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The first leg of the Harder Styles Tour 2016 culminated in Trauma Live’s home town, Los Angeles, CA last night, and I continue recovering from it as I type these words, dear reader. After dropping off my bud Nickolai at 5:30 am, I couldn’t help myself and indulged in that classic Angeleno vice: doughnuts. Sure, I screwed up my shaky gluten-free diet, but I needed the extra sugar rush to make it up that last bit of the 405. I inhaled an apple fritter—daring the last few exits to where I remembered my bed was. I crawled into it at 6:00 AM for the first reasonable amount of sleep that I had the chance to partake in since Thursday.

Posted by Joel Bevacqua on Monday, February 15, 2016

(DJ Mad Dog broke the chain in LA once again!)

I had to stay up every minute I could though, to witness a pioneering concert tour that will be long remembered. Future promoters read this line-up and weep because you will never see anything like it again: The Prophet, Scott Brown, Rob Gee, Vortex, Placid K, and Super Marco May. BAM! All certifiable legends in their own right, combined with hardcore superstar Mad Dog, and the first ever American appearance of Amnesys and The Melodyst who represent the next great wave in hardcore EDM/techno, or whatever the hell we are calling it now. Put that in your pipe and smoke it man, that line-up happened and I got to see the whole thing 3 times (save a couple hours in San Francisco because of a complete flight scheduling disaster).

I was an hour early to the Los Angeles show at Club Nokia, mainly because I was playing the very first set in the VIP lounge with DJ Mindcontroller. We were assigned the task of representing classic rave on vinyl with our set, which we gladly delivered to the old school heads. We couldn’t help playing some real cheezy stuff though. I mean, I hadn’t played the Lords of Acid’s “Take Control” in decades, and this was the perfect scenario to indulge in such vice. We were followed by Lostboy and Demigod, who represented the more UK breakbeat sound for the most part.

Demigod gets classic!
Posted by Joel Bevacqua on Tuesday, February 16, 2016

(Demigod gets classic!)

Thee O, Steve Loriah and Scott Brown (playing classics) followed it up in fine fashion, apparently, but I can’t directly report on them since I was busy downstairs at the time getting hammered by hardcore. Like the last Trauma show, there was so much going on in both sound areas you always had to make critical choices. You were going to see and hear something great, and miss something great no matter what you did.

I chose to be in the main area at about 2:00 AM where Placid K ruled last night. He laid down some brutal hardcore law during his short set that brought demons young and old out on the dance floor. A tough, driving, crushing kick is what this crowd wanted, and he hit ‘em with it perfectly.

Who was this crowd? It was classic LA hardcore, but with lots of new faces. Yeah, there were plenty of old schoolers, but it was definitely the newer hardstyle and rawstyle generation that filled the floor. Placid K has played in LA a few times earlier, so he knew how we want it served up, and he dished it out hot.

Amnesys at Trauma LA
Posted by Joel Bevacqua on Monday, February 15, 2016

(Amnesys hammers the crowd at Los Angele’s Club Nokia)

Earlier in the night, like a fly on the wall, I got to hear a few DJs bitch about their set times in the dressing room, which happens frequently with DJs. Since there were so many stars on the line-up, the max set time was 45 minutes, most got 30. I had seen Amnesys in Edmonton, and he was great, but forced to constrict his set into 30 minutes, I dare say it might have been even better. His mixing was fast and superb. He actually used the effects on the Pioneer mixer, rather than just pretending to do so like some other EDM superstars. The guy can mix, its that simple, and he condensed all the power of his set into a small window that made it hit even harder.

Before the tour began, a few heads were complaining that the set-times would be too short on this tour. I say from experience now, that is total poppycock. Set after set was awesome. It was just all the best stuff. I know that some of you who read a “10 Tips for DJs” blog post think you know about mixing when you can wax eloquently about how a DJ needs time to build his or hers vibe. You ain’t impressing me no more with this beat-to-death meme. The Trauma line-up took their best stuff, condensed it down to the ultimate essence, and working in tandem, let it rip. There was never a dull moment. It hit hard and constantly. Super Marco May, Vortex, Scott Brown (who played two sets that night, happy hardcore in the main room and classics in the VIP Lounge), The Prophet, Mad Dog, The Melodyst and Rob Gee were all freaking ON FIRE. Mad Dog and The Prophet had the biggest crowds, as they were the headliners, but the drop off to the very last note Rob Gee played was virtually nil.

