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.