Tag Archives: DJ

На платформе Musicoin размещен первый в мире блокчейн DJ-микс

Каждый раз, когда микс “Rock the Blockchain” (автор диджей Deadly Buda) проигрывается на платформе Musicoin.org, 15 отдельных музыкальных треков в жанре электронной танцевальной музыки, а также их авторы, в течение нескольких секунд автоматически получают оплату.

Этот микс был завершен в 2:00 13 августа 2017 года, когда Deadly Buda выполнил интеграцию 19 “смарт-контрактов” на блокчейне Musicoin и приложил их к своему диджейскому миксу. “В целом, это кардинальная перемена для любого музыкального жанра, в котором участвует диджей: EDM, Disco, House и Hip-Hop,” – сказал DJ Deadly Buda.

Микс “Rock the Blockchain” можно послушать тут.
Hi-voltage-dude.jpg
Обложка микса “Rock the Blockchain”. Микс содержит 15 EDM-треков различных жанров: Hard Electronic, Dubstep, Hardstyle, Hard Bass, Jungle, Drum and Bass, Hardcore Techno, Shamancore, Tekno, и Ambient, авторами которых являются музыканты Counterstrike, Satroniq & DJ Delirium, Teknoaidi, Subterranean, Cap, M27, Harhor и Deadly Buda.

С тех пор, как формат диджейских миксов обрел популярность в 1970-е, он до сих пор пребывает в полулегальном состоянии. Поскольку записанный микс является непрерывным сочетанием нескольких отдельных песен или «треков», он требует многочисленных разрешений, документов и лицензий, чтобы стать юридически совместимым. К тому времени, когда необходимые документы готовы, аудитория обычно рассматривает музыку в миксе устаревшей, поскольку в моду уже вошло новое звучание. Следовательно, большинство диджеев на протяжении десятилетий не удосуживались получать разрешения и выпускали миксы «незаконно» на кассетах, компакт-дисках, а теперь на платформах Soundcloud и Youtube. Как правило, основные авторы в этих миксах не получают денег за свою музыку и часто даже не упоминаются в титрах. По этой причине диджеи часто не предоставляют плейлисты, чтобы избежать контроля, ограничений по времени, отсутствия надлежащей маркировки на танцевальных записях или, в худшем случае, хотят все внимание привлечь только к своей персоне.

Как ни странно, танцевальные продюсеры делают свою музыку специально, чтобы на ее основе можно было делать миксы, и призывают популярных диджеев использовать свои песни. Диджейские миксы, зачастую технически незаконные, являются основным каналом рекламы для небольших сцен танцевальной музыки или талантливых исполнителей. Итак, в течение последних нескольких десятилетий музыкальная индустрия вообще не применяла свои авторские права на диджейские миксы, хотя и могла это всегда сделать . Следовательно, диджеи, опасаясь потенциального обвинения, редко могут публиковать свои миксы для большой аудитории или получать гораздо больший доход, чем стоимость записей или Mp3, использованных в миксе. Кумулятивный эффект этой полулегальности заключается в том, что диджейские миксы по-прежнему считаются «андеграундом», хотя аудитория слушателей танцевальной музыки очень хорошо их принимает.

“Чем больше я узнавал о технологии блокчейна, тем отчетливее я понимал, что проблемы с законностью диджейских миксов близки к тому, чтобы уйти в прошлое,” – утверждает DJ Deadly Buda, – все разрешения, документы и платежи могут быть выполнены мгновенно.”

*Musicoin это сфокусированная на музыке криптовалюта с возможностью смарт-контрактов.*
Musicoin это сфокусированная на музыке криптовалюта с возможностью смарт-контрактов.

Технология блокчейна – это, в общем виде, распределенная база данных, поддерживаемая несколькими компьютерами. Самый популярный в мире блокчейн – Биткоин, он вдохновил другие блокчейны нацелиться на конкретные сферы мировой экономики. Musicoin, как следует из названия, ориентирован на музыку, музыкантов и поклонников. Когда пользователь воспроизводит песню на musicoin.org, исполнитель песни получает один Musicoin (стоит около 0,01-0,02 доллара США), и это происходит за считанные секунды.

