Three examples of how it was to be a Hardcore fan / artist in the 90s and using the Internet when the World Wide Web still seemed a new thing and Facebook and Youtube didn’t exist.
Biophilia
In the 90s, there were not so many ways for artists to connect on the internet. One of these ways were mailing lists; you were added to a list, and then you could send emails to this list, and all other members too, and everyone would get forwarded anyone else’s mails. A quite rudimentary way of communication. One of these lists was the Biophilia list, run by Multipara. Before discogs.com, there were also not so many ways to find a discography of your favorite label online. Multipara catered to that need too. He had a website which listed records on such labels as Fischkopf, Mono Tone, Mille Plateaux… I got into contact with him to ask some questions about Fischkopf and later also supplied information myself, as I was “at the source” in Hamburg where the label was run. Eventually he invited me to the Biophilia list too. This mailing list orignally was intended as a list for people who liked the music of Martin Damm, also known as Speedfreak or Biochip C. and other aliases – hence the name of the list, but it then became more a list for “underground” electronic sounds, including Experimental Hardcore, Early Breakcore and similar outings. Members included Thaddi from the Sonic Subjunkies, Joel from kool.pop / ex-DHR, Andy from Irritant and I think DJ Entox and John from the Somatic Responses, was on there too, as well as many other artists or enthuasists of strange electronic music. As so many artists were on the list, Multipara got the idea to do a compilation with the very artists of this list, and it happened. The styles of this release are very varied and definitely show the varying interests of the members of this mailing list; from Chiptune and Ambient to Detroit type Techno to Breakcore and Speedcore everything is here. My own contribution was the first thing that ever was released by me, Adrenaline Junkie, a 800 BPM Speedcore affair that was 1998 amongst the fastest tracks out there on vinyl. It was really a special time and community, and this double vinyl was a special result out of it and it makes a nice memory to the mailing list, this rather “primitive” form of internet communicaton.
Another trip down memory lane. In the 90s, there was no Whatsapp or Facebook Messenger. If you wanted to chat online, you would likely use Internet Relay Chat, or IRC. IRC was organized in chatroom channels that ran on servers, that then were connected in huge networks. One of these networks was EFnet, and it had a channel called #gabber, run by DJ Skinner of Black Monolith Recordings. We were a dozen and a half users on there, including Acid Enema, Eye-D from The Outside Agency, Maurice from Rotterdam Terminator Source and lots of others (Satronica, Knifehandchop, Interrupt Vector etc.). It was good times, lots of networking happened, and the beginning of Black Monolith Recordings was laid in that chatroom, and it was also how I got into contact with that label when I sent an early demo of “Urban Uprising” to Skinner – the rest is history. Memories!
BMR logo
C8.com and P2
Third trip down memory lane… we talked about chatrooms and mailing lists… but there was no social media to spread infos and sounds about Hardcore and related music in the 1990s. Instead there were websites and the biggest (for this type of music) was c8.com. It hosted PCP, an early incarnation of Bloody Fist, Somatic Responses and much, much more. The site hosted articles of various fanzines, preview music of plenty of releases, contact and background information and artists and more stuff. It was run by Stevvi who also started a mailing list for artists, fans and everyone else to communicate about what he called “dark, sick music”, and it was. While the list thrived for a few years, it ultimately decayed eventually, with lots of “shitposts” and other stuff, a taster of the Internet culture to come. So he set up a secret mailing list called P2, invite-only and only for the Hardcore elite… just kidding, mostly friends and people who had networked, and people around C8 who could hold a meaningful debate. It was host to many a great conversations, exchange of communication and connecting of artists, also some “scene fights” that almost 20 years later we can laugh about, and even some musical projects such as the c8 99 one (making tracks that last only 99 seconds, I think some of the Somatic Responses ones later got released). Artists on P2 were for example Boris Cavage, Noize Creator, and I think DJ Pure and Christoph Fringeli. One of the CD-Rs I sent to Stevvi he advertised on P2 (and put it in the music section of c8.com) and this led to the release of my Kougai split with Cdatakill and my Widerstand album, and other stuff.
Image of the old c8.com website
Nice memories again, of an era when communication was more limited but also more direct and the scene appeared smaller, before today’s version of the Internet.
This interview was conducted by 3MiloE, in DJ Nightstalker’s trailer, at Insomniac Events’, Escape: Psycho Circus.
3MiloE: Well, my name is Milo.
