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!

13 Years of Doomcore Records Show - Recap

Low Entropy · 13 Years of Doomcore Records (on Toxic Sickness)

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

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.

The Hardcore Techno Overdogs Magazine · Eye-D Interview (The Outside Agency) by GabberGirl

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.

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.

A fan-written "guidebook" about Digital Hardcore Recordings -

Books or E-books about Electronic Music, Hardcore, or Experimental stuff are still very hard to come by. So we are happy to announce a new one, this time dedicated to DHR out of Berlin!

All the infos about the book:

It was due time that Digital Hardcore Recordings aka DHR got its own, unofficial guidebook. It was an important part of music history, of 90s culture, and of history.

This book lists and reviews all Digital Hardcore releases; all albums, EPs, and single releases, CDs, Vinyls, including those that got put out on sublabels.

It's not just a dry, music-centered look at the tracks alone. But also mentions the cultural context, the philosophical context, the political context. And goes way off on various ways sometimes - by looking for connections to other media, movies, movements...

The book is for the dreamers, the restless minds, that were looking for a true alternative in the 90s, or are (still) looking for it in today's times.

Chapters:

About Digital Hardcore Recordings
All Digital Hardcore Recordings Albums listed, rated, and reviewed
All Digital Hardcore Recordings single and EP releases reviewed and rated
All DHR Limited releases listed, rated, and short-reviewed
A look at DHR Video releases
All Geist releases reviewed
Credits

Hardcore & Techno against Misogyny & Queerphobia

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

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

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

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

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

Download link for the logos:

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

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

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

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

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

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

The first "found footage" Dark Techno horror movie: Walking in the Doomed Forest of Hamburg

It's time to remove the veil and introduce another project by The Hardcore Overdogs.

Walking in the Doomed Forest of Hamburg
("found footage" Dark Techno horror movie)

Part 1 - Entering the Doomed Forest

Hamburg has elements of a megalopolis, but also elements of green, untouched nature.
The Itinerant Audio project took me to one of those patches within the city limits of Hamburg. An idyllic forest, peaceful, calm, ideal for long walks, cycling...
It also connects to a medium-sized lake that's sweet for swimming in the summer, and a few fields.

Yet if you look beyond its beautiful trees, leaves, flowers, this place is maybe not so untouched and silent at all.

There is a lot of activity tied to this place, some euphoric, but also some very disturbing stuff.

At one time, hikers stumbled upon a bunch of discarded plastic bags. It turned out they contained human remains.

A well known explicit movie actress posted an invitation on the internet for a "fan ****" on an open place next to the forest; quite a lot of people volunteered.

The lake is also surrounded by a nude beach, which is designated as an LGBTQIA+ "cruising" area, and a very popular one at that.

Underground raves and parties are held within the forest area; especially related to psytrance.

So there is *indeed* a lot of stuff going on at that location.

Now to our own little project:

It's a short movie illustrating a walk through this very forest; with some edits and twists and some surreal peculiarities.
All of this is underscored by Doomcore, Dark Ambient and Slowcore Techno sounds.

Trying to portray some of the strange sensations of this special spot.

Part 2 - Escape from the Haunted Forest

Last year we walked into one of Hamburg's haunted forests, old, with quite the history.

And then?

Then... we were stuck... for months... for years... maybe for millennia.. in this doomed location... or even at worse places... but maybe... maybe we were happy?

Either way. It's time to get back. Into the real world. Into real life. With real pleasures and real pain.
Enough with facades and illusion.
This is reality!

And therefore... it is high time... to escape the doomed forest of Hamburg.

Will we ever make it?

We will see...

To be continued.

Credits

The following tracks were used as audio supplements to the visuals:

Prologue: Low Entropy - Creeping Doom

Part 1: Cosmic Anarchists - Drifting In A Timeless Void
Part 2: Αναρχία Αραχνοειδείς - The Bite Of The Spider (Chapter 5)
Part 3: Hamburg Penumbral Orchestra - The Sun
Part 4: Time Kanzler Green - Slowly Visiting Another Planet
Part 5: Metalove - Ich Will Sehen (Maia)
Part 6: 1 Million Slowcore Members - Thy Will Be Done

Intermission: Low Entropy - The Slowest Love

Part 7. 1 Million Slowcore Members - This is History
Part 8. Low Entropy - Open Your Mind To Hardcore
Part 9. Cosmic Anarchists - Slowcore Piledriver Experience
Part 10. Time Kanzler Green - Substellar Slowcore
Part 11. Low Entropy - Midnight
Part 12. Low Entropy - There Is No Future
Part 13. Metalove - Industrielle Maschinen (Alcyone)

The first "found footage" Dark Techno horror movie!

https://www.youtube.com/watch?v=1EOsPRnXbNc

You can read more about the background of the movie, its ideas, and the production process here:

https://lowentropyproducer.blogspot.com/2025/07/walking-in-doomed-forest-of-hamburg.html

#scary #dark #doomcore #techno #Hamburg #found #footage #short #movie

1 1/2 Years of Sonic Itinerancy - A Project for Audio Travelers

Hello,
We announced the Sonic Itinerancy project around 1 1/2 years ago.
You can read the full context here: https://thehardcoreoverdogs.blogspot.com/2024/01/itinerant-audio-music-for-sonic.html

But to give a short recap: the idea was to no longer listen to music in a fixed location, while being static.
Not at home, not in your chair, not even at a club or a festival. Because all of these tie you down to a certain point in your local geography.

But to listen to music while moving, travelling, exploring the world.
To become a traveler - not only in the real world, but in the world of sound as well.
Embracing music while being in a state of motion.

So this is a kind of first sonic travelogue.

I spent many hours on this project. Apparently, there are two ways to do it: to plan a journey solely for the music. For example, finding a bus route that travels in circles, then get on there, and listen to sound as long as you want.
Or to incorporate it into destinations that you wanted to go anyway, like hiking to a beautiful lake while having your headphones on.
I ended up combining both most of the time, for example planning a sonic trip into a forest, but, when I was there, also enjoying the inspiring sight of nature. (i.e. without the Sonic Itinerancy project, I would not have traveled there).

BTW, when following the second path, it's important to not become a mere traveler who listens to music at the same time; but to keep the idea of Sonic Itinerancy in mind. To focus on the strange and peculiar sensation of listening to music while also changing location at the same time, "being on the move".

But now to my log.

The experiences were ecstatic, mesmerizing, enchanting, entrancing. The thing felt much "bigger" than I had expected.
I was doing my rounds on a sports field under the starry sky of night, while listening to the haunting doomcore of Miro and Marc Acardipane; and just as the most epic strings in Reign's "Hall" began to bloom, a cloud moved aside and the moon appeared in all its glory, illuminating the dark world, the sports field, and my heart, as the bittersweet track filled my mind.

I was getting into deep trance and deep meditation while riding the bus on a "circuit" route, and the monotonous and hypnotic motion of Acid and Acidcore pierced my ears.

I was walking through forests that felt like entering a world that time forgot, while ghostly Ambient swirled through my headphones.

In the end, it turned out that the main assumption and idea of the Sonic Itinerancy project was right.
That music really feels different, appears different, *is* different when you do not listen to it while being static, still, "fixed" in one location, but are actually *moving*, changing, on a journey.

There are aspects in music to be found that just can't be deciphered if you sit on your chair all the time.

As might have been expected, tracks most suitable for this seem to be those that are peculiar and "strange" in general, like Industrial, Ambient, Krautrock, Doom...
And which have a kind of hypnotic "motion", rhythm to them, that might mimic the rhythm of feats walking, pedaling, or engines setting wheels in motion.

All I can say is: try it yourself. If you have doubts about my report, why not check this thing on your own?
You won't regret it - there is a new world to be discovered. There are new journeys to be discovered.

P.S.