Система блокчейна Musicoin позволяет музыканту загружать песню и прикладывать так называемый «смарт-контракт», который может распределять платежи нескольким сторонам, если это необходимо. Например, смарт-контракт можно запрограммировать так, чтобы каждый раз, когда играется песня, барабанщик, певец, гитарист и басист в группе получали раздельную оплату.

«Когда я понял, что каждая песня в системе Musicoin имеет свой собственный платежный адрес, я вспомнил множество знакомых музыкантов, делающих отличную музыку, которая подходит для загрузки. Затем я попросил разрешения использовать их музыку в моем миксе, – сказал Deadly Buda. – После встречи с некоторыми из музыкантов было решено использовать следующую формулу: 40% дохода от микширования поступает диджею, а 60% равномерно распределяются между песнями в миксе. Диджей проводит много времени, просеивая кучу музыки, чтобы найти драгоценные камни, которые затем он или она играет для публики, поэтому я хотел одновременно учесть эти трудозатраты и расходы, в то же время оставив достаточно места для каждой песни, чтобы она могла заработать деньги ».

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DJ Deadly Buda выпустил первый в мире диджейский микс с использованием блокчейна.

Новая парадигма создания и оплаты диджейских миксов теперь официально существует благодаря DJ Deadly Buda и Musicoin, “но предстоит еще много работы, – говорит Deadly Buda. – В самом ближайшем будущем, вероятно, появится только одно поле для ввода данных, которое сможет использовать музыкант и которое даст всем участникам системы право на микширование их музыки, поскольку она будет оплачиваться через смарт-контракт. Как только это произойдет, систему уже невозможно будет остановить, она принесет огромную пользу как существующей музыкальной индустрии, так и новым музыкантам.”

Здесь вы можете зарегистрироваться на платформе Musicoin.

La Primera mezcla que pagara a cada artista, fue lanzada a travez de Musicoin gracias a Deadly Buda

Cada vez que alguien escucha la mezcla de DJ Deadly Buda “Rock the Blockchain” en Musicoin.org, quince pistas de música electrónica y sus artistas se pagan automáticamente, en cuestión de segundos.

Esta hazaña se realizó alrededor de las 2:00 de la mañana del 13 de agosto de 2017, después de que Deadly Buda finalizó la integración de 19 “contratos inteligentes” en Musicoin y los conectó a su mezcla. “Básicamente, es un cambio de juego para cualquier tipo de música como EDM, Disco, House o Hip-Hop y más”, dijo DJ Deadly Buda.

DJ Deadly Buda
DJ Deadly Buda

Puedes escuchar la mezcla “Rock the Blockchain” AQUI

 La mezcla contiene 15 pistas EDM de varios géneros, Hard Electronic, Dubstep, Hardstyle, Hard Bass, Selva, Tambor y Bajo, Hardcore Techno, Shamancore, Tekno y Ambient, de los artistas Counterstrike, Satroniq y DJ Delirium, Teknoaidi, Subterranean, Cap , M27, Harhor y Deadly Buda.

Desde que las mezclas, se hicieron populares en los años 70, ha estado sobre todo en un estado cuasi-legal. Ya que la mezcla son varias canciones o “pistas” separadas, requiere numerosos permisos, papeleo y licencias para ser legalmente compatible. En el momento en que el papeleo se hace, el público en general, considera la música fuera de moda, y otros temas se han hecho populares. En consecuencia, la mayoría de los DJs no se han molestado en obtener los permisos, y han lanzado las mezclas “ilegalmente” en cassettes, CDs y ahora, Soundcloud y Youtube. Por lo general, los artistas de estas mezclas no están recibiendo ningún dinero por su música y muchas veces no se acreditan como parte de la mezcla. Los DJs a menudo no proporcionan listas de reproducción, ya sea para evitar el escrutinio, las limitaciones de tiempo, o en el peor de los casos, sólo quieren toda la atención para sí mismos.

