All DHR Limited releases listed, rated, and short-reviewed

DHR Limited holds a special place in my heart.
The label once described this sub as the "trashcan" of DHR. Every release is limited to 1000 copies (which, I think, was still pretty much for an electronic label in the 90s). And - according to the label - the destiny for discarded projects, try-outs, experiments, one-off stuff, half-finished projects, drafts, abandoned cubase sessions. I.e. for all output that did not seem fit to be put on a "proper" release.
I'm not sure this is the case for every track here, because a lot of them sound full-fledged and finished. But even if it were... despite of this, or rather, because of this, here is the place where the real experimentation, research, and adventure takes place. I mean, the main label by DHR was already pushing limits and breaking grounds, but this one is breaking through all barriers and shattering all fences (and mirrors, maybe).

This is the peak moment of the Digital Hardcore movement to me.
The tracks are tethered to no rule or concept in the mainstream world of music anymore. Anything goes, weird noises, surreal trips, start-stop structures, a little bit of funk and vintage kitsch, musique concrete and musique électronique, blastbeat breakcore and gabba drums.

I can't praise this nasty little sub enough. If you really want to experience music that is completely "out there" and out of its mind as well - take a taste of this one.

Death Funk – Funk Riot Beat (DHR LTD 001)

The ep that kickstarted that label.
Imagine the destroyer album... and then imagine things got twice as hard and rough.
Because this is what you're gonna get here.

Fav picks:

Crystal
Moon Explosion
New World Order

No Safety Pin S*x – No Savety Pin S*x E.P. (DHR LTD 002)

People wondered who might be the producer behind this one, there were rumors it was Alec Empire, and then it turned out it was indeed Alec Empire!
I think this release could accompany the DJ 6666 album. The style is somewhat close: splatter breaks, and all distortion units set to eleven. Only interrupted by passages of machines hissing, growling, then clawing at you.
Sweet!

Patric Catani – Snuff Out (DHR LTD 003)

This release happened at an interesting period in the creative life of Patric Catani.
His first tracks were often more on the ironic / silly side (but cool!), with the pitched up pop and schlager sampled tracks of E-De Cologne's early works.
Then, with Ec8or, Eradicator, Test Tube Kid et al, things became dark, grim, experimental and political (but cool!).
He transitioned to Breakcore by the Millennium, which led to more fun, ironic tracks, and now he's mostly a video game music producer with tiny-cute jingle-like tunes (but cool!).

And I guess this release resides in the gap between these periods: Breakcore, but still super dark, weird, and surreal.
And I love it.

Give Up – Fuck Step '98 (DHR LTD 004)

This release almost feels like a "breakcore jam session"! Quick, raw, and dirty.

Carl Crack – Black Ark (DHR LTD 005)

Each member of DHR had their solo projects, and this is the one by Carl Crack.
Very exciting indeed, there is nothing with the same sound on DHR.
The minimalism of Shizuo comes to mind... but it almost feels like it isn't even an electronic-driven, logic, sequenced release, more like a live jam, improvised on real and raw sounds, that just by accident resembles a "breakcore" record.

Or a voodoo ritual, haunting you through the edges of time.

Patric Catani – 100 DPS (DHR LTD 006)

My favorite breakcore album by Patric C.
This is him at the highest height of his art. The breakbeats never were more slamming, the distortion never was as loud, the lo-fi amiga buzz never cut as hard (not sure if this was done entirely on amiga - but it resembles its sound).

There are fascinating breakcore experiments on here as well, like the cyber-valkyrie transfigured opera singing on track 6, or the short-cut political agit-prop screams of Still Wanna Win (I Can't Lose).

Makes you wonder how things would be if breakcore continued to walk this way - instead of descending into pop chatter drooling.

Sonic Subjunkies – Live At The Suicide Club 8-7-95 (DHR LTD 007)

SSJ are really fascinating. At first glance, there is the two official EPs they did for DHR... and subsequent post-DHR albums and releases.
But as you dive deeper, you will find the "Sounds From The City Of Quartz" tape on Midi War, and yeah, that one blows the competition out of the water, so to say. Even though it never got a proper release. This one here has a proper release, but I think even for DHR fans it's a slightly overlooked release.

Which ain't correct, because there are hidden marvels to be found here, too.
The live version of the known tracks are so much more aggressive and primal. And there are Hardcore gems like "Destroy" which, to my knowledge, have never been released elsewhere.

