Category Archives: Interviews

Articles, Interviews

DJ Vortex: Interview from Trauma: Harder Styles Tour 2016

DJ Vortex (aka Vextor) is the A&R (Artists & Repertoire) manager of STIK Records and what some people would call the true Godfather of Hardstyle. He has been DJ’ing for 20 years and producing for 15, releasing on highly respectable labels such as Tidy, Activa, Theracords, and DJ’s United (and that is only naming a few!). You can catch Vortex on the Edmonton, San Francisco, and Los Angeles dates!

What inspired your stage name?

It was actually my friends who gave me my nickname: they said I was a Vortex… of music!

How did you get into the scene?

I was a vinyl collector; my friends used to organize parties; a lot of radio stations were born; it happened all by itself.

DJ Vortex at Trauma Tour
DJ Vortex at Trauma Tour – Buy your ticket here and get a free subscription to The HARD DATA!

What was the first record you ever purchased?

I’m having a hard time remembering, but it was probably a vinyl from Pink Floyd. Techno music wasn’t born yet.

Who was your biggest inspiration in the early part of your career?

I don’t have one! I just put all of them in my “Vortex” when I produce.

Would you describe your first DJ gig?

I was so excited, like I am now before every gig.

What was your favorite party you’ve ever played? Why?

There are many, for many different reasons: sometimes for the magnitude of the party, others for the crowd or the experience I had; I love to play big festivals but also in clubs.

What important changes have you witnessed from the time you got into the scene, until now?

Basically, everything has changed. In the past you were a DJ first, and a producer second, but now they start producing and then begin to perform as a DJ but playing their own productions almost exclusively. The work of the DJ, as a researcher and discoverer of music, is disappearing.

Did you ever think you would be touring the United States? What do you think the Trauma Tour will be like?

I have already been on tour in the United States and South America, but the Trauma tour is certainly the biggest of them!

What made you want to start producing Hardcore/Hardstyle/Rawstyle music?

I just was producing the music that I liked, then at some point some people in the Netherlands began to say it was “Hardstyle”.

What is your favorite track that you have produced?

Well, I could say “Incoming”, but honestly my favorite track is always the one I’m working on right now.

DJ Vortex
DJ Vortex

What advice would you give to up and coming Hardstyle producers?

Just produce; forget the rest.

What are your top 3 favorite tracks of all time? Why?

I have too many favorite tracks, it’s impossible to choose only 3.

Are there any exciting projects you want our readers to know about?

As many already know, I also produce uptempo Hardcore under the name of Vextor.

What artists would you like to collaborate with that you haven’t already?

Ennio Morricone: the king of soundtracks; but it’s just a dream.

If there’s anything we haven’t asked, what else would you like to say to the readers of The Hard Data?

I can’t wait to meet all of you!!! 🙂

Articles, Interviews

Ron D Core Interview

If you care about the West Coast Hardcore scene, then you already know exactly who this man is and if you don’t then it’s time to start paying attention to him. Ron D Core is a 25 year vinyl veteran spinning since 1986 and is the owner and creator of the last record store standing: Dr. Freecloud’s! I caught up with Ron after the madness of TR-99’s Trauma that took place on the 15th of August  to hear his thoughts on the turn out and what will be next for LA and the Hardcore scene. 100% vinyl, 100% Hardcore!

How did you feel about the turnout of Trauma last night?

R:    Actually, better than I expected. It was a good reassurance that the Hardcore scene has a chance to come back. It was definitely a big gamble going into this party. I give Kari a lot of credit for taking that risk and putting the show on. It’s not easy; it’s not cheap, especially for Hardcore. It’s an ageing crowd but it takes a lot to get everybody out and actually attract some amount of people. It was nice to see.

Do you feel like the scene needs to go through a revival or do you think it’s already there?

