Tuesday, April 14, 2026

Praxis Records: all 90s era EPs, album and compilation releases reviewed

Praxis Records was one of the "big three" of Experimental Hardcore releases. But it was also widely recognized and respected in plenty of other scenes, such as Gabba, Breakcore, squat culture... drumnbass, techno... the list is endless!

Unlike most labels, projects or artists with "links to the past" that we review here, praxis is *not defunct*, but still very active.
it does not just still put out records, but the crew is also involved in publishing a magazine (datacide) and running a record shop in berlin, and involved in overthrowing the capitalist system in an anarcho-communist techno-revolution.

but let's cut to the point. due to the large material and output of the label, we focus only on one segment here: it's 90s releases. which helped define plenty of the genres and culture we mentioned above (hardcore, breakcore...).

let's go!


Scaremonger - Scaremonger EP (Praxis 1)

*Very* interesting initial release by Praxis.
Even though it's from 1992, it's almost "pre-techno" in sound - the drums, percussion closer to acid house, detroit, or new beat.
If these sounds were made on a distant planet. In a different galaxy. On a different universe.
Also quite hardcore! The "bang bang" beats blast pretty bold.
The icing on the cake, of course, is the overarching theme of video drome on here.


Bourbonese Qualk - Knee Jerk Reaction EP (Praxis 2)

Praxis had a very different sound in the beginning, and compared with other qualk releases, this might even be the most "dancefloor" friendly.
if terms like this are appropriate here, as the sounds are still very shrill and powerful.

Scaremonger - Soon We All Will Have Special Names (Praxis 1X)

more scaremongering, via remixes of the first praxis release.
this goes all over the map, from 80s ebm type sounds, to proto-hardcore techno.

Bourbonese Qualk - Qual EP (Praxis 3)

Bourbonese Qualk actually began producing long before the advent of hardcore - or proper techno, even.
on this release, you can still feel the anarchist diy spirit of early electronic days. that get channeled into the upcoming era of hardcore beats and dancing insanity.

Metatron - Speed And Politics EP (Praxis 4)

If there was a genre term called "left wing squat techno", then this would be its epitome.
The tracks have the deep bass frequencies for huge sound systems within enclosed walls and basements. The semi-dry production as regards reverbs and fx; that fits to the same surroundings. Plus the focus on hypnotic and repetitive beats for pre- or post-riot allnighters.

the peak track is "men who hate the law". But I also like "state of emergency", as it is a bit slower than the rest.

Bourbonese Qualk - Autonomia (Praxis 5)

This release is a hidden gem, right at the beginning of the label's catalogue.
lots of tracks and sounds. genre is "undefined" to most part, i hear influences and spirits of ebm, industrial, acid house, even a bit of the proto-plasma of psy-trance maybe...
but, and this is noteworthy, there are some legit industrial hardcore tracks on here, and these are amongst the earliest tracks of that kind. and amongst the hardest.

Noface – Burnout EP (Praxis 6)

Very interesting early release by Noface aka Christoph Fringeli on his own label.
It's mentionable that the drums (and tracks) are optimized for very low and loud bass systems. Like those in the UK squat and free party scene.

The tracks on the other hand could not be more varied. There is a kind of strange "dubcore", early Doomcore, fast acid, industrial hardcore...
And the killer track for me is "Love or Kill". Cyberdelic bleeps and totally insane, non-traditional drum structures.


Disciples Of Belial - Songs Of Praise (Praxis 7)

A very interesting release in the early days of what we now call "Hardcore" and "Gabber".
The man behind it used to be a black metal musician, and after his electronic period, found success in that genre again.
So one might expect a kind of "blackened gabber" release here, and, in concept it might be, but not really in sound.
Because in sound it's very close to the rotterdam and amsterdam counterparts of its time. "Bang bang" 909s, four-to-the-floor rhythms, sequencer logic. But there are no funky hoovers, silly squeaky vocals, MCs shouting "clap your hands" and all the other shenanigans that were so typical for "Rotterdam Gabber".
They have been replaced by sounds of screaming machines, klaxons, and general noise.

Of course, at much later years, we had artists that did all-out speedcore bpms, chaos without rhythm and rhyme.
But this one *still* has structure, yet the structure is already caving in and breaking down.

And this is exactly what makes this releae so interesting: it almost sits in the middle of the road from "dance-gabber" to infernal speedcore.
that doesn't mean it's necessarily "both" at the same time: it's hardcore techno with a zany, mental, hellish twist.
and we like that!

Metatron - Seduction EP (Praxis 8)

for me, this release is a spiritual brainchild to both the preceding metatron release, and noface's "burnout".
the sound continues in their direction, and if you are in need for a sequel (which you should be!), then check this vinyl as well.

DJ Jackal - Drumtrax (Praxis 9)

PIL once stated "this is what you want, this is what you get".
and it's true for this record; it promises "drumtrax", and drum tracks you get.
tracks that focus almost exclusively on rough drum, strange rhytms, earth shaking grooves, and rumbling basses.
in the praxis way.

Various Artists -  Paraphysical Cybertronics (Volume One: The Experiments Of Bloor Schleppy) (Praxis 10 CD)

Compilation by Praxis Records, which is, as you know the pioneer label for experimental Hardcore and, later, Breakcore.
We are told that these are the "paraphysical" and "cybertronic" experiments of Bloor Schleppy.
An undisclosed character, and neither on this, or later releases, we do learn who he actually is or was.

The tracks themselves do embody the sounds of spirit sessions, séances, and ouija boards though - to a degree.
We learn about the "Mark of the Beast", a "Nirvana Trail"; and "When Time Becomes a Lock" you don't have to anything but "Hallucinate".
The whole shebang somehow reminds me of a past thing called "occult tape research", where the snake oil vendor equivalents of self-professed scientists (or quacks) would do extensive recordings of what they thought to be the disembodied sounds and voices of the deceased, spirits, and more evil things - live on tape.
And here, too, strange voices and sounds out of nothingness seem to manifest themselves, possess the surroundings, and then pass through the next wall and disappear again.

A lovely release!

Fav Picks:

The Mover
Noface
Metatron

Heist (4) - Dystrophic EP (Praxis 11)

Under-rated EP. "corridors" and "blista" are industrial hardcore bangers. (when industrial hardcore was still fast!)
but even more interesting is "homage". kinda like polygon window / lory d / mover soundscapes are disrupted by slowcore beats.

DJ Yubba / Deviant – World's Fattest Split (Praxis 12)

this is definitely the odd one out on praxis. a release featuring hardcore that feels more brawny than brainy.
but this is not a bad thing.
as the liner notes indicate "If this doesn't get you yubbaring, then you're no yabba!"

Lorenz Attractor - Strange Attractor EP (Praxis 13)

Something i mentioned before is that "blackened death metal" musician jason mendonca happened to do a frantic hardcore-gabba EP on this label.
and in an even weirder twist of things, he also was involved in the production of this ep.
and it happens to be a true blue doomcore techno EP. one of the first of its kinds.
heavy, dark stuff.

there are also two more experimental tracks, "raw toy" and "the suffering of kabul".


Deadly Buda – Morph Beat Vol.I (Praxis 14)

I reckon this is one of the first EPs by deadly buda, or productions even.
buda always had a very interesting style, different from most other producers. lot's of samples from various genres, thrown and cut together, layered, punctured... i guess this is an influence from rap / hip hop and its traditions of scratching and mashing things from the most diverse sources...
either way, this machine kills!

Cyberchrist – Information : Revolution (Praxis 16)

imho cyberchrist always was one of "the speed freak"'s most interesting projects.
and this 12" is outstanding, too.
yeah, there are some killer terror-gabba tracks at the start of each side. highly recommended.
but then... the second tracks.

there is a completely arhythmic hardcore/industrial track on side A. loud, and very minimalistic / futuristic at the same time.
imagine Schwarzenegger, in his role as the terminator, turning into a b-boy, then firing the gun in every direction, and then doing the same while breaking into a funky dance.

now side b... an ambient composition... with heavy use of frequency-modulation synthesis (martin damm was always quite good at that).
like a nightmare while your sub sinks down, down to 20.000 leagues under the sea.
then you wake up from the nightmare. and are still trapped in this sub.


Disciples Of Belial – Goat Of Mendes E.P. (Praxis 17)

"the goat of mendes" is a cult classic to some gabber fans. in my opinion it's topped by dob's preceding release, "songs of praise".
but, it's still high quality, and good, true industrial hardcore is a rarity to come by, and this 12" does not disappoint in that regard.

the real interesting track / song on this ep is the one about mary. real oldschool, lo-fi death / black metal on a hc tech vinyl. it must be a miracle!

Somatic Responses – Post-Organic EP (Praxis 18)

it's somatix! this release happened when they were on the fringes of developing an own, new style. like it was featured on later albums on hymen or ant-zen.
but this one here, oh it's still rooted in the "kill em all!" style of hardcore-gabba-terror of the 90s.
more cerebral, more... "metallic", though. and the later experimentalism is already peaking in.
but maybe... this makes it all the more lethal!