DJ Nightstalker: Nice to meet you, Milo.
3MiloE: I’m representing the Hard Data Magazine today.
DJ Nightstalker: Nice.
3MiloE: And I just wanted to ask you some questions.
DJ Nightstalker : Sure.
3MiloE: So where are you from?
Nightstalker : I grew up in Colorado, but came out to L.A. years and year ago, so it’s got to be like 20 years by now, yeah.
Milo: 20 years?
DJ Nightstalker : Yeah, yeah.
3MiloE: What was the music scene like?
DJ Nightstalker : It was just starting at that time. It was sort of warehouse raves, backyard party. It was kind of emerging out of the party vibe, like backyard party, ditch party, underground, like you break into a warehouse, into legit parties, and stuff like that, too. So it was pretty cool.
3MiloE: Awesome. So how did you come up with your D.J. name?
DJ Nightstalker : D.J. name? I think I was probably like thinking of … It was the ’90s, German base, and general, and the hardcore was dark, and I was skinnier (laughs) at that time. So I probably looked a little more like Richard Ramirez . But it had a good vibe like L.A. style, where we were kind of creeping around at night, kind of like breaking in and playing music and renegade parties and stuff like that. Did a lot of desert renegade parties and other cool stuff.
3MiloE: That’s awesome.
DJ Nightstalker : Yeah, yeah, yeah. It was kind of weird, acid, mushroom kind of vibe, you know what I mean?
3MiloE: Yeah, yeah. Yeah, I have the L.A. Underground scene, so I there’s a lot of that. Okay. What animal best personifies your music?
DJ Nightstalker : Personifies the music? It would probably be well, some kind of mythic creature probably, like a phoenix or something. I don’t know. Like the claw, I get known for the claw, so something that kind of rises out of the ashes, and then just like bites you, kind of after you’ve been in the trance. So that or maybe some kind of snake or something, who knows?
3MiloE: That’d be cool.
DJ Nightstalker : Yeah, yeah.
3MiloE: Awesome, awesome. What are you trying to convey with your music?
DJ Nightstalker : Really, for me it’s the whole idea of taking people on a journey is a cliché and stuff, but for me it really is … it comes from a spiritual place, so this is where we build community, through music. It’s also a space where we come together, and I kind of want to push the boundaries a little bit, so people almost feel like they’re in a dream and then they break out of that dream. You know what I mean? Instead of just like kind of hitting them hard the whole time, it’s like kind of building them to that sort of breaking point. That’s what I’m doing, yeah.
3MiloE: Can you describe the feeling you get when you’re on stage?
DJ Nightstalker : Before you’re on, you’re always like … it’s anxious or, What’s going to happen? Do I have everything? I can’t quite see past maybe the first few tunes or something like that, but then when you’re in it, it’s like you’re just sort of lost almost, like sort of merge with the crowd. And then you get spit out the other side, and you’re like, “Oh, shit. I don’t even really kind of remember what just happened.” It’s kind of weird. I wish I could be more present, but it’s like I’m just so caught up in the music and stuff that yeah, it just kind of flies by like a blur, but it’s almost like an out-of-body experience or something.
3MiloE: Yeah. Trippy.
DJ Nightstalker : Yeah, yeah.
3MiloE: Okay. What moment do you cherish most of all in your career so far?
DJ Nightstalker : So far? There’s been a lot. I have really sort of pivotal moments more recently, doing a lot of EDCs and the big festivals and stuff, but I would say it being way back to when I was still spinning vinyl, when there was still a vinyl scene, and I got asked to support Goldie in Japan. So I went to Japan, and did like three dates in Japan, two dates with him. But yeah, it was just like all music, and taking me to these crazy places, see different people, different cultures, and like, “It’s 4 a.m., and these people are still here just for me,” kind of thing. It was pretty trippy. It was part of a moment that I still cherish.
3MiloE: Awesome. What are your major influences?
DJ Nightstalker : Influences would be … early, classic-era drum and base, like folk-tech, maybe any sort of even like left-field, Electronica, hardcore. I was really heavy into hardcore coming up. But also, I used to go to after-hours, when I didn’t even know genres and it’d be like house music and I was just like, “I don’t know what the hell this is,” but I’m just like lost in the beats all night until the sun comes up kind of thing. But I grew up, my dad had a huge record collection that I’ve inherited now. So we used to listen to Zeppelin and Pink Floyd. He’d put on albums and we’d just sit there and listen to music. I’d say that’s really where it began, just this of love of … He collected everything from funk to Kenny Rogers to soul and all that stuff. So, I’d say that’s kind of where the roots began.