R:    I think it does need a revival because the younger crowd is always going to be there regardless, but with the older crowd, the problem is that not everyone can get out. Because they’re busy with their career, kids, no time…. You have to appeal to a younger crowd. It needs that evolution, and it needs some new blood either way.  I think last night did that. There were a lot of older people and we did see a lot of younger people as well. It looks promising knowing that they were there. Hopefully what they saw they liked. I’m hoping that they weren’t scared away. Some of the crowd might have been all PLUR and they think Hardcore might be too aggressive… but I think there’s a certain element there that probably appreciated it.  With all hopes, they were impressed enough where they’ll come back and plant the seeds for the next generation.

Do you feel like there are enough supporters in terms of artists, production crews, and people? What do you feel is the most significant aspect of the LA Hardcore scene right now?

R:    It boils down to the artists themselves. DJs, the producers; the DJs are actually making the music. That’s really the starting point; the production, the producers, the promoters, they’ve come and gone. We’ve had really high turnover, so to speak, in that respect. There are a lot of us that used to do parties, us included, but they didn’t continue to do parties, the main reason being you don’t make enough money to roll over to the second party. It’s done at such a small scale, in a club or bar, or the risk is low so it’s easier to do those kinds of shows.  Even though it remained, Hardcore stayed small in that respect because of the fact that it was more affordable-easier to do.  Unlike last night, which is kind of like a fluke to see a lot of money get poured in.  For us it’s like a Holy Grail fell in our lap to get someone what was willing to put that kind of money into a party.  The last 10 years or so the hardcore scene’s been very stagnant because of that.  If we’re all realistic we would realize that we could do one show where 3 or 4 of us put it on together and each chip in a few hundred dollars, we can all DJ for free.  We got our DJs lined up; all we just need now is a sound guy and lighting guy. We’ve kept it on the cheap for so many years, and that, in a sense, has kept it down. With all that said, it is really all about the producers, the DJs. As long as they’re still producing music and putting it out, that’s going to be the most important key.  Without the newer music coming out, you can only go so far with playing classics and doing revival parties.  The new sounds have to be there with the emphasis of Hardcore. As long as that’s moving forward, that will be good help for the future of the scene.

Ron D Core, owner of the last record store standing: Dr.
Ron D Core on the main stage at TR-99’s Trauma.

What do you think is going to be the hardest aspect of getting the younger generation involved? Do you feel parties like last night could be a good history lesson for them?

R:    Last night was a history lesson. It’s funny because the newer crowd that is into Hardcore, or think they’re into hardcore, they assume Hardstyle is Hardcore. Without knowing the history of where it all came from they don’t realize that almost all the new Hardstyle you’re hearing, over half of it’s been made by Hardcore guys that strictly made Hardcore in the past, or are still making Hardcore as well. Most of these guys are Hardcore guys. All that Hardstyle and slower BPM [Hard] stuff, that’s all they know, so last night gave them a good little rewind.  They may realize this is music from the past that evolved and turned into Hardstyle. At the end of the day they’re going to realize that Hardcore has come from much deeper roots. All the way back to 1994, in my opinion, was the start of the entire Hardcore scene.  That’s going to help because I’ve seen people fall in love with Hardcore for many reasons. It appeals to a lot of people.

What do you think is going to be next for the Hardcore scene in general?

R:    I’ve already seen the pattern. Hardcore has a very predictable pattern.  The Hardstyle today, we used to call it Nu-style. The first time the scene crashed when everything got so fast, the Dutch guys made everything slow down. They were calling it Nu-style. Nu-style, Hardstyle, it’s all the same thing. As they get tired and start to run out of ideas, they’re going to want to hear their stuff pick up speed. It’s going to get more aggressive and a lot faster.  So, in a sense, Hardstyle is like the beginning of getting things back to where it should be. That crowd will eventually catch up to where we’ve always been.

Are there any big plans coming up? Do you guys have any ideas just as big as Trauma?

R:    I know Kari’s already offered to do our next party. He wants to get this scene in a big way. Before his party was even done, he’d already approached us about other ones. If we get that going, I wouldn’t mind reviving some of old hardcore shows we did. Maybe bring back our old MegaBlast or our 13 parties we did.

Dr. Freecloud’s is located on 18960 Brookhurst St in Fountain Valley, CA.