High Voltage, Pittsburgh PA, 1993
High Voltage, Pittsburgh PA, 1993

Irónicamente, los productores de música electrónica hacen su música específicamente para que pueda ser mezclada por Djs y desean que Djs populares usen sus canciones. Las mezclas de DJ, aunque a menudo técnicamente ilegales, son el canal principal de publicidad para el nuevo talento, o los nombres no tan reconocidos. Por lo tanto, durante las últimas décadas, la industria de la música por lo general no ha forzado los derechos de autor contra mezclas de DJ, pero han conservando su derecho a hacerlo. En consecuencia, los DJs, que aún temen una potencial incriminación, rara vez pueden publicitar sus mezclas a gran escala o obtener mucho más ingresos que el costo de los discos o Mp3 que usan en la mezcla. El efecto acumulativo de esta cuasi-legalidad ha sido que las mezclas de Dj todavía se consideran “underground ” a pesar de que es la manera preferida del público que escucha música electrónica.

“Cuanto más entendía acerca de la tecnología blockchain, más me di cuenta de que los problemas legales con la mezclas, estaban a punto de ser una cosa del pasado”, dijo DJ Deadly Buda, “todos los permisos, papeleo y pagos se podría hacer en un instante.”

* Musicoin es una criptografía centrada en la música con capacidad de contrato inteligente. *

La tecnología Blockchain es básicamente un sistema de libro mayor descentralizado mantenido por múltiples computadoras. La cadena más popular en el mundo es Bitcoin, y ha inspirado otros blockchains para dirigirse a áreas específicas de la economía mundial. Musicoin, como su nombre indica, está orientado hacia la música, los músicos y los aficionados. Cuando un usuario escucha una canción en musicoin.org el artista de la canción recibe un Musicoin (vale alrededor de $ 0.01-0.02 USD), generalmente en cuestión de segundos.

El sistema de Musicoin permite a un artista subir una canción y adjuntar lo que se denomina un “contrato inteligente” que puede distribuir pagos a múltiples partes si es necesario. Por ejemplo, el contrato inteligente podría ser programado para que cada vez que se reproduce la canción, el baterista, cantante, guitarrista y bajista de una banda reciben y dividan el pago.

“Cuando me di cuenta de que cada canción en el sistema Musicoin tenía su propia dirección de pago, hablé con todos mis conocidos que producen música, y los invité a subirla a la plataforma, y les pedí permiso de usar sus temas en mi mezcla”, reveló Deadly Buda. Después de charlar con algunos de los artistas, decidió la siguiente fórmula: el 40% de los ingresos de la mezcla va para el DJ, y el 60% se divide uniformemente entre las canciones de la mezcla. “Un Dj pasa mucho tiempo explorando una gran cantidad de mala música para encontrar las joyas que él o ella tocará para el público, así que quería honrar ese gasto de tiempo y dinero, mientras que al mismo tiempo dejar una buena cantidad de espacio para Cada canción para ganar dinero también. ”

DJ Deadly Buda lanzó la primera mezcla de DJs “legal” del mundo. En la que todos los artistas recibirán crédito, y paga por su música.

Un nuevo paradigma de cómo se pueden hacer y pagar las mezclas, oficialmente funcionando gracias a DJ Deadly Buda y Musicoin, pero todavía hay trabajo por hacer dice Deadly Buda, “En un futuro muy cercano, probablemente habrá sólo una casilla de verificación que le dará el derecho de mezclar su música siempre y cuando se les paga a través de un contrato inteligente. Tan pronto como eso suceda, el sistema será imparable y beneficiará a la industria de la música establecida y a los nuevos artistas por igual “.

Puedes inscribirte para Musicoin aquí.

