33 drums

Hi Friends!

A new sample pack by me.

https://lowentropy.bandcamp.com/album/33-hardcore-and-techno-drum-samples

More: Information:

I've been putting up free drum packs since... ages, i guess.
i've put out very rough drums, metallic drums, gabber drums... well, a lot of sounds.
this is a selection of some of my favorites.

i think they are very good for beginners (or experienced) producers so that they can start creating tracks right away, with 1 or more of these drums.

i'm a "legit" techno producer for several decades that, among other things, played at tresor, got vinyl out, was featured in magazines etc etc. bla bla...

enjoy!

credit:
all drums created by me, low entropy.

license:
feel free to use these samples for any public, private, intimate, or commercial purpose.
would be *very* cool if you credit me, but it's not strictly necessary.

also check my other packs:
https://lowentropyproducer.blogspot.com/2026/03/free-drum-sample-packs.html

Low Entropy's Producer Diary: How do you get rich and famous as an artist? Or should you, even?

I've been around for a while now, as you know. Now and then I get mails or messages like "Hey, Low, I'm a new producer and like your music. You are well-known now, but no-one knows my own music yet. How can I share my music, how do I get known, too?"

Well, first, this is quite flattering. As I don't think I am really famous - maybe "semi-famous", or, like I like to say, liminal fame.
Either way, what advice could I give in such cases? To young or new artists?

Well, "back in the day", when I started doing music, in the 1990s, there was not really much worry about fame or making money with music. In fact, it was the opposite. There were underground cultures, scenes, subcultures. And in most of these, people detested musicians that aimed at fame or money.
What did they aim at, instead? Ideals and highly set goals, like rebellion, revolution, societal change, cultural critique... freedom, wisdom, enlightenment, brotherhood, sisterhood, things like that.
This does not mean the cultures always fit that ideal, to the contrary. But the people aimed for it.

So, for example, anti-commercialism was one of such threads that connected cultures. And those that broke the thread, by going for the money thing, got kicked out. Probably not always nice, not always fair. But it happened.

Then there were those who had a more nihilistic or dis-illusioned view of things. They were in it for partying, meeting chicks and / or guys, hanging out, wasting one's youth and / or life, having a good time... trying to have a good time during often very bad times.

and on the third level, and maybe that was the strongest glue / thread, people were in it for the art, the music, the style itself. People who were into rave breaks. or hardcore beats.
or the joy of distorted guitars... well, I guess you get the point by now.

So. There were plenty of motivations to join a scene or a culture. And those who did often became artists themselves. It really went like that.
You know there were people hiding in the bunker or basement club at fridays, having gabber and speedcore parties, you get intrigued by that, you went there, too, you became friends with them, you become friends with the producers, too, you got into gear yourself, you exchanged music, you became interested to play at these parties, you ended up playing at these parties, you got your first records out, and so on.

this was the "path" of the DJs and producers in genres like gabber or acidcore or whatever... in the 90s. A lot of them are really famous now, or "underground famous", and a lot of them never planned it that way.

being an artist or musician was not really a "career path" or something that required a lot of planning and pre-emptive thoughts.

when it came to my own music, after i passed some point, i was really "dragged" into fame.
people knew my music, and asked me to play at their parties too, or release on their label, or people insisted to introduce me to label guys, journalists, promoters... and often tried to resist it, because it felt "too much".

so maybe i worked backwards to becoming "known"...

But, at the end of it, I don't think this has changed. It might seem changed, but it hasnt. Subcultures, music cultures, still work like this, at the root. It's hidden beneath a facade of fake marketing and all that crap.

So, this is my advice to other artists: Follow your ideals. Follow your creativity. Have fun! Follow your passion. And if you are good at that, then it will almost automatically appeal to others, and they will listen to you, and invite them to a party or release your music...

Forgot all the plans about business-style "promotion" or career workflows or all that nonsense.

And this way, you can have it all. You can do something that you like, that you are passionate about, and also share it with lots and lots of people who are into the same thing!

Vinyl

check this! Dr Elfa, holding a vinyl, with a cool low entropy track on it :-)

how nice!

https://soundcloud.com/dr-elfa-rah

Low Entropy - Tierra del Fuego remix contest

Hi Friends,
How about a little remix contest?
It's for my track Tierra del Fuego.
This track is close to both Industrial Techno and Oldschool Hardcore, so I suppose there are a lot of possibilities for remixing.

