Two years ago we ventured into the forbidden doomed forest of Hamburg...
and did we return? well, maybe not really...
so it's even more significant to return. this is the video footage that the forest spat out again... and this time it's quite different to our first two (halves of) movies...
it's no longer one long, big, circular walk... we ascend and descend stairs... we branch off... we explore clearings... or planes..? fewer large trees cloud our vision... and we can see the blue sky and its clouds more often... but does that make the descent... down to the ground, to earth, even more bitter? or better? there is little time to rest... a bench makes an appearance... but the emergence of a bicycle reminds us to move on.
there is really no motion or direction perceptible at times... or at least it becomes obscured, again and again... or do we eventually regain lucidity? maybe in small steps.
also the soundtrack to this movie project has changed. not just doomcore and slowcore techno stompers this time, no no. while there is no straight motion in the visuals (or in the physical steps), there is a clear progression in sounds, and circular once more. we start at dark drones and brooding ambient, industrial and techno beats come in, things get more noisy, more restless, fiery... until we return to silence... for now!
hope you enjoy this little movie project of ours.
let us recap the key concept of these movies again:
it's not just a surreal and abstract visual movie, but the soundtrack is intertwined with the graphic aspects. both fuse into a melange, a mixture. something new and interconnected!
In our mission to research the history of electronic underground culture - especially centered on techno, rave, hardcore... we set ourselves a new objective:
To shine a light on the context of its popular, re-occurring, "meme" like vocal samples.
Why did these occur in the first place?
Music that existed around the 1st heyday of Techno - late 80s, early 90s - was not as sample heavy, most of the time. Like glam metal, pop-rock, the first boybands...
Vitamin - My House is your House
Well, the reason is that most of the productions were made by low-budget, low-brow (and sometimes low-life) producers.
The other "dance" epigons of those times were able to hire professional singers, or whole orchestras to layer over their dance grooves (hello S.A.W.!)
Just sampling something else was a much cheaper method.
There were other, more high-brow reasons, too:
Techno dismantled the way music was supposed to be, to sound, to be produced.
No more real guitars and "real" percussion. To exchange the human voices made of flesh that dominated recent decades - from the Beatles to Madonna - with the digital croaking of the sampler, made perfect sense.
And sampling was a new tech, could be used in ways that are out there, psychedelic, zany. The right soundtrack for the jilted generation.
Let's stop right here. And get to our first exhibit.
"We wanna be free"
One of the earliest samples in one of the earliest "rave" hits. Later it has literally been used in 1000s of other tracks.
I assume only a minority of the sweat and smoke-drenched ravers were aware of the actual origin of the samples.
It's from a 1960s movie called "the wild angels".
So let's talk about it:
The Wild Angels (1966) - On Hippieploitation, Peter Fonda, and an iconic movie of 90s Rave Culture (that most Ravers never actually watched)
The movie stars a still very young peter fonda - a few years before his role in "easy rider". Other actors to note are Nancy Sinatra and Bruce Dern.
The movie is on the fringes of the "hippieploitation" movie fad of the 60s and 70s.
These movies were often marketed as exposing the horrors, s*x, and violence (and music) of the 60s counterculture to the boomers and squares of the precedent generation.
Of course, these horrors to the most part only existed in the imagination of the boomers.
They often ended up attracting the very counterculture generation they warned about. The hippie youth was interested to see some wild exploits of bikers, hippies (i.e. themselves), revolutionaries and drop-outs too, of course.
And I guess most directors and studios knew this.
And, despite this pulp / schlock framing, some, or rather, most of the hippieploitation movies are quite well-made, deep, and sincere work of arts. They just had a smaller budget than the "big hollywood" productions.
#1 Primal Scream - Loaded (Official Video)
Peter Fonda seems to have been a central star of this movie-wave; apart from the wild angels he also starred in other movies with a similar concept, like "The Trip", or the abovementioned easy rider.
I said this one is borderline hippieploitation, as the topic is not directly hippies, but real rough outlaw bikers.
The outlaw biker culture is somewhat lumped into the 60s "counterculture" media perception lens. Bikers play prominent roles in other iconic counterculture flicks as well, like fritz the cat or - "Easy Rider" again.
The bikers serve as a channel for a lot of "hippie" vibes in this media creation. Like the concept of "free love", living outside society, job or work culture. And there is quite a lot of talk by Fonda and his friends about sticking it to "the man" and otherwise dodging and fighting boomer-based authority figures.
It's not totally lovey-dovey all the time. They are a brutal and violent gang despite this. And the plot contains a "redemption" arc for the Fonda character, leaving the nihilism and mindless violence behind.
Hardsequencer - We Wanna Be Free
Before this happens, the movie actually ends on a real downer, with a scene that even I, as a life-long horror and "outrageous" movie consumer, find very hard to stomach or to watch.
I guess the hippieploitation / exploitation concept shines through here. The idea to "shock" the audience.
I won't say too much on it, but the sequence involves trespassing, booze, an *rgy, a priest, swastikas, and a coffin.
This "final segment" (that slams the lid on the coffin, so to say) is preceded by a speech of the Fonda character, that became a countercultural symbol in itself.
The priest asks the unruly bikers "But, tell me, just what is it that you want to do?".
To which our young Fonda replies:
"We don't want nobody telling us what to do. We don't want nobody pushing us around.