World’s First Blockchained DJ Mix Released by Deadly Buda on Musicoin

When DJ Deadly Buda’s “Rock the Blockchain” DJ mix is played on Musicoin.org, fifteen separate electronic dance music tracks and their artists get paid automatically, within seconds.

The system that makes this possible was made public at about 2:00 AM, on August 13, 2017, when Deadly Buda finalized the integration of 19 “smart contracts” on the Musicoin blockchain and attached them to his DJ mix on Musicoin.org. “This will completely change the dance music landscape,” said DJ Deadly Buda, “it’s a

Click here to visit Deadly Buda's Musicoin profile.
Click here to visit Deadly Buda’s Musicoin profile.

development on par with the introduction of the 12” single or the crossfader. It will change the way we do things creatively and the listener will be the winner.”

The DJ mix contains 15 EDM tracks of various genres, hard electronic, dubstep, hardstyle, hard bass, jungle, drum and bass, hardcore techno, shamancore,  tekno, and ambient, by artists Counterstrike, Satroniq & DJ Delirium, Teknoaidi, Subterranean, Cap, M27, Harhor, and Deadly Buda.

The DJ mix format was popularized in the 1970’s and since then has existed in a quasi-legal state. A recorded DJ mix is a continuous blend of several separate songs or “tracks”. To be traditionally legally compliant, this requires numerous permissions, paperwork, and licenses. By the time the paperwork is done, the audience generally considers the music in the mix old, and has moved on to the latest sound in fashion. Consequently, most DJs over the decades haven’t bothered to get the permissions, and have released the mixes “illegally” on cassettes, CDs, and now, SoundCloud and YouTube. Generally, the artists in these mixes aren’t receiving any compensation for their music and oftentimes aren’t even credited as part of the mix.  Many DJs don’t supply playlists due to avoiding scrutiny, time constraints, lack of proper labeling on dance records, or at worst, just wanting all the attention for themselves.

Rock the Blockchain's flyer graphic is from the 1993 Turbo-Zen party in Pittsburgh, PA, High Voltage! The graphics would later be mentioned by Dan Mross in the movie "The Rise and Rise of Bitcoin" for its slogan, Technology Must Be Used to Liberate the Indvidual."
Rock the Blockchain’s flyer graphic is from the 1993 Turbo-Zen party in Pittsburgh, PA, High Voltage! The graphics would later be mentioned by Daniel Mross in the movie “The Rise and Rise of Bitcoin” for its slogan, “Technology Must Be Used to Liberate the Indvidual.”

Ironically, dance music producers make their music specifically so that it can be mixed by DJs, and clamor for popular DJs to use their songs. DJ mixes, though often technically illegal, are the main channel of publicity for smaller dance music scenes or up-and-coming talent. So for the last few decades, the music industry has generally not enforced their copyrights against DJ mixes while retaining their right to do so. Consequently, the DJs, still fearing potential incrimination, can rarely publicize their mixes on a grand scale or derive much more income than money they spent purchasing the records or Mp3s used in the mix. The cumulative effect of this quasi-legality has been that DJ mixes are still considered “underground” even though it is the audience’s preferred manner of listening to dance music.

“The more I understood blockchain technology, the more I realized that the legal problems with the DJ mix were about to be a thing of the past,” stated DJ Deadly Buda. “All the permissions, paperwork, and payments could be done in an instant.”

Blockchain technology is basically a decentralized ledger system maintained by multiple computers. The most popular blockchain in the world is Bitcoin, and it has inspired other blockchains to target specific areas of the world economy. Musicoin, as the name suggests, is geared towards music, musicians, and fans.  When a user plays a song on musicoin.org the artist of the song gets paid one Musicoin (currently worth about $0.01-0.04 USD)—usually in a matter of seconds. This is significantly higher than average artists get paid per play on Spotify or iTunes.

You can sign up to Musicoin here.
You can sign up to Musicoin here.

