Origins of the Rave Vamp/Riff

• “Techno and house create a subtly different form of heightened immediacy to African music – a sort of future-now. (This is an effect of the music’s reliance on the vamp – originally a brief introductory passage repeated several times before a solo or verse in order to whip up anticipation, but in techno sometimes making up the whole body of the track.) Timbre-saturated, repetitive but tilted always to the next now, techno is an immediacy-machine, stretching time into a continuous present. Which is where the drug/technology interface comes into play.” [from Simon Reynolds’ “Energy Flash - A Journey through Rave Music And Dance Culture”]

Here we are again, trying to decipher and understand the legendary sound of Belgian Techno or "Techno-Rave". We've previously written about the "liminal condition" of this style—a genre filled with hoovers, stabs, and piercing synthesizers. While it was the "maincore" sound of the '91-'92 Rave era, in retrospect, it can be seen as one of the pathways through which Techno-House and New Beat evolved into what we now know as Hardcore. When it comes to these manic sounds, the legacy of Belgian Techno is undeniable. It was immediately embraced by Breakbeat Hardcore in the UK and Gabber in the Netherlands, ultimately infecting all EDM styles that would go on to use these in-your-face sounds from then on.

Today, we want to delve deeper into this sonic legacy and its origins. While various sources like Wikipedia, RYM, or nearly any article on this style agree on its fingerprint (Techno with in-your-face hoover and stab sounds with an apocalyptic and noisy vibe), one recurring trope often goes overlooked. This is the characteristic "Rave Vamp-Riff" which gives shape to these sounds, commonly attributed to the hit What Time Is Love? by The KLF and later codified in tracks like “Rave the Rhythm” by Channel X or the Mortal Kombat Theme.

Channel X - Rave the Rhythm (1991):

  

This pattern consists of a riff made up of stabs or syncopated staccato sounds, with the following pattern (or similar) within a four-beat measure:



Try it out in your DAW, or if you have a good sense of rhythm, simply mark the beat and clap along. The pattern is unmistakable, and as you'll recognize, it's almost omnipresent in that era of Rave, whether in its exact form or with slight variations.

This leads us to the inevitable question: where does this pattern come from? and why did it stick? A normal person might just enjoy the music without overanalyzing it, but since we're music nerds here, we’ll dive into this investigation to uncover the roots of the “Rave Vamp-Riff”.


Back to the 70s

Going back to the 1970s, one can find iconic pieces of music in popular culture that resemble this Rave Riff. A first candidate to consider is the legendary Mission: Impossible theme. While it is written in a 5/4 time signature, when adapted to a 4/4 pattern, it shares many similarities with the Rave Riff.

First and foremost, it consists of orchestral stabs. Secondly, its rhythmic pattern can be represented as X--X--X-X--X--X-, where X represents a stab and - a sixteenth-note rest—closely aligning with the pattern we’re analyzing. And of course, its sonic character conveys a sense of anticipation and urgency, connecting the Mission: Impossible soundtrack to the unresolved tension that defines the Rave experience.

Mission Imposible Theme (1967): https://www.youtube.com/watch?v=tGSUjuSBt1A

Beyond the important connections found in the previous example, the most frequently mentioned reference is the “Overture” of the 1971 rock opera Jesus Christ Superstar. This attribution is likely due to the use of this sample in the classic 1991 track James Brown Is Still Alive by Holy Noise.

When listening closely to the second part of the overture, it shares the same characteristics: a syncopated pattern that builds anticipation but ultimately offers endless repetition, making this rhythm an essential part of the main riff and groove. In this case, the guitar plays a more prominent role in the pattern while still maintaining orchestral elements.

Jesus Christ Superstar - Overture (1973):

 

Regardless of the historiographical and musicological differences one might consider, there is an undeniable common thread connecting Mission: Impossible and Jesus Christ Superstar to the use of these sonic patterns in the Rave era: the transformation of what was traditionally a vamp into a riff. But what does this mean?

A vamp refers to a repetitive passage that builds anticipation before a song or section fully begins (for example, before the vocalist enters). In contrast, a riff in modern music is a recurring motif or figure that is consistently repeated throughout a track, becoming its backbone. In this sense, both in these 1970s pieces and in Techno, House, and Rave music, what was originally conceived as a transitional filler between sections becomes the track’s mainframe. This is quite radical considering traditional musical canons.

Moving into electronic music territory during the late 70s, it's essential to mention tracks like I Feel Love by Donna Summer, composed by Giorgio Moroder. While its main sequence isn’t as overtly similar to the previous two examples—due to its more ambiguous balance between syncopation and a snapped-to-grid structure—it still presents a case where the song’s central motif is a vamp with an anticipatory effect that never resolves, ultimately functioning as the track’s main riff. A similar case can be made for tracks like Ashra’s “Club Cannibal” or Jean Michel Jarre’s “Oxygen”, where this vampy pattern fill the whole song structure and floods it with a sense of foreboding.

Jean Michel Jarre - Oxygen pt4 (1976): https://www.youtube.com/watch?v=kSIMVnPA994

Donna Summer - I Feel Love (1977): https://www.youtube.com/watch?v=9ZqqvrWCs3Q

Ashra - Club Cannibal (1979): https://www.youtube.com/watch?v=tDYqrlWnTnM


On to the 80s

Well, we've talked about the 1970s and the 1990s, but what happened in between? The 1980s was the period when the foundations of rave music, as we know it today, were formed. The United States gave birth to Electro, House, Techno, Acid, and Breakbeat, while Europe developed parallel styles such as Italo Disco, Synthpop, EBM, New Beat and their native strands of Techno, which would later converge in the emerging rave scene during the second half of the '80s.

Several popular tracks start to show this repetitive patterns with a sense of unresolved expectations, like New Order’s “Temptation”, which has a funky riff quite similar to Jesus Christ Superstar Overture. Other iconic tracks consolidated this syncopated riff into electronic music. One such track, often credited with inspiring The KLF, is the EBM track Our Darkness by Anne Clark. The main melody/sequence of the track clearly resembles What Time Is Love?, predating it by four years. Its structure, however, is more regimented, bringing it closer to Giorgio Moroder’s Eurodisco sound and clearly to the native sound of EBM, and also echoes the rock-opera’s Overture.

New Order - Temptation (1982): https://www.youtube.com/watch?v=xxDv_RTdLQo

Anne Clarke - Our Darkness (1984): https://www.youtube.com/watch?v=OguHIyNNblM

Across the Atlantic, the pillars of modern electronic music began to take shape. In the Chicago House scene, we have the case of Move Your Body by Marshall Jefferson, which clearly features this syncopated pattern with a piano vamp that repeats throughout the track as its main riff and motif. The emerging House sound would be defined by the use of these patterns, combining their syncopated and imminent character with the groovy rhythms that give it its sonic identity.

An important example that would push this element closer to what would later become the Rave sound is the classic anthem Strings of Life by Rhythm is Rhythm. Besides using a variation of this unresolved vamp that repeats indefinitely, it would popularize in the emerging Rave scene the use of sampled "stabs" from orchestral sounds. In a way, it laid the groundwork for what producers like T99 and Apotheosis would later develop in Belgium in 1991, with their hits Anasthasia and O Fortuna, respectively. The use of stabs can also be considered an outgrowth from synthpop stabs, such as Pet Shop Boys’ “It’s a Sin” or Sandra’s “Maria Magdalena”, or the very vamp-y Yello’s “The Race”, but one can make the case that Strings of Life made the bridge to the 90s in a pure techno format, track-like rather than song-like.

Marshall Jefferson - Move your Body (1986): https://www.youtube.com/watch?v=QAR8cq5Bl94

Pet Shop Boys - Its a Sin (1987): https://www.youtube.com/watch?v=dRHetRTOD1Q

Rhythm is Rhythm - Strings of Life (1987): https://www.youtube.com/watch?v=rFQZndywOR4

Yello - The Race (1988): https://www.youtube.com/watch?v=Y4QbJRAWvRU

Returning to the course of our genealogy, and before the "Belgian Techno" boom took off, we have the track that most evidently set the template that would infect all subsequent Rave music. This is the anthem What Time is Love? by The KLF. The significance of this track lies in the fact that, unlike all the previously mentioned ones, it synthesizes the syncopated Rave pattern in a stylistically hybrid track, making its potential to move into all corners of Rave music more evident. Because, while this track is historically situated in the Acid House scene, it’s quite difficult to restrict it to a single style, going beyond the typical Acid template.

Clearly influenced by Anne Clarke’s EBM sound, it sounds both like New Beat and proto-Trance, while also reminiscent of Acid and Bleep. Its oriental sound, due to the use of the Phrygian scale, even makes it a candidate for the first Goa Trance track. From this intersection between the various paths of electronic music, it signals how this iconic riff has the potential to adapt to any style, explaining why Belgian Techno, the main heir to this template, would influence the entire sound of subsequent electronic music. The music video perfectly embodies the “liminal condition” of KLF’s hit, depicting the duo stranded at a perpetual crossroads in no man’s land.

The KLF - What Time is Love? (1988):

After the massive hit that was The KLF, more and more tracks began to emerge following this pattern, with the UK and Belgium being the epicenters of this trend. Tracks like Oochy Koochy by Baby Ford in the UK, or Acid Rock by Rhythm Device, began to push this pattern forward by emphasizing the use of stabs and buzzy synths. Interestingly, this signaled the imminent arrival of Rave and Hardcore in the early '90s in both countries. And most importantly, the huge Acid House hit, Stakker’s “Humanoid”, which codified this pattern even further.

This sound was so influential that even the more commercial New Beat acts would create their own version of it, like the hit Yo-Yo by Plaza. While it may annoy some due to its cheesiness, it undeniably bears the hallmark of this sonic shape, Phrygian scale included.

Stakker - Humanoid (1988): https://www.youtube.com/watch?v=6DnfjMbu-Pg

Baby Ford - Oochy Koochy (1988): https://www.youtube.com/watch?v=8T1HebBVIvY

Rhythm Device - Acid Rock (1989): https://www.youtube.com/watch?v=93vzwvRKbpg

Plaza - Yo-yo (1989): https://www.youtube.com/watch?v=XQjHc5xfmSg


The raving 90s

The '80s were a period of sonic exploration and discovery, and the emergence and popularization of the "rave riff" was just one piece in this puzzle. By contrast, the '90s would become a period of sonic radicalization, especially in its early years. It is no coincidence that in 1990, almost simultaneously, Belgian Techno, Breakbeat Hardcore and Gabber/Hardcore emerged.