We wanna be free! We wanna be free to do what we wanna do. We wanna be free to ride! We wanna be free to ride our machines without being hassled by The Man. And we wanna get loaded. And we wanna have a good time. And that's what we're gonna do. We are gonna have a good time. We are gonna have a party."
Defcon 2 - To Be Free
And I guess this is good evidence that the movie really is not "just" about a criminal gang on motorcycles.
Like I said, they serve as a vessel for countercultural values, within the narrative and metaphor of the movie.
And the following generations seconded that motion.
The speech became iconic and was used, re-purposed in a myriad of media, which is impossible to count or keep track of.
Most importantly it found its home in the techno, rave, acid house, hardcore and gabba scenes of the mid-80s to mid-90s.
An early example is the Primal Scream track "Loaded" (the title should give a hint, right?"
But it kept being re-used, re-purposed.
Tempest 2000: Future Tense
I suppose one could trace a kind of countercultural continuum there.
The values of the early hardcore ravers and acid house punters were not that far away from those of the 60s (free love, free substances... having a party).
So they felt "understood" by this 60s movie, even though it belonged to the earlier generations.
But plotting such a continuum would bust the scope and scale of this feature.
Maybe at another time, in another place, in another world.
Imagine this scene: a posh, upper-class club. The setting is Berlin in the 1920s. Luxury and wealth is all around in this place. Aristocrats dine here, wealthy business, maybe important politicians... and this was in the days when being part of the upper echelon was equal with traditional, perfect behavior, spotless clothes and culture... Now, a man walks into this club, and stops in the middle of it. A waiter, equally spotless and cultivated, walks up to him, in order to seat this gentleman. But our man utters just one word: "Pineapple". The waiter, without waiting even a few seconds, and while keeping a straight face, responds: "Cocaine or gambling?".
This scene, as any cinematic aficionado probably knows, is from the movie "Doctor Mabuse" by Fritz Lang (based on the eponymous book, or rather series of books). It's a vivid clash between the clean, upper-class world of the depicted restaurant, and the trip to the seedy underworld, that lurks below, and that we are going to see in the next few scenes. But, no, no, we were mistaken! There is no clash at all. The seeds of decay and disease, gambling, drugs, sensuality and crime do not lie "below" this world of luxury and sophisticated behavior. It's one and the same, it's the same coin, as it always has been, throughout all history. Morality and vice are always friends in bed, political power nurture the forces of rebellion that will eventually overturn it, and "property [and wealth, editor's note] is theft" indeed, just like dear old Proudhon stated.
But let's get back to our man, or to the man behind this whole scene, setting, and movie. Fritz Lang was a master of showing us fictional and not-so fictional worlds, where this clash, this rhizome, this labyrinth is unraveled before our very eyes. The rift between morality and evil, wealth and poverty, law and crime, high and low; and how maybe, just maybe, there is no such rift at all, and these things are very very close to each other...
So in Metropolis we not only have the rich and powerful that live in their own heaven "on top" of the city, there also is an elevator (and later, a "middle man") that connects this to the hadal and Moloch-like underworld of impoverished and underpowered workers...
While in "M", we see lengthy, haunting, but also respectful and beautiful scenes, of how it's the Berlin underground - criminals, mobsters, do-no-goods, beggars, cripples, the homeless - that team up, organize themselves, in order to hunt down a real devil of a man, apprehend him, and then have their very own trial about this case - when the forces of order, the lawmen, the cops, the good citizens, completely failed at this task so far.
Let's stop at Fritz' list of movies now.
He was a director, an artist, a person, that had an eye for the "underworld" which lies below everyday life and society. He depicted it more frequently than most of his peers, and he did so in all its gloom and glory. He never painted one side or the other as entirely evil - but as connected. The world was neither black or white for him, nor a shade of grey, but more as a chaotic pattern on a chess board.
We adore all of this, and hence we are giving him our honorary doom award.
The "found footage" horror movie "Walking in the Doomed Forest of Hamburg" was released a while ago. It's centered about dark / hard Techno music, by the way.
This time I want to talk a bit about my inspiration, and the mindverse behind the movie production. The first, scarce origins to the movie date back to the 90s and early Millennium years. We were some kind of techno-art-punk anarchists in Hamburg... well, we looked and dressed more like nerds, actually. But we meant it! The idea was to create some sort of counter-media against the mainstream, and the more the merrier. Songs, parties, radio shows (on a real radio, with frequencies passing through the earth!), CDs, vinyl records, artworks.
All of that - was not easy. Resources were limited, money was limited, tech was limited. But we got along well and thrived. The world of movies / moving pictures / music clips seemed like a gate we could not walk through, though! Even the DIY aspect of it. Shooting a real "music video" or "short movie" felt like it would involve humanpower and resources that we just did not have, or could not afford.
Eventually, we arrived at the idea: why not cut it down to the basics. Why not just do a clip, music, video thing, whatever, which is just us walking around, cycling on a bike, or standing somewhere... Seemed easy enough! We never got round to doing it, though.
2.
Fast forward, around ~10 years later. I felt drawn to this area around the above-mentioned "doomed forest". I spent hours and hours walking there, riding my bike to it, taking the bus, car, whatever. Swimming in its lake. Watching the stars on countless nights. Watching meteors, transit of planets, blue moons, super moons, blood red moons... you name it. I always thought: I should make a recording of this. Record these "roads" (well, pathways in the dirt, more or less), these trees, the stars.... no, I *should* not do it - I *must* do it.