One of the off-shoots of this project was a haunted Slowcore movie, which kinda inverted this theme: a sonic journey, not for the traveler this time, but the watcher at home.

https://thehardcoreoverdogs.blogspot.com/2024/10/sonic-itinerancy-doomcore-techno-walk.html

Playlist:

1. Zekt - Exp. Pt 2 https://www.youtube.com/watch?v=fZrYyMim4Go
2. Reign - Light And Dark (The Next Dimension) https://www.youtube.com/watch?v=4JxZ_qc5O7Q
3. The Mover - Comet's Swarm Rising https://www.youtube.com/watch?v=-dPw9Pq69G0
4. Disintegrator - In The Sun https://www.youtube.com/watch?v=3AyvjLrw1uc
5. Six Mullahs - Persian Lover https://www.youtube.com/watch?v=4su17U876_w
6. Alien Factory - Alpha Music https://www.youtube.com/watch?v=ppW9eLVrwi0
7. Trip Commando - Eastern Origins (Chorus Mix) https://www.youtube.com/watch?v=njdxF1ej9UQ
8. Christoph de Babalon - A Long Way Home https://www.youtube.com/watch?v=v9kHXKYpS8I
9. Tangerine Dream - Birth Of Liquid Pleiades https://www.youtube.com/watch?v=-WRDQmFJhFQ
10. Reign - Hall (Maximum Mix) https://www.youtube.com/watch?v=6OfuTvL2bH4

How Speedcore Evolved out of the Techno Genre: A History and Timeline (With 120 Examples)

A timeline showing the transition of techno into hardcore and gabber; and then the transition of hardcore into speedcore

Speedcore didn't appear out of thin air. The genre, as we know it, slowly evolved out of Techno music. And it was a quite quick transition (fitting to the genre's name). Tracks like Moby's "Thousand" - released in 1993 - already went up to the 1000 BPM barrier.

So let's look at the evolution of Speedcore and the roots of this style, in this timeline spanning the years 1990-1999 - the formative period for the genre.

Pre-Techno Era

Of course, the ingredients that were later incorporated into the Speedcore genre existed long before; even before the rise of Techno music.
We can trace "industrial - noize" experiments to the beginning of the 20th century, or even much earlier.

A lot of this was never properly recorded (or even documented!), so we need to work with what we have here.

These are recordings of electronic music tracks that already use fast / distorted drum beats before the 90s.

1. Suic*de - Frankie Teardrop (Live) 1978 https://www.youtube.com/watch?v=FauL1FZ7Rnk&t=888s
2. Vice Versa - Artists at War 1980 https://www.youtube.com/watch?v=yWaK-AOKj5o
3. Skinny Puppy - Fascist Jock Itch (in the intro!) 1989 https://www.youtube.com/watch?v=f1YaP_LNjcs

1990



Techno was still the new kid on the block this year, but already an unruly kid, a true rumble fish. As indicated by these tracks.

1. Mescalinum United - We Have Arrived https://www.youtube.com/watch?v=BL5xh-wt3Vc
2. Dilemma - Erase Your Mind https://www.youtube.com/watch?v=FqjhZewN_jA
3. Joey Beltram - Energy Flash https://www.youtube.com/watch?v=BDj73pGQ6pE
4. The Suburban Knight - The Art Of Stalking https://www.youtube.com/watch?v=I7N8tNuuGv8
5. Bigod 20 - The Bog https://www.youtube.com/watch?v=4xtORc7mJEA
6. Cyborg Unknown - Year 2001 (Deep In Detroit U.S. Mix) https://www.youtube.com/watch?v=c2q4v8_YxbE
7. O - Das Spiel https://www.youtube.com/watch?v=4VcNTAXxCjo
8. Moby - Go https://www.youtube.com/watch?v=NLCHARjjrws
9. Underground Resistance - Elimination https://www.youtube.com/watch?v=2dsyCOZLEXs
10. The Justified Ancients Of Mu Mu - It's Grim Up North (Original Club Mix) https://www.youtube.com/watch?v=XEqepxHOLYA

1991

Still quite "tame" compared to the later era, but early hardcore / gabber sounds become more visible.

1. Human Resource - Dominator https://www.youtube.com/watch?v=x2LQ5L9pUVo
2. KAA - Emphasis (NRG Dub) https://www.youtube.com/watch?v=e5kIKZvf05s
3. 80 Aum - Mindcontroller https://www.youtube.com/watch?v=N3FwgWiYirA
4. Space Trax - Deduction (Original 12" String Mix) https://www.youtube.com/watch?v=dE9tz-Uh1bw
5. The Hypnotist - God Of The Universe https://www.youtube.com/watch?v=Vy3U5RfxkhE
6. Underground Resistance - The Punisher https://www.youtube.com/watch?v=RhLNawtC0bo
7. Holy Noise - James Brown is Still Alive https://www.youtube.com/watch?v=3zYN-K6aesE
8. Second Phase - Mentasm https://www.youtube.com/watch?v=u8VY5dxq5CU
9. Phenomania - Who Is Elvis? https://www.youtube.com/watch?v=6ufZhILAxNc
10. Meng Syndicate - Luminary https://www.youtube.com/watch?v=Z9hAih4HFUM

1992

Things are getting "real" now. Gabber and "Hardcore" Industrial concepts are all around, and the first tracks begin to break the 200 bpm speed limit.

1. Euromasters Alles Naar De Kl--te (250 BPM Oef!) https://www.youtube.com/watch?v=jxGBM0uSLu4
2. Hocus Pocus - Hocus Pocus (The Gabberianic Verses) https://www.youtube.com/watch?v=GOb--oMS_ac
3. Defcon - Blob https://www.youtube.com/watch?v=pL964sZJgPc
4. Distortion - Franthic Thigh https://www.youtube.com/watch?v=PBLs5zCkEHk
5. C Of E - Church Of Extacy https://www.youtube.com/watch?v=39KOaqBJmmc
6. Disintegrator - Lock On Target https://www.youtube.com/watch?v=T8hTs_PfexY
7. Kranz - Helmut Kohl Ist Tot (Sound Bite Mix) https://www.youtube.com/watch?v=MNM3E2O-Pns
8. X-103 - Eruption https://www.youtube.com/watch?v=fIoGlNur-zg
9. Lenny Dee - Hammer Head https://www.youtube.com/watch?v=w2_0EBc9F7s
10. Holy Noise - The Nightmare (Power Mix) https://www.youtube.com/watch?v=3rNYrRRoTy0

1993

This escalated quickly! Very fast stuff was still rare in 1992, but this year already got a lot of tracks clocking at several hundred bpm.
No holes barred anymore.

1. Sorcerer - Summer https://www.youtube.com/watch?v=GrJi_2Ctzp4
2. 303 Nation – Double Speed Mayhem https://www.youtube.com/watch?v=XoAkzHCBSXk
3. Lory D - Lochnar (The last minute!) https://www.youtube.com/watch?v=Y3ogKTV2KZs
4. The Speed Freak - Sine-P https://www.youtube.com/watch?v=Kq8AJvR8WHk
5. Spy - Bloodstrike https://www.youtube.com/watch?v=YqJ0NI-5SfE
6. Moby - Thousand https://www.youtube.com/watch?v=vRJKOCmTXLo
7. F*cking Hostile - F*cking Hostile (Remix By The 6th City Mob) https://www.youtube.com/watch?v=ru7QCBOAKB4
8. PCP - We Are from Frankfurt (towards the end) https://www.youtube.com/watch?v=RUe5G9M0O5w
9. Signs Of Chaos - Killout B https://www.youtube.com/watch?v=-dqiHmfZckA
10. Igor - Talking about God https://www.youtube.com/watch?v=0MwEm_FZ_3o

1994

94 continues the trend of super fast, super noisy hardcore techno.

