The 1000 Commodores of the Amiga Shock Force - Additional Information

Here is some additional, in-depth information to our recent feature on the Amiga Shock Force - which you can read here.
It was sent to us by none other than Bazooka - the legend of Shockwave Recordings and many other labels.

So let's go:

"First of all let me thank you for recognizing ASF and for realizing how geniusly and insanely awesome they are.

I know them from the beginning, even before I released my first vinyl in 1995 on Shockwave Recordings. ASF are (or were) Dirk Konze, Ralf Kühn, and Dirk Obst (aka Obsti).
He was the voice to the outside world and he connected ASF to the work. He even connected them to me back in 1995. Since then we were really close friends and still are.
Compared to my music (which was always hard) their music was an earthquake.
ASF made 300BPM before DOA even Breakcore since ATR but they also did 1200BPM Tracks before people tried to get into the Guinness books for SH!T. I just wanna say, they are beyond comparison and I still love their old tracks as they are timeless.

OK back to the gang.
As Obsti acted assholinessly, they kicked him out really early. I think he managed them to release their first vinyl ever (on Fischkopf recordings) but then he got kicked out.
Dirk and Ralf are the creatives, they make the tracks.

Dirk is 10 times more creative than Ed Sheeran getting intimate with Johnathan Davis screamin’ in a new song for KoRn. He has no limits on anything or shame in taking stuff, crap tracks (like Sash) (actually like what I did with Scooter) and show them how it should have been done without being commercial.

Ralf is more Breakbeat focused and more into UK Hardcore but always pitched up +40. Therefore the Breakcore / Speedcore separation on the ASF Tracks as they are obviously different Genres. However, they merged them together and that was already in 1995/1996.

I managed to get them to their release on Speedcore Recs. as it was a Sublabel of Shockwave (aka run by the Speed Freak and as said before i was on Shockwave). He didn’t like the Amiga Sound for obvious reasons. Low Memory aka low Sample rates aka on long tunes, with many samples in RAM they still sounded Bitcrushed. Bassdrums for example were often on 5khz to 6khz not on 44khz actually never on 44khz, not even 22khz ;) Also Amiga sounded quite compressed and he also didn’t like that. Nevertheless, I talked him into it and im sure he wasnt disappointed with the sales of the Vinyls.

All my records had Graffitis on my Covers and my old Mate "Kore27/ÜbeL" did all the graffitis so I asked him to do a Graffiti Logo for them which you also see on the videos you posted. I also told Dirk, as he wanted to release some of his own, different Tracks to call himself “Narrator” as this was a Sound Library, associated with the “Robot Voices” on the Amiga. The Graffiti Logo Artwork was for this Album which I then released as a CD release for him. You can see my name on the lower right.
I also did their newer logo which you also see on the video screenshots. (Guru Meditation)

The latest I did was a Remix, aka collab with ASF which I released on my latest Mokum Release MOK#248 (2022) as “Aggroman” called “Life in Hell” which obviously has better Quality than the Amiga Tracks. However, I used the old Amiga Module as base and did this new Track for Mokum out of it. I also started making music on the Amiga and thats why I really appreaciate what ASF did in their track arrangement and aural wise. They both are geniussesss… ;)

ASF sadly releases too less tracks these days as they are too hard for the world and people don’t get that so who would pay for them ?
I see them as the H.R. Giger of Hardcore music. You can not teach creativity. Its born into you. You can try to imitate them but you never get done what they did. I really still love the guys and what the do and did. So once again, thanks for the feature here. I hope I shared some light into the dark side of the ASF.

They Are ACE !
Cheers mate, Bazooka/AGGROMAN !"

Thanks very much for these infos and facts, Bazooka!

Production Diary - "Strange Loops" on a "Doom Techno" vinyl

Dear Readers and Dogs,
For those interested, here is another entry in our series of features on the topic of music production.
This one was supplied to us by Low Entropy.
It is about a "Doomcore" tracks with a rather strange production technique... but read about it for yourselves...

Hello,
A new vinyl by me has been released by a label out of the UK (right in time for x-mas) and, continuing with my producer's diary, I want to talk a bit about the production process.

It's two tracks (one for each side ;-) and track A - "Enter Dimension" - uses a production technique I call "strange loops".
I didn't invent this one, far from it.
It goes back to a segment I saw on TV, a feature about Jean Michel Jarre on the french-german "arte" program.

Jarre made a very interesting statement, and used a metaphor:

People like to sit at the beach, and watch the ocean waves roll by, and they can do this for hours.
Yet if you put a human in a room, record one wave and one wave only with a camera, and then loop this recording back for hours, this human for sure would not enjoy this experience at all.

So why is it unbearable to watch a recorded video of an ocean wave on a loop - but pleasurable to watch ocean waves at the beach for a long time?
In both cases, you are looking at waves roll by, for hours. Where is the difference?

Jarre explained that, obviously, with the ocean waves, there is always a slight variation in the wave, and in what you see.
So, it is possible, even enjoyable, for a human to watch 100s (or 1000s) of waves pass by - as long as there is a variation, slight changes in what you see and behold.

Jarre then explained that's what made the sound of his early recordings special - good sequencers were not around for him to use in the 70s, so he played all loops by hand. The same notes, over and over (and over) again.
And because he is a human, and not a machine, and the synths probably were not as advanced either, these loops were not perfect, or even "faulty" in the eye (or rather ear) of today's engineers.
He never hit the same notes exactly right and like those of the loop that preceded the one he was playing.

But to him, these "imperfect loops" are better than the technical perfection of today.

So let's leave Jarre for now (good-bye!) and let's get back to "my" strange loops.
The statement inspired me, and I thought if this technique could be used for more things than "imperfect timings".



I tried to build on the following concept:

To have a looped melody, sound, rhythm, whatever...
And to let it loop for a long time.
But using ways to slightly modulate, change, morph, twist that loop.
So that no loop ever sounds *quite* like the one before, or the one after, or any other loop in this... loop of loops.

And I did not want to use "technical imperfection" for this.

So in the first track, the main melody is a loop. And it runs for a long time.
But. It constantly changes throughout the track.
And not just the cut-off frequency. The waveform itself changes from a sawtooth to... other things.
The melody gets modulated, too. And lots of other changes.
These changes are subtle, most of the time. But also harsh.

So, yeah. That is the "strange loop" technique. I did not invent this, that's for sure, I don't want to claim it. I just want to talk about it because I think.... it's a *quite* interesting technique.

Applying it to melodies is one thing. But it could also be applied to drum loops, vocals, any other sounds.

And remember: the special ingredience is to not just modulate *one* thing (like the frequency). But to apply several modulations on the same loop.
And that the loop is never quite the same.

Enjoy, and bon appétit!



You can listen to the tracks here: https://demonicwavs.bandcamp.com/album/low-entropy-enter-dimension
Or read my other "producer's diary" entries here

We will try to bring you more production diary entries by various producers in the future.

Review: Nekra Damage - Négation de L'Être (Culture of Violence 013)

Culture of Violence is a small but sweet label from France. How should I describe its sound?
Imagine Black Metal were a Techno genre. But not that ultra-aggressive, "loud" type of Black Metal, its more quiet, more dark kind.
It's like that. Slow, passive-aggressive tracks, dark, lurching, limping, haunting.

It has two tracks by Nekra Damage, who also runs the label. (The b-side track is called "This side", shouldn't it be the other way round?)
And a remix by The Man Unknown, who goes way, way back, in the world of techno, and in the world of darkness.

I love this release!