But I never got round doing it.
3. Let's do the timewarp again. ~10 year later once more.
It's yellow. No, not the moon. Well, that's sometimes yellow, too. Also not the color. It's music. The title of a song. The first big hit by Coldplay. One of my favorites by them. And they did what we, what I wanted to do, around the same time that we wanted to do it. Shot a video that - more or less - merely shows them walking (and, more precisely: only the singer is visible). On a beach. Under the stars. During the night - no, during dawn.
I never seen the video, though. Even though I adored the song. But one day I decided to look it up on Youtube. And it's almost as good as the song! Emotionally moving. As I was stunned by it, I looked it up on wikipedia, to read more about it. I learned that they did *not* shoot it at nighttime. The whole dark-to-blue light sequence was an effect they added later.
In this moment, I felt like a mirror burst into pieces somewhere with a loud clang (in my imagination!). I thought: "This is possible? To change a simple recording in a fairly simple way, to create a version of reality that did not exist before?". Because this "simple" effect felt more convincing than most CGI in trillion dollar hollywood movies. I really believed Chris Martin had walked this beach at night.
...And then...
So these were three of the main inspirations. Or ingredients. I wanted to do a movie that simply showed something walking, or moving around. I wanted to put a spotlight on this very area in and around the forest that I loved. And I wanted to do effects and post-production that were not super-expensive or super-fancy, but that would (hopefully!) enable me to create glimpses into parallel reality versions of the footage used for the final movie.
Doomcore Techno Resistance - a plentitude of new projects
It's no secret at all that we, over here at The Hardcore Overdogs, love the Doomcore Techno genre.
And we desire to push this sound further ahead - beyond borders, beyond barriers, beyond limitations.
So here is a list of new Doomcore projects that are closely or farther away related to us. And that try to pull the lever up to 11 in one way or another.
Haunted Rave Music - The Doomcore Techno guidebook
Here it is. The first e-book solely dedicated to our beloved. Has all the facts and details - about the obscure origins of the genre, its artists and label, its bleak-but-euphoric mindset... and plenty of other stuff.
A collaboration between HCBX and The Hardcore Overdogs
- with a lot of additional help by GabberGirl and Nikaj
Hardcore ain't just a type of music, it's a scene, a culture, a movement. With little quirks and shared behavior; hardcore minds often think alike. Part of this "cultural heritage" is a like for certain movies; not just for the fans, but also visibly amongst producers - as they often sampled these.
My take on this is that some movies just *are* hardcore. Violent, vulgar, vicious, but a smiley face, too.
And just as these movies breached barriers of how much fury and nihilism is acceptable on the screen, so did hardcore music do on the audio level.
Of course you ain't a square if you are a gabber who doesn't like horror or scifi flicks - these are mere suggestions!
But no more words - dim the lights, close the blinds, pop open a can of coke - it's time for a movie night!
Movie Compendium for Hardcore Heads (and a few examples of tracks that sampled them)
Transcript of the video:
Pulp Fiction -Neophyte - Execute -DJ Skinhead - DJ Skinhead (Mutha Fucka Remix) -Diplomat - The Screamer -DJ Freak - What's Your Thoughts
Lawnmower Man -Neophyte - In Your Head -Strychnine - Utopia -Mescalinum United - Light Bringer
Full Metal Jacket -E-De-Cologne - They'll Never Get Me -Nasenbluten - Cocksucker -DOA - Unleash The Brutality -Traffik - Bloodbath
True Romance -Infarct - The Anti-Christ -Delta 9 - The Hate Tank
Natural Born Killers -Ec8or - Pick The Best One -DOA - Total Annihilation -DJ Freak and The Porridge Gun - Natural Born Killa
Goodfellas -Gangsta Trax - Goodfellas -Hyperact - My Best Friend (Dirty Mix) -DOA - Brooklyn Mob -Human Terror - Gankzta Gabba
Hellraiser -Leviathan - We'll Tear Your Soul Apart -High Energy - The Box
Exorcist 3 -Delta 9 - Gemini -Delta 9 - No More Regrets
Taxi Driver -DOA - Wanna Be A Gangster -Syndicate - Badman
Let us know if we've missed any important entry in this list or tell us your own favorite movie in the comments below
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!
The HCBX channel started a new series of video features. The idea is to showcase iconic hardcore tracks with movie samples - side by side to the movie scenes these samples were taken from. This is all highly interesting, and hence we'd like to forward these videos to you.
There is hardly a Techno sub-genre that relies so heavily on sampling as Hardcore and Gabber; and that has such a thirst for referencing Horror, SciFi, and other media that resides on the surreal. When bringing this up, most people would probably readily point to Hellraiser, Taxi Driver, Full Metal Jacket... the well-known Gabba feeders of the past. But, for this feature, we want to look at some more obscure movie sample sources and list some real cult ones.
1. Wild at Heart
some riffs from the rock club scene early in the movie have been used in hardcore productions, but as they were also on the soundtrack, this might not count. the movie has been sampled directly in tracks too, though.
Roger Avary wrote and created Pulp Fiction together with Quentin Tarantino, but for some reason, Tarantino ended up getting all the fame for it while Avary did not. Either way, I actually prefer this 100% Roger Avary creation to the aforementioned "pulp" movie.
And FFM Shadow Orchestra apparently liked this movie so much that they dedicated a whole EP to it! "Tomorrow will be the greatest day of our lives", indeed.
