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Today’s artists are responsible for a style of Belgian underground music and subculture that fused techno and acid genres and flourished in Western Europe during the late-1980s. It is a type of electronic dance music and electronic body music that was played at a slower speed and influenced the evolution of industrial dance music. ……N’Joy

New Beat is the music that ruled the dancefloors of Belgium during the period of 1988-89, and produced a number of classic tracks which reached alternative dance clubs world wide. New Beat is unquestionably one of the most exciting developments in the history of electronic dance music; however, aside from certain DJ’s and die-hard followers, most of this music remains totally unknown. This is a situation we would very much like to change, for when it comes to originality, atmosphere, and just plain butt-kicking impact, this stuff blows away a lot of the other music of that time…..

The European new beat sound originated in Belgium in the late 1980s, especially in 1987 and 1988. It was an underground danceable music style, well known at clubs and discos in Western Europe. 4 gas planets It is a crossover of electronic body music (EBM, which also developed in Belgium) with the nascent Chicago-originated acid and house music. new beat is the immediate precursor of hardcore electronic dance music (at the time known as rave), which developed in Belgium, the Netherlands, Germany and elsewhere around 1990.

The genre was "accidentally invented" in the nightclub Ancienne Belgique (AB) in Antwerp when DJ Dikke Ronny (literally "Fat Ronny") played the 45 rpm EBM record "Flesh" by A Split-Second at 33 rpm, with the pitch control set to +8. In addition to A Split-Second, the genre was also heavily influenced by other industrial and EBM acts such as Front 242 and The Neon Judgement, as well as new wave and dark wave acts such as Fad Gadget, New Order, Liasons Dangereux and Anne Clark. Mega-nightclubs such as the Boccaccio soon made the genre a major underground success, that and the fact Vlamish clubs all night/early morning Beat parties, frontrunning what would become raves The enormous success caused a flood of New Beat samplers deep into the nineties.

Part of what makes New Beat so interesting is that it has no one distinct style, except where the beat itself is concerned. The predominant feature of New Beat is the slow, heavy, mechanical beat which averages about 110 beats-per-minute and often is much slower, especially in the early days of New Beat. gas in dogs This effect was often achieved by taking normally fast 45 RPM records and slowing them way down on the turntable. The content of the music varied wildly between different New Beat artists, but most tracks feature at least minimal vocals or vocal samples, which usually tended to be rather odd or tongue-in-cheek, sometimes even downright silly (although the purists among New Beat DJ’s would play only the instrumental tracks).

The New Beat sound fuses together influences from many other types of music over its rhythms, including ’80’s technopop and cold wave, industrial, disco, world music, and later adding acid house and rave as well. As one might imagine this resulted in quite a variety of unique records. Some tracks could be very moody and dark, and many could also take a very playful and trippy approach to it. power vocabulary words At its best, New Beat will hit you with a combination of solid, chugging beats and powerful (if somewhat strange) hooks that can become addictive, and also radiate a feeling of cold sensuality which in itself is very appealing.

The most commercially successful new beat groups were Confetti’s and The Lords of Acid, which received heavy airplay on the MTV Europe show Party Zone. MTV Europe’s VJ Steve Blame was a great fan of new beat, and through his position on MTV News, he promoted Belgium’s new beat sound via his reports. A memorable novelty song was Qui…? (1989) by Brussels Sound Revolution, which sampled parts of a press conference speech by former Prime Minister Paul Vanden Boeynants after his kidnapping by the gang of Patrick Haemers.

Most of the early New Beat, and much of the best material that followed, came from two different threesomes of Belgian producer/artists on two separate (but connected) record labels — the MSB (Morton-Sherman-Bellucci) team on Subway Records (which later became Subway Dance and then Dance Opera) and the trio of Praga Khan, Chris Inger (later replaced by Oliver Adams) and the very lovely and talented Jade 4U, who were responsible for much of the output on Kaos Records (also Beat Box International). electricity electricity song Tracing the entire recording history of these people would be quite a chore however, since New Beat artists recorded their projects under a large array of different names. (synthesis may attempt this task someday, but anyone who feels equipped to undertake this mission on our behalf is more than encouraged to do so! In the meantime, don’t worry because we’ve still got a lot of info for you in this file…)

The first significant spin-off genre of New Beat was a phenomenon known as Acid New Beat, a peculiar variation of the acid house sound in which the squiggly sounds and house beats were mutated into a harder, crunchier acid noise over a tough, cold New Beat rhythm. This was the domain of the Kaos label. As the hardness of the music increased and the acid content started to decrease it came to be known by a new name – Hardbeat. Another hybrid form emerged as rave music came to have an influence on the scene, turning it much further away from its roots with faster tempos and a more fluid techno sound. This collision of rave and New Beat was given the name Skizzo (a pun on the word "schizoid"!).

At this time New Beat was moving back into the underground in Belgium, and people in the scene stopped using the term altogether as rave-oriented sounds became the new frontier to explore. gas vs diesel engine As it began to fall by the wayside New Beat was declared dead, and Belgian Rave was born. electricity flow direction The overwhelming majority of New Beat products received little or no marketing in other countries, but carried along by the media juggernaut of rave culture Belgian techno finally made a huge impact on the dance scene all over the world, even though most people hearing it had no idea where it actually came from or of the interesting legacy of music that came before it. The Khan-Adams-Jade 4U axis have continued to be a dominating force, including further work with their pioneering New Beat project Lords Of Acid (whose second album bears an uncanny resemblance to My Life With The Thrill Kill Kult!). The once prolific MSB seem sadly to have disappeared from the music scene completely, however. Belgian techno definitely still rules(!) but it’s unfortunate that things have gone so wholeheartedly in this one direction, for they really had something unique and important in the dance scene with New Beat. Due to its eclectic and sometimes unserious nature, and the fickle trendiness that afflicts rave and club culture in general, it’s unlikely that these sounds will be making a big comeback; however, all you "alternative" DJ’s out there should still be taking note of this stuff — it’s up to you to keep the underground alive!