Cunning Meets Bambule – Cunning Meets Bambule (Praxis 19)

very under-apreciated release on praxis that shows the label at one of its highpoints.
really smart, really clever electronic hardcore and acid or experimental music.
if your friends think "hardcore techno" would necessary equal "gabba gabba hey!" sillyness, play this record to them.

Slaughter Politics – Slaughter Politics (Praxis 21)

this happened around the time praxis transitioned into more of a breakcore direction.
this release is kinda inbetween, it's half 4/4 "hardcore" and other half is breakcore in sound.
and this is a nice twist, ain't it?

Test Tube Kid – H (Praxis 22)

in my opinion, catani had the "e-de cologne" alias for his "gabba!" output, ec8or for digital hardcore songs, eradicator for underground squat terror-hardcore, and this one... uhm i'd say it goes in the direction of eradicator, but maybe even a bit more experimental. test tube kid, nomen est omen.
this ep stands out as no track on here sounds like the other.
"promars" is probably the one you know from your local underground dancefloor.
my favs are "marchine" though... and "h" !


Various Artists - Dead By Dawn (Praxis 23)

"Dead by Dawn" was a series of "satanic speedcore parties" (according to the flyer) in a squat in london, in the 90s. the very squat was actually quite famous and pops up in anarchist history books.
this LP was made to accompany or celebrate these parties, and, as far as i know, only artists who played at the parties are represented on here.

the tracklist looks like the "who is who" of dangerous electronic underground in the 90s. tracks range from harsh / gabba, to more intelligent or experimental products; or tracks that are all at once. like the final one, "the fire is the centre", which is also my favorite track here.

Society Of Unknowns – Society Of Unknowns (Praxis 24)

collab between christoph fringeli and jason skeet. (and aphasic)
this is one of the earlier breakcore releases... and you can feel that the style was without a "solid framework" yet.
"transversal" is quite close to traditional jungle... while others use distorted, "hardcore" type drums.

i love this one because there is an interesting source of sounds aka samples... musique concrete, contemporay avantgarde from the past... this is more like an intellectual, auteur mode of breakcore...
not some rave/drug fueled low blow stuff.

and the main, sweet, wonderful piece for me is "dead by dawn" - the endless mix.

it's neither breakcore, nor hardcore, or in any genre really. one of a kind.
...like a sound collage, washing over you, voices and despair in the echoes... something remiscient to steel works or a bell... and lower bass frequencies, too, yeah.

looping on and on. listen to and maybe you will feel the same way.

Potere Occulto - Potere Occulto (Praxis 25)

the long awaited collaboration between the chiefs of ghostly idm and the head honcho of experimental hardcore.
i don't know how long this has been in the making, but if i recall correctly it was around 4-5 years before it finally got released.
given the hadean and wild nature of all 3 producers involved, the results are as good and positively-terrifying as one might expect.
stand out track for me is "Mynydd Ddu", which exchanges the usual juno-like synths of the somatix with something that sounds like the wailing of cerberus.


Pure – King Kong Pt. 2 / Katharsis (Praxis 26)

pure is / was one half the infamous techno-gabba project "ilsa gold".
he does not give us xtc-driven rave madness on here, the whole thing is more cerebral, introverted and - hard & disturbing.
my fav pick is the flip side: "katharsis". a track that hammers on with its speedcore beats for close to 7 minutes.

Base Force One – Welcome To Violence (Praxis 27)

the ep that set new standards for the (back then still very) young breakcore movement.
there are also two speedcore-smashers included.
and phuturist has a surprising, piercing industrial slowcore sequence. maybe my favorite thing on here.

oh, and the whole ep is based on the "faster, pussycat! kill! kill!" movie (not related to the tom jones song).

Bambule – Vertical Invasion (Praxis 29)

interesting second release by bambule.
at the meeting point of idm, breakcore... and general weird experiments!

Eiterherd – 1984 Vs. 1999 (Vision Vs. Reality) (Praxis 30)

to say this release was a breakcore manifesto would not be an under-statement.
as its tied in to political and insurrectionary concepts. the front cover art features a printed-out pgp key for electronic communication.
the back cover provides further links for the (hopefully) revolutionary listeners. like a list of websites dedicated to politics, cryptography, information... (i guess most of them are defunct by now, though.)

the music itself is just as revolutionary.
the whole concept is, of course, the question: do we already live in a world that is as authoritarian and dystopian as it was envisioned in orwell's novel "1984"?

so there are lots of samples cut from the german dub of the 1984 movie used in the tracks.

which makes everything even more powerful and deep.

16-17 - Mechanophobia (Praxis 31)

another project on praxis, that was already very active before the dawn of techno and hardcore.
16-17 already released on the praxis pre-cursor vision before.
and on here, they give us early breakcore that seems to be influenced in equal parts by avant-garde industrialism and deranged free jazz.

Hecate - Hate Cats E.P. (Praxis 32)

still one of hecate's finest, maybe even hardest EPs.
also one of the best and wildest early breakcore vinyl overall.
especially look out for "caught up". some of the most haunted, chthonic soundscapes i ever heard!

Nomex - Trocante Gramofony E.P. (Praxis 33)

praxis' output was always the most varied; of course.
so here is something completely different, a pure harsh noize / experimental ep.
it's more heady than, say, merzbow or masonna, but cuts just as deep.
check this track: "the fire is the centre" (a noizy re-make of the "dead by dawn" track by the jackal?).


https://praxis-records.net/
https://praxisrecords.bandcamp.com/
https://www.discogs.com/label/4638-Praxis

Monday, April 13, 2026

Overdog of the past: Headcleaner - Hard Sound Project 1 + 2


I learned about The Hard Sound project releases because DJ Eiterherd promoted them on his Widerstand label webpage - long ago, end of 90s.
And when I finally listened to them, woah, blown away!

There is hardly any hardcore-related project that was, or is, so experimental.
This is as far away from "mainstream gabba" then arnold schoenberg was to the bee gees. (nothing against the bee gees! but you guess what i mean, it's just different... hey, arnold!)

hardly any four-to-the-flour pattern, rhythm all over the place... no hoovers, rave sounds, horror screaming, no junos or rave stabs.
not like "normal" techno or even "normal" free party tribe vibe either...


weird, surreal, extraterrestrial, peculiar, unique, avantgarde, morose, ascerbic.
some tracks even seem to channel odd / old 1910-1960 sound experiments... musique concrete, minimalism... neue musik.

but all these tracks are super-aggro and brutal like a hammer despite of this... or *maybe* because of this!

in my opinion, there never was a release *quite* like this again.

https://www.discogs.com/artist/57575-Headcleaner-2

Sunday, April 12, 2026

Classic Review: Temper Tantrum - The Uncontrollable Fit EP (Industrial Strength Records 023)


There are few tracks with a harder bass drum (or none?) than the eponymous "Industrial Strength".
Africa 4010 has one of the most interesting on Techno I ever heard.
Pure future, lots of bleeps and blops, sampled pads and sounds that might be taken from SciFi movies... or, if not, *should be put* into SciFi movies...
and the rest of the tracks on this very vinyl... is bone-crasher gabber skinhead insanity. completely & totally.

Year: 1994

Tracklist:

A1 Industrial Strength 3:51
A2 Africa 4010 3:17
B1 You're Going Down 2:54
B2 Hardcore 94 2:51
B3 We Are Us

https://www.discogs.com/release/48601-Temper-Tantrum-The-Uncontrollable-Fit-EP

Saturday, April 11, 2026

Hardcore Commentary: Fight Genre-ism!

Dear Dogs and Readers,
Here is a new editorial piece. This time, GabberGirl talks about Genre-Ism within the Hardcore Techno subculture.


Along with the advent of new electronic music genres and sub-genres comes a recent attitude of denial, hate, and prejudice. I will dub this practice “genre-ism”. Think racism but for genres. Just like racism comes with a set of pre-determined policies and intolerances, so does genre-ism.

You can blindly hate an entire genre, or you could open your mind and ears to possibilities. The possibility that there is good music and great music to be found in every genre; the possibility that you will find that excellent music if you look around.



So you think you hate Uptempo. Well, have you taken the time to listen to all the Uptempo? How can you pre-judge an entire genre of music? Is it piep piep kicks that you are really against? Not all Uptempo has piep piep kicks, and I’ll bet you didn’t know that, if you already wrote off that whole genre.

Is it Happy Hardcore that you abhor? Keep listening, there might be tracks you adore. Let FlapJack help. Put on a FlapJack video and let his love of Happy Hardcore show you just how fun it can be.


The DJs are willing to help. They spend hours and days and weeks tracking down the best tracks of their genres, so that you don’t have to. They’ve already sifted through the dirt at the bottom of their pans and found the gold, and they really want to share this gold with you.

