It’s about time Delta 9 “graces” the pages of The Hard Data again! You would think that he or his alter-ego “Dave-Delta” would get play here all the time, being that he’s an old school vet still pumping out dope tunes. Well, this error has been corrected and now you get to read the words of wild from the Windy City’s #1 devil of hardcore! Without further delay…
So, ok, we already know you’re from Chicago.
Yes. The windy City creates the Chicago hardcore sound.
What’s the story behind your DJ Name?
Delta 9 equals tetrahydrocannabinol.
Who or what is responsible for you being the artist you are today?
It basically came from the upside-down behaviors of human society. It’s either find an outlet or become a serial killer.
What are you trying to convey with your music?
I’m trying to convey rebellion that becomes more difficult as the industry turns more towards the direction of big business.
What moment do you cherish the most so far in your career as a DJ, artist or musician?
All of them. Every event from small to large, every DJ set I play and everyone I speak with throughout the night.
Ok, but what specifically are you planning to give to the audience at Hard Electronic?
A look into of my soul.
What is something you really want to tell the public that we might not have asked about?
Hard Electronic addicts in the USA are in for a treat this month, as Malke brings his musical artistry to New York and Los Angeles. For those of you not familiar with him yet, we were able to get a few words out of him while he was preparing for the shows.
Ok Malke, tell us the basics…
I’m from Campo Grande, Brazil. There I’ve had the opportunity to enjoy dance music at clubs at early age, which instilled a passion for the music right away.
What’s the story behind your DJ Name?
Well, Malke is actually one of my surnames, so that was kind of easy to come up with.
What are you trying to convey with your music?
Energy and excitement are the two words that best describe what I want to deliver to the audience. I love to blend the chaos of metal music concerts with the danceable mood of the clubs and festivals. Sometimes the lyrics on my tracks have deeper messages related with politics and society but some others I’ve only looked for cool sounding words and that’s it.
Malke killing the drums!
What moments do you cherish the most so far in your career as an artist?
If I had to pick just a few I’d definitely pick my first international gig in Venezuela and my moving to Europe was another really important step up in my career. Playing at Nature One this year was definitely out of the chain but also my debut album on Industrial Strength Records is something I am really proud of.
What can the audience expect from you at Hard Electronic?
I brought all my collection, from Techno to extreme Hardcore, so I have the freedom, within my style, to follow what I feel the crowd is wanting to hear at each moment.
Anything extra you want to say before signing off?
Thank you to all hard electronic music supporters out there, you really rock!
This is what Malke looks like when the party gets pumping!
Hardcore is a genre that has been a part of my life since I was a teenager. I’ve always loved hard and aggressive music and still listen to metal, punk, or whatever gets my adrenaline flowing on top of my daily hardcore headbanging. To be able to be a part of the history of this amazing genre is incredible. Here are five of my top picks from Hard Kryptic’s catalog.
“The Pit” is the record that started it all for Hard Kryptic and the next step for me in my music career. I remember first writing the melody on “The Pit”. I had the kick drum and was playing the melody on loop. It was one of those melodies that I played out of thin air and that was it. It’s a simple and chromatic melody, but catchy. The overall theme of the song is fun, but when the melody and kick came together, it’s aggressive. Ten years after that album’s release, it was beyond exciting to re-create the song with my buddy J Root. The original mix of “Return To The Pit” is a complete re-imagining of the original track. I recorded new, original vocals and guitars with my buddy Spikey Jay. I’m still blown away by the magic we had on it. Then the remixes are beyond incredible! Ophidian took the melody and worked his magic. I can’t get enough of it! Braincrushers were the first guys I wanted to put their touch on the track and they didn’t disappoint, taking those guitars and making a headbanger! Vi Ta Lee came through with a unique, low tempo remix that bangs. Section IX dropped a strong rawstyle remix utilizing “less is more” when it comes to making a banger. Silent Humanity came through with a doomy, techy version that made a lot of use of the original Pit melody with the new vocals. Finally, we remastered the DJ Delirium remix from the vinyl record. There’s also a re-release of two remixes of two tracks that appeared on the original vinyl (“Suck A Fuck”) with a Neural Damage remix and a Neverlution remix of “Revenge” on the digital bonus edition.
It always exciting to see how an artist can interpret another artist’s work. You could simply rearrange channels, add a few elements to it, or go all out to create something completely new out of the original song’s elements. The idea of RMXD came about as a fun way to have artists remix another. First, I did a remix of Komarovski’s track “Viva La Revolution”, and in return, he did a remix of my track with J Root called “Origin Unknown”. Another remix, also with J Root, called “Listen!” was done by none other than Dither. I forget at what point Hard Essence came into the picture for this project, but I’m glad it did! That didn’t leave my bag for who knows how long! Overall, this is a release where every track was constantly on my setlists. Even to this day, I’ll pull out Dither’s remix or Hard Essence’s remix with no second thought that it will rock the dancefloor.
“Defined By The Melody”, Hard-Tex’s first release with us, is an incredible EP, but his 2016 Art of the Melody album is what really makes him really shine. Hard-Tex is a melody machine, and this shows it! “Opposites”, “Trapped In Despair”, “Art Of The Melody”, and “Out Of The Ordinary” are stand-out tracks. When you look at the album as a whole, there isn’t one filler track on this release. There’s collaborations with people like Outrage, Psychoforce, and even li’l ol’ me, plus remixes by Embrionyc, Komarovski, and Neverlution. This album proves Hard-Tex has the talent that is in-line with the best out there.
Braincrushers, E-RAYzor, & How Hard – Worldwide Movement
Braincrushers – Awakening
Braincrushers – Automatic Leg Spreader
The title track on “Worldwide Movement” is the one track that even if my name wasn’t on it, would still be a song that continue to be on my tracklists for years and years. It was an incredible project to be a part of with Braincrushers and E-RAYzor, and something with a positive message behind it. Hardcore and music in general bring people together. No matter who you are, someone in another part of the world could be listening to the same song as you and feeling that same inspiration. This track was our way to celebrate that. The music video that accompanied the project had footage of hardcore events from different parts of the world. The rest of the release with the two Braincrusher solo tracks is also great. “Awakening” has a dark, trancey melody that I love and reminds me a bit of Miss Hysteria—who I’m a big fan of. “Automatic Leg Spreader” is a slower but bouncing track that is a great set starter. With the recent release of “Worldwide Movement: Remix Project”, we took this already amazing track and added some incredible remixes by artists like Re-Style, Dark Headz, Trinitite, and more.
Komarovski’s first release with HKR “The Melody Within Me” really blew me away—right from the moment I was first given the demos. I always loved the marriage between hard and melodic, and Komarovski is a master at this. Like Hard-Tex, Komarovski is a pro at uplifting melodies on top of aggressive kick drums. Before Hard Essence did their remix of “We Don’t Give A Fuck” on RMXD, the Braincrushers boys remix was in heavy rotation when I played out. Even if you weren’t a fan of hardcore, this EP would still make your ears perk up. All of Komarovski’s tracks have been great, but when I look back at releases that made me stop in my tracks, this was one of them. Can’t recommend this one enough when talking about the history of the label.
About the author: How Hard is a hardcore DJ/producer from NYC who co-founded the hardcore label Hard Kryptic Records and its parent company Hard X Music in 2006. He enjoys long walks on the beach and is totally not afraid of flutes despite what you might have heard. It’s called aulophobia, and it’s a real thing.
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.
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.”
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 ».
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.”
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
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.
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.
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.”