When it comes to the "rave riff" and its genealogy, it is during this period, first within the Belgian and UK scenes, where all the elements that had started to take shape in the '80s would converge and be accentuated during the peak of the Rave movement. The use of the syncopated rave riff as the central motif in thousands of tracks, the use of choral stabs and piercing sirens as timbres, and the exaggeration of this pattern creating increasingly convulsive and delirious variations became the hallmark. As Simon Reynolds notes, before the popularization of sawtooth kicks, it was the use of convulsive riffs that became the common denominator in what were then known as Rave or Hardcore styles (which were often considered part of the same movement in that period).

At this point, it's worth distinguishing between tracks that innovated primarily in timbre and intensity, while maintaining this pattern almost identical, and those that innovated more in sequencing, adding variety and complexity. In both cases, the Rave spirit is clear, aiming to convey a delirious experience rather than just a psychedelic one, but it's worth to differentiate them just for the sake of analysis.

In the first group, focusing on innovation in timbre, we have mainly Belgian Techno. This style would retain the typical 4/4 beats of late '80s Techno House and New Beat without many changes, except for the kick sticking out more in the mix. The sound pattern of the rave riff remained quite similar, but with exaggerated samples and/or synthesizers and a much more ferocious intensity compared to New Beat. But the mainframe inherited from Stakker’s Humanoid is almost intact in these cases, sometimes with an eastern vibe akin to 2 Unlimited’s “Twilight Zone” or the classic “Techno Syndrome (Mortal Kombat Theme)” by the Immortals. The introduction of the classic Hoover sound was also crucial in this process for injecting this pattern with rawer energy. Some good examples are the following:

Liaisons D. - Por La Patria ! (Brain-Fuck Mix) (1990): https://www.youtube.com/watch?v=BrKAFwdPT9k

Outlander - Vamp (1991): https://www.youtube.com/watch?v=200tmiDdht0

Angel Ice - Je N'aime Que Toi (Hysteric-Rave-Mix) (1991): https://www.youtube.com/watch?v=YM4PUWFzvW8

Digital Boy - 1-2-3 Acid (1991): https://www.youtube.com/watch?v=G64G0cj1vdc

In the second branch, where there was greater innovation in the pattern itself, we have examples like the classic “Anasthasia” by T99 and “O Fortuna” by Apotheosis. In these cases, the foundations for new uses of samples, especially orchestral and choral ones, were also laid. The use of breakbeats by T99 would also break with the previous trend, bridging Belgian Techno and Breakbeat Hardcore through the XL Recordings label in the UK. It would be through the adoption of these stabs, hoovers, and the rave riff by the British that an endless number of variations would explode, all while maintaining this unresolved sense of imminence, growing increasingly frantic and threatening. In this case, the mainframe from KLF and Stakker starts to break apart (pun intended), but to become a more radical version of itself, rather than departing from itself. Some good examples are the following:

T99 - Anasthasia (1991): https://www.youtube.com/watch?v=Mx3LccRvidg

Apotheosis - O Fortuna (1991): https://www.youtube.com/watch?v=drZXXWQ_2Iw

After Dark - Asylum (1991): https://www.youtube.com/watch?v=jBO1uHurU3s

The Prodigy - Pandemonium (1991): https://www.youtube.com/watch?v=viCQXcb8grc

In summary, we have an explosion of this pattern that began in the 70s, now becoming more central to tracks, increasingly drastic and apocalyptic, with more unique timbres and much more syncopated and deranged variations. These developments, and especially the iconic use of alarm-like and choir-like sounds within 90s rave intensified the sense of anticipation already conveyed by the vamp-like riff. But despite all this evolution, it maintains the repetitive and unresolved character of this “vamp,” announcing a threat that never arrives. This leads us to ask, why did this paradox gain such centrality in Rave/Hardcore? Why did it become so popular? and what is its purpose and meaning?

First as a Vamp, then as Riff

Rave and Hardcore are curious cultural phenomena that cannot be understood outside their historical context. Much has been said about the millenarian and even apocalyptic characters present in Rave and Hardcore cultures. Initially part of the same unit, they more evidently presented this tension between an optimistic New Age millenarianism and a dystopian apocalyptic cry. After the multiple schisms that occurred post-1993, these emotions would take different paths, but the millennial awareness would remain a common denominator, for better or for worse. Thus, these alarming and anticipating sounds reflect a generation standing at "the end of history," whether it was the end of the Cold War, the age of Aquarius, an imminent apocalypse, Skynet taking over or the messiah’s second coming.

Considering this, it’s easier to understand why this “deviation" in the use of the vamp as a repetitive riff, and why it fitted so well with the sirens, alarms, bells and choirs, and the de-sexualized references to ecstasy, climax, orgasms and alikes. It seems to serve as a metaphor for the very experience of uncertainty in the face of a conclusion that never arrives, but has become ubiquitous. The modern world it's not just changing but literally ending, without clear signals of when, but with an overload of symptoms that scream it is coming soon. Within that frame, the rave vamp-riff, now spiced with sirens and wailing sounds, becomes an ecstatic trance of foreboding, in the face of imminent yet elusive collapse. This makes the connection with a soundtrack inspired by the arrival of the Messiah more significant. In the same way, the music video of “What Time is Love?” becomes more meaningful, showing the KLF driving through infinite roads without ever reaching their destination.

First as a vamp, then as a riff, the imminence of this pattern didn’t just permeate Belgian Techno; it imprinted itself onto hundreds, if not thousands, of tracks from the rave’s golden age. And perhaps, caught between the waning specter of nuclear annihilation and the impending turn of the millennium—what we now call “the 90s”—there was nothing left to do but surrender and enjoy the vertigo of a paradoxical “end/beginning”, rushing in yet slipping away like a mirage.


Related articles:

• “Liminal Tracks - At the intersection of Techno and Hardcore in the early 90s”: https://thehardcoreoverdogs.blogspot.com/2024/03/liminal-tracks-at-intersection-of.html
• “Warped Visions: An Audiovisual Dive into the Reign of Belgian Techno”: https://thehardcoreoverdogs.blogspot.com/2024/12/warped-visions-audiovisual-dive-into.html

(AI disclaimer: ChatGPT has been used on some parts of this text.)

The Short Bios: DJ Asylum

We started a new feature series called "The Short Bios" in which we ask DJs and producers of Hardcore spectrum 16 questions so that they can showcase themselves, their music, their activities and so on.
So it's like a short bio / interview.
This time we asked DJ Asylum.

1. Tell us a little about yourself, who you are, where you are from, etc. a little introduction.

I'm from one of Scotland's many busy metropolises in the central belt, a high flying, go get em cityscape called Bathgate, which is probably best known for its Soft Play facility converted to a nightclub called Room At The Top. I've been mixing since the mid 90s (you would think I would have gotten better at it over time) - most older styles of hardcore techno, techno, acid.
I started properly producing in the early 20s and have had tracks out on Deng Deng Hardcore, Omnicore, Superbad MIDI Breaks, SWAN, Rotjecore and Point 44 under DJ Asylum. I also do a more techno side under the name Garrison9.
I run the HCBX YouTube Channel and have a regular Music case where I get Hardcore Techno DJs and Producers to showcase their skills.

2. How did you get involved in Hardcore and its subgenres?

Hardcore techno, Scottish Techno, Bouncy Techno etc were big business in Scotland when I was an impressionable teen, so I naturally got into harder electronic dance music.
I was still at school, maybe about 15, and a friend gave me the Rhythmic State's CD Single Soap on a Rope and also the Dyewitness record Seven Days. My parents had an old hifi stacking system that had a selector button you could switch between inputs so i found that Bass Generator's Creator remix on the CD and Only If I Had One More on the record were about the same speed, so i would spend hours mixing these two track in different ways. After a while, I'd started collecting more records and CDs like the old Mokum compilations Terrordrome. Shortly after getting my first job, I'd purchase a couple of Soundlab belt drives and a basic mixer - then the hardcore vinyl obsession began.

3. What inspires you as a DJ?

When I first started out, Marc Smith was a big influence. Thought his mixing was amazing. Carl Cox and Jeff Mills at that time could mix - I tried to recreate their sets when I was a lad. Then when my tastes got a bit harder, Loftgroover and Mark N did it for me - both of them did something a bit different. I think that's important. Lofty, with introducing Metal to his sets, Mark N with Hip Hop and stuff like the Jaws theme playing through his sets. They were interesting. Always loved the 90s Lenny Dee - his sets around Scotland were legendary. Track selections on point.

4. What equipment, setup are you using for your mixes?

I have a couple of Numark turntables and a basic Numark 2 channel mixer. I've had these for the last 5 or 6 years - I think basic is good when it comes to mixing. I've always tried to do things on a shoestring budget (being a stingy Scotsman). One of the pitch controls is fucked on one of my turntables though - as soon as you set it to 0 the speed goes up and down like a yoyo. May need to upgrade soon. As mentioned above, I started off on the old Soundlab belt drives which I've toyed with the idea of getting again. I really enjoyed the challenge of these! I've also had a Hercules controller for the last couple of years as I've mixed more digitally since most of the best tracks are not out on vinyl these days - Just use the free DJuced software that came with it. But I much prefer spinning records.
For productions I have a Behringer TD3 (303 clone), A Korg Volca Kick and a crappy midi keyboard. Run these through Ableton (the cheap version!). Currently saving up the cash to get an RD9 (909 clone), but my washing machine packed in the other week, so the savings went to a new one of those. I've been experimenting more with recording random sounds and turning them into percussion.

5. Is there something particular you want to express with your music? Emotions, an idea, something political?

Music is a big thing for me, call it escapism or whatever. Whatever mood you are in - there's a track out there that will improve it. Tracks with a bit of rage, anger and aggression hit the spot. Drowns out other stuff in life. I find myself drawn to a lot of repetitive music too, be it Hardcore, techno etc, but also a lot of drone and post punk music. Bands like Protomartyr and the Fall do it well. Massive repetitive build up until the tension hits max, then they bring out an unexpected chord change and really raise the game at the end of the track (Check out the track Half Sister by Protomartyr for an audible representation of what I'm unsuccessfully trying to say!). I want to bring this kind of tension build up into my music and then plonk a big "Fuck You" at the end. It's that whole thing of going on a journey and getting rewarded/slapped in the face at the end of it - so you can have your escapism. I'm not saying that's what my music does, but that's what I want to achieve.