Ron D. Core on Facebook: https://www.facebook.com/Ron-D-Core-127421727272048/?fref=ts

Dr. Freecloud’s on Facebook: https://www.facebook.com/drfreecloudsrecordshoppe/

Featured Image Photo by Peter Vincent

Articles, Interviews

DJ Chosen Few Interview

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Chosen Few is best known for his key role in the creation of Mokum Records. Ever since 1993 this man has been at the forefront of the origins of Hardcore playing every major event such as Thunderdome, May Day, Nightmare in Rotterdam etc. This interview will help you understand the importance of this man and the importance that the Early Hardcore sound still has on the scene today.

What were your thoughts on last night? How did it go for you?

CF:     Last night was pure energy. Most of it came straight from the crowd… it was epic.

Are you familiar with the American Hardcore scene? Do you think that we have potential?

CF:    Yeah, of course.  I don’t know how it works to hire a venue out here, but I think that’s your big problem at the moment- the ages, if it [the venue] has a bar or not, if it’s 21+ or 16+, since the drinking age is higher.  Because [in Holland] we have everything, we don’t have many rules. They say it’s zero tolerance, no drugs, but there are so many drugs in the parties. I think people are more responsible in Holland because you can get it everywhere. People know how to use it. There are always people around saying, “Hey, you’ve had enough now.”

What do you think we can do to make our scene better?

CF:    Keep doing parties. In the end it will be bigger, bigger, bigger.  People going to the venues hear it and they tell their friends. It’s fucking great-the atmosphere, everything.  The music is something else. They hated all others, you know, but, like yesterday, the vibe was so great. The people were so friendly and hyped. In Holland you have big parties and people fly from across the whole world for them. I think if they go on and it grows bigger, eventually the people are going to say, “Oh! I’m saving money to go to America for a party.”

Maybe one day we’ll have festival season out here, and people will start coming here for shows!

CF:     Yeah and you take a holiday and the parties with it. I hope that will be happening out here. Go [to America] for holiday, go to the parties.  Why not?!

Talk again about your origins when you first started playing.

CF:    I started when I was about 14. I was in a small club for after school stuff; you could play pool or play darts or whatever, and there were turntables. I saw DJs playing records and then press stop to play the next record. I was like, “Okay, if I play this record, why not play another record in the one that is already playing… maybe if you play it together it sounds better.”, without even knowing there were real DJs mixing from the USA- that’s where the DJs started.

How did you get your start in Hardcore?

CF:    This guy from Mokum records called me.  I sent him a demo tape and it’s not working- I never get any record out.  Then I get a call asking me to make a record that had to beat Rotterdam.  I was like, “Wow, this guy’s asking ME to make a harder record”!  Rotterdam Records was already big at the time.  “Let’s start a new label called Mokum Records”, he said.  Mokum is a Yiddish word for Amsterdam.  I said, “Yeah, of course.” I made a record and it was harder than Rotterdam records. I got my first record deal on my birthday in 1993. That was funny; I was so proud.  I showed it to my parents. “It’s a record deal!”, then I kept making music.  Then I got a copy of a mix of Holland’s top 40 and I was number 23. I was like, “What?!  With a gabber record?!” Then Rotterdam Records was like, “What the fuck?” They responded, making harder records, because it’s Neophyte you know. Then fuck it, I couldn’t make a harder record, it was too fast.  But I think I’ve done some contribution for the layering for Hardcore to get over the Neophyte sound. Rotterdam and Amsterdam; it was like a big fight. I think this battle was good to get the Hardcore where it is now- the speed, the hardness, the layers…

How does it feel to know that the early sounds are still alive and well?

CF:    I think it’s good, because it’s still the best time in Hardcore; it’s the best period. The sounds are original and for the young kids they are going to listen and hear a lot of the first sounds and how it’s built. It’s really difficult music to make; if you listen to it you’ll hear how difficult it is.  The new stuff is a completely different story. The quality is so high on the sequencers.  In the early days it was just one channel and you put everything up- the gain, the distortion, and you had a kick. But with the sound quality now you have to build your kick with eight, nine layers, all effects on every layer.