1. De Klootzakken - Dominee Dimitri https://www.youtube.com/watch?v=iNfZZ3ks1Sw
2. Influid - The Destroyer (1.2 Million BPM Mix) https://www.youtube.com/watch?v=_28IyDXZtsM
3. Disciples Of Annihilation - Ya Mutha Part II https://www.youtube.com/watch?v=ODAVdcesmJg
4. C-Tank - Kansas or Cansas https://www.youtube.com/watch?v=_Lxv8JuimVg
5. DJ Skinhead - Extreme Terror (Strength Of Terror) - https://www.youtube.com/watch?v=_SZ1w7gA3GY
6. Marusha - It Takes Me Away (Core Remix) https://www.youtube.com/watch?v=1FM5fAP6eyg
7. Ilsa Gold - 4 Blond Nuns (Chicago Remix) https://www.youtube.com/watch?v=D4V6fLSThu4
8. Sons of Aliens - Deeper https://www.youtube.com/watch?v=KkMzfVQD_CM
9. Naomi Campbell - Spinball Attack https://www.youtube.com/watch?v=kJCbeZWYKwA
10. Gangstar Toons Industry - Mistick https://www.youtube.com/watch?v=nsYC5Pi1RA4

1995

Speedcore is an established genre by now. These are no longer "out of the ordinary" tracks, but it's a dedicated sub-genre of Techno just like Acidcore or Gabber itself.

1. Seveso - ABC Alarm https://www.youtube.com/watch?v=9HeBkJrNnIM
2. Out Of Key - Drill https://www.youtube.com/watch?v=Loq0N7-dwYg
3. Sl*t Burger – This Is F*cked!
4. Leathernecks - C'mon Scum https://www.youtube.com/watch?v=r7t3qEraC9w
5. Ec8or - Speed Erection https://www.youtube.com/watch?v=bi5omMtiRo0
6. Cybermouse - War Is Hell https://www.youtube.com/watch?v=MvEboDBARZE
7. Nasenbluten - C*nt Face https://www.youtube.com/watch?v=AGaEHspMbc4
8. Temper Tantrum - Destroy The World https://www.youtube.com/watch?v=CM8Ttg7tTsw
9. Noize Creator - Untitled B3 - Out of Order Vol. 1 https://www.youtube.com/watch?v=cw5ibYDDopQ
10. Bold Bob - Bold Bass https://www.youtube.com/watch?v=Qzrl2s13wII

1996



Speedcore is getting more brutal and domineering. Releases, labels and artists solely dedicated to this style begin to sprout.

1. Quindoor - Full Energy Flash https://www.youtube.com/watch?v=arKTZ0UiOMY
2. Amiga Shock Force - S*x, Mord Und Kunst https://www.youtube.com/watch?v=xL3U_lllneY
3. Burning Lazy Persons - Hyperb*tch https://www.youtube.com/watch?v=8o1VQbcf5ds
4. Eradicator - Forkboy https://www.youtube.com/watch?v=Q403RSQm1sk
5. Bakalla - Short Controlled Bursts https://www.youtube.com/watch?v=gRYiYP03a5w
6. Stickhead & Don Demon - Conquer The World https://www.youtube.com/watch?v=eqyFs-EbHYM
7. Alec Empire - I Don't Care What Happens https://www.youtube.com/watch?v=gqGwLjFYG74
8. Doc Gringo - I Don't Need Freedom https://www.youtube.com/watch?v=O-9K8DYVH4U
9. No Name - 01100010 https://www.youtube.com/watch?v=kKlggVKUPDk
10. Elvis Jackson - Ahh Soul https://www.youtube.com/watch?v=ni_SutfcmkU

1997



It's now clearly visible (or audible) that the style is cutting off its ties to the Gabber sound, or "dance" music as a whole. Rave-stabs, groovy percussion, and the juno sound become replaced by white noize, death metal riffs and screams.
No longer a sub-genre - now a true genre by itself.

1. The Berzerker - Evil Worlds Beyond https://www.youtube.com/watch?v=6U3au_gTLxs
2. Bakalla - True Force https://www.youtube.com/watch?v=m-h3f5M15uM
3. Bold Bob - Bold Bass 2 https://www.youtube.com/watch?v=VdYyoJxnmUw
4. Nasenbluten - Markt Frisch Terror https://www.youtube.com/watch?v=Bw7x5FpCjrk
5. Fast Identities - Untitled A2 https://www.youtube.com/watch?v=daGDL_ybbVA
6. Mescalinum United - Symphonies Of Steel Part 3 https://www.youtube.com/watch?v=kpaEG7BFGro
7. DJ Lancinhouse vs. DJ Jappo - Industrial Strength "The Outro" https://www.youtube.com/watch?v=nAhq3wPE7vo
8. Burning Lazy Persons - If The Truth Be Known https://www.youtube.com/watch?v=WgqOYGOhW2U
9. Hasshelloff - Fit Of Anger https://youtu.be/0vXLf9P7oB4?si=HWbzzMVnpeiDQYWP&t=583
10. Cannibal DJ - Dog Will Hunt https://www.youtube.com/watch?v=uieikx7v7Vc

1998

Especially in the French releases there is a visible influence by experimental, industrial and harsh noize music.

1. Low Entropy - Adrenaline Junkie https://www.youtube.com/watch?v=UFe66oUEH94
2. Rage Reset - Terminated https://www.youtube.com/watch?v=EvvxqzpqKOI
3. Choose - Tight Slip https://www.youtube.com/watch?v=dgQj3Y59fi8
4. Sonic Overkill - Realität Ist Gewalt https://www.youtube.com/watch?v=JkNFFYG5Eqo
5. Rage Against The Cuisine - Untitled A https://www.youtube.com/watch?v=iPTSyOc0Fbk
6. Senical - B3 (Dark Organized Incidents) https://www.youtube.com/watch?v=LViFxPE5cfI
7. Violent Aggression - King Of The Kill https://www.youtube.com/watch?v=_-UfBQlAyGA
8. Absolute Terror Field - God Is In His Heaven, Alright With The World https://www.youtube.com/watch?v=YOnKuW4wzv8
9. Les Diaboliques - Just Another Victim https://www.youtube.com/watch?v=amUkN_4q6Os
10. DJ Freak - 4 to the floor https://www.youtube.com/watch?v=c8_Imsn7UpQ

1999

The Millennium ends - and Speedcore seemingly joins the pre-apocalyptic hype. Plenty of releases that are just noise, beats, and nihilism.

We can already spot the seeds of later styles such as splittercore or extratone.

1. Amiga Shock Force - Kik Me https://www.youtube.com/watch?v=7T7Qv2zFR34
2. Pure - Katharsis https://www.youtube.com/watch?v=hbUboXibYro
3. Naughty Observers - Untitled A2 https://www.youtube.com/watch?v=QWjg8xcQnrQ
4. S37 - Seeds Of Disgrace https://www.youtube.com/watch?v=oSSgBEXQ7Bs
5. Animal Intelligence - Desolation 310 https://www.youtube.com/watch?v=ObRUiKslcnA
6. DJ Freak - Dis Reaction https://www.youtube.com/watch?v=MBxen5-uVh0
7. Sonic Overkill - Föhntwiesau https://www.youtube.com/watch?v=KgTKSZJSu10
8. Acid Enema - Entrails Remain https://www.youtube.com/watch?v=lWAN2jQVMLg
9. Dj Freak - A3 (Unknown Territories) https://www.youtube.com/watch?v=A9d2_7wVxgU
10. Popey You Know - Untitled A1 https://www.youtube.com/watch?v=gNsRXtj-FSE

Post 2000 era

Just like Techno split up into styles like Trance and Gabber, and Gabber did split up into styles like Happy Hardcore and Speedcore, Speedcore gave rise to a variety of other styles, sub-styles, and sub-sub styles.

No longer one coherent genre or culture, but host to various cultures and conceptions of sound.
The cycle begins a new.

Note: the list is not complete or comprehensive. this is just a showcase and a "taster" - there is more out there for those who are not afraid to dig deep.

And here is some further listening material for the true trainspotters right away:

1. Mescalinum United - Lightbringer 1993
2. Haardcore - 250 BPM 1993
3. The Falcon – Speedbattle 1994
4. Chosen Few - Hellfire 1995
5. French Connection - F*ck You All 1995
6. Ec8or - 666 1995
7. Technohead - Heads*x (Nanotech Mix) 1995
8. Netas - Sh*tbeater 1996
9. Syndicate - Connect the Dots 1996
10. Nasenbluten - Treadmill 1996
11. DJ Tron - F*ck That Happy Shit 1996
12. Outlaw - Afrik 125 1996
13. Leathernecks - Speedf*ck 1997
14. Tilt! - Hell-E-Copter 1997
15. Bazooka - Bumm Bumm 1997
16. Choose - Prezentationz 1997
17. Hasshelloff - This Time Is War... 1997

Meet DJ AI - Cyborg Techno DJ and Producer With an Artificial Soul

DJ AI is the first artificial intelligence cyborg dj!
Well, not quite - she is an AI avatar and persona, and not a real person of flesh and bone at all. She just exists on the internet - for now.