3MiloE: Where do you see yourself a year from now?
DJ Nightstalker : A year from now? This is probably a good transition year where I’m finally taking the production seriously so hopefully that’s going to elevate the game. I’m in a really good spot in terms of coming up as a name, or coming back up, because I was an old-school DJ, and sort of faded away for a while and then coming back, kind of resurgence.
But yeah, like Ableton, I’m getting into Ableton and stuff. What people don’t realize is …I’m also like, my other life is, I’m a professor. So I teach.
3MiloE: Oh, wow. I’m in my master’s program in psychology. Yeah.
DJ Nightstalker : Nice. So I got a PhD and I teach at University. Sometimes my students find out what my other life is, but that’s really my career, and so I sort of feel like I’m behind in that way, I can’t devote 100% of my time towards making music, because in my free time I have I’m writing, writing articles that that sort of thing.
3MiloE: May I ask you what you teach?
DJ Nightstalker : So, Chicano studies and then it’s like rhetoric, and critical thinking kind of thing, and also writing.
3MiloE: That’s great.
DJ Nightstalker : Yeah, yeah.
3MiloE: That’s great, man. Well, thank you for your time.
DJ Nightstalker : Yeah, for sure. Yeah.
3MiloE: It’s been a pleasure. We really appreciate this, so thank you.
DJ Nightstalker: Nice, nice, nice. Yeah. Thank you. Keep doing the good work, man.
3MiloE: Okay so, where are you guys from and what’s the music scene like there?
Andrew: L.A. area born and raised. I’m from around this area, grew up in Laverne. I live near Long Beach now. What about you, Scott?
Scotty: I’m from Florida originally, and I’ve been living in Los Angeles for the past two and half, three years. The scene in both Florida and Los Angeles couldn’t be any different. But they’re definitely both a great ode to electronic dance music. Florida, for example, has Ultra Music Festival in Miami and then, you know, Los Angeles has…where we’re at right now… Escape. So yeah, the scene in Los Angeles is way more underground. It’s thriving right now.
Andrew: I think it’s the best for new artists because many can’t go play shows in other states cause they aren’t getting paid enough to travel. But over here…
Scotty: You can play shows here and build your entire fan base out of Los Angeles. I’ve seen it happen.
3MiloE: So how did you guys come up with your DJ names?
Both: (Laughs)
Andrew: Well, we used to tour and make music as Night Owls together, then we went through a re-brand process from April 1st?
Scotty: Yeah, and we’ve always had this concept of… duality within our brand.
Andrew: And in the fascination with owls and nocturnal life and the occult things. I’ve always been infatuated with those kind of interests. But yeah, a mix between duality and like… our love for owls.
3MiloE: So, obviously the animal that best personifies your music is the owl.
Scotty: Yes.
3MiloE: Why?
Scotty: Essentially, it really comes down to, Free Masonic imagery, as well as the Illuminati symbolism. In the middle of the Redwood Forest is Bohemian Grove, there’s a forty-foot stone owl that they call Malik. (Editor’s note: Moloch.) Malik, as we know, has been around for whatever, so um…
Andrew: From the mythology, Malik isn’t supposed to be an owl, it’s supposed to be a bull.
Scotty: They’re both, so, Malik is an owl but it also, the same… force…has been represented as a bull. So it’s like, the same thing. So I say it’s like a bull, the symbolism is really interesting. And someone snuck into the Bohemian Grove and took hidden camera footage of people sacrificing what seemed to be like a human, or maybe they, if maybe it was, just some sort of a whatever…
Andrew: A mock sacrifice.
Scotty: …to a forty foot stone owl. So this has actually been going on for thousands of years. (Editor’s note: Thousands, eh?)
Andrew: What does that have to do with our music, dude? (Laughs)
Scotty: And, this is where, I think that’s where a lot of power of the brand comes from. Because, that has existed throughout human history for thousands of years. So I think it could thrive in a brand and use it.
Andrew: I like owl’s personifications. They’re really swift creatures that are able to see through the bullshit.
Scotty: And they’re nocturnal.
Andrew: And nocturnal. I’m a nocturnal person. I kind of see our music as swift and sleek. But owls are also very dangerous things. Like, kind of like our drops.
