Tag Archives: rave

My Project Z Experience by 3MiloE

Every time I listen to electronic music, the experience seems new to me. Perhaps maybe it is because electronic music is an ever- changing, ever-expanding entity, with each genre and style having its own sound, social groups, and individual cultures. Festivals like Project Z is where all these groups of people who love different kinds of  electronic music unite together and celebrate not just the music, but the way it makes us feel.

Project Z 2017 was my first Project Z experience, and my girl’s first Insomniac event. It seems needless to say to those who attended, but we were both blown away.

Excitement and anticipation filled us with adrenaline as we got in line to enter, the music and bright lights shining over the fences making me nod my head and dance a little. Upon entering, I was hit with a wave of relief and euphoria. We had made it to Project Z! The scenery made me feel like i was in a dream. Colors of blue and green lit up the night and reflected upon a lake. A grassy field lay beside it, and there were many ravers just chilling and relaxing by the tranquil water. Security allowed people to relax and vibe out, while also making it feel very safe and calm when and where it needed to be. My girl and I came casually dressed and slightly unprepared in that sense, but we had comfortable shoes, a CamelBak, and an attitude to have fun.

Our main objective of the night was to find all stages and get a sense of where everything at the event was located, like exits and facilities, information booths, and other important locations. There was plenty of open space between the stages, bathrooms, and vendors, yet were also in close enough proximity of each other to navigate the event easily and comfortably considering the large attendance.

So many sights and interesting characters were there to be seen. Having just watched an entire of Rick and Morty a week prior to attending Project Z, it was fascinating to see how many totems and candies were dedicated to the show—it made us feel like we belonged. We happen to be glove enthusiasts, and so we had to sit down a few times to get some shows from a few different glovers. The interpretive dances of their hands illuminated by LED lights entranced us, making us feel a wide range of emotions.  We spotted a gang of roving go-go dancers dressed as bunnies that looked like they were from Alice in Wonderland moving their way through the crowd and stages—their sole purpose to trip people out. They did an excellent job of doing that. Another area which always caught my attention as I passed through had a projection of ticking clocks that were scattered and moving over everything around it.

Project Z dancers
These characters danced like creatures throughout the night, moving from stage to stage.

Once we discovered all three of the stages and key locations, we were ready to enjoy ourselves. The first stage we experienced was Bassrush. The sounds of riddim and dubstep sent waves of happiness and aggression throughout the crowd. One of the main highlights of the night was JoyRyde, who murdered the stage as if the crowd had taken Liam Nieson’s daughter. The intensity of the music matched with the crowd’s ability to scream and move their bodies to the raw rhythms were enhanced by lasers and intense visuals, all contributing to a feeling of euphoria and loss of self to the moment that gripped and captivated parts of our souls that had not been there before. It was hard to leave that feeling behind, but we HAD to check out the next stage known as…. Basscon.

Basscon turned out to be my favorite stage at Project Z. The music caused a chaotic physical manifestation of the emotions I felt conveyed in my dancing that only need be described with two words, “going hard”. The DJs almost  seemed as if they were controlling the crowd with their mixer. I felt like i was in a trance. The breaks and the drops flawlessly blended together into a musical roller coaster I could ride. Explosive bursts of energy that were followed by entrancing melodies gave pauses in perfect increments to where I could dance and get enough rest in between intense parts of the songs. I danced so hard, I felt like my heart was about to explode. We decided to stop before we both felt like we were going to collapse.

Going Hard! at the Basscon stage!
Screenshot of me dancing at the Basscon stage and a cameo of the candie my girl found.

When we started to get hot and thirsty, we found that Project Z provided a filling station where water was  distributed for FREE! The fact that Project Z provides free water separates Project Z from most other events or venues, as water is usually very expensive.,

We went on to find a place to chill and before experiencing the third and final stage known as Area Z. On the way there, my girl found her first candie ever, a geometric pattern that wraps around your arm.  Before “rescuing” it, we looked around to see if it belonged to anyone, because it looked as if it had taken hours of time to make. We pondered where it might have come from, and how many times it might have been traded from person to person. We questioned what kind of stories it has had, and how much it must have meant to someone. I hope whoever lost it reads this article, because the candie found a great home and is being loved and cherished!

