The Doomcore Techno movement exists for several decades now, and there never was any danger it would falter. What's new is that there is now a growing interest in this music by the outside world, too. Infos, facts and knowledge are hard to come by, though.
The book caters to the "newcomers" of the scene who are hungry to know more - and maybe the "old dogs" can still learn a few new tricks, too!
This book includes a history of the Doomcore genre, information about some of its labels and producers, musings on sonic themes, and a look at topics that might not be "strictly doomcore", but are related to the whole thing.
Brutal Chud! How can we describe this label? Well it was part of the few labels in the 90s that pushed the earlier Gabber and Hardcore Techno sound beyond all limits of brutality. Fundamental in the transition of Extreme Hardcore to all-out Speedcore.
If the Americans set the path to ultra-aggression with labels like Industrial Strength or Bastard Loud, and the French were doing tripped distorted "Anarch Core" at the same time, then I think the emotional frequency emitted by Brutal Chud records gives you the image of a black dog gnawing the flesh off its prey. It's not just fierce - it's ferocious.
Also host to a lot of early releases by Speedcore Legends such as Noize Creator, DJ Tron and Re:Pete.
"Imagine surveying earth after nuclear destruction and enjoying what you see, that's how it feels when you listen to it." Marc Acardipane aka The Mover, talking to the Alien Underground magazine about his Techno music
The latter half of the 80s and the first half of the 90s were very strange days in the history of humanity. But I think even many individuals who lived through this era are not aware of how strange everything was.
Looking back, most people think "ah, the second half of the 20th century had the Cold War, two superpowers facing each other, the threat of nuclear war; but thankfully everything was resolved peacefully in the 90s and folks could live on happily then".
Slightly correct, but not the full picture. Because no-one in the 80s or the decades before thought or believed it would happen this way - that the Soviet Bloc would just go bust, and everything comes to a more or less peaceful resolution - without a major war, and without nuclear Armageddon.
Amnesia - Hysteria
Instead, people thought the Soviet Union would last. Major political players in the "West" planned for a world in which the Soviet Union and the conflict between the superpowers would go on for decades.
More than that, in the 80s it seemed as if this conflict had entered a downward spiral of nuclear stockpiling, political threats, lingering disputes that would inevitably escalate into full blown thermonuclear war sooner or later - or rather sooner.
Hence why you have movies like "Terminator" which dates nuclear war to the late 90s - this was not some bizarre idea for movie fans of the 80s, but the more realistic part of the franchise (unlike the terminators and time travel plot etc).
Konzept – Last Night (N.W. Remix)
But the dice did not roll this way. Instead we got the most favorable scenario - the Soviet Bloc dismantles itself, without any major and / or nuclear war.
Please think about how strange, almost unimaginable these events were. When ever did an empire, with immense power and a giant army, disappear as "peacefully" as this?
The KLF - America: What Time Is Love?
Of course, the Eastern Bloc had begun to topple a few years earlier already. But, a few defecting countries do not mean an empire has to end (Great Britain did not end after it lost its colonies, for example). More so, the crumbling, chaos and collapse of the Soviet Bloc could have easily led to a situation where someone "in control" decides to let the nuclear hammer hit down on the nail of humanity.
What happened is nothing short of a miracle.
Part 2
Dreamscape - Nuclear nightmare scene
Needless to say, in the present day we can look at the larger picture, and clever archivists and analysts might give this or that explanation. and maybe some of it is true.
But the people who lived in those years did not know this and had no access to these "facts". They lived in a period where every outcome was possible. Grim Cold War for decades on. Or escalation of the conflict. Nuclear death. Or possible peaceful resolve. No one could know what would happen, or how things would turn out. "Are they gonna drop the bomb or not?"
If all this had happened in a movie or comic book, maybe one could say that it was a period in which multiple future timelines and worlds did collide, for a few years, for a short moment in history.