Furthermore, the Musicoin blockchain system allows an artist to upload a song and attach what is called a “smart contract” that can distribute payments to multiple parties if needed. For example, the smart contract could be programmed so that every time the song is played, the drummer, singer, guitarist, and bassist in a band all split the payment.

“When I realized every song on the Musicoin system had its own payment address, I got as many people I knew that made great music to upload. Then, I asked their permission if I could use their music in my mix,” revealed Deadly Buda. After conferring with some of the artists, realizing they were helping to establish a new paradigm, the following formula was decided: 40% of the mix revenue goes to the DJ, and the remaining 60% is split evenly between each of the songs in the mix. “A DJ spends a lot of time sifting through a lot of bad music to find the gems he or she plays for the public, so I wanted to honor that time and money expenditure while at the same time leaving a fair amount of room for each song to make money as well.”

A new paradigm for how DJ mixes can be made and monetized is now officially live thanks to DJ Deadly Buda and Musicoin, but there is still work to be done says Deadly Buda, “In the very near future, there will probably be just a checkbox an artist can use that gives anyone on the system the right to mix their music so long as they get paid via a smart contract. As soon as that happens, the system will be unstoppable and will benefit the established music industry and new artists alike.”

You can sign up to Musicoin here.

Trauma One Year Anniversary: All My Expectations Were Broken

It didn’t feel like it we attended Trauma Oldschool for the Headstrong just this time in August 2015. However just this past Saturday marked the one year anniversary for Trauma’s return (formally TR-99) and saying we celebrated accordingly would be an understatement. I started my night off early already knowing what to expect, well at least I thought I did….

The night began with a unique set from LA’s own Deadly Buda,whom played a hard electronic set for his first hour. This would be my first time hearing it live, but when guy’s like Lenny Dee are pushing this style, I guess I couldn’t ignore it. The best way I could explain it would be “Subground style with an industrial soul”. It wasn’t easy to get into at first, but the industrial heaviness paired with the clashing effects of modern electro is definitely up and coming. The doors opened and kids dressed in their handmade fur and kandi attire, to throw back T-shirts started to fill all the rooms at Union gradually. It seemed like the music only got louder as more people filled the floors. Deadly Buda had the chance to fill the second slot after him, in which he transitioned into a classic/mainstream hardcore set which set the pace for the whole night. (Well at least till Tim Shopp hit the decks but we’ll get to that later)

By the time he was done I had already been freely moving between the venue, sometimes getting lost, but it wasn’t hard to pick out who was playing in the different rooms. I found myself gravitating towards definitely the main stage and the smaller downstairs for separate reasons. The main stage was pumping out the best production and sound with the largest crowd, but there was something special to be attributed to the smaller room. I caught a good portion of Demigod early in the night. I was surprised when I was outside and I saw someone bust out “United States of Hardcore” cassette tape for him to sign. After that I knew it was going to be sweet classic satisfaction every time I curved that corner to hear the sound that caught me in the first place. It wasn’t long till almost all rooms were packed, bars were busy and there wasn’t a time when people weren’t busting out a fat hakkuh. (Including myself)

Tim Shop, Deadly Buda, Levenkhan
Tim Shop, Deadly Buda, Levenkhan at Trauma 1 Year Anniversary

Although I live for hardcore, I would occasionally have to side step to the sounds of Drum n Bass & Jungle as I moved between downstairs and main stage. I can’t recall a time where I would walk by and not have the urge to stop. Not being an expert on the subject matter, it didn’t take a jungulist to look to the small side stage to see the same dedicated fans dancing their hearts out.

I returned upstairs to prepare for the last half of The Pitcher but over the years my ear for Hardstyle has been getting worse. That didn’t stop myself from jumping to the absolute Rawstyle and Old-school he was throwing down. I’m even sure the crowd never missed a beat as he slipped in a couple Hard House hits from the origin days. I’ll have to admit I was itching for some faster pace at that point but I may have tried my luck a shuffling again, poorly.