The painter at Area Z
This artist painted to dubstep.

At this point, we needed to rest, and Area Z was a perfect place to do just that. If i could describe the music at Area Z. It was mellow dubstep, a style you could go either go hard to or just relax and listen to. A nearby painter captured the creative energy of the night and sounds into an image on canvas.

At the end of the night, we were handed fliers to upcoming events and underground shows in the nearby area. Although I may not go to all the events that were promoted, it is cool to think that at the end of every event like this one, someone can find an underground party and perhaps discover new music, new friends, and new adventures.

See you next year, Project Z!

Оглянись, E.D.M.!, Хардкор из Лос-Анджелеса возвращается!

 

DJ Deadly Buda и Colby X. Newton (Первый выпуск “The Hard Data” / Северная Америка)

EDM или “Электронная Танцевальная Музыка” имеет  тайную историю, которую не хочет вам показывать. Всё началось в 1988-м году, когда пошли мероприятия “электронной танцевальной музыки” в Калифорнии.

Люди разных слоёв собирались вместе, чтобы танцевать в пустынях, складах, домах и даже заброшенных супермаркетах. Эти мероприятия были названы “Рейвами” и на них играла самая разнообразная музыка, что и привлекало, – Хаус, Техно, Индастриал, Хип-Хоп, Панк, Диско, Рок, World, словом, всё вплоть до ностальгических записей.

Вскоре, “рейверы” со всего мира (в особенности в Великобритании) начали создавать собственную музыку путём смешивания разных идей и звука в одно целое. Эта музыка теперь известна как “Hardcore”, так как она представляет собой эклектическое “ядро” всех рейверских идеалов. Довольно скоро саунд стал жёстче, быстрее и абстрактнее.

Этот период Хардкор прожил в полную силу приблизительно до 1993 года, когда начался великий раскол. Пионеры раннего рейва спорили об истинном его источнике и о том, чем рейв является на самом деле, и всё ради того, чтобы контролировать и получать выгоду с поразительной силы этого феномена.

Затем отдельные поджанры рейв-музыки откололись, чтобы заполнить собственное пространство и завоевать собственную аудиторию. Разделённая сцена стала лёгкой мишенью для существующей индустрии танцевальной музыки. В Америке старый “эстеблишмент” обнаружил трудности с тем, чтобы сделать ту музыку, которая бы пришлась по вкусу рейв-диджеям, и которую они бы стали играть. Они хотели видеть Хаус на большинстве вечеринок и имели бюджет, чтобы рекламировать свой продукт.

Скоро появилась масса жалоб про “слишком много Техно” на рейвах, “слишком много Джангла”, “слишком много Транса” и, в особенности, “слишком много Хардкора”.

Хардкор маргинализировался во многих частях Соединённых Штатов. Но, возможно благодаря культурному разнообразию Южной Калифорнии, идеалы Хардкора отказались умирать, стали сильнее и трансформировались в нечто, доселе не виданное.

Сотни и тысячи микс-кассет, в основном выпущенных Dr. Freecloud’s Mixing Lab и Pure Acid Mix Tapes, распространяли Хардкор-убеждения по всей Южной Калифорнии.

Друзья и семьи обратились на новый звук. Музыка стала ещё быстрее и жёстче. Начался большой замес. Со сцены ныряли в толпу рейверов, облепивших сабвуферы. Брейк-данс круги вырастали тут и там, как грибы. Экстатические и катарсические танцы достигли новых высот и всё это умещалось на одной и той же вечеринке. Хардкор диджеи со всего мира выступали в Лос-Анджелесе на регулярной основе. Лейбл Dr. Freecloud’s Atomic Hardcore выпустил “Esto Es Los Angeles” от DJ Deadly Buda, дань Лос-Анджельскому Хардкору, который стал гимном “конца-тысячелетия”. Впечатлённые окрепшей сценой, основные загородные диджеи, такие как Demigod, Deadly Buda и Omar Santana переместились в Лос-Анджелес.