This actually created a bit of a problem for me. I vowed to pass out a copy of The HARD DATA to every attendee at the show. So I lined up 4 guys to help me out, Stephen Hughes, Nickolai, Alex Murphy and Jesse Simons. So I pull these guys out of the main room at like 2:30, telling them we gotta be ready at the exit for people to leave. No one did! So basically they were all probably mad that I broke them away from the show needlessly. Everyone waited for the last note of Rob Gee’s set at 4:00 AM to leave, and fortunately those 4 hombres had my back to get our favorite ‘zine into everyone’s hot little hands at the end.

Speaking of Rob Gee, I have to give the man big props for not only his riveting sets, but his dedication to the fans. This cool cat named Jackson had drove all the way from Texas to see the show, and wanted to meet and greet the artists Something got messed up and despite buying the VIP pass and all, he didn’t get a chance to do so. So Stephen Hughes texts me in the middle of passing out THDs to tell me about this. I go back stage as Rob is getting ready to leave the venue and let him know the situation. The Gee-man hopped off the stage in a flash and was out there to meet Jackson and make sure he didn’t drive back to Texas without meeting one of his hardcore heroes. It was a great way to end a great show, and the Trauma Harder Styles Tour, leg 1, was complete.

So I have 4 days to get my Trauma-tized life back in order before I head out to Mesa, Arizona to meet up with Brandon and the SDK crew for leg 2 of the tour and another sick line-up. I mean, look at this slate of artist joining the tour and stare in disbelief:

Alien T
DJ BUZZ FUZZ
Digital Punk
Dr. Peacock
MC Ruffian
Meccano Twins
Partyraiser
Rotterdamterrorcorps
SRB / Dione
Tommyknocker

After that is Denver on Saturday, and then leg 3 is Pittsburgh and Brooklyn. So stay tuned folks, and remember, the rhythm is life and death!

Deadly Buda

Articles, Reviews

Field Report: Trauma in the Golden Bay

February 14, 2016 DJ Deadly Buda

Posted by Joel Bevacqua on Sunday, February 14, 2016

Like opera in a construction zone, hardcore techno and hardstyle sang through the city of San Francisco last night, to the utter delight of the Bay Areas’s harder styles faithful. Fittingly, in my dutiful jaunt through the fabled city, I came upon a man doing just that, singing opera in a construction zone. I believe his name is Robert Grant. Coincidentally, in quite operatic fashion, a group of crazy Italians would help strengthen a growing Bay Area harder styles scene. DJ Vortex, Super Marco May, The Melodyst, Amnesys, Placid K and DJ Mad Dog represented the boot-shaped country and fittingly kicked the Bay Area into overdrive. They were joined by the up-and-coming Tonegenerator, legends Scott Brown, Rob Gee, The Prophet, and adroitly MC’ed by Mike Redman.

My review unfortunately is somewhat incomplete though, I must confess. Because of a scheduling foul-up at the airport, and weather delays out of Edmonton, Canada that afternoon, I would not arrive to the Regency Ballroom until almost 11:30 last night. Approximately 7 hours was spent by yours truly yesterday and night en route to San Francisco.

Finally my flight arrived in San Fran to witness DJ Mad Dog
Posted by Joel Bevacqua on Sunday, February 14, 2016

Nonetheless, I caught the tail end of The Prophet, who as expected, rocked the crowd to an appreciative hardstyle fan-base. He was followed by DJ Mad Dog, who continued his path of North American destruction, making the crowd go bonkers. Placid K followed with his signature classic hardcore style. The Melodyst picked up after that with their new school sound and the exclamation mark was put on the end of the night by Rob Gee.

Frankly all the sets I heard were just as banging in San Francisco as in Edmonton the night before. What was interesting though was the San Francisco crowd itself. San Francisco in previous decades had a robust punk rock and industrial scene, producing legendary bands like the Dead Kennedys. So, that underlying spirit in the Bay Area has always existed, and it was just a matter of time until some aspect of it surfaced again. What I saw was a spark of a new scene developing. That perfect moment when everyone in the crowd gets to know each other. It was pretty cool seeing the crowd go for it to music that was mostly new to them. Many people came for the bigger names, but were exposed to new things they liked, and got to meet like-minded individuals in the process.

It would unfair to call it the “birth” of a scene when crews like Spaz and 5lowershop have been doing underground hardcore parties for decades now. But, there was a whole new wave of ravers and party-goers getting their first taste of rocking out to a wide spectrum of the harder styles! Next stop: Los Angeles.