(And no, it isn't a Black Metal release. I was just making a comparison!)

https://cultureofviolence.bandcamp.com/album/n-gation-de-l-tre

Review: Miro - Unforgotten Seasons S3 (Self-Released)

Miro's been busy to get his analogue Hardcore / Doomcore catalogue onto digital for a while now.
This so far is my favorite of these anthology editions.
Of course the others were ten out of tens as well - how could it be elsewise with zombie rave mega smashers like "xtc express" or "purple moon"?

But this one has the hard to find, "lesser known" nuggets and, wow, there is some good and heavy stuff there.
Most importantly, for me, "Time Machine", a b-side he did is his Reign disguise - a long time ago.
And when I say "b-side" I mean it, yes, this "track" *is* the entire b-side, and no, it's a single track.
The b-side consists of three micro-tracks that are seamlessly mixed into a whole, already on the vinyl (read more about that here). A genius idea.
So it's nice non-vinyl-ears get to hear this thing too, now!

In other notes, "Face Down *** Up" get's its first "official" release with this one.
The Blue sun sees the light of day again - this track is kinda like a precursor to "Purple Moon" (in my opinion), just as brilliant. "Understand" is the flip side to Purple Moon - still gives me the chills.

And then... the final track... "Destination - Nowhere"...
A pure, beatless track, just doom-synths... the ost for nightmares... or dreams?
Just perfect!

FusionCore Techno Project

Hello Wolves and Dogs,
It's time to unveil a new project.
The "FusionCore Techno" concept.
It was born out of a brainstorming session by The Gabber Elders (a Gabber Elder brainchild!).
Partly inspired by Nikaj's "Mainstream Pollution".

The idea is to fuse Hardcore and Techno with one other style. In a mix set, but also possibly in other ways (tracks? visuals? albums? global tours? - "hello New Zealand!").

In the past, some DJs did multi-genre or sound-clash mixes (for example in the earliest days of "dance music"...)

The FusionCore idea is kinda the opposite idea of that.

Because in multi-genre mixes, you would for example spin a gabber track, then opera, then synth pop... and these sounds... do *clash*!
And that's good, because this is abrasive, abrupt, adrenaline...
But the opposite is good as well. Instead of doing a "clash", of going as far apart as possible... you can also try to fuse, mend, blend, smoothen genres.

Let me explain what I mean.
Say, someone would mix a set with gabber and rap. Then the DJ might choose tracks that fit to the rap theme. For example, gabber tracks with hip hop samples. Or that "fit" in another way.
Yet... the more far apart the different tracks are, the more of a challenge it'd be to fuse them... and this could be interesting as well.

It will be a deliberate and difficult act of balance, that's for sure.

Some examples for fusions would be:

Making a mix with Speedcore tracks and Death Metal songs.
Making a mix with Hip Hop and Gabber (I already mentioned that).
Making a mix with Video Game Music and Hardcore Techno.
And and and...

Another option is that it is not two discrete styles, but a vector.
For example making a mix with Gabber, Acid, Trance, Techno (cuz they all are a part of the same "style arrow").

The sky is limited! [sic!]

So let's get ready for some interesting fusions in (and of) the future.

If you are interested to join in with a mix or two, contact us at: tapeductseven@gmail.com

Here are three earlier mixes that already come close to the idea of FusionCore Techno. (Even if they were not made with this term as the banner)

Αναρχία Αραχνοειδείς - LightIntoDarkness (Ambient to Gabber Mix)
https://www.youtube.com/watch?v=UUYLVtay0V8

DJ Rites - End of Summer (mixes EBM with Hardcore Techno)
https://hearthis.at/omnicore-records/doomcore-records-pod-cast-096-dj-rites-end-of-summer/

Clakbastard - From Chill to Hell 2
https://hearthis.at/omnicore-records/doomcore-records-pod-cast-088-clakbastard-from-chill-to-hell-2/

The Hardcore Overdogs Recap 2025

Hello Wolves and Dogs,

Here is a list of 31. features we ran in 2025 that, according to our very subjective opinion, might be worth noting.

1. Japan's 90s Hardcore Techno scene was wild https://thehardcoreoverdogs.blogspot.com/2025/09/japans-90s-hardcore-techno-scene-was.html
2. 20 of the Hardest Tracks in any 1990s Hardcore Techno Subgenre (Video Feature) https://thehardcoreoverdogs.blogspot.com/2025/01/20-of-hardest-tracks-in-any-1990s.html
3. The Short Bios: GabberGirl https://thehardcoreoverdogs.blogspot.com/2025/06/the-short-bios-gabbergirl.html
4. Liminal Territory and the Occupation of an Undefined Space: The Rise of Techno and Hardcore in Berlin in the Early 90s https://thehardcoreoverdogs.blogspot.com/2025/01/liminal-territory-and-occupation-of.html
5. The Secret LGBTQIA+ History of Hardcore Techno https://thehardcoreoverdogs.blogspot.com/2025/01/the-secret-lgbtiqa-history-of-hardcore.html
6. What you can do to Help in the Fight Against Fascism https://thehardcoreoverdogs.blogspot.com/2025/02/what-you-can-do-to-help-in-fight.html
7. A Review of the Complete Digital Hardcore Recordings Catalogue - Part 1 https://thehardcoreoverdogs.blogspot.com/2025/02/a-review-of-complete-digital-hardcore.html
8. Slices of Fischkopf - Reviewing Phantom Releases That Never Happened on the Label https://thehardcoreoverdogs.blogspot.com/2025/02/slices-of-fischkopf-reviewing-phantom.html
9. Origins of the Rave Vamp/Riff https://thehardcoreoverdogs.blogspot.com/2025/03/the-origins-of-rave-vamp-riff.html
10. On the Multiple Roots of Hardcore Techno, Part 1 - Mono Tone Records from Cologne https://thehardcoreoverdogs.blogspot.com/2025/03/on-multiple-roots-of-hardcore-techno.html
11. Looking back at the first enigmatic PCP compilation: Frankfurt Trax Vol. 1 - House Of Techno https://thehardcoreoverdogs.blogspot.com/2025/03/looking-back-at-first-enigmatic-pcp.html
12. Dancing into Trance: The Very Bodily Sensations of Hardcore and Techno https://thehardcoreoverdogs.blogspot.com/2025/04/dancing-into-trance-very-bodily.html
13. A Tale of Two Cities: Tracing the Sound of Rotterdam - and its Hamburg Counterpart https://thehardcoreoverdogs.blogspot.com/2025/04/a-tale-of-two-cities-tracing-sound-of.html
14. How Lady Gaga, Nicki Minaj, and Snoop Dogg ended up using Hardcore and Techno samples in their hit songs https://thehardcoreoverdogs.blogspot.com/2025/04/how-lady-gaga-nicki-minaj-and-snoop.html
15. Throwback to the Mayday raves - One of the hardest Techno events in the 90s https://thehardcoreoverdogs.blogspot.com/2025/04/throwback-to-mayday-raves-one-of.html
16. Introduction to 90s Underground Hardcore Techno https://thehardcoreoverdogs.blogspot.com/2025/04/introduction-to-90s-underground.html
17. Everyone Likes a Big Bass - A Look at the Lower Ends of the Frequency Spectrum https://thehardcoreoverdogs.blogspot.com/2025/05/everyone-likes-big-bass-look-at-lower.html
18. 1 1/2 Years of Sonic Itinerancy - A Project for Audio Travelers https://thehardcoreoverdogs.blogspot.com/2025/05/1-12-years-of-sonic-itinerancy-project.html
19. Tracing the Bleep: The History of the "Rave Signal" in Techno music https://thehardcoreoverdogs.blogspot.com/2025/05/tracing-bleep-history-of-rave-signal-in.html
20. A Fool's Errand: Trying to Trace the "Joker" Archetype in Hardcore Techno Culture https://thehardcoreoverdogs.blogspot.com/2025/06/a-fools-errand-trying-to-trace-joker.html
21. History of Doomcore Techno - The 1st Generation: PCP https://thehardcoreoverdogs.blogspot.com/2025/06/history-of-doomcore-techno-1st.html
22. Raving Under the Nuclear Threat: Acid, Techno, and New Beat in 1987-1992 https://thehardcoreoverdogs.blogspot.com/2025/06/raving-under-nuclear-threat-acid-techno.html
23. Summer of Doomcore 2025 https://thehardcoreoverdogs.blogspot.com/2025/07/summer-of-doomcore-2025.html
24. Movie Compendium for Hardcore Heads (Video Feature) https://thehardcoreoverdogs.blogspot.com/2025/07/movie-compendium-for-hardcore-heads.html
25. 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 https://thehardcoreoverdogs.blogspot.com/2025/08/turn-on-tune-in-drop-bass-how-american.html
26. Extreme rock, rap, and electronic crossovers in the 90s: From "Judgment Night" to the "Spawn" OST https://thehardcoreoverdogs.blogspot.com/2025/08/extreme-rock-rap-and-electronic.html
27. Hardcore & Techno against Misogyny & Queerphobia https://thehardcoreoverdogs.blogspot.com/2025/09/hardcore-techno-against-misogyny.html
28. Timeline of Hardcore Techno style evolution during the 90s (Video) https://thehardcoreoverdogs.blogspot.com/2025/10/timeline-of-hardcore-techno-style.html
29. Acid Vision: About the Techno mysteries of the 303 Nation https://thehardcoreoverdogs.blogspot.com/2025/11/acid-vision-about-techno-mysteries-of.html
30. Production 101: The audio science behind Hardcore Techno bass drums https://thehardcoreoverdogs.blogspot.com/2025/11/production-101-audio-science-behind.html
31. Techno History: Leo Anibaldi and "The sound of Rome" https://thehardcoreoverdogs.blogspot.com/2025/11/techno-history-leo-anibaldi-and-sound.html