I challenge you to find your own gold—pick a genre you “can’t stand” and listen until something perks your ears, and peaks your interest. Throw on some Dubstep and let your inner wook come out to play. See what Dr. Peacock is spinning these days, despite your abolition against Hardstyle. Break your omission of Breakcore and add some to your growing bucket of gold.


Your poor ears are getting bored of all the genres you love and are ready to be enriched with all those hidden gems from the genres you loathe. I Double-Dogg Dare you to step outside your comfort zone and give that detested genre another chance. Let’s all fight genre-ism together!

Friday, April 10, 2026

Review: Kolium - Grey Zone [DZC.028]


Kolium's back, this time on The Darkcreator's Dead Zone Communications.This artist released on Slowcore Records in the past, so you might fathom what's coming on this release.
Pummeling, *slow*, hardcore / industrial beats. And hellish soundscapes.

According to the promo blurb, this one was "Created in the shadow of warzone of Ukraine".
The release also comes with a nice, animated video playlist.

So you better take care, once more, doom supporter!

https://deadzonecommunications.bandcamp.com/album/grey-zone

https://www.youtube.com/watch?v=JM1OkQFNebM&list=PLYIs6CgNBiUX4eWnYgq_Y6V8zfsU0A5bS&index=1

Tuesday, April 7, 2026

Review: The Speed Freak - No Compromise (Noice / Re:Fusion)


Refusion is the label for "oldschool" release by The Speed Freak & the crew (at least that's what I suppose). But, apart from excavating holy grails and other legendary artefacts of the past (the napalm backcatalogue, force inc electro releases, anodyne, steel on mille plateaux...) there are fresh and newly released tracks, now and then.
And this is one of them, a new album by The Speed Freak!
According to the info blurb, it's composed of tracks that were originally produced for Noice (another label associated with this), and here they are, in new and finished album versions.
I might be missing something, but going by the track names at least, they had not been released on Noice before.

The style is very diverse, there is industrial hardcore, "napalm records" type stuff, schranz-core hybrids, weird electro stuff... a bit like in the old days, but not buried in the past either. Frenchcore / tek basses rumble through most tracks, and I guess this will annoy a few people, but for once I don't mind them here.

A solid steel banger by The Speed Freak. Very "noice" indeed!

1. If I Started [Album Version] 04:26
2. Loud And Clear [Album Mix] 04:05
3. Chaos Is Coming [Album Mix] 03:20
4. See You [Album Mix] 03:36
5. Single Purpose [Album Version] 04:23
6. Face [Album Mix] 04:17
7. Killbox [Album Version] 03:36
8. Hands Up Who Wants To Die [Album Mix] 04:02
9. Save Us From Ourselves [Album Mix] 04:02
10. Poison [Album Mix] 03:22
11. Outtake [Album Version] 04:34
12. We Ain´t Playin´ [Album Version] 03:31

https://refusion.bandcamp.com/album/no-compromise

Saturday, April 4, 2026

Review: HellaSicker - Forgotten Tracks (Primal Future Records)


A new release out on this Moscow based label. And we know that Russian Hardcore stands for quality.
The release info seems to indicate these are older tracks dedicated to an almost-forgotten past, and, yeah, the title of the release indicates this, too.
The tracks themselves are flawless. They pick up a lot of influences, 90s Gabber, Millenium synths / speeds, a hint of terror, noise, and speedcore, there is industrial, mainstream, and doomcore.
But it never sounds cheesy or artificial!
Truly bold and strong Hardcore. For days when you just want to raise your middle finger to the world.

Review: Various Artists - The 10th Musical Mayhem (Musical Mayhem Records)


New vinyl on Musical Mayhem Records
I don't know much about the concept behind the release, but I assume it is part of a series of re-releases of Hardcore class-sicks.
The track to search out here is "In the year 1999" by Chesler aka The Horrorist.
This is one of the hardest and fastest he did using this disguise. As far as I know, it was a bonus track on a single CD release, and this is the first time it has been put on vinyl.
In style, I would say it is between the works he did for Industrial Strength or Mokum (Temper Tantrum / Narcanosis) and his later, slower "The Horrorist" releases.
Top notch!

Then there is the German Hardcore / Trancecore classic "Riot Cracker" by Casseopaya. Really stood the test of time.
The other tracks seem to belong more to the Newstyle / Hardhouse variant of Hardcore, but are nice, too!

https://www.discogs.com/release/36685639-Various-The-10th-Musical-Mayhem

Monday, March 30, 2026

Sunday, March 29, 2026

Hardcore and Techno Interviews of Interest

The Gabber Elders, and also some other people, went busy, and did a bunch of interviews lately.
Not just with veterans of the "scene", also with interesting newcomers, and general weirdos (tee-hee).

Here is a selection of some of them:

Interview with Technohead - Michael Wells Looks Back at his Sonic Legacy
https://thehardcoreoverdogs.blogspot.com/2026/03/interview-with-technohead-michael-wells.html

The Outside Agency Interview
https://thehardcoreoverdogs.blogspot.com/2026/03/the-outside-agency-interviewed-by.html

Track Talk with Bazooka (also known as Aggroman, DJ Vibe-Raider... and more )
https://thehardcoreoverdogs.blogspot.com/2026/03/track-talk-with-bazooka-also-known-as.html

Interview With Kenny Campbell
https://hcbxcast.blogspot.com/2025/09/hcbxcast-66-interview-with-kenny.html

Interview with Spliff Monk / Hammer Damage
https://hcbxcast.blogspot.com/2025/11/hcbxcast-vol-71-interview-with-spliff.html

Interview With Black Blood
https://hcbxcast.blogspot.com/2026/02/interview-with-black-blood.html

Interview With The Untitled
https://hcbxcast.blogspot.com/2026/03/the-acid-hour-volume-4-interview-with.html

Baroness Jennylee: Hardcore Royalty of NYC Underground (& Tunnels)
https://thehardcoreoverdogs.blogspot.com/2026/03/baroness-jennylee-hardcore-royalty-of.html

Astrid Gnosis talks about growing up in Valencia, her affection for Hardcore Techno beats, and the connection to her latest release "Rat Penat"
https://thehardcoreoverdogs.blogspot.com/2026/01/astrid-gnosis-talks-about-growing-up-in.html

Interview With David Lagon
https://hcbxcast.blogspot.com/2026/03/hcbxcast-vol-80-interview-with-david.html

Interview With Break-Counter
https://hcbxcast.blogspot.com/2025/12/hcbxcast-vol-75-interview-with-break.html

Interview with Pardonax
https://hcbxcast.blogspot.com/2025/06/hcbxcast-vol-60-pardonax.html

Interview With Low Entropy
https://hcbxcast.blogspot.com/2024/11/interview-low-entropy.html

Friday, March 27, 2026

Interview with Technohead - Michael Wells Looks Back at his Sonic Legacy

The Hardcore Techno Overdogs are excited to present an interview with Michael Wells of Technohead. The mastermind behind Technohead, and other electronic music projects such as Greater than One, Church of Extacy, Elvis Jackson, and Killout Squad, discussed his artistic and musical career, studio setup, and what’s next for Technohead with interviewers Low Entropy and GabberGirl.


Q. You went to the Royal College of Art and hold a doctorate in Fine Art, and a BA in graphic design. You met your late wife at the college, and you did art shows together, set to music you two created together. Were you surprised that it was your music that took off and launched you into fame, as opposed to art? Were you always as interested in music as you were in art?

A. I got into music through Art. When at Art College I started making 'Performance Art' physical happenings involving sound, action and film so I needed a soundtrack for these shows. The soundtracks were created by scratching records, making tape loops and creating rhythms on anything from banging metal tables to using children's toys. This is how my love affair with sound began.
In the beginning it's not what people would normally call music. Early Greater Than One releases are a testament to this.
After college Lee and I started buying musical equipment and slowly built a studio, learning from scratch the basics of recording techniques. The earliest releases were very experimental but it was the influence of Acid House and the emerging underground club culture that focused the music towards the dancefloor.


Q. You also created your own album art. Do you still make physical art for fun or professionally?

A. I still make most of my own artwork. I worked as a commercial artist after I left College and made illustrations for book covers and magazines. In the early days We made music in our spare time as a hobby even when the music took off I was illustrating, but eventually it became a full time thing. I am lucky now that after more than well over thirty years I can live from making music.

Q..You have been known to say that Detroit was not the birthplace of techno; that techno’s roots were formed in the 1960’s experimental music movement of Germany. Is this where your earliest electronic music influences came from?

A. For me personally my influences come from a mixture of sources which range from Kraftwerk, Throbbing Gristle to Stockhausen and The Sweet. Electronic music for me started with the sound of the Moog and the work of Stevie Wonder, The Monkees, Wendy Carlos etc.


Q. You are one of the original creators and innovators of hardcore and gabber; who were some of the bands or artists you were listening to and possibly emulating in those earliest days of hard music?

