Thursday, September 4, 2025

Shooting a nanobudget movie in the doomed forest of Hamburg, Germany

A production diary.


The "found footage" horror movie "Walking in the Doomed Forest of Hamburg" was released a while ago. It's centered about dark / hard Techno music, by the way.

This time I want to talk a bit about my inspiration, and the mindverse behind the movie production.
The first, scarce origins to the movie date back to the 90s and early Millennium years.
We were some kind of techno-art-punk anarchists in Hamburg... well, we looked and dressed more like nerds, actually.
But we meant it!
The idea was to create some sort of counter-media against the mainstream, and the more the merrier.
Songs, parties, radio shows (on a real radio, with frequencies passing through the earth!), CDs, vinyl records, artworks.

All of that - was not easy. Resources were limited, money was limited, tech was limited.
But we got along well and thrived.
The world of movies / moving pictures / music clips seemed like a gate we could not walk through, though!
Even the DIY aspect of it. Shooting a real "music video" or "short movie" felt like it would involve humanpower and resources that we just did not have, or could not afford.

Eventually, we arrived at the idea: why not cut it down to the basics. Why not just do a clip, music, video thing, whatever, which is just us walking around, cycling on a bike, or standing somewhere...
Seemed easy enough! We never got round to doing it, though.

2.

Fast forward, around ~10 years later.
I felt drawn to this area around the above-mentioned "doomed forest". I spent hours and hours walking there, riding my bike to it, taking the bus, car, whatever. Swimming in its lake. Watching the stars on countless nights. Watching meteors, transit of planets, blue moons, super moons, blood red moons... you name it.
I always thought: I should make a recording of this. Record these "roads" (well, pathways in the dirt, more or less), these trees, the stars.... no, I *should* not do it - I *must* do it.

But I never got round doing it.

3. Let's do the timewarp again. ~10 year later once more.

It's yellow. No, not the moon. Well, that's sometimes yellow, too. Also not the color. It's music. The title of a song. The first big hit by Coldplay. One of my favorites by them.
And they did what we, what I wanted to do, around the same time that we wanted to do it. Shot a video that - more or less - merely shows them walking (and, more precisely: only the singer is visible). On a beach. Under the stars. During the night - no, during dawn.

I never seen the video, though. Even though I adored the song. But one day I decided to look it up on Youtube.
And it's almost as good as the song! Emotionally moving.
As I was stunned by it, I looked it up on wikipedia, to read more about it.
I learned that they did *not* shoot it at nighttime. The whole dark-to-blue light sequence was an effect they added later.

In this moment, I felt like a mirror burst into pieces somewhere with a loud clang (in my imagination!). I thought: "This is possible? To change a simple recording in a fairly simple way, to create a version of reality that did not exist before?".
Because this "simple" effect felt more convincing than most CGI in trillion dollar hollywood movies. I really believed Chris Martin had walked this beach at night.

...And then...

So these were three of the main inspirations. Or ingredients.
I wanted to do a movie that simply showed something walking, or moving around. I wanted to put a spotlight on this very area in and around the forest that I loved.
And I wanted to do effects and post-production that were not super-expensive or super-fancy, but that would (hopefully!) enable me to create glimpses into parallel reality versions of the footage used for the final movie.

Et voila! That's my story.

You can check the movie here: https://www.youtube.com/watch?v=1EOsPRnXbNc

Monday, September 1, 2025

Review: "Various Artists - Digital Hardcore!!! Videos" (DHR 36)

Philip Virus was a long time collaborator with Alec Empire / Atari Teenage Riot / Digital Hardcore Recordings and, from my understanding, he is responsible for most of the video productions on this.

Atari Teenage Riot  - Destroy 2000 Years Of Culture

I think most people assume it goes like this: there is a band, or a musician, and they have a record out. They desire airplay on MTV and other programs, for a bonus promotional effect. So they stitch together a video, and submit it to the stations. Or maybe their record label or distributor even pressures them into doing this.
So the video is kinda disconnected and disjunct in relationship to the song material.
(Yeah I know MTV might no longer be the "go-to place" for this. Yet they were, in the 90s).

Philipp Virus - The Report

But this is not the case here at all, not this time! There is a symbiosis between Virus' creativity, directing efforts, edits, and the raw audio source. These videos are *digital hardcore*, too. If you listened to them with closed ears, they would still look "DHR".
 
Alec Empire - Low On Ice

I saw these videos on TV in the 90s, and they truly stood out from the rest... maybe they were truly "Harder than the rest", like the name of another compilation...
Seeing the video to "Speed" turned me into the whole Hardcore thing - and enticed me to become a producer, DJ, and later author, too.
Other videos introduced me to the marvelous soundscapes of "Future of War", or Shizuo, or Flex Busterman...

Ec8or - C**aine Ducks

They were far ahead of time, even in their own days, and you can see many visual techniques in these videos that left their mark even on today's online video world. Glitch, video overload, speed cuts, color cycling, visual destruction...

Hanin Elias - In Flames

But these are *not* just hyperactive glitch videos. There is something beyond that, in the technique of Virus, and its connection to the audio, and the mental universe of the whole DHR thing. I can't describe what it is. But I can hear it, feel it, *see* it.