Producer's diary: Creating an album that combines Black Metal, Industrial, and Speedcore

Here is a rare insight: a glimpse into the production of an Industrial Speedcore Black Metal album.

This text is taken from a chapter in Low Entropy's Producer Diary.

Start of the chapter:

I produced industrial black metal and "blackened speedcore" before - often in collaboration with vocalists, such as Nullentropy, Countess M, or - gasp - my own voice.
reception was pretty swell, some people lamented the use of "guitar synths" instead of real guitars, though.

but i don't think this was the main problem. to me, the songs felt more like "speedcore" with a black metal fusion to it. like digital, sampler based stuff, that just happened to have elements of black metal too.

of course, a few other ibm bands are like that, and it can still be kickin' sounds.

but i yearned for a more organic, gritty, natural, chaotic sound, instead of clean digitalism.

i also noted that a lot of industrial black metal bands have a very straight-in-your-face, frantic, direct sound. closer to "blackened death", in my opinion, with lots of technical and speed changes in very short intervals.
while black metal, as a genre, has many songs that are monotonous, droning, that "rest" on a loop for a long while.
for example in depressive or ambient bm.

i wanted to put this into my own tracks, too.

part 2

so, on to the production of the album.
its "backbone" are the first three tracks. these tracks have a runtime of over 33 minutes together. so they are "one half" of the entire album.

i wanted to keep these songs very, very simple and straight-forward, but also epic and complex at the same time.
each one has just a few chord progressions as the initial seed, but they undergo a lot of modulations, transformations, mutations, and metamorphoses as the tracks go on.
there was also another idea i had: i wanted to break the genre limits of music, including those of black metal a bit.
remember what i said about the complaint of using "guitar synths"?

and indeed, digital / synthesized guitars have always been the great "sacrilege" in the world of metal.
so i desired to defy and play with this convention a bit.

first, I didn't use pre-build guitar synth apps, i tried to synthesize my own "guitar" sound using a modular software synth.

second, I think I came close to an "organic" guitar sound at times, but i deliberately used sounds that feel very synthetic, artificial, non-human, too. and often this switched within the track.

and i wanted to counterpoint the aggression of blackened speedcore with extremely calm, ambient, almost "heavenly" parts.

so there are many choirs and chants - the "emerald chants".

part 3

apart from these 3 main tracks, there are also 4 more tracks.
these are closer to "traditional" speedcore, hardcore, techno... but also with a bm feel.
and more than that, i tried to break up any regular structure with these tracks.
to introduce them to chaos.

now, the album was finished.
i still had to choose a name for it. i decided on "Emerald Chants in the Hall of Moebius".

part 4

so what are the "emerald chants"?
it's a "play" on words, or rather the attempt to hide various concealed meanings in this... title.

in french, "chants" sounds similar to the word "champs", which means fields, even in the context of science and physics (such as magnetic fields)...

hall, in german language, is a kind of echo, delay, reverb... and the heavy use of "hall" (reverb) effects is a defining thing for black metal, and also for my own electronic music production...

moebius is a kind of twisted loop - it made me think of a temporal loop. and i'm low entropy, and "entropy" is a concept of time in physics ("entropy is the arrow of time"). but entropy is a kind of strange, twisted concept in time. so i see a relation there.

and moebius was also the pen name of a french artist, mostly known for his comics and hollywood collabs, for example on the first, aborted movie adaption of "dune".
a lot of his work was published in a comic mag called "heavy metal", but despite this name, his art often *feels* very black metal.
and virtually every "space-themed" black metal cover art (or any space metal cover, really) feels like it was inspired by moebius.

part 5

so we have emerald screams, forces, fields in the delays and echoes inside the bizarre loops and twists of strange times and the mind of a weird artist... and any other variation of what i said above.
and this is what this album is really about.

https://doomcorerecords.bandcamp.com/album/emerald-chants-in-the-hall-of-moebius

We are The Hardcore Overdogs - Remix Competition

Come out of ye covers, ya wolves and dogs!
We are calling (howling) for a remix competition of The Hardcore Overdog anthem(s).

The Hardcore Overdogs are an E-Zine for great and / or underrated Hardcore Techno past and present!

https://thehardcoreoverdogs.blogspot.com/

We released several anthems to promote the magazine and the ideas it stands for, and are looking for artists that want to embody this hardcore spirit, too.

"Rules:"

1. There are five anthems (so far) and you can choose which one you want to remix - or remix several.

You can download the stems here: https://lowentropy.bandcamp.com/album/we-are-the-hardcore-overdogs-remix-competition

You don't need to use all of the samples - in fact, it would be interesting if you recreated some of the melodies and sounds, or even vocals, "on your own" and use that instead.

(yes, there is only 1 stem for the 5th track)

2. You can send in three remixes in total.

3. The deadline is 20.12.2025 (short deadline)

4. Your remix can be any style or sound, Oldschool, Gabber, Acid, Doom, Techno, even other electronic or non-electronic genres (vgm? black metal? funk?)
We'd prefer it if it wasn't Uptempo, Mainstyle, etc - though :-)

5. If it's possible, it should somehow embody The Hardcore Overdogs spirit. Tracks should be bold, underdoggy, crazy, out-of-the-usual... be your "freak" self when producing them!