Nintendo Teenage Robots – We Punk Einheit! (DHR LTD 008)

Do you like chiptune? Retro?
Vintage game units and computers such as game boys, famicoms, amigas, c64, and other "commies"?
This is quite the hype now. But you know what? DHR did do this thing you like so much - already 30 years ago!

There's the flex busterman release, and then there is this one here.

Very creative and bold use of the game boy's very-limited-but-quite exciting sound capabilities.

Expect no super mario moon song here and poppy harmony.
It's noisy, it's atonal and, within its abstract way - it's super funky.

Alec Empire – Miss Black America (DHR LTD 009)

With Alec Empire's massive output, it's hard to say "this is *the* best". regarding any single release.
So let's just say: this is *one* of the best.
At least it's the most varied.

We got the aggro electro-punk of "df0". The very strange electronic sounds of tracks like "The Robot Put A Voodoospell On Me" or "They Landed Inside My Head While We Were Driving In The Taxi Up To 53rd Street And Took Over!"

And then there is "It should be you not me". What genre is this...?
It's almost as if dub had become possessed by an Egyptian God and gave birth to an enchanted track. There is even the recitation of a bible verse about Satan hidden (entombed?) within the track, after all the laments that "It should be you. Not me".
(And that's correct. All that shit should have happened to *you*. And not to me.)

But I digress... "Black Sabbath" is totally mental messed up breakcore, with an odd reference to "Milwaukee".
"The Winds of Saturn" almost feels like a chilled track compared to these... the cold chill of minus 140 degrees.

Ec8or – Gimme Nyquil All Night Long / I Won't Pay (DHR LTD10)

7" release with two tracks that were also on The One Only High And Low.

Heartworm – Bleeding In Circles (DHR LTD MCD011)

One of the very final releases on DHR, before the label came down.
And this would be a suitable soundtrack for a controlled demolition indeed!
Noise, Acid, Breakcore, deranged samples... nihilism served with a vicious smile.

Alec Empire Vs Merzbow – Live CBGB's NYC 1998 (DHRLTDCD12)

A live recording. By alec empire (the inventor of breakcore). And merzbow (the champion of noize). At cbgb's (the birthplace of punk).
Could it be more legendary?

I remember some contemporary folk said, after this triangulation, they expected more and felt underwhelmed, but no no, this is as good as it gets. It cuts like a laser cuts through diamond.

Fav track: Enter The Forbidden Space, a rare meeting of sweet and dark ambient with harshest noise.

Various – DHR LTD12 CD

A compilation of tracks from other DHR (Limited) releases, remixes, obscurities and rarities.

Alec Empire – The CD2 Sessions - Live In London 7 12 2002 (DHRLTDCD14)

I always assumed that "Intelligence & Sacrifice" was janus-faced, or even schizophrenic (in the most positive senses!)

Because, the question is: what part is the actual album, and what is "side 2" or the bonus disc?
Most hardcore-breakcore-gabba ruffians would probably claim that CD1 is the proper release, with an extra CD of bittersweet électronique attached to it; but to me, "CD2" feels like a full-fledged album too that could have been a complete release on its own.
So it was only the logical conclusion that Alec did not just tour with his band and the tracks of CD1, but also did live shows based on this one here.

You probably know what to expect with this - and it's exactly what you get!

Tuareg Geeks – Introduction To Global Stupidity (DHRLTDCD15)

The last release on DHR Limited.
And it at parts feels like a retrospective of the Digital Hardcore catalogue:
All your favorite sounds are here, gabba drums, disto-breaks, burnt-chiptunes, clenched fists screaming...
And then the lid gets closed and the coffin gets lowered into the ground.

DHR Limited on Discogs: https://www.discogs.com/label/265482-DHR-Limited

Also check the reviews of all Digital Hardcore albums: https://thehardcoreoverdogs.blogspot.com/2025/02/a-review-of-complete-digital-hardcore.html
And all Digital Hardcore singles & EPs: https://thehardcoreoverdogs.blogspot.com/2025/09/all-digital-hardcore-recordings-single.html

Note: No AI was used in writing this text.

Sonic Itinerancy revisited - Explore your local area

I once wrote that the person who travels is, metaphorically speaking, "outside the world" for the duration of their traveling.
They set off from a location - that is no longer attainable for the traveler - and are heading for a destination - that is not yet accessible for the traveler.
Just like the principle of traveling itself, the traveler is in a state of flux.

Sure, the travel person might peek through the window of their train, and see trees, meadows, reindeer rushing by, and these are very real. But the traveler can not interact with any of these.

They can only interact with the rest of the world again when they have reached their destination, got off their train - and put their feet on solid ground.