With these early stages showing up at Dominator, and Decibel, the early styles have their own stage; do you think it’s important for the new kids to learn about this sound?

CF:    Yes, of course. If they don’t know the sounds then they get to know them. They love it anyway.  You had the early hardcore but later on it was getting a little bit slower. From that came these crazy guys making a track that people called Hardstyle.

But it leads in the same direction.

CF:    Yeah. Hardstyle is all the styles, it’s slower, it’s made with the same intention, but for a different crowd, maybe older people [laughs]. And now it’s young and old people, they love Hardstyle. I know I like my Early Hardcore. I like newer mainstream. I like all artists’ styles. It’s very difficult. If I make a record now it’s still influenced from the 90s. It becomes your signature.

It’s cool to actually have that. To see how you guys haven’t forgotten about the early ages. You guys don’t let that go away.

CF:    It’s what makes Holland; it’s what put us on the map.

Articles, Interviews

Bass Modulators Interview by Mindcontroller

Bass Modulators
Bass Modulators

What’s behind the name Bass Modulators?

That’s a very short story. We had two tracks ready for release but the label needed a name. We were checking our keyboards, and there was modulation key and I was like, “Okay, modulation, what should we modulate? Oh, Bass. Bass Modulators.” We were actually not planning on using this name forever, but it just worked.

What label was your first release on?

DJ’s United Records from Italy

What came first producing or DJing?

Well, Roland was already a DJ, and I started with producing, and then became a DJ. I think that’s a pretty good thing, if you start with both, you know how to produce tracks for DJs, and you also know how to play those tracks live.

How did you get into the rave scene? What year?

Back in the 90s, we got into clubhouse and after that it just evolved with harder music. We really got into Hardstyle back in 2001, 2002 but only attended Raves. We started to produce in 2005 and it evolved from there.

What was your first DJ gig as Bass Modulators?

Matrix. We had gigs before, but those were not paid, or just for fun. Matrix was a club in Holland, like 2,000 people would attend. I didn’t really know how to DJ back then … Roland handled most of the set. The funny thing is we only knew how to play on vinyl back then, so it was the first time for us playing on CDJ’s. I didn’t even use the cue button, I was on vinyl mode the entire time.

Who was your biggest inspiration in the early part of your career?

Noisecontrollers, Past and present. For us it was a pretty big surprise like a year or two ago, that he wanted to make tracks with us, and now he’s one of our best friends too. It’s really cool. We learned a lot from him.

First record you ever purchased?

(Roland) When I was like eleven, twelve, I bought some singles from Cher. The first clubhouse track was probably Northern Lights by Justin K. It was the first vinyl I bought, blue see-through vinyl. It was really cool.

Rick, Did you collect vinyl as well?

Actually I can’t remember the first single, but I remember a happy hardcore compilation CD from Charly Lownoise and Mental Theo… I played it until it broke.

Bass Modulators at Hardstyle Arena 2
Bass Modulators at Hardstyle Arena 2

Funniest moment during a performance?

We played in Denmark like six years ago, and they had a fully stocked bar for us. We were drinking like crazy. The DJ before us had to stop because he fucked up big time, the boss of the club kicked him off and asked us to play.” We were like, “Oh, we have to play.” We were drunk, we had to play for three hours straight. We ended up playing the same record twice. The DJ booth was suspended on cables to prevent the records from skipping, and then somebody from the audience wanted to shake Rick’s hand, Rick leaned forward and scratched the record with his belly … It was the most awkward moment, and the last time we were drunk on stage.

Any future projects that you guys are excited about, maybe something you guys have been working on, or a gig that’s coming up that you’re excited about?

We are working on some new tracks together with Noisecontrollers, A couple solo projects, and a lot of cool gigs coming up including Qlimax.

Any advice for aspiring producers?

(Roland) Keep it real. Don’t try to be someone else on stage; don’t try doing all kinds of tricks/gimmicks. Just focus on what’s really important, the music. That’s your key. You can clown on stage, you can try to do cool stuff, you can promote on Facebook, but if your music’s shit, you can’t do anything. Stick to yourself, stick to your music.