6. We don't do mastering - if you want your track to be mastered, you need to do that yourself. But we assume that the tracks that get sent in are good enough to be released without mastering, so your track does not need to be mastered if you want to submit one.

7. The finished tracks should be sent to:

low.entropy.80@gmail.com

with subject "Remix Competition" (best as a download link to file hoster).

Further questions, inquiries, comments, can be sent to that e-mail address, too.

Strict deadline - if your track is not finished, we can't include it.

You can choose between these 5 anthems:

1. Hardcore Like The Wolf
2. Topp Dogg
3. Hakken With Wolves
4. We Are The Hardcore Overdogs
5. Drum Test (120-2000 bpm)

And now, ya Hardcore Overdogs, have fun with the remixes.

Woof!

Review: Industrial Terror Squad – Da Basdardz Are Back (Industrial Strength Records – IS043)

I never understood why this record did not get quite big...
Should have topped everyone's DJ charts, really.
Production is spiffy and well, and I don't mean mere "sound quality".
It's full of little ideas and cuts, there is structure and build-up to the tracks... it's not just some looped noise on a drum, if ya catch my drift.

There are 8 tracks on 4 sides of the 2 vinyls... and each "side" has a theme, which I think is a nice touch, makes it almost like a conceptual album.
We got the "gangsta, war, death, terror" sides, and like these titles suggest, each one is harder and more underground than the one before.
So it starts with oldschool gabber (of the speedy kind) and ends in early speedcore.

A fanzine once remarked that the "gabber" sides are the better one, as a terror teen I was mostly into the speedcore stuff, but nowadaysI think that each side has its qualities.

https://www.junodownload.com/products/industrial-terror-squad-da-bxxtards-are-back/1361323-02/

https://www.discogs.com/de/release/55635-Industrial-Terror-Squad-Da-Basdardz-Are-Back

Review: Minimum Syndicat - Magnetic Streets 01 (Self-Released)

I totally adore the concept of this release. The promo text promises us a return to the days of miami bass, pure fun and funk electro days.
And yeah, I could totally see an 80s TV show, or 80s revival show, playing these tracks, and the audience goes wild.

But hey, it's the syndicate. It's still very heady and intellectual techno. At the same time.
And that they pulled this merger is quite the feat.

Plus there is also a third layer here: an outer space, interstellar colony feel. As if aliens produced these tracks, instead of humans.

Love it!

Info:

Minimum Syndicat - Magnetic Streets 01

Released: November 28, 2025

Location: Paris

Styles: electronic, acid, electro, rave, techno

Tracklist:

1. Belleville Street 04:34
2. Bleach Street 04:04
3. Mercury Street 04:50

Bandcamp: https://minimumsyndicat.bandcamp.com/album/magnetic-streets-01

Discogs: https://www.discogs.com/artist/1109941-Minimum-Syndicat

The Pantheon of Terror

We wrote about a lot of topics so far. And one topic we are certain to return to is: Extreme Hardcore Techno of the 90s.
Some might call it "Terrorcore". Or early Speedcore. But it doesn't matter. What is meant is music that is a few notches harder than the gabber mainstream of the 90s.
We decided to list our excursions into this troubled territory.

A listing of what we consider to be the "Pantheon of Terror" in 90s Hardcore. And a few other tricks.

What other labels (and artists) deserve to have a place in this pantheon? let us know in the comments!

Extreme Techno Barbarians from Scotland: Looking back at Storm Records
https://thehardcoreoverdogs.blogspot.com/2025/07/extreme-techno-barbarians-from-scotland.html

All Eyes on Six Sixty Six: The Midwestern Terror Corps
https://thehardcoreoverdogs.blogspot.com/2025/06/all-eyes-on-six-sixty-six-midwestern.html

Our Top 5 Favorite Tracks from Kotzaak Unltd.
https://thehardcoreoverdogs.blogspot.com/2023/03/our-top-5-favorite-tracks-from-kotzaak.html

Sonic Terror out of Dresden: All Eyes on Brutal Chud Records
https://thehardcoreoverdogs.blogspot.com/2025/06/sonic-terror-out-of-dresden-all-eyes-on.html

History of Hamburg Hardcore - Fischkopf, Cross Fade Enter Tainment, Nordcore and Blut
https://thehardcoreoverdogs.blogspot.com/2023/08/history-of-hamburg-hardcore.html.html

Overdogs of the past: looking back at Crapshoot Records out of UK
https://thehardcoreoverdogs.blogspot.com/2025/08/overdogs-of-past-looking-back-at.html

Vienna's Hardest: Looking back at DJ Pure's Loop Records - and at Panacea's "secret" Gabber EP
https://thehardcoreoverdogs.blogspot.com/2025/11/viennas-hardest-looking-back-at-dj.html

Video Feature: Let's not forget how great Kotzaak Records was
https://thehardcoreoverdogs.blogspot.com/2025/10/video-feature-lets-not-forget-how-great.html

Japan's 90s Hardcore Techno scene was wild
https://thehardcoreoverdogs.blogspot.com/2025/09/japans-90s-hardcore-techno-scene-was.html

The Hardest Days of Rotterdam Style Gabber
https://thehardcoreoverdogs.blogspot.com/2025/04/the-hardest-days-of-rotterdam-style.html

Looking back at "Braindead" - and a few other compilation series
https://thehardcoreoverdogs.blogspot.com/2025/05/looking-back-at-brai

Playlist in honor of Stranger Things

Stranger Things Season 5 just dropped and I am sure you noticed.
I hope you are as excited to return to Hawkins as I am.
So how about a little Stranger Things playlist... to get you in the mood?
The obvious thing would be to list tracks that are like the Stranger Things theme and / or horror-scifi ost related.
But I am certain everyone is doing this already, and doing it fine...

So here is a little twist. A full list of Techno, Acid, Hardcore, electronic tracks that are *thematically* related to the tropes of the show... not necessarily in sound! So lot's of stuff about strangeness, upside downs, nasty monsters...

I hope you can dig it!

1. Biochip C - Strange Invaders

2. Infarct - On Another Level

3. The Mover - Changing Platforms

4. Stickhead & Don Demon - Conquer the world

5. New Balance - Up and Down

6. Lorenz Attractor – Strange Attractor EP - Complexity Crisis

7. Ilsa Gold - Up

8. Nordcore GMBH - Stairway to Hell

9. Lorenz Attractor - Shadow Fax

10. Hardsequencer - Broadcast

11. Mescalum - Asylum

12. The Possessed - Human Kick Machine

13. Temper Tantrum - Darkness Eternal

14. Walker - Entering The Violet Dimension

15. Subtopia - The Mob Rules

16. Mescalinum united - Vs Evil

17. Ffm Shadow Orchestra - Dead Man Walking

18. Sonic Overkill - Born in Hell

19. Mescalinum United - Lost Zones

20. Los Pablos - Mind Solution

Review: Umwelt - Echoes of a Broken Future (New Flesh Records 33)

Umwelt is an enigmatic musician... as far as I am aware of his discography, he started as an electro and turn-of-the-millenium techno producer.
He picked up a lot of other styles along the way: Cinematic Soundtracks, Hardcore, Oldschool Rave, even some house and funky-business.
It's all combined on this release, and that is a good thing, and, if you think of it, a remarkable achievement.
Tracks that sound like they could make Ravers go into gabbering. But that also could be used as the backdrop to a movie where man-eating aliens just arrived from mars. *And* that still have the funk, and got soul.

This is it. The dark blend of the future. Rave or Die, you know?