21-й век заманивал светом. Но, как по сценарию дешёвой фантастики, мощь Хардкора вызывала катастрофическую тягу к его контролю.

Легендарный Dj Ron D. Core рассказывал: “В конце 90-х Хардкор сцена достигла своего пика и к началу 00-х произошло много разделений – прямо как в 1992-м, когда рейв музыка называлась только Хаус или Техно, а к 1993-му из этого возникли уже несколько новых подстилей. С Хардкором произошла похожая история, но с более негативными последствиями. Практически, лишь эгоизм и внутренняя борьба в одиночку похоронили Хардкор. Промоутеры и диджеи присоединились к множеству под-жанров, выбирая один и застревая в нём: Hardcore, Speedсore, Hard Acid, Industrial, Breakcore, Terror, New Style… Каждая фракция старалась проталкивать свой бренд и редко можно было увидеть всех вместе, действующих единым фронтом. Напротив, эти группы боролись за то, чтобы занять Хардкор-танцпол и даже устраивали пати против друг друга. Это дало горький привкус всем и практически демонтировало Хардкор-сцену.”

Также были и другие осложнения. Dj Mindcontroller: “Лос-Анджельская толпа стала слишком агрессивной и отпугивала средне-статистического рейвера, в особенности девушек. Они падали или даже травмировались в спонтанных слэмах. К сожалению, большая часть этих людей переместилась на более дружелюбные Happy Hardcore, Jungle и Trance сцены.

DJ Mindcontroller

Dj Saviour из Audiophile Family: “Слэм, разделение жанров, эгоизм и склонности навроде: “Мы слушаем только жёсткое”, или “Нахер плюрных детей” истощало энергию сцены.”

Такое жёсткое эмоциональное разделение создало конкретные поджанры. Хэппи Хардкор – с тяжёлой бочкой, ускоренная версия рейва ранних 90-х – выделял себя из “обычного” Хардкора. Хардкор-дети носили чёрные футболки на пати, тогда как любители Хэппи Хардкора были известны как “Candy Kids” из-за их ярко-цветной бижутерии сделанной из конфет (или похожего на них пластика).

Пионер Хэппи-Хардкора Danny Baldwin aka DJ Lostboy: “В основном Габберы отпугивали Кэнди-кидов”.

Что ещё хуже, в 2002 году сенатор Джо Байден выдвинул “Акт о снижении уязвимости Американцев к Экстази [Рейву]”. Закон наказывал тех промоутеров, которые были заподозрены в продаже незаконных веществ. Содержание закона было настолько широким, что даже наличие светящихся палочек на вечеринке могло стать достаточной причиной, чтобы закрыть мероприятие. Закон не прошёл в Нижней Палате Конгресса США, но был прикреплён к более известному закону и в итоге был принят без дебатов. Это был сокрушительный удар по рейв-сцене всей страны. Многие независимые промоутеры заканчивали пати ещё до ночи; но это не стало концом рейвов, клубов и тем более музыки.

Независимые промоутеры чувствовали себя под угрозой, но корпоративные мероприятия и сборы привлекали целые толпы, как будто ничего не проиcходило. Как в таких условиях может выжить Хардкор? Слишком быстрый, шумный, передисторшенный, сырой и самобытный? В новом корпоративном ландшафте EDM’а Хардкор не учитывался даже как поджанр. Культурный дух “Сделай сам”, независимость и свобода не нужны были EDM корпорациям, так как они могли удовлетворить любые потребности потенциального “рейвера”. Казалось, будто Хардкора и всего, что он собой представляет, больше не будет – да и вообще никогда не было.