A. For me Gabber was just a harder faster version of techno, made with similar equipment but containing a more irreverent attitude. At the time living in London it was the antithesis of House Music and represented a spirit of rebellion. No radio shows played it and most clubs were scared by it, so that's what made it attractive.
The Hardcore that emerged from the 90's took no prisoners and was a great experiment in sampling and assimilation. Samples came from everywhere Horror Films, Cartoon Shows or cheesy pop. There was Hardcore coming from everywhere Australia, New York, Holland, Vienna and we were playing and listening to it all, so the music was a reflection of this.


Q. Let’s talk about your most famous track as Technohead, “I Wanna be a Hippy”. Who sang the lyrics? Did you and your musical partner Lee Newman write the lyrics? This track has sold a million copies and has been remixed and remade, officially and unofficially, dozens of times. How do you feel about making the most famous gabber song of all times? A lot of bands get sick of playing and discussing their most famous songs; do you feel like this, too, about “I Wanna Be a Hippy”?

A. Unfortunately amongst probably thousands of tracks we released this is the most famous. It represents a few hours of cutting up a sample from a film the unique factor being that it is a great funny song about Marijuana. It was a great idea that worked and as soon as it was released on Mokum Records many Hardcore Deejays told us that the audience response was crazy. We had experienced this before when Pure and Tricky Disco were hits, so it wasn't such a big surprise. In the end though for me it represents a very difficult and sad time because it was successful at the time when Lee was very ill. And when it was a hit both Lee and my Mother died. So it is a track I really don't associate with anything good.


Q. You were infamously widowed at a young age. It breaks my heart thinking of what you must have gone through, watching “I Wanna Be a Hippy” top the charts week after week, and not being able to share that with your late wife Lee Newman, who created the music with you. On a personal note, were you able to find love again?

A. As the above answer can show it was a very difficult time. On a personal and professional level I eventually moved on but you never really recover from such a thing, it is a part of you.

Q. What is your current studio setup like? Are you mostly using analog equipment, DAWs, or a combo in your recent music productions? How does your current method of production compare with your historical approach?


A. Yes maybe ten years ago I changed my studio to fully digital. No mixing desks no synthesizers. All plug ins etc.
So it is radically different to the early days of tape recording and physical boxes and units but it allows me the freedom to work more streamlined. Technology has moved on. We were probably one of the first people to buy a sampler and now the virtual samplers and effects are so sophisticated that to move with the times is a good thing. So my set up is Logic Pro and lots of fun plug ins and Synths my favorite is always a sampler, then a Spire synth and a great free reverb and delay plug in called Valhalla.

Q. What do you think about the current sound of hardcore and its new subgenres—will you incorporate any of the new sounds into future Technohead releases, or can fans possibly expect a new hardcore project?

A. The Sound will always evolve as new producers and new technology goes hand in hand. Art and music is reflection of our society and therefore as society changes so will the art. We are experiencing at the moment a radical polorisation of politics and society and art will react to this.



Q. What is next on the horizon for TECHNOHEAD

A. Recently I released 'Acid Head ' on Mokum Records a collection of Hardcore Acid style tracks. And coming is an E.P. called Taxi also on Mokum incorporating Middle Eastern sounds. And I continue with techno releases as Michael Wells a.k.a. G.T.O. and my more experimental work as Greater Than One.

Interview Questions by Low Entropy:

Q.The "Technohead 4" CD compilation was the biggest exhibit of experimental and underground hardcore in the 90s. With labels like fischkopf, praxis, artists like somatic responses and alec empire on it. Way different from the gabber mainstream. What was the intent and inspiration behind this release?

A. Simply, Technohead 4 just represented for me a selection of the direction of Hardcore at that time. It's use of speed, rhythm, distortion and humour. People ask me why you say humour, it's because for me humour is a specific kind of intelligence like irony. If you look at great Art, literature or Cinema the real subject is Human and Humans are full of contradiction and ultimately humour no matter how dark it is. I also love invention and the Avant Garde is the mother of invention.


Q. You were already very active in music long before the advent of hardcore. How were those days? And is there a connection between your industrial output in the 80s, and your later "industrial" hardcore?

A. Yes the seeds of Hardcore were sown in the early tracks in New Beat, EBM, Electro and Hip Hop. It's an involvement in alternative culture underground films, art etc. I also draw from the 'Do it Yourself' idea of Punk culture. I still make my own artwork, promo videos etc and create alone in the studio. I think there is a connection between the older music, in that I still want to add elements that surprise or maybe don't seem obvious. In that sense I approach each new project as an opportunity to experiment and try something new.


Q. Your signs ov chaos release on kill out was one of the hardest, fastest and most insane audio outputs ever - already back in 1993. What is the background to that production?

A. It's interesting that the Killout releases were totally instinctive and spontaneous and recorded almost 'live' in the studio. Real experimental Hardcore. But it's only after many years that I realised that people played and reacted to them.


Q. PS: Last question from GabberGirl: Is there anything else you would like to tell our readers?

A. Only that when people talk about music or art it's only a construct to perception. It can be anything it's not a system, it's not a law or a rule and if it breaks the rules it's a good thing.
For me the worst music, art or film is 'middle of the road' pop and rock. Commercial radio has killed music with it's playlist garbage. To a great deal of people art is not an important part of their life, for me it's vital.


Thanks Michael 🤖

Links

Also check our earlier in-depth feature:

The 1000 Heads of Technohead


Miro / The Kotzaak Klan on The Oblivion Show

If you are into Hardcore Techno, you almost certainly have heard of the producer Miro Pajic - aka Reign, The Overlord, Steve Shit, DJ Stickhead, Jack Lucifer, The Kotzaak Klan and - Miro.
Miro made a rare public and interview appearance on the Oblivion Show. Talking about his productions, ol' times, and new stuff. And we even get to hear some exclusive tracks!

Check it here:

https://www.youtube.com/live/M21PujDl1yI

Thursday, March 26, 2026

The Hardcore Overdogs Remixes - Part II


We blew the whistle - and plenty of producers switched to dog-mode and responded.
The second part of the hardcore overdogs remix contest was upon us.
And the responses were more than just a boneful.

The producers were able to one-up the hardness, darkness, and the wolf qualities of the original tracks.

Techno, Speedcore, Doom, Drumnbass...
So... no matter if you are a fierce coyote or a poodle.
Something for everydog should be found on this new release.

Also check Part I: https://gabbaretrecords.bandcamp.com/album/gbbr110-we-are-the-hardcore-overdogs-the-remixes

https://doomcorerecords.bandcamp.com/album/the-hardcore-overdogs-remixes-part-ii

Tuesday, March 24, 2026

Off-Charts: Water

We're running a new feature: "Off-Charts".
With these "Off-Lists" we will focus on themes and motifs that are more out-there, abstract, off-the-center. Exploring aspects and ideas that are rarely highlighted when people talk, think, or write about Hardcore.

Olivia Newton John once sang: let's get physical.
And we'll one-up this one. We'll get elemental. An off-charts all dedicated to water and watery things.



1. Orderly Chaos - Melt Away Love
2. Franky Jones - Overwhelming Rain (Jones & Stephenson Remix)
3. Evidence - Black Ice
4. The Mover - Underwater Operations
5. RMB - River's Edge


6. Biosphere - Novelty Waves
7. Alec Empire - Low on Ice
8. RMB - Love is an Ocean
9. Ec8or - Cheap Drops
10. Stormcore (The Invisible S.P. & The Jackal) - Pirate Base


11. Atari Teenage Riot - Waves of Disaster
12. The Horrorist - The Storm
13. Wedlock - Acid Rain
14. Cybotron - Cosmic Raindance
15. Master of Terror - Wavemachine


16. E-de Cologne - No Dolphins Allowed
17. Whalekommittee - Save the Whales (Score)
18. Taciturne - Liquid Theatre
19. Underground Resistance - The Storm
20. Max Richter - The Haunted Ocean


21. DJ Rob & Mc Joe - The Beat is Flown (Nasty Django Remix)
22. Dreamweb Soundtrack - Lunar-Sea
23. Cycle of Five - Lost Continent
24. Typhoon Thompson soundtrack - Main Theme
25. Carribean Sunrise - In the Beginning

Monday, March 23, 2026

Reign in Black Blood - An earliest Doomcore Techno veteran back on scene


Black Blood is a Techno veteran from Germany who is deeply embedded within the history of Doomcore. Part of the early generation - only PCP was earlier.

After the millennium, not much had been heard of him. But he now returns with a bang.

There will be new releases of old (unreleased) material. There will be new... videos! And who knows what's still coming?