6. How were / are your experiences with gigs and parties? Good, bad, dull, exciting?

When I was younger, there were lots of parties going on where I grew up. Events like Rezerection (I lived about 5 miles from the site) were going on and these were great parties, my first being the Event 2, where I first experienced Loftgroover and Lenny Dee - that was like an awakening with the harder stuff at the time. There were lots of smaller events and some clubs like The Fubar in Stirling which had great hardcore nights. Roll on a couple of years though, and it felt like the scene died a death in Scotland - any events were more cheesy happy hardcore which I didn't really relate to, and most of my friend group that I got into hardcore with, had started listening exclusively to house music and getting into the club scene. I started heading south to Newcastle as the Judgement Day events were still in full swing at the Student's Union. I was lucky enough to play a few gigs at Judgement Day in the harder room, but again, numbers started dwindling.
It's pretty sporadic in Scotland now - the occasional night/event, but it's mostly newer style stuff. I probably should have been born in mainland Europe.

7. What are some mixes, broadcasts, performances, or other stuff you did, that you found exceptionally interesting, or that were extraordinary in some other way? Let us know.

I put a fair bit of effort into the HCBXCast series I have on my YouTube channel which I'm pretty proud of. I almost started doing this by accident - I wanted to do a mix series and invite people on every month, but I set my first Cast as a premiere on my Youtube channel and random people started live chatting on it, which was flippin' brilliant. It's grown arms and legs since then and we have just booked episode 50 - It's great getting the regulars on the chat these days, and there is always some great banter about hardcore and various other stuff. I think it's that whole community thing. We're a relatively small collection of people but connected by the love of some crazy ass music. So accidentally starting this chat has really pushed me to keep contacting people to play.

8. Any other interesting / funny / emotional stories that you had in your "Hardcore history" that you want to share?

My first ever gig was when I was about 16 or 17 at a pub called Seven Oaks which was near where I grew up. I'd been asked to stand in for a DJ that couldn't make it and it was for someone's 18th birthday. Was told that "they all like the same kinda music you do". Probably wasn't the case, and no one really expected or wanted to listen to recent hits by Delta 9, Bodylotion and DOA. I was supposed to play for 3 hours and the only non hardcore record I had was Underworld's Born Slippy. Anyway the crowd started to turn on me after a while, so I ended up firing on Underworld to rapturous applause. Think I played all 3 mixes on the record then made a sharp exit. An interesting learning experience on "know your crowd".
The weirdest gig I played in was in a barn on a farm in the middle of nowhere near Newcastle. I was pretty smashed, but I have a memory of the decks being set up on hay bales. But I may have made that up.

9. What other DJs / artists do you admire?

I've been honoured to get some cracking DJs and producers on the HCBXCast Show and I always go after artists that I admire so too many to mention. Think the one that I admire the most is Spliff Monk - he's a cracking DJ and I've been well chuffed to get some sets of his on to various events I've set up. What I admire most is his productions under his Hammer Damage alias. I've called out a few times that "Help Us" on his Sensory Violation label is one of, if not the best hardcore techno track ever written. Goosebumps every time I hear it.
Oliver Chesler is someone I admire a lot - in particular the Temper Tantrum and Narcanosis output. The DOA boys, anything on Kotzaak.... I could go on forever.
Out of the newer crew - I dig a lot of Pardonax's tracks. I like how he produces using mainly samples (as I try to do) and I nearly always find a way to get one of his tracks on my sets.
From an innovation point of view - Low Entropy (you can send me the fiver later!) - Cracking Label in Onmi/Doomcore, the Overdogs eZine - some of the articles on AI production etc etc. Definitely pushed the hardcore community forward.

10. What are some of your favorite records or tracks?

Hmmm... I could go on for a while here, but I'll try and limit it.
I've already mentioned Help Us by Hammer Damage. John Selway's Spy record on Industrial Strength. Delta 9's Hate Tank double on DBN. The Surgeon General by Pressurehead is my go to Hardcore track just now. The Zeed / Skrewface EP on Redhead records. Cyclopede's What. 96 Knights. Right: need to move off hardcore.
From a techno point of view - Madonna303 - Praise the Lord on Temple. Trust True's EP on RIOT Radio Records. 100% Acidiferous - Tank.
From non electronic music - The Mars Volta - Deloused in the Comatorium album. Idles - Brutalism. The Fall - Perverted by Language.

11. What are you aiming for in your music? Any goals, visions, things that you want to achieve?

I really need to get my finger out and try and do some live gigs again. Get in touch with promoters etc and stop procrastinating. Anyone reading this... I'll probably play for you for a couple of beers and a sandwich. I do weddings, birthdays, funerals...
I have about 50 unfinished tracks - need to finish these and ping them out to some labels. I have a habit of finishing a couple of tracks and then just releasing them myself which is probably why about 3 people listen to them! However, I just want to continue producing tracks that I dig listening to myself. If other people like them, excellente!
I would like to have my own record label and churn out some actual records - not sure I currently have the finances for this - not even sure if there's the demand for anyone to buy the sort of stuff I would want to pump out! Plus I haven't the foggiest about how I would go about it! But it is a dream!

12. What are your plans for the near future? Upcoming mixes, gigs, and such.

I'm planning a set of my own tracks that I could potentially do something live with. This will incorporate unreleased and released stuff, but not just mixing them. I want to make one big massive track out of them all so there's a nice flow - no one should know when one track finishes and another begins, sort of thing. Not like the Grease Megamix, honest.
I need to work on getting some more people involved in HCBXCast - there's probably only a finite number of DJs out there that are playing in the Channel's style and I really don't want to branch out in the newer styles of hardcore - but I really enjoy getting all those talented individuals on board and pumping out tunes.

13. What do you think of the "Hardcore scene" right now? Anything you'd like to change?

It blows my mind to see how many people rock up to some of the newer style events in Europe for example. I know it's technically a similar genre, but it feels quite over produced and commercial. Doesn't really speak to me as much. Maybe I'm just getting old, but the older style made new is the way forward for me. Maybe I need to get out more!
But back to that community piece - the part of the "Hardcore scene" I'm in is really supportive and everyone is keen to get involved, albeit probably more virtually than in person - But I think we're all pretty spread out.

14. What other music besides Hardcore do you like, or are involved in?

I'm constantly listening to music from lots of different styles. As mentioned above, I record and mix techno (mostly acid) under the alias Garrison9, and I've been lucky enough to have had releases on Freddy Fresh's Analog Records and Bad Omen's Ruthless Ghetto Records. I mess about with people in different music styles - I play the guitar and bass and head round to friends places who write music and jam along with them.
Mostly though I love going to see bands play live. I'm usually at a gig every other week. Saw some cracking bands in the last few months such as Idles, The Black Angels and The Brian Jonestown Massacre. My next gigs are Bambara and the Viagra Boys... both highly recommended. Check them out.

15. What other interests or activities besides strictly music do you want to mention? Like painting art, movies or political activism...

I used to paint years ago - pop culture style stuff. I got a bit fed up with it as people were asking me to do similar styles for pictures of their children and pet rabbits and the like and that wasn't what I set out to do.
I'm a family guy though so the wife and kids take up most of my time, which is great.

16. Anything else you want to tell our readers? Whatever it is, feel free to say it!

Keep the hardcore techno sound alive. Don't just consume. Create. Write a track, do a mix, reach out to a hardcore head that inspires you. Collaborate. Massive thanks to LE and The HT Overdogs set up for being a massive part of that.

DJ Asylum socials:

Instagram : https://www.instagram.com/djasylumhc
Facebook : https://www.facebook.com/DJAsylumHC/
Beatport : https://www.beatport.com/artist/dj-asylum/835361
Bandcamp : https://djasylum.bandcamp.com/
Discogs : https://www.discogs.com/artist/9761863-DJ-Asylum-2
Spotify : https://open.spotify.com/artist/47RdSoFM6NGiGhv45eiWMa
Deezer : https://www.deezer.com/en/artist/82883442
Soundcloud : https://soundcloud.com/hibsfan
Mixcloud : https://www.mixcloud.com/DJAsylum

Garrison9

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Release: The Diversity of Hardcore Techno Part 2

The Hardcore Overdogs take pride in being involved in this release:

Authoritarianism, queerphobia, misogyny, racism, fascism and other malicious movements are on the rise again.
It's time to fight back and make a stand!

This is a release featuring tracks from the Hardcore-Techno spectrum about LGBTQIA+ topics such as androgyny, feminism, transgender, asexuality... and more!

Against intolerance - for respect.

https://doomcorerecords.bandcamp.com/album/the-diversity-of-hardcore-techno-part-2-stop-the-phobes

Tracklisting:

1. FeminGabberist - You Wish You Had A Clit 04:38
2. TransCore Project - Trans-Acid 03:18
3. DJ Gender - Androgyny (Free Your Mind) 02:55
4. Ace of Hardcore - Fuck The Porn Industry (Instrumental Short Cut) 04:53
5. FeminGabberist - You Wish You Had A Clit (Extended Edit) 06:40
6. TransCore Project - Trans-Acid (Long Mix) 06:51
7. DJ Gender - Androgyny (First Phase) 02:55
8. Ace of Hardcore - Fuck The Porn Industry 10:39

Also check our earlier release:

The Diversity of Hardcore Techno (Part 1)
https://doomcorerecords.bandcamp.com/album/the-diversity-of-hardcore-techno

And this feature:

The Secret LGBTQIA+ History of Hardcore Techno
https://thehardcoreoverdogs.blogspot.com/2025/01/the-secret-lgbtiqa-history-of-hardcore.html

10 Digital Hardcore Releases from outside the Digital Hardcore Label

Digital Hardcore Recordings released music by artists such as Alec Empire, Patric Catani, Shizuo, Atari Teenage Riot, EC8OR and Bomb 20, shaping the sound as well as naming it. But other labels were there; Bloody Fist Records was one of the most prolific labels involved in hardcore/gabber, industrial, breaks, noise, and related genres from Australia. In Milwaukee there was Drop Bass Network which specialized in Gabber and Hardcore. In London, DJ Scud co-founded Ambush Records with fellow producer Aphasic to focus on more extreme noise-oriented hardcore drum and bass towards the end of the 90's. And some great DH came from Japan as you will soon see!

Digital Hardcore is ultmately a high-tempo fusion of Hardcore Punk and Electronic, which combines the harsh vocals and electric guitars of the former with electronic instruments such as synthesizers, samplers, and drum machines common in Hardcore [EDM] and Breakbeat Hardcore. I have this list BUT the reviews of each are straight from a 2019 revision by Goregaze and OuTbREaKRT who collaborated and made these picks and write-ups.