Something that is lurking just below the threshold, shimmering, glowing, growing... and maybe, one day, it will break through into the "real" world...

Discogs Link: https://www.discogs.com/master/45246-Various-Digital-Hardcore-Videos

Friday, August 29, 2025

Great new Hardcore Techno and Related Releases from April to June 2025

Okay, so the situation is this:
There is a lot of awesome, exciting Hardcore music being poured out. This is going on for a few years now; and it's getting better, the amount of new releases grows, and things get more experimental, varied, and frigging rough at the same.
Yet, this still goes largely unnoticed. The sound is just not *getting through*. Many people focus on the same labels, artists, festivals, over and over again. So most of the "good stuff" remains - invisible. This is especially true for the internet and social media, where there is a serious lack of acknowledgement of the very lively new Hardcore *underground*.

Well, cue The Hardcore Overdogs. This was one of the reasons to start this e-zine. To give these new and old over/underdogs the spotlight that they so exceptionally deserve.

This does not mean we hate the "mainstream" artists. It's just not what we want to push.

And now, in order to actually *push* these very new underground sounds, we are starting this new series on noteworthy novel releases.
We won't focus entirely on Hardcore here, but also adjacent and otherwise special genres.
And, of course, not just on the unknown dogs, but also some well-known releases that retain an interesting and / or underground sound.

The series will be quarterly, with an entry for each quarter of the year.
This list is not exhaustive or complete, of course. These are just the picks we decided to center on. There is much more stuff out there!
But let us go ahead now.

Here is the second entry for 2025.

V.A. - Happy Gabber Sounds #3 (Mokum)



V.A. - Distorsion Times Vol. 13 (Braintrance)



Moonrise - Dying Light EP - (Gabbaret Records)



Terror Tribe - The Creation (Speedcore Worldwide)



Oz1 - Ghosts (Noisj)



Gabbaret Records 100 part: 1 + 2




Low Entropy - Industrial Black Metal / Progressive Speedcore Album



Pastis, Ninu Brt & Censored Corp - Exoplanet E.P. (Braintrance)



V.A - Ravebreakerz 03 (Rave or Die)



V.A. - Slowcore 4 Speedcore (Omnicore)



V.A. - Culture of Violence - Fractura Violenta

Thursday, August 21, 2025

Turn on, tune in, drop bass: How the American Midwest shaped the global Hardcore Techno scene, and how Daft Punk ended up playing a gig in the sticks

When it comes to Hardcore, and Techno music in general, there are still so many stories that are never told, that are unknown to most, that sound unconceivable.
One of them is the fact that in the 90s, one of the most influential regions for the invention and development of Hardcore Techno, and adjacent genres, was the American Midwest.


"Forget Rotterdam, forget Amsterdam! Milwaukee was where it's at."
Okay, the last sentence was an exaggeration. Hardcore was a global effort, many places joined forces in order to create the genre as we know it - Rotterdam, Amsterdam, Berlin, New York, lots more - and, yes, Milwaukee.
Let's cut the banter and get directly to the point: we are talking about the Drop Bass Network.
A label that was / is not purely about "hardcore". Instead, its sound occupies a liminal place, at a time when genre boundaries were nowhere to be seen. Acid, Techno, Minimal, Acidcore, Hardcore, Gabber, Speedcore.
And all of this can be found on DBN (and its sub Six Sixty Six, which you can read more about here).
But the center is definitely on the hard and dark side of music. Few mellow trance, idm or ambient sounds are on there!


But beyond mere "genre terms", we can identify several strains of Hardcore and Gabber. The Netherlands had the crazy, party, festival and "big rave arena" type of hardcore beats. Berlin had their Bunker and the caustic, claustrophobic "terror" sounds, often with sampled screams that did sound close to military commands.
New York had their moshpits and violent dancers, metalheads and streetpunks-turned-gabber.
And Drop Bass... had a much colder sound, metallic, futuristic, evil, machine driven, riots against the technocracy.

This sound still reverberates in today's Hardcore scene, as you can hear similar sounds in contemporary genres like industrial core, techno, or even more extreme variants.


The label never was confined to Milwaukee. You could see bald Gabbers sporting Drop Bass merchandise at many good underground parties in Hamburg, London, The Hague, and elsewhere.
The important Techno record stores stocked items of its catalogue.
It helped that DBN was one of the earliest adopters of the public internet (or "the information superhighway", as Bill Clinton called it).
They also used this to promote their parties and festivals, such as "Even Furthur".
They even managed to book a french Techno duo to one of them, which might have been not as famous back then as they are now.
And that's how Daft Punk ended up playing their first gig on American soil - in the sticks.


