If you're a techno fan, you've probably come across hardgroove at some point in the last year. The '90s sub-genre is back in vogue, thanks to young producers and DJs like Regal86 and ANNÊ, who are showing a younger generation its thrills: tight, loopy techno heavy on samples and feisty hand percussion. Another important outfit pushing hardgroove forward is the label of the same name, founded by the style's de facto inventor, Ben Sims, in 1999. It's still going strong today, releasing music from new leading lights—Elisa Bee, Marco Bruno—plus veterans, like Mark Broom.

While Sims may have coined the term "hardgroove," he's quick to point out that its origins pre-date him. "For me, the essence of what became known as hardgroove originates in hip-hop, the repeating of the drum breaks or heavy instrumental sections of funk and disco records by the DJ for the B-boys and B-girls to show off their dancing skills," he said over email. "Some early house music caught my attention primarily because it followed the same tradition as hip-hop. Producers like Todd Terry and Frankie Bones drew on their influences and record collections to create a new sound: multi-layering disco breaks with funk basslines or soul vocals and phrases from rap cuts—even sampling house or techno records."

The name "hardgroove" probably first appeared in 1996, with Sims's Hard Groove Trax mixtapes. "The mid-'90s were pretty similar to now—the word techno was used for lots of styles and genres that, frankly, just weren't techno," he said. "It felt necessary to use a different term, especially as I've got a pet hate for the name 'funky techno.' I started using the name on vinyl in '98 (first for remixes on Theory, then later that year on the Hardgroove label). I've been touring and playing this sound ever since, and it's the name of my business—Hardgroove LTD—plus I also helped Paul Mac set up Hardgroove Mastering, although I'm no longer involved."

He added: "It seems like the sound is having a bit of a renaissance at the moment, judging by the number of promos I'm receiving using the name and people describing their sets as 'hardgroove.' I guess it's inevitable that after a few years of fast, trance-y and, frankly, soulless techno, that the next thing would have some funk. It's an essential element of techno (and dance music in general), and I'm sure some people are only just experiencing getting their groove on, as opposed to just banging their heads."

Below, Sims leads us through a history of hardgroove in ten tracks that stretch far beyond his own releases, giving kudos to influential artists like Todd Terry, Steve Bicknell and Jeff Mills.

"These aren't the long drawn-out epics for your average dull tantric DJ's journey set—these are the fun, raw and compact cuts to tear up the dance floor with," he said. "Acts like Mark Broom, Paul Mac and Mark Williams—you can hear their influences in the source material. There's a history beyond straight-up techno, and that's what makes it interesting and special for me. An understanding of what's come before is key, drawing from your own history and inspirations, not just lazily copying what you think it's about."

Royal House - "Party People" [Idlers, 1988]

Todd Terry is one of my biggest influences. His approach to making music and using samples from a wide range of sources and genres inspired me to try making my own beats. His music is the blueprint for the sound of hardgroove, particularly early stuff like "Party People," featuring vocals from hip-hop and electro and a familiar house stab over tough beats. It's a perfect DJ tool, and I still play versions or re-edits of this now, 35 years on.

Earth People - "Dance (Bonus Beats)" [Underworld, 1990]

Another hardgroove foundation cut that's been hugely sampled over the years, but also one that's primarily built with samples. I've gone for the more stripped-back "Bonus Beats" version, but all the versions are relevant, with a familiar disco Salsoul stab over a looped-up break lifted off a classic UK house cut by Debbie Malone (originally from a James Brown production, obviously). It's the kind of house track that appeals to techno and hip-hop heads alike: simple, funk-driven and hugely infectious.

Jeff Mills - "Reverting" [Axis, 1995]

Taken from the excellent Purpose Maker EP, which eventually became a label of its own, Jeff created raw, house-infused DJ tools for techno heads and adventurous DJs (like himself), and the series—alongside Steve Bicknell's S.B. Project / Club Tracks releases—were pivotal in the development of what some people are now calling hardgroove: fun, rhythmic, sample-heavy devices to enhance DJ sets and fire up dance floors.

I can remember hearing people moan when they realised these tracks used samples. I never understood that. For me, it was why they were great. There was a clear link between what Jeff or Steve were doing in the mid-'90s to what Todd Terry was doing in the late '80s and to what producers like Marley Marl or Mantronik were doing in the mid-'80s—a natural progression that included so much music I love.