Переходный период

“Сквозь нулевые ещё шли некоторые команды, но в итоге всё закончилось.  Многие достигли 30-летнего возраста и уже имели свои обязанности. К  сожалению, некому было передать эстафету” – DJ Arcid

Молодое поколение Хардкор-детей видели сцену раздробленной, ожесточённой и постаревшей. В ранних нулевых виднелась конкретная перемена в основых катализаторах, на фоне сокращающейся и нерегулярной посещаемости. Корневые группы хранили творческое пламя, например такие, как метко названная Candlelight, команда, вскоре превратившаяся в Darkmatter Soundsystem. Вдохновлённые в большей степени политически-подпитанной медиа подверсией лейбла Praxis Кристофа Фрингеля, Darkmatter сами создали себе сцену в Лос-Анджелесе, сконцентрировавшись в основном на экстремальных видах Брейккора и индустриального Нойза. Живые концерты, такие как Minion были сопоставимы с винилизмом DJ Baseck и Diskore. Тем временем DJ Arcid и DJ Stylen возглавили команду Speedkore Militia 667.

В Санта-Барбаре имелись все пласты экспериментальной музыки и Хардкора благодаря Deadculture. Проходили пати, запитанные Габбером, от команд Hardcore Junkies, Nothing But Respect, P2P и Headstrong, также как ежемесячный экспериментальный Хардкор на вечеринках “Klang Klang” от Mashup Soundsystem. Был и вездесущий Audio-Asylum от Dj Majestee – Джангл и Хардкор ночи в Bell-flower. Хэппи-Хардкор также прошёл сквозь это. Kids of the Core, Addicted и L.A. Hardcore United саунд-системы поддерживали качающий звук все эти неурожайные годы.

В стороне от мероприятий несколько фанатских журналов, таких как “Hardtimes” от Стива из Глендейла, KUCR-FM Music For Riots из Риверсайда и интернет радио-передачи типо KNK’s Hardcore Heads и Deadly Buda Radio также помогали поддержать жизнь в сцене. К концу нулевых, в 2009-м, количество сборов и мероприятий сократилось почти до нуля. DJ Meanstreak начал проводить свои вечеринки Audio Science, обычно с Хардкором, олдскульным Техно и Драм’н’бейсом на одном танцполе. После долгого перерыва, M.C. Lu-cifer возродил Hardcore Day Gatherings и вечеринки Sequence. В 2010-м Fiend и Broken Rules (ныне известный как Truncate) запустил революцию Хардкор-подкастов с Signal Flow, Red Lab Radio, GabberTwinz, также Techno Belligerent начал стримить в сети. Слабый пульс Хардкора протянулся ещё на несколько лет…

Ядро Регенерирует

“Я взял свою дочь… и упомянул одному из родителей в нашей компании, что когда-то “давным-давно” я играл Хардкор. Парень подбежал ко мне и сказал, что тот тяжёлый звук вынес ему мозг, и стоит вновь этим заняться! В ту ночь я включил автомобильное радио (после многих лет неслушания музыки вообще!) и даже в попсе были использованы звуки, которые мы играли и создавали 20 лет назад. Какое-то время меня разъедало то, что я не закончил свою миссию, но теперь я знал точно, что делать.”– DJ Deadly Buda

“Я вернулся, потому что любил это дело и скучал по нему. Есть несколько аспектов, которые мне нравятся в текущем положении вещей: музыка, люди, встречи. Теперь всё это для меня забава и будущее сделало это таким.” – DJ Lostboy

“Я не мог точно определить, просто понимал, что пришло время вернуться. Либо сейчас, либо никогда.”– DJ Demigod

По иронии, именно коммерческие интересы, которые казалось бы принесут гибель Хардкору, вернули его обратно из предсмертного состояния. Для большинства, эпохальные перемены 2012-го так никогда и не материализовались, ну только если вы не были рейвером, конечно.

В тот год SFX Entertainment приобрёл и инвестировал сотни миллионов долларов в звукозаписывающие студии, промоутеров и веб-сайты. SFX энергично рекламировал “EDM” или “Электронную Танцевальную Музыку” в качестве собирательного термина. Одними из их поглощений стали ID&T, голландский музыкальный лейбл, который с начала 90-х был основным двигателем Габбы, New Style и Hard Style. Совсем скоро, массивная задисторшенная бочка вновь звенела в ушах рейверов – чуть медленнее, чем должно быть, с блестящим коммерческим оттенком, но против вас, звенящая ни о чём. Дабы не отставать, самый большой Американский концертный конгломерат – Live Nation – вскоре инвестирует болеее 50 млн. долларов в Insomniac Events, Лос-Анджелескую компанию, которая потом будет представлять Хардкор на своих мероприятиях многие годы. Live Nation затем также захватит L.A.’s Hard Events.