1. The Mad Capsule Markets - Osc-Dis (Oscillator in Distortion) (2001) track selection "Restart!"

The Mad Capsule Markets were one of the most exciting and forward-thinking Japanese punk acts of the early 2000s. Starting as a standard j-punk band, they slowly incorporated industrial and pop punk elements into their sound, with their 2001 album Osc-Dis becoming a big influence on artists like Rabbit Junk and Kitcaliber.

2. The Shizit - Soundtrack for the Revolution (2001) track selection "Audio Jihad II"

The original project of Seattle-based industrial/electro wizard JP Anderson from before he formed Rabbit Junk. The Shizit was a harsher and less melodic band than Rabbit Junk turned out to be, and their brand of industrial assaults often broached the realm of digital hardcore.

3. F_Noise - F_noise (2002) track selection "Aliens"

A short lived digital hardcore act from Russia that emphasized sheer noise and intensity in their songs. While they only stuck around long enough to put out a single album, it remains one of the most furious digital hardcore albums of the 2000s.

4. Curse of the Golden Vampire - Mass Destruction (2003) track selection "Parasite"

Curse of the Golden Vampire was one of several Digital Hardcore Recordings signees that jumped ship to Greg Werckman and Mike Patton's Ipecac Recordings in the early 2000s. While their first album was a fairly standard digital hardcore release, their second album set itself apart by introducing significant grindcore elements, yielding one of the most intense releases in the genre.

5. DHC Meinhof - Bring Chaos to Order (2004) track selection "Rich Kids"

DHC Meinhof was a moderately short-lived band started by crust punk guitarist/vocalist Refuzer with vocalist Miss Magg Destruction and noisemaker Matt 669. The band put out a couple records in the mid 2000s before turning into Meinhof, a more traditional crust punk act.

6. AKIRA DEATH - Killer Family Business ～殺し屋家業～ (2007) track selection "Locust"

One of the leading acts in digital hardcore/speedcore fusion, Akira Death is the project of Akira Kanzaki and Akira Sato. Their music is fast, noisy, and chock full of digital hardcore attitude. Their unique live show and raucous music quickly made them a standout among the japanese speedcore scene, and both members have crafted diverse and unique solo careers.

7. BiS - STUPiG (2014) [Single] track selection " "STUPiG"

BiS is a self-proclaimed "anti-idol" band made to subvert idol music tropes. Their 2014 single STUPiG was produced by Mad Capsule Markets bassist Takeshi Uesha and made waves upon release with its combination of driving digital hardcore and saccharine j-pop.

8.Kitcaliber - ИΣVΣRLAИD SØUИDGIRL$ (2014) track selection " "DISTORTER"

One of several acts inspired directly by The Mad Capsule Markets, Kitcaliber is one of many aliases of Canadian breakcore producer Renard. Their songs are some of the most melodic to ever grace the genre, but Kitcaliber tracks aren't afraid to cut loose with an intense noise section or blazing fast tempos. One thing that sets them apart from the rest of the genre is their focus on concept albums, with each of their three full length records taking place in a single narrative universe and detailing the fictional duo's battles against abstract threats to society.

9. Coakira - Suicidegirls.jp (2015) track selection "Ultra Beast"

One of AKIRADEATH member 佐藤晃 [Akira Sato]'s several solo projects. Coakira is more focused on high tempo speedcore than Akira Death, but still includes the hefty digital hardcore elements that set Akira's music apart from the rest of the scene.

10. Machine Girl - The Ugly Art (2018) track selection "A Decent Man"

New York duo Machine Girl (originally just a solo project of Matthew Stephenson before being expanded to a duo with drummer Mankid with the release of their third album) is easily the most significant force in the modern digital hardcore scene. With roots in hardcore breaks, Machine Girl's music evokes images of the early days of the World Wide Web and brings a unique flavour of claustrophic intensity to a genre more commonly outfitted with walls of compressed noise and guitars.

and that's it. You can find the whole original list over here RYM Ultimate Box Set > Digital Hardcore and here's the playlists with most of the tracks Youtube Playlist / Spotify Playlist

Slices of Fischkopf - Reviewing Phantom Releases That Never Happened on the Label

A number of releases had been planned for Fischkopf, but then did not appear on the label for one reason or the other. Here are reviews for four of them.

? - Fischkopf 26

Only a few test pressings exist of this; it was never properly released.
Now let's look at the tracks:

A1 - One of the most fascinating (experimental) Hardcore tracks around! Essentially, the whole track consists of only two elements: a drum machine and a vocal sample.
The drum machine sounds like an 808, but maybe not quite; there is heavy use of all available percussive elements (snares, rim shots, hihats, cowbells...), there is no "909 gabber kick", but everything is so frantic and distorted that it still feels ruffian as hell. And the rhythm is not in a "four to the floor" manner, but completely broken and askew.
the vocal sample gets put through so much effect that it is more reminiscent of the distant whispers of an apparition than a "human voice".

that's all; these two sounds loop, cut out, come back, get manipulated for 7 minutes straight. yet it still feels like a complete track, and one hell of a banger!

A2 - here all the ingredients of all other tracks come together. Broken beats, "hardcore distortion", manipulated percussion, and belligerent acid. sweet!

B1 - my second favorite track, next to A1. while a1 lacked acid lines or synths, this one lacks *everything* else.
it is a strange kind of acid ambient love affair, more or less just a 303-sound looping, rising, disappearing... and sparse use of a drum type sound. reminds me a bit of 303 nation and tracks like "seis".
wonderful.

B2 - the most "normal" track on here (well, not really).
Hardacid / Acidcore that feels like a one-shot jam session with just machines running, getting on, and rioting for more than 8 minutes. a bit like some drop bass efforts maybe, but with a very distinct feel.

Paul Snowden / Christoph De Babalon – We Declare War ( Cross Fade Enter Tainment - Post Primitive 002 )

Paul Snowden, Christoph de Babalon, and DJ Raid were involved in setting up and running Fischkopf Records (I don't know who had which role, though).
Somehow they fell out with the parent label, and Hardy was put in control of Fischkopf.
The three of them then set up their own label, Cross Fade Enter Tainment.
This is the first release, "brutally" split between Paul Snowden and Christoph de Babalon, as both sides sound very distinct to each other.
Word is that CdB's side was supposed to be released as his second EP on Fischkopf; and when that didn't happen, they put it on here instead.

It's actually one of my best-liked CdB "releases". It's in his "early" breakcore style: super fast, chopped up dirty breakbeats joined with cyberdelic, spacey, psychotronic drones, pads, strings... making you feel as if they just had arrived on this planet.
Particular picks for me are "Meet Fate", "Babablon Bitch", and "Residuum (Rmx"), which is even one notch better than the version on his Digital Hardcore Recordings EP.

Paul Snowden's side... oh boy, where do I start! Do you like Hard Acid / Acidcore?
Well, this one release breaks the scales in overdrive, distortion, sheer noize... there is nothing quite like it. It's not "gabber heavy" with deep kicks and such, more on the high and mid ranges.

I remember Paul said somewhere that this was the closest he got to his dream of playing in a live punk/indie band, and I totally get that...
It's a bit like a "wall of noise" type independent rock band which jettisoned all their members and guitars, and then did a record with a 303 and a drum machine...

so, yeah, a wild release in the history of electronic music!

Somatic Responses – Methods Of Mutulation ( Cross Fade Enter Tainment - Post Primitive 001 )

Was on a demo that got sent to Fischkopf Records, and supposed to be released there.
Somehow, it did not happen, and Paul & Christoph decided to release it on their new label instead.
This is the first bona fide Somatic Responses release and EP. It's vastly different from their later style.
Still tied in to the whole Hardcore & Gabber "thing", but in their very own way, and definitely miles away from the cheese that got poured from some (major) labels in that time & genre.

In fact, I think this would fit right in with a "hard / dark / industrial" techno set or party of today - in a more refined and experimental way.

ultra-overdriven bassdrums, undefined noises, layers of abstraction...

the sounds of mutulation [sic!] indeed!

Taciturne – Ebizeme ( Blut 03 )

this was supposed to be on Fischkopf; in fact, some fanzines already had reviewed it as "Fischkopf 25", shortly before the label collapsed.

an album follow-up to his first EPs, and everyone expected he would follow this route; bold big balled "german" gabber and speedcore, like the various *domes and *dromes on benzedrine.
But, non, au contraire!

This is a very strange and mystérieux release.
Certainly no "gabber" traces are left in the bloodstream. It's like... well, what is it like? It defies description... maybe if Einstürzende Neubauten used Commodore Amiga improvisation in their live-sets... or "Euromasters" would have become construction workers banging on their tools; instead of kickstarting Rotterdam Records...

So, yes, this is the best description I can give, it is better to remain tacit (urne) about the rest.

Another stand-out track is the "97 Hammel Rmx" of das Toten, which feels like the logical deconstruction of the original; and of hellraiser and the whole gabber genre, too.



There is likely more stuff "out there" that was intended to be released on Fischkopf but never happened.
E.g. there are rumors that there were plans for an EP by Alec Empire, or that another Eradicator release would have been made if Patric had not fallen out with the label.

In defense of The Hardcore Techno Overdogs

Ever since the humble beginnings, a lot of praise, but also a lot of criticism has been thrown at our very magazine.
This was to be expected. So let's address some of these.

"All articles are written by AI" - Au contraire (or 'AI contrAIre'?) ! Since a year or so, all articles that have been aided by AI get a disclaimer added to them - and they are few indeed (maybe two or three a year).
Personally, I don't have anything against AI. But in my humble opinion, "the technology is not ripe yet". All obviously-100% AI articles I read so far were of lacking quality.

"All articles were written by one person!" - not quite right, indeed. In the 2 years of our existence, several dozen people have written stuff for us. And we hope to expand even more (hint: contact us if you are an author.)

"The magazine is about self-gain!" Ain't right as well. There is no money interest or gain involved. Yes, we are tied into the U.M.A.N. group, and post stuff from associated projects and labels, too, but there is no money incentive either, and, honestly, we do that because these projects are about pushing the oldschool sound and its boundaries, too.

"You think you people know it all right and everyone else got it wrong (about hardcore music)".

and

"You people are writing your *own* history of Hardcore"


This is a very interesting type of criticism. Because it digs to the very root of our magazine, or - our mission.
So let's start from the beginning.

The term "overdogs" is a play on the word "underdog". Specifically, we are about the underdogs. We are for the underdogs. We want to push the underdogs. All the forgotten tracks, artists, labels, releases, movements, *politics*... of Hardcore Techno.

The "underdog" is a bit stretched in some articles. the magazine did cover a few famous projects, labels... but even then, we cover the lesser-known aspects or under-rated releases of these.