One of the most peculiar 80s movies with Tom Cruise as... (well, what is he? A luvable rogue forest dweller? A humanized dark elf? I never quite got it), a black dress that dances on its own, Tim Curry as the Red Devil; in what looks like a Disney styled puppet-fantasy movie but is definitely too gruesome and dark for kids. Maybe because of this, it inspired many Hardcore producers, who seemed to be especially fond of the "darkness" speech.
It had Stephen King, it had a lot of the Hollywood hot shots of the 90s, all pre-teen pre-internet "hackers" and "cyberpunks" loved the script, yet it seems this movie has faded into kind of obscurity? at least it's far lesser known that other king makers such as Pet Semetary or It... and undeservingly so! When the pre-teen cyberpunks evolved into teenage gabber producers, they paid tribute to it in plenty of their tracks.
Not as well known as Wes Craven's other big franchise (hint: it's nightmare on elm street). features a scientist who goes to Haiti on the search for a powerful drug that "zombifies" people (could be useful as a narcotic during surgery, right?), only to run into trouble with the world of voodoo and the (at that time) fascist government of Haiti. apart from having a great soundtrack on its own (by "Terminator" Brad Fiedel), it has also been sampled to accompany the sounds of other people.
7. Brainstorm
A group of highly intelligent scientists, including Christopher Walken, discover a way to record a person's brain and playback the experience to other people. and what's the idea they come up with next? to record the experience of an orgasm, and then the experience of *death*! and when the government steps in, it all becomes much, much worse... But not for the artists who sampled this underrated flick!
Not as well known as the other big franchisee by Clive Barker (hint: it's Hellraiser). but great nonetheless. and the dark, blood thirsty and terrifying creatures of the night are the good guys this time, while the humans are rightwing-militia types, or insane psychotherapists (well, more or less). quite the material for a good hardcore track!
Clive Barker again. But come on, this movie is so under-rated, when it's so great at the same time! Clive once said he tried to "reverse" the trope by letting the villain come across as frail and weakened... well, still seems pretty evil to me!
i'd say the strangest thing about "strange days" is that it did not become one of the top-selling, top-loved scifi movies of the 90s. it has everything, great plot, stars, big production. i guess the topics of societal decay, government control, racist policemen, and dangerous technology hit "too close to home" for people in 1995... a shame, really. But a good source for sonic inspiration!
God knows there is not many documentation about the early Hardcore / Techno scene out there; neither visual nor otherwise. Authentic material, that is not overly hyped, sensationalized, or simply bullshit, is most rare. But we are very happy that there is a movie called "Oldschool Renegades"; a doc about this very special era of music, made by one of the people that helped to shape it: Maurice Steenbergen aka Rotterdam Termination Source (I'm sure you do remember his track "Poing"!).
As the tagline reads:
"It is the story of the techno-culture rebels responsible for the world domination of house music and rave culture in the 1990s."
Here is a little text snippet and excerpt taken out of it, mentioning the 'very first Hardcore track', "We Have Arrived" by Mescalinum United. (Which is also the topic of our feature:
LENNY DEE Marc Acardipane, the guys and I were hangin’. He said: ’listen, do you want to come and hear my music?’’. I was like: ‘yeah, totally, if you could do two or more of those tracks, I’d love to do it’. I said: ‘I’m starting this label, and I think I’m gonna call it ‘Industrial Strength’, and I want to feature this. This is what I’ve been looking for. I’ve been playing records faster and mashing things together. Making this sound, but without these records.’’
LENNY DEE ‘Mayday 2’, I’m standing there and I’m in an amazement with what i’m seeing. I looked at Marc, he looked at me, looked at Mike, and I said: ‘here we go’.
LENNY DEE If you were in that room when that record came on, I did not see one hand down, not one. I don’t think anyone did not scream when that record came on. The amount of energy that it created for the four and a half minutes that I played it, I don’t think I’ve ever experienced that. It was like adrenaline beyond. Renaat (Vandepapeliere) comes to me, he goes: ‘I knew you were gonna do that, I just had no idea it was gonna be like that.’’ He goes: ‘What the hell was that? It’s f*cking Hardcore’.‘I think it is Hardcore, huh?’ If anything is gonna be named that, or whatever we were talking about that brief thing, it was Hardcore. Thanks Renaat, you really coined it there too. You’re a genius.
PAUL ELSTAK He hadn’t even heard it himself. Marc (Acardipane) came to Holland to buy stacks of this particular record. He loved that track, and he had a record store in Frankfurt. He hadn’t even heard that it was his own record that I sampled. You can’t really compare the two, they were quite different. ‘Mescalinum United’ was not really a Gabber track. It didn’t have the same type of kicks. It was a different production, it was more of a hard Techno track. But it was quite hard. When I just started ‘Rotterdam Records’, the style was not yet defined. I just releases what I liked. I also released tracks by ‘Meng Syndicate’ (Jeroen Verheij), and then I got to you guys. You were number four weren’t you?
It’s a nice story to tell, it started with Lars (Tindal). He worked with me in the record store called ‘Mid-town’. ‘Mid-town’ has been very important in my career, in terms of meeting people, know-how, knowing what the crowd likes. I could see which records sold well. “Lars” played me a tape from a guy hew knew, that was you. It was pretty much an instrumental track with a bouncing sound at the end. So I said: ’this is nice, tell the guys to use the bouncing sound more’, right?