Pop Will Eat Itself - Def Con One
During these "liminal years", another thing happened, on a more cultural level. the emergence of new sounds that we now call "Techno music".
Just like in the political realm, in the underworld of the subcultures, various things were happening at once. Newbeat / EBM in the European territories of the "Blue Banana". Detroit Techno in the eponymous city. Acid House in the UK and on idyllic islands. Chicago House, New York and LA dance scenes, Synth Pop / Dark Wave was still strong, too.
Oppenheimer Analysis - Cold War
All these were slowly blending together and forming a new scene and youth culture, and I think even the synthesized "Disco" music of the 80s had its part in this.
Now the interesting thing is: the "liminal" situation we talked about above is mirrored in these cultural events and the emergence of "Techno".
The major strains of the techno scene were apocalyptic, dystopian, bordering on the nihilist. The first ravers danced under the nuclear threat, and they were aware of this.
Space Trax - Atomic Playboy
Early techno parties were full of "World War III" imagery such as gas masks or military gear.
New Beat is often considered to be the other "major player" in the development of techno - next to Acid House. And one of its focal points was Belgium and the capital of Brussels. Where the NATO headquarters were located. The home of the command centers that would send the warheads to the skies - should the nuclear scales begin to teeter.
And Detroit Techno? Full of dystopian tropes, too; resistance against future police states, tyranny, the misery of the present day and yes, nuclear danger as well.
Underground Resistance - Your Time Is Up
What then happened was one of the biggest U-turns in the history of a music culture. "Techno" dropped the darkness, the pessimism, the nihilism. Instead the happy sounds of newer genres like Trance or Breakbeat took the scene.
Techno became synonymous with the desire to enjoy life as an everlasting dance party, fueled by happiness, ecstasy, and a few other emotions (or substances).
Defcon - Brainwasher
To have a good time, to get on the dancefloor - the celebration generation.
And just a few years earlier, the Techno clubs were filled with tracks about world war iii and all the other shady things in life!
Again, all this can be seen as the mirror of the political events that happened parallel to this: the "peaceful" resolve of the cold war crisis, and the prospect of future decades without the threat of the apocalypse and major wars or tragedies.
Hocus Pocus - Postcard From Armageddon
Hence, if we look back, these "turn of the century" years - the last turn before the new millennium - were highly bizarre, peculiar, surreal, and the world could have evolved into any direction.
But, despite all expectations, the world did not "go bang", and most of us survived these years.
The importance of these events might seem feeble and faint for today's eyes. But they left their mark in the formative years of the techno movement - and its tracks.
Nuclear War (16 bit computer game from the 80s dealing with nuclear war)
Almost any sub- and music culture in the second half of the 20th century was also a rebellion against society, against authority, against mainstream culture, against societal rules and norms - including gender norms.
Accepted behavior, concepts and traditional social patterns were questioned, challenged, dismissed and torn apart. Kicking and screaming Rock'n'Roll girls (not very "ladylike"!). Hippie males with long hair and calm behavior ("you look like a woman"). Hippie women without make-up but with body hair. New Wave guys with lipstick and in skirts, Punk girls with mohawks, plus they are kicking and screaming again.
This was especially important in a time when there was little information about LGBTQIA+ topics available on the mainstream channels. For many people, joining these subcultures led to their first contact with queer themes.
And because everything was still hazy and confusing, it also enabled a safe passage to self discovery. For example: Why not wear a mini-skirt as a dude to a New Wave concert in 1979... you'd be seen as just one of the general "weirdos" and blend in with them... your peers might not directly and uncomfortably "question your sexuality"... and after this little test, you can decide if you really want to go all the way.
With the Hardcore Techno underground, this might not be directly apparent. (and again, let's differentiate the underground scene from the "mainstream" Gabber world). But gender and related roles, norms, were challenged too. Judging by my own experience, everyone was on the run from the stereotypes and structures that usually come with "heteronormativity" - even the heteros! The "guys" hated the ideas of "typical" male behavior, macho attitudes, hysterical masculinity, being tough and emotionless (yes, despite listening to the roughest music around). And the women did not fit societal expectations of how "ladies" should behave either.