Techno History: Leo Anibaldi and "The sound of Rome"

The history of Techno had a lot of interesting places. Chicago House, Detroit Techno, Rotterdam Gabber, Berlin "Bunker" Hardcore... "Tunnel" Trance in Hamburg or the Junglist rude-boys-inna-London massive.

A lesser known spot might have been "The Sound of Rome". Rome? Yeah, the Romans were true Techno pioneers, too.
The sound of rome was way different in many ways from the "mainland" of Techno... I'd say it was even farther apart than Dutch Hardcore was from Detroit.

Raiders of The Future

Early Doomcore?

And this time I want to talk about one of its artists, Leo Anibaldi. Especially his early releases.

In his music, there are, of course, the straight elements of Techno and House. Electronic 4/4 beats, frantic percussion, lotsa acid bleeps and blops... "hypnotic", repetitive, looped. Often even quite minimal at it!

But, and that's the big "but", there also is a lot of... "other stuff"... in his tracks.
He did compositions that feel like Ennio Morricone on Ergot (for movie soundtracks that never came to be...?)
Tracks that sound like maniac caveman beating on drums... in a huge cave.
Even "weirder" stuff (most prominently on his albums).

Ritmicida

Early Speedcore?

My favorite, though, are tracks that are indeed closer to original Detroit, or past contemporaries such as Unit Moebius and Rude 66. Monotonous dirty little techno anthems. Droning on and on in their rhythm, but feeling like they got sent from Alpha Centauri. And being very Leo and being very Rome - simultaneously.

Beyond that, there are snippets of spooky, horror ost type sounds that make me think "goblin" or "suspiria"... well, how could it be elseways, in Rome?

The Story Become

sounds for movies that never were

Afterwards he was picked up by the likes of Rephlex; the sound changed more to IDM and other genres.

But, as we look at the early "sound of rome" here, this is beyond the scope of this feature.

Further listening:

1. Darkness https://www.youtube.com/watch?v=PnlPu4fA9AQ
2. I'm Really Sick https://www.youtube.com/watch?v=sNArz9DHOV8
3. Fantasy Re Edit https://www.youtube.com/watch?v=ATv0JdDePyc
4. Acid Pop https://www.youtube.com/watch?v=9-uwuw5yIMI
5. 1972 https://www.youtube.com/watch?v=P4ABTnhEs8Y
6. Fusion 2 https://www.youtube.com/watch?v=Vpu4nSd77jI
7. Translation 4 https://www.youtube.com/watch?v=4fVZMNSAe1Y
8. Modulazione https://www.youtube.com/watch?v=LbC329EykEY
9. After 30 Minutes https://www.youtube.com/watch?v=905YV4Jry5w
10. Muta 2 https://www.youtube.com/watch?v=YovwALdRaEQ

Review: Various Artists - Steel Collapse EP

"Umbrella" by Somatic Responses so far was only available on *the* legendary 11/98 demotape - and a short while later, on their Hymen release called "Circumflex".
But not on vinyl, and that's a shame.
An issue that has been fixed now, because the tracks are on the "Steel Collapse EP" on the good old label Traumahead society records.

What can I say about Umbrella? It's a dream... or poisoned nightmare... synths wash over you... that sound more like sirens... and then the drums demolish everything, raze whole cities to the ground... and you wake up in a sweat.

Even if you are only tangentially into dark, sick electronic music... listen to this track, please!

Now to the others.

The Untitled is skillfully at it again; he proves he is one of the best at doing "contemporary oldschool" Acid and Acidcore... makes you feel as if Senical or Cellblock X has somewhat come back... lovely!

Ics Xar is menacing terror.

DJ Raf is on the acid trip too... good food for your local squat!

And Rotello has the 2nd most interesting track on here (after Somatics). No insane speedcore, but almost like harder Techno... groovy and very destructive.

a highly recommended EP!

Production 101: The audio science behind Hardcore Techno bass drums

A while ago a producer reached out to me to inquire about a problem:
He tried to create "oldschool Gabber" kicks, but couldn't get the sound right. He used a modern distortion plugin but the results sounded like pish.
I told him to overdrive the drums, and the problem was solved.

So, this time, let's talk about basses. The famous Hardcore Techno and Gabber kick drum.
Not the newer, more "twisted" ones. But the big ol' bass which was used in the famous productions by PCP, Industrial Strength, Rotterdam Records etc.

Critical Mass - Believe In The Future (DJ Weirdo & DJ Sim Future Remix)

A prime example of the gabber kick

Part 1

So let's go way back. Why and how was "distortion" in music created anyway?
It started when technology was advanced enough to electrically amplify sounds.
In the 19th century and before, there weren't any amps or loudspeaker rigs, of course. Music was done in concert halls or bars, on stringed instruments like the violin, cello, banjo, fiddle, and piano. Performed vocally. Or people played on the trumpet, flutes, harmonica. Maybe some even were skilled at the kazoo.

This meant that music was at it is, and could not get any louder. Concert halls tried to maximize this by having clever architecture and whole orchestras. But still. Bach or Mozart could never have played in front of 20.000 people (like modern rock bands do).

Robert Armani - Hit Hard

Robert Armani hits hard indeed.

Part 2

With the advent of advanced electronics, and particularly vacuum tubes (plus transistors), it was finally possible to amplify sound and music performances - to crank up the volume.
This was first done in Jazz and Rock'n'Roll music (Elvis literally electrified his audience). And later in rock music.

As the popularity of the music grew, so did the audience.
There was the need for bigger and louder amps, and rock musicians had the need for bigger and louder music (for songs on their records, too).

With high amplification, it's hard to maintain a clear sound. Beyond this, the rockers realized they could overload the electronics by "cranking" the levers and knobs up high enough.

To put it simply, the amplification is then too big for the system to handle while still sounding clean.
It becomes overdriven.

It's like running too much power through a computer or electronic system, and you end up frying the transistors.
Just that this time, the sound becomes "fried", not the electrics.

(At least ideally, because in reality there's always the chance you blow up your amp for good if you are not careful enough.)

This overdrive effect can be seen plainly in sound apps; when you keep boosting the volume, the sound waves hit a "ceiling" and hard clipping occurs.

With tubes and other analogue modes of distortion, it's not hard clipping but a more complex form of "saturation". Still, it's overdriven.

How to create a Gabber 909 Bassdrum - Video Tutorial

Part 3

Trivia: "Overdrive", together with ring modulation, was one of the few advanced electronic music effects that everyone was aware of in the 20th century. Even if they did not know what it was, everyone had heard it. As it is something that occurs "naturally" in cheaper transistor radios, TV sets, kid toys... walking down a street and hearing "awfully distorted" music blasting through a window, because someone listened to their radio, was a common occurrence. (And I guess it's still a common thing).

Phrenetic System - Fantasy

Belgian Hardcore on a 909

Part 4

So for a long time, overdrive was the main form of distortion that was used in music.
Only much later did different distortion become commonplace.

Let's summarize it once more:

You amplify a sound or sample until it exceeds the "maximum volume level" and becomes overdriven - either by saturation, or clipping.

Apart from dedicated overdrive fx units or pedals for musicians, there are also some improvised, makeshift, or clever solutions to do this. After all professional music gear was / is expensive.

90s Gabber producers sometimes just ran the signal through the mixing desk, and cranked it up until it became overdriven. Some Acidcore producers jammed their sound directly onto a reel to reel tape until everything went into the reds.
In theory, you could even use a regular tape deck for that (which I actually did, for fun, in the 90s).

More "digital" producers using a sampler or tracker could simply amplify the sound on their device / app until it clips.