Articles

Trauma Prelude 2: Kari’s World

February 13, 2016 DJ Deadly Buda

“I pretty much feel like I’m gonna die.” Said Kari Lambou, jerking his head at the last minute before he was to make an impromptu pillow out of his MacBook Pro. Kari’s the head of Trauma Live, who are embarking on a 7 city North American music tour. Any music tour is tough, but Kari is pushing North America’s first hardcore E.D.M. tour (purists would call it hardcore techno), undoubtedly the least popular subgenre of the EDM world. The genre is squarely a mix of house music, hip hop, punk rock, heavy metal, and industrial noise. It’s as old-school ravey as it gets, and despite its detractors, it refuses to vanish. Mixed into the chaos is hardcore’s younger, cuter and more popular little brothers in music, hardstyle and rawstyle, to make sure the crowd is comfortable with the rock hard beats-per-minute.

Kari’s been up for a few days with limited sleep and the comfort of a few complimentary beers doled out by his office workspace in El Segundo, CA. There are numerous causes of his sleep deprivation, for example, his washing machine recently backed up and destroyed his family’s apartment, but even more so is the fact that he has almost 40 different DJs spread out all over the 7 city tour. Most are from Europe, requiring flights, hotels, and transportation.The email inbox starts blowing up again, and must be dealt with as adroitly as a 2 hour window of sleep will allow.

“I do it, because I hate commercial music. I want our own sound.” Says Kari, as I dutifully pry into his life for the benefit of my readers. “This is about us, about sticking to what we want to hear. I don’t really care if people say my line-up is too hard. Well, too bad. This is what Trauma is about. Events you’ll never forget.”

I point out that 40 artists, is a little overboard. “Well, ok, frankly I didn’t see that coming.”

It all happened because DJ Distortion of Rotterdam Terror Corps happened to mention to Kari that he could get a few people to play in America. As soon as the feelers went out, every huge name in hardcore techno immediately lobbied for the gigs. No one took no for answer. Basically, the American market has eluded hardcore techno for decades, and it gnaws at the soul of all hardcore aficionados around the world, because frankly, America seems like the perfect place for it. These names may not mean a lot to the average American yet, but how do you say “no” to Mad Dog, Amnesys, Rotterdam Terror Corps, Tommyknocker, The Melodyst, Scott Brown… the list goes on and on. Though such a line-up might exist in Europe, such a tour as this does not. Everyone constantly undercut each other’s playing fees because they HAD TO PLAY. Everyone wanted to play. It was as simple as that. And when you have the combined talent, basically a line-up that would be historical anywhere in the world, well… you roll with it.

Vowing to document this first historical tour, I find myself jetting to its first stop in North America, Edmonton, Alberta, where it’s -11 degrees Celsius. “Well, we looked at the map and it seemed there were lots of harder styles fans in a few of these areas, basically.” Kari explained. I’m thinking like, “but this is like 12 degrees Fahrenheit,” but Trauma picked their first cities. Edmonton is the first stop before San Francisco, Los Angeles, Phoenix (Mesa), Denver, Pittsburgh, and New York. So I packed up the long underwear, gloves, ski jacket, toboggan, a few stacks of The Hard Data magazine, and my trusty smartphone, and I board the plane for Canada….

Articles, Interviews

DJ Deadly Buda: Interview from Trauma: Harder Styles Tour 2016

February 12, 2016 DJ Deadly Buda

What inspired your stage name?

Back in the late 1980’s-early 90’s, people knew me as “Buda” when I wrote graffiti. So when I started DJing I wanted to have a tough, kung-fu sounding DJ name like, “Grandmaster Flash” so I put “Deadly” in front of Buda.

Were you a DJ first, or a producer?

Well, I tried to make music on a 4-track recorder, with a guitar and drum machine, and had a punk rock band, but… I guess I would really have to say DJ because I started scratching up my parents records after I saw people breakdancing, and that was really my first step into music.

Turbo Zen Soul Flyer — Buda’s artwork for the Turbo Zen parties.

How did you get into the scene?

Really I had to help make the scene in America. That was 1991 and things were just starting over in UK and Europe a few years earlier, and we wanted to make raves and techno big over here. In my case, Pittsburgh, PA. So we got our friends together and threw a party. People responded and that led to other things like writing for magazines, fanzines, owning record shops, DJing, producing, etc.

What was the first record you ever purchased?

I think Kiss Alive 2 or Dynasty.