This of course does not mean everyone was or felt queer in that scene. It was a grey area, fluid, flowing, undefined, liminal.
But gender challenging and other topics were always present, either right in your face or less visible (yet still subversive).
We had our male New Wave fan description above, so let's give a similar example for the Hardcore Techno underground. Maybe a person considered to be a "girl" felt queer... they cut their hair, went to a hardcore rave and screamed and shouted with the other guys... they would just blend in with the rest of the weirdos, and their peers might not directly and outright question their sexuality and / or gender identity because of this... and afterwards, they can decide if they really want to go all the way.
Hence, in the 20th century, music and subcultures were part of a general rebellion against gender, sexual and other norms, and also supplied a "first contact" with LGBTQIA+ themes for a lot of people. Including the Hardcore Techno underground.
And I have a feeling that this has not changed much in the present day.
The releases by Miro Pajic under his various akas - like E-Man, Steve Shit, Jack Lucifer, or simply Miro - are usually highly revered by Hardcore-, Doomcore-, and PCP-heads. But this one tends to get a bit overlooked. I rarely hear people mention it, or see the tracks in DJ playlists. And this is completely undeserved. I think this is one of the best releases the (E-) man ever did!
The A side sports "A Better Tomorrow". This is the best known track on this release, as the crew pushed it onto various compilations. A highly interesting blend: not really "Hardcore" in the sense of Gabber primitivism. In its essence, it's a Techno track; but in a Miro way; in a highly unusual way. It really feels as if the eponymous "Time Machine" worked and the future sounds of Techno got sucked into the present day (which, in our timeline, is actually in the past now).
4 or out of 5 stars for this one already.
But now let's turn the record around.
Surprisingly, the flip side features a mini-mix; 3 tracks that are seamlessly joined into one. And this is rare for vinyl releases. Because of this, only one track has a "normal" length; the other two barely pass the 2 minute mark. But the tracks are all the greater, despite this.
You know the epic tracks by Miro, like "Purple Moon" or "Hall", right? Well, I think these have the most "epic" sound of all of them.
It makes me feel as if I'm in a huge space arena on a different planet (or a different time in the future), and there is either a major ceremony or a giant party happening. Choirs of a 1000 voices are singing, fanfares and synthetic horns are blaring, while massive, echoed kick drums blast on. This sound is really out of this world (or out of time).
A few years after this release, Miro switched his style to more contemporary Techno. But this "Time Machine" leaves us with a lasting glance into the future. And the future is massive!
The HCBX channel started a new series of video features. The idea is to showcase iconic hardcore tracks with movie samples - side by side to the movie scenes these samples were taken from. This is all highly interesting, and hence we'd like to forward these videos to you.
After the 1st and 2nd generation, the "genie was out of the bottle" and couldn't be put back in (or maybe it was a dark djinn?). The ghost of Doomcore spread like wildfire around the world. A myriad of labels, projects, even parties were set up - solely dedicated to the doomed souls of the Hardcore Techno scene. Most or these faltered quite quickly and disappeared again. Hence we will cast our (evil) eye on those that lasted a bit longer, preferably to this day.
As mentioned, there are *a lot* of Doomcore labels. So this is just a tiny selection out of these.
Hellfire
Hellfire was set up DJ Darkside, who has been around the Hardcore and Doomcore scene for a long time. This label stands out as it almost exclusively dedicated to vinyl releases, in a time when most others have gone digital. Hellfire is a home to some very high profile names, like Dr Macabre, FFM Shadow Orchestra or The Horrorist.