I migrated downstairs for a while because I kept hearing rumors that Ron D Core and DJ Dan we’re still playing a tag vinyl set together. I did some quick thinking and realized that they were already almost playing for 2 hours, some say 3 but regardless I showed up that weekend to hear some classic Hardcore and I left only wanting to hear more. I simply couldn’t get over the attachment everyone had in that room to the music. Even to some of these native west coast hard heads, this music is blood to them. The sweat and tears was only reinforced my thoughts. I hope to experience that again soon.

Between the familiar faces from people traveling all around for different acts, and the nice weather, it was hard to prevent myself from going outside. Not once did I hear a shred complaints (Except the unplanned absence of Kevin Kaos, sorry Lisa). I wasn’t really sure why I didn’t buy a taco once while I was out there but, who knows? I got into a couple conversations and I was surprised that to some this was their first Hard Dance event. I assumed the line-up and anniversary title would bring out a specific older crowd. I guess the theme of the night was how much I could be proved wrong. Anyhow, the newcomers were stoked to say the least and in their reaction I only knew that wouldn’t be the first time I’d see them

Oh man, I haven’t even got to good part yet. I returned to my rightful place at upstairs main stage, some would call it entitlement but if you’re not causing damage, well you might be in the wrong place. Decipher took the decks and I could’ve swore the floor almost went down under. The tall shadowy Ozzy  stepped up for his first time in LA and makes you wonder why only the first time? The ground was shaking, fists were pumping, and you would be wrong if you thought there wouldn’t be a pit for the angriest. It was a mix mash of some of the best hardcore mixing I’ve heard in awhile and I hope that people will notice what kind of unique talent he brings to the decks.

Jerome Hill looking out for Flapjack!
Jerome Hill looking out for Flapjack!

As Decipher ended his set you could already tell by looking around the room who was next to take the stage. The room went black, the strobe hit and before you knew it you we’re in Noize Suppressor’s world. The look on people’s face went from cheery to hard frowns and ugly grins. The madness had arrived. Being a fuge fan of Noize Suppressor for a long time I was more than excited to hear my favorite tracks and from the way the crowd was screaming the lyrics without a care for having a voice the next morning, I wasn’t the only one. For a good while there the solo strobe combined with a violent mosh made for a experience I thought only existed at concerts but the music had people feeling a certain way, and not in the typical loving way at most events. The highlight was easily the successful crowd surf which apparently is a once in while opportunity. He smashed out the ending with well preparation for was about to be in store…

Everything went silent, the room filled, and all you could hear people screaming for and calling one name, america’s own Tim Shopp. An abnormal BPM took over if you aren’t too familiar with the name but that was a good night to learn, and easily one of the best sets from the man in my opinion. Although we didn’t see him in his usual bomb vest, that had nothing to do with how he had the crowd to their knees. Well at least most of them, it almost as he felt he was challenging the crowd. How fast and hard could he go? Turns out this is the future and no one was missing a beat. Being the number one talked about hard dance upcoming producer in the US since his release of “Terror Squad” hitting top charts on Hardtunes it wasn’t difficult to see why. The ante kept climbing with the murderous kicks and faster tempo, the weak one’s feet began to slow down but not a soul went anywhere till the sound shut off. The party continued downstairs but by that time I had barely enough in me to go on but also wanted more at the same time.

The next morning the posts keep flooding my newsfeed and from everything I saw and heard the following night it was the first I actually got what I expected during that weekend. Ever since my interaction with Trauma Live and their staff it’s been nothing but good intentions and even sicker parties that aren’t just catered to the usual hard head, and for that reason I will always respect what’s to come next from the Trauma crew. The inside jokes and mixed memories will live on in the legacy of Trauma events. The mayor of Hardcore has my vote.