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

The early PCP and Dance Ecstacy 2001 sound. All the stuff that Lenny Dee had a hand in, The Under One Sky/Groove crew, Caspar Pound, Woody McBride, Zekt, Underground Resistance, Plus 8.

Would you describe your first DJ gig?

I was 15 and playing in a bar in Shaler, PA with my friend Sean Payne. It was before rave or techno. His Dad was a DJ and we were just introducing scratching/mixing to the crowd for the first time. I totally messed up! But Sean started breakdancing and the crowd forgave me.

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

Probably Catastrophic’s New Years 1993/94, in Washington DC. Not a lot of people talk about Catastrophic these days, but their raves in D.C. were the most insane, gigantic, illegal events. The Baez brothers were sons of a diplomat and could get away with all kinds of stuff. So it was the first time I ever played out of Pittsburgh, and it was a massive 5000+ crowd in a warehouse. I laid it on super hardcore going into midnight and me and the crowd went nuts. I wasn’t nervous at all, strangely, I just laid down the law that night! Also the sets I played at Even Furthur, the same night as the legendary Daft Punk show and the year previous.

What was the funniest moment during any of your performances?

Well it wasn’t’ my set, it was my buddy Controlled Weirdness’s set at Morph 1. This guy who DJed a few of the parties in Pittsburgh back then took too much of something and decided he would just walk up to the decks and start playing in the middle of CW’s set! Like he ducked down to get his next record and then this nutter just jumped on the decks! There were some other stories, but I gotta wait for the statute of limitations to expire before I say!

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

Well, it’s more corporate. That is good and bad. It helps bring more money into the scene, but can homogenize things. The trick really is for everyone to organize their own corporations to compete, and that should make things better and better, I think. We’ll see.

High Voltage Front — Deadly Buda’s flyer artwork from back in the day!

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

I’m only playing two dates, but I am writing a journal of the whole tour, to document it. I’m not sure what it will be like, I just know it hasn’t been done yet, and so I want to preserve the memory.

What made you want to start producing Hardcore music?

I just wanted to express myself through that creative endeavor. After you DJ a while, you naturally want things to sound “your way.”

What is your favorite track that you have produced?

It’s a toss up between Style is Terrifik, Esto es Los Angeles, and My Theory

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

I’m not sure if I can give the best advice here, because my path has been a long and circuitous one. If you are looking for advice on how to get from point A to point B fast, I’m not your guy. If you want stories about planting seeds in the underground, maybe that I can give advice.

Have any of the other artists on the Trauma tour ever inspired your work? If so, how?

Lenny Dee was doing 25+ years ago what we are doing now. I often find I’m playing stuff or interested in stuff that Lenny was on the case of months or years previous. I should say that many of the new artists from Italy are very inspiring to me now, too. I think it’s a golden time for hardcore, right here, right now.

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

Party People – Marc et Claude

We have Arrived – Mescalinum United (Aphex Twin Remix)

Vortex-Final Exposure

What was your favorite track of 2015 (that wasn’t your own)?

Mad Dog’s Good Ol’ Times

Are there any exciting projects or gigs coming up you want our readers to know about?

Well, The Hard Data magazine and website is all about the harder dance styles, so I’m pushing that hard. We need a communication node! I might be coming out with some comics soon, too.

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

The Traxtorm/Next Cyclone crew, and after all this time I’d like to work on some stuff with Lenny Dee finally if he ever stops flying around the world long enough for me to catch up with him!

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

Share The HARD DATA with your friends, and write and take pictures for the magazine and website. When I look back at all the years, I notice that the one thing that really makes a scene pop is when it has a ‘zine or two that people can bug out with. Don’t take it for granted, make it better by contributing!

Check out Deadly Buda’s special mix for the Trauma Tour:

[soundcloud url=”https://api.soundcloud.com/tracks/245986345″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]

Articles

Prelude to Trauma: Trauma Harder Styles Tour 2016 on the Horizon

February 12, 2016 DJ Deadly Buda 1 Comment

By Joel “Deadly Buda” Bevacqua

Pittsburgh, PA, 1993: “You know what my problem was?” His drunken ankle buckled, dropping his punk-rock body into the plastic rainbow-colored carpet of my little rave shop.

Two stoned teenagers in fat jeans and Fresh Jive T-shirts pried him off the ground. Rising undeterred, John’s beer belly plopped out of his faded Ramones t-shirt. He flicked off the long, black, fifty-something-year-old hair stuck to the saliva on his face.

