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The scenes for goth and noise often collaborate. This is probably because of some common ancestry in early industrial.

As with the others mentioned, I think DJ Freaks main problem was being too prolific. He made tons of extremely boring, samey stuff, but when he was really on, like some of the tracks on the Industrial Trauma double, or the wonderfully titled Alien Ravers, Drug Crazed Rioters and Man Eating...

Actually, this was exactly what The Horrorist called his style. It seem to be the current version of what is usually known as "noisecore", as well as what I'm calling avant gabber. A main pioneer is probably DJ Freak, who made a lot of stuff that was somewhere between pure noize and full on...

Ah, I just saw "Me- the Master" from Doom Supportes is included... sorry about that my good man.

Indeed. His most well known pseudonym is probably Lunatic Asylum, though. The track "The Meltdown" was one of the biggest trance hits of 93.

Yeah, that Nightmares... album trilogy is classic. Somehow C-Tank was a completely different thing from gloomcore, though. No fat mentasm sounds or thick kick drums or anything, just incredibly fast and shrill machine music. The most deliberately ungroovy stuff I've ever encountered - like they...

Gabber can allways get harder it seems. It's always possible to mangle the sounds even more, making them more metallic and massive and punishing.

I know most of them. It's a pretty good selection, but actually most of my personal favorites isn't on it. Nothing from the "Sickness"-trilogy, or from Program 1s "Louder than a Bomb"-EP, or from the "Doom Supporters"-EP (by far the greatest of the Cold Rush records IMO)? An Acardipane-best of...

New Beat.

Klaus Schulzes Innovative Communication-label used to have their LPs play at 45, and you usually didn't notice because, well, they were just ordinary LPs and there was no particular reason why they should be on 45 and it was only written with quite small letters on the top left corner on the...

I basically agree with your points above, but it's not really about sounds either. In a sense, a violin or a flute is a kind of "technology" producing sounds that a human can't make by itself. What I'm talking about is sequencers playing, their inorganic, unnatural tightness. It's not that I...

Are you trying to make me into some kind of strawman? I've allready said that this have nothing to do with depersonalization. This is not about how the music is composed, I've never claimed that the machines somehow compose all by them selves, it's about the execution, about the fact that it's...

This is another great example of things not being so simple and one-sided as the imagined rockist would like to think, because yes, there is a "punk" aspect to rave in that it's potentially open to anyone. But at the same time there's something completely different going on, because rave is...

It's all about using machines to do things humans can't. Otherwise, why not just use humans? There's a place for the human element in music, and all kinds of music (jazz, rock, folk, classical) sound dull if assimilated by machines. If you wan't your machine music to be great, you should not try...

Well, just because you're "into" or even inspired by something doesn't mean you're directly expanding on it. They wanted to use an element they liked in rock, and by doing so, something new happened, because that element change character when played by machines. Anyway, far more people got into...

It isn't the only thing it's about, but it's at the heart of it. My starting point is this: Why do I love 'ardcore, acid, gabber, jungle, breakcore, etc., but not punk, garage rock, rock'n'roll, metal, etc, if all these genres is about the same thing? Obviously, there's some of the same...

The idea that Detroit punk and drum'n'bass somehow incarnate the same essence is a brilliant example of rockism getting it wrong. Rock'n'roll is human in essence, amplifying your self, rave is machine music, dissolving your self. This is also why rave is great, and rock'n'roll isn't.

Well, on the one side of the Cyberchrist-7" on Agent Orange (AO9), microseconds of the sound drop out repeatedly throughout the track. Very annoying. And not that extraordinary, I'll admit. Of course, we all know vinyl where the hole is placed somewhere not quite in the centre of the record...

I'm not saying there isn't a scene for this music, but are these people really goths? Are they seen as or considering themselves as a part of goth culture? If so, I stand corrected. Anyway, The Horrorist's plan was to turn the huge american teen goth culture, all those into NIN and Marylin...

Well, Youth became the brain behind the pioneer goa trance label Dragonfly, didn't he?