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Seven Hardcore Tracks That Changed My Life
Some tracks hit you harder than others. They go beyond conventions, challenge boundaries, explore
new sonic terrain. They change your whole perception of music. These are seven tracks I considered
groundbreaking on first listen and after.
Inferno Bros. – Slaves To The Rave
The internet was not nearly as big as it is now in the mid 90s. You couldn’t find easily information about
“Underground Hardcore” on it. So which tracks, which music you knew was mostly defined by CDs or
Records you bought in a record store. And these were mostly defined by the Dutch Gabber market –
ID&T, Mokum, if you’re lucky you’d find a release by Ruffneck or K.N.O.R…. So I didn’t know what I
was in for when I bought a new double-CD by the Raver’s Night series, compiled by Ruffneck Records.
The beginning track was Slaves To The Rave by Inferno Bros. I had heard of PCP before, and listened to
some sounds, but barely knew anything really about this label. This changed with this track. It was just
so different from the standardized “Hardcore” and Gabber. There was so much in it, so many elements,
emotions, it picked you up and took you on its own vibe, so far away… what is not to praise about this
track? The intro, the breakdown, the main synths… a true classic.
Wedlock vs. Comababy – Void Sector
When I listened to this track I was still very much in “Dutch Gabber” territory and didn’t know about
labels like Fischkopf, Blut, Anticore yet. I found this track on an “Earthquake” compilation by ID&T. But
it stood out from the common Gabber arsenal. It had a “Spiral Tribe” sample, cold, industrial drumming,
a futuristic atmosphere… but the main thing for me was the synths that were used in this track.
Something I did not hear before, so otherworldly, so “out there”, like you were walking another planet…
I had to listen to this track on repeat for a lot of times. In my opinion, this track is a kind of “missing
link” between Experimental Hardcore and the more Dance-orientated Dutch Gabber productions.
Atari Teenage Riot – Into The Death
So I broke free from the “Supermarket Gabber” CDs I consumed and finally found a real record store
in the midst of Hamburg – “Container Records”, which was, amongst other things, the home of Fischkopf. One of
the first things I bought was “Harder Than The Rest”, a compilation with Digital Hardcore Records
artists. The tracks were all very nice to me, but when I came to “Into The Death”… I was blown away.
There was so much action packed into this track. Pure aggression. An endless onslaught of screams,
noise and beats. I got goosebumps and once the track was finished I had to listen to it again. To this
day this track is an example for me of how you produce a sound that is crammed with excitement.
Somatic Responses – Umbrella
I knew the music of Somatic Responses from the now defunct c8.com website, the main central of Experimental
Hardcore in the 90s and beyond. I got to know them personally on a mailing list, and we decided to exchange our
demos. So in the cold autumn of 1998 I opened a parcel with a demotape by the Somatix. And once I
put the tape in the player, I was gone. The opening synths of Umbrella… I never heard something like
this before. It changed my outlook at music forever. I know another artist who also listened to this track
described the sound by Somatics as “feeling as if you walk through a dystopic world of burned out
industrial building and cyborg wars”. Couldn’t agree more. This track is still amongst my favorites by the
Somatix. It had a huge influence on my own productions too, and I would suppose on a lot of other artists as well.
Frederik Schikowski – Ring My Bell
This gem was hidden on one of the infamous Irritant tape compilations. A mean, dirty little track.
Unusual for Frederik, it reminds of an Acid-Techno-Electro track, something that could’ve been on Mono
Tone or Force Inc. But the thing for me were the synth sounds, oddly squealing and distorted. The track
just sounded so exotic and different. A mental atmosphere, and a mind trip. A huge influence on my own track “Urban Uprising”.
Disintegrator – In The Sun
This track was actually one of the first Hardcore tracks I heard, as it was on the “Industrial Fucking
Strength” mix CD that I bought in the Gabber section of a chain store. But it wasn’t after 2000 that I
I first listened to the track in full length. It is a masterpiece in dystopic Techno. Wailing choirs like an air
raid warning, a voice muttering “Defcon, Defcon”, sounds like heavy vehicles moving, a killer
bassdrum… what else do you need. A true definition of “Hardcore Techno” and it shows how far ahead
even “older” sound could be. This track set me on a journey to discover the more Techno side of
Hardcore again, after the Breakcore “hype” of the late 90s.
