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Articles, Interviews

Leo Corson Interview

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In my mind, Leo Corson is one of the main people responsible for the current popularity of the harder styles in North America. As a tireless advocate of hard dance music, he was once known as DJ Dutchboy and then as Used & Abused. Now, he’s a booking agent for Corson Agency and Circle Talent Agency. 

How did you get into the rave scene in the first place?

I went out to my first rave in 1994 or ’95. It was called Angies Urbal Jungle. From then, I kept going to raves. Insomniac was also throwing their first events around this time. I immediately fell in love with hardcore, the high energy 170-180 BPM stuff and some of the early rave sounds. I did a lot of things within the rave scene: I worked events, I did flyers, I worked in a booth selling necklaces and glow sticks, etc.

When did the music come in?

In 1997 or 1998, I happened to be working a show. Lenny Dee, DJ Isaac and G-Town Madness were booked for this. I met them, took them out the day after the show, and then I was invited to go to Holland. Holland is where I started really becoming a DJ because I was able to bring back all of this vinyl and white labels back to America. I started playing out as Dutchboy, my first show being in 1998, Neverland. Then around 2000, the music started to change: a big influence from Germany. People like Cosmic Gate started making 138 BPM music and then that morphed into what we know today as hardstyle, but it was a lot slower at first. A lot of the hardcore guys decided to switch to this sound. This started in about 1999, but it didn’t really become classified as hardstyle until about 2002 when it really started to take off. Then I switched as well and changed my name to ‘Used & Abused’, but I still played hardcore as Dutchboy. Then around 2003-2004, I opened up a record store on Melrose, Underground Culture. But at this time, vinyl was starting to die.

When did you establish Corson Agency?

2008. At the same time I set up the label Hard Dance Nation; that was the conduit that allowed us to do events and tours. We also release music for North American hard dance artists.

When was Hard Dance Nation’s first show?

In 2008 as well, when I became 30. It was “XXX,” Roman numerals for the age that I turned. That was the first show that was all hardstyle, hardcore, and hard dance, which took place on the ninth of August, 2008.

What was the biggest challenge to getting harder music more accepted in America?

It was easier in the early 2000’s because the different styles were all around the same BPM, the general speed being around 135 BPM. Trance, techno, and club house was 135, hardstyle was 138. You could mix it all together. Then in the mid 2000’s, everything kind of splintered off and it got even more splintered as we go into the teens. Now we have 128 on one side, and 150 on the other. That’s a broad spectrum. You can’t pitch the music up or down too much. I think that’s the biggest challenge. For a lot of people, 150 is a bit much. But luckily, we have a lot of fans in LA especially that like it.

What’s been the most gratifying thing that’s happened over these last years as an agent?

Putting on Basscon in association with Insomniac… when you see the show practically sell out the Hollywood Palladium! Starting from really small raves and struggling to get the music recognized, then seeing promoters like Insomniac push it further, that’s a great feeling.

What would you like to see more of in the Hard Dance community?

I would like to see less bullshit and less fighting, because I think that’s going to ruin the scene faster than anything. The flaming online and the shit talking and this whole rawstyle versus this whole … you know what? It’s fucking music. We’re all on the same boat. It doesn’t matter what sound it is, who this guy is, who that guy is. I think that we need to let go and support each other. It’s the same thing that I faced back in the 2000’s. You had the people who like gabber and they would punch these happy hardcore kids in the face because they’re wearing furries and beads. That’s not PLUR. It’s not positive and it’s not a very good representation when you do those types of things. I even heard that there was a fight at Nocturnal between two hardstyle crews. I heard, I’m not going to call you people out, but I heard that there was an actual fight?! I mean, there’s a fight between two people who like the same thing! But you guys think you’re better than the other? I think that is something I would like to see stop, because I’m not doing this so guys can have a place to fight each other and measure their dicks.

You mentioned to me in an email that you  teach a course in music business.

Unbeknownst to most, I have a Master’s degree.

An MBA?

It’s an MBA, but it’s called Music Industry Administration. It a 60-40 split of the MBA program and music. It focuses on publishing, licensing, copyrights, mechanical licensing, contracting, entertainment law, and stuff like that. I spoke twice at Icon Collective, a school in Burbank. They were looking to expand their music business department. It’s actually very important when these kids grow up and want to make music and want to DJ, to understand that there is a business side of it. So they gave me a job opportunity, and I took it. It’s a good way to give back to the community.

What’s on the horizon for Hard Dance in 2016?

We are already starting to book things in advance. I can’t really divulge one-hundred percent, but I can tell you that you’ll see more Basscon stages at more Insomniac events. I know Insomniac is the only major US promoter that is really putting an effort into pushing this sound so far. As long as the fans come out and support the harder artists, even if there is only one act per show, that will really help push things forward. We are a small group of dedicated people right now and the only way that we are going to help expand is by supporting the best we can and in any way we can. Go out and support the music you love for god sake!  Another thing I want to address: the fans. I know you are so die hard but you can’t be so angry when we can’t get someone booked. Visas are very difficult to get these days. There’s a finite amount of visas that customs and immigration services can give out. It’s expensive. We have to prove that we’re not stealing an American job.  It’s very highly protected. This law was enacted in the 70’s to protect American workers and musicians. Realize it’s not that we don’t want to bring them, it’s that they might not be able to get the visa that is required or can make the payments. There is a business side of things. The government does hold a lot of sway that we can’t circumvent. Keep that in mind.

Do you have any advice for those wanting to get involved with music?

If you’re an aspiring DJ, you should focus on producing instead. You can’t just go out and get the cool vinyl, white labels, and promos. Producing is what’s important. If you’re an aspiring hardstyle or hardcore producer, just get your music out there. It’s so easy these days. The more Americans and Canadians that actually step up and produce seriously, I think the rest of the world will take our hard dance community more serious. Stay professional and clean on social media. The more professional we look, the more the international community will look at us with that same seriousness. This music does come from the Netherlands. They have high standards, REALLY high. They will look down on all of us if you don’t hold yourself similar. Collaborate more. I think that’s really, really, really important.

Any last words before we depart?

I want to thank all the fans because a lot of them know me personally. I go out and they always thank me for what I do. I appreciate them as well. I don’t need the recognition. I do it, partly and sadly, because no one else has stepped up to do it. You guys show a lot of respect and in return I want to do that for you. Thank you.

Editing on this article was also done by DJ Daybreaker.

Articles, Interviews

DJ Chosen Few Interview

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

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

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

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

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

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

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

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

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

Talk again about your origins when you first started playing.

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

How did you get your start in Hardcore?

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

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

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

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

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

But it leads in the same direction.

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

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

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

Articles, Interviews

DJ Dione aka E-Noid aka SRB Interview

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

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

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

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

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

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

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

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

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

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

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

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

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

Austin:  Any advice for the American Hardcore scene?

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

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

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