While we wait on the stuff to pop up... check here for a recent interview:

https://hcbxcast.blogspot.com/2026/02/interview-with-black-blood.html

Info about Black Blood in the "Doomcore Techno Guidebook":

https://doomcoretechno.blogspot.com/2025/06/history-of-doomcore-techno-2nd.html

And, last but not least, the old releases on a new bandcamp:

https://frontlineofsound.bandcamp.com/album/

Saturday, March 21, 2026

Rave Report: 30 Years of AZ Hardcore Junkies 21st of February, 2026 (Arizona, USA)

We arrived at the warehouse district, and for old school sake, I rolled down the car window and listened for the bass. And there it was. Bass.

We found a sketchy parking spot; we were only an hour late, but the hood was packed. Excitedly, my friends and I piled out of the car, sorted our gear, and loudly made our way towards the noize.

Greeted by uniformed security guards two decades younger than I, they asked for my ID, and of course I had to harass the H-E-double toothpicks out of them. “I thought this was a rave. In the ‘old school days’, 12-year-olds could go to a rave.” Which highly amused them…


Through a giant gate, down a bright alley, then a gap in the fence, and we stopped at the “Will-Call”, a booth straight out of an 80’s carnival. Tagged with a plastic bracelet, we were officially at the rave. And what a rave it was.

Past the ticket booth was a giant courtyard filled with food trucks, fire dancers, and giant tour buses that were bouncing in time to the dancers who filled them. A bonfire with a ring of camp chairs was the outside chill room—this was Arizona after all. Even in February, we were in t-shirts.

And of course, there were ravers. Ravers galore. Half of them in rainbow, the other half in black. Cuties, tough guys, colored hair, shaved heads, fairies, gabbas, kandi kids, hot models, elders, millennials, Gen X-Y-Z, and even one Dog (his name is DJ Full Auto). All getting along. Chatting, fist bumping, hugging, telling jokes in line at the Port-A-Potties. Smiles everywhere. The vibe was thick. The energy was high.

My group and I wandered into the main room, an expansive warehouse space with ceilings that touched the sky, and mega fans to keep the dancers from overheating. The music was massive. I came in during the promoter’s set, and I quickly realized why his DJ name is Cik (pronounced “sick”.) My smile was a new permanent feature—it could not have been chiseled off of my face.

https://soundcloud.com/deejay-kore/azhcxxx-cik-k-o-r-e-2026

While my friends situated their packs and jackets, I immediately started making friends. I was quickly welcomed by a stunning pair of striking women, and proceeded to bond with the one called Sky. She was shocked that my 3 friends and I had traveled from Minnesota to attend the party. I would later learn that we weren’t the only pilgrims; people had traveled by car and plane from California, Nevada, Oregon, Ohio, Jersey, and one raver (not a performer) had come all the way from the Czech Republic, specifically for the event. And that was just the people I’d met…

GabberGirl & Jups808

I was rocking a Drop Bass Network shirt to rep my Midwest Hardcorps scene, and got plenty of fist bumps all night ‘cuz of it. Definite ice breaker.

The main room was spacious enough for the amount of ravers who filled it, and they had enough floor space to dance and practice the Hakken. This amazed me; in my 32 years of raving in the USA, the Dutch gabber dance had never caught on. Well, now it has. It was mostly younger ravers attempting it, “younger” being late 20’s and early 30’s. I videoed the footwork and asked the dancers about it—most told me they had been learning it on the internet. A few said they had been practicing daily for months, getting ready for this rave.

The big, bright room filled with colorful, smiling ravers attempting the Hakken, also had video screens with projected graphics, like distorted Pacman ghosts chasing each other, on either side of the stage. The DJs were set way back, so it was hard to see what their hands were up to. Which was a shame, as the DJ tag-team at the end of the night (Dope-E and Mike Hemp) both know how to scratch, and did so on old school gabber vinyl, and on CDJ platters. It would have been real fun to watch those scratching hands.

But the DJs are the royalty of the evening, the rock stars of the concert, so it was appropriate they were corralled behind cattle gates and a gigantic table. It gave them some separation from their fans, and from all those annoying track requests. At one point, I saw Lenny Dee back there, pacing before his set. Oooooooh, how I wanted to sneak past those gates to meet my hardcore hero, but this is exactly why there was a gate. To keep GabberGirls at bay and out of the way.

When Cik and his tagteam partner KORE left the stage, DJ Delirium stepped up, playing a dope gabber set that felt old school but was full of unfamiliar tunes and melodies. The dancers vibed, and I was floored, as it had been decades since I had heard a real, fully gabber DJ set performed at an event. It was great to find out at least one DJ is still dedicated to the gabber.

Between dancing, trying to meet everyone at the party, and wandering from stage to stage, I had invertedly lost my group, but they knew I was a woman on a mission—I was not only there to dance, but I was trying to schedule and possibly execute a few interviews with hardcore producers and DJs. I was able to interview Origin of Styx around the campfire, a Doomcore producer hailing from Arizona, whom I had met on the Hardcore Overdogs Discord server before meeting in real life.

I also had an interview scheduled with one half of the hardcore group The Outside Agency, the DJ called Eye-D, set up in advance by Low Entropy, but the problem was: we didn’t know each other, or what each other looked like. It turned out to not be a problem—we have such a small scene that everyone knows each other. So, I did not know Eye-D, and Eye-D did not know me, but we were only one degree of separation from each other, and we soon were introduced and decided to conduct the interview after his set.

By that time, I had wandered into the techno bus. Yes, I neglected to mention that there were three “rooms” at this event, not including the courtyard “chill room”, with stars for a roof. The second and third rooms were big buses, brought in by the Arizona promotor group The Techno Snobs. Being that most events I go to are techno events, and I never have the opportunity to be immersed in hardcore all night, I did not spend any time on the techno bus. But it was slick and fun and sexy and filled with beautiful people jamming to hard techno, played just a bit faster than usual.

The other bus was a special treat for me—this was where the “second room” hardcore DJs played, and the music emerging from that bus was darker and grimier than the main room, more speedy, more raw. I wish I could say I watched and danced to every DJ, but I basically missed the first 3 performances inside the bus (Rize, The Doctor, and Cetra).

On the main stage, after DJ Delirium took a bow, Noize Suppressor took over with his arms raised to the hardcore heavens. The lights flashed, the giant LED Exes behind him lit up, and as his first beat dropped, fireworks exploded around him. It was high drama, and the lanky Italian DJ demanded dancing with his speedy tracks and flawless mixing. Noize Suppressor interacted with the crowd and seemed to really be enjoying himself—grinning, fist pumping.

That was when I met darling young man on the dance floor—cute smile, dimples, and a pink mohawk. He was Chris Lit, and he let me know he was in charge of the lighting, but that he was just one of four different lighting companies at the rave. He led me backstage, behind the cattle gates, and brought me behind where Noize Suppressor was working the decks. Chris Lit said, “You’re a DJ, you know when the drop will happen, right?” I nodded, and he pointed at a button. “Hit that at the drop.” The drop happened, I hit the button, and five or six cannons shot showers of sparks halfway to the ceiling. What a rush!

I left the main room, hitting up the port-a-potties before they ran out of TP, harassing some raver about wearing a video monitor on his back, and asking every raver I met if they know my best friend Emily and her husband Flail (they’ve lived all over the US and the world, and have been throwing renegade hardcore parties under bridges and on hills for over three decades—so most people I asked did know Flail and Emily, confirming my growing suspicion that the hardcore scene is a lot smaller and connected than I first believed.)

And that’s when the hardcore bus caught my attention. It was bouncing so hard, I thought the tires would pop. And I could hear “Jackrabbit” coming out of the speakers. I thought, “Satronica!” Someone I had met online through Jake Allen (the Ambassador of Hardcore), and whose sets I loved, and whose tracks I collected and played in my sets. This was pure excitement for me—I ran to the hardcore bus, and forced my way inside.

Satronica

I could see Satronica at the DJ station in the back of the bus, and he was not what I expected. A lion’s mane of wild hair turning white, glasses, and a look of concentration made me think of a mad professor, as opposed to a hardcore producer. Professor Satronica’s class was very attentive, and were dancing so hard, I couldn’t keep my balance. I stood on the bus driver’s seat and attempted to take video, but I was about to be seasick on that hardcore voyage, the video bouncing with each wave.

Satronica’s set had that hard pounding 160 to 180 BPM speed, the music very techy and very modern. He played a lot of his own tracks, and if you ever heard “Escape from Emergency”, you may understand my description.

https://www.youtube.com/watch?v=7dwhiWeGKwc

When Deadnoise took over the bus, the speed increased by 50 bpms, and the intensity magnified. The bus was no longer bouncing, because everyone was dancing too fast, and the bus just didn’t even know what to do. Satronica may have been the mad professor, but Deadnoise was the mad scientist, mixing and cutting with precision and skill and a very serious look on his face. It was hard for me to pull away from these incredibly hard lessons, but I realized that Lenny Dee was taking the main stage.