303 Nation – Seis
Oh yeah. This track. A cryogenic nightmare on an outer space colony. Something went wrong but you
can hear the humming of the machines in the distance…
This is a very simple track really, just a drum and a bassline… but so effective in its simple ways.
Words can’t praise this track, and the whole “6 Tracker” release, enough. It’s just so peculiar, so much
there, so special… 303 Nation were true masters of Techno, and this was the high point of their art.
So these were some tracks that made an impact on me, and I hope there are much more to come.
Review: Hardcore at Sea
On Sunday August 5th I finally had the opportunity to take advantage of this incredibly warm weather this summer and go to the beach! Instead of just being a normal person and spending the day laying out, tanning, and swimming of course as always there was a pre-game meet up and a festival, Hardcore at Sea!
I met up with my friends after rushing from work (nothing like changing into rave clothes and dashing out the door) on the beach in Bloemendaal in the afternoon for a QSA picnic. If you don’t know by now or are just reading my blog for the first time, QSA is a group of American hard dance ravers who go to festivals and parties together. The best part about having a picnic outside the venue was being able to hear the music during the sound check not only from Hardcore at Sea but from Hard Classics next door.
Then after a few hours we wrapped up the picnic and headed inside to the festival. First let me start by saying the stage was SO COOL it was a giant inflatable shark, perfect for the beach vibes theme. This is my second edition of Hardcore at Sea and this year was even bigger and better than last year. The venue, Beachclub Fuel is a small but intimate bar situated right on the beach with three stages: main stage, frenchcore, and rawstyle. I have to say out of all of the festivals I’ve been to since I can remember this was the longest amount of time I have spent at a main stage. Usually I am a side stage girl (terror, uptempo, frenchcore, etc.) but the music was just so on point at the main stage and the weather was so nice, it was really the place to be.
The first set of the day was of course my besties Rob GEE and Da Mouth of Madness. As always they crushed it packing in a wild thirty minute set ranging all the way from early hardcore classics like “Ecstasy You Got What I Need” to Rob’s new hit of the summer “A DJ Saved My Life.” Of course for me with Rob GEE sets always consist of singing, yelling, and shaky Iphone videos.
Next up was probably one of the funniest things I have ever seen at a party. During Destructive Tendencies vs. Dr Peacock, which was an AMAZING first time ever set, the shark ate the stage, there was literal shark week at Hardcore at Sea. The giant inflatable shark mouth ate the stage! So epic!
I spent the rest of the day wandering around and catching up with everyone. One really amazing thing about the party was all the Americans there! Partyraiser even introduced me to his two friends from Illinois, so cool!
Perfect weather, perfect music, and therefore a perfect day! See you next time!
The Early Days Of The Tracker Hardcore Scene
I want to talk about tracker music, including hardcore. Tracker music was and is done on tracker programs like Soundtracker, Protracker, Fasttracker, Impulse Tracker and countless others.
What people will notice first is the abstract, “top down” view of the sequencer screen, very much unlike the layout of modern DAW programs. Trackers were, to most part, a digital form of producing. The basic sequencing was done by writing the sound to be used (the sample) and the pitch into the sequence editor. All channels were on the same screen (so for example you had to sequence hi-hats and bassdrum and bassline together and could not “add them later”).
These “patterns” were then put into a playing order in another screen. You could add “effects” to each note played such as pitchbent or vibrato, and in later trackers even filtering.
The finished result was saved as modules files, or MODs. These contained both the song and the samples that were used.
In the present day, Tracker technology has improved by a lot; programs like Renoise or Jeskola Buzz added hundreds of new functions and changes in the style and way to produce. Buzz allows you to use a variety of soft-synths written for the program, for example, so you no longer have to rely on sampling.
Before the internet, these modules were spread in the BBS scene. BBS was short for Bulletin Board System and to an internet user it’s hard to explain what exactly they were. A BBS was run on a computer and you could dial it up with your own computer and a modem – around the globe basically – and when you accessed the BBS it offered services like messaging boards, chat (where you could talk to other users that had dialed up the BBS at the same time as you), games, and download sections – were amongst other things track modules could be downloaded or uploaded.
Tracker artists often organized themselves in groups, so called crews. These crews usually were not just composed of musicians, but had also graphic artists, writers, and often programmers – “coders”; they turned the individual tracks into a release of multiple tracks with visuals and menus – kinda like a multimedia LP. Often these releases were stand-alone programs done by the coders which played so called demos while the modules played – graphic animations, often in a virtual reality and cyberspace style, sometimes even short movies, that tested the computing power of your system to its limits.