Pilldriver - Pitch-Hiker

909 overdrive in full effect

Part 5

So that's the "secret" behind the oldschool Hardcore kicks. Overdrive.
Push your sound into the reds. And push it further and further, keep pushing, until it becomes totally distorted.

It's quite simple at that, isn't it?

Of course, actual kick production could be more complex. Producers added EQ, compressors, flangers, reverb effects... used multiple layers of sounds... etc.
But at the core it's overdriven waveforms.

And, a word of warning, not all bass sources are suitable for this.
It works *really* well with the TR-909 by Roland and its soundalikes.
But with other drum machines or samples it might sound just like mud.

Bold Bob - Bold Bass II

going into total overdrive

Hope this information was interesting and, if you are a musician, possibly useful!

You might also be interested in these topics:

Everyone Likes a Big Bass - A Look at the Lower Ends of the Frequency Spectrum
https://thehardcoreoverdogs.blogspot.com/2025/05/everyone-likes-big-bass-look-at-lower.html

Production Tutorial: How to create a 90s Gabber kick
https://thehardcoreoverdogs.blogspot.com/2024/08/production-tutorial-how-to-create-90s.html

The basic sounds of Hardcore and Gabber - A sonic encyclopedia
https://thehardcoreoverdogs.blogspot.com/2025/08/the-basic-sounds-of-hardcore-and-gabber.html

Note: No AI was used in writing this text.

The crazy world of 1990s Hardcore and Techno underground culture (A deep exploration video feature)

The 90s were strange and bizarre, and one of its strangest parts was the Hardcore, Techno and Gabber subculture.
It's still largely and invisible to the mainstream. So here we are taking a deep and scrutinizing look at it.
The focus is, of course, not on the more known "Gabber hits and facts" of the decade but the true blue deep dark underground stuff.
Maybe even some hardened "Gabber elders" might learn one or two tricks here?

The video is segmented into several "shorts" about a specific topic.
To make things more interesting, it's not a dry documentary, but a very media-mix of sound bites, clips, texts...

Well, off you go!

The whole thing is brought to you by The Hardcore Overdogs, "E-Zine for great and / or underrated Hardcore Techno past and present!"

(I.e. by us)

Note: for some of the clips, we used a variety of sources. And we lost, erm, a bit track of them.
So if an excerpt of one of your own clips is in here, and you want to be credited, or have the clip removed, please reach out to us!

List of the topics that are addressed here:

From Techno to Speedcore - A Timeline
21 Hardcore Techno related video clips from the 90s in under 100 seconds
Horror Hardcore Techno Cover Artworks (Halloween Reel)
Timeline of 1990s Hardcore Techno Style Evolution in 100 seconds
Hardcore Techno Tracks used in TV and Movies
Fischkopf Hamburg in 30 Seconds (1990s Hardcore and Techno Label)
From Techno to Doomcore_ A Timeline
Hardcore and Techno Music used in computer games
90s Underground Hardcore Techno in 40 Seconds
The Industrial-Hardcore-Techno Connection
Rare Footage from 90s Hardcore Techno and Gabber parties
90s Hard Acid and Acidcore in 100 seconds
Hardcore Techno and Gabber at the 1990s German Mayday Raves
20 of the Hardest Tracks in any 90s Hardcore Techno Subgenre
Japan's 90s Hardcore Techno scene was wild
Creating an Oldschool Gabber 909 Bassdrum in the most simple way
Let's not forget how great Kotzaak Records was!
20 Hardcore Techno Sub-Genres in 2 Minutes
The intense world of 90s Hardcore and Techno parties
Remarkable Hardcore Techno Vinyl Artworks

If you want to support us

Hello,
A message regarding our own projects, for a change.
In case you want to support Doomcore Records (and The Hardcore Overdogs!)
We created these three promo artworks. Would be cool if you could share them on social media, or elsewhere (print them out and drop the paper somewhere or give it to your friends 😉

All money will be fed back to the label and the artists.
You can download the images right off here. Choose the one you like best!

https://drive.google.com/file/d/12fesFUlKP4avtgAQrDPmsHbznYewEgrw/view?usp=drive_link

https://drive.google.com/file/d/1Vt8lvydmit1gj1RWmPk1_X6dNXxaG3FI/view?usp=drive_link

https://drive.google.com/file/d/11TL5w8JxLZXVA3AqFZ7C0YSHhT-jqDIf/view?usp=drive_link

And here is the accompanying text:

Do you want to support the electronic underground?

You can now get the entire Doomcore Records
discography for just 3.15 euro.

That's 300+ releases, Doomcore, Oldschool,
Hardcore, Techno, Acid... and lots more.
In various tempos and sizes, albums, EPs,
compilations, anthologies...

Plenty of stuff to enjoy!

We will use all earnings to support our artists
and to continue building the Doomcore underground.

https://doomcorerecords.bandcamp.com/album/the-definition-of-doomcore

The world is doomed - let's dance!

Regards,
The Hardcore Overdogs

A Political Text

It's my birthday today, so I feel like writing about things *I* want to tell (instead of catering to others).

I wrote a lot about hardcore techno, history, subcultures, in relation to politics, political ideas, political movements.
And a lot of people got angry and yelled "Hardcore was not political in the 90s. People were against politics".

And it's not true. Outside the "big commercial" labels and events, the movement was very political, it was run by political people, anarchists communists, and so on, manifestos were written, leaflets were handed around. gabber basses hit home next to anarchist bookstores.

i know it, because i was there, because other people who were there confirmed this. but more than that; even the non-hardcore and / or mainstream press described the hardcore techno movement as radical, political, and anarchist.

but that is not what i want to talk about! because, yes. you are right. not everyone was political who listened to hardcore, gabber, and speedcore. not everyone owned a book by kropotkin or had a shirt with a socialist slogan. very true. some even despised the thought of politics, or could not care less.

but, and that's the big "but".
the scene was accepting. it was tolerant. to all kind of weirdos and freaks and bizarre people. and no one was really judging each other. everyone had his / her / their own things.
maybe someone never wore shoes and walked around in socks everywhere. or someone was into occultism and talked about rituals all the time. or someone had poor personal hygiene (well, a lot of us did, right?) we were all into this together, and we accepted that everyone is different and had their own strange things they were enthusiastic or hell-bent about.

so if someone was a card-carrying communist. and talked about politics all the time at parties or other music meetings.
then even those who hated politics or thought that this guy or girl or they was completely off their minds.
was accepting this and thinking "well yeah that's just how they are. we can't help it". no-one called for a removal of people like this, from social circles, from parties, or even from the scene (like it is done today!).

then, over the years, something happened.
opposition to the "freaks" began to grow.
people really tried to go against the political types. (and later, against others, too).

and not because they thought that left wing and radical politics would be "really dangerous".
they argued that these humans were on the wrong track, deluded, out-of-their minds, talking bullshit, weaklings.
and if they were allowed to "roam" the hardcore scene, they could weaken it, like a virus, like vermin.

it reminded me a bit of the "fascist" monologue towards the end of the movie videodrome... how "we" (as the scene) needed to be bold and clear and direct... and could no longer accept weakness and weaklings and "soft" people with "strange" ideas...

and yeah. i think all of this is an expression of a kind of "non-political" fascism. that one somehow needs to be strong-willed and "sane" in one's mind and behavior, and not be a "weirdo".


i mean, yes, it's true. there were, and there are a lot of cliché characters in the subculture, people who run around, talk about socialism and revolutions, while still not living in a home of their own, "who never had a partner", who will never start an actual revolution... likely...

but, i ask you, what is so bad about that? seriously? why would you judge?

if you think such human beings are disgusting or worth despising... well then you have the completely wrong picture.

the HC sub-culture was always accepting of all kind of weirdos, freaks, outcasts, "as long as they harm no other". accepting of "softies" and "pseudo-intellectual wanna-be revolutionaries", too.

regardless of whether you feel "political" or not... let's keep it this way!