And all this great for our "Sonic Itinerancy" concept. Because if you are no longer part of the real world, why not drift off into the artificial world of music and start to surf on sound waves?

Now I must add that the above is only partially true. It is true for the modern form of traveling. Which is indeed based on the sole mission to get to a certain destination (and then to conduct business, diplomacy, or social festivities there...).

Even hiking, cycling, "chillaxing" in nature can be put into this modern umbrella of traveling, if it is conducted on a pre-planned route.

There is a different, more archaic form of travel, of moving around in the world, though.

I was hit by this concept when reading the account by game designer Shigeru Miyamoto, who explained that the idea of "The Legend of Zelda" game series was based on his childhood experiences.

He would just go off into the nature and forests of Japan. Explore, discover, wander aimlessly, or all three things at once.
He would find hidden caves, and lots of other things.
Later I read an analysis of "Kids on Bikes" movies, a film genre I had never heard of before. It ties to similar experiences like those of Miyamoto (but on a bike this time, not just on one's feet). The genre includes well known movies like The Goonies or even E.T.

Times have changed, and please, do not let your own kids wander around in the forest without attention and protection. It's dangerous.

So this door is closed.
But we grown-ups and adults still have that option.

So why not look up a map (even an online one!) Find forests, lakes, places in your vicinity - that you never had visited so far. Or even locations that are even further away.

Go there, hike there, explore, discover, feel like an adventurer.
Who knows what you might find?

Maybe sweet spots in nature, perfect for rest and picnics, that rarely anyone else knows.

"Secret" lakes, unknown buildings, a weird set of trees.
Maybe you even find new friends or at least have a nice chat.

Of course, be cautious if the terrain is too remote, too dangerous, or too dark. This goes without saying!

And, to finish our excurse, and tie it in with the sonic itinerancy project once more:

Make sure to listen to fantastic music on your earphones and speakers during your travels!

Read more about the Sonic Itinerancy project here: https://thehardcoreoverdogs.blogspot.com/2025/08/do-you-listen-to-music-while-being-on.html

Question: What is Doomcore Records?

(A little bit of "self-promo" about a project related to us, hope you don't mind!)

-Doomcore Records is a DIY electronic music run out of Hamburg, Germany.

-It is dedicated to the darker, tougher, or more bittersweet sides of repetitive electronic music: Doomcore, Techno, Dark Gabber, Industrial, even a bit of EBM or Gothtronica now and then.

-With over 200 releases so far, it is the biggest record label dedicated to Dark Hardcore and Doomcore music.

-This also makes it the biggest Hardcore-adjacent label in Hamburg

-And one of the biggest labels in Hardcore globally

-...and one of the biggest labels in Techno history

source: Interview with Nkisi, The Wire, November 2018

-The label so far followed a policy of "strictly underground"; so no fancy press shootings, promo clips, trying to suck up to the majors, music press, media darlings etc. (If you never heard of the label before, this is the likely reason for that).

-Despite of this (or because of this), it attained its own slice of "worldwide fame". The label has been featured in one way or the other in most of the major music media outlets. For example The Wire, Pitchfork, Crack Magazine, Fact Magazine, Groove, etc etc etc.

-You can be sure that its tunes and tracks have been dropped in clubs and squat basements, too, on all continents, in most of the major cities (with the possible exception of Antarctica).

-Almost all of its releases are of the digital download variety, usually hosted on such sites as bandcamp. Doomcore Records vinyl does exist, though. But following the above-mentioned policy, this is hard to get and for sure won't be listed on sites like discogs. This also involves dub plates, lathe cuts, and so on.

One of the few "official" Doomcore Records vinyl sightings are the "Doomland" compilations which were done in cooperation with Teknoland Productions.

source: "The Shadowy World of Dark Techno", Bandcamp Daily

-Some of the artists that have released tracks on Doomcore Records include:

Nkisi

Drvg Cvltvre

Taciturne

Syrius 23 (of the FFM Shadow Orchestra)

The Uninvited (member of the Minimum Syndicat)

saraunh0ly

AnTraxid

Brandon Spivey

The Man Unknown

Silent Humanity

Low Entropy

-The artist roster is also quite global and includes producers from China, Russia, Ukraine, Democratic Republic of the Congo, Chile, Iceland, Dominican Republic...

source: "News from Everywhere", Screemz Blog

-Over time, Doomcore Records branched up into 2 other sublabels as well:

"Slowcore Records", dedicated to electronic music and techno below 130 bpm and

"Omnicore Records", dedicated to *all* styles of music: dark ambient, musique concrete, chiptune, indie pop... whatever you desire.

