Ruff Hard Core – Rave Radio Records keep it turbocharged

“I don't know why…” Sammy Purcell is talking about the process behind releases on his label, Rave Radio Records. Sometimes he can't sit still until a concept has been fully realised. “It’s being a creative or something, but once you get an idea to curate, you have to get it off your chest.”

We’re talking as he prepares to send out a new collection of breakbeat-infused bangers into the world. Titled Ruff Hard Core, it gathers 12 brand-new and exclusive tracks and marks the label’s 20th release.

“Some are legendary artists from the early 90s,” he tells me. “While some have only been producing in the last few years. It’s a real mix of creatives we’ve got involved.” The label became prominent with the Calling The Hardcore compilation albums, pulling together the finest producers from the contemporary breakbeat rave techno scene. Released in limited numbers, early entries in the series have become collectors’ items, fetching healthy prices on eBay. The label’s recent output does seem to be steadily moving away from this foundation, branching out into other sib-genres.

“That's all done now, but it was a brilliant thing to do.” Following on from this were a couple of collections amassing tunes from the tougher end of jungle and techno. There’s another dropping soon, but the label has started to reflect the edgier and grittier end of the genre.

“I knew that the name was going to be Ruff Hard Core, and the ethos was going to be that 1992-1993 flavour. It’s a beautiful period. It was more on the edgier side, not too happy, but also not too dark. Just sitting in the middle, energetic, very furious and futuristic.”

He tells me some of the tracks are packed with raw energy, reflecting both the rave scene at its peak and reinventing the sound for a whole new audience. There are comparisons with Goldie’s Rufige Kru, a shape-shifting production house of breakbeat and jungle artists.

"If it pleases packed-out dancefloors, even better!”

“That is an influence. With a lot of the music I've been putting out, the feedback and where my passion is have been leaning towards that harder-edged style. It’s a naughtier kind of sound. If you're going to do something, it's got to have a theme. It's got to have a reason and an intention. And if 100 people buy it, great. As long as I've fed that bit of creativity, I'm happy. If it pleases packed-out dancefloors, even better!”

While the tracks on the album invoke a particular period of rave music, he tells me there’s no reason why the scene can’t continue to move forward. “Some of the artists are drawing from the early 90s, but there are still modern techniques in the production. I'd say the majority of them are using more software than hardware. Back in the day, everyone would be getting that gritty, dirty sound off the desk, but now you have to choose to make it like that. And then, they're able to push it even further with other techniques.”

It does make me wonder how the eco-system between label boss and artists works. If you’re releasing a compilation, you probably want some kind of consistency between the tunes on it, while still allowing your talent the freedom to express themselves. Purcell says, despite the label being solidly based around a certain ethos, he’s not thought of demanding a definitive sound for it. “I am able to give artists a brief. And I already know the music they've previously released. I get people involved because they're doing great things in the scene. It's about supporting everyone around it. But I have been known to help shape tracks occasionally. It’s curating something so it all fits together. There's a balance between getting cohesion and not being dominant. There’s always an element of trust, though.”

The label’s companion club night, Calling The Hardcore, has been running for eight years, bringing some of the most innovative artists and sounds to the south coast. Coming up is an all-day special, split into two halves. This 16-hour bash will feature a broad range of DJs and live acts, alongside an accompanying vinyl release featuring some of the talent performing. Bringing together the old school and new, it features Grooverider, Sublove, Tim Reaper, Ratty, Mastersafe and Luna-C + in a shimmering display of skills and beats. “It's a development from the all-nighters we’ve put on,” says Purcell. “The daytime is going to attract a different crowd, while the night-time features the more ‘naughty’ side.”

"There are nights in London where you’re seeing people in their 20s and 30s as the main demographic. "

This scene has continued to flourish around the country. The internet has made it easier to find like-minded people and publicise parties. “There seems to be a real young crowd going out to different types of promotions pushing either old school hardcore, new hardcore, or rave from the 90s. There are nights in London where you’re seeing people in their 20s and 30s as the main demographic. It’s the same with Bristol. So, there are little pockets.” There are also festivals like Boomtown, who demonstrate confidence in the scene and book DJs to play before substantial crowds.

In terms of label releases, there’s never any shortage of vinyl heads looking to snap up some of the harder sounds. “There are still people mixing on vinyl, but digital is a lot more accessible. It’s all still growing. I don't think it's plateaued.” Purcell admits that it’s an increasingly competitive market for music labels. Even ones catering to an ultra-specific audience. Obviously, streaming has gouged out huge amounts of money from the industry, but there are loads of other factors making it difficult to keep a scene fresh and inspiring. He highlights the importance of supporting labels directly. The best thing you can do is buy music through their own site. That revenue is the best for the artist and the label. Or else, buy on a Bandcamp page. Failing that, through an actual shop.” To encourage this, he handsomely discounts on preorders from his own site as a small thank-you to the fans.

To date, all of the Rave Radio releases have been clad in bespoke sleeves, created by some of the fiercest design talent around. The art for Rough Hard Core was created by international graffiti artist Aroe - who literally took to the streets for his creation. “He sprayed the cover on the street in central Brighton as this 15-foot piece of art.”

Purcell tells me that Aroe has already produced several other bits of sleeve art for the label. Although previous pieces were all made digitally and none on this scale. “For me, exciting as the music is, the album covers are just as exciting. I love looking at art. I love sharing it and knowing people will look at it and maybe see some of the other stuff that he’s done.”

We’re in the middle of a 90s resurgence. Music, fashion, art and drama are all reassessing how we closed off the 20^th century. Obviously, rave culture forms a big part of this, with analogue sounds and chunky beats wowing crowds at festivals and clubs nationwide.

“Everyone's been going back to that World Dance / Telepathy / Dreamscape, futuristic, other worldly sort of style and design. This cover falls into that camp, if it has to. But it's more than that. In my eyes, this is a real, live piece of art, from the streets to a hardcore record sleeve.”

He tells me the whole exercise has added another level of authenticity to the album’s release. “It's real vinyl, it's real music, it's real creativity, it's real artwork. This is almost an organic thing, really. I know that sounds ridiculous from something that's created from digital elements, but music affects us on a physical level. If you can mix in the visual stimuli as well… yeah!”

Ruff Hard Core is available now via Rave Radio Records. Calling The Hardcore’s Day/All Nighter comes to Bridgton’s Volks Nightclub on Sat 30 Aug 2025.

www.raveradiorecords.com

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