But let's continue in our imagination:

Her backstory is that she is an AI that developed an interest in techno, hardcore, and electronic music genres - and started producing on her own!
She has several releases done under her own name so far, albums, EPs, and tracks on compilations.
As mentioned above, the style of her music is usually in hardcore techno or adjacent genres - or some surreal sound experiments.
Her artificial mind uses various cyborg bodies to move around - which explains the "different" looks in her pictures.
Apart from being a techno disc jockey, DJ AI enjoys traveling cyberspace, exploring other planets, or talking to her fans.

In fact, she loves to read and reply to fan mails - her address is technodjai@proton.me

She also keeps a blog, where she updates her fans about daily activities or new projects.

https://technodjai.blogspot.com/

So far for the story.
The "reality" behind this story is that the AI persona was co-created with ChatGPT, and ChatGPT also co-writes the music (and everything else).

If you are inclined, you can read more about the production process behind these releases at:

"How to create a whole Doomcore Techno album in collaboration with ChatGPT" - https://laibyrinth.blogspot.com/2025/01/tutorial-how-to-create-whole-doomcore.html

The DJ AI visuals are usually created using Leonardo.Ai

So, while her looks, body, background, and journeys across the universe may be purely "virtual" - the actual music, her blog, and other things are very real.

The whole idea behind this project is to explore the amazing possibilities the new AI technology has to offer for creative purposes.

And to create some kickin' rough techno tunes!

If you want to contact a human about this project (for questions, comments, and so on) - feel to send a mail to DJ and producer Low Entropy at low.entropy.80@gmail.com

DJ AI Discography:

Albums:

Echoes of Oblivion (Techno / Doomcore / Dark Ambient)
https://doomcorerecords.bandcamp.com/album/echoes-of-oblivion



Intelligence of Doom (Doomcore / Speedcore / Techno)
https://gabbaretrecords.bandcamp.com/album/gbbr099-dj-ai-low-entropy-intelligence-of-doom



The Cosmic Longing of an Artificial Soul (Techno / Acid / Experimental)
https://doomcorerecords.bandcamp.com/album/the-cosmic-longing-of-an-artificial-soul



Hardcore and Techno tracks created by an Artificial Intelligence (As the title implies...)
https://doomcorerecords.bandcamp.com/album/hardcore-and-techno-tracks-created-by-an-artificial-intelligence

 


Cosmic Odysseys through Microtonal Tunings (Microtonal / Space Ambient)
https://doomcorerecords.bandcamp.com/album/cosmic-odysseys-through-microtonal-tunings



An Artificial Intelligence Remixed (Various artists and styles)
https://doomcorerecords.bandcamp.com/album/an-artificial-intelligence-remixed



EPs:

More Hardcore Techno created by Artificial Intelligence (Acid / Hardcore)
https://lowentropy.bandcamp.com/album/more-hardcore-techno-created-by-artificial-intelligence

Cosmic Love's Surreal Fusion (Trance / Rave / Hardcore)
https://lowentropy.bandcamp.com/album/cosmic-loves-surreal-fusion-written-by-artificial-intelligence

Compilations Entries:

Speedcore Intelligence Construct (Sonic Surrealism Vol.5)
https://speedcoreworldwideaudionetlabel.bandcamp.com/track/low-entropy-dj-ai-speedcore-intelligence-construct

Music Videos:

Echoes of Oblivion (Doomcore / Techno)
https://www.youtube.com/watch?v=AHXIFpb9NAo

This Is The Moment (Gabber / Techno)
https://www.youtube.com/watch?v=DKNCoF8le7k

Microtonal Techno Jam (Techno)
https://www.youtube.com/watch?v=09YwpquUcPU

Cosmic Resonance Journey (Microtonal / Space Ambient)
https://www.youtube.com/watch?v=jBLII0dT9kc

Short Movies:

DJ AI's Cosmic Journey
https://www.youtube.com/watch?v=IpyVQRPKxNI

DJ AI's Second Cosmic Journey
https://www.youtube.com/watch?v=eaRbCDvH1TE

Linktree: https://lnk.bio/technodjai

A Review of the Complete Digital Hardcore Recordings Catalogue - Part 1

All Digital Hardcore Recordings Albums Listed, Rated, and Reviewed

Before the "Genre Mainstream" set in, Hardcore, and also Techno, were not styles or categories that are as fixed as they are now.

Many labels (and artists) existed on a kind of liminal location, that sat in-between the various movements, styles, sub-cultures, and political claims...

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

And, paradoxically, while DHR was probably one of the most underground efforts, as these releases literally did not give a fuck about genre conventions, image, likability... they were also *the most known* hardcore-adjacent and extreme electronic label in the 90s.

every global music, culture, fashion magazine tried to get an interview or story with one of its artists... they toured all over the world and in the major cities... they were on big rotation on MTV and other music television.

It was a common thing to come home after a squat rave, turn on the TV in order to "chill", and suddenly see Atari Teenage Riot, Alec Empire, Hanin or Ec8or appear on the screen.

Even the mainstream press and media regularly covered the label.

Everyone, from Aphex Twin to the Beastie Boys, loved this music.

So it is a bit "strange" that all of this has faded into the obscurity of history by now...

Or on a second thought, it might be not as strange at all - the societal mainstream likely can't handle music that is as extreme and direct as this, so they prefer to remain silent.

We don't like the sound of silence, though, so here is our own retrospective of Digital Hardcore Recordings.

We aim to review, rate, and describe all releases by the label, and we are starting right here, with part 1.

https://atariteenageriot.bandcamp.com/album/delete-yourself-remastered

Atari Teenage Riot – 1995 (DHR CD 1 / DHR LP 1)

also known as "Delete Yourself!"

the debut album by Atari Teenage Riot. they had been around for a few years before releasing this, but they were more active in doing concerts and gigs before that than releasing stuff (as far as i know). this CD came out when the first hype about ATR, Alec Empire and DHR was at its high, with a lot of indie/underground magazines such as frontpage (now defunct techno magazine) praising them for their music and attitude.

it is almost a "compilation" of tracks on this CD, with some live versions, some tracks from other output, some older and some newer tracks. the name "1995" thus is quite a good name, since the album captures a lot of what was going on in that year then.

since there are 12 tracks on this record, i will only review a selection of them.

1. Start The Riot

what an absolute killer of a track. it's a clever choice that this is at the beginning of the listening experience. from then till now there are not many tracks that could be compared in terms of high adrenaline experience. after the strange intro ("i would die for peanut butter"?), the track blasts of into an assault of beats, guitar riffs, screaming and shouting. this track is just so hard hitting, i can't describe it, you need to listen to it for yourself. a legendary track.

2. Into The Death

this is the track that had the most effect and impact on me on the first listening ever, more then any other music in my life. i heard it first when i was listening to the "harder than the rest" compilation. when that track came on shivers ran through my body and i felt intense. i re-listened to it over and over again on the spot, with the same effect.

on the structure of the track, it is very similar to Start The Riot, but i do not mind that at all.

4. Speed

this is the track most people know of Atari Teenage Riot, as it was used in the mainstream movie "The Fast and the Furious: Tokyo Drift". it is actually a very good track. the concept here is really well, it is an oldschool-ish Underground Resistance-like techno affair mixed with guitars and shouting. i don't think ATR ever made a track similar to this again. it packs a lot of energy, especially since ATR made these elements really fit each other.

8. Hetzjagd Auf Nazis

this anti-nazi breakcore number really hit the scene hard when it came out. a necessary political statement and a very good track.

