Bouncy Techno - Characteristics

Characteristics

Typical compositions have a tempo of 160 to 180 BPM, and use a 4/4 signature. Tracks can be instrumental, or use a short repeated sample at certain points. Singing is uncommon. Brown uses a regimented structure with components occurring for a fixed length. e.g.: beat solo, bouncy with beat, hi-hat added, riff solo, riff with beat, hi-hat added, etc. each lasting 8-bars. These parts would be pieced together with short fills and rolls. Drum kicks are slightly distorted, like gabber. Breakbeat patterns may also occur briefly in the background at certain points.

Whilst breakbeat hardcore itself was not popular in Scotland, its synthesiser sounds were found in bouncy techno's range of stab melodies. N-Joi's "Live In Manchester" (1992) feast provided further general inspiration. Its hallmark is the single-keyed offbeat note, which relates to its 'bouncy' designation (this offbeat focus was found in the latter bouncy house namesake). These rhythmic combinations and arrangements were described by Simon Reynolds as being reminiscent of klezmer music, fairground-like melodies and oom-pah offbeat notes.

The N-Joi group provided another important attribute. Unlike other rave music from this period, the Scottish scene was performance driven where bands often headlined raves rather than DJs. Acts were expected to have costumes, dancers and the best stage performance. Dancers were dressed in baggy tracksuit-like attire and had their own form of dance that involves a lot of rapid leg movements. The performances of Ultra-Sonic filtered through to the like Scooter on a wider level.