Scotty: Yeah, my bedroom is also full of owls too. I have all these different owls.
3MiloE: That’s great. So what are you trying to convey with your music?
Scotty: Emotion. The goal, yeah? To be able to convey emotion through music. That was a good concise answer.
3MiloE: Alright, next question okay? Can you describe the feeling you get when you’re on stage?
Andrew: Not really, I mean, it’s almost like…
Scotty: …Transferring energy.
Andrew: It’s almost like, when I was playing baseball as a little kid, and I was like, batting. Like, I almost like, blacked out. I don’t know how to explain it, it’s like you black out and you go in…
Andrew: Yeah, blackout…
Andrew: If you’re prepared, you just go. That’s how, that’s how it is for me. I don’t know, I mean, we work well together. We can read each other, off of our energy. We can do things with each other and we’ll do things vise-versa, and I don’t know, it just flows. Like, I just almost blackout. It’s weird. I don’t remember what I do during my set, or after my set (Laughs). I don’t know. And also, every single one of our sets is prepped different. We couldn’t go and do the same set twice. A lot of artists do the same set forever, but we never do that.
Scotty: Yeah that’s very true. Yeah I definitely agree the whole blackout thing definitely does happen. As soon as we go on stage and we press play, everything else is just a blur until we’re off that stage. It’s really… it’s a really interesting feeling. I think as far as being on stage, I feel like there’s this transfer of energy between the person on stage performing and the crowd. So it’s like, the person hypes it up, and their crowd looks at that and is like, “Okay, this person is hyping up. I’m gonna hype! And that’s like this transfer of energies for the crowd’s hyping and, the performer is hyping, so it’s this cycle that goes on and the bigger the crowd the more you can feel it. You can actually feel this.” (Editor’s note: HEADY!)
Andrew: That’s true though, the better response I get from a crowd, usually, the more confident I am with my DJing, too.
Scotty: Yeah, it’s so surprising. The bigger the crowd, the more confident we are because we know that they’ll fucking like what we do. So the more people there, the more heads we can turn.
3MiloE: What moment do you cherish the most so far in your career?
Scotty: Moments like these, when we’re with our friends at these festivals, and able to, you know, run around the entire place like a playground… it’s like a theme park.
Andrew: I think the one I cherish the most was probably our Global Dance set. Because that was our first time playing to a real festival crowd, and I was really nervous before like, “Fuck. It’s my first time having fucking, 5,000 people watching me do what I do.” But I really cherished it. After I got off stage. I was like, “Damn. I really just did that.” That was probably the one I cherish the most. It was the first time, it’s like losing your virginity, you know what I mean?
Scotty: (laughs) Very true.
Andrew: Yeah, that was the one for me.
3MiloE: So what are your major influences?
Scotty: As far as music or as far as…?
3MiloE: Anything.
Andrew: Major influences…
Scotty: His is baseball. If the Dodgers lose, then he can’t make music. If they win, he’s grinding.
All: (Laughs.)
Andrew: Nah, but major influences. Let’s see. Music wise, a lot of the guys doing melodic shit right now, like Illenium, Seven Lions, Zed’s Dead, Nghtmre. People like that. As far as direct music, but I draw a lot of inspiration from like, I used to listen to a lot of heavy metal shit, like screamo post-hardcore shit. I grew up listening to that. I still draw inspiration from that going into, creating chord progressions or something like that, you know what I mean? But yeah, I also draw inspiration from just everyday life, you know what I mean? Like, some days I’ll be in a rut like, I’ll open Ableton and I’ll just stare at it. And I’ll go do something, I’ll go get lunch or something and just get inspired, come back, and get ready to work. I don’t know, but yeah that’s it for me.
Scotty: I think there is a really fine line between what your influences are, and what you’re actually a fan of. I think there’s a lot of artists and music that I’m a fan of, but don’t think actually influence me. And I think at the end of the day we most influence ourselves. We become some sort of anti-influence because we’re our biggest critics you know? We have the most to lose. So in a sense our criticism of ourselves is what really influences us.
3MiloE: That is profound. Yeah, that made my head spin. I like that.
Scotty: So I didn’t get you at the forty foot stone owl that they sacrifice people, to but I got you at influences. (Laughs.)
3MiloE: Yeah, well I mean. I take my influences, and they’re not necessarily the people I listen to.