Check the whole, original release here: https://lowentropy.bandcamp.com/album/tierra-del-fuego-the-nucleus-project-august
Check the music video here: https://www.youtube.com/watch?v=UkzC4_PSh6c
The track is part of Project Nucleus: https://lowentropyproducer.blogspot.com/2026/08/updates-on-nucleus-project.html
You can get the stems (or rather, samples) here:
https://lowentropy.bandcamp.com/album/tierra-del-fuego-stems-remix-contest

Everything is 160 bpm.
There are also some synths and pads; you might use them, but you don't need to.
(These are actually part of the other versions of the track, which you can check at the link above).

Remixes can be in any style, including the original ones.

Finished tracks should be uploaded to a filehoster, and then send the link to low.entropy.80@gmail.com topic "remix contest".
All other questions can be sent there, too.

Deadline is 1.9. (1st of September). The deadline is final!

Accepted tracks will be released on a label.

And now, happy remixing!

Updates on the Nucleus Project

Updates: These are all the tracks I created so far:

NucleusProject Part 1 - Les Champs Métalliques
https://lowentropy.bandcamp.com/album/nucleusproject-part-1-les-champs-m-talliques
The Rights of Spring (NucleusProject: February)
https://lowentropy.bandcamp.com/album/the-rights-of-spring-nucleusproject-february
Space Sex (The Nucleus Project: March)
https://lowentropy.bandcamp.com/album/space-sex-the-nucleus-project-march
The Three Zeros (The Nucleus Project: April)
https://lowentropy.bandcamp.com/album/the-three-zeros-the-nucleus-project-april
The Liquid Staircase (The Nucleus Project: May)
https://lowentropy.bandcamp.com/album/the-liquid-staircase-the-nucleus-project-may
Fast Love (The Nucleus Project: June)
https://lowentropy.bandcamp.com/album/fast-love-the-nucleus-project-june
Everything that has been taken can be given back (The Nucleus Project:
Juone) https://lowentropy.bandcamp.com/album/everything-that-has-been-taken-can-be-given-back-the-nucleus-project-juone
The Ultimate Level of Ecstasy (The Nucleus Project: Uulee)
https://lowentropy.bandcamp.com/album/the-ultimate-level-of-ecstasy-the-nucleus-project-uulee
Tierra del Fuego (The Nucleus Project: August)
https://lowentropy.bandcamp.com/album/tierra-del-fuego-the-nucleus-project-august

Hello,
Allow me to introduce my newest project for 2026: an album called "Nucleus".
It's not produced yet, and it won't be finished before 2027. In the most literal of senses!
Because I plan to produce one track for each month of 2026.
Then release it at the end of the year, or at the beginning of the next year.

Tracks could be in any style. Breakcore, Acid, VGM... eclectic?

But I will also try to produce it *for* the month, not *in* the month.
And absorb the... "vibe"... of each month and put it into la musica!

So January should be more wintry... March will be about the rites of spring... then Summertime, Fall, and the descend into the icy waters of winter again.

I also try to create a progression with the sequence of tracks... a sequential album... a staircase of sounds!

Hope it all works out as planned.
And see you in the year after 2026! (ahem)

Mokum Tribute Mix

Nikaj is a frequent guest to the Doomcore Records Pod Cast, and this time he brings us a special weapon:
A mix that is all about Mokum Records!
Mokum was one of the main Gabber labels of the 90s. They had a less of "cheese", too, but only the rough and underground stuff can be found in this mix.
So you get your Mokum hammer, turn on the mix, and start Gabbering!

Doomcore Records Pod Cast #105 - Nikaj - Mokum Tribute Mix1:29:18

Tracklist.

Chosen Few – Party
Maniac of Noise – Domestic Moves
Technohead – Mary Jane
Scott Brown's Annihilator – Ye Shall Die.
Search & Destroy – Reach The Sky
Tellurian – Hardcore Junkies
Vitamin – De Woeste Man
Annihilator – Realm of Darkness
Tellurian – The Sound
DJ Dano & Liza N'Eliaz – Gimme A Break!
Annihilator – Wild Style
Vitamin – Alice In Dondederland
Walter One – Speedjack
Annihilator – Panic
DJ Jappo & DJ Lancinhouse – XTR Experiment
Cyanide – Toxic
Lenny Dee & Ralphie Dee – I Control Your Body
Search & Destroy – Deep In The Underground (MDFB Radio Mix)
The Original Gabba – Kick Some Azz
Cyanide – Relatic
Ceasefire – Who's Afraid Of Noise
Outside Agency – Touch The Darkness
The Original Gabber – The Headbanger