Kramer Dashwood - "What Has Been Joined By God..... (Car Crash Mixer)" [PGH, 1996]

A killer re-edit of a classic disco cut from First Choice—one of the hundreds made over the years—but for me, what was different and what inspired my particular hardgroove sound was the way it was put together. It teases the samples and the familiarity without ever actually dropping into the track people recognise. Loops go forwards and backwards, sound FX, sirens and explosions cause mayhem and it never drops or lets go of that tension. I used to hear this loads at [legendary London party] Lost back in the day. It took me years to find out what it was, let alone find a copy, so it became a bit mystical, and that certainly influenced my first experiments using the name hardgroove. I wanted tracks in my box that were as effective and powerful as this.

The Advent - "It One Jah (Steve Bicknell Re-Edit)" [Internal, 1996]

As mentioned, Steve Bicknell has been a huge influence on me, as a fan of techno (via his legendary Lost parties in London) and as a producer and DJ. He showed many of us young'uns on the dance floor how it was done, and his Cosmic label and Club Tracks series laid much of the groundwork for what became hardgroove. Here I'm using a remix he did for UK dons The Advent as an example. The way he twists up the track, the filtering, the reverses, the distortion and overloading, he doesn't hold back and truly fucks with it, almost beyond recognition. This remix influenced the hardgroove sound more than any other Steve Bicknell production.

Ben Sims - "The Loops (A1)" [Hardgroove, 1998]

After a few outings using the Hardgroove name and vibe on Theory Recordings, I started a project solely for this sound. Initially intended as a DJ promo-only release limited to 50 copies (a quite blatant attempt at copying Surgeon's THX-1138/39 releases), it was clear from the DJ response and support (Jeff Mills, Richie Hawtin, etc.) that I should actually release it properly, and so the Hardgroove label was officially born. Similar in vibe to the failed secret bootleg release Killa Bite" from that year, and using my record collection as a sample source, "The Loops (A1)" went on to be one of my most popular releases ever and helped put both myself on the DJ circuit and hardgroove on the map.

Paul Mac - "Elvis Beats" [Stimulus, 2001]

Paul is a friend, collaborator, inspiration and studio emergency service all in one. I've known him since before releasing any music at all (1996, I think), and he's helped guide me more than anyone ever since. We also share lots of the same influences, and he's the first producer I think of, aside from myself, when anyone uses the term hardgroove. Obviously, Paul is known for a variety of styles within the sphere of techno, but his gritty and often relentless DJ tool cuts are pure hardgroove in nature, always fun to drop and manipulate. This one is a great example of him twisting the groove up rather nastily. I still drop it occasionally now.

Mark Williams - "Star Mix" [On Test, 2001]

This is the first cut from Mark Williams that really caught my attention. I'd been into others before, but this one had a unique vibe. It mixed the beats and energy of hardgroove techno with a more traditional, melodic Detroit-esque approach—the best of both worlds. We connected properly after this release, and he went on to produce multiple releases for the Hardgroove offshoot label, Ingoma, and became a regular touring partner on the circuit, dropping hardgroove-flavoured DJ sets all over. I'm also happy to report that after a few years away from the scene, he's back in the studio and has a new EP coming on Hardgroove very soon

Rue East - Birmingham (Ben Sims Hardgroove Mix) [Pure Plastic, 2002]

This is my favourite of the remixes I did using the name Hardgroove. It's a classic riff from Mark Broom and Dave Hill. It didn't need me to do anything, but I'm happy I got the opportunity to add something to it. I used to have a studio in the same building as the guys and heard Mark working on this from down the corridor. I literally ran there (ten seconds) to ask what the fuck it was! Actually, quite a lot of the hardgroove material was recorded in their studio around that time. Mark even mixed this down for me when I'd done my work on it as I was running late for a flight. We recorded lots of hardgroove-flavoured material together too, both for my Theory label and his Pure Plastic outlet. Mark is still unquestionably one of the key purveyors of the hardgroove sound.

Ben Sims - "Snapshot '99" [Hardgroove, 2022]

My most recent Hardgroove outing kind of sums up how much things can go full circle: a track I started in the hazy late '90s when I (and the sound) was starting to get more attention, but didn't get around to finishing until late last year. Released many years later, with no attempt to "modernise" it, it's one of the biggest tracks I've produced. Some might say it's old school—well, it is, it's 23 years fucking old. But in general I never really understood the idea that sticking with something you believe in or are passionate about is somehow "less." I guess it depends on what you consider progress. For me, progress isn't chasing the dragon of fame or popularity, getting bigger audiences or sales by constantly watering down what you do or believe in attracting more and more people. That has nothing to do with music, just ego.