Scotty: Well, I get influences from movies, I get influences from books, I get influences from stuff that has nothing to do with music. That still influences me. I see comedians, the way comedians come up is so similar to the way DJs come up. A comedian for example starts off at a small club, doesn’t have any pull, is probably performing for free. They have to develop an entire set, test it out with the crowd to see if the set works, like, “Oh, these jokes don’t work, let me scrap it.” DJs are kind of like the same thing. It’s like, “These songs don’t work, let me scrap it.” They develop a set, they start off at this shitty club. They’re not even getting paid, and they end up, you know, being able to pull their own crowd, being able to, go on their own tour with their own headlining tour. So I think kind of stand up comedy and DJing, are both thriving in Los Angeles. I think both of those scenes kind of are so similar. So that influences me too, I could see the way this dude came up, how can I superimpose that to our shit.
3MiloE: Awesome. Where do you see yourselves a year from now?
Andrew: Hopefully doing more of these at a later time (Laughs) But really…
Andrew: We opened the main stage today. We’re kind of getting on the stages where we see ourselves being. But we want to make it more frequent. Maybe outside of California like, other east coast festivals, blah blah blah. Try to get some of these later time slots, bigger crowds, you know what I mean? But we got to start somewhere, definitely blessed to be doing what we’re doing right now, even opening, that was so awesome.
Scotty: Exactly like, I love DJing. It’s so fun to DJ. In a year I would hope to be at a placee where we would be able to make something that we wouldn’t be able to make right now. I would like to be at a place where we’re able to make something we couldn’t make a year ago. Whether its goals or achievements or whether, it’s music. As long as we’re always improving. One year ago we were not able to fucking make this song, or one year ago we weren’t able to fucking pull out, or sell out this venue or something like that. So whatever it is, I hope we’re always progressing, whatever it is, it better be something we weren’t able to do right now, you know what I’m saying?
Mike: When you guys said you opened up the main stage, what was the moment you realized, “‘Wow this is actually happening?”
Scotty: Well, we kind of got booked for these shows months in advance, so we were kind of able to somehow envision and strategize everything out, you know? For example, we’re playing at Countdown, Insomniac’s New Year’s Eve event, and it’s October. So we have three months to prepare for that.
Andrew: Also to answer the question… I don’t even think I’m personally at that point yet, you know what I mean? I’m still struggling every day man. We can be on the stage right now and not there tomorrow. But take everything with a grain of salt. Appreciate everything.
Mike: Whose the brains behind this operation? Like, do you guys have equal parts?
Yeah, it’s equal, definitely like, we’re partners. Business partners, music partners…and I mean it, fucking basic brothers. But there’s no brains. I mean, sometimes he’ll take the head on something, sometimes I will. It’s just how we trust each other. That’s just how it works.
My first rave was when I was 16 years old, when my brother put on the show at a local fire hall. Both my parents and grandparents attended. My parents showed up probably because they had to…you know, legal reasons and all, and my grandparents and I to show our support.
The music was great, with DJ Deadly Buda headlining. As an invincible teen, I wanted to jump in the mosh pit, flail around running into everyone, and let out some of that pent-up teen aggression. As luck would have it, though, I made it around the pit once and then fell, only to look up from the ground, and see a nice, scruffy pair of combat boots heading my way. The next thing I knew, a multitude of arms were there helping me up and saving me from being crushed by those boots. That ended my mosh pit days, but what remained was the knowledge of that feeling of caring from those faceless helpers.
Enter 2017, where I was given the opportunity to attend Electric Daisy Carnival in Orlando, as a VIP. It’s been 28 years since that first rave, and my how things have changed…or have they? EDM has become so popular that whole football fields are necessary to accommodate all the partygoers. Tinker Field was a huge venue with multiple stages (back in 1989, there’d only been one). There were chill out zones, amusement park rides, and vendors of all kinds. Inflatable furniture anyone? How about some organic jewelry? What amazed me was how the good folks at Insomniac had all these stages outside near each other, each with a DJ playing their own music, yet the sound from one never interfered with the other. You heard each clearly without distortion or distraction from the other, yet there were no walls or buffers of any kind. Amazing acoustic planning!
Ferris Wheel at EDC Orlando 2017
The layout and flow of traffic was also planned out well. For the amount of people at the show, one never felt overcrowded, and liquid refreshment and chill areas were always right there, much different from, say, and other famous Kingdom here in Orlando.