Эти мероприятия больших производственных компаний представляли “Hard Dance” или “Hardstyle” стили, которые можно описать как младшего брата Хардкора, более медленного, доступного и популярного. Тем не менее, свежий интерес к “тяжёлым” танцевальным стилям произвёл возможно так необходимый электро-шоковый удар в пульсирующую борьбу андерграунда. В следствие этого, новое поколение рейв-промоутеров, таких как Noyz’r’Us, Existence Events, Audiophile family, Rave Hard и Hardcore Hooligans начали включать Хардкор в лайн-апы своих мероприятий, почти также, как Хардкор был частью рейвов в былые дни.

Translated by Harhor (GC) specially for The Hard Data.

The Mover: Selected Classics (Remastered 2017)

Dance music came into my life in stages. Growing up on the East Coast in the ‘80s, Cybotron, Strafe, and Run DMC were early ballistic missiles which struck me in third grade, when my gym teacher broke out linoleum squares and tried to teach a room of suburban kids how to breakdance. Hip hop and electro became my first loves, first fueled by NYC radio and beginning in ‘88, daily doses of Yo! MTV Raps and Rap City. Also in ‘88, Inner City’s “Good Life” and “Big Fun” entered my world through metromix sessions on Pittsburgh’s urban radio station, which I recorded to cassette. Although I had no idea who The Belleville Three were at the time, those tracks were my first introduction to the sounds of Detroit.

The Mover: Selected Classics (Remastered 2017) at home with various toys.
The Mover: Selected Classics (Remastered 2017) at home with various toys.

As I started listening to and more and more music, my tastes had grown to include electronic pioneers Yello and The Art of Noise, but oddly it was the work of the demoscene that really started to pique my interests towards techno. For those unaware, in the early ‘90s various groups of computer programmers would code “demos”—self-contained programs showcasing original art, motion graphics, and music to showcase their creative talents. Distributed on computer bulletin board systems and (very) slowly downloaded by dial-up modem, these demos became progressively more awe-inspiring with each release as the artists honed their digital tricks, often rivaling or exceeding the work of popular video games of the day. And the music really got me going—soundtracks filled with original music that I soon learned was techno, trance, and ambient. The demoscene inspired me to dig deeper—admittedly only superficially at first, as some of my earliest purchases were cornball compilations picked up at the mall. But everything changed after THD’s own Deadly Buda threw Power Rave ‘92—my first rave—at a roller rink just outside of Pittsburgh. The music that night was harder and darker than anything I had heard before, and by the end of the night, mall compilations were certainly no longer cutting it. I bought my first mixtape the next weekend at Turbo Zen—Buda’s record store—as well as Industrial Strength Records’ first compilation. First cut on the disc? Mescalinium United’s “We Have Arrived”, now widely known as the track that gave birth to hardcore techno. The title couldn’t be any more apt, and I was instantly hooked—a whole new take on the 808s and 909s that fueled my earliest musical interests.

Industrial Strength ISCD1: The compilation that introduced me to The Mover in '92
Industrial Strength ISCD1: The compilation that introduced me to The Mover in ’92

 

 

 

 

 

Through attending as many parties as Pittsburgh could throw at me, I quickly grew to consider Marc Arcadipane (and his countless aliases) one of my favorite musical artists. I blew out speakers to “Nightflight (Non-Stop to Kaos)” over the years—watch your bassbins, I’m tellin’ ya—and I may be doing the same right now, 25 years later, as I write this piece.