-We still have big plans for the future!

Listening suggestions:

Various Artists - An Introduction To Doomcore Records

https://doomcorerecords.bandcamp.com/album/an-introduction-to-doomcore-records

The Definition of Doomcore

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

Experiments Of Doom

https://doomcorerecords.bandcamp.com/album/experiments-of-doom

Links:

https://soundcloud.com/doomcore-records

https://www.youtube.com/@DoomcoreRecordsCentral

https://www.discogs.com/label/477961-Doomcore-Records

Topp Dogg: The Hardcore Techno Overdogs Anthem - Part II

"Topp Dogg" by Topp Dogg was the 2nd The Hardcore Overdogs anthem - but it never got a proper release so far!
So let's take care of this now. The anthem comes in 3 very different mixes, and there's also two bonus tracks.
Style: Oldschool, Gabber, Speedcore, and more.

"The Hardcore Overdogs" is an "E-Zine for great and / or underrated Hardcore Techno past and present!" - check it out here:

Off-Charts: Cuckoo for Ufos - Techno music for Aliens

I woke up, and was quickly and dutifully informed that the ufo craze is sweeping the internet. Apparently there was a senate hearing on UFOs, and new videos were shown. We don't know the details or from which direction this is coming. (And maybe we don't care).

But what we know is that we like a good U.F.O. beat!

So here are some wicked techno, acid, ambient, gabber, whatever tracks.

For all you aliens, bug eyed monsters, flying purple people-eaters, silver surfers, Pleiadeans out there!

And for the meek human beings, too.

1. Arrivers - Sky is Falling
2. Model 500 - No Ufos
3. DJ Freak - Metropolis (from Alien Raves, Drug Crazed Rioters And Man Eating Machines EP)
4. The Men in Black - Guitar Man
5. DJ Freak - Off-Planet Interference
6. Alec Empire - Dreaming is a form of astro travel
7. Nyloc - The 10Th Sign (The Capricorn Ep)
8. Ravelab - Seeing is Believing
9. Somatic Responses - Cyborg S*x
10. Lunatic Asylum – Planet Phuture's Irradiation: Boccachio Past (from The Meltdown Mixes - A Lunatic Space Odyssey Remixed By The Mover)
11. The Horrorist - Year 4010
12. Alien Factory - Destiny
13. Space Demon - Inter-Galactic Highways
14. X 102 - The Rings of Saturn
15. Steel - Soundtrack for S*x with Aliens
16. 100% Acidiferous - New Horizons
17. The Mover - Comet Swarm Rising
18. Mescalinum - Jupiter Steel
19. Headshop - Universe
20. T-Bone Castro - Return to Planet E

The 1000 Commodores of the Amiga Shock Force

Gladbeck, is a pretty unregarded town in Germany, and has only two claims to fame or infamy: a hostage and reality tv situation gone horribly wrong at the beginning of the 90s - but this is not what interests us here. And the rise of a singular group in the wider Hardcore spectrum.
We are of course talking about the Amiga Shock Force.
This trio seemed to appear suddenly out of thin air in the 90s, but made a bigger splash in the scene.
Like their name implies, they utilized the Amiga series of computers (not only) for their music. This miracle machine was invented and manufactured by the Commodore company (hence the title of this little feature!), which also created the C64, also known as the "breadbox". But while the C64 stormed the worldwide markets, the Amiga was a dud in the USA; yet it became very famous in Europe (especially Germany, France, and the UK) and other parts of the world.

Compared to the studios, gear and setup of other high-brow Techno and Electronic artists, the Amiga put you into the low-brow, low budget range of producing.
Despite, or rather because of this, ASF made some of the most teeth-bashing, crowbar-wielding hardcore in the 90s era.

They had their first EP on Speedcore Records out in 1996 already, with some of the tracks topping 300 BPM. (btw: one year *before* DOA's album "New York City Speedcore" happened).

So, at one point they were among the fastest acts around, and spearheaded this whole movement.

Later releases had a more spiffy and complex production, so there is reason to believe this music was not done entirely on Amiga anymore. This later period also saw them venture into Breakcore or Experimental territory.
We still dig it the same, though!

The Amiga Shock Force traveled around the Europe club circuit, and became a regular performer on the "Terror areas" of big Dutch-Hardcore festivals.
But somewhen after the Millennium, things became more quiet, and rumors about a split or break-up made the rounds.