This is where the tracker scene met the demo scene; demos could be written for existing tracks, or demo coders included tracks for the demos; so sometimes the music came first, sometimes the programming.
The crews had so called couriers that dialed up BBS sytems around the country or world to spread the tracker releases. Often a crew had its own BBS or a BBS was connected to several crews.
With the rise of the internet, the world of BBS systems faded quickly; but the tracker and demo scene moved to the net and survives on it to this day.
With the rise of techno and hardcore, this sound quickly spread to the tracker scene too in the early 90s; long before speedcore really took its hold on vinyl, tracks that exceeded 300 or 400 bpm were released as modules.
Most producers and crews were not “hardcore only” though, and did a variety of techno and electronic styles.
The tracker and demo scene were the root for many techno and hardcore artists in the 90s: Nasenbluten, Neophyte, E-De Cologne, Christoph De Babalon, Amiga Shock Force all started on tracker programs and many many more did so. Hardsequencer, Cybermouse, Bomb 20 and others had releases in the BBS or Amiga scene before their sounds was put to vinyl and CD.
But the vast majority of tracker music never saw the light of day outside its scene; just the couriers and crews and users of the BBS world knew about them. But now there are some archives for this very scene on the internet. It’s a sonic treasure that’s still be to dug up.
Here are three mixes that are showcasing the early tracker hardcore scene:
BKJN vs. Partyraiser Review & Interview with Partyraiser
BKJN vs. Partyraiser Festival Review (June 30 2018)
Despite not being fully recovered from Defqon the previous weekend, on Saturday, June 30, 2018, my crew and I traveled to Zoetermeer for my second edition of BKJN vs. Partyraiser. Before going into the party, we had an amazing all-you-can-eat sushi dinner at Bijou where not only were we the only ones in the restaurant, but also we could see and hear the outdoor main stage from our seats. The funniest part of it all was that the restaurant was basically inside the Silverdome. Therefore, the bathroom was located on the opposite wall of the terror stage, aka “The Terror Toilets,” which made the entire bathroom vibrate. I will be definitely coming back here to eat before going to the Silverdome.
After dinner we headed into the festival, and first up on the list was Crypton at the Frenchcore stage. We actually saw Crypton walking outside when we were eating dinner and my friends, being fan girls they are, ran out of the restaurant and chased him down the street. He then joined us for ice cream while my friends serenaded him for the thousandth time with the song they made for him: “Ik hou van Crypton.” (I love Crypton.)
We then headed outside to go on the festival’s carnival ride. Usually I avoid spinning rides, but I was peer-pressured into it. Not only was the ride free and had no line, but I didn’t get sick, so triple win!
After almost having to endure the ride again because we couldn’t figure out to open the safety device (if you heard some people screaming “HELP! HELP!” really loudly outside, that was us), we ran over to the indoor main stage for Partyraiser’s big entrance. The man of the night began his set with an Elvis impersonator with a light-up exploding guitar, girls in poodle skirts, and fireworks, It was like taking a trip back to America in the 1950s, but with hardcore in the background. What a way to start the night!
Next, I headed to the uptempo area to get a good spot for Rob GEE’s set and while doing so I got to see Omkara for the first time. Dark, fast music with costumes and dancers—it was a lot of fun!
Now the moment my crew had been waiting for—the American hardcore king, Rob GEE! Rob played a high energy set including his new track “A DJ Saved my Life” and the new “You Got What I Need” remix! Whenever he is playing, you can always find me in the front and center singing and screaming.
After some socializing and ice cream, it was time for Sefa vs. Dr. Peacock vs. Partyraiser. This set was a mix of some epic throwbacks like “Always Hardcore” and “Love U More,” in addition to some newer tracks including “Tandava (Billx Remix),”one of my personal favorites. Throughout the set, I just kept thinking how crazy it was that this was Sefa’s 18th birthday. This led me to reflect on my own 18th birthday, which consisted of having a party in my parents’ basement in the suburbs with a strobe light, my karaoke machine, and my dad sitting disapprovingly on the other side of the door in a rocking chair watching everyone go in and go out. Talk about a stark contrast!