Review: Oliver Chesler – The Nebula (HYP 008) [1998]

It's not fair that some releases stay hidden - stay under-appreciated.
As this happened at the end of the 90s, around the same time that Chesler had his first giga-hits... still it did not take the world by storm, as it should have.
After all, this is not yet another techno production.
This is well-crafted, there is a lot of thought behind these tracks.
They are embedded within mini-narratives, short spoken words, meandering storylines.
I don't have confirmation, but I think all of these tracks add up to *one* big story.

A1 - Welcome Transmission
I guess this must be the first track then?
We are welcomed by a narrator named "A.G.N.E.S." who introduces themself as the "a.utomatic g.uide into the ne.bula s.ystem and to delta city".

It's ironic that, while they define themself as an AI, it's clearly voice acting by a real human being, wen today the situation might be in reverse!

As the track goes on, agnes gives us specific instructions on our way through the nebula system, for example on how to do a "manual check of the neutron power gauge" or "engaging the booster rocket".

each of these actions is accompanied by a certain sound or change in the structure / flow of the track.
and i think that is just genius.
storytelling by dance beats, acid bleeps, and trance-y synths.

A2. The Energy
This is a much shorter story because - "you are the energy that is my soul".
The track's located at the convergence of goa, trance, techno, ebm.

B1. Hyperspace
Now we are entering hyperspace!

Instead of a normal narration, we are listening to the actual credits of the record itself ("...was recorded by oliver chesler").
It's embedded in fuzzy space synths and a computerized voice, though. Thus it fits into the world of the record, too.
And that makes the whole thing... quite meta, if you think of it.

If you are a real music nerd, let me tell you that none other than Ennio Morricone once did the same thing:
He narrated / sang the credits to a movie he scored, during the very movie, including his own credits!

B1. Speeding Through Time

We are told by the nameless protagonist of the record that while "traveling hyperspace", they came across a planet called earth.

what follows is a wicked techno / oldschool / hard house / hardcore mix of sounds.
Guess things got more earthly and less celestial now, right?

B2. Vacuum

I don't know what happened, apparently we (and the protagonist) fell into a kind of (cosmic) vacuum.
this is the most hardcore track off the record.
there is no narration anymore, so i guess there is a kind of ambiguous ending to the story...
did we get lost in the vacuum (forever), or is this more like some "magnetic force field" in star trek, where you can get trapped, but will eventually emerge?

you see, it's necessary to listen to all tracks in the right order to get this "whole story".
(just in case it's *really* intended as a story!)

regardless:
it's a quite fun and nasty little EP by mister chesler, worth listening in every way.

Review: Lo†Ph - Trinity Dance

The world of Doomcore Techno is under the ground, labyrinthine, catacomb. The plain existence of doomed Techno is barely visible to the mainstream citizens. But some releases stay invisible, even to the Doomcore maniacs themselves.
One of these releases is "Trinity Dance" by the Lords of Phutnture.
And this lack of visibility is intentional.
It was co-created by one of the biggest "anti-stars" in the 1990s Gabber realm.
Yet hidden under an obscure alias, never released on physical media, buried as a "web-only" release by an opaque media collective.

No promotion, no live performances, nothingness.

It's not easy to exactly date the creation of these tracks, but an educated guess would be the mid or the too-late 90s.

Now on to the tracks.
It is a remarkable release. Very different to the main flow of Doomcore.
The tracks loop, drone on, repeat, hypnotize, mesmerize, for minutes and minutes (or hours and hours... in your mind?)

These are seemingly minimalist melos and synths, but done in a very complex, gargantuan way.

In fact, I'd argue this release channels minimal wave, 70s industrial, EBM, New Beat... just as much as it channels PCP and the Dance Ecstacy.

What did Robert Smith once say?
"Sometimes I'm dreaming... while all the other people dance".
Yes, dream on, or dance, dance like Captain Nemo, on the way to nightmarish Slumberland.

These 3 main tracks get supplemented by a cool intro and a hot gabber track.

While the release is still almost invisible to this day, some people indeed did do listen.
It became a release that was whispered about, that got passed around, particularly in the early millennial Dutch Doomcore scene.

I'd assume it had an influence on artists that followed this way...

But, feel free to behold this precious opal, in your own ways, too.

Vienna's Hardest: Looking back at DJ Pure's Loop Records - and at Panacea's "secret" Gabber EP

This one's a true under / overdog. It's entirely inexplicable that this label from vienna / austria became so "obscure" now.
After all, there was Panacea involved. There was Patric C. (Ec8or / E-de Cologne / Eradicator) involved. There were the Gangstar Toons involved.
And, above all, the label was run by one half of Ilsa f**king Gold!
It was set up by DJ Pure, who is still active under akas such as Current 909 in the more doomed Techno scenes of the current days - by the way.

As obscure as it seems, it was the center of attention in its glory days, and every good speedcore squat DJ dropped one of its tunes to the sweat drenched basement crowds - for sure.

Now let's look at the label's individual releases.

DJ Pure + Hoschi – How Life Sucks! (TB 001)

I don't own this release! So please allow me to reference a review from the 90s alien underground magazine instead:

"First release from DJ Pure’s label Loop that promises to become a thing to watch out for and after Main Frame’s demise could quick be the #1 austrian hardcore label… Monotonous pure underground acid , slowly building up, on the How Life Sucks side and very cool super-monotone bassdrum plus noise cut on It’s OK that totally rules. Tiny noises drilling little holes into the membranes of your brain while the rest of your body is synchronised to the 4-4; no escape. CF" (source: https://datacide-magazine.com/alien-underground-01-record-reviews-1995/ )

Pure & Liza 'N' Eliaz - Killerbees On Acid (Loop 002)

The queen of terror meets up with one half of Ilsa Gold for an overdriven Hardcore production?
What could possibly go wrong? Nothing, and nothing did go wrong!

Two caustic terror creations.
The bee has a toxic sting.

Pure & Liza 'N' Eliaz - Killerbees On Acid

Steel - Bondage ‎(Loop 003)

The third one on loop. Produced by DJ Pure and Berlin based producer Rok.
Well, what should I say. Nomen est omen. "Kinky" Techno and Acidcore that's also hard as steel.
Hypnotic, trance inducing rave waves.

Steel - Bondage 1.2

Violent Shit - Untitled ‎(Loop 004)

Do you collect Catani's "Gabber" works?
Do you own his stuff via the akas of Ec8or, E-De Cologne, Eradicator?
Well, it's quite possible you still don't know this one!
Because it's way obscure and rare.

Collab with DJ Pure, and each of them adds their own ingredients.
So you have Catani's "Amiga" sound and Pure's distorted experimentalism.
And both are good!

Violent Shit - Side A

Information:Overload Untitled (Loop »9701)

Very "interesting" Speedcore record.
Because it is very experimental, intellectual, and complex.
Still a straight blow to your nose.

Information:Overload - Unit B

Slab - Untitled (Loop 006)

The eloquent track titles indicate who or what you are going to meet here.
Two speedcore demons that jumped out of disturbing and zany horror videos.

Slab - Anoint me... 