The 2×12” of “Selected Classics” was released on Killekill’s sub-label Boidae, licensed by Acardipane’s new Planet Phuture label. Even for a 33 RPM pressing, the hats and snares are crisp, and looming basslines blast thick enough to rattle fillings. A carefully curated, fully remastered track selection runs the gamut from the aforementioned “We Have Arrived” (originally recorded in ‘89 and released in ‘90) to album cuts from 1993’s The Final Sickness (Planet Core Productions) and 2002’s Frontal Frustration (Tresor) and the EPs released throughout. Sorely missing from the 12” release is “Over Land & Sea” from the Signs of ‘96 EP, a slow, brooding track that culminates in a doom chorus of nightmarish, growling bass and crashes. Dystopian 3 a.m. fog and strobe material that to this day desperately needs to be in a movie. (Digital release purchasers of this compilation, however,  will be pleased to find the track included, as well as 2002’s “Spirit Slasher”.) You’ll find the pumping “Waves of Life” with its driving vocal stabs and synths that rounds out in a downright blissful coda, the disorientating, uneasy spiral of “Reflections of 2017”, and the percussive, percolating “Astral Demons” and its absolutely dope stereo acrobatics.

As a fully indoctrinated fan, each of the selections are fully ingrained in my psyche, but for the uninitiated, this collection should be a truly rewarding journey into the unique energy and vivid imagery that The Mover presents. For those trying to decode the mythos of Acardipane’s “See you in 2017” message (for a deeper look into this, be sure to read The Hard Data’s Spring 2017 issue) over the years, well, we have arrived. Today, Aphex Twin and Nina Kraviz are unleashing Mover tracks upon a whole new generation at festival crowds. Acardipane added yet another label under his belt (the surfacing of Planet Phuture), and we’re in store for a new Mover album this fall. And not to ruffle any political feathers, but was “The Emperor Takes Place” prophetic?

To this day, this still sounds like some of the most futuristic music I’ve ever heard, and is eerily on-target. Welcome, at last, to 2017. Lying dormant since 2002 and rising like a dark phoenix, the Mover is back—as it was foretold to faithful listeners. (5/5)

Barnyard Boogie’s 15 Years of Fun!

As told to JAB! Recently I had the opportunity to speak with one of the coolest promotors ever, Devo of ToyMaker Music, about their upcoming 15th Anniversary of Barnyard Boogie.

Devo, congratulations on your 15th Anniversary. Why do you think Barnyard Boogie is one of the longest running shows here in the US?

Thank you. Barnyard Boogie is a traditional old skool event. We offer all varieties of Electronic Music, so there is a good feel and fun atmosphere much like at a reunion. I love that dark, illegal, underground, warehouse grunge feel of early raves and I recreate that flavor into Barnyard Boogie every year.

Devo of ToyMaker Music
Devo of ToyMaker Music

How did the idea for Barnyard Boogie come about?

Back in the day I attended Backwoods Boogie, an amazing event at a state park put on by Shawn McCarty with the blessing of Billie Most. I totally looked up to Billie and his production company, Organic Grooves, and modeled Barnyard Boogie after his events. The very first one was in a large farm garage and being on a farm, “barnyard”

just seemed the logical name to use. As a show of good faith to Billie, our first slogan was, “Back from the Backwoods.”

What changes have you made at Barnyard Boogie over the years?

The biggest change has been in the equipment. Many newer dj’s now bring their own equipment, such as controllers, with them, whereas old skoolers tend to still use turntables. Barnyard Boogie is an old skool event, so many of the djs performing on turntables. Another change is that the event has

gotten bigger and bigger. We started out with one stage and eight djs in a garage and I think about fifty people came. This year we have 8 stages with over 50,000 watts of sound on each stage, over 100 djs and a whole fairground to party on, there’s even a semi-trailer

to groove in! We’re expecting over 1000 people from all over the US, from Maine to California and all points in between. Everyone ready to dance, party and have a good time from 4pm to 8am and on.

That’s over 16 hours of Electronic Music!!!

Yep. (Smile) I feel a true rave is one where you can see the sunrise come up. In fact, one of our first Barnyard Boogies was held in an actual wooden barnhouse. As the sun rose in the morning you could see the golden rays of light slowly peak through the cracks between the wooden boards, lighting up the djs as they continued to play. It was pretty amazing.