Some of the most important or interesting releases on drop bass:

Zekt – Godly Obscurity (with the acid gabber track "the last dawn", sporting Tim Curry samples) https://www.discogs.com/master/2010415-Zekt-Godly-Obscurity

Choose – Crucial Events (with classic track "slowgain" on it) https://www.discogs.com/de/master/2010412-Choose-Crucial-Events

Delta 9 - The Hate Tank (very influential extreme gabber release) https://www.discogs.com/de/release/9313-Delta-9-Hate-Tank

Frankie Bones – Einstein e=me+3² (hardcore and techno by this US legend) https://www.discogs.com/de/release/9314-Frankie-Bones-Einstein-eme3%C2%B2

DJ ESP – Interference E.P. (the one that started it all, by Woody McBride) https://www.discogs.com/de/master/16960-DJ-ESP-Interference-EP

Freddie Fresh – Gnarl E.P. (Freddie Fresh making an appearance on DBN) https://www.discogs.com/de/master/1563446-Freddie-Fresh-Gnarl-EP

EVO – We Are EVO (Acid legend Brandon Spivey & Hardcore legend DJ Freak in a joined project) https://www.discogs.com/de/release/21835-EVO-We-Are-EVO

Beverly Hills 808303 - No Boobs, No Sales! (done by inter-ferrence, who later scored an MTV heavy rotation hit with the electro piece "Space Invaders are Smoking Grass") https://www.discogs.com/de/master/238654-Beverly-Hills-808303-No-Boobs-No-Sales

Somatic Responses – Sub Space Distorters (early harsh acid release by the Somatix) https://www.discogs.com/de/release/35114-Somatic-Responses-Sub-Space-Distorters

Laura Grabb – Disk Rubble (female produced Acidcore releases are still rare, and this one's a killer!) https://www.discogs.com/de/master/1766978-Laura-Grabb-Disk-Rubble

Various – Even Furthur (Includes a track by "the inventor of hardcore", Marc Acardipane) https://www.discogs.com/de/release/13996012-Various-Even-Furthur

Wednesday, August 20, 2025

Digital Hardcore Recordings - Reviews of the first eleven EPs

Earlier this year we reviewed the albums of DHR. https://thehardcoreoverdogs.blogspot.com/2025/02/a-review-of-complete-digital-hardcore.html
Now we take a closer look at the first eleven EPs in this label's vast catalogue.

You don't know DHR? How could you! Here is what it is:

"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."


And, going on with the program....



Alec Empire – Digital Hardcore E.P. (DHR 1)

The Digital Hardcore EP that kickstarted the eponymous label.
And it was a true kick-in-the-butt for its future audience.
Hyperfast breakbeats, bass sounds that seem to come out of voodoo possessed synths, and a general call for an audio uprising.
Pick: "Pleasure is our business" - because it's the hardest of 'em all!

https://www.discogs.com/master/128484-Alec-Empire-Digital-Hardcore-EP


DJ Bleed - Uzi Party EP (DHR 2)

Very interesting release, as all 3 tracks have a distinct sound to them.
"Deaf, Dumb and Blind" is weird early breakcore, that was also featured on the "Harder than the rest" compilation.
"In Bed With Marusha" is kind of "indie happy hardcore", also with elements of industrial and uk breakbeats.
And my pick on here is "Sexy Intelligence Council"; heavy breakcore with one of the unholiest basslines I ever heard!

https://www.discogs.com/master/554806-DJ-Bleed-Uzi-Party-EP


Sonic Subjunkies - Suburban Soundtracks Pt. 1 (DHR 3)

I feel this remains a bit "underrated" compared with other Digital Hardcore releases?
These tracks are part of the "first steps" of the emergent breakcore movement.
Beastly distorted amens, acid lines, anime samples... what's not to love about it?
My fav choice is "Central Industrial", which adds elements of melancholic electronica to the madness, and the entire track is built around vocal snippets taken from the classic cult movie "Ghosts... of the Civil Dead".

https://www.discogs.com/release/33620-Sonic-Subjunkies-Suburban-Soundtracks-Pt1


Alec Empire - Death EP (DHR 4)

One of the most legendary releases of the 90s. This is as bleakest and darkest as it gets.
As the title implies, all tracks are related to death in one way or the other.
Stands out from other "early breakcore" releases by heaving some of the heaviest amens, bass lines that sound as they really were emitted from the "world below", and being more complex and innovative. For example, "Su*cide" has a very movie soundtrack feel to it, while "We all die" ends in a several minute long beatless dark ambient outro.

https://www.discogs.com/release/65172-Alec-Empire-Death-EP


Sonic Subjunkies - Turntable Terrorist EP (DHR 5)

Their sophomore release on DHR.
Style is similar to the earlier release: darkside breakcore on a steady diet of trigger-happy anime samples and other media (twin peaks!).
Smart and well-done.

https://www.discogs.com/release/64999-Sonic-Subjunkies-Turntable-Terrorist-EP


Hanin Elias - Show EP (DHR 6)

The 2nd EP by Hanin - only preceded by a 12" on Force Inc. Music Works.
But this is Digital Hardcore Recordings, and hence the sound is much rougher now.
Out of the ordinary and exceptional Breakcore with Hanin's top notch screaming voice.
Fav track: the slower "Tie Me To The Wall" that almost ventures into trip hop, dub, or funk territory!

https://www.discogs.com/master/45111-Hanin-Elias-Show-EP


Christoph De Babalon – Destroy Berlin! (DHR 7)