11. Kids Are United

the most unusual track on this record, with its anthemic singing and melody. i think someone denounced this as being too "pop" once. yet it was sort of a hymn for ATR fans back then and it still is for today's fans, i think. the video to it is quite known and features some hardcore slamdancing with a lot of the DHR people back then.

the track itself is a cross between breakbeat rhythms, electronic effects and punkrock.

12. Riot 1995

this track from this album is underrated, but it is one of my favorites.

basically just guitar sounds, effect machines and "riot" shouting on and on, it also has some killer vocals. it has its own emotion which is hard to put in words. well, i just love it.

"do you find it easy to confront your emotions, or do you run away?".

https://www.discogs.com/release/336235-Various-Harder-Than-The-Rest

Various – Harder Than The Rest (DHR CD 2 / DHR LP 2)

"Harder Than The Rest?". Yes, at that point of time and in history (1995), this was likely true.

For many people a "first ever" introduction to the variety of the hardcore underground and styles like gabber, breakcore, digital hardcore...

And this compilation is very varied indeed!

Stand-Out tracks include:

"Ec8or - We Need A Change" - almost military style gabber that goes into overdrive at the end.

"Atari Teenage Riot - Into The Death" blood-freezing digital hardcore punk attack - has music ever been so vicious?

"Sonic Subjunkies - Central Industrial" a melancholic, acerbic-saccharine doomed breakbeat track that feels a lot slower and softer than the rest (not in a bad way!)

"Hanin - Nizza" - still one of the roughest breakcore tracks ever

"Christoph de Babalon - Seventh Rest" a demonic track with industrial dub beats that feels like walking out in the snow, and then dying

"Ec8or & Moonraker - Smash Him To The Ground" digitalized amiga breakcore at its best!

A must-listen for anyone who is interested in 90s hard electronic subculture.

https://www.discogs.com/release/25456-Ec8or-Ec8or

Ec8or - Ec8or (DHR CD 3 / DHR LP 3)

Ec8or's debut release - the eponymously titled "Ec8or" - was actually the first CD I bought at the Container Records store - a real "underground" Techno store - and not some supermarket or music chain store.

I.e. in a sense the first "real" hard electronic release I heard, instead of stuff that was more catered for the MTV and mainstream generation.

And this listening experience defined what was Hardcore, "Breakcore", etc. for me.

It was so different from the routes the various Techno sub-genres had taken. In the mid 90s, for the general population, "Techno" now meant chart topping Hardtrance and Rave - Mark Oh, Marusha, Raver's Nature. And then there was also Gabber, which left most of its gritty and dirty roots behind, and had become a much cleaner sound with pop chanting or samples. Music aimed at the dancefloor, music aimed at "fun".

Ec8or's CD seemed to take a much more serious approach to Hardcore - and to music in general.

But, more importantly. The abovementioned genres had become clichéd. Stylistically extremely limited. If you picked up a commercial hard trance record, you knew what to expect: build up with fast beats until a breakdown, when sawtooth arpeggiated melodies came in, usually enforced by soothing female vocals, rising snare roll until the "beat drops", possibly a middle part with a rising 303... etc etc etc. been there, done before.

For gabber it was the same: mentasm, fast Juno riffs, build ups, climaxes, "beat drops", all by the very number.

Yet on Ec8or's album, nothing was predefined. Anything could happen at any time. It represented a vast experimental approach to hardcore, electronics, and music.

There was the intro track that combined death metal riffs with hip hop beats, Gina's riot grrl screaming against the establishment, and a sound that resembled a dying transistor radio.

"You'll never find" is a dub downtempo number with no Gabber beats at all, lamenting TV and other culture, against the background of what could be described as the Commodore 64 recording of a pile driver.

"Pick da best one" is a rough and fast gabber track... or is it? There are elements of opera, speed metal, video game culture, natural born killers, and haunting screams... so it is definitely crossing over into all genres.

"Lichterloh" is one of the most peculiar tracks I ever heard... a monotonic-hypnotic excursion, with not much more than a low tempo breakbeat and swirling, meandering outer space sounds in an almost endless loop... but oh so beautiful!

"Ich suche nichts" is a nihilist take on the philosophy of nothingness, until it evolves into punch-to-your-nose Gabber madness...

"We are pissed" is a hardcore punk agit prop song with hyperactive breakbeats.

The best known track from this album is probably "Discriminate Against The Next Fashionsucker You Meet".

It connects various threads of this album together: starting with Gina's haunting screams once more, going into super distorted slow-mo industrial breakcore dub, before picking up a hardcore beat in the latter half of the track, then going into all-out screaming noizecore hell.

but the favorite track for me, back then, as it is now, is "Cheap Drops".

never heard anything like that before, nor will I likely hear anything like it again.

super strange, super bizarre / futuristic flowing ambient sounds... electronic tweaking and chirping, melting with drones and distant rumbling (how could they do this on a mere Amiga 500 computer?)... intermingled with Gina's spoken word part, that is so processed that one can barely understand any words or sentences.

until it all ends in a deafening scream once more.

i never could truly make out what the track is about... to me it gives of the feeling of being in cryosleep on a spaceship far away while the commander is shouting the execution orders...

but either way... audio material for dreams and nightmares.

These were just some of the tracks on this album, there is much more to discover.

When i listened to the album in its time, i truly believed this was the direction of music to come. That genre boundaries get jettisoned.

That thorough experimentation and exploration of sound begins. That hardcore and gabber take on a serious, philosophical, deep, political approach.

That hardcore music becomes ever-changing, ever-evolving.

That anything is possible.

But things did not pass that way. The ec8or album did not become the leading example for legions to follow. It is more of an "obscurity" in the chain of discographies.

hardcore and gabber quickly abandoned any experimental intent. The tracks become more by-the-number, more strictly tied to formulas and genre conventions, than ever.

The idea of "serious" electronic music became a thing of the past, replaced by "dance" music destined to keep the consumers happy and in line. Preemptive entertainment for model citizens in future dictatorships.

Now, looking at this, not all of this new music or "hardcore" is bad. Some of it is indeed quite entertaining. And yes, this goes for the commercial gabber and hardtrance of the 90s, too.

But sometimes I sit and wonder... "what if"?

what if music really took that direction from the mid 90s on, instead of giving in to sonic conservatism and rigidity again?

Of course not just based on this one album, but on the other releases that had this bold rebel approach, too.

What kind of music, what kind of sounds would we have now, if there indeed had been a steady evolution since then?

But then i realize... "It is not over yet".

Why shouldn't we go back, and pick up from there, and start creating a whole new sound - in the present day?

Or maybe we do not even need to go back...

Why do we not jettison and kick all the style limits, the genre rules, the conventions, the sonic and political conservatism, the pre-defined tracks and attitudes and clichés...

And create something truly new and beautiful?

Let us make it happen!

https://www.discogs.com/release/7582-Alec-Empire-The-Destroyer

Alec Empire – The Destroyer (DHR CD 4 / DHR LP 4)

The first DHR record I bought - because I saw it a music chain store, and knew I needed to buy it.

Even though this is an album release, it's basically made up of several "parts". Firstly, it got all tracks of the Death EP (minus "Necrophobic").

Then there are 3 tracks from a session Alec recorded for John Peel. There is a live recording of "Pleasure is our business". And finally, there are 7 tracks newly produced for the album.

Now let's talk about the sound. I'd like to say this is one of Alec's strongest releases, but, let's face it, *all* of his albums are strongest releases in their own regard.

This is the beginning of Breakcore at its direct source. The style is still visibly tied to jungle and breakbeat music - distorted amens rolling back and forth. Free of the IDM-stuttering or Tech-Step-Plagiarism of the post-2000 "Breakcore" artists.

Yet unlike other 90s Breakcore artists, there is no hard breaks+punk guitars+macho samples formula either.

Instead, the album combined breakcore, hardcore, and maybe even techno sounds, with an enormous array of other genres and music. Samples and influences from musique concrète, obscure documentaries, transgressive movies... dub, ambient, drone, vintage electronica.

At its core, this a very intellectual album with a heady, experimental approach.