As ToyMaker Music you’ve been promoting since 1996, what is it that motivates you to keep going?

For me it has always been my love for the music and the people. When I was younger I listened to hip hop and was really impressed by the people I saw doing tricks on the turntables. Later when I was older in high school, I’d sneak out of the house and go to parties at the local university. It was there that I saw those same turntables with djs spinning Electronic Music and I was hooked. Nowdays when someone comes up to me and says, “Hey, I was at your show and had an awesome time”, then I know I’m doing a great thing and I’m psyched to start planning for the next show. I’d like to say a big thank you to all those involved, that special someone, who inspires me to “just be me”, Bleep, my head coordinators, and the over 40 volunteers we have this year. We couldn’t do it without you!

ToyMaker Music Productions
ToyMaker Music Productions

I have often wondered why you hold Barnyard Boogie in November, seems a cold time of year to be on a farm in Illinois.

(Laughs) Since Barnyard Boogie started it has taken place on a farm, where we use neighboring fields for parking. Because of this, we have to wait until the crops are taken out in the Fall. At first, this was purely a logistical decision, now it has become a tradition. Barnyard Boogie fills the calendar gap between Halloween and Christmas raves. November is a traditional time of giving thanks and having the event out in the fields, in a sense, is our way as ravers of saying thanks to mother-nature in a very up close and personal and way. Plus I get to wear my cowboy hat. (Laughs) This year we will also be donating to cancer research along with hosting our annual food drive for the local food pantry.

As far as keeping warm, our 15th Anniversary slogan is “We’re gonna get your bodies MOOving!” To help us accomplish this we have invited djs like Hyperactive, Forest Green, Jen Mas, Miss K FunkTM and Alfonz Delamota. The stages are also all indoors, we’ve got some great vendors, amazing acts and of course the ToyMaker mascot teddy bears.

That sounds really awesome, DevoTM. Thanks for talking with us and we wish you all the best for ToyMaker Music’s 15th Anniversary of Barnyard Boogie coming up on November 12th in Amoy, IL.

Details and tickets can be found at

www.toymakermusic.org

www.facebook.com/events/782339618572621/?ti=as.

Satroniq – Hard Electronic Interview Series

In preparation for the upcoming celebration of Industrial Strength Records’ 25th anniversary at the Paper Box in Brooklyn, we’re talking to some of the artists on the lineup. Today we spoke with Satroniq about his history with ISR and what to expect from him on November 19th. Catch him spinning with Delirium in the second room alongside Kontaminated and Audio Havok artists.

HD: How long have you been working with Industrial Strength?

My first solo release on ISR was in 2007. Little known fact: I also did a lot of album covers for ISR around that time and website work.
 

HD: What is your favorite memory working with ISR?

The early ISR parties at CBGB’s were really cool because I get to say I played at CBGB’s! Being a huge fan of punk, this was a great moment for me to stand on the same stage as The Ramones (even if I was dj’ing instead of rocking in a band). 
 
 HD:What initially attracted you to Hardcore and the harder styles? what has kept you coming back to produce and mix and perform?
It was like the new punk rock. Anyone with a laptop could take/steal/mash/screw/chop any sounds up into an aggressive maelstrom. These days the production has gone way up but I always feel like there could be some surprises coming down the pike. 
 

HD: What do you think sets American Hardcore apart from other styles and scenes? What do you enjoy about performing at shows in New York City?

The American hardcore scene has some real die-hard fans who are more appreciative when we get top caliber acts here as it’s not something you see in the States every day. I live in New York city so I love seeing my peers jamming out to the harder styles that I love! 
 

HD: Do you have anything special planned for the ISR 25 anniversary party?  

I’m going to be doing something a lot of people haven’t heard yet. I will be doing a Satroniq set rather than Satronica. I have been focused recently on a new record label that works very closely with ISR to explore the harder sounds of edm that don’t quite fit into the “hardcore” category. Think subground, freestyle, and rawstyle.

Satroniq has a new collaboration with Delirium out now on their label Kontaminated Recordings, check it out here.