One of the best records ever in any music genre. period.
I never heard anything like that again, even on other releases by De Babalon (the same can be said about his subsequent album, by the way).
This 12" had the most heinous breakbeats back in the day, yet at the same time there are lush, acerbic-saccharine drones, synths, and laments reverberating through these compositions... oscillating between heaven and hell, anyone?

https://www.discogs.com/release/213924-Christoph-De-Babalon-Destroy-Berlin


Ec8or - AK-78 (DHR 8)

Ec8or's first sign of life on DHR and, surprisingly, this one is vastly different to their other output!
Could it be that this was more of a solo-production, without much involvement by Gina?
The "Killer Side" sports aggressive hyper-gabber in the vein of patric's alternate productions as e-de cologne, test tube kid etc.
The "AK-78 Side" introduces us to low fi dirty amiga centered breakcore.
All 4 tracks are amongst my favorites. And every "early breakcore" DJ needs these.
The CD version sports a nice hidden bonus track.

https://www.discogs.com/master/13305-Ec8or-AK-78


Ec8or - Spex Is A Fat Bitch (DHR 9)

DHR had the habit that the EPs were often as good as the albums, and that those EP tracks were then not included on future albums! (Which is very rare in the world of music).
And because of this, some of these EPs feel more like complete-but-miniature, stand-alone albums, and this here is no exception.
The sound is an exception, though, because no other Ec8or release sounds like this.

I think they come the closest to the vision of a raw punk band that uses amiga gabber drums and distorted breakbeats as a backup with this release.
Gina is at her angriest here, the walls-of-guitar are at their loudest here, and the 8 bit sample fuzz drowns everything in ultra-violet (sic!) noise.
What's not to adore about this one?

https://www.discogs.com/master/13318-Ec8or-Spex-Is-A-Fat-Bitch


Atari Teenage Riot - Speed/Midijunkies (DHR 10)

"Live bootlegs" that get cut on vinyl have their special charm as this a thing which is almost never done anymore (in our world of super-digital post-physical music).

Most of the tracks that you can find on here have also been included on other releases as well.
But this one's worth getting for the brilliant artwork which just screams "DIY punk got gene spliced with the video kid generation", and... the live version of "Start The Riot".
Because this track is a feral dog that will gnaw on your bones until there is no flesh left.

https://www.discogs.com/master/41639-Atari-Teenage-Riot-Speed-Midijunkies


Atari Teenage Riot – Kids Are United E.P. (DHR 11)

Another release by DHR that feels more like an entire album to itself, rather than an EP - especially given the fact that the actual albums by DHR often barely pass the 30 minute mark.

Therefore you get lots of content for your cash here.
Apparently, this is a beefed-up re-release of the earliest ATR outing - on a label that later discontinued its contract with this crew; so ATR left with a major's advance, put the money to good use by starting their own indie... and the rest is history!
But now to the sound: Digital Hardcore at its earliest, and at its rawest.

I'm sure you are already acquainted with tracks like "Kid Are United", "Deutschland has gotta die" or "Not Your Business", and the semi-"bonus" tracks are special treats as well.

https://www.discogs.com/release/127121-Atari-Teenage-Riot-Kids-Are-United-EP

Sunday, August 17, 2025

Do you listen to music while being on the move? - Join the Sonic Itinerancy project!

What is Sonic Itinerancy?

At its core, it's the idea that the way we perceive music changes according to whether we are listening to it at a *fixed* location, like a club, a disco, at home, a festival, a concert venue... or without being at any location at all; while *moving*, hiking, biking, riding the bus, train, raft, whatever... listening to music during travel.

And at best, this travel should not be done in a mainstream-commercially-integrated way - i.e. not a plane trip to a holiday resort or a car ride to work - but a natural, diy, free way. For example, hiking to a beautiful lake that no one else knows, or slowly strolling down the desolate streets past midnight, while the pale moon beams down at you sporting a bittersweet smile...


We believe that being *in motion* while letting the stream of soundwaves flow to our ears and brains totally changes the experience and pleasure of music. Hidden emotions, structures, content, suddenly becomes "visible", or audible, and generally: it's a wild trip.

You can read more about it here: https://thehardcoreoverdogs.blogspot.com/2024/01/itinerant-audio-music-for-sonic.html

How can I join in?

Listen to music while moving or traveling, and keep an audio travelogue.
Then send it to us, or excerpts.
Doesn't have to be much, perhaps 1-2 travel notes, a few pictures, a playlist, whatever...


We just want to know if more sonic itinerants are out there, and like to hear your story!

Maybe sonic itinerancy is something you have been doing on your own already, you just had not heard the term yet.

What kind of music is useful for Sonic Itinerancy?

In essence, any kind of music could be listened to while traveling.
Yet, in our experiences, deeper, darker, more experimental, more "out there" music works best. Like Dark Ambient, Psychedelic Rock, Trance, Doomcore, Industrial, Techno....


We suspect there might be a hidden sub genre of "travel music" within these and other styles as well. We are going to dig deeper here.

What is the point / final goal / intent?

First, in the most "sober, scientific" way we'd like to prove the assumption that it is not trivial in what way or condition you are in while listening to music. That your surroundings and activities change the way you perceive music.