I truly enjoyed all the colorful lights everywhere. The Kinetic stage was my favorite, with its fireworks, water fountains, light show, dancers and video screen imagery, which was planned to the music with the goddess’s heart beating and close-ups of the djs. Kudos to the creative team! Partygoers were also creative in their dress, from furries to kandi kids, butt-cheek models to neon-clad gentlemen, marching bands, stilt walkers, and oversized fish. Those last three might have been Insomniac’s doing, but oh what fun and good vibes they made for. Some of my favorites were the lite-up butterfly wing cape, the lite-up faux fur coat and the lite-up tutu. Notice a trend here? What I didn’t notice were any combat boots or mosh pits. Nor did I miss them, to be honest. What I loved seeing was that EDM has become so popular, that people danced peacefully next to each other all over the field and most of all that raves are still multi-generational.
While waiting for a friend to buy refreshments, I started talking to a young girl with glitter and rhinestones on her face and her blonde hair in braided pigtails. She was 26 and a graduate of Flagler College. She and her Dad had come all the way from Jacksonville for the show. Her mom liked more classically played music and had opted to stay home. However, as the marching band passed by, she exclaimed to her dad how “Mom really would have liked that.”
I bet there was more her mom could have appreciated: the goddess-designed stage, the creative outfits, the more chill VIP area, and most of all, the family bonding. Back at my first rave, my grandparents found the music sounded “quite funny”, but they still polka-danced to it anyway. I’d like to believe that had my grandparents been alive and with me at EDC that they’d have been there in the VIP area drinking, eating, and polka dancing into the night. That’s what’s so great about EDM shows, there is something for everyone to enjoy and a feeling of acceptance for whoever you are.
My niece is only 8 years old at the moment, but I hope one day to take her to a rave as well and continue on the tradition.
The thing one has to realize about riddim and dubstep is that the crowd loves to get wild and aggressive, but due to the hard, raw nature of sounds of the genres, who can blame them for being so intense? Its hard to contain one’s self when these styles are blaring through enormous speakers accompanied by trippy visuals, lasers, and masked DJs. It truly makes you want to throw your fists in the air.
I bought my ticket for Hostile Takeover months in advance, so it was definitely time for the anticipation to end and for the experience of what Hostile Takeover really was to begin. I grabbed my EDC 2016 shirt and my bandana and headed from Santa Barbara to Los Angeles. Hostile Takeover took place at the Union Nightclub, a very enjoyable venue. The bathrooms were clean, they served free water, and blasted hard, loud music that made everyone go insane and rage. As crazy as the crowd was, the venue was able to keep things under control—no easy task with this kind of music. I give the the club respect for keeping everyone safe while also letting people let loose and express themselves. Apart from an altercation between two women outside while I waited in line, everything was chill.
When I first entered the venue, I was hit with a powerful energy… the energy of dubstep and riddim. As the night grew on, the energy got more and more intense until it peaked around 1:00 a.m.
This was my favorite DJ at the Loft stage, clowning the dubstep.
At one point, all of the DJs put on masks. Some were in costumes, everyone started going twice as hard. Mosh pits were rough, but no one was punching or throwing elbows at each other. One raver fell while in the mosh pit, but myself and others picked him back up to his feet before he got trampled.
These guys killed it on stage.
I was drawn to lights all night. I actually found the person who was controlling the visuals for the stage, which included the lasers and background screen. For a few moments I observed him control the visuals as a DJ would a deck. He changed the visuals with the music, keeping them in sync as it played. I watched him use technique and skills that looked like it took years of training to learn. I always had thought light shows were automated, and was surprised to discover that it actually took a person to control such amazing visuals.
This was the man behind the visuals
My favorite set of all night was Subtronics back-to-back with Svdden Death and Uber Dubstep. The skills of the DJs at Hostile Takeover rivaled some of the DJs that performed at Project Z! I went so hard I could barely stand the next day because my muscles were so sore from dancing. I entered the pit and came out a happier person after I did exaggerated body movements, fist pumps, and jumping up and down to get out my frustrations and aggression in a positive way.
Overall, I would say that Hostile Takeover was an incredible event, that will not long be forgotten. Quality riddim and dubstep, along with a good venue, is an experience that will not long be forgotten. I definitely had a great experience, and I plan on going to another Fresh event soon. I was impressed with the promoters because they know how to throw sick events. The music quality was phenomenal, the vibes were chill, and it allowed me to feel and explore the harder side of EDM. Thanks to everyone who went for making it an amazing time!
Dedicated to the harder sound of electronic dance music.