They occasionally do releases though, and play parties, and the sound is still kicking everyone's a**es.

Let's listen to 11 tracks by the Amiga Shock Force now: 

1. House Full of Gangstas

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2. First Strike

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3. Violent Geisha

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4. 24h Connection

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5. Kik Me

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6. Blood

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7. Fastbreak

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8. Hardcore Rmx

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9. Arschloch

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10. Keep Your Enemies Close

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11. Guru Meditation

Hardcore & Techno against Misogyny & Queerphobia

The cultural tides are turning against us, and LGBTQIA+ people have become the target and scapegoat for hypocritical politicians, religions fanatics, and the common idiots once more.

I think it's time that the Hardcore, Techno, Gabber (and all other) scenes take a stand and help to defend the rights of queer people, and other groups that might become marginalized again.

My own little effort is this new logo which, I hope, represents solidarity and unity.

You can download it in 3 different variants, and also with a transparent background, so that people are able to add to their own artworks and design.

Let us not give up in the face of this struggle!

Download link for the logos:

https://drive.google.com/file/d/1vSOt8MCBuYMtnlaITlcyUDZZgKVcIHUm/view?usp=sharing

Other Queer features in The Hardcore Techno Overdogs e-zine:

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

Release: The Diversity of Hardcore Techno Part 2
https://thehardcoreoverdogs.blogspot.com/2025/02/release-diversity-of-hardcore-techno.html

Queer Themes in 20th Century Music Culture Rebellion
https://thehardcoreoverdogs.blogspot.com/2025/06/queer-themes-in-20th-century-music.html

Libidinal Beats and Androgynous Bass Lines: LGBTQIA+ Politics Within the Soundwaves of Techno
https://thehardcoreoverdogs.blogspot.com/2025/06/libidinal-beats-and-androgynous-bass.html

Japan's 90s Hardcore Techno scene was wild

We're on a tour to check in at places that were interesting & important for the 90s Techno & Hardcore world.
And our next stop is Japan. The connoisseurs of this type of music are aware that it was not just The Netherlands that created Gabber. They had the biggest scene and the one that caught the most attention of the mainstream. But things were also happening in Belgium, France, UK, Germany... there were pockets of scenes in as remote places like Australia - or the USA (which, at this point in history, was still very much a "rock and rap" nation, with little interest in the raving madness that swept Europe).

All this is widely, or at least semi-known. But the 90s scene Japan still occupied a pretty unique and singular territory. Because it was very shut-off and contained in itself. While Dutch Gabber DJs often played records made in New York City or Milwaukee, and Scottish DJs dropped stuff from France and Switzerland, there was little exchange between Japan and the rest of the world.

This might be the reason that the 90s hardcore and techno scene in Japan is still pretty much unknown. At least when compared with the rest of the world.

And this is completely undeservingly so!
So let us not forget how brilliant, interesting, and, most importantly, savage 1990s Japanese Hardcore is.
This music was an insane sound assault: hard-as-nails-drums, high tempos, shouting, noizes all over the tracks. But most often with a smile, too.
On par with the hardest stuff that was coming out of UK, France or Germany at the same time period.

Japan had a huge set of output in that era, in that style, in that vibe.

As an outsider, it's hard to find information and data about it. The scene seems to have been mostly centered around Tokyo (expectedly! and the other larger cities.
Out of this movement, a few artists eventually made their way across the pond(s), over the Pacific, Atlantic, and Indian Ocean.

The biggest impact was achieved by Nawoto Suzuki, who seemed to have used dozens of akas, and appeared on a lot of the "big" hardcore labels. Mokum, Industrial Strength, Shockwave, Agent Orange, Fischkopf...

...and from a xeroxed promo sheet that came with his "leave me alone EP", Fischkopf's poetic authors inform us about the very setting and mood of this music: "only a country that created movies like Akira or Tetsuo could give birth to a record as insane as this one" (paraphrased).

And maybe this information is valid for the rest of the Japanese hardcore scene as well.

It's noteworthy that nawoto was, and is, a multi-genre artist. If you are in for a special treat, take a bite of his "Limited Forever" CD album on Otaku Records (released in 1998). 1 of the most bittersweet, weird, and disturbing ambient and idm releases I ever heard.

Another group that got out alive were the Hammer Bros (Not to be confused with the Super Mario villains of the same name).
They even made it to the premium HC compilation CDs of the 90s - Terrordrome, Braindead, Earthquake...
Some (all?) of its members are still around and doing kick-ass releases.