DANNY SCHOLTE ‘Poing’ came to mind when House music started to sound harder. And because music became harder, people started to jump instead of dance. That’s when I thought: ‘what if we made a record with the sound of a bouncing ball?’
PAUL ELSTAK That became a massive hit, it was insane. I believe it sold more than 100.000 singles. The media were all over it, and because of ‘Poing’, Gabber became internationally known. It grew really big."
A new EP by Miro has been released. ( https://mi-ro.bandcamp.com/album/e-tensity ) We are very happy about this and, in honor of that release, we're doing this little special.
There are many things that are outstanding about Miro's productions in the Hardcore field - the vicious drums, the speed & terror of some of his tracks, even his twisted vocals - and one thing we find especially remarkable are his melody workings.
Because, let's face it, he blows almost all of the competition out of the water when it comes to melodies. Most Hardcore is devoid of melody and harmony anyway; and yes, there are some artists that are good at creating moody atmospheres and synths. While that stuff can be grand in its own way, to me, it often feels like sci-fi / horror ambience. That's something to adore, too.
But Miro creates actual melodies, tunes, epic things that could sit right next to the most legendary songs in music history. Take the melody out of the track, add a band and vocalist and different instrumentation (and marketing), and these tunes could be radio hits or dark disco (the location, not the style!) cult classics around the world.
Evoking a spectrum of emotions and sentiments; bittersweet, melancholic, haunting, surreal, serene, ecstatic, adrenalized, ferocious. It's one of the things that makes his music unique. That makes it so special.
So, for this feature, we are looking at our ten favorite melodies in Miro's music production (and the tracks that accompany them).
In the neon-lit sprawl of the 80s, amidst the flickering screens and pulsating beats of the underground, there emerged a film that hacked into the collective consciousness with surgical precision. "Videodrome," a dark symphony of flesh and circuitry directed by the enigmatic David Cronenberg, didn't just make waves in the world of cinema; it rewired the very DNA of Hardcore Techno culture.
Somatic Responses - Cyclotron
One of the many tracks that sample the movie "Videodrome"
Set against a backdrop of urban decay and technological excess, "Videodrome" plunged audiences into a hallucinatory realm where reality and simulation intermeshed in a twisted dance of desire and decay. At its heart beat the story of Max Renn, a jaded media mogul seduced by the siren song of a pirate broadcast known as "Videodrome." As Renn delved deeper into the abyss of his own psyche, he became ensnared in a web of conspiracy and manipulation, where flesh and technology merged in a grotesque fusion of pleasure and pain.
Predator - Just Real-X
Another track using Videodrome samples.
But "Videodrome" was more than just a cinematic spectacle; it was a visceral assault on the senses, a primal scream against the commodification of the human experience in an increasingly digitized world. Cronenberg's masterful use of practical effects transformed the screen into a phantasmagoric landscape of mutation and mutilation, where bodies contorted and twisted in ways that defied the laws of nature and reason. This fusion of flesh and machine, of the organic and the synthetic, struck a chord with the denizens of the Hardcore Techno underground, who saw in its nightmarish imagery a reflection of their own obsession with the transgressive and the taboo.
Scaremonger: Soon We All Will Have Special Names
At the heart of "Videodrome" lay a potent critique of media manipulation and control, a theme that resonated deeply with the DIY ethos of Hardcore Techno culture. In a world where truth was a commodity and reality a construct, the film's indictment of censorship and propaganda served as a rallying cry for those who sought to subvert the mainstream narrative and carve out their own space in the digital wilderness.
Tempest 2000: Mind's Eye
Videodrome found its way into the world of Arcades, too.
And then there was the soundtrack, a pulsating symphony of electronic beats and synthetic textures that pulsed through the veins of the film like a virus. Composed by Howard Shore, the music of "Videodrome" was a cacophony of distorted synths and industrial rhythms, a sonic landscape that mirrored the film's descent into madness and mayhem. For many Hardcore Techno producers and aficionados, it was a revelation, a glimpse into a future where sound and image merged in a seamless fusion of art and technology.
Carribian Sunrise - From The Beginning
Videodrome is also popular in Goa.
Decades have passed since "Videodrome" first graced the silver screen, but its influence endures, a flickering beacon in the darkness of the digital age. In an era defined by surveillance capitalism and virtual reality, its message of resistance and rebellion is more relevant than ever. For in the shadows of the neon-lit cityscape, where the lines between flesh and machine blur and reality is but a fleeting illusion, Hardcore Techno continues to thrive, a defiant echo of a world gone mad.
Here is a review and opinion piece on this movie, written by Low Entropy.
Note: The review omits most of the plot and story in order to avoid spoilers, and at the same to not repeat something they already know to those who have seen it.
But still - if you don't want to get spoiled, don't read it.