That means we want to focus explicitly on the stories, news, and history that others do or did not write about yet.
Indeed an "alternative history of hardcore techno"; but a very real, factual one.

This has not to be separate to the "official" version of history; in truth, often there will be clashes in the sense of - "are there hidden / unexplored facts to an artist, festival, era, that you / me / we do not know about yet?"

We do not *want to* rewrite hardcore history - we think there is a *need to* rewrite the history of hardcore. this task must not be done by us, but essentially by everyone who is involved in, or a fan, of this sound.

To slightly change a famous Star Wars quote: "We do not want to be right - we just want you *to be wrong*".
Because, come on, the "official" history of hardcore cannot be correct - or could it?

This goes for us, too, of course. If other eager explorers begin to write and research hardcore, too, then a lot of our articles will be obsolete, and we will be happy about that.


And, note: deep research of a music genre does not mean repeating stuff that others said on the internet.
Because the opinion of a majority is almost in all cases incorrect.

And this leads us to another final point.
There was one form of criticism i did not expect, and that one really hit hard. Which was criticism along the lines of

"The artists / labels / projects you write about must be un-interesting and dull". because "if they were good artists, then they would have been successful and famous too. if they had talent, the majority would know about these. if they have been largely forgotten, then this happened deservedly so."

in all honesty, can you really think such things? that if an artist fades into obscurity, there must be a good reason for it?
do you think famous musicians are *deserving* of the spotlight, the happiness, the appreciation that gets showered on them - and the others would not be deserving of it?

it pains me, because I think this goes beyond hardcore and music. because people have similar sentiments regarding other social or cultural outcasts, too.

do you think that a loser is a loser because they deserve it, and not because they were thrown into the pit - by the "dumb majority" who were not able to understand them, because, well, they are too dumb for that?

well, we don't think so.
going back to hardcore, we think there were, and there are, many people involved in hardcore of the 90s and today, who would have deserved all the fame, respect, (maybe even money), and well-being in the world.
so let's right this wrong, and at least give it to them now, alright?

because you should always be there for the underdogs.

and this brings us to our "second final" word:

not all these comments are made in spite, because information about hardcore scene and its history are *really hard to come by*
and this then brings us to the secondary aspect of our mission:
to point out there is still a lot to research and discover regarding hardcore techno, and that there is still a lot more music out there, too!

The 1000 Corrosions of Brandon Spivey

Brandon Spivey is an "unsung hero" of the 90s Hardcore and especially Acidcore scene. Prolific, involved in countless of projects and re-releases, but not as known yet as some of his peers.

Unfairly so. He produced some of the most hostile, nasty, tenacious, teeth-bashing Hardcore Techno tracks ever. His tracks often abandon the "groovy" and "party" roots of Acid House, replacing it with the sound of noise, screams, and an overdose of bass. The acid bleeps that are so characteristic for the genre, often get manipulated and modulated to such a degree that they sound more like the electronic lament of a tortured creature. While the reverberated vocal samples sound as if they are piercing through, into this universe from another.
Brandon's known for his political radicalism: working class, anti-authoritarian (he once said "I'm an anarchist but I hate the term and the movement"; and this revolutionary anger, spite, and fury obviously bleeds into his tracks, and this is likely what makes a lot of them 'rougher than the rest'.

It's not all noise and distortion, though; he is apt and producing acid, electro, and techno of the calmer variety, too.

Unlike other artists, he didn't stop by the 90s, but continues to produce music to this day.

10 tracks produced or co-produced by Brandon Spivey

1. Collective Strength - Family Affair https://www.youtube.com/watch?v=Wv6Vn7nUkGA
2. A'Simetric - Take To The Skies - Weapons Grade Acid https://www.youtube.com/watch?v=82TimynVFIo
3. Brandon Spivey - Acid 1998 https://www.youtube.com/watch?v=XeolhgJrpcE
4. Habitual Offenders - Cutting Edge https://www.youtube.com/watch?v=ba7kC_j0Bro
5. Simetric - Weather Report https://www.youtube.com/watch?v=omIdPM8b8VE
6. Brandon Spivey - Phase Distortion https://www.youtube.com/watch?v=fx9Sft5Oj-U
7. Brandon Spivey - Reality Asylum https://www.youtube.com/watch?v=BaN8JOAb73A
8. Brandon Spivey & Richie Anderson - Night Drive https://www.youtube.com/watch?v=cDo6sWgtWfs&t=586s
9. Prole Synthesis - Reference Point https://www.youtube.com/watch?v=zRfG5TxdEk8
10. Agro - Undisputed Truth https://www.youtube.com/watch?v=ArvG2WuMpVI

Luvable Cheesy Happy Hardcore & Dance Playlist for Valentine's Day!

It's the day of love again, of sweet smiles, happy hearts, cozy cuddles, kisses for your krush...

So let's drop all pretense of sophisticated and smartelligent music, and give in to a cheese fest of unashamed Happy Hardcore and Dance tracks from the 90s! 

1. DJ Lingo & The Skycat - Together Forever
2. Critical Mass - Burning Love
3. Ohm - Take A Trip To Paradise
4. Charly Lownoise & Mental Theo - Stars
5. Mark Oh - Randy (Never Stop That Feeling)
6. RMB - Redemption
7. Solid Base – I'm The Girl Of Your Dreams
8. 4 Tune Fairytales - My Little Fantasy
9. Uranus - Flowed On A Vibe
10. Circuit - Transport Of Love

A Review of the Complete Digital Hardcore Recordings Catalogue - Part 1

All Digital Hardcore Recordings Albums Listed, Rated, and Reviewed

Before the "Genre Mainstream" set in, Hardcore, and also Techno, were not styles or categories that are as fixed as they are now.

Many labels (and artists) existed on a kind of liminal location, that sat in-between the various movements, styles, sub-cultures, and political claims...

One of these was Digital Hardcore Recordings, which enchanted Hardcore Heads, Punks, Indie Rockers, Hip Hop fans and lots of additional contingents in youth and other (older) movements.

And, paradoxically, while DHR was probably one of the most underground efforts, as these releases literally did not give a fuck about genre conventions, image, likability... they were also *the most known* hardcore-adjacent and extreme electronic label in the 90s.

every global music, culture, fashion magazine tried to get an interview or story with one of its artists... they toured all over the world and in the major cities... they were on big rotation on MTV and other music television.

It was a common thing to come home after a squat rave, turn on the TV in order to "chill", and suddenly see Atari Teenage Riot, Alec Empire, Hanin or Ec8or appear on the screen.

Even the mainstream press and media regularly covered the label.

Everyone, from Aphex Twin to the Beastie Boys, loved this music.

So it is a bit "strange" that all of this has faded into the obscurity of history by now...

Or on a second thought, it might be not as strange at all - the societal mainstream likely can't handle music that is as extreme and direct as this, so they prefer to remain silent.

We don't like the sound of silence, though, so here is our own retrospective of Digital Hardcore Recordings.

We aim to review, rate, and describe all releases by the label, and we are starting right here, with part 1.

https://atariteenageriot.bandcamp.com/album/delete-yourself-remastered

Atari Teenage Riot – 1995 (DHR CD 1 / DHR LP 1)

also known as "Delete Yourself!"

the debut album by Atari Teenage Riot. they had been around for a few years before releasing this, but they were more active in doing concerts and gigs before that than releasing stuff (as far as i know). this CD came out when the first hype about ATR, Alec Empire and DHR was at its high, with a lot of indie/underground magazines such as frontpage (now defunct techno magazine) praising them for their music and attitude.

it is almost a "compilation" of tracks on this CD, with some live versions, some tracks from other output, some older and some newer tracks. the name "1995" thus is quite a good name, since the album captures a lot of what was going on in that year then.

since there are 12 tracks on this record, i will only review a selection of them.

1. Start The Riot

what an absolute killer of a track. it's a clever choice that this is at the beginning of the listening experience. from then till now there are not many tracks that could be compared in terms of high adrenaline experience. after the strange intro ("i would die for peanut butter"?), the track blasts of into an assault of beats, guitar riffs, screaming and shouting. this track is just so hard hitting, i can't describe it, you need to listen to it for yourself. a legendary track.

2. Into The Death

this is the track that had the most effect and impact on me on the first listening ever, more then any other music in my life. i heard it first when i was listening to the "harder than the rest" compilation. when that track came on shivers ran through my body and i felt intense. i re-listened to it over and over again on the spot, with the same effect.

on the structure of the track, it is very similar to Start The Riot, but i do not mind that at all.

4. Speed

this is the track most people know of Atari Teenage Riot, as it was used in the mainstream movie "The Fast and the Furious: Tokyo Drift". it is actually a very good track. the concept here is really well, it is an oldschool-ish Underground Resistance-like techno affair mixed with guitars and shouting. i don't think ATR ever made a track similar to this again. it packs a lot of energy, especially since ATR made these elements really fit each other.

8. Hetzjagd Auf Nazis

this anti-nazi breakcore number really hit the scene hard when it came out. a necessary political statement and a very good track.

11. Kids Are United

the most unusual track on this record, with its anthemic singing and melody. i think someone denounced this as being too "pop" once. yet it was sort of a hymn for ATR fans back then and it still is for today's fans, i think. the video to it is quite known and features some hardcore slamdancing with a lot of the DHR people back then.

the track itself is a cross between breakbeat rhythms, electronic effects and punkrock.

12. Riot 1995

this track from this album is underrated, but it is one of my favorites.

basically just guitar sounds, effect machines and "riot" shouting on and on, it also has some killer vocals. it has its own emotion which is hard to put in words. well, i just love it.

"do you find it easy to confront your emotions, or do you run away?".

https://www.discogs.com/release/336235-Various-Harder-Than-The-Rest

Various – Harder Than The Rest (DHR CD 2 / DHR LP 2)

"Harder Than The Rest?". Yes, at that point of time and in history (1995), this was likely true.

For many people a "first ever" introduction to the variety of the hardcore underground and styles like gabber, breakcore, digital hardcore...

And this compilation is very varied indeed!

Stand-Out tracks include:

"Ec8or - We Need A Change" - almost military style gabber that goes into overdrive at the end.

"Atari Teenage Riot - Into The Death" blood-freezing digital hardcore punk attack - has music ever been so vicious?

"Sonic Subjunkies - Central Industrial" a melancholic, acerbic-saccharine doomed breakbeat track that feels a lot slower and softer than the rest (not in a bad way!)

"Hanin - Nizza" - still one of the roughest breakcore tracks ever

"Christoph de Babalon - Seventh Rest" a demonic track with industrial dub beats that feels like walking out in the snow, and then dying

"Ec8or & Moonraker - Smash Him To The Ground" digitalized amiga breakcore at its best!

