Nu skool breaks (often abbreviated to nu skool or breaks) is a term used to describe a sub-genre of breakbeat. The sub-genre is usually characterized by its darker and heavier bass lines that are normally dominant throughout the track. Typically, tracks range between 125 to 140 bpm.

Contents

Origins [link]

The term is widely attributed to Rennie Pilgrem and Adam Freeland, who used it to describe the sound at their night Friction, which was launched at Bar Rumba in 1996, with promoter Ian Williams.[1] In 1998, the label was used on two compilations, Nu Skool Breaks, Volume 1 and 2, compiled with Danny McMillan and released through UK based Kickin Records. The first volume of these was recorded live at the aforementioned London club night Friction.

In the late 1990s the UK Garage scene was developing many sub genres including Breakstep, and Nu skool breaks. Stemming from such labels as (UK based) Cyberfunk, Nova mute, Funkatech and Bochit Scraper. Promoting arists such as DJ Mutiny, Si Begg, Deekline, and DJ Quest. Who the later of are referenced as being Breakstep producers as well.

In the 1990s pirate radio stations Kiss FM, BBC Radio 1 and Rinse FM gave artists a chance to play out the latest tunes to gain public attention and popularity becoming anthems such as Nu skool producers' Groove Armada's "Super Stylin'"in 1999*. Besides club nights which were put on by these artists or promoters, pirate radio was the only way someone could listen to this music unless a person bought the DJ's vinyl records. By the mid 2000s Nu skool begins to blend the boundaries from breaks to Breakstep and then Dubstep, with many producers from these sounds blurring the genres. Splitting up the Funky House, and 2-Step beat of the 1990s Garage into new sounds, producers would take the big bassline driving tracks of Garage, to influence whole new forms of dance music including: Drum and Bass, Bassline, Breakcore, Breakstep, Nu skool breaks, Electro breaks, Funky breaks, Grime, and Dubstep. All these genres showing a variance in sound that split the music into groups of producers that would collaborate by making tunes that would line up musically through the BPM and beat pattern.

Progressive Breaks [link]

Progressive breaks essentially grew out of nu skool breaks and progressive house. Due to its origins in those genres, progressive breakbeat typically features atmospheric pads and melodies. Most artists working in this genre also work in other closely related genres such as breakbeats and progressive house. Hybrid is one of the most popular artists in this genre.[citation needed] Other popular breaks artists include Digital Witchcraft, Luke Chable, Momu, and Way Out West.

[edit] Dark breaks[2]

They're actually not all that dark, but they're moody, gritty, and not all that clean and smooth. Pretty much a segment genre of Nuskool Breaks that take its hard driving basslines to logical extremes. Most subgenres seem to be bred that way: they take the single most popular element of another genre, and then revel in it. To an almost cartoonish extent (for perfect examples of this, listen to Rave and Oldskool Rave Hardcore...and Epic Trance). This would be like figuring out that the most pleasing part of your morning cereal is the sugar you put in it, so why not skip the bran flakes and have nothing but milk and sugar for now on. Less is more. Except in this case, because Dark Breaks is actually pretty good.[3]. Other popular breaks artists include Eftos, Dark Flavour, Deimos, Naked.Acid.Scare., Swin Deorin, and Wax Souls.[2]

References [link]

  1. ^ "Breaks Pilgrem-age". Resident Advisor. 24 April 2002. https://www.residentadvisor.net/feature-read.aspx?id=113. 
  2. ^ a b "Dark breaks". Last.fm. https://www.last.fm/tag/dark+breaks. 
  3. ^ "Ishkur's Guide To Electronic Music". Ishkur's Guide To Electronic Music. https://techno.org/electronic-music-guide. 

Artists [link]

Recognized nu skool producers include Pioneering artist Tipper and his label mate on Fuel Records (UK) in the late 1990s Ils, followed by the likes of Plump DJs, NAPT, Überzone, Freq Nasty, Stanton Warriors, Aquasky and Hybrid.[citation needed] The major producers have remixed and/or produced tracks for acts such as Orbital, Fatboy Slim, 'N Sync, Kelis and New Order. Much of the music of The Prodigy, especially their more recent work, can be classified as Nu Skool Breaks.[citation needed]

In the UK the scene is currently dominated by the Stanton Warriors, Plump DJs and NAPT. Up and coming noteworthy acts include B.S.D,[citation needed] Beat Assassins,[citation needed] Plaza De Funk[citation needed] and Far Too Loud. In the USA, known for its more acid-based breaks sound,[citation needed] the sound has gained popularity, especially on the West Coast.[citation needed] North American artists include Pillform, Funk Lab, Keith Mackenzie, Cereal Killaz, and Überzone. Australia also has a burgeoning scene with popular artists including Kid Kenobi and Dopamine.

Tear-out / hardcore breaks [link]

Tearout breaks emerged with the birth of Hardcore Beats Records[citation needed] - the sound, while following the intricate drum programming of nuskool, featured more of the aggression of modern drum and bass instrumentation, sometimes applying hoover and reese basslines. In their song "Stereo:Typical", Ctrl-Z and Screwface claim to be "pioneers of the tear-out sound"; other notable artists include Antiform, The Autobots and Duel Calibre.[citation needed]

References [link]

External links [link]
Other electronic music genres

https://wn.com/Nu_skool_breaks

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