"Hardcore Never Dies"
i read a lot of bad stuff about this movie - even before the actual release! it would not be a real "gabber" movie, it would be fake / sensationalist / whatever. it would be a "crime movie" that just happens to have gabbers in it.
well, now that i watched it, i find these remarks completely unfounded.
yes, of course it's not a "documentary" about gabbers. also it doesn't just show parties and record shops and whatever, but also other aspects of the life of the protagonists - the gabbers.
but seriously, how else would you do such a movie? for example: if you do a biopic about johnny cash, would you just show him playing at concerts and rehearsing, and completely block out the more problematic aspects of his life?
but let's get back to the movie.
the movie managed to do something that all the documentaries and other stuff i watched about gabber failed to do so far: it put across the *mindset*, the feeling, the emotion, the take on life, and the view of life, of the 90s hardcore techno scene.
that whole "yeah, we're intentionally fucking up our life, and yeah, there probably will be no happy ending for us, but we would have never been able to live a normal life, in normal society, anyway" attitude.
some critics said the movie paints a picture of all gabbers being junkies and criminals.
well yes. not all gabbers were. (i was not involved in drugs or being a criminal, and i knew a lot of people who were not involved, either).
but all of us were on a very dark road and indulging in pretty nihilistic behavior. we were actively walking towards our own end, because we thought we would never have a chance in life or society, and decided to spent the few year remaining years of our lives in fun and parties and escstasy and energetic music.
this is of course not a sentiment that was exclusive to "90s gabber".
punks screamed "no future" 20 years before us. almost all post-war youth cultures, starting with rock'n'roll, and going on with punk (as mentioned), heavy metal, goth, grunge, rap etc., were extremely bleak, pessimist and nihilistic. (maybe some hippies in the 60s were the exception to the rule).
for example, i remember reading an ex German new wave music star exclaiming: "oh we didn't really make much plans and strategies for future recordings, careers, gigs, and so on, because no one of our generation thought they would get older than 21 anyway".
or to quote some sources closer to - hardcore:
"I felt nothing, but I felt fine. I'm alive and I'm passing the time
Who needs to care? Who needs to work? I'm just a fucking fucked up jerk
[...]
What it all comes down to is this: It's just a bunch of piss. So go and fuck you!
And I'll go fuck myself. And I'll go help myself. And I'll do what I want
Whenever I want, however I want, wherever I want" [1]
or to quote the person who invented Hardcore Techno:
"I can’t possibly justify seeing a happy end to this stupid human drama. Darkness is not mystical, it’s your everyday reality." [2]
that's what we felt in the 90s. and that's what, in my opinion, the movie puts across. and it does it nicely.
it was just a generation that lived in pretty dark times with pretty dark lives that still managed to have fun and meaning and happiness - actually a lot of fun and happiness!
that's it and that's the bottom line here.
yeah maybe some stuff is cliched, maybe the drug deal plot is exaggerated or overly complex, and you don't hear much gabber music in the second half of the movie.
but i feel that the sentiment of 90s hardcore gets expressed well in this movie.
one of the only complaints is that the main protagonist is portrayed as having, and making, a choice: between a modest but boring and meaningless "bourgeois" type of life (even though he is working class) or the dangerous "hardcore rebel route".
because hardly any of us had that choice.
to quote another hardcore track:
"You have come here from all over the world because society has no further use for you".[3]
i can understand that, nowadays, some of the older hardcore heads who managed to survive in some way, and have real jobs now, and live a quite normal life, like to portray the scene different. "gabber was about having fun, and enjoying yourself, and having a good time with all your friends".
yes, correct. hardcore was about such things as well. that's very true. but don't deny the negative aspect of things.
to give a final quote, this time from a post-punk band, that would have fit well to the 90s gabber scene, too:
"Cause this is no playground for jet set boys. You'll be lucky if you get out alive." [4]
amen to that.
so, here ends my movie review. see for yourself, and judge for yourself. but let me tell you, there's a lot of truth in that movie. it shows some of the light *and* dark aspects of hardcore music.
now, to not let end this text on a completely bleak note, here is a little post scriptum that is not really part of the movie review:
of course you don't have to be self-destructive or negative or apocalyptic, whatever, if you listen to, and enjoy, hardcore.
it was the 90s. it was how kids felt back then. no judgement on them, or rather, on us.
it was probably the best we could do.
now, the 90s are far away, and we are "masters of our own destiny", I assume. [5]
and we can look at the world - and at us - in a more positive light. and actually be hopeful and constructive about things.
after all, there is no pre-programmed sentiment you need to have when listening to this music.
Note: this is the personal opinion of the author, and not necessarily a viewpoint that is endorsed by The Hardcore Overdogs.
So.
The movie "Hardcore Never Dies" is out now.
The first feedback is coming in.
And I find it interesting that a lot of people go the way of:
"It's not what you expect, it's a more like a crime movie that happens to have Gabbers as the characters. I would rather watch a 'real' Gabber movie."
While for me it's the opposite. If you want real Gabbers, go to the documentaries (there are plenty of them).
I think this movie here opens some very new and different possibilities instead.
Imagine that more movies from different genres would be made that feature Gabber characters!
A James Bond movie with a villain who likes Euromasters and D.O.A.
A romantic comedy where an upper class Julia Roberts-type character falls in love with a working class Gabber dude from Amsterdam.
A gang war movie where one of the rival groups is a Gabber gang.
A heist movie where the main guy unlocks the safe to the sound of "We have arrived" on his ear-pods.
The possibilities are endless.
Okay, you might say some of these seem over-the-top. But this is only because Gabber is such a shunned genre!
For example, the Raggacore (does this genre still exist?) and Breakcore crowd have their 'big' movies with Rastafarian villains, which they already idolized decades ago.
Movies in which punks play an important role are plenty as well (Driller Killer...).
In one of these well-known crime investigations shows on TV, the forensic specialist was a Goth girl (forgot the name...).
David Lynch always features various iterations of Rockabilly heroes / villains in his media.
Stranger Things had Heavy Metal (and post-punk) characters.