Pure Vs. Gangstar Toons Industry - Speeed (Loop 010)

at first, initially, this release was a double disappointment for me. judging by the history of GTi's output, and the output of loop records, i was expecting some ultra fierce and noisy speedcore hammers that blast the flesh from your bones.
but it felt closer to... "normal" amiga type hardcore of the 90s.
now, if i listen to it with the ears i have now, my judgment seems a bit too early. it's actually very complex, lots of ideas, lots of elements... unusual stuff... some "video game" kind of loop in the middle (?)
and yeah, sheer nasty hardcore gabba fun.

oh and the other "double" disappointment i had?
because i was "shocked" that it's not a double-sided release, like a regular vinyl.
but that is okay, too.

Pure Vs. Gangstar Toons Industry - Speeed 

Kate Mosh - Untitled (Loop 011)

Was hard to get by in the old days, but it's probably the "best known" release of loop records by now - for those in the know.
As it was done by none other than Panacea himself.
As far as I know this is the only "fully" Speedcore release that he ever did - and not mixed with other styles like Hard Techno or Drum'n'Bass.
And it's hardcore kicking shit, man! The Hellraiser choice of samples reminds me a bit of Nordcore; but apart from that, it's very industrial and bass-heavy.
Highly recommended!

Kate Mosh - Untitled A

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

The following review originally appeared in "About Digital Hardcore Recordings - A fan-written guidebook" - https://dhrfanbook.blogspot.com/
Note: No AI has been used for writing the text.

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 bursts 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.

"The Future of War" on Bandcamp: https://atariteenageriot.bandcamp.com/album/the-future-of-war-remastered
On Discogs: https://www.discogs.com/master/7988-Atari-Teenage-Riot-The-Future-Of-War

How to do your own research

I get a lot of questions such as: "Your magazine / blog is very nice. I've been recently getting into Techno and Hardcore, and want to explore its history. Where should I start?"

Well, here is the good news: most major players in the Techno world are still around - they are alive and kicking.
So if you want to learn more about:

-An old 90s label
-A compilation series
-Legendary events that used to happen in your town
-Or elsewhere
-Famous DJs, producers, key figures
-Background stories to a release
-Rare releases
-Unreleased releases
-How the scene was "back then"
-If HC existed in your country, too
-Sleazy stories about the things that happened in the green room (no, wait, let's skip that one!)

Then the best way is to look up an artist/producer/DJ
And just send them a message, and ask them about the topic you research!

Think about it.
If a real journalist.
Is doing a documentary about the rolling stones, or oasis, or madonna, or anyone else.
First thing the journalist would do is to reach out to them, and talk to them!
The journalist for sure wouldn't just sit at home and browse the internet.

(Assuming the rolling stones are still alive when you read this text).

Many Techno and HC producers are active on the internet, even taking part in fan communities.
Of course you shouldn't kick the door down, hassle or annoy them!

Be friendly, polite, have some courtesy and taste.

Remember: *you* are the fan. These are your kings and queens. So have some respect, will ya?

And if an artist doesn't reply or doesn't want to talk to you.
Then shut the fudge up.

But if you reach out to people in a "journalistically sane" way.
Then a lot of people might be interested to work with you on your research.

Part 2

I already talked about some things in part 1.
Now here are things you should try to avoid:

To base your research on online sites or databases like Wikipedia or Discogs.
These are highly unreliable and incomplete. Anyone can add or delete information there.
Such sites can be a starting point for research - sometimes. But then you need to move on.

Discogs is a database that lists releases of labels, and even that info is often wrong, full of errors, or missing.
Beyond that, it does tell you nothing about the history or background of music scenes or genres.

I stress that, because I had people who told me "the first release tagged with 'speedcore' on discogs was x by y in the year z, and that means..." - no, it doesn't mean shit.

Anyone could have added that tag, or could remove it again. It gives you zero real information about the history of speedcore.

So, avoid these sites, or at least be aware that everything you read on there *could* be true, but equally it could be false.

Review: Tannoizer / No Name - The Icon of Sin E.P. (Rotten 02)

No Name! What can you say about her? One half of the Michelson sisters. French legends. Producers of the *smartest* Hardcore in the 90s.
And No Name still gets going. One of the few veterans of the underground that's not Missing-in-Action... (or got killed in action!)

Now, most other former legends, who still churn out releases, either turned to Mainstream Hits'n'Shits, or keep calculating on their old formula.

No Name on the other hand, is amongst the only ones who *advanced* the sound and dare to do something different, something creative.

So it's nice to see a return to vinyl once more.

Now to Tannoizer's side.
Another veteran, this time of the dangerous Italian underground - remember Exitus?
And if the german 90s hc scene was made up of intellectual punks, and the french scene was hippies-turned-dark, then Italy was about unleashing the brutality.
Don't believe me? Look up some "number one" videos on the 'net.

And that's what his tracks are. Remember when someone 20 years rammed his elbow into your teeth during gabber pogo and you started to spit blood in the discotheque? This is the sonic equivalent.
Straight HC into your face!

Rotten 02 drops on November 15, 2025.
Pre-order here: https://aneurysmrecordings.bandcamp.com/album/tannoizer-no-name-the-icon-of-sin-e-p

Acid Vision: About the Techno mysteries of the 303 Nation

303 Nation - Barcelona

There is an interview from the earliest days of the Planet Core label, where the ones involved state that, when a new artist wants to work with them, they take their material to the studio and enhance it, to push it really into the "Phuture" sound that this very label is known for - with the exception of the tracks by the 303 Nation, because they were able to reach this level on their own.

This should be enough to show that the 303 Nation was a singular project, unique, peculiar, stellar, not just within the wider cosmos of the Planet Core Production, but the whole of Techno, and the whole world of music.

303 Nation - Seis

You don't yet believe it? Let me take you to a single track, simply called "seis" on a release simply called "Six Tracker" EP, released on the label of Dance Ecstasy 2001.

I don't exaggerate; this track is simply made up of one filtered bassdrum, and one filtered acid line out of Roland's 303. There is no percussion. There are no vocals. There is no FX. No synths, no choirs, no samples, no breakbeats, no hoovers... both variants of "bass" pulse on in nothingness. For several minutes... (or forever?)

303 Nation - Damnation 

And it's one of the greatest tracks I ever heard at the same time.

Any artists who manage to do this, who "pull off this trick" - to get the maximum out of the most minimal - are deserving whatever award is available.

This is one of the things, maybe even one of the kinks of the 303 Nation. Minimalist in design.

Drum, bassline, percussion, sparse and spacey synths, go! 

Yet these minimum means create massive mayhem.

303 Nation - Dos

You will have a hard time finding any more elements, or even samples. There is something that resembles the sound of piledriver in the distance on "dos" amongst the tracks of the aforementioned six tracker EP... yes... but what else, really?

That's the line of sound they were known for, and it's brilliant.

100% Acidiferous - Worldisorder 

But... if you go beyond these tracks, centered on the Dance Ecstasy label, there is something else, there is more.

Donning the "100% Acidiferous" alias they deliver some straight Acidcore blows to rot your teeth.

It's still the 303 Nation "mode" - mostly bass, bleeps and drums - but this time distorted, fried, crispy, and hard as fudge. Nu Horizons, indeed.

100% Acidiferous - Nu Horizons

So you see... these were some of the most versatile and mysterious producers of the 90s Techno scene.

It's hard to trace them or their productions post-1994, and post-PCP. A shame that such creative minds had not more output on vinyl or other media.

But at least we still have these tracks to listen to. And bath in the acid mystery of the 303 nation.

303 Nation - Live Act June 1992

Note: No AI was used in writing these tracks.