For rock fans too! Popular big beat groups and artists
Slogans like “a fusion of rock and techno” are nothing unusual, and modern rock and pop almost always incorporate some electronic elements.
The style I’m introducing today, Big Beat, is a subgenre of techno music that sparked a boom from the late ’90s to the early ’00s.
Rather than rock bands adopting techno elements, it’s characterized by a sound that, from the techno side, boldly weaves in rock-like dynamism—think heavy breakbeats layered with loud guitars.
Take this opportunity to check out the key artists and groups in Big Beat—many of whom have achieved major global recognition!
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[For Rock Fans Too!] Popular Big Beat Groups and Artists (1–10)
Ain’t Talkin’ ‘Bout DubApollo 440
Apollo 440 is a veteran group whose distinctive name combines Apollo from Greek mythology with the concert pitch frequency.
Formed back in 1990, they had been active on the UK dance music scene long before the big beat boom arrived.
The track that catapulted their name into the spotlight was the 1997 hit “Ain’t Talkin’ ’Bout Dub,” which sampled the iconic guitar riff from a Van Halen song and reached No.
10 on the UK charts.
Despite earning high praise for their remix work, they struggled to achieve mainstream success with original material—until this track finally brought them widespread recognition among music listeners.
Their 1999 release “Stop the Rock,” which also reached No.
10 in the UK and became a club hit in Japan within the big beat and digi-rock context, was inspired by Status Quo’s classic “Caroline.” Guitarist Noko, a close associate of the renowned Tomoyasu Hotei, brings a rock spirit to their aggressive breakbeats, making their sound approachable even for listeners who might be resistant to techno.
DoomsdayOverseer
Rob Overseer, a DJ and producer from the UK, is a musician whose work appears across a wide range of media, from films and video games to TV commercials and variety shows.
Since starting his career in 1995, he has released several EPs, but as for full-length albums, there’s only Wreckage, released under the name Overseer in 2003.
As mentioned at the outset, he operates more in the background as a professional composer, but his musical style is characterized by a particularly rock-influenced take on big beat.
He boldly incorporates rock guitars, delivers hook-laden vocal melodies, and of course serves up aggressive breakbeats; overall, though, including in song structures, the music leans more toward rock.
The release timing also put it outside the peak of the big beat boom, so it’s likely many fans of The Prodigy and The Chemical Brothers—as well as those who were into so-called digi-rock—missed this album.
This is a great chance to give it a fresh listen!
Buzzin’Asian Dub Foundation
Asian Dub Foundation, formed by members of Indian and Bangladeshi descent in the UK, is known for its distinctive sound that incorporates Asian music rooted in their heritage.
Since gaining attention with their second album, Rafis Revenge, released in 1997, they have continued their activities while undergoing lineup changes.
Their appeal lies in sharp, socially satirical lyrics and aggressive beats that mix elements of breakbeats and drum and bass.
AishaDeath In Vegas
Formed in London in 1994, Death in Vegas are highly acclaimed for their unique sound that absorbs a wide range of genres—from electronica and dub to hip-hop, shoegaze, and neo-psychedelia.
Originally a duo of Richard Fearless, who took over as a resident DJ from The Chemical Brothers at the legendary club night The Heavenly Sunday Social, and producer Steve Hellier, the project now continues as Richard’s solo unit.
Rather than fitting into a big beat context that blends elements of rock and techno, their sound stands out more like alternative rock presented from the club music side.
The fact that rock heavyweights such as Iggy Pop, Paul Weller, Bobby Gillespie of Primal Scream, and Liam Gallagher of Oasis have appeared as guest vocalists shows just how beloved Death in Vegas’s sound is among rock-side musicians.
Start with The Contino Sessions (1999) and Scorpio Rising (2002) to experience their alternative musical vision.
History Repeating (featuring Shirley Bassey)Propellerheads
Listening to “Take California,” which was used in the ad campaign for the first-generation iPod, some of you may have wondered what this jazz-tinged yet club-textured track was.
Propellerheads, a UK outfit, released one full-length album along with several EPs and singles between their formation in 1995 and their breakup in 2003.
Though their output wasn’t large, they gained popularity in the late 1990s amid the big beat boom.
Their 1998 album Decksandrumsandrockandroll reached No.
6 on the charts in their home country and became a hit, particularly across Europe.
The “Take California” mentioned at the start was originally released as their single in 1996, and after they disbanded in 2004, it was reissued as a remix version.
Tracks like “History Repeating,” featuring Shirley Bassey—famous for James Bond theme songs—and “Spybreak!,” featured in the blockbuster film The Matrix, still sound cool and stylishly sophisticated today.