren’t they impatient to just
sweep them aside?). While I empathize with the “turn the page”/“let’s push things
forward” impulse, simple impatience won’t do it, not on its own. History will “move
on” when it is ready to. Totally new and unforeseen sounds and subcultures have
emerged in the past – jazz, rock ‘n’ roll, disco, reggae, hip hop, rave, to name only the
most obvious – and the previous formations of popular music have simply fallen away
(without ever actually disappearing or dying out completely). But that happens
through processes that are anonymous and collective, rather than willed and critic-
driven.
3. Hostility to historical thinking, to narrativization and grand récits per se.
Here I’m getting into a more speculative area, but the impression I have is that for
many of the younger generation, historical thinking has grown foreign to the way they
relate to music. e musical past has become spatialized: sounds from all the dierent
eras of history are equally available to us, and, furthermore, they are just as available as
the music of the present. In one sense the past is totally present, all of it, in a way that
it’s never been before. But historical depth drops out, the original context or meaning
of the music becomes steadily more irrelevant; music is just material to redeploy. If
you’ve grown up, as anyone under the age of 30 really has, with a relationship to music
based around total access, superabundance, and the erosion of a sense of sounds having
placement within an historical or temporal scheme, then thinking about music in
terms of causal links and development through time becomes ever more alien to your
consciousness. e idea that jungle led to UK garage, or 2step evolved into grime (so
crucial to those, like me, who lived through these transformations, thrilled to them
and puzzled over them in real-time), becomes both irrecoverable and simply irrelevant
to their practice as DJs, or producers or consumers. Leaps across the genrescape,
through anity of sound, seem more persuasive, even if there’s no actual historical
connection there.
Reynolds • e History of Our World 73
http://www.youtube.com/watch?v=h32WKef1UzM
Micky Finn & MC Prince at AWOL, Paradise Club, London 1992
http://www.youtube.com/watch?v=jFCd8X1mtkY
AWOL, A Way of Life Live, Ministry of Sound, London 1995
Why should anyone care about history? Why does it matter? For most people
who are fans and participants in the dance culture, it doesn’t particularly. But I think if
you actually have any interest in understanding how these scenes work and grow, then
attempting to establish what actually happened, the how and the why, is invaluable.
And that involves historical thinking. is is not about history as a monument, or a
canon: something imposing , an imposition by the past upon the present. It is simply
the acknowledgement of a rich area of lived culture that actually existed and that ex-
tended beyond the music to encompass how it was used, what kind of behavior and
relations and social spaces the music made possible. It’s not just about the abstract,
quasi-cybernetic model of the continuum as a machinery of “scenius” (Brian Eno’s
term for anonymous and collectivized forms of creativity) but the scene-ness of it all:
pirate radio, the business/micro-capitalist aspects of the culture, the dances, the slang,
the MC catchphrases. It’s about the “A Way of Life” aspect (AWOL being the name of
a famous jungle club). All those individual lives that transected the hardcore contin-
uum, contributed to it, and were changed by it. A parallel here might be E. P.
ompson or Fernand Braudel, their dierent initiatives to enlarge the proper domain
of history to include everyday life, not just battles and elections and the succession of
kings. In pop music terms, the equivalent would be focusing not just on Top Ten hits
and megastar careers, but a minoritarian history, attending to the narratives of semi-
popular music and downright unpopular music. It’s about doing justice to what in the
global sense of pop – even in the global sense of dance music, to be honest – was a
backwater. is is perhaps a good point to register my bemusement at the fact that
certain commentators seem to regard the “hardcore continuum” as some sort of domi-
nant narrative oppressing the minds of modern youth. Actually, it’s pretty marginal,
looming large in the heads of a really small number of people. It’s the “History of Our
World”, to borrow the title of a 1994 jungle compilation. But that “us” and that
“world” always were and still remain distinctly compact entities.
Afternote
Particular relationships to history – to the hardcore continuum’s own history – can be
seen in the way the main continuum genres of the last ve years have developed
strategies of renewal for the music.
Strategy 1: Keeping the Faith/Renewal Through Recombination
Dubstep is what happened when a degree of self-consciousness about its own history
seeped into the hardcore continuum. In the last few years, though, dubstep has been
recharged by an inux of ignorance, a new breed of historical know-nothing fans, and
this suggests that something new may come out of it: the wobble sound (considered by
cognoscenti to be a bastardization of true dubstep) has become a genuine hardcore,
with a revived association with drug abuse and rowdy behavior. Meanwhile the “true”
dubstep fans – history boys and scholars of the continuum all – have veered o in a
variety of post-dubstep directions, many of which involve reactivating Nineties vibes.