-Jarred M

DJ Buzz Fuzz: The Trauma Harder Styles 2016 Interview

This interview was conducted back in August of 2015 by Mindcontroller when Buzz Fuzz and a few other names on this current line up of the Trauma tour first came through the US. Seeing as it is important to get to know who you’re going to go see, let this be the manifest of the legendary Buzz Fuzz so that you can pay your proper respects when he rolls through your town! Buzz Fuzz will be appearing this Friday, February 19th in Mesa, Arizona. February 20th in Denver Colorado. Pittsburgh, Pennsylvania on the 26th, and closing in Brooklyn, New York, February 27th! Hard en heerlijk!

Artist dates for the Trauma Tour
Buzz Fuzz is coming to a city near you! Click HERE to purchase your tickets to the Trauma Tour and receive a FREE subscription to the HARD DATA!

What year did you get into DJing/the Rave scene?
1987. I was playing hip-hop, swing beat, and R&B in a religious club.  The rave portion started in 1991 where we played Hardcore/House.

What came first DJ or producing?
DJing. Then I started producing in 1993 with The Prophet.

What drew you to the Hardcore techno sound?
My ex girlfriend, actually. She invited me out. At the time, I didn’t know anything about “raving”. I went to the show and The Prophet was playing. At that point, I said, “Yes! This is going to be it.” I haven’t been out since.

What inspired the name Buzz Fuzz? Is there a meaning behind it?
It was found in quick thinking. The guy who organizes the parties for ISB, the Hellraisers stuff, said he needed a new DJ, but I needed a name! I had this record from King B, and it said it’s the king ‘B’ for buzz and fuzz and since my last name is Vos, I decided to take those two words.

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

The Prophet, he was the first one to show me how everything works.

What was your first DJ gig as Buzz Fuzz?

It was in 1991 for ISB, the Hellraiser guy: ‘The Bloom Party’, and The Prophet said, “I was supposed to play with Dano, but he’s got the flu. You bring your three turntables and I’ll bring my three.”, so we’ve got six turntables and two mixers, and we connected it all together and played for six hours.

What’s the funniest moment you ever had during one of your performances?
One time I was playing in Amsterdam, and I was really fucked up; I could hardly stand. I was into vodka, pills, and stuff. Lenny D said, “Oh my god Buzz, are you going to be able to play?” I said, “Just get me to the turntables!”, and I played a marvelous set. No mistakes. Then I collapsed right at the end.

What would you consider your best DJ gig to date? Thunderdome in Hamburg, and Dance Valley.

DJ Buzz Fuzz performing for Thunderdome in Florida.
Buzz Fuzz playing in Thunderdome Florida!

What’s your favorite collaboration?
My work with The Prophet. We made a lot of tracks in his studio. When we get together it’s like magic. We would finish two tracks a day! And Gizmo of course. We made seven tracks in two days. One of them was Brand New Dance. We were really fucked up but the track was, and is, still awesome.

Hardcore has really changed since the ’90s. What’s your take on today’s Hardcore scene?
I think mainstream Hardcore has gotten too simple. Everybody’s producing the same style. And there is even more mainstream now.

Out of the new batch of DJs and producers out there, who’s your favorite? Whose sound stands out the most?
Angerfist. I discovered him. I was playing in Austria, where I received a stack of demo CDs. One was a double CD (Angerfist’s). It blew my mind. I referred him to Art of Dance. He became my protege, but that didn’t last long, he was already very good.

Any current projects?
My label, BZRK Records! It was laying low for a while, but now it’s back! I’m doing some collaborations with some new artists for it. The future looks promising.

Are you going to do any updated versions of some of your classics?
Oh yeah! Frequencies, an XTC Love remix by Deepack, and Brand New Dance.

What advice would you give to any up-and-coming hardcore producers?
Think with your heart, not your brain. That’s the main point. When you’re good enough, you can make it. Don’t try to copy. Be yourself.

 

Purchase your tickets to the Hard Data!
Catch Buzz Fuzz on the last four dates of the Trauma Tour!