Second, it's a lot of fun, and can lead to deep experiences, insight, delights! Maybe you'll even find your soul as you go home?

Third, once the Sonic Itinerancy movement gains solid ground and begins to sprout roots, we are interested to kickstart more advanced projects.


Maybe people could meet up in groups, listen to the same set of sounds, as they go hiking?
And then we will have the first "moving party" with 100s of people blasting beats while traveling from one place to the other.

The future is wide open...

If interested, and / or you need more information, contact us at tapeductseven@gmail.com

Again, it's enough if you just write down a few words about your "sonic travel experiences".

You can read these example sonic itinerant travelogues for inspiration:

1 1/2 Years of Sonic Itinerancy - A Project for Audio Travelers

Sonic Itinerancy: The Second Report

Note: no ai was used in writing this text.

Saturday, August 16, 2025

Overdogs of the past: looking back at Crapshoot Records out of UK

Crapshoot was a 90s Hardcore Techno label, and one of the power players in the UK Hardcore scene of that decade (even if remembrance of it might not be as big for it as it is for other labels these days.)
Apparently it was run by Anita Hurst and Simon Sanders, who also did some of its releases under their aka "pHönki".
It's one of the labels that has a very distinct sound - there is really none that is quite like it.
Apart from the output of the power couple anita+simon, there's also quite a few releases by the titans-to-be in global gabber, such as Simon Underground, Traffik, or DJ Freak.

And now let's jump right in, get pHönki, and listen to the sound.

1. pHönki - Afraid Of Nothing


2. Traffik - Taking Risks


3. Mad Doktas of Mind Altaration - Sir! Yes Sir!


4. Shit Spitter - Strap You Down


5. Brides Make Acid - Rotterdam Bonehead


6. pHönki - Betablokka


7. Total Output - Density


8. Simon Underground - Point Blank


9. pHönki - Fight For Your Right


10. DJ Freak - Gabbaphobic


11. F.U.H.D. - Gritty & Rough


Monday, August 11, 2025

The basic sounds of Hardcore and Gabber - A sonic encyclopedia

Hardcore and Gabber are growing in popularity again (finally!), lots of new folk flock to the scene, yet life out there can be hard for a newcomer, alright? So here is an introduction to some basic sounds and concepts of Hardcore Techno, with a certain focus on the Early Hardcore period of the 90s, of course!

Aimed at those who are fresh behind the ears and want information.

And maybe some of the old dogs can learn a few new tricks here, too?

Note: No AI has been used in writing this text

The basic Gabber cookbook:

  1. The distorted 909

Hell yeah! If there is one thing that screams Hardcore, it's the 909 kick. The 909 is a vintage drum machine designed and produced by the Roland company, that, for example, also created the iconic 808 which was / is important for acid, house, and rap music.

This drum machine was actually an initial flop for the company. Only few musicians used it in their songs (for example, Phil Collins and Genesis. It was discontinued and discarded. But then the Techno folk came around and appropriated it for their own purposes. And the Gabbers added that extra spike to it, by distorting the hell out of it.

read more here: Everyone Likes a Big Bass - A Look at the Lower Ends of the Frequency Spectrum

and you can watch a short tutorial on these kicks here: How to create an Oldschool Gabber 909 Bassdrum in the most simple way

Example tracks with a 909 sound:

Distortion - Franthic Thigh

Delta 9 - Atomizer

Pill Driver - Pitch Hiker

2. The Hoover

Yes, this is the second thing that screams Hardcore, especially "early Hardcore". I'd say around 90% of 90s Gabber tracks had a hoover. The origin is the "Dominator" track by Human Resource. Its intro has a howling, screeching synthesizer sound, very detuned, with plenty of processing. This sound came from a Juno synth, but later artists often just used a sampler with it.

It already has a powerful sound at home / headphones, but on loud speakers at a gabber party, this synth tears the whole place apart, I tell you!

Unlike synthesizer use in other 90s genres like Trance, Ambient... this one is rarely used for melodies or harmonies.

It is almost employed like a guitar: either with doing fast synth-riff, creating a hookline, or generating some type of "noise bomb" (maybe similar to a heavy metal power chord)

riff type: The Stunned Guys - Beats Time

hookline: Nasty Django & DJ Cirillo - Deal Wit' Beats

power hoovers: Asylum - Mescalum

3. The T99

Yes yes, the T99 sound. It is named after the track T99 by Anasthasia, which was the first, or one of the first, to use it. I would put it into the "sampled orchestra hit" category of sounds that became popular in 80s pop music (for example, The Pet Shop Boys). But it's more "harsh", enigmatic, special.

When used in a melodic way, with lots of reverb or echo delay, it can sound extremely epic, so it's no wonder that many tracks that became "Hardcore Anthems" have this sound.

It also has a "secondary weapon" ability: to create very fast paced and frantic rave-riffs that feel extremely energetic.

melodic use: Marshall Masters - Stereo Murder

Rotterdam Terror Corps - You're Dealing With

riff use:

Wasteland - First Time On This Planet

4. The "Rave Signal"

Has a long history... a klaxon / sonar / bleep type sound. Adds that additional outer space feel to a track, and / or a sense of high panic evacuation efforts going on. First use was in the earliest Techno tracks (again), later the sound became almost entirely confined to the Hardcore genre.