Technically this isn't about a label; Angst is a project by FFF, who was one of most successful 2nd generation Breakcore artist. No breakin' here, but darkness through and through. This ain't some poser-aggressive big bassdrum shit; the sound is more introverted, there is influence by ebm, 80s industrial, black ambient and even shoegaze. Angst classified their music as "doomgaze" accordingly.
Doomcore Records
Doomcore Records was set up in the cold, dark harbor city of Hamburg, and had over 200 releases since its inception. Famous artists and newcomers have released side 2 side on this label, and the musical styles are all over the map, too; as long as its rhythmic, repetitive, and wakes up the dead.
Another Hamburg project (the doom must be strong in this city). There are few releases, but they keep coming steadily at a timed pace, and they are all the better because of this. These aren't just tracks, the releases are often tied into multi-media experiences with videos and spoken word(s), and extensive myths and lore are drawn around each object.
Doomcore Initiative
A quite young label with some very strong releases. Not much is known, but the people involved in this project are scattered around the globe. Maybe bound by a vow silence? The releases themselves are esoteric and dark.
Dead Zone Communications / Future Dust Division
The DarkCreator was a player in the original Dutch Gabber scene, so he is a true veteran of hard sounds. The labels are not about Gabber though, it's Doom- and Industrial Hardcore all the way. Almost every release hosts some quality music, so it's definitely worth checking out.
Nethercords
Nethercords is run out of "down under" by Tyrant X who, according to his bio, is "a disciple of Lilith and Hecate". And that's exactly what you get here; haunted and occult sounds that make you feel as if you have stepped into the nether worlds already. Most releases center more on Industrial Hardcore and Techno; but Doom will be met, too.
Noisj
Noisj was *the* label of the 2010s Industrial Hardcore scene, with releases popping out almost every other day. The schedule is more paced now, but it's still surfing the tide. In total, there are lots and lots of styles on this label; Gabber, Hardcore, Oldschool... and Doomcore too!
Dark Impact
Sublabel of an Italian label dedicated to more contemporary Hardcore sounds. But as the name implied, this ain't mainstream, but all about the dark side of the core. Industrial Hardcore, Dark Techno, Doomcore... There is steady output, the music has high production values, and the releases are strong in general.
Dark.Descent
Host to a family of labels and sublabels; most are about hardcore-techno-acid sounds, but there are some pure doom releases too. Again, this is an already veteran label which is still quite vital. Worth checking if you are willing to do some digging.
There were quite a few labels that unleashed the brutality in the 90s and set new standards in speed, vileness and distortion of Hardcore Techno music. Kotzaak, Shockwave, Bloody Fist, Industrial Strength... Six Sixty Six. "Six Sixty Six?", you might ask.
Yeah I guess this command unit operating out of Milwaukee is still lesser known than Nasenbluten or D.O.A.
But it had some of the roughest releases in the decade.
On top of that, they were also highly experimental, acidiferous and technoid.
And quite some electronic music celebrities appeared on here. Richard Devine, Somatic Responses, Laura Grabb...
So let's jump right in and look at the highlights of this Midwestern Terror Corps:
"One two three A little fool I want to be" (Yello - You Gotta Say Yes to Another Excess, 1983)
Thunderdome had many iconic artworks. Apart from "The Vampire's Kiss" [1] on the first one and "The one with the dog", another fan favorite is Thunderdome XIII - "The Joke's On You" - with the Joker on the cover. And indeed, the archetype of the fool appears in many Hardcore productions, releases, and imagery. So let's do some further examination of this peculiar archetype.
1.
Western culture - and every other culture - loves the fool. Jester, Jokers, Harlequins, Pierrots and Columbines are ubiquitous. They appear in books, movies, comics, poems, paintings. People like Batman's Joker or Harley Quinn are among the most popular contemporary cultural icons.
Why is the fool so appealing? What explains this ever-presence?