I have to admit that when I first decided to go to the Arizona Hardcore Junkie’s 30th Anniversary event, it was because I had seen Lenny Dee on the lineup. I had been wanting my whole raver life to see him DJ in person; I had also been wanting to interview him for the Hardcore Overdogs, but all my attempts at contacting him had failed. I decided I would go to Arizona, meet him, and ask him in person. When I finally did meet him (the next day after the event), I was so overwhelmed, I acted like an idiot fan and most likely made him uncomfortable. He ran away, after my hand-pumping and gushing, and I never even broached the interview topic.

For years, I had been watching videos of Lenny Dee DJing, and my favorites were him in New York City. My friends at RTDF Rave Radio would book him for their club nights and raves, posting the most fun videos after. Lenny is wild and hyper in the reels, sticking out his tongue, interacting with the videographer, throwing up signs, and the background music was always super fucking hardcore. This was the Lenny I was hoping for at the AZ party.

Lenny started, and I quickly realized that I would not be getting the NYC style set. Instead, he presented his highly polished Thunderdome type set. I know this is the kind of set that 10,000 plus people dance to at his gigs in Europe, and that I was being served a real special treat on a silver platter. I absorbed this, accepted it, enjoyed it—and promised myself I would experience a foot-stomping curse-shouting Lenny Dee set on his own foot-stomping ground; I would just have to chase him down in gritty New York City.

https://youtube.com/shorts/6ckgET8UpVQ?si=VVXHg9aBZcemKD6b

After Lenny, the main room DJ was The Outside Agency. The DJ set started with slower, harder industrial hardcore, but progressed in speed and intensity until the end was an actual explosion of sound and energy. But during this astounding conclusion, the bus was again bouncing. This time to the speedcore and terror coming from a dream duo tag team—Virtue and Arcid.

Virtue & Arcid

https://youtube.com/shorts/vHHoAi07nHo?si=or86e64dqJWQw-Vr

I had to split my time, but it was hard to pull away from Virtue (Las Vegas) and Arcid (Los Angeles). They were playing the most incredible core, by a band called Vatos Locos, which I found out later is them, plus their friend C1B2. Virtue and Arcid were lip syncing and acting along with the samples. It was a hilarious and highly entertaining performance, and no doubt, some of the hardest music I had heard all night.

https://www.youtube.com/watch?v=AIchrAbPuyc

By the end of the night, my face hurt from smiling, and my heart was full of hardcore. All in all, if I had to grade this party, I would give it an A++, because of all the extra credit it got on top of passing the GabberGirl test. Although this is supposedly their last hurrah, I would highly recommend any Arizona Hardcore Junkie event, and I will be returning if they decide on hosting another!

Rave Report written by Charm Dreier/GabberGirl (no AI used)

Friday, March 20, 2026

Review: Hardcore Rave Classics Vol 3 (Industrial Strength Records)


A "new" release on Industrial Strength Limited. But as the subtitle - "Hardcore Rave Classics Vol 3" - implies, this is actually a re-release of "older" tracks.
Some of them were very hard to get by, so this is most appreciated.
And this stuff goes "way back", I am talking 1993-1995, when Hardcore began to grow up.
"Should Have Been Smarter" is earliest oldschool. Lenny Dee & Gizmo's Drum Machine is a weird and funny track. Gabba Banga!
Then there is the tripped of remix of DJ Delirium's track. Steel-tough!
And Utopia by Strychnine, which was 1/3 of "DOA".
It's actually the terror remix that people might know from the Industrial F**king Strength CD, not the original one. A pecular trance / ravecore banga.

Review: Basilisque - Emotion Engine (Gabber Industries Berlin)


Very interesting release this one.

Gabber and Hardcore beats...and detuned synths / junos...

And there is also a singing voice, which makes this feel as if we would be listening to a rock band that just happens to be purely electronic & hardcore.

The icing on the cake are tranquil and delightful melodies... I guess these form the eponymous "Emotion Engine"?

https://gabberindustriesberlin.bandcamp.com/album/gib013-emotion-engine

Sunday, March 15, 2026

Baroness Jennylee: Hardcore Royalty of NYC Underground (& Tunnels) - Interviewed by GabberGirl

Before the name Baroness Jennylee carried weight, she was known as Pussy Lee—a raver, hardcore DJ, artist, and Club Kid who helped shape the hardcore and techno underground in New York City starting in the late ’90s.

Her first DJ gigs set the tone: a Saturday night residency at the club Tunnel, in 1999. Momentum followed. Alongside her partners, she co-founded Neverland Entertainment, producing weekly events at iconic venues such as Octagon, Exit, and Webster Hall.

At the same time, she was working as a professional model, a crossover that only amplified her visibility and influence—leading to a guest appearance in the cult classic Party Monster during the height of the Club Kid era.

Then life shifted. Jennylee stepped away from nightlife to pursue a successful career in real estate—but the music never left. Techno stayed loud in her car, in her head, and in her heart. Something was missing.

In 2020, everything snapped back into focus. Seeing pioneers like Frankie Bones still commanding the decks lit the fuse. The thought was simple and defiant: If they can still do it, why can’t I?

By 2024, Jennylee was fully back—and fully evolved, as rave royalty. The Baroness partnered with Jay Maniakal, and together they founded RTDF Rave Radio, her passion project and creative stronghold.

RTDF is unapologetically underground, built to unite eras and generations of rave culture while rejecting watered-down commercial trends. RTDF Rave Radio specializes exclusively in authentic underground rave genres—deliberately separating itself from mainstream EDM culture. The mission is preservation, not compromise. Pure sound. True vibes. No dilution.

Through RTDF, Jennylee now delivers weekly DJ sets, releases music through the RTDF Rave Radio label on Bandcamp, and represents a growing roster of performing artists. She’s been getting booked, reigniting a fan base she didn’t even realize was still watching—and listening. She has also stepped fully into techno production, with releases on Industrial Strength’s Hard Electronic and Brooklyn Sessions Trax.

“I only see creative growth and freedom in my future now,” she says. “Not just for me, but for all that are involved. This is my life passion.”

Baroness Jennylee isn’t chasing trends—she’s leading them. And now, in her own words, she tells us a bit more about herself. Interview by Charm Dreier, aka GabberGirl.


GabberGirl: What were your early influences into rave music; how did you find your way into the scene, and in particular, hard music?

Baroness Jennylee: My early influences were industrial: Nine Inch nails, Lords of Acid, Front 242. I used to go to a lot of all-ages (and fake ID) goth clubs as a teen. As well as punk and hardcore shows (early 90's). Then I started getting more and more into techno. I remember Saturday nights on the FM radio was a techno DJ (Liquid Todd). I sought whatever Techno tapes I could find.

Fast forward: at 17, I moved into the east village the day I graduated high school. NYC club scene was my jam (Tunnel, Limelight). I remember walking into Twilo once and REALLY liked that party, but it wasn't a club night—it was a RAVE!! (Galaxy Quest). After that I was full blown in the rave scene. Going to every single NYC rave every night.

Hardcore was the 'Techno' back then. It was all hardcore, even Frankie Bones played hardcore. The harder it was, the more I loved it. First time I heard Lenny Dee, that was IT. At the same time, I also was hired to DJ at the Tunnel as Pussylee. It all happened around the same time. (97-98-99)


GG: You were part of the second generation of rave DJs in America that appeared on the decks before the 2000’s, and before everything went digital. Do you still play vinyl on turntables, or have you switched to fully digital? Which do you like better and why?

BJ: I still have my records and A turntable, lol (to digitize the records!) I first bought turntables because all my favorite music was on records in the 90's! That's how I even became a DJ! Records have a warmth to them that digital does not have. However, there is sooo much more you can do with digital. You can get so tight on mixes so fast. So many more effects and 'tools' now. It's more like producing. I prefer the technical flexibility with digital.

Records, though, and the way the tracks produced, were so much more raw and fun; both elements have their pros. I have switched to fully digital. My Pioneer RX3 is the best controller I have ever used! Them records are heavy AF to lug around! I do have to say that I'm glad I learned on vinyl, though. Learning on digital takes a lot away from the 'listening' element, which I feel hinders many.

GG: What was it like being a female DJ in the 90’s compared to now?

BJ: Gurl!!! I was the 'ONLY' female DJ in the club back then. It was a spectacle simply because I am a woman! I'm glad the terrain is more even now. I feel now we can be valued for our skill and not just because we are women. I think I shocked a lot of people back then because nobody expected a 'Girl' to be pumping the nasty hard shit I play. Now, there's a whole army of Hard AF women DJs! Me and my sisters can give them boys a lesson on who’s the 'Hardest'!


GG: What kind of equipment are you using now for music production? What are your goals for music production, and your studio?

BJ: I use a bunch of shit. Ableton, sample packs, a Maudio Oxygen 25, a little Roland SP 404, a Behringer 303 (acid). A voice recorder app (for samples). Some more hardware stuff. For my earlier tracks, I co-wrote with an engineer.