Still another name that should be mentioned is Out of Key.

Japan's scene was not entirely shut off in the other direction, too, but only few outsider artists made it to the Japan circuit in those days. Noize Creator and Black Blood out of Dresden, The Speed Freak, or the BSE DJ Team (which I think were located around Hamburg or in northern Germany) are four of those.

Later, the sound evolved into what we now know as J-Core. Still very insane music, but more focused on pitched up pop-type music samples and an overdose of cute above the ferocity. We don't judge!

And this time, the music did indeed spread across the vast watery blue; J-Core has a dedicated fanbase around the globe.

But... some of the original artists are still around, and the really, really disturbing Japanese hardcore and gabber sound is still around, too!

Note: no AI was used in writing this text.

Examples for interesting 90s Hardcore Techno tracks out of Japan:

1. Burning Lazy Persons - If The Truth Be Known
2. Deadly Drive - F**k It
3. Oil Head - Paul The Power
4. Sieste - Death Rate
5. 2 Terror Crew - 108d
6. DJ Tak - Untitled
7. Oil Head - Rave In Hiroshima (Tour 1989)
8. Hammer Bros - Dead By Takahashi
9. Out Of Key - Get Up Hardcore
10. Absolute Terror Field - God Is In His Heaven, Alright With The World
11. Yam Yam - Hardcore Kingdom

All Digital Hardcore Recordings single and EP releases reviewed and rated

Short introduction to DHR aka Digital Hardcore Recordings:

"Before the "Genre Mainstream" set in, Hardcore, and also Techno, were not styles or categories that are as fixed as they are now.
Many labels (and artists) existed on a kind of liminal location, that sat in-between the various movements, styles, sub-cultures, and political claims...

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

And, paradoxically, while DHR was probably one of the most underground efforts, as these releases literally did not give a fuck about genre conventions, image, likability... they were also *the most known* hardcore-adjacent and extreme electronic label in the 90s.
every global music, culture, fashion magazine tried to get an interview or story with one of its artists... they toured all over the world and in the major cities... they were on big rotation on MTV and other music television.
It was a common thing to come home after a squat rave, turn on the TV in order to "chill", and suddenly see Atari Teenage Riot, Alec Empire, Hanin or Ec8or appear on the screen.
Even the mainstream press and media regularly covered the label."

After reviewing all the albums in this label's catalogue, we are taking a look at the regular single releases, maxis, and EPs now; both on vinyl, CD, or other formats.

And, going on with the program....

And, going on with the program....



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

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

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

DJ Bleed - Uzi Party EP (DHR 2)

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

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

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

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

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

Alec Empire - Death EP (DHR 4)

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

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

Sonic Subjunkies - Turntable Terrorist EP (DHR 5)

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

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

Hanin Elias - Show EP (DHR 6)

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

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

Christoph De Babalon – Destroy Berlin! (DHR 7)

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

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

Ec8or - AK-78 (DHR 8)

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

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

Ec8or - Spex Is A Fat Bitch (DHR 9)

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

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

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

Atari Teenage Riot - Speed/Midijunkies (DHR 10)

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

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

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

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

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

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

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

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

Atari Teenage Riot - Sick To Death E.P. (DHR 12)

The main monster - "Sick To Death" - is one of the best ATR tracks ever, but you could get it elsewhere too, of course.
So this EP is especially noteworthy for the "b sides".
"We've Got The Fucking Power" is an almost "Oldschool" Teenage Riot Breakcore session.
"Sick To Death (Remix)" is a nuclear warhead gone AWOL.
And my pick here is "Waves Of Disaster"... death dub? dark sabbath ambient? Or slow-motion breakcore recorded in the hadal region of the pacific? Who knows it... but I love it!

Oh, and the japanese edition apparently has a hidden full-length concert as a bonus track!

Shizuo - High On Emotion E.P. (DHR 14)

One of the tracks on here is titled "Anarchy" and this sums it up, this sums it up real well.
Nihilism, pessimism, anger, and disregard for any rules - especially those of production techniques or traditional music theory.
If the fictional characters portrayed by Harvey Keitel and Heath Ledger had turned into jungle and eletronica producers - this is how I would describe this ep. I love it!
Gritty and rough!

Note: for some reason, the EP had a different tracklist than the CD version, including tracks that are not on CD (usually it's the other way round).