(Rick) Just practice, practice, practice. It’s pretty much the key to everything. If you put in ten thousand hours, then you might be good enough to break through. You have to make choices in your life. If you want to be this big producer, then you have to sacrifice other things. It’s really important. Some people forget that, but it’s really the most important thing.

 

Articles, Interviews

DJ Dione aka E-Noid aka SRB Interview

I’m sure this man needs no introduction, but since 1991 DJ Dione aka E-Noid, or maybe a lot more of you recognize him as the Terror act SRB, has been dominating dance floors everywhere in the world, and this year he finally got to destroy LA at TR-909’s Trauma party back in August. I can’t believe that I was given the honor of sitting down with this man and finding out more about my personal Hardcore hero. What follows is the official interview for you all to enjoy!

Austin: I want your reactions from Saturday. How did you feel about the party, as well as the American Hardcore scene (if you are familiar with it)?

Dione: It was an awesome party, I really liked it. Good sound, nice visuals and decorations plus of course a super dedicated crowd, I loved playing there.

Funny thing was that I was booked as Dione and it was an early hardcore/ old-school event but before and during my set a lot of people asked for SRB so I decided to play a few SRB tracks at the end and then all hell broke loose, in a good way that is

I have been in LA a couple of times but that was a long time ago, played at some smaller rooms so I really wasn’t expecting so many hardcore heads on this party. I know the hardcore scene in the USA is small compared to the scene over here in Europe so it was good to see that so many people showed up and I hope that this party gave the USA scene a boost. Got to thank TR-99 events also for putting up this party and for getting us to play there!!

Austin: What do you think of the direction that Hardcore has been moving toward in the last decade or so? Where do you think it will be going next? Where would you like to see it go?

Dione: That’s a hard question. Production-wise the music has grown a lot, sound quality (mixing and mastering) is at a really high level now. The downside of this is that it is harder for new talents to achieve the same levels.

Dione aka SRB aka E-Noid at Trauma 2015 2
Dione aka SRB aka E-Noid at Trauma 2015

Musically I notice that there are more and more sub genres in Hardcore. I don’t like that because for me it’s all hardcore. There are good tracks in every sub-genre and so I keep an open mind and pick out my favorites from every style. Hardcore is a feeling and not a concept.

It’s hard to predict where it will be going next, but I guess that the sub genres will mix more and more with each other. I think you start seeing it develop like that already; up-tempo with mainstream melodies, mainstream with crossbreed elements etc…

Austin: Which really came first, the Dione project, or SRB? Which one do you like playing more as? Which act has a better reaction from the crowd in your opinion (if you have noticed a difference at all)?

Dione: The Dione project came first; I started playing as Dione in 1991. Some 10 years later came E-Noid, my alias for Darkcore/industrial productions on the DNA label. And a couple of years after that I also started producing under the name SRB, an alias for the terror tracks I made for the ‘This Is Terror’ label. But those productions were so popular that I got many offers to play as SRB also. At first I only did it as a side project but nowadays it has grown more and more popular. I really love playing as SRB because I only play my own productions, which is very satisfying for a DJ; to see the crowd go wild on your own stuff.

But I like variation, so for me it’s a welcome change, to play under the different aliases and play all the different kinds of hardcore, whether it’s terror or industrial, old-school or mainstream. The reactions from the crowd don’t really only depend on the style I play, but also on what party or what country.

Austin:  Any advice for the American Hardcore scene?

Dione: Yeah, there’s something I like to say: I have heard that many party people don’t like the mosh pits at hardcore parties so they decide to stay away, but there’s a simple solution to this, which I saw at the Headstrong party in LA many years ago: keep a part of the dancefloor for the mosh pitters and the rest for the others. This way you won’t hurt each other.

Austin: What’s next for DJ Dione; For SRB?

Dione: I’m currently working on new Dione tracks which I hope to finish and release soon. And also some E-Noid and SRB tracks of course. I loved the holiday in the USA but now I’m back in my favorite place in the whole world: my studio!