A must-listen for anyone who is interested in 90s hard electronic subculture.

https://www.discogs.com/release/25456-Ec8or-Ec8or

Ec8or - Ec8or (DHR CD 3 / DHR LP 3)

Ec8or's debut release - the eponymously titled "Ec8or" - was actually the first CD I bought at the Container Records store - a real "underground" Techno store - and not some supermarket or music chain store.

I.e. in a sense the first "real" hard electronic release I heard, instead of stuff that was more catered for the MTV and mainstream generation.

And this listening experience defined what was Hardcore, "Breakcore", etc. for me.

It was so different from the routes the various Techno sub-genres had taken. In the mid 90s, for the general population, "Techno" now meant chart topping Hardtrance and Rave - Mark Oh, Marusha, Raver's Nature. And then there was also Gabber, which left most of its gritty and dirty roots behind, and had become a much cleaner sound with pop chanting or samples. Music aimed at the dancefloor, music aimed at "fun".

Ec8or's CD seemed to take a much more serious approach to Hardcore - and to music in general.

But, more importantly. The abovementioned genres had become clichéd. Stylistically extremely limited. If you picked up a commercial hard trance record, you knew what to expect: build up with fast beats until a breakdown, when sawtooth arpeggiated melodies came in, usually enforced by soothing female vocals, rising snare roll until the "beat drops", possibly a middle part with a rising 303... etc etc etc. been there, done before.

For gabber it was the same: mentasm, fast Juno riffs, build ups, climaxes, "beat drops", all by the very number.

Yet on Ec8or's album, nothing was predefined. Anything could happen at any time. It represented a vast experimental approach to hardcore, electronics, and music.

There was the intro track that combined death metal riffs with hip hop beats, Gina's riot grrl screaming against the establishment, and a sound that resembled a dying transistor radio.

"You'll never find" is a dub downtempo number with no Gabber beats at all, lamenting TV and other culture, against the background of what could be described as the Commodore 64 recording of a pile driver.

"Pick da best one" is a rough and fast gabber track... or is it? There are elements of opera, speed metal, video game culture, natural born killers, and haunting screams... so it is definitely crossing over into all genres.

"Lichterloh" is one of the most peculiar tracks I ever heard... a monotonic-hypnotic excursion, with not much more than a low tempo breakbeat and swirling, meandering outer space sounds in an almost endless loop... but oh so beautiful!

"Ich suche nichts" is a nihilist take on the philosophy of nothingness, until it evolves into punch-to-your-nose Gabber madness...

"We are pissed" is a hardcore punk agit prop song with hyperactive breakbeats.

The best known track from this album is probably "Discriminate Against The Next Fashionsucker You Meet".

It connects various threads of this album together: starting with Gina's haunting screams once more, going into super distorted slow-mo industrial breakcore dub, before picking up a hardcore beat in the latter half of the track, then going into all-out screaming noizecore hell.

but the favorite track for me, back then, as it is now, is "Cheap Drops".

never heard anything like that before, nor will I likely hear anything like it again.

super strange, super bizarre / futuristic flowing ambient sounds... electronic tweaking and chirping, melting with drones and distant rumbling (how could they do this on a mere Amiga 500 computer?)... intermingled with Gina's spoken word part, that is so processed that one can barely understand any words or sentences.

until it all ends in a deafening scream once more.

i never could truly make out what the track is about... to me it gives of the feeling of being in cryosleep on a spaceship far away while the commander is shouting the execution orders...

but either way... audio material for dreams and nightmares.

These were just some of the tracks on this album, there is much more to discover.

When i listened to the album in its time, i truly believed this was the direction of music to come. That genre boundaries get jettisoned.

That thorough experimentation and exploration of sound begins. That hardcore and gabber take on a serious, philosophical, deep, political approach.

That hardcore music becomes ever-changing, ever-evolving.

That anything is possible.

But things did not pass that way. The ec8or album did not become the leading example for legions to follow. It is more of an "obscurity" in the chain of discographies.

hardcore and gabber quickly abandoned any experimental intent. The tracks become more by-the-number, more strictly tied to formulas and genre conventions, than ever.

The idea of "serious" electronic music became a thing of the past, replaced by "dance" music destined to keep the consumers happy and in line. Preemptive entertainment for model citizens in future dictatorships.

Now, looking at this, not all of this new music or "hardcore" is bad. Some of it is indeed quite entertaining. And yes, this goes for the commercial gabber and hardtrance of the 90s, too.

But sometimes I sit and wonder... "what if"?

what if music really took that direction from the mid 90s on, instead of giving in to sonic conservatism and rigidity again?

Of course not just based on this one album, but on the other releases that had this bold rebel approach, too.

What kind of music, what kind of sounds would we have now, if there indeed had been a steady evolution since then?

But then i realize... "It is not over yet".

Why shouldn't we go back, and pick up from there, and start creating a whole new sound - in the present day?

Or maybe we do not even need to go back...

Why do we not jettison and kick all the style limits, the genre rules, the conventions, the sonic and political conservatism, the pre-defined tracks and attitudes and clichés...

And create something truly new and beautiful?

Let us make it happen!

https://www.discogs.com/release/7582-Alec-Empire-The-Destroyer

Alec Empire – The Destroyer (DHR CD 4 / DHR LP 4)

The first DHR record I bought - because I saw it a music chain store, and knew I needed to buy it.

Even though this is an album release, it's basically made up of several "parts". Firstly, it got all tracks of the Death EP (minus "Necrophobic").

Then there are 3 tracks from a session Alec recorded for John Peel. There is a live recording of "Pleasure is our business". And finally, there are 7 tracks newly produced for the album.

Now let's talk about the sound. I'd like to say this is one of Alec's strongest releases, but, let's face it, *all* of his albums are strongest releases in their own regard.

This is the beginning of Breakcore at its direct source. The style is still visibly tied to jungle and breakbeat music - distorted amens rolling back and forth. Free of the IDM-stuttering or Tech-Step-Plagiarism of the post-2000 "Breakcore" artists.

Yet unlike other 90s Breakcore artists, there is no hard breaks+punk guitars+macho samples formula either.

Instead, the album combined breakcore, hardcore, and maybe even techno sounds, with an enormous array of other genres and music. Samples and influences from musique concrète, obscure documentaries, transgressive movies... dub, ambient, drone, vintage electronica.

At its core, this a very intellectual album with a heady, experimental approach.

Still, at the same time, it's a release of furious, dark and dirty aggression, nihilism, "punk" attitude, and known to set dancefloors into flames with its tunes.

I don't know how Alec managed to bridge this "contradiction", but he did. And this is one more thing that sets the album apart from other "Hardcore / Breakcore" releases in the 90s (or from today).

https://www.discogs.com/master/13439-Patric-C-The-Horrible-Plans-Of-Flex-Busterman

Patric C. – The Horrible Plans Of Flex Busterman (DHR CD 5 / DHR LP 5)

After releasing some of the grimiest and grittiest Hardcore, Gabber and Breakcore records, what was next for DHR?

Of course, doing a vintage chiptune album! Quite rational release schedule, isn't it?

No, all irony aside - DHR always was going against genre conventions and expectations, so this release made total sense.

It was sometimes claimed to be the first "neo-chiptune release" after the original era; while this likely is not the case, it definitely was one of the earliest.

And it's worth pointing out that it is a quite unique in its style: It's bona fide Chiptune, *but* unlike most contemporary releases, it makes no pretense of sounding exactly like its commodore 64 or amiga 500 precursors.

There are distorted breakbeats, "realistic" percussion samples, drones, synth pads, voices, and other elements that would have sent a real SID chip into mental overload.

So, in a sense, it's actually a futuristic Chiptune variant, a next step onwards, while today, most releases are merely "retro".

Now, all technical details aside, Patric C absolutely kills it on the release.

1. He is seemingly apt at creating captivating and bittersweet melodies (I wouldn't have guessed so, listening to his earlier eradicator and test tube kid total terror music...!)

2. the use of hardcore / breakcore elements adds a mean punch that "glider rider" or "auf wiedersehen monty" might have lacked.

3. there is enough variation, from beatless cinematic sequences to rushing chip-techno mayhem

and, most importantly, it all feels very *real* - one could really imagine this to be the soundtrack to an imaginary video game of the C64 / NES era.

So, in summary, as one track title on this album goes:

"You Made It Perfect!"

https://www.discogs.com/master/7988-Atari-Teenage-Riot-The-Future-Of-War

Atari Teenage Riot – The Future Of War (DHR CD 6 / DHR LP 6)

This release was done when ATR started to become really big; MTV rotation, releases with the Beastie Boys label, movie soundtracks, TV specials, and everybody's noize darling in global music and glossy magazines.

Thus, the underground put on a sour face, and thought this new, next album would be their big sell-out one. Like past punk, rock, or metal bands that suddenly turned pop, people expected ATR would cut their hardness and go all mellow and cheesy.

But the contrary happened! This album was definitely much more blood-thirsty than its pre-decessor; and maybe the most feral and untamed release in all of their discography.

Did you like tracks such as "Into The Death" or "Start The Riot" on the first album?

Well you are in for a treat, because this album is the logical step onwards from that.

Distorted terrorist gabber drums at high speed, grindcore and deathmetal guitars (with some oldschool punk), overloaded hyperactive samples, and alec, hanin, carl screaming at the top of their lungs.

Riot from start to finish.

A release that burst right through your skull.

Particularly noteworthy are the tracks that are indeed a bit slower and calmer than the rest. "Redefine The Enemy", "Death Star", "You Can't Hold Us Back" (and more) combine hyper-aggression with an almost doom metal, death dub feel, and are reminiscent of a bleak and haunting scifi flick turned soundwave.

https://www.discogs.com/release/158247-Shizuo-Shizuo-Vs-Shizor

Shizuo – Shizuo Vs. Shizor (DHR CD 7 / DHR LP 7)

Together with artists such as Alec Empire or Patric Catani, Shizuo belonged to the "earliest breakcore" generation.

Unlike Alec, with his intellectual and eclectic approach, or Catani with his scifi / 16 bit / cyperpunks workings (and also eclectic), shizuo feels more nihilistic and dirty.

As he said himself about his productions on a TV documentary: "This shit is easy. You just need to fuck it up". And when listening to his tracks, one can indeed "feel" that a lot of it is produced on the fly, with plenty of live twisting of filters and distortion units.

There is also a reduced, minimalist approach, with the majority of his tracks having little more elements than breakbeats and noise.