74 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2
Kryptic Minds, for instance, resurrect the era of Photek/Source Direct/Hidden
Agenda, that cinematic, atmospheric, exquisitely produced apex of drum ‘n’ bass in the
second half of the Nineties. Elsewhere you have dubsteppers who are inuenced by the
dub-techno sounds of Basic Channel/Chain Reaction/Pole, and so forth.
http://www.youtube.com/watch?v=QlEyR27fvGc
Coki, “Spongebob”, 2007
http://www.youtube.com/watch?v=8mHhaZX0JmU
Caspa & the Others, “Well ’Ard”, 2008
versus
http://www.youtube.com/watch?v=ChC4ZU2QrSM
Kryptic Minds, “Generation Dub”, 2009
http://www.youtube.com/watch?v=-EFA03rfQOI
Martyn, “Little ings”, 2009
Strategy 2: Drawing in New Material from “Outside”
Funky house, or as people now prefer to call it, funky, is a classic example of the strat-
egy of assimilating fresh input from genres outside the hardcore continuum’s tradi-
tional range of sources (reggae, hip hop, techno, etc). Funky draws on ideas and a-
vors from Masters at Work, DJ Gregory, Afro house, soca, broken beats, tribal house,
and more. So much stu from outside has entered the mix that the music almost feels
like it’s becoming something else altogether, a vibe dierent from anything we’ve heard
from the hardcore continuum before. Yet, of all the sounds of the last half-decade,
funky is the one that remains closest to the infrastructural matrix, the systemic core, of
the continuum (i.e. the pirates, the London demographic, etc). And the assimilation of
outside material to enable the scene to move past a deadlock (grime) is itself an his-
torical echo of the move made by speed garage and 2step in the late Nineties (drawing
on New York garage, Todd Edwards’s vocal cut-ups, Timbaland-style R&B) in re-
sponse to the apocalyptic noise of techstep drum‘n’bass. Like funky, this was a move
back towards pleasure and pleasantness, celebration and sexiness.
http://www.youtube.com/watch?v=T_V9chwSWKs
Donaeo, “Party Hard”, 2009
http://www.youtube.com/watch?v=HsHqn7GgWfg
Kris Baya, “Heartbreaker (Ill Blu Mix)”, 2009
http://www.youtube.com/watch?v=QJGEIN47MYM
DVA (a.k.a. Scatcha a.k.a. Soule Power), “Natty”, 2010
Strategy 3: Lines of Flight
Here I’m talking primarily about the “wonky” operatives who are clearly coming out of
dubstep (such as Zomby) and grime (such as Joker). Sensing impending deadlock,
impelled by the artistic instinct to have somewhere to go and the desire not to be
bored, they’ve located lines of ight that extend across space (to American glitch hop
and spacefunk), across genre (connecting with “the boom bap continuum” of Dilla,
Flying Lotus, et al, or to UK beat digger types like Lucky Me/Hudson Mohawke/
Rustie et al) and back through time (to G-funk, Eighties cartoon funk such as Cameo,
Reynolds • e History of Our World 75
videogame music). is relates to the notion I broached above of music history having
become spatialized, splayed out like an atemporal smorgasbord. e question raised by
this all-you-can-eat buet, which tempts producers to stu their music with too many
inuences and rich avours, is whether genre-icity and (in a club situation) coherency
of vibe can survive such bounty. For genres are dened by their exclusions and self-
limitations as much by their positive choices. A music that tries to be everything risks
becoming nothing in particular. So far, the artists in this emerging zone-without-
borders who have fared the best are those with some kind of relationship to the
hardcore continuum (Zomby, Joker) whereas some of those who don’t have that
background have come a cropper (Hudson Mohawke with his glutted/clotted debacle
Butter). Coincidence? I doubt it.
http://www.youtube.com/watch?v=G-BEqvrS24s
Zomby, “Kaliko”, 2008
http://www.youtube.com/watch?v=zzHOdfSHZgs
Joker, “Digidesign”, 2009
http://www.youtube.com/watch?v=IfH6NwpjSGA
Hudson Mohawke, “Butter Snips” (sampler/megamix from the album Butter), 2009
•••••••
Author Biography
Simon Reynolds is the author of Energy Flash: A Journey rough Rave Music and
Dance Culture (a.k.a. Generation Ecstasy), originally published in 1998 and reissued in
an expanded and updated edition in 2008 by Picador. He maintains a number of
blogs, including Energy Flash http://energyashbysimonreynolds.blogspot.com/ and
Blissblog http://blissout.blogspot.com/
76 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2