I then spent the remainder of the night at the main stage, jamming out to Partyraiser vs. F. Noize vs. Hyrule War, and then Partyraiser vs. Tieum vs. Unexist! Partyraiser’s energy throughout the night was incredible. Every set had crazy lasers and fireworks, plus was high-powered, unique, and stimulating.
Now, without further ado, let’s get into the interview with the man of the night, Partyraiser!
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First, congratulations on 25 years of hardcore! Can you tell us how you got into this music?
A long time ago, but I’ve loved it since day one. I remember my father had a tape in his bus (he was a touring car driver), and this tape had several awesome house tracks on it. I played it, I loved it. I think this was 1990.
I went to my first house party in a club in 1991, and I was hooked. During that time, it wasn’t hardcore yet, but that changed quickly. I think it was 1992 when I first experienced a kind of gabber music. But 1993 was the year where it all became big!
Over the last 25 years, we have seen an incredible transformation in the music scene as a result of technology. How do you feel this has impacted your music and your career?
Well, every time has is charms. I love the old gabber music. It was pretty simple, but mannn it was badass! Of course later gabber became Millennium Hardcore; afterwards, slower hardcore at 160bpm, mainstream, and later the more rougher sounds. Yes, I love it all. The longer hardcore exists, the more hardcore music develops. Actually, the scene with uptempo these days is bringing the old feelings back, in my opinion. More loud kicks, faster beats, and no three-minute breaks. I am kinda happy with it since I’ve played the rough beats already since 2007.
As we reflect on the last 25 years of your career, where do you see yourself 25 years from now?
Oh wow, I have no idea. I think Hardcore music will never stop, and there are so many new kids standing up to keep our scene alive. So I think I’m not ready even if I’m almost 41, haha. I think 25 years from now is too long, but 10 years from now I honestly think we will still be alive and kicking. J
Last year, we saw the return of Thunderdome and this year is the return of Megarave. What old-school party do you think should make a comeback and why?
It will never have the same feeling as it had in the past. They only do events based on older success to get money again. I think that’s not the right way. You are killing a very good name that way! So, for me, let the past be the past and throw new gigs in the future. That’s my opinion.
I have had the opportunity to meet and see your family at some of your events! Have they always been supportive of your music?
Yes, yes, yes! From day one, my mom was my first and biggest fan. She was the one who bought me the real Technics SL-1210MK2 turntables (vinyl) in 1995. I started DJing in 1993, but the first two years I played on Marantz and Kam turntables with a CD player on the side and an electro mixer, haha.
My mom said, “Wes, you are so serious with mixing, I think you need the right equipment”. And, at that time, my mom did not have a lot of money to buy it. But she saw how happy it made me, and she bought me all the stuff I needed. I’m still so thankful, because that made me the DJ I still am these days.
And yeah, everyone who’s visiting my own parties can see my family members partying with us. They are into it as well, and they are proud, like I’m proud of them.
I really love the sets you have done recently with your wife, Bulletproof. (Relationship goals!) How is it working with your wife?
Oh lady, she’s the best! She is gorgeous, she is smart, and most of all she is so sweet to me and the rest of the family. Since day one I’ve been in love, and I’m married to the best girl in the world. We have been together now for nine years and married for two years.
And she has already played for a few years now, but we never did something with it.
I wanted to wait till she was ready! And she is now, and you know. Together, it’s a magical feeling on stage. We are blessed to do this together!
What advice do you have for couples who work together in the hardcore scene?
Love each other, and keep business and private life separated. Enjoy every moment, because it’s very, very special to have this huge opportunity.
The BKJN vs. Partyraiser party series has been a huge success! What sets these parties apart from all the other events you play at?
Of course, because these are my own events. Second of all, the promoter from BKJN is a very hard-working guy with many ideas. And he thinks that creating amazing events is more important than making quick, fast money. And that works. Besides that, we are always trying to give people the best lightshows, quality sound system, and unforgettable DJ battles. It’s just freaking awesome! HAHA!
At the BKJN vs. Partyraiser parties, you play nearly the entire time! Do you have any rituals or things you do to get in the mood before such long sets?
No, I do this for so many years now. I think I’m the only one in the last 10 years who’s doing so many solos all over Europe and own gigs with 7-hour sets straight. I just love it. And I do this on an automatic pilot system, I guess. I don’t use drugs, nor drink energy drinks. Just the vibe of the fans and the music get me through long DJ nights like these.
You recently published a mix with Rob GEE—he is one of my best friends. What’s it like working with him?