Some tracks on this album are outside this concept, though, which focus more on punk, funk or ragga loops.

All in all this leads to a very interesting blend.

https://www.discogs.com/master/44823-Christoph-De-Babalon-If-Youre-Into-It-Im-Out-Of-It

Christoph De Babalon – If You're Into It, I'm Out Of It (DHR CD 8 / DHR LP 8)

Picked this one up when seeing ATR live in Hamburg, then listened to it during the night, and I rarely slept so well.

A friend told me "very unusual release for DHR, very introvertive", and it's true, there is none of the riotous screaming, gabber guitars, and hardcore drums that DHR was known for on this record.

It's not exactly soft or calm either, though.

It's more like a reserved, introverted aggression, a dark and hidden brooding.

Snapping at ya from the subconsciousness.

Signified by the famous cover art, too:

Showing Christoph de Babalon in his plain living room, in a quite calm and intellectual pose, while in the background a poster informs us that he intends to "go out like a m***er f***er".

Stand-out tracks include:

"What you call a life" with its drones and peculiar melodies. The haunting vocals state "...all my life I have been used", underlining the theme of subdued anger.

"My Confession" an epic early breakcore track, running over 9 minutes, and including the sound of church bells(!).

And there's three beatless ambient tracks, and these are most remarkable, as they constitute a kind of "digital ambient" micro-genre of its own - sample based ambient music done on an amiga 500, sounding *very* different from all other ambient producers that I know.

https://www.discogs.com/release/1222032-Ec8or-World-Beaters

Ec8or – World Beaters (DHR CD 9 / DHR LP 9)

The follow up to the beloved first album by Ec8or, expectations were very high for this one, and I was not disappointed, in fact my expectations were even surpassed.

The tracks on this release hit harder and are more ferocious than almost any other releases of its time... well, even (or especially!) compared with releases of today.

The Ec8or brand of Digital Hardcore, that was only hinted at in the first album, is fully fleshed out here, and we have a good number of tracks with super-tough gabba drums, punk guitars and industrial noise, with gina screaming and yelling in a justified and angry fit.

There is hardly any other form of music that is as dopamine-inducing as this.

A bunch of other tracks are included, too, that are more on the instrumental or experimental tip, such as one of my favorites on here, "until everything explodes", a terror dub low tempo punk creation.

Still, I'm missing something in the vein of the purely abstract / ambient tracks of the first album.

This doesn't make this album any less awesome, though!

On a scale from 0 to 10, I rate this album 888ec8or.

https://www.discogs.com/master/45349-Various-Riot-Zone

Various – Riot Zone (DHR CD 10 / DHR LP 10)

Compilation with tracks of earlier releases by DHR. But, unlike the first compilation, there are no new or exclusive tracks here.

https://www.discogs.com/master/45010-Alec-Empire-Squeeze-The-Trigger

Alec Empire – Squeeze The Trigger (DHR CD 11 / DHR LP 11)

In the liner notes, Alec Empire describes these tracks as a kind of historic future that never passed; a style and movement he and other people tried to set up, but that never really came into existence.

And this is a real shame. What kind of style, some people might ask?

Well (most of) these were tracks that were originally released on the Force Inc sublabel "Riot Beats".

Force Inc was one of the leading Techno labels; but at the same time, it was always so much more than just "Techno". Force Inc had a more intellectual, experimental, philosophical and explorative approach to this form of music than most (or all?) other labels.

Force Inc subs such as Riot Beats followed the same route; but with breakbeat, jungle, drumnbass, and breakcore, instead of 4/4 drum machine beats.

So, the tracks on here are not just "early breakcore" or "harder jungle"; they re-present a wholly new style of music, that incorporates breakbeats with dub, punk, political rap, and a myriad of other styles; a future that seemed possible for both drumnbass and breakcore for a short moment in time; but that fizzled out (or was killed off?) quite quickly.

A shame. But we can still listen to this release, and imagine a parallel history were this style fully emerged and continued to evolve to this day.

https://www.discogs.com/master/45086-DJ-6666-Feat-The-Illegals-Death-Breathing

DJ 6666 Feat. The Illegals – Death Breathing (DHR CD 12 / DHR LP 12)

a very outstanding "later" release of DHR, taking the breakcore genre to its logical conclusion, and its end:

there are no longer any traces of jungle / breakbeat / "uk happy hardcore" elements, just unrelentless noise and distortion.

In fact, even the funk and groovy-ness of earlier alec empire releases is slipping away at times, leaving room for cold, hypnotic, repetitive drumloops that crush everything in their paths.

nihilism and bleakness has taking over the breakcore genre.

yet, while the album starts on an ultra dark trip, it gets worse. as the album goes on, the track structures, logic and rationality itself seem to fall apart (or get broken to their core). the later tracks often including little more than just swirling noize, or last and lost fragments of a slowed down, mangled breakbeat.

a journey into decay and mindlessness.

and i love it for that.

https://www.discogs.com/master/45287-The-Curse-Of-The-Golden-Vampire-The-Curse-Of-The-Golden-Vampire

The Curse Of The Golden Vampire – The Curse Of The Golden Vampire (DHR CD 14 / DHR LP 14)

A very under-rated record.

Alec Empire joins forces with members of Techno Animal, Godflesh and Napalm Death.

The result is something I'd call... Death Dub? Graveyard Funk?

Slowest breakbeats that almost have a Sludge / Doom Metal feel to them, and an atmosphere that will make all ghosts escape from your room.

Don't miss it!

https://www.discogs.com/master/45166-Bomb20-Field-Manual

Bomb 20 – Field Manual (DHR CD 15 / DHR LP 15)

Bomb 20 came from the tracker scene, and before any vinyl (or CD) release he actually had module releases within the demo scene.

This is once again one of the earliest full-on breakcore albums. Similar to fellow tracker enthusiast Patric Catani / Ec8or, there is a crisp, 8 / 16 bit sound to the overdriven breaks, and the rest of the sounds.

Bomb's demoscene origins come through in an overload of often odd vocal and other samples.

In its "pure punch", this album is already one step up from the earliest DHR releases; and there are even Speedcore / Gabber elements amongst the building blocks of the tracks.

https://www.discogs.com/master/44971-Alec-Empire-The-Destroyer

Alec Empire – The Destroyer (DHR CD 16)

Re-release with a slightly different track selection.

https://www.discogs.com/master/339472-Various-Youve-Got-The-Fucking-Power

Various – You've Got The Fucking Power (DHR CD 17 / DHR LP 17)

Compilation with a choice of tracks from earlier DHR releases.

https://www.discogs.com/master/45281-Cobra-Killer-Cobra-Killer

Cobra Killer – Cobra Killer (DHR CD 18 / DHR LP 18)

I feel DHR is at its most nihilist here.

The tracks seem as if someone just sampled some old funk and soul records, put digital hardcore beats and breaks to them, while gina and annika add lofi-recorded vocals.

Don't get me wrong. I think this approach is brilliant. Because it feels sincere; transmitting a motion of "we don't care, the world's doomed either way".

And this was not some obscure contemporary internet project.

It was released when the popularity and media eye's attention of DHR was at its highest.

And then putting out such an album, sticking one's middle finger to the world, takes a lot of spunk.

Favorite picks include Wound Water, Helicopter 666, and Cobra Z

https://www.discogs.com/master/45298-Fever-Too-Bad-But-True

Fever – Too Bad But True (DHR CD 19 / DHR LP 19)

Back in the day, this was more or less branded as "DHR's rap album", and this sort of rings true.

Slowed dub / break-best, the occasional distortion and screaming overdrive, and lyricism that lands somewhere between future horror rap and past nerd-hop.

One of the most peculiar DHR releases.

https://www.discogs.com/master/7998-Atari-Teenage-Riot-60-Second-Wipe-Out

Atari Teenage Riot – 60 Second Wipe Out (DHR CD 20 / DHR LP 20)

I felt a bit disappointed when listening to this release in its time. I was expecting something like "The Future of War" again, and feared that ATR had "gone soft" and "sold out". This motion was seconded by a lot of people.

But, looking back, I think we were wrong. After all, each ATR album has its own, unique approach. The first one had visible influences of UK Breakbeat, the second one has a huge slice of Gabber, and I'd say 60 Second Wipe Out is their punk / snot-rock album.

And, even without bass heavy hardcore 909s, it's essentially more gritty, dirty, and angry in its sound design than the predecessor.

Plus there are some interesting experiments, such as "US fade out", a downtempo number with horror choirs singing in the background... well, check it yourself.

And, towards the end of the album, there are the bone-bashing "Future Of War" styled tracks after all!

https://www.discogs.com/master/41692-Atari-Teenage-Riot-Live-In-Philadelphia-Dec-1997

ATR – Live In Philadelphia - Dec. 1997 (DHR CD 21 / DHR LP 21)

ATR's albums always were brutal. But their live-shows were B.R.U.T.A.L.

And this albums shows a tiny percentage of this lurid lunacy.

Probably not something to put on when you intend to go to sleep.

Because this is your wake up call!

https://www.discogs.com/release/320339-Hanin-Elias-In-Flames-1995-1999

Hanin Elias – In Flames (1995-1999) (DHR CD 22 / DHR LP 22)

Same as DHR 30, but with 3 tracks less.

https://www.discogs.com/master/53678-Lolita-Storm-Girls-Fucking-Shit-Up

Lolita Storm – Girls Fucking Shit Up (DHR CD 23 / DHR LP 23)

The "curse" of Digital Hardcore Recordings (no, not that of the golden vampire) seems to be that a lot of what that they did was simply 20-30 years ahead of its time. And because of that, few people really understood it in the then present day; and it got somewhat lost in the obscured pits of history; instead of getting the fame and recognition it deserved.

This release is a prime example of this. The mixture of digital hardcore + indie rock / lofi, riot grrl-esque vocalization, with feminist empowered lyrics that draw heavily on sleaze porn and trash sexuality, feels oh-so-contemporary and surely would have won over everyone hearts (and other other body parts) if released in the present days.

But it did not happen; the rest is history; but we can still listen to this record at least.

https://www.discogs.com/master/7998-Atari-Teenage-Riot-60-Second-Wipe-Out

Atari Teenage Riot – 60 Second Wipe Out (DHR CD 25)

Re-release of DHR 20 with extra content.

https://www.discogs.com/release/7577-Patric-Catani-Attitude-PC8

Patric Catani – Attitude PC8 (DHR CD 26)

also released as Patric Catani - Hitler 2000 (DHR LP 24)

The culmination of Catani's Breakcore activism, in my opinion. The breakbeats hit harder than ever. There is crispy and terrifying noize all around. As well as experiments with some odd / unusual sounds for the genre.

