The term was soon replaced by other terms, so virtually any U.S. hit once described as "New Beat" are today considered a part of another music style, most of the time simply house or techno. While New Beat usually borrowed an aggressive industrial sound, rave tended to borrow New Beat's elements that were harder than acid house while retaining the neutral mooded sound of acid house.
Rave tended to be a "happy" genre that favoured synthesized melodies over the duller sound in order to attract a wider audience. The genre was later reestablished as "oldskool" hardcore, leading to newer forms of rave music such as drum and bass, jazzstep, and Dubstep as well as other hardcore techno genres, such as gabber, happy hardcore and hardstyle.
In Britain, further experiments in the genre boosted its appeal. House and rave clubs like Lakota, Cream emerged across Britain, hosting house and dance scene events. The 'chilling out' concept developed in Britain with ambient house albums such as The KLF's "Chill Out" and "Analogue Bubblebath" by Aphex Twin. The Godskitchen superclub brand also began in the midst of the early 90's rave scene. After initially hosting small nights in Cambridge and Northampton, the associated events scaled up in Milton Keynes, Birmingham and Leeds (bringing with it a host of issues mainly the spotlight)
In New York, new indie dance bands such as Deee-Lite furthered house's international influence. They were a quirky, nerdy cool trio with an undergroundish voice dying to be heard by mainstreamers. Within the House Nation itself, acceptance for those helping shine light on the cause was broad. Two distinctive tracks from this era were the Orb's "Little Fluffy Clouds" (with a distinctive vocal sample from Rickie Lee Jones) and the Happy Mondays' "Wrote for Luck" ("WFL") which was transformed into a dance hit by Vince Clarke.
CROSSOVER INTO MAINSTREAM
Meanwhile raves both illegal and commercial sprouted on the east and west coasts – an escalation that climaxed with 1993's Rave America, which drew 17,000 to the Californian amusement park Knots Berry Farm.
In North America, the rave scene (supposedly) came to a lull (commercially) until the electronica buzz of 1997, when MTV threw its weight behind the Prodigy, the Chemical Brothers, and Underworld. In the immediate years that followed, Fatboy Slim and Moby achieved ubiquity in TV commercials and movie soundtracks, while trance music of the fluffy Paul van Dyk/Paul Oakenfold type spurred a resurgence of raves in southern California, which by the turn of the millennium reached the 20-40,000 range.