Still, at the same time, it's a release of furious, dark and dirty aggression, nihilism, "punk" attitude, and known to set dancefloors into flames with its tunes.

I don't know how Alec managed to bridge this "contradiction", but he did. And this is one more thing that sets the album apart from other "Hardcore / Breakcore" releases in the 90s (or from today).

https://www.discogs.com/master/13439-Patric-C-The-Horrible-Plans-Of-Flex-Busterman

Patric C. – The Horrible Plans Of Flex Busterman (DHR CD 5 / DHR LP 5)

After releasing some of the grimiest and grittiest Hardcore, Gabber and Breakcore records, what was next for DHR?

Of course, doing a vintage chiptune album! Quite rational release schedule, isn't it?

No, all irony aside - DHR always was going against genre conventions and expectations, so this release made total sense.

It was sometimes claimed to be the first "neo-chiptune release" after the original era; while this likely is not the case, it definitely was one of the earliest.

And it's worth pointing out that it is a quite unique in its style: It's bona fide Chiptune, *but* unlike most contemporary releases, it makes no pretense of sounding exactly like its commodore 64 or amiga 500 precursors.

There are distorted breakbeats, "realistic" percussion samples, drones, synth pads, voices, and other elements that would have sent a real SID chip into mental overload.

So, in a sense, it's actually a futuristic Chiptune variant, a next step onwards, while today, most releases are merely "retro".

Now, all technical details aside, Patric C absolutely kills it on the release.

1. He is seemingly apt at creating captivating and bittersweet melodies (I wouldn't have guessed so, listening to his earlier eradicator and test tube kid total terror music...!)

2. the use of hardcore / breakcore elements adds a mean punch that "glider rider" or "auf wiedersehen monty" might have lacked.

3. there is enough variation, from beatless cinematic sequences to rushing chip-techno mayhem

and, most importantly, it all feels very *real* - one could really imagine this to be the soundtrack to an imaginary video game of the C64 / NES era.

So, in summary, as one track title on this album goes:

"You Made It Perfect!"

https://www.discogs.com/master/7988-Atari-Teenage-Riot-The-Future-Of-War

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

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 burst 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.

https://www.discogs.com/release/158247-Shizuo-Shizuo-Vs-Shizor

Shizuo – Shizuo Vs. Shizor (DHR CD 7 / DHR LP 7)

Together with artists such as Alec Empire or Patric Catani, Shizuo belonged to the "earliest breakcore" generation.

Unlike Alec, with his intellectual and eclectic approach, or Catani with his scifi / 16 bit / cyperpunks workings (and also eclectic), shizuo feels more nihilistic and dirty.

As he said himself about his productions on a TV documentary: "This shit is easy. You just need to fuck it up". And when listening to his tracks, one can indeed "feel" that a lot of it is produced on the fly, with plenty of live twisting of filters and distortion units.

There is also a reduced, minimalist approach, with the majority of his tracks having little more elements than breakbeats and noise.

Some tracks on this album are outside this concept, though, which focus more on punk, funk or ragga loops.

All in all this leads to a very interesting blend.

https://www.discogs.com/master/44823-Christoph-De-Babalon-If-Youre-Into-It-Im-Out-Of-It

Christoph De Babalon – If You're Into It, I'm Out Of It (DHR CD 8 / DHR LP 8)

Picked this one up when seeing ATR live in Hamburg, then listened to it during the night, and I rarely slept so well.

A friend told me "very unusual release for DHR, very introvertive", and it's true, there is none of the riotous screaming, gabber guitars, and hardcore drums that DHR was known for on this record.

It's not exactly soft or calm either, though.

It's more like a reserved, introverted aggression, a dark and hidden brooding.

Snapping at ya from the subconsciousness.

Signified by the famous cover art, too:

Showing Christoph de Babalon in his plain living room, in a quite calm and intellectual pose, while in the background a poster informs us that he intends to "go out like a m***er f***er".

Stand-out tracks include:

"What you call a life" with its drones and peculiar melodies. The haunting vocals state "...all my life I have been used", underlining the theme of subdued anger.

"My Confession" an epic early breakcore track, running over 9 minutes, and including the sound of church bells(!).

And there's three beatless ambient tracks, and these are most remarkable, as they constitute a kind of "digital ambient" micro-genre of its own - sample based ambient music done on an amiga 500, sounding *very* different from all other ambient producers that I know.

https://www.discogs.com/release/1222032-Ec8or-World-Beaters

Ec8or – World Beaters (DHR CD 9 / DHR LP 9)

The follow up to the beloved first album by Ec8or, expectations were very high for this one, and I was not disappointed, in fact my expectations were even surpassed.

The tracks on this release hit harder and are more ferocious than almost any other releases of its time... well, even (or especially!) compared with releases of today.

The Ec8or brand of Digital Hardcore, that was only hinted at in the first album, is fully fleshed out here, and we have a good number of tracks with super-tough gabba drums, punk guitars and industrial noise, with gina screaming and yelling in a justified and angry fit.

There is hardly any other form of music that is as dopamine-inducing as this.

A bunch of other tracks are included, too, that are more on the instrumental or experimental tip, such as one of my favorites on here, "until everything explodes", a terror dub low tempo punk creation.

Still, I'm missing something in the vein of the purely abstract / ambient tracks of the first album.

This doesn't make this album any less awesome, though!

On a scale from 0 to 10, I rate this album 888ec8or.

https://www.discogs.com/master/45349-Various-Riot-Zone

Various – Riot Zone (DHR CD 10 / DHR LP 10)

Compilation with tracks of earlier releases by DHR. But, unlike the first compilation, there are no new or exclusive tracks here.

https://www.discogs.com/master/45010-Alec-Empire-Squeeze-The-Trigger

Alec Empire – Squeeze The Trigger (DHR CD 11 / DHR LP 11)

In the liner notes, Alec Empire describes these tracks as a kind of historic future that never passed; a style and movement he and other people tried to set up, but that never really came into existence.

And this is a real shame. What kind of style, some people might ask?

Well (most of) these were tracks that were originally released on the Force Inc sublabel "Riot Beats".

Force Inc was one of the leading Techno labels; but at the same time, it was always so much more than just "Techno". Force Inc had a more intellectual, experimental, philosophical and explorative approach to this form of music than most (or all?) other labels.

Force Inc subs such as Riot Beats followed the same route; but with breakbeat, jungle, drumnbass, and breakcore, instead of 4/4 drum machine beats.

So, the tracks on here are not just "early breakcore" or "harder jungle"; they re-present a wholly new style of music, that incorporates breakbeats with dub, punk, political rap, and a myriad of other styles; a future that seemed possible for both drumnbass and breakcore for a short moment in time; but that fizzled out (or was killed off?) quite quickly.

A shame. But we can still listen to this release, and imagine a parallel history were this style fully emerged and continued to evolve to this day.

https://www.discogs.com/master/45086-DJ-6666-Feat-The-Illegals-Death-Breathing

DJ 6666 Feat. The Illegals – Death Breathing (DHR CD 12 / DHR LP 12)

a very outstanding "later" release of DHR, taking the breakcore genre to its logical conclusion, and its end:

there are no longer any traces of jungle / breakbeat / "uk happy hardcore" elements, just unrelentless noise and distortion.

In fact, even the funk and groovy-ness of earlier alec empire releases is slipping away at times, leaving room for cold, hypnotic, repetitive drumloops that crush everything in their paths.

nihilism and bleakness has taking over the breakcore genre.

yet, while the album starts on an ultra dark trip, it gets worse. as the album goes on, the track structures, logic and rationality itself seem to fall apart (or get broken to their core). the later tracks often including little more than just swirling noize, or last and lost fragments of a slowed down, mangled breakbeat.

a journey into decay and mindlessness.

and i love it for that.

https://www.discogs.com/master/45287-The-Curse-Of-The-Golden-Vampire-The-Curse-Of-The-Golden-Vampire

The Curse Of The Golden Vampire – The Curse Of The Golden Vampire (DHR CD 14 / DHR LP 14)

A very under-rated record.