Unlike all other "synth" sounds mentioned here, it is almost never used in any melodic or harmonic way. Purely as a riff, or rather: like a hardcore techno morse code sent from Pluto.

example:

Hardsequencer - Brain Crash

Neophyte - No Worries

Read more here: Tracing the Bleep: The History of the "Rave Signal" in Techno music

5. The Mentasm

The kid sibling of the hoover, in a sense. In fact, often the terms hoover and mentasm are confused, or used interchangeably. It is a sound that appears in a track by Joey Beltram with the title... well, can you guess it - "Mentasm" !

Once again a juno sound, and it gets torn and twisted around this time.

Often used in a speed-up or distorted way.

S.V.E.N. II • Cranium Acceleration

6. The Isoprophlex drum

This one is a sound that was used in the Aphex Twin track "Isoprophoplex". Actually an aphex twin track that sounds very hardcore already, but has a broken rhythm, so maybe it is more like early breakcore? Either way, Gabber producers sampled this sound and used it in a lot of their own productions. I would say in the classic gabber era, this was the second most popular hardcore kick sound, only topped by the 909 itself.

Examples:

Tellurian - Hardcore Junkies

Cybernators - Ridiculous

Taciturne - Der Toten

7. The Quoth drum

Again a sample from an Aphex Twin track, and its name is... well?... "Quoth". ( ) This is by far not as popular as the other sounds in this list. But it has been used frequently, and is recognizable to hardcore trainspotters. Also, there were not many widely-used drum sounds in 90s hardcore techno, so it makes sense to focus on each specifically. And I'd argue this one was the 3rd or 4th "most popular" for tracks.

Example: Wavelan - It Will Stand

Zenith - Black Alienation

8. Breakbeats

60s soul records used to have what was called "a funky break": the vocalists, guitar men, and everyone else did suddenly "shut up", and now the drummers had all the time in the world to "swing it" and go off like a lunatic on a mental trip - before the actual song commenced again. ( ) these wicked beats later got sampled + used in the uk rave and hardcore scenes, and began to pop up in mainland productions, too. labels like ruffneck records were infamous for focusing on breakbeats in gabber tracks, or even put a whole "drumnbass / breakbeat" track on an otherwise gabber vinyl record.

Examples for breakbeat use in gabber:

Wedlock - Ruffneck (Sound Of The Drum & The Bass)

Biochip C - Black Sunday

9. Claps and other percussion

Early Hardcore used a lot of percussion. In the majority of Techno and House genres, percussion is used in a funky-sweet, chilly-groovy way. But not in Gabber! The percussion gets heavily processed, distorted, and essentially just hammers on like death mental drummers during temper tantrums.

Because of this, the "percussion" is often barely recognizable anymore, and formerly harmless "handclaps" now sound like hand grenades going off in a techno bunker.

Example tracks with processed percussion:

Stickhead & Don Demon - Demonhead

Titanium Steel - Paralyzed

Program 1 - World's Hardest MF

Oh, and yes, most of the percussion comes out of the 909 drum machine - again!

Some of these sounds do not have widespread terms, so we used our own makeshift ones. In these cases, we put the term in quotes.

Do you know more of these basic hardcore sounds? or do you have additional questions?

Let me know!

Sunday, August 10, 2025

Time Traveling Ravers: The Love for Science-Fiction and Futurism within Techno Culture

Time travel has been a common theme in western culture for at least 100 years.
There are some songs about it, too.


But there is hardly any genre that is so focused on the topic of time travel than techno and its subgenres.

Yeah, most former youth movements of the 20th century probably thought they were the future (with the exception of punks and goths, who thought they represented - "no future" [1] ).
And it's true in the most literal sense.
If you are the youth, you will be the future of society.

But with Techno, there's the idea that the sounds itself are a mirror of future music, that they precede the things to come in sound and culture of upcoming decades.
Or even beyond that, that they are a vision of the future, sent from the future through a time tunnel, or that the DJs themselves would be aliens from a future time that a) stepped in this world through a portal or b) crash landed here and got stuck.

Of course, few ravers believed in these things in a literal sense (outside goa and psytrance), but it's a story they liked to toy with.


While rock or pop artists that present themselves as technocratic time travelers do exist [2] , but are, yeah, quite rare.

So why is it like that?
Well, techno itself was done on new tech, new studio methods, new concepts in music. So in a sense, the sound really was that of the future.
Many production methods that are standard today emerged in techno tracks three and a half decades ago.

Also, I guess we can see some sort of "future cascade" building up in 20th century youth ambitions.
Rock'n'roll already had a sweet tooth for futurism, as seen in songs like "telstar" [3] or car models that looked like they just arrived from mars [4] .


Jerry Lee Lewis might have been the devil [5] in disguise [6], but Elvis Presley was an alien, I'm telling ya!