The fool is everything and nothing. The fool is outside all rules, rationality, logic and reason. He is insignificant and a nobody, but can bring down gods and masters. No attribute does fully describe him, yet he can take hold of any attribute. He is the object of ridicule and mockery by everyone else, yet seems to possess more power than anyone else. The fool is willing to forfeit all the world's riches and opportunities [2] yet he still can be serene and fulfilled.
The fool is outside concepts like morality, ethics, lawfulness; yet as he is outside these, he neither seems to directly *harm* these concepts.
The jester always has the last laugh[3]. You might outrun Death in Samarra[4], but the fool will appear when you least expect it.
In card games, the fool card, aka the joker, has no value in itself but can gain the value of any other card. It is outside the designations and definitions of all other cards (it doesn't belong to a suit or rank etc.) yet it is able to trump all other cards. "Sensible" players remove the jokers from the deck before the game (such as in poker tournaments).
But even beyond games of cards [5]. In the most dire and hopeless situations, playing the fool's card is often the only way out.
In the "infinity war" saga of movies, after all the plans of all the gods and all the geniuses have failed, following the idiotic plan of a fool leads to resolution and success. In "Independence Day" - the prime blockbuster movie of the 1990s - a foolish drunkard saves the entire human race. Again, this happens after all the presidents, leaders, genius scientists have failed with their very clever plans. In the third part of the Indiana Jones movie franchise, Henry Jones Jr. saves himself by *not* reaching for the Holy Grail. And only a fool would be willing to let go of the grail (which is the most sacred object of Christian belief).
Pick any famous movie or cult movie, and in 99% of cases you can be sure that the resolution is brought about by an act of utter foolery. And / or that our Heroes decide "Damn it, all other plans have failed, now we will do something really stupid as a last desperate measure" (and they will succeed with it).
In the world of high literature, Dante Alighieri declared the entirety of creation to be a "Divine Comedy". And in the world of high fantasy literature, J.R.R, Tolkien declared the foolish Gollum to be worthy of being the savior of all - instead of any high elves or white wizards.
2.
"Scaramouche, Scaramouche, will you do the Fandango?" (Queen - Bohemian Rhapsody, 1975)
We have seen that "The Fool" is a favorite subject in both high-brow and low culture. Yet it also connects with Hardcore Techno in a more direct way.
Hardcore, Gabber, Speedcore etc. is often seen as completely insane by the general population - music for madmen. And indeed, Hardcore folk "go insane" on the dancefloor and went mad to the beats.
Watching a Hardcore dancefloor at full power makes you think that everyone involved is having a temporary lapse of reason [6], including the DJ.
Beyond metaphor, on a physical, chemical level; the strobes, the fog, the volume, the lack of fluids, the lack of food, the caffeine (and maybe other substances - but please stay away from these!), the endless dancing and being awake for 1 day or more really does inhibit your ability to reason and w a r p s your sense of time space logic and everything else as well at least temporarily.
Hardcore-Heads did foolish things for their music, like getting kicked out of school, their family's home, their happy relationships, and their future prospects because they stuck with their music taste.
Traveling to another continent, then waking up the next day, lying in a field next to a few windmills, not knowing where you are or what happened.
Going to your first underground rave at a teenage age, not knowing if you are having a good time or will be clubbed to death [7] by the maniacs.
feeling happy and content, at peace and in love with everything, because you are listening to angry hardcore music at full volume - even when your life is complete shit, you are in a downward spiral [8] and there is seemingly no way out [9].
But, the hardcore creatures are not violent destructive "mad men".
They are benevolent Jokers and Harley Quinns in tracksuits (with less makeup on their faces, but still with colorful hair).
So, in summary:
Hardcore is the most foolish and most insane form of electronic music. And it will stay this way for a long time.
We talked About the 1st generation of Doomcore here. Now let's look at the 2nd wave of producers and labels.
With other sub-genres of Hardcore, like Speedcore or Breakcore, there were often instances of coevolution. Artists who retrospectively said "I thought *I* invented this sound - I was not aware that other producers around the globe were already doing a similar thing".