There are many narrative movies in which Skinheads play an important part (such as the really nasty ones in the really good movie called "Hanna").
Step into a world where the edges of sound and the realms of darkness converge. Here, we embark on an exploration of an intriguing connection—the profound impact of the "Hellraiser" franchise on hardcore techno's enigmatic scene and culture, seeking a deeper understanding of this genre's underbelly. As we peel back the layers, we uncover the mysterious influence that the Hellraiser series of movies, books, and more has wielded over the hardcore techno landscape.
Hellraiser's Dark Aesthetics
Within the hardcore techno scene, the visual aesthetics play a vital role in shaping its identity and captivating its audience. It is within this realm of dark and twisted imagery that we find a connection to the Hellraiser franchise. The visuals associated with Hellraiser have left an indelible mark on the scene, influencing everything from artwork to stage design and even fashion choices.
In the Hellraiser films, we are introduced to a world where pain and pleasure intertwine, where chains, hooks, and the infamous Cenobites become symbols of a forbidden realm. It is these very symbols that have made their way into the visual representation of the hardcore techno scene.
Zekt - Explorers
Artwork within the scene often draws inspiration from the macabre, embracing the darkness and pushing boundaries. Album covers and event posters feature eerie, occult imagery, with elements like hooks, chains, and sinister figures reminiscent of the Cenobites. The use of bold, contrasting colors further adds to the visual impact, creating an atmosphere of intensity and intrigue.
When attending hardcore techno events, one can expect to be immersed in a visually captivating experience. Stage designs often incorporate elements of the Hellraiser aesthetic, with intricate metal structures, pulsating lights, and video projections that transport the audience to a realm where sensation and horror converge.
Fashion within the scene also embraces the dark aesthetics influenced by Hellraiser. Attending a hardcore techno event, one may sometimes encounter attendees adorned in leather, fishnet, and other fetish-inspired attire, echoing the visual sensibilities of the Cenobites and the underworld they represent.
The incorporation of Hellraiser's dark aesthetics within the hardcore techno scene serves as a visual manifestation of the genre's rebellious nature. It captures the essence of pushing boundaries and exploring the uncharted territories of sound. By embracing the imagery associated with Hellraiser, the scene creates a visual language that strikes a chord with its audience and amalgamates its community.
In this symbiotic relationship, Hellraiser's influence has moved beyond the screen and seeped into the very fabric of the hardcore techno culture. The dark aesthetics not only enhance the sensory experience but also serve as a reminder that this genre thrives on embracing the unconventional, the mysterious, and the unapologetically intense.
Cenobites as Archetypes
The Hellraiser franchise introduced audiences to a unique cast of characters known as the Cenobites - otherworldly beings who embody a fusion of pleasure and pain. These enigmatic figures have transcended their cinematic origins and found a significant place within the hardcore techno culture, serving as archetypes that speak to its passionate followers.
Headware - Nightbreed vs. Cenobites
Much like the Cenobites, hardcore techno enthusiasts reject societal norms and embrace a subculture that thrives on transcending limitations. The allure of the genre lies in its ability to delve into the depths of human emotion, exploring the dark realms of emotions in a visceral and unapologetic manner.
The archetypal nature of the Cenobites extends beyond their appearance and the themes they embody. Hardcore techno artists often draw lyrical inspiration from the Hellraiser franchise, incorporating elements of pain, pleasure, and forbidden desires into their music. The lyrics serve as an exploration of the human psyche, echoing the Cenobites' quest for profound experiences and the unearthing of hidden desires.
Within the hardcore techno community, the Cenobites have become a shared symbol of rebellion, self-discovery, and the pursuit of liberation. They represent the acceptance and celebration of the darker aspects of human nature, encouraging individuals to embrace their inner desires and express themselves authentically.
The influence of the Cenobites as archetypes within the hardcore techno scene underscores the deep connection between the Hellraiser franchise and the genre's ethos. They serve as a constant reminder that hardcore techno is more than just music—it is a transformative experience that challenges societal norms and provides a refuge for those seeking an escape from the mundane.
The Pursuit of Extreme Experiences
At the heart of both Hellraiser franchise and hardcore techno lies a shared pursuit of extreme experiences. Both entities embrace the darker side of human existence, questioning societal norms and venturing into unexplored territories of sensation. The thematic parallels between Hellraiser and hardcore techno create a profound connection that resonates with the genre's enthusiasts.
Nightbreed - Door To Dreams
Hellraiser, with its exploration of suffering, ecstasy, and the forbidden, captivates audiences by presenting a world where boundaries are pushed to their limits. Similarly, hardcore techno emerges as a sonic landscape that defies conventional expectations, offering a remorseless barrage of beats and energy that transports listeners to a heightened state of euphoria.
The pursuit of extreme experiences within the hardcore techno scene mirrors the desires depicted in Hellraiser. Just as the characters within the franchise seek ultimate sensations through the Lament Configuration, hardcore techno enthusiasts embark on their own journey of sonic exploration, seeking transcendence through the power of music.
Both Hellraiser and hardcore techno serve as outlets for individuals who yearn to break free from the constraints of everyday life. They provide an escape - a sanctuary where the unconventional is celebrated, and the boundaries of pleasure and pain are blurred. In these realms, participants are free to explore the extremes of their desires and embrace the exhilaration that comes from pushing the limits.