Alec Empire joins forces with members of Techno Animal, Godflesh and Napalm Death.

The result is something I'd call... Death Dub? Graveyard Funk?

Slowest breakbeats that almost have a Sludge / Doom Metal feel to them, and an atmosphere that will make all ghosts escape from your room.

Don't miss it!

https://www.discogs.com/master/45166-Bomb20-Field-Manual

Bomb 20 – Field Manual (DHR CD 15 / DHR LP 15)

Bomb 20 came from the tracker scene, and before any vinyl (or CD) release he actually had module releases within the demo scene.

This is once again one of the earliest full-on breakcore albums. Similar to fellow tracker enthusiast Patric Catani / Ec8or, there is a crisp, 8 / 16 bit sound to the overdriven breaks, and the rest of the sounds.

Bomb's demoscene origins come through in an overload of often odd vocal and other samples.

In its "pure punch", this album is already one step up from the earliest DHR releases; and there are even Speedcore / Gabber elements amongst the building blocks of the tracks.

https://www.discogs.com/master/44971-Alec-Empire-The-Destroyer

Alec Empire – The Destroyer (DHR CD 16)

Re-release with a slightly different track selection.

https://www.discogs.com/master/339472-Various-Youve-Got-The-Fucking-Power

Various – You've Got The Fucking Power (DHR CD 17 / DHR LP 17)

Compilation with a choice of tracks from earlier DHR releases.

https://www.discogs.com/master/45281-Cobra-Killer-Cobra-Killer

Cobra Killer – Cobra Killer (DHR CD 18 / DHR LP 18)

I feel DHR is at its most nihilist here.

The tracks seem as if someone just sampled some old funk and soul records, put digital hardcore beats and breaks to them, while gina and annika add lofi-recorded vocals.

Don't get me wrong. I think this approach is brilliant. Because it feels sincere; transmitting a motion of "we don't care, the world's doomed either way".

And this was not some obscure contemporary internet project.

It was released when the popularity and media eye's attention of DHR was at its highest.

And then putting out such an album, sticking one's middle finger to the world, takes a lot of spunk.

Favorite picks include Wound Water, Helicopter 666, and Cobra Z

https://www.discogs.com/master/45298-Fever-Too-Bad-But-True

Fever – Too Bad But True (DHR CD 19 / DHR LP 19)

Back in the day, this was more or less branded as "DHR's rap album", and this sort of rings true.

Slowed dub / break-best, the occasional distortion and screaming overdrive, and lyricism that lands somewhere between future horror rap and past nerd-hop.

One of the most peculiar DHR releases.

https://www.discogs.com/master/7998-Atari-Teenage-Riot-60-Second-Wipe-Out

Atari Teenage Riot – 60 Second Wipe Out (DHR CD 20 / DHR LP 20)

I felt a bit disappointed when listening to this release in its time. I was expecting something like "The Future of War" again, and feared that ATR had "gone soft" and "sold out". This motion was seconded by a lot of people.

But, looking back, I think we were wrong. After all, each ATR album has its own, unique approach. The first one had visible influences of UK Breakbeat, the second one has a huge slice of Gabber, and I'd say 60 Second Wipe Out is their punk / snot-rock album.

And, even without bass heavy hardcore 909s, it's essentially more gritty, dirty, and angry in its sound design than the predecessor.

Plus there are some interesting experiments, such as "US fade out", a downtempo number with horror choirs singing in the background... well, check it yourself.

And, towards the end of the album, there are the bone-bashing "Future Of War" styled tracks after all!

https://www.discogs.com/master/41692-Atari-Teenage-Riot-Live-In-Philadelphia-Dec-1997

ATR – Live In Philadelphia - Dec. 1997 (DHR CD 21 / DHR LP 21)

ATR's albums always were brutal. But their live-shows were B.R.U.T.A.L.

And this albums shows a tiny percentage of this lurid lunacy.

Probably not something to put on when you intend to go to sleep.

Because this is your wake up call!

https://www.discogs.com/release/320339-Hanin-Elias-In-Flames-1995-1999

Hanin Elias – In Flames (1995-1999) (DHR CD 22 / DHR LP 22)

Same as DHR 30, but with 3 tracks less.

https://www.discogs.com/master/53678-Lolita-Storm-Girls-Fucking-Shit-Up

Lolita Storm – Girls Fucking Shit Up (DHR CD 23 / DHR LP 23)

The "curse" of Digital Hardcore Recordings (no, not that of the golden vampire) seems to be that a lot of what that they did was simply 20-30 years ahead of its time. And because of that, few people really understood it in the then present day; and it got somewhat lost in the obscured pits of history; instead of getting the fame and recognition it deserved.

This release is a prime example of this. The mixture of digital hardcore + indie rock / lofi, riot grrl-esque vocalization, with feminist empowered lyrics that draw heavily on sleaze porn and trash sexuality, feels oh-so-contemporary and surely would have won over everyone hearts (and other other body parts) if released in the present days.

But it did not happen; the rest is history; but we can still listen to this record at least.

https://www.discogs.com/master/7998-Atari-Teenage-Riot-60-Second-Wipe-Out

Atari Teenage Riot – 60 Second Wipe Out (DHR CD 25)

Re-release of DHR 20 with extra content.

https://www.discogs.com/release/7577-Patric-Catani-Attitude-PC8

Patric Catani – Attitude PC8 (DHR CD 26)

also released as Patric Catani - Hitler 2000 (DHR LP 24)

The culmination of Catani's Breakcore activism, in my opinion. The breakbeats hit harder than ever. There is crispy and terrifying noize all around. As well as experiments with some odd / unusual sounds for the genre.

If you liked Catani's earlier Breakcore output, you'll surely love this one.

https://www.discogs.com/master/13351-Ec8or-The-One-And-Only-High-And-Low

Ec8or – The One And Only High And Low (DHR CD 27 / DHR LP 27)

Gina was from the 60s scene, mods, Lemonbabies and stuff, right?

So I'd say this is Ec8or's "rock" album. At least it feels more like a deranged and roughen-ed sonic youth, mudhoney, the fall sighting... than any of digital hardcore's gabber and techno origins. With its focus on true vocalization (as opposed to short sequences or samples), loud guitars and rolling drum beats.

The production is electronic through and through, though. Lots of digital fuzz, 8-bit crunch, modern equalizer driven distortion... a killer mixture if you ask me.

Kind of an odd bastard baby of 60s psych / garage rock and digital breakcore that is definitely able to stand on its own two feet.

Sparklin' noize overdose for the sophisticated surf greaser.

https://atariteenageriot.bandcamp.com/album/live-at-brixton-academy-1999-remastered

Atari Teenage Riot – Live At Brixton Academy 1999 (DHR CD 28 / DHR LP 28)

Only DHR would do something like this.

At the high of their commercial prospects, with the "Prodigy / Limp Bizkit" generation having gained interest in them, expecting some kind of industrial nu metal breakbeat shit, they drop this one; a sheer and harsh noize album (or track) from start to finish.

Bold move!

Apparently, the entry of Nic Endo had pushed ATR into the brick-wall-of-noise direction; and they're letting her having her way on this album, and rightfully so.

So, all ya noize aficionados: here is your treat!

https://alecempire.bandcamp.com/album/intelligence-sacrifice-original-digital-hardcore-masters

Alec Empire – Intelligence And Sacrifice (DHR CD 29)

Each Alec Empire produced album is unique and feels like a closed story of its own.

While this release picks up on the early DHR formula with sped up gabber drums, guitar noize and violent shouts, it turns it into something quite different. There is more a metal, rock, industrial feel to it, especially in its production intricacies. And believe me, these sounds are destined to be played on a huge sound system, maybe a rock arena or festival...

The lyrics are more aggressive and on point than ever... the path of destruction to the new world order.

Intermingled with this are tracks with a slower, deep and haunting punch, including my favorite, "The Ride".

And then there is CD2 - the "Intelligence" part, I presume.

This is a return to and step onwards from alec's experimental electronic path.