Then the hippies came and with them, LSD, Ayahuasca, and Psilocybin, the idea of musicians being able to "get messages from another time" was born [7]
Still, despite the hippie futurism, they also had a craving for the good old times, living on a farm with crops and weeds and country music, and without the need for society, conservative morals, or clothes.

So things were still *split*.
And with prog rock we get further albums with a Cassandran claim [8], only to be followed by very boring tropes related to the plights of middle aged dads [9] .

But with techno music - there is finally pure futurism.

Future shock straight into your head, man.


There are no hillbillies or squares or traditional dads, or any other relics of the past on the 1992 techno dancefloor. [10]

Everything is brand spanking new, everyone looks as being from a different species of alien.

The clothing, the clubs, the sound, the dance moves, even things like gender and sex - with 90s techno, they appeared out of time and space.

Men might be from mars, women might be from venus, but ravers, they were coming from some place beyond pluto [11].
I'm telling ya.


There might be more and different reasons, but we close this chapter, for now, for a while...

...and will open it again... at another time. [12]

List of 11 early techno and techno-adjacent tracks that deal with time travel.

1. X-101 - Rave New World (Underground Resistance)



2. The Horrorist - Year 4010



3. The Future Sound Of London - Papua New Guinea



4. Cyborg Unknown - Year 2001 (now a date in the past)



5. The Mover - Time Traveller



6. Dj Hooligan - Sueno Futuro



7. Model 500 - Time Space Transmat



8. Jam & Spoon - The Age Of Love



9. The KLF - What Time Is Love? (Live at Trancentral)



10. Phuture - Acid Tracks



11. The Horrorist - Flesh Is the Fever (tale of a trip into the future)



Further suggestions:

1. Model 500 - Future https://www.youtube.com/watch?v=LeHCd3NdgQg
2. Immaginazione - La Musica Del Futuro https://www.youtube.com/watch?v=4dhkLNdZDCI
3. Alien Factory - Destiny https://www.youtube.com/watch?v=-VUQ_4KWPVs
4. Titanium Steel - People Of Tomorrow https://www.youtube.com/watch?v=yrKfCv3SE28
5. Freez-E-Style - Awake in Neo Tokyo https://www.youtube.com/watch?v=NKHiDP9XEC0
6. The Overlord - Future Of The World https://www.youtube.com/watch?v=Ck6QUHMUn-0
7. Mescalinum United - We Have Arrived https://www.youtube.com/watch?v=BL5xh-wt3Vc
8. Reign - Enter 2017 https://www.youtube.com/watch?v=cHVzPW4RJr0
9. Pascal II - The Future Is Ours https://www.youtube.com/watch?v=wP04JHjpl9s
10. Final Dream - The Future is Dark https://www.youtube.com/watch?v=eGeGgCEKZHM
11. Lory D - We Are In The Future
12. Pablo Gargano - Everyone's Future https://www.youtube.com/watch?v=GDUQaE-nUAM
13. Jens Lissat - The Future https://www.youtube.com/watch?v=ItAy3-fA6_g
14. Base Force One - Phuturist https://www.youtube.com/watch?v=JEypiakVcSU
15. Future Viper - Paranoid Beauty https://www.youtube.com/watch?v=F8qgnJtLCQQ
16. I-F - Space Invaders Are Smoking Grass https://www.youtube.com/watch?v=tIAZTV_sYtk
17. Space Trax - Deduction https://www.youtube.com/watch?v=mThQm4rcnGI
18. Beverly Hills 808303 - Signals...The Acid Planet Is In Sight https://www.youtube.com/watch?v=_BN8J2gN6BI

Footnotes:

1: "The ice age is coming, the sun's zoomin' in, engines stop running, the wheat is growin' thin, a nuclear error, but I have no fear" https://en.wikipedia.org/wiki/London_Calling_(song)
2: The Rise and Fall of Ziggy Stardust and the Spiders from Mars https://en.wikipedia.org/wiki/The_Rise_and_Fall_of_Ziggy_Stardust_and_the_Spiders_from_Mars
3: The Tornados - Telstar https://en.wikipedia.org/wiki/Telstar_(instrumental)
4: "Woke up this morning and the streets were full of cars. All bright and shiny like they'd just arrived from Mars" https://genius.com/Shakespears-sister-hello-turn-your-radio-on-lyrics
5: "Soon I discovered that this rock thing was true. Jerry Lee Lewis was the devil." - https://genius.com/Ministry-jesus-built-my-hotrod-lyrics
6: Elvis Presley - (You're the) Devil in Disguise https://en.wikipedia.org/wiki/(You%27re_the)_Devil_in_Disguise
7: In the Year 2525 (Exordium & Terminus) - Song by Zager and Evans https://en.wikipedia.org/wiki/In_the_Year_2525
8: "I have a message from another time" https://genius.com/Electric-light-orchestra-prologue-lyrics
9: "The concept was originally envisioned by Waters in 1977 and refined in the early 1980s. In its completed form, it rotates around a man's scattered thoughts during his midlife crisis." https://en.wikipedia.org/wiki/The_Pros_and_Cons_of_Hitch_Hiking
10: "No More Fucking Rock N' Roll" https://www.discogs.com/release/301562-WestBam-No-More-Fucking-Rock-N-Roll?srsltid=AfmBOoo8qpT6ABNQIiyDoMgTyknQT2Y7GEhWJ7Fln20-bCie-qL6HJ_q
11: Beyond Pluto by Scarlet Fantastic https://en.wikipedia.org/wiki/Scarlet_Fantastic
12: "I sent a message to another time [...] I sent a note across another plane" https://genius.com/Electric-light-orchestra-yours-truly-2095-lyrics

Friday, August 8, 2025

Sonic Itinerancy: The Second Report

The Sonic Itinerancy project has been going on for nearly 2 years now.
And finally, the field studies are beginning to show fruits.

