DESSSSSSSSSSSTRRRRRRROOOOOOOOYYYYYY!!
If you haven't heard this kind of music before here's a brief description: Digital hardcore music is typically high-tempo and abrasive, combining the speed, heaviness and attitude of hardcore punk and riot grrrl with electronic music such as hardcore techno, drum and bass and industrial rock.
The music was first defined by the band Atari Teenage Riot, who formed in Berlin, Germany in 1992.The band's frontman, Alec Empire, coined the term "digital hardcore", setting up the independent record label Digital Hardcore Recordings in 1994. German bands with a similar style began signing to the label and its underground popularity grew, with small digital hardcore festivals being held in se
veral German cities.By the mid-1990s, a number of new record labels specializing in the genre were formed around the world. These included Gangster Toons Industries (Paris), Praxis (London), Cross Fade Enter Tainment (Hamburg), Drop Bass Network (U.S.), and Bloody Fist (Australia). DHR also had some kinship with the Frankfurt labels Mille Plateaux and Riot Beats. Alec Empire's work subsequently set the template for breakcore.
Other prominent digital hardcore musicians of this period include Christoph De Babalon, Cobra Killer, EC8OR, Hanin Elias, Lolita Storm, Nic Endo, The Panacea, and The Mad Capsule Markets.
In Alec Empire's words, "Digital Hardcore went from a local, Berlin based scene to an international underground movement." The soundtrack to the film Threat included contributions from digital hardcore musicians, along with metalcore bands. James Plotkin, Dave Witte and Speedranch's project Phantomsmasher combined digital hardcore with grindcore. 21st century digital hardcore groups include Ambassador 21, Left Spine Down, Motormark, Rabbit Junk, The Shizit, Realicide and Tuareg Geeks.
If you haven't heard this kind of music before here's a brief description: Digital hardcore music is typically high-tempo and abrasive, combining the speed, heaviness and attitude of hardcore punk and riot grrrl with electronic music such as hardcore techno, drum and bass and industrial rock.
The music was first defined by the band Atari Teenage Riot, who formed in Berlin, Germany in 1992.The band's frontman, Alec Empire, coined the term "digital hardcore", setting up the independent record label Digital Hardcore Recordings in 1994. German bands with a similar style began signing to the label and its underground popularity grew, with small digital hardcore festivals being held in se
veral German cities.By the mid-1990s, a number of new record labels specializing in the genre were formed around the world. These included Gangster Toons Industries (Paris), Praxis (London), Cross Fade Enter Tainment (Hamburg), Drop Bass Network (U.S.), and Bloody Fist (Australia). DHR also had some kinship with the Frankfurt labels Mille Plateaux and Riot Beats. Alec Empire's work subsequently set the template for breakcore.Other prominent digital hardcore musicians of this period include Christoph De Babalon, Cobra Killer, EC8OR, Hanin Elias, Lolita Storm, Nic Endo, The Panacea, and The Mad Capsule Markets.
In Alec Empire's words, "Digital Hardcore went from a local, Berlin based scene to an international underground movement." The soundtrack to the film Threat included contributions from digital hardcore musicians, along with metalcore bands. James Plotkin, Dave Witte and Speedranch's project Phantomsmasher combined digital hardcore with grindcore. 21st century digital hardcore groups include Ambassador 21, Left Spine Down, Motormark, Rabbit Junk, The Shizit, Realicide and Tuareg Geeks.
I WOULD DIE FOR PEANUT BUTTER.
Between 'Burn Berlin Burn' and '60-Second Wipe-Out' I think this album is most definitely the better of the two.. with the latter having somewhat a bit of a rap type style to it.
. not that that's good or bad, depends on one's tastes.. but with burn berlin burn, the singing is more, i dunno, better? I mean that it the nicest way possible so please no hard feelings..
much noisier and louder..?.???..
to sum it up, if yr looking at atr as something different or perhaps if yu've heard of them and are looking to hear them, i strongly recommend this album over the latter released '60...'
the album is mainly revolution based lyrical screams, distorted break-beats, sampling going on, and chaos..
I personally enjoy 'Into the Death','Heatwave','Not Your Business', and perhaps 'the Future Of War' slightly and I do mean slightly over the others, meaning that all the tracks are purely exquisite bliss ;'')
At the time ATR completely blew me away. To this day, whenever i need a nice sharp blast of audio amphetamine, this is the disc i reach for. And it's funny, on the surface it just seems like "oh, right, punk rock with techno beats", but the sounds and the textures are so perfectly dense and overwhelming that you know that the mastermind behind this wall of noise -- Alec Empire -- was far more than some snot nosed punk with a sampler. Sure, sure, the faux-anarchist stance is naive and silly, but something makes me think that underneath the naive self-righteous indignation, they knew it was silly too. For my money these guys were far more interesting, inspiring and innovative than Nirvana (even though they gleefully sample Nirvana, or re-play the riff and get away with it!)
Between 'Burn Berlin Burn' and '60-Second Wipe-Out' I think this album is most definitely the better of the two.. with the latter having somewhat a bit of a rap type style to it.
. not that that's good or bad, depends on one's tastes.. but with burn berlin burn, the singing is more, i dunno, better? I mean that it the nicest way possible so please no hard feelings..much noisier and louder..?.???..
to sum it up, if yr looking at atr as something different or perhaps if yu've heard of them and are looking to hear them, i strongly recommend this album over the latter released '60...'
the album is mainly revolution based lyrical screams, distorted break-beats, sampling going on, and chaos..
I personally enjoy 'Into the Death','Heatwave','Not Your Business', and perhaps 'the Future Of War' slightly and I do mean slightly over the others, meaning that all the tracks are purely exquisite bliss ;'')
At the time ATR completely blew me away. To this day, whenever i need a nice sharp blast of audio amphetamine, this is the disc i reach for. And it's funny, on the surface it just seems like "oh, right, punk rock with techno beats", but the sounds and the textures are so perfectly dense and overwhelming that you know that the mastermind behind this wall of noise -- Alec Empire -- was far more than some snot nosed punk with a sampler. Sure, sure, the faux-anarchist stance is naive and silly, but something makes me think that underneath the naive self-righteous indignation, they knew it was silly too. For my money these guys were far more interesting, inspiring and innovative than Nirvana (even though they gleefully sample Nirvana, or re-play the riff and get away with it!)
Well, it's 2008 now and the digital hardcore revolution has all but ended, but still, it was a damn cool noise and deserves a listen. And the seeds of a new dissonance have been planted. Time to take that ball and run with it in a new exciting direction....
Oh yeah and make sure to use lots of exclamation points!!!
Arrgh!!!
ha ha!
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