shiels
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1993 german hardcore played by Jeff
What’s that intro? Belfast journalist?
1993 german hardcore played by Jeff
What’s that intro? Belfast journalist?
The ones that are outside on a sunny day with pleasant green trees around... that just doesn't seem right somehow.
That never occurred to me somehow... makes perfect sense though.some more proto gabber - I'm sure it was referred to as nosebleed techno at the time ( as much to do with the side effects of the cheap speed as the sound)
Ahhh... I'd been wondering about that catchy little tune my milkman had been whistling.I'll chip in with a couple of "big tunes" - the "pop" end of the spectrum
Wedlock - I'm The Fuck You Man!
1994 crossover tune - hoovers, LL Cool J sample, and attitude
Definitely something of the Strathspey in North East and Scottish hardcore dancing:Why don't we have hypermorris dancing to west country oompah donk?
it's the kind of dancing you do when you're absolutely strung out on stimulants, all muscles tense, putting as much force into those small movements as possible.It's the faces that fascinate me. The pleasureless anhedonia. The glimmers of effort.
he'd just tell you that it comes from Gypsies and they aren't proper whities becasue they descend from India.
Right at the end of the Nasenbluten tour, we were killing time hanging around at our UK distributor when a box arrived from Germany full of new releases. One of the records was on a label I had never heard of called Chrome and was by an artist I had never heard of called Panacea. According to the distributor this was a German drum’n’bass record that was causing a bit of a ruckus amongst the UK drum’n’bass purists. Any time a purist gets the shits with something you know you should investigate it . . . and so I did.
The track ‘Tron’ was a monstrous distorted seven-minute drum and noise epic that twisted, turned, ducked and dived in a manner hitherto unheard of. The record seemed to follow a drum’n’bass template, but I was floored by the immense combination of rough percussion and a piercing mid-range bassline, which came across heavier, angrier, darker, denser, juicier and more challenging than any UK drum’n’bass I had ever heard. The record probably had more in common with German industrial hardcore and early DHR [Digital Hardcore] stuff than with any of the UK drum’n’bass at the time. I got the same feeling that I had when I first heard gabber five years earlier – and I immediately wanted more. ‘Tron’ also received bonus points after I trainspotted a sample of The Mover’s ‘Nightflight (Non-Stop to Kaos)’ track – an early record by the German PCP guys.