Atari Teenage Riot - Destroy 2000 Years Of Culture E.P. (DHR 15)

Second "single" release of Future of War (remember the video to it?).
We got the original, and then the remix: unlike the "death rap" of the original, a much more gabba-terror adjacent affair
"You can't hold us back" is included too, which was one of the very few "slower" tracks on Future of War - these were my favorites.
"Paranoid" is an insanely (and) good track as well, and I wonder why it wasn't included in the finished album.
The CD version has an instrumental bonus version of it.

Christoph De Babalon - Seven Up (DHR 16)

Seven Up - the soft drink? the number of tracks on this EP? collecting a green mushroom in super mario seven times in a row?
I don't know - but what I know is that this is another one of DHR's crypto-miniature albums, and has a totally unique sound.
Apparently recorded in a flat in Hamburg's red light district close to the harbor area, and if I close my eyes, I can hear the drones of urban traffic, ship horns blowing, inner city chatter... whispering behind these tracks.
My pick: "My Confession", obviously, "Nightlife" - a miniature breakcore track within this miniature album - and "Dirtride" seems to be based on the weird sounds that appear on the earlier "Destroy Berlin" 12" once the needle left the actual, visible groove on the record (or did just my copy of it behave like that?).

Shizuo / Give Up - New Kick E.P. (DHR 17)

A collab between Shizuo and Shizuo's band "Give Up", which made him join forces with Annika Trost (of Cobra Killer) and Ghazi Barakat.
Both Shizuo and Cobra Killer were more on the nihilist side of things - especially when it came to production standards, care for sound quality, or little things such as song structures, melodies, and rational sense of lyrics.
And they were justified to jettison them, of course.
What remains is this almost forgotten breakcore-punk gem.

Ec8or - Until Everything Explodes (DHR 18)

Japan-exclusive release!
Has two tracks from the "World Beaters" album, a remix, and one of Ec8or's best noize-only tracks.

16-17 - Human Distortion (DHR 19)

According to Wikipedia, 16-17 was started as a "three-piece industrial punk jazz Outfit", and I guess this is what you get here.
Slow / fast, live improvised industrial recordings, using real drumkits and instrumentation (?), bordering on noize and breakcore, fitting to the Digital Hardcore genre.
Spiffy!

Bomb 20 - Choice Of The Righteous (DHR 20)

As mentioned before, Bomb 20 started in the tracker / demo scene, and in a sense, this is what we are hearing here.
16 bit breakcore / speedcore sounds, feral and wild. Some quite clever and creative use of sampling, with even and odd sounds pulled from the most diverse sources. Is bent towards gabber and 909 type hardcore in a more than usual way for DHR.

Bomb20 - Flip Burgers Or Die!!!!! (DHR 21)

Bomb 20's sophomore EP on DHR.
Less 16 bit tracker-ish sounds, but already matured breakcore mayhem.
As usual with DHR, this EP release contains some exclusive tracks that were not on Bomb 20's later album - excellent!

Nic Endo - White Heat (DHR 22)

It's Nic Endo, who later became a part of Atari Teenage Riot, with her first solo release (I think).
And, unlike her later album on Geist, there are no traces of dark ambient, calm drones, or 50s experiments here.
It's noize, pure noize, walls of noize, from the beginning to the end.

I always preferred this one over most of the other noize releases of its era.

Cobra Killer - Right Into A Kick For More (DHR 23)

Has one track that was already on their eponymous album - about a "sookee sookee man"(?) - and one exclusive track.
You know what to expect with the serpentine assassins: breakcore meets deranged 60s soul and funk sounds.
Can you dig it? Well, I do!

Atari Teenage Riot - Revolution Action E.P. (DHR 24)

First single emission of the "60 Seconds Wipeout" album.
Apart from the single track, there are also 2 "Digital Hardcore" mixes of No Success and Your Uniform (Does Not Impress Me) - respectively. They are even wilder and more brutal than the original(s)!
And to finish things off, we get a live performance of "Hunt Down The Nazis!" - and that one's just raaaw.

Hanin Elias - In Flames E.P. (DHR 25)

All three (or four) tracks have been released on the "In Flames" album as well.

Atari Teenage Riot - Too Dead For Me E.P. (DHR 26)

The second single release off "60 Seconds Wipeout". This track got quite the airplay on music television.
Like the earlier one, it features bonus content and exclusive mixes:

Live performances of "Revolution Action" and "No Remorse". A "real mix" and acapella of Anarchy 999 and Death of a President.
And 3 pure and experimental noize pieces.

Go for it!