This ain't the case with Doomcore. We mentioned that PCP was the first generation. And the second direction was directly inspired by PCP and tried to build on their sound. This was openly acknowledged and communicated.
So, the Doomcore bloodline can be traced straight back to PCP, in all cases.
Now let's dive into this "New Wave of Global Doom".
Things To Come Records
TTC was set up by Oliver Chesler, who had made himself a name in the Techno and extreme Hardcore scene already, using monikers such as Disintegrator, Temper Tantrum or DJ Skinhead (Yikes! A scary name). Rumor says he set up the label because his music became too "slow and doomy" for Industrial Strength Records.
Either way, the first releases saw him teaming up with his brother, later to be followed by Miro from PCP itself. He already did some stuff on PCP at an earlier date, TTC was distributed by PCD in Europe (the PCP distribution service), so the transatlantic bridge had been set up.
The second release spawned 3 (!) world-wide underground hits: "Mission Ecstasy", "Flesh is the Fever" (which turned the Dutch Gabber scene around - in terms of speed) and "One Night in NYC" (which hit #1 in the German Dance charts).
At the turn of the Millenium, the label changed its direction more towards Techno music and Electro-Clash. Chesler aka The Horrorist is still a successful producer today.
Arrivers - The Things To Come
Black Monolith
Apart from Chesler, Robert Skinner was another huge PCP addict located in the East Coast area of the US of A. He set up his own label, too. There is a lot of variety here, and you will also find Oldschool, Gabber, even Acidcore releases. But the Doom is strong with this one. And quite some "early Doomcore" classics were put out by this record label.
The Outside Agency - Metal Slug
Atmosfear
Set up by DJ Pure, who was / is one half of Ilsa Gold. Also connected to the London Hardcore underground scene around Dead by Dawn and the Praxis label. DJ Pure's aim was, and I quote: "the idea of combining sounds from 80s underground movies, new wave, and industrial culture with techno and electro" and to establish a "combination of the sobriety, melancholy and darkness of the 80s with the ecstasy of the 90s [...] that operates between dark electronic listening and dance music."
Most Hardcore-Heads might know this label for "The Lockdown", which was used as an intro to the second edition of Manu Le Malin's "Biomechanik" series of mixed compilations.
Current 909 - The Lockdown
Crossbones
Crossbones was part of the free party / teknival scene in the UK. They were keen supporters of the PCP / Doomcore sound, and set up their own labels, and even a distribution service. The first label was "Last Tomorrow Recordings", which was followed by a string of others.
Definitely one of the biggest projects in this 2nd generation; and the sound system + label family was host to many legendary producers and DJs such as Face Hoover, Kenny Kramp, or Ms. Bones.
Face Hoover - The Beginning Of The End
Fifth Era
Fifth Era values its secrecy and likes to tell its own story, and we respect that, so we won't say too much here.
Neuroviolence / Zero Tolerance
Jason Mendonca gained his share of fame with the satanic Black Metal band Akercocke. In an earlier life, he was a Techno and Hardcore producer. And there is some PCP-influenced Doom sound to be found, too, both on his own "Zero Tolerance" label or with his akas, such as Lorenz Attractor and Neuroviolence.
It requires some digging, as there is a lot of "regular" Techno and Core in the same spaces as well.
Actually, the most "doomy" release - the final one on Zero Tolerance - never saw the light of day. It combined PCP-like sounds with howling wolves and opera singing (yes, really!) Guess it was doomed from the start.
Lorenz Attractor - Shadow Fax
Dark Invaders / SGC
A Doomcore project out of Frankfurt, the former home of PCP itself! Various artists and producers were involved here. SGC was the main label, but there were also releases on outside channels, and there was a strong live presence. The Dark Invaders were known for their performances at underground parties, which were more elaborate than most of their peers.