Rob is a very good friend of mine. We became friends a few years ago. As a DJ, I’ve known him since the 90s. Man, he was such a big name at that time with many hits. What I like about Rob—he is pure, what you see is what you get.
To have him on stage is amazing, because he is crazy as f**k, and makes that stage like it is his own. I love him, we talk a lot, and I’m happy he’s working so hard in the scene and to see him grow again. Yes, I have a magical feeling with my buddy.
You recently released “Trip to Holland” with Dr. Peacock. I am a big fan of the video and the track! As we know, Dr. Peacock has done similar tracks for countries such as America, Ireland, Turkey, Colombia, Japan, and so on. How did it feel to be asked to work on that particular track representing Holland?
Yes, of course that’s cool! I love my country, Holland, and Steve (Dr. Peacock) is one of my best friends. He’s a huge artist! I remember before he started playing. He booked me when he was a promoter in 2005/2007, and I was his headliner.
10 years later, we are headlining together. How crazy it goes! I think, with Steve on stage, I have one of the best feelings and chemistry during battles. Steve works so hard, and I have huge respect for him and the way he does it. And of course to do “Trip to Holland” in his “Trip to” series is awesome.
I made some kicks and screeches, and he made it fit. Together we talked about the best creation of Dutch songs in it. It was a very good combination together. And then we wrote the clip and arranged all locations. It was hard and long work, but we laughed so hard, haha! Yes, we are proud of this project. In such a short time, there have been over a million views on YouTube already. J
What do you like to do outside of music that contributes to your musicality?
Chilling, walking in the woods, playing with the dogs, and driving in my cars.
I’m a huge car fan, and I love to drive. I have a few babies, hehe. I’m a huge nature guy; it’s relaxing for me. And it gives me new ideas when I clear my head outside.
You have had the opportunity to play and travel around the world. What is one place you haven’t played yet, but would love to play?
China. I would love to play there one day. Amazing country! But first, Japan. I can’t wait for my November 2018 Japan tour. J
You have been to the United States before. What is your impression of the hardcore scene there?
It is small, unfortunately! But the fans are die-hard dedicated! The country is so great, so big. Everyone knows it’s my favorite country of all time. I visit it three times a year. But the scene is way too small for so many people. I wish they’d turn down that EDM shizzle and follow the hardcore rougher scene!
If they only knew how pure and friendly our scene was. I mean, they love punk rock and all kinds of harder styles. Why not hardcore?! Only a few cities in a few states.
It’s my dream to travel all over the States and play hardcore gigs everywhere.
Like my best friend DJ El-Niño from Houston, Texas said: “The USA is great, but their choice of dance music is soft as F**K!”
What advice do you have for the American hardcore scene and upcoming producers and DJs?
Come to Europe and see how we do it. See how we throw a party, how the Hardcore community is. And bring that vibe and feeling back to your beautiful country.
Make sure we can travel and play our beats there the next 10 years!
I like to DJ and dance in Utah! Oh yeahhhh, it’s my favorite state. And for the DJs, there are good hardcore DJs and producers in the US. I know they want the same. Let’s unite!
You have such a loyal and strong fan base all over the world, but as this is an American publication, if you could give your American fans one message, what would it be?
The scene I know in the States is awesome; they are dedicated. They know what real music is. 😉 I’d like to say that I love you; I can’t wait to see you dance. Some of them I see in front of me in Europe also, and that’s great.
Tell your family and friends about it…spread the word. Make them wild, so we can visit often. Hope to see you all soon again. The US is my favorite country, and that’s no secret.
Lastly, I asked some of my American friends if they had any questions for you, and these are a couple of those questions:
Throughout your career, who or what has been your biggest inspiration?
Elvis Presley. His music made me what I am now. I started listening to music when I heard him sing at the age of two. He inspired me my whole life. His music was rough, shocking, and the media was against it. Same shit like they have and do with hardcore music these days while they don’t know anything about it! Thanks Elvis, we are what we are now, because of what you were then.
Your name is Partyraiser. Is there ever a party not raised by the time you arrive?
Of course not, there are many DJs who can throw a party! I just like to throw that little extra, so the people give me their last energy. Love to see that. Good question. 😉
Thanks everyone, it was an honor. Love your States. Love your small hardcore scene. Hope to see you all soon wherever!
Thank you to BKJN Events and Krist Alies for some of the photos!