Atari Teenage Riot Feat. Tom Morello - Rage E.P. (DHR 27)

A collaboration between ATR and Tom Morello from RATM.
A killer combo, so expectations run high, and they don't get disappointed.
A quite "unusual" style for ATR, I'd say in between their "FoW" and "60 Seconds" material - punky, noisy, nosy, and with low-punching gabba-tape beats.
The version with the MC is neat as well, and "Too Dead For Me" is included, too.

L*lita Storm - Hot Lips, Wet Pants / I Luv Speed (DHR 28)

Two tracks from their album on DHR.

Hanin Elias - In Flames - Remix EP. (DHR 29)

Haunting, disturbing, and wonderful remixes of the "In Flames" track by Hanin, as well as more material. I cannot praise these tracks enough.
Some can also be found on the expanded version of the same-titled album - read my review of it for a more indepth description of this music's mood.

L*lita Storm - Red Hot Riding Hood (DHR 30)

"Single" release by the band. Also has two exclusive tracks.
One of them is amongst the most interesting this band has ever done: "I Love You So Much", which mixes pixies-type strung-out indie-gaze with roughest noize and breakcore.

Ec8or - Dynamite (DHR 31)

Single release tied to the accompanying "The only high and low" album.
I guess this is (sadly!) the only track by Ec8or that received significant airplay on the music television stations, at least in Germany.
It's worth it, though, and two live versions of other tracks from the album can be found on here as well.

ATR Feat. MC D-Stroy And Tom Morello - Rage (DHR 32)

Various (re-)mixes of the original track (DHR 27).
Including an acapella, an extended edit, instrumentals, and more.

L*lita Storm - Sick Slits (DHR 33)

Follow-up EP to their 2000 album.
If you liked that one, you will love this one as well!

Fidel Villeneuve - Kill Life!!! (DHR 34)

"Not-so-early" breakcore, a bit in the vein of bomb 20, shizuo, or later ec8or release.
But, in my opinion, also with an indie-rock / noize-punk bend to it.
Tough!

Alec Empire & EL-P - Shards Of Pol Pottery - The 2001 Remixes (DHR 35)

This is it... again! There is a certain sound / style in the sum of works by Alec Empire, which he did rarely, but when he did it, it was all the better.
Tracks like "Redefine The Enemy", "Waves of Disaster", "Addicted To You".
Slow, Industrial-Funk beats, noize and basslines, hip-hop and / or brutal vocalizing... and somewhat atonal synthscapes are howling in the background.
This release fits right into that category, and might be one of the best outings in that regard.

Alec Empire - Addicted To You (DHR 38)

My favorite three tracks on the first disc of "Intelligence & Sacrifice" are Addicted To You, The Ride, and New World Order. Like mentioned above, they have a different approach - slower, more heavy.

This does not mean I disliked the neck-breaking "guitar gabber" of the other tracks - to the contrary.
It's just that this is a style that is quite special, and almost nowhere to be found.

Would have loved to hear more tracks in this vein - but, in the end, we still have these singles!

Alec Empire - The Ride (DHR 40)

In a TV interview, Alec said that, unlike the ATR material, his solo album would include tracks about not-so-directly-political subject matters, such as "songs about girls", too, and, judging by the lyrics, I could imagine he was referring to this one here.
But regardless of how you interpret it, this is one of my favorite tracks on I&S.
This is actually not just one single EP, but several different releases, that have different versions of the original track and vary in bonus content, too!
Amongst the remixes, I consider the "full length version" to be most interesting - and amongst the bonus material, the "perish to the beat of the drum" edit of "addicted to you", which feels like a digital hardcore version of NIN or Ministry.

Motormark - Eat. Drink. Sleep. Think.(DHR 41)

Single release with two additional songs / tracks.
Like I wrote about the attached album review: "Feels a lot more like indie rock / pop than DHR's teeth-breaking regular sound. It's definitely a "hardcore" version of indie rock, though. And a lot of tracks are wonderfully lo-fi."

Panic DHH - Reach (DHR 42)

"Single" release from Panic DHH eponymous album.
Includes 3 remixes, that put a very interesting dark dub / weird ambient spin to the sound.

Alec Empire - Gotta Get Out! (DHR 43)

First single release of Alec Empire's "Futurist" album.
With two additional tracks: a remix of "Overdose" that feels more technoid / metallic / dub-like.

And On Fire, which got its proper release on DHR's successor label, Eat Your Heart Out.

Alec Empire - Kiss Of Death (DHR 44)

Here the bonus track is the "Futurist" remix of Night of Violence.
The original is one of my fav tracks on the album, and the remix adds a nightmarish, dystopian, technological - truly futurist - spin to it.