A bit like the mille plateaux or rauschen releases - but also distinct from it.

https://www.discogs.com/release/320339-Hanin-Elias-In-Flames-1995-1999

Hanin Elias – In Flames (1995-1999) (DHR CD 30)

Digital Hardcore Recordings was set up to start a revolution, to bring about radical societal change.

This is what happened on the obvious, "intellectual" level, if you want.

But I always felt there is also something different attached to it, a common thread that runs through most releases, that might exist more on an emotional or intuitive level.

A certain feeling of hope, of longing; the heartbreaking epiphany that there is no true happiness or purpose of life possible within existing society; and the burning desire to break beyond these cultural and social bonds; to experience something true and real, an adventure and thrill, and there is even more, like a whole vector of undisclosed and limitless emotions, euphoria, experience...

And it is just within reach and we would only need to reach out our hand to grab it and keep it forever... but then it all disappeared again. Was it a dream? Why did it pass? And can we... go back, and have another try at it?

To me, this did not only exist in the releases of DHR, but also in the 90s as a whole, and other media... the movies, the music, the "confused rebellion" of grunge and alternative rock... the cosmic ecstasy of the rave movement... the early cyberpunk and cyberspace craze of the internet... like an unkept promise of a new world, of unbound satisfaction... a promise that was not kept... or did we forfeit it?

And I think this album by Hanin Elias is one the releases where this feeling can be felt most prominent.

Unlike other DHR releases, there is much more focus on ambiance, on beatless tracks, on introverted passages... of strange, peculiar, enigmatic sounds... spoken words on a background of drones and strings and noises... like an intergalactic lament, inexplicably received on your headphones at 3 am in the morning while the sky is still blackened outside...

this makes it one of the highlights of the DHR catalogue for me.

but make no mistake. despite this cornucopia of subliminal beauty, it's also one of the most aggressive, bold, blood-thirsty... who is screaming wilder and louder, the drums, the distortion, or hanin?

a real gem within the already precious catalogue of DHR.

https://www.discogs.com/release/157700-Various-DIY-Fest

Various – DIY-Fest (DHR CD 31)

According to the wikipedia, DiY-fest was a "festival of ultra-independent movies, books, zines, music, poetry, and performance art that ran from 1999 until 2002.

The workshops were attended by a diverse, cross-subcultural audience largely from the independent film, digital hardcore, underground hip hop, hardcore punk, alternative media, and culture jamming scenes."

This compilation collects songs and soundbites in a lot of genres, often outside the label's normal range.

Especially check Nic Endo's remix of The Dillinger Escape Plan, which is one of the most diabolical Digital Hardcore tracks ever.

(I wonder if Dillinger himself secretly attended this show?)

https://www.discogs.com/release/109887-Various-Dont-Fk-With-Us

Various – Don't F**k With Us (DHR CD 33)

This compilation actually came from the internet. Alec launched a submission call to various (US-american) online communities, and they sent in tracks a-plenty.

Because of this, this comp is a good representation of the US Breakcore and underground scene at that date.

Even includes some artists that did further mischief for years to come, and some veritable stars-to-be!

https://atariteenageriot.bandcamp.com/album/redefine-the-enemy-original-digital-hardcore-masters

Atari Teenage Riot – Redefine The Enemy! (DHR CD 34)

Interesting concept, as it is essentially a collection of different mixes, rare tracks, and oddities, but somehow still feels like a coherent album.

For fans of the original Digital Hardcore style, this could even be a kind of crypto third album (after "1995" and "Future Of War"). Maybe the best album ATR never did!

Standout tracks are:

No Remorse - ATR live and together with Slayer at their most brutish

Sick To Death (Remix 97) - somehow manages to one up the spunk of the already lethal original

Waves of Disaster (Instrumental 97) - like a "trip hop meets hardcore techno" recording

Destroy 2000 Years of Culture (Remix 97) - unlike the "death rap" of the original, a much more gabba-terror adjacent affair

Sex (Original 12" version) - and unlike the original, much less of a "digital hardcore" track, but chilling acid-electro-techno

https://www.discogs.com/master/41647-Atari-Teenage-Riot-Burn-Berlin-Burn

Atari Teenage Riot – Burn, Berlin, Burn! (DHR CD 38)

"Re-release" album with tracks from both 1995 and future of war.

https://www.discogs.com/master/1725816-Panic-DHH-Panic-Drives-Human-Herds

Panic DHH – Panic Drives Human Herds (DHR CD 39)

A project by the touring bass guitar player of Alec Empire's band. While most of the later DHR releases have the ring of nihilism and disintegration to them, this feels like its containing building blocks for something new. This man obviously had a huge vision and a plan.

Think all the imagined and real epicness, grandeur, (anti)-glam of early-to-late 90s industrial rock and alternative metal... but darker, wilder, more gripping... mixed with the digital hardcore sound.

If the label had kept going...if the band had kept going... I could see them headlining rock arenas, TV, the world...

But alas, it did not happen...

Another lost signal of a future that did not come.

But you, the listener, can at least delight in this album!

https://alecempire.bandcamp.com/album/futurist-original-digital-hardcore-masters

Alec Empire - Futurist (DHR CD 40)

I have the theory that this is kind of like the "reversal" of the Digital Hardcore concept.

While Digital Hardcore was about the invasion of rock, punk, metal guitars and vocalization into the spiffy clean world of early techno and 90s electronics, this on the other hand is a true punk-rock album made with electronic means.

While the snot and sweaty funk of hardcore rock is ubiquitous on this album, the traces of its electronic origins are quite "visible" (or audible), too.

To the skilled ear, it's clear the drum rolls are pre-recorded, the "songs" are put together on high tech equipment, etc etc.

It sounds definitely different than some 50 dollar band which records their album on a blown-out mixer in some downtown studio run by an old, fried-out hippie remnant.

This ain't bad at all, to the contrary; it already mimics the sound of many world famous bands who did the same, but 10-20 years later.

So in a sense, this album was indeed a premonition of "the rock to come", and the name Futurist was aptly chosen.

Stand-out tracks:

Vertigo

Overdose

Make Em Bleed

XXV3

https://www.discogs.com/release/342042-Motormark-Chrome-Tape

Motormark – Chrome Tape (DHR CD 41)

I guess this is the "odd one out" in the DHR catalogue; feels a lot more like indie rock / pop than their teeth-breaking regular sound.

It's definitely a "hardcore" version of indie rock, though. And a lot of tracks are wonderfully lo-fi, maybe already foreshadowing the sound of (much) later bands like dum dum girls or girl one and the grease guns.

https://www.discogs.com/master/41759-Atari-Teenage-Riot-1992-2000

Atari Teenage Riot – 1992-2000 (DHR CD 42)

Compilation with tracks from the history of ATR.

https://www.discogs.com/master/342728-Atari-Teenage-Riot-Is-This-Hyperreal

Atari Teenage Riot – Is This Hyperreal? (DHR CD 43)

I think this is the biggest "jump between genres" from a preceding album by ATR.

The first albums were brutal industrial punk hardcore noize; and this has a visible "electro-pop" influence in a lot of the tracks. But it wouldn't be ATR if it did not come with a twist and still be vicious; the electro-beats are hard as nails, the lyrics aren't "pop" at all but agitatory and defy authority. There's room for plenty of experiments, especially amongst the later tracks.

And some tracks are "really hardcore", too!

https://atariteenageriot.bandcamp.com/album/riot-in-japan

Atari Teenage Riot – Riot In Japan 2011 (DHR CD 44)

As the name implies; a collection of live cuts from Atari Teenage Riot, touring in 2011.

Features mainly songs from that era, with added tracks from earlier releases.

Powerful and merciless!

https://atariteenageriot.bandcamp.com/album/reset

Atari Teenage Riot – Reset (DHR CD 45)

Each ATR album had its own spin, and this one almost feels like a collage of all the preceding ones. You got the euphoria of the first release, the metal fueled madness of The Future of War, the punk-spunk of "60 second...", and the 'electro-pop' of Hyperreal.

All thrown together, mixed, crossed over, cross-pollinated.

In my opinion, after Hyperreal, this is ATR's "return to brutality"; and a very worthy 'final' album.