My goals are more combining the hardware and software & learning ALL of their features. There’s so much more to build on that! I REALLY want to make more Bitchcore, so much so that it becomes its own genre. I started producing because I simply cannot find enough of it. So, I decided to make it myself!

https://hardelectronic.bandcamp.com/track/get-outta-my-seat-diva

GG: What was the craziest or funniest thing that happened to you while you were DJing or booked to DJ at an event?


BJ: Oh god, so of recently, I was picking up Lenny Dee to play an event together in New Jersey (I was on after him). On the way, he blew farts at people REALLY LOUD at every stop sign (out the car). Pedestrians got all shocked and scared. I laughed so hard it was difficult to drive. He did this the whole time. That was one of the funniest nights I can remember!

Craziest was when I was booked to play an outlaw in an abandoned train tunnel. I was one of the headliners along with Doom Mechanik and Raphie Dee. It was HUGE! An hour before my set a GIANT rock fell from the above ground train tracks onto MY HEAD!! I was knocked out for a few with a tennis ball-sized lump on my head. Dizzy AF. I still played though (and collapsed after). Bitch, show must go on. I wasn’t about to give that slot up!

The most heartwarming was when Satronica and Gonzo personally congratulated me on my sets (on different nights). That to me is a real honor to have legends I respect so much actually listen to me. DJs like that I really look up to because they share the love and give back to the talent after them.

Another best moment was the New Year's NCS RTDF Rave, like 2000 kids! I was so focused on the mix (200 plus bpms), I didn't look up all that much. Then someone told me, "Look—you made a moshpit!" I looked and it was an absolute sea of kids moshing and thrashing their hearts out. All smiles and fists! Oh, what a moment that was! I haven't seen a pit like that since the 90's!

https://soundcloud.com/rtdfraveradio/baroness-jennylee-gabbercunt

GG: Do you have anything else you would like to tell our readers?

BJ: Yes! NEVER give up on your hopes and dreams! Do what you LOVE!! No matter what and no matter who likes it or not. The people meant for you will come to you! If you do what you truly love the universe will provide all you need! You will be truly HAPPY!

And also SHARE the love! Support your team and your people! We are all in this together and we are so much stronger UNITED!

Thanks, Charm, for having me! I am grateful and honored to be a part of this!

Thursday, March 12, 2026

13 Years of Doomcore Records Show - Recap

Hey Hey,
Did you hear the 13 Years of Doomcore Records show on Sunday... on Toxic Sickness?
Because... if you did not do it... you can listen to it on soundcloud now!

All parts have been uploaded. Check them here: 

https://on.soundcloud.com/9ZghCsK1pDRFnWaZRF


Tuesday, March 10, 2026

Upcoming Show on RTDF Rave Radio - 15.03.2026

Core music broadcast incoming!
Represent The Dance Floor Rave Radio will host a special show.

Apart from the Gabber Elders (GabberGirl, Low Entropy, DJ Asylum, and Nikaj) there are also big, big names such as Grimmvulture, Bohemian and the RTDF residents.

Mark the date: 15.3.2026

Read more about it at The Gabber Elders Webpage:
https://thegabberelders.com/event/rtdf-rave-radio-show/

Or go to Rtdfradio: https://rtdfraveradio.com/


Saturday, March 7, 2026

What are your favorite Overdogs (in myth and media) ?

The overdogs need you... again!

we did this feature almost a year ago:

"Our Inspiration: Other Overdogs in Fact or Fiction"


it's about other cool dogs and doglikes in fact or fiction, media

We included Barfolomew, Alucard's Dog, Ren, Hecuba, and lots of others....

we want to do a second part 😁

doglikes can also include wolves, foxes, coyotes, etc or weird hybrids.

so what are you suggestions?

which dog or doglike in myth or media is a good overdog?

Thursday, March 5, 2026

The Outside Agency, interviewed by GabberGirl

A household name in hardcore since the mid-90's, The Outside Agency is comprised of Frank Nitzinsky (aka Eye-D) & Nöel Wessels (aka DJ Hidden), and hail from Goes, Netherland. The Outside Agency quickly became leaders in the underground hardcore scene, bringing Crossbreed to the forefront, and pushing past limits with their catchy and unusual sound.

Since their 1st release in 1996, they have had more than 47 releases, 4 full length albums, & countless remixes. The Outside Agency is featured on 25 labels (including Mokum, Industrial Strength, & Black Monolith.) They started & ran label Genosha Recordings, & added Genosha One Seven Five to feature Crossbreed, a genre some credit with them inventing.

Charm Dreier, aka GabberGirl, had the opportunity to interview one half of the well-known duo, after his DJ performance at the Arizona Hardcore Junkies 30th Anniversary Event, for The Hardcore Overdogs. Listen to the full audio here, or read the transcript below.


Charm Dreier:  Hi! Charm Dreier here for The Hardcore Overdogs, I’m here with one half with The Outside Agency—his name is Eye-D.
 
Eye-D:  Also, Frank [Nitzinsky], my mom calls me, well my mom calls me Eye-D, even though she shouldn’t.
 
CD: Does she?
 
ED: No, she doesn’t.
 
CD: Otherwise known as Frank to his elementary school teacher.  So, Frank, may I ask you about your musical journey?  What brought you to hard music?
 
ED: I was always really interested in the creation of music.  My dad was a musician and although he left my mom when I was quite young, he left behind a bunch of musical equipment. There was some drum things, a steel drum, there was a little mini keyboard, there was lots of cables, I didn’t really know what did what, but I liked banging on the drums.  That was really cool.
 
And when I discovered I could manipulate things on cassettes by holding down the button so they would just slightly touch the tape, and it warbled the sound, and I was like this was really cool.  Then on my Commodore 64, I could make a little bit of noise, I was very interested in that, but I didn’t have equipment, I didn’t know how anything worked, it was before the internet.
 
CD: Right.  And approximately how old were you when you were manipulating the cassette tapes and stuff?
 
ED:  This was like 12, 13, 14 years old.  When I was 16, I recorded some like grindcore using my Commodore 64 together with a friend because I was really inspired by very serious bands like Napalm Death, and Nuclear Assault, and Lawnmower Death, who did really good music, but put humor in it.
 
CD: Nice.
 
ED: Napalm Death has the Guinness World Book of Record’s shortest song ever, called ‘You Suffer’, it’s just [makes a noise].  That’s it, that’s the song.  Man, that’s so cool to do something like that.  I always like that aspect of it. 
 
And then when my dad resurfaced in my life, and I visited him, he had moved to America, and when I visited him I said, “what’s this thing here?” And he said, “oh that’s a sampler”. 
 
And I said “How’s that work?” And he said, “Oh you wanna know how it works?  Here’s a sampler, here’s its manual, here’s a computer that’s completely blank, here’s three floppies that will install an operating system and here’s a floppie for the sequencer software and here’s the manual.  Have fun.”  I was like “Aaaahhh”.

The Outside Agency - Hardcore Headz ´

So when I figured that out, it was really cool.  I wanted to make like hip-hoppy type stuff, breakbeats and stuff, I wasn’t really into hardcore music yet, and this was right around the time, 1990, 1991 when hardcore started to really surface in the Netherlands. 
 
And I had a little mixer, so I could play records, and I could do my little tape things. And my neighbor had just started his DJ career. So he would always on the weekends, he would take my mixer and another friend of his would visit him and together they would have two turntables and my mixer and they would play these old 1992, 1991 hardcore records that I hated.  I [said] “this is not music, this is not music.”  
 
And he knew I was trying to make music. I was always pissing on his music.  I said its really simple music, I said, this hardcore stuff—"well if you think it’s so simple, why don’t you make me some?”
 
I said, “Okay, you make me a cassette of like 60 minutes, or 90 minutes, of your favorite records, and I’ll try to listen to them, and try to emulate them.  I can use the sampler to steal anything”, I said, “I can steal drums and stuff”, and then when I started putting it together, that’s when I got more respect for it.
 
I was Oh, this is kind of cool, I can do this, I can do that, and I played it to him, and he was like, “Yeah, this is cool, it’s not there yet, but this is cool”, and then I visited my first rave.
 
Together with Noël [Wessels], already, we went to different high schools, but mutual friends of ours introduced us, like you guys both make the same weird music.
 
CD: and Noël is your current partner for The Outside Agency.
 
ED: Yeah, you guys should hang out.
 
CD: Okay.
 
ED: We were like really skeptical, because we were like Hey, I thought I was the only one doing this but there was someone else.  We went to a rave and I heard, I think maybe it was ‘94 the first rave I went to, and I heard the music at the intended volume, and the intended setting, and I was like I get this.


CD: Right.
 
ED: Right, this is how it works.
 
CD: Okay.
 
ED: Ultimately, my middle friend, the one I made the grindcore, the computer grindcore stuff with, I took him to his first rave in 95, in 94 actually, “You should really experience this, it’s really cool”, and he was like, “Nah, I hate this stuff.”
 