”I never…” He made a basketball-sized globe with his hand gestures and stared into it—like it was fucking Rosebud or something and swayed back and forth as the two anemic rave kids braced to catch him. “I never…”

I couldn’t have cared less what John had to say. Smelling of booze and vomit, he had been frequenting Turbo-Zen Records—I assumed to get high with the college kids and high schoolers playing hooky at the store. I could never say no to him—he was a drinking buddy at Chief’s and did the sound at the Electric Banana, Pittsburgh’s finest punk rock club (R.I.P.) That conferred too much underground cred. But, he was creating a ruckus and I already was fielding calls from irate parents looking for their kids.

“Will you get him out of here?”

“No!” he croaked and stared into the imaginary globe. ‘I never took the time.” Then he got real ornery, waving his arms at me “to look at what I’d done, to look at it! To apprecccciiiaaaaaate it.” As he lunged at me for emphasis, the momentum of his arms threw him off balance to fast for anyone to catch. He smacked his forehead straight on the floor this time.

“He’s not moving.”

The paramedics came and took John to the emergency room. He was discharged and days later was back on the Electric Banana soundboard. But that was the last time I saw John Krom. A few weeks later, he was found dead in his apartment. He’d been dead a while when they found him.

Back in the 1970’s John was one of Pittsburgh’s biggest rock promoters, jet-setting with Led Zeppelin and all the other stars of the day. John was primarily responsible for orchestrating one of Pittsburgh’s most amazing concerts, but one practically forgotten. One summer day in July 1975, he ran a full page ad in the Pittsburgh Press, simply announcing something big was happening downtown. He then floated 3 barges down the Allegheny River to where Pittsburgh’s three rivers meet, Point State Park. In those barges were Suzi Quatro, Alice Cooper, and their bands. An estimated 80,000 people showed up that summer afternoon. The police were unable to control the masses of people doing whatever they wanted that day, such as: jumping off the Fort Duqesne Bridge, for fun. John Krom made that wondrous summer day happen.

Many great events can get lost in time, through error or intention. I had only heard of this amazing concert by word of mouth, by Pittsburghers I knew who were at the show. I have found virtually no written documentation of it other than this web post a guy did in 2001. http://www.drunkenbum.com/20010620.html

Someday I will search the Pittsburgh Press and Post Gazette microfilm for more details, as they surely must exist. But until then, the drunkenbum’s report stands as testament, and it corroborates all other stories I have heard verbally about the event. Amazing, wonderful things get lost in the shuffle of history. We read about wars, but never about wonder! Is it not as interesting I ask? Does it not fire the soul as much? Of course it does!

Anyway, something happened to John between floating Suzie Quatro down the river in a barge, to passing out in Turbo-Zen Records. I still haven’t the fine details, but John told me exactly what happened, and it’s my job to tell you. He never stopped to appreciate what he did. He just kept driving forward, oblivious to the joy he created, and never really took part in it himself.

John could have got wasted at a lot of places, but he chose my record store to get fucked up at towards the end. Now I know why. He could see us young raver kids loved the music too. The electric moments of music never left his soul, even as the booze grabbed control of his body and mind.

I didn’t respect John the way I should have the last time I saw him. I guess I can forgive myself considering the circumstances, but I can honor his memory and the man he truly was by relaying his accomplishments and one of his important messages. John’s legacy, and accomplishments will survive just a little longer, because they deserve to. So it is written, and I begin with John Krom’s story for my diary of the Trauma Harder Style Tour 2016.

The “Trauma Harder Styles Tour 2016” is America’s first hardcore techno music tour. It’s about forty-plus electronic music artists pushing the most extreme version of electronic dance music. This is EDM you might slam-dance to, pogo, mosh, or stage dive to. It is the type of electric hybrid John might have loved to hear, if he were only here.

Probably the most neglected segment of the EDM world in America, hardcore techno is actually one of its oldest—chock-full of rave pioneers and the perhaps overly-curious youngsters that found out about them. Like some others on the tour, I’m one of those rave pioneers with a nagging sense of unfinished business in the back of my mind. When I found out the tour would stop in my old hometown, Pittsburgh, PA, like a moth to flame I lobbied like hell to get on the tour, and vowed to document its entirety. This tour could be a boom, or bust, or just… whatever… but I want to remind myself, and whoever will listen to me, that what we’re doing is special, it’s important, and we’ll lose a part of ourselves if we take it for granted. So I dedicate my following journal entries to John Krom, who reminded me to take the time to look and appreciate what we all do.

The HARD DATA