One of the few projects that kept the Doomcore torch burning in Dark Germany itself during these days of the second generation.
Dark Invaders - Troops Of Doom
Black Blood / Frontline of Sound
Definitely the most obscure one in this early Doomcore listing. Black Blood (whose artist name was taken from an earliest PCP release) did tracks on labels like Brutal Chud or Exitus, and also had his own Frontline of Sound label. Very visible attribution to the PCP influence (is "Steven Sick" a nod towards Dance Ecstasy's "Steve Shit"?).
He did few pure-bred Doomcore sounds, though, most of it is hybrid tracks with Gabber, Industrial Hardcore, or even Speedcore. Still, I think this concept was worth mentioning.
Quite a unique sound.
.
Black Blood - Hinter Dem Vorhang Der Dunkelheit
This was our look back into a doomed past. There were also other 2nd generation projects, and we make no pretense that the above listing would be complete. But it's all worth checking out!
The history of Hardcore is quite opaque. For example, there is still some debate on what were the first Hardcore tracks (see here or here). Luckily for us, things are much more clear when it comes to Doomcore.
The Mover - In Deep Rage (1991)
The subgenre of Doomcore was created by PCP aka Planet Core Productions. For the first few years, PCP was more or less the only label that released Doomcore. They might have even coined the term. By the mid 90s, the PCP mail-order service already classifies and advertises a few of its vinyl releases as being "Doomcore". And the "doom" motif is recurring in the world of PCP. Doomed bunker loops, doom dancers, doom supporters (take care!).
The label made it clear that they produced doomed techno, doomed hardcore... doom-core!
Now that we're through with the linguistics, let us listen to the sounds (like the giant would have said).
The Mover - Gatecrusher (1991)
"Frontal Sickness" by the Mover (aka Acardipane) was released on PCP in 1991. Yet it already had the full blueprint for the Doomcore genre mechanics. Minimalist, dark synth melodies that barely have more than 3-4 chords (or notes). Slow, deep drums. Technoid percussion. An overload of reverberation that sounds as if haunted spectres are talking (or reaching) to you. A stripped-down, raw aesthetic - no complicated FX setup, no epic singing, no guitar riffs or "big" elements (i.e. things that happened in a few other Techno / Hardcore Genres). The sound is almost as reduced as in lo-fi Black Metal.
But, of course, this doomed minimalism is extremely effective - and even suitable for huge space arenas.
Program 1 - Betrayer (Pow!) (1992)
The next one's a bomb. "Louder than a Bomb" was planted and timed by Program 1 in 1992. This release adds "Hardcore" beats to the doom template. Especially noteworthy is "Betrayer". Checks all the ingredients for a rumbling Doomcore track: disharmonic "three chord" synths, hard kicks, horror samples. Pow!
1993 then sees the release of "World's Hardest MF" by The Leathernecks (actually a remix of a "Louder Than a Bomb" track). And this shows the ultra-distorted industrial edge of our Doom genre.
Freez-E-Style - Enter The Gates Of Darkness (1994)
And then we "Enter the Gates of Darkness" with Freez-E-Style in 1994 - this will even convince those aficionados for whom "Frontal Sickness" was still too close to Techno (do such people exist?)
These were all "aka Acardipane" productions - but there were other shakers on PCP as well. The double-sided hammer "Purple Moon" / "Understand" by Miro became another template for the Doomcore genre (deservingly!)
Miro - Purple Moon (1997)
And Doctor Macabre unleashed a Poltergeist that even haunted the big Gabber festivals in the 90s (and today).
These were just some examples - the PCP catalogue is full of dark, sick, twisted sounds. So better take care, doom supporter!
The Mover - Changing Platforms (1993)
Program 1 - World's Hardest MF (Leathernecks Remix) (1993)
Rat Of Doom - Before The Breakdown (1995)
Reign - Light and Dark (The Next Dimension) (1996)
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