More reports by Sonic Itinerants are coming in.
First we got this one ( https://thehardcoreoverdogs.blogspot.com/2025/05/1-12-years-of-sonic-itinerancy-project.html ), and now here is one by another person called "Violated Angels".
Apparently, this travelogue already began years before (!) the Sonic Itinerancy project officially started. (Let's not talk about time travel here).

Read more about the Sonic Itinerancy project here:
https://thehardcoreoverdogs.blogspot.com/2024/01/itinerant-audio-music-for-sonic.html
And here:
https://thehardcoreoverdogs.blogspot.com/2025/07/the-first-found-footage-dark-techno.html

Violated Angels sent us photos and a few logs of these night journeys.
And now, let's just go ahead!


At night I feel like a spectator. I blend in, I stand out as much as the treetops stand out from under the black void above. I sink into the environment and become a part of it, I am no different from the asphalt on the ground or the shadows that lurk behind me. I become as meaningless and meaningful as the bricks that lay the pavement.


In the daytime I have to put on a facade, a mask - an act for people, but at night there are no people. I can rip off the mask and crush it on the asphalt beneath me.

Over time these night walks have become highly ritualized, like some TV serial killer's. First I wait until it is fully dark, not even a hint of blue light is allowed in the night sky. Second, I get ready to go out, I turn on 1 light in my living room, always the same one. Third, I pick out which album I listen to.


For example if I'm numb with depression and a little nostalgic, I'll pick The Goslings. Fourth, as I'm walking I pick out where I go based on how I feel, if I'm lonely, I'll sit under the substructure of the bridge along the canals and watch the lights dance on the reflection of the water.

If I hate the world and everything in it I'll walk past the more urbanized sections of my town, the shopping centre, the schools etc. Things that irritate me so I can revel in my hate even more.
  

If I feel claustrophobic and need to be alone, I'll go along the factories that make up half of my town. Fifth, when the album or albums if I need them are almost over, I'll start making my way back, loosely tracing the path I took to get there.
 

Sixth, when I get back home I'll grab a drink or something and sit in silence for a while, reflecting.
 

the first time I listened to "Selected Memories From The Haunted Ballroom" by The Caretaker was, as usual, on a night walk.
 

Normally night walks are comforting, but this time was anything but. What ensued was an hour and fifteen minutes of panic, disorientation, anxiety, I think I started hallucinating at one point. This genuinely made me feel like I had dementia.
 

I haven't listened to this album since, I think it might really be haunted.

At one point as I was confusedly stumbling through a harbor along a large concrete factory (Haitsma) where I walk quite frequently, I'm pretty sure I saw a ghost. It was way in the distance, It looked like some dark robed figure, it was tall, like more than 2 meters tall.


It stood still but I could see it moving ever so slightly, I had that feeling that you get when you know someone's staring at you, but from all directions. I pulled my phone out to record it to make sure I wasn't hallucinating it, and I actually got it on camera (in android camera quality of course)! The following morning I came back and it was gone. Spooky shit.


Suprised I haven't heard about the Sonic Itinerancy project before, I only really listen to music on night walks or when I'm riding the train to the GGZ (dutch mental facility), I've never thought about the fact that I'm moving.
  

I think when you're going somewhere and listening to music, it makes your life feel like a movie. Night walks feel a lot more emotional, with the freedom of not being confined in a room or bed and the added privacy of the night you can freely do whatever, you can dance or scream or cry or walk in the middle of the road and no one will even notice. Even better if there's an especially scenic or comforting place in your town, it can make it a lot more beautiful.
 

I remember walking along the bridge over the canal and watching the factory lights in the distance flicker in the water while it snowed and The Goslings - Windowpane started playing, which is a break/interlude in a very emotionally intense and noisy album (Grandeur Of Hair).


Album recommendations (for listening while moving)

1. Ophidian - Blackbox
2. Fifth Era - See You In Hell, FE#5-10
3. Aftermath - Aftermath EP, Live @ NCL Scum
4. The Goslings - Grandeur Of Hair, Perfect Interior
5. Christoph de Babalon - Love Under Will EP, File Already Exists, Continue [Y/N]?, If You're Into It, I'm Out Of It
6. Joel Giraldou - °A-Septic°Test°1, °A-Septic°Test°2
7. DJ Enthrall & Angstorm / D.K Dance - 45+8-01
8. Meatpacker - Negative Impact
9. Clinical Trails - Systema
10. Girnų Giesmės – Kerai
11. Burial - Untrue