This party in Utrecht, in the center of the Netherlands, and they would always have a mellow room and a hardcore room.  In the mellow room, they played old techno and house-y music, and he was like “Wow, this is really cool”.  You first enter through that room.
 
And then he entered the main hardcore room right as Fucking Hostile scream, the Fuckin Hostile on Lenny [Dee]’s remix of the Pantera song.
 
CD: Yep.
 
ED: That dropped as he walked in, and he was like “Okay, I get this”.  Immediately he was like “Okay, this is the shit.” 
 
Okay, and the setting is very irrelevant, and once you’ve experienced it, you kind of always want to make music that emulates that, or tries to, okay this will work at a party, this will be cool, this is more for home listening, but this will fuck off at a party.
 
Ah, see I always, for me, into the manipulation of sounds.  I like that you are doing things to sounds that you weren’t supposed to do.  Roland excelled at making machines that were terrible but when used for inappropriate purposes, became the backbone for multiple music scenes.  Which is great.  Yep, that’s my journey.
 
And then we started sending cassettes to labels from ’92 to 1996.  We sent demos.

The Outside Agency - Der Remaken (VIP Version) 
 
CD: Wow.
 
ED: It took four years to get picked up, and we were actually on our last round of sending demos.  So I was like, “Nobody is picking us up. Nobody is returning calls, nobody is listening.  I’m going to do something else with my life.”
 
And then, just as we send this last round of tapes out, suddenly everyone started calling.  And they were really into stuff we had made in 1994.
 
CD: Right.  Well, your music is very unique. You brought a new sound to the scene.  People finally recognized that.
 
ED: Yeah, I mean our stuff that we were releasing then was really our take on what we liked.  But we were emulating everyone.  I don’t think we were trendsetting yet. Although we had more breakbeats.  It was a little more quirky.  But we were definitely trying to sound like Ruffneck. Or we were trying to sound like some Rotterdam Records, we didn’t really have a unique identity yet.  That came by maybe the third or fourth record.  Yeah, that’s the musical journey.
 
CD: Well, thank you for that.  Another thing I wanted to ask you is what is your process with working with your partner, I mean like do you guys live in the same city, do you get together to make tracks? Do you trade them back and forth?
 
ED:  Some people know this and other people don’t; we decided to combine forces and send demos out together.  We always make individual tracks, but we would send them out together.  We figured we would have a higher chance of them grabbing that tape.

Eye-D - Domino
 
CD: Okay.
 
ED: So we’ve actually only made maybe three tracks together. We counted, we have around 340 tracks that we made, and out of those, only about three or four we actually made together.
 
CD: That’s interesting.  Then how did you develop your sound then?
 
ED: We drifted to further extremes but at the start you couldn’t tell us apart.  I think, I can definitely tell us apart.  But, yeah, most people still believe that we make everything together.  It is supposed to complement one another.  Like we usually try to balance releases out by if I have two tracks that sound a certain way, then Noel will try to either complement that sound, or go completely against it, so it’s a more diverse record.  But that’s part of our process.  We see what we have; and sometimes I say, “Okay, this is perfect.  These two or four tracks that you have, they should be released as is because this is perfect, this is perfect little thing you have here.  So let’s not fuck with it.”
 
Sometimes I will have three or so, and he has something that really fits it, so we add it.  Its more of an A&R process than it is an actual creation process.
 
CD: And do you both make music outside of the moniker The Outside Agency? I mean, you have a name called Eye-D, is that your DJ name?
 
ED:  Well that’s how we started.  He was always DJ Hidden, I was always Eye-D, we made hardcore and drum and bass, and everything under those names, but we decided to combine our efforts as The Outside Agency to have a higher chance of success.
 
Eye-D, at the end of his set in Arizona.

CD: Okay.  I just have to mention that I had the privilege of seeing you perform as Ghost in the Machine.
 
ED: Yep, awesome.  With Nils [van Lingen], yeah.
 
CD: Is that the same partner?
 
ED: No, that’s a different partner.
 
CD:  A different partner, okay.  It seemed like you guys had practiced because you looked like an octopus up there, like, one brain and four arms.
 
ED: No, we actually had never practiced.  We’re always just like in the moment.
 
CD: How do you vibe so well?
 
ED: You have to have that connection, but I can see just by small movements, a shoulder, a hand, okay, cool, you’re doing this, okay, if I see what he’s playing, then this would match with this.  And we know that, I know that when he moves to the bass, he means to cut it, so that I know when the next 16 bar section is over, that I will open my bass channel.
 
CD: It’s just a well-orchestrated dance.
 
ED:  Yeah, we work really well together.  But you said that you saw us play for Kurt at his Kompound.
 
CD: Yes.
 
ED: It was completely unpracticed.  I mean, we joked at him, like he asked us how long we wanted to play, and he said, “well, let’s do nine hours”.
 
“Okay, let’s do nine hours”, a maximum nine hours. He put nine hours in our booking request. And as a joke, we were, no fuck it, let’s play nine hours.
 
CD: Yeah, I don’t think that was a joke, ‘cuz most people play for a long time there.
 
ED: But none of that was prepared.

CD: Okay. Well, you are an incredible musician.  I just heard you blow up the stage tonight, it was amazing.
 
ED: Yeah, DJing is also really fun.  It’s a completely different discipline.  It’s really weird that in some scenes to be able to play DJ sets, you have to be a successful record producer, even though they’re completely different.  It’s like having to be a fantastic gardener to get a job as a security guard. Why?
 
CD: Cuz they both have the word guard in them?
 
ED: Yeah, you’re right.  Exactly.  You have to make your bones somehow.
 
CD: Right. Well, I know producers that can’t DJ.
 
ED:  Sure, reading a room is a skill that not everybody has, but now at least everyone can beat match records now, it’s not that hard anymore.  But I still really enjoy that, and I see DJing as the reward you get for the music that you contribute to the world.
 
That’s how it should be.  Of course, I’m not trying to piss on people who only DJ.

Doomcore Records Pod Cast 041 - Mix Set - Glory Of The Outside Agency

CD: Right.
 
ED:  But I do think, you can quote me on this:
 
CD: Okay
 
ED:  That a person who contributes vastly to the library of music is doing slightly more important work than the person that just consumes other people’s music, and performs it to other people.
 
That’s why I think it’s a crime to not credit people’s music, when you play it and post it to social media.
 
CD: I believe the same.  Tracklisting.
 
ED: Tracklists need to be there, because it is not your music to keep secret.  You can have secret weapons, if you play Berghain, at eleven o’clock in the morning, on Monday, somebody grabs you by your shoulders and says, “Whoa, what was that seventh track you played, the one that went oof, oof, oof, oof?”  “You can go fuck off, I want to go home, and have a kebab or something.”
 
But as soon as you take a one-minute clip of a two-hour set that you played using other people’s music, that is the highlight of your performance, and you post it to your social media as an advertisement for your services as a DJ, you are stealing from other people if you don’t credit them.

The Outside Agency & Supire - Liminal
 
CD: Right.  I mean, I’m mostly a DJ, I only just started producing, and I’ve always thought of myself as the person that promotes the producers, that’s my job, is to put together the producers’ music and present it to the world so that they’re getting their music out there.
 
ED: I spoke to a lot of people. They don’t want to credit, because then other people might start playing their record, and then I say “Yeah but then don’t post it publicly.”
 
CD: Right, I think that was more of the 90’s attitude, like taping over your records so no one could trainspot it.
 
ED: Yeah, we went from Myspace to Instagram like that, in the blink of an eye, and people still believe that, [?] but there are millionaires out there with completely fully professional video production crews that show up with six or seven cameras, who actually they do credit for that, the video production, but where they don’t credit the young producers that work so hard to get them their music.
 
And when you think about it, when millionaires are doing it to little kids, they will never get a chance, so your music is good enough to be played at the festival but you yourself will never get a chance to get there cuz no one is saying your name.  That’s why we must protect our little producers in this business.
 
CD: Right. Definitely. Speaking of producer, you started out with cassette tapes and a Commodore 64.  What are you up to these days in your studio?
 
ED: Speaking of producer, to quote The DJ Producer, in an interview, I think, in 2004, they asked him do you guys use outboard gear or are you on the box, and Luke said, “We fucked all that dinosaur shit back to the stone age.”  It’s really nice to have complete control, complete recall, I produce everything on the computer.

Ghost in the Machine - Come On
 
CD: Okay, well what which DAW do you use?
 
ED: I mainly use Cubase and Ableton Live.  I can also speak FL Studio and Reason because I’ve collaborated with people who use that.
 
CD: Okay, nice.  Well, thank you, for doing this interview.
 
ED: Yeah, no worries.
 
CD: For The Hardcore Overdogs.
 
ED: Let’s do this again when the Arizona Techno Snobs and the Arizona Hardcore Junkies turn 60.
 
CD:  Yes. Let’s.  I will see you there. Thank you.