The influence of Hellraiser on hardcore techno is evident in the music itself. Hardcore techno tracks often incorporate dark, atmospheric elements, evoking a sense of foreboding and intensity. The relentless beats and distorted sounds mirror the tension and suspense found within the Hellraiser franchise.
The pursuit of extreme experiences fosters a sense of community and camaraderie. Fans and artists alike come together to revel in the shared energy and intensity that the genre provides. This unity creates a space where individuals feel understood and accepted, free to fully immerse themselves in the raw power of the music.
The Underground Community and Alternative Culture
Embedded within the hardcore techno scene is a vibrant underground community that thrives on the fringes of mainstream culture. This community shares a profound connection with the Hellraiser franchise, as both entities exist outside the boundaries of conventional norms, embracing alternative lifestyles and challenging societal expectations.
Megan Thee Stallion as Pinhead
Hardcore techno, with its experimental and underrated aspects, attracts a diverse range of individuals who seek a refuge from mainstream music and its commercialized nature. Similarly, the Hellraiser franchise has amassed a dedicated following of fans who revel in its unique blend of horror, fantasy, and transgressive themes.
Within this underground community, a sense of unity and solidarity emerges. Shared experiences and a collective appreciation for the unconventional foster a strong bond among its members. They find solace in the pulsating beats and relentless energy of hardcore techno, as well as the dark and thought-provoking world of Hellraiser.
The movie's influence extends beyond the surface-level enjoyment of the films, books, and artwork. It becomes a cultural touchstone that unifies the community, creating an aesthetic that transcends traditional boundaries.
Biochip C - Fucking Evil
The hardcore techno scene embraces the DIY (Do-It-Yourself) ethos, with independent record labels, underground events, and a network of passionate artists and enthusiasts. This self-sustaining ecosystem echoes the independent spirit and countercultural nature of the Hellraiser franchise, which emerged from the depths of alternative cinema.
Furthermore, the underground nature of both the hardcore techno scene and Hellraiser creates a sense of exclusivity and intimacy. This alternative culture enables individuals to freely express themselves, explore their passions, and connect with like-minded individuals who share their love for the genre and the franchise.
In this alternative realm, the Hellraiser franchise becomes more than just entertainment—it becomes a symbol of resistance, individuality, and the rejection of mainstream ideals. It serves as a rallying point for those who refuse to conform, inspiring them to embrace their own unique identities and forge a path outside the confines of societal norms.
High Energy - The Box
The underground community within the hardcore techno scene embodies the spirit of the Hellraiser franchise, exemplifying the power of alternative culture to challenge, inspire, and bring people together. It celebrates the diversity of its members, providing a platform for self-expression and a sense of belonging that is often absent in the mainstream.
The Transformational Power of Sound
At the core of both Hellraiser franchise hardcore techno lies a recognition of the transformative power of sound. Sound, in its raw and relentless form, possesses the ability to evoke emotions, transport individuals to otherworldly realms, and create an experience that transcends the boundaries of everyday life.
Pinhead 1987
Hellraiser, with its iconic soundtrack and eerie sound design, immerses viewers in a haunting auditory landscape. The dissonant tones, industrial sounds, and ominous melodies mirror the dark and atmospheric nature of the films. These sonic elements become a catalyst for evoking fear, tension, and an unsettling sense of the unknown.
Similarly, within the hardcore techno genre, sound takes center stage, and forms the foundation of a sonic journey that elicits a range of emotions. It is an auditory assault that pushes boundaries and creates an intense and transformative experience for listeners.
Hardcore techno incorporates the power of sound as a means of expression, rebellion, and catharsis. The unyielding energy and aggressive nature of the music allow individuals to tap into their primal instincts, release pent-up emotions, and experience a sense of liberation. It becomes a vessel for personal transformation, allowing listeners to transcend the limitations of their everyday lives and connect with something greater.
Multi Death Clan - Welcome To Oblivion
The influence of the Hellraiser franchise on the sound of hardcore techno is palpable. The somber and moody qualities found within the films have dripped into the genre, shaping its sonic identity. Artists draw inspiration from the unsettling soundscapes of Hellraiser, incorporating elements of horror, tension, and the macabre into their compositions.
Moreover, just as the protagonists venture into secret desires and uncover hidden truths, the listeners of hardcore techno immerse themselves in a sonic landscape that unveils aspects of their own inner selves.
The Priest (2022)
The transformative power of sound within the hardcore techno scene extends beyond the individual experience. It unites a diverse community of individuals who find consolation and understanding in the forceful and evocative sounds. The music becomes a unifying force, creating a connection among its followers.
The end... or is it?
As we come to the end of our expedition, we invite you to reflect on the profound interplay between Hellraiser and the unwavering spirit of hardcore techno. Through our exploration of the dark aesthetics, archetypal figures, and lyrical echoes, we have uncovered the hidden threads that bind these seemingly disparate entities together.
Nordcore GMBH - Hölle Part 2
The influence of Hellraiser on the hardcore techno scene is a proof of the genre's enduring spirit of rebellion and its unyielding pursuit of sonic exploration. It has given rise to a shared language of twisted imagery, unconventional soundtracks, and a tight-knit underground community.
As we bid farewell to this exploration, may the echoes of Hellraiser continue to reverberate through the corridors of hardcore techno, inspiring artists. Remember, the true essence of hardcore lies in the unexplored territories, where darkness and sound intertwine, forging a unique and captivating experience for those who dare to venture into its depths.
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