If you liked Catani's earlier Breakcore output, you'll surely love this one.

https://www.discogs.com/master/13351-Ec8or-The-One-And-Only-High-And-Low

Ec8or – The One And Only High And Low (DHR CD 27 / DHR LP 27)

Gina was from the 60s scene, mods, Lemonbabies and stuff, right?

So I'd say this is Ec8or's "rock" album. At least it feels more like a deranged and roughen-ed sonic youth, mudhoney, the fall sighting... than any of digital hardcore's gabber and techno origins. With its focus on true vocalization (as opposed to short sequences or samples), loud guitars and rolling drum beats.

The production is electronic through and through, though. Lots of digital fuzz, 8-bit crunch, modern equalizer driven distortion... a killer mixture if you ask me.

Kind of an odd bastard baby of 60s psych / garage rock and digital breakcore that is definitely able to stand on its own two feet.

Sparklin' noize overdose for the sophisticated surf greaser.

https://atariteenageriot.bandcamp.com/album/live-at-brixton-academy-1999-remastered

Atari Teenage Riot – Live At Brixton Academy 1999 (DHR CD 28 / DHR LP 28)

Only DHR would do something like this.

At the high of their commercial prospects, with the "Prodigy / Limp Bizkit" generation having gained interest in them, expecting some kind of industrial nu metal breakbeat shit, they drop this one; a sheer and harsh noize album (or track) from start to finish.

Bold move!

Apparently, the entry of Nic Endo had pushed ATR into the brick-wall-of-noise direction; and they're letting her having her way on this album, and rightfully so.

So, all ya noize aficionados: here is your treat!

https://alecempire.bandcamp.com/album/intelligence-sacrifice-original-digital-hardcore-masters

Alec Empire – Intelligence And Sacrifice (DHR CD 29)

Each Alec Empire produced album is unique and feels like a closed story of its own.

While this release picks up on the early DHR formula with sped up gabber drums, guitar noize and violent shouts, it turns it into something quite different. There is more a metal, rock, industrial feel to it, especially in its production intricacies. And believe me, these sounds are destined to be played on a huge sound system, maybe a rock arena or festival...

The lyrics are more aggressive and on point than ever... the path of destruction to the new world order.

Intermingled with this are tracks with a slower, deep and haunting punch, including my favorite, "The Ride".

And then there is CD2 - the "Intelligence" part, I presume.

This is a return to and step onwards from alec's experimental electronic path.

A bit like the mille plateaux or rauschen releases - but also distinct from it.

https://www.discogs.com/release/320339-Hanin-Elias-In-Flames-1995-1999

Hanin Elias – In Flames (1995-1999) (DHR CD 30)

Digital Hardcore Recordings was set up to start a revolution, to bring about radical societal change.

This is what happened on the obvious, "intellectual" level, if you want.

But I always felt there is also something different attached to it, a common thread that runs through most releases, that might exist more on an emotional or intuitive level.

A certain feeling of hope, of longing; the heartbreaking epiphany that there is no true happiness or purpose of life possible within existing society; and the burning desire to break beyond these cultural and social bonds; to experience something true and real, an adventure and thrill, and there is even more, like a whole vector of undisclosed and limitless emotions, euphoria, experience...

And it is just within reach and we would only need to reach out our hand to grab it and keep it forever... but then it all disappeared again. Was it a dream? Why did it pass? And can we... go back, and have another try at it?

To me, this did not only exist in the releases of DHR, but also in the 90s as a whole, and other media... the movies, the music, the "confused rebellion" of grunge and alternative rock... the cosmic ecstasy of the rave movement... the early cyberpunk and cyberspace craze of the internet... like an unkept promise of a new world, of unbound satisfaction... a promise that was not kept... or did we forfeit it?

And I think this album by Hanin Elias is one the releases where this feeling can be felt most prominent.

Unlike other DHR releases, there is much more focus on ambiance, on beatless tracks, on introverted passages... of strange, peculiar, enigmatic sounds... spoken words on a background of drones and strings and noises... like an intergalactic lament, inexplicably received on your headphones at 3 am in the morning while the sky is still blackened outside...

this makes it one of the highlights of the DHR catalogue for me.

but make no mistake. despite this cornucopia of subliminal beauty, it's also one of the most aggressive, bold, blood-thirsty... who is screaming wilder and louder, the drums, the distortion, or hanin?

a real gem within the already precious catalogue of DHR.

https://www.discogs.com/release/157700-Various-DIY-Fest

Various – DIY-Fest (DHR CD 31)

According to the wikipedia, DiY-fest was a "festival of ultra-independent movies, books, zines, music, poetry, and performance art that ran from 1999 until 2002.

The workshops were attended by a diverse, cross-subcultural audience largely from the independent film, digital hardcore, underground hip hop, hardcore punk, alternative media, and culture jamming scenes."

This compilation collects songs and soundbites in a lot of genres, often outside the label's normal range.

Especially check Nic Endo's remix of The Dillinger Escape Plan, which is one of the most diabolical Digital Hardcore tracks ever.

(I wonder if Dillinger himself secretly attended this show?)

https://www.discogs.com/release/109887-Various-Dont-Fk-With-Us

Various – Don't F**k With Us (DHR CD 33)

This compilation actually came from the internet. Alec launched a submission call to various (US-american) online communities, and they sent in tracks a-plenty.

Because of this, this comp is a good representation of the US Breakcore and underground scene at that date.

Even includes some artists that did further mischief for years to come, and some veritable stars-to-be!

https://atariteenageriot.bandcamp.com/album/redefine-the-enemy-original-digital-hardcore-masters

Atari Teenage Riot – Redefine The Enemy! (DHR CD 34)

Interesting concept, as it is essentially a collection of different mixes, rare tracks, and oddities, but somehow still feels like a coherent album.

For fans of the original Digital Hardcore style, this could even be a kind of crypto third album (after "1995" and "Future Of War"). Maybe the best album ATR never did!

Standout tracks are:

No Remorse - ATR live and together with Slayer at their most brutish

Sick To Death (Remix 97) - somehow manages to one up the spunk of the already lethal original

Waves of Disaster (Instrumental 97) - like a "trip hop meets hardcore techno" recording

Destroy 2000 Years of Culture (Remix 97) - unlike the "death rap" of the original, a much more gabba-terror adjacent affair

Sex (Original 12" version) - and unlike the original, much less of a "digital hardcore" track, but chilling acid-electro-techno

https://www.discogs.com/master/41647-Atari-Teenage-Riot-Burn-Berlin-Burn

Atari Teenage Riot – Burn, Berlin, Burn! (DHR CD 38)

"Re-release" album with tracks from both 1995 and future of war.

https://www.discogs.com/master/1725816-Panic-DHH-Panic-Drives-Human-Herds

Panic DHH – Panic Drives Human Herds (DHR CD 39)

A project by the touring bass guitar player of Alec Empire's band. While most of the later DHR releases have the ring of nihilism and disintegration to them, this feels like its containing building blocks for something new. This man obviously had a huge vision and a plan.

Think all the imagined and real epicness, grandeur, (anti)-glam of early-to-late 90s industrial rock and alternative metal... but darker, wilder, more gripping... mixed with the digital hardcore sound.

If the label had kept going...if the band had kept going... I could see them headlining rock arenas, TV, the world...

But alas, it did not happen...

Another lost signal of a future that did not come.

But you, the listener, can at least delight in this album!

https://alecempire.bandcamp.com/album/futurist-original-digital-hardcore-masters

Alec Empire - Futurist (DHR CD 40)

I have the theory that this is kind of like the "reversal" of the Digital Hardcore concept.

While Digital Hardcore was about the invasion of rock, punk, metal guitars and vocalization into the spiffy clean world of early techno and 90s electronics, this on the other hand is a true punk-rock album made with electronic means.

While the snot and sweaty funk of hardcore rock is ubiquitous on this album, the traces of its electronic origins are quite "visible" (or audible), too.

To the skilled ear, it's clear the drum rolls are pre-recorded, the "songs" are put together on high tech equipment, etc etc.

It sounds definitely different than some 50 dollar band which records their album on a blown-out mixer in some downtown studio run by an old, fried-out hippie remnant.

This ain't bad at all, to the contrary; it already mimics the sound of many world famous bands who did the same, but 10-20 years later.

So in a sense, this album was indeed a premonition of "the rock to come", and the name Futurist was aptly chosen.

Stand-out tracks:

Vertigo

Overdose

Make Em Bleed

XXV3

https://www.discogs.com/release/342042-Motormark-Chrome-Tape

Motormark – Chrome Tape (DHR CD 41)

I guess this is the "odd one out" in the DHR catalogue; feels a lot more like indie rock / pop than their teeth-breaking regular sound.

It's definitely a "hardcore" version of indie rock, though. And a lot of tracks are wonderfully lo-fi, maybe already foreshadowing the sound of (much) later bands like dum dum girls or girl one and the grease guns.

https://www.discogs.com/master/41759-Atari-Teenage-Riot-1992-2000

Atari Teenage Riot – 1992-2000 (DHR CD 42)

Compilation with tracks from the history of ATR.

https://www.discogs.com/master/342728-Atari-Teenage-Riot-Is-This-Hyperreal

Atari Teenage Riot – Is This Hyperreal? (DHR CD 43)

I think this is the biggest "jump between genres" from a preceding album by ATR.

The first albums were brutal industrial punk hardcore noize; and this has a visible "electro-pop" influence in a lot of the tracks. But it wouldn't be ATR if it did not come with a twist and still be vicious; the electro-beats are hard as nails, the lyrics aren't "pop" at all but agitatory and defy authority. There's room for plenty of experiments, especially amongst the later tracks.

And some tracks are "really hardcore", too!

https://atariteenageriot.bandcamp.com/album/riot-in-japan

Atari Teenage Riot – Riot In Japan 2011 (DHR CD 44)

As the name implies; a collection of live cuts from Atari Teenage Riot, touring in 2011.

Features mainly songs from that era, with added tracks from earlier releases.

Powerful and merciless!

https://atariteenageriot.bandcamp.com/album/reset

Atari Teenage Riot – Reset (DHR CD 45)

Each ATR album had its own spin, and this one almost feels like a collage of all the preceding ones. You got the euphoria of the first release, the metal fueled madness of The Future of War, the punk-spunk of "60 second...", and the 'electro-pop' of Hyperreal.

All thrown together, mixed, crossed over, cross-pollinated.

In my opinion, after Hyperreal, this is ATR's "return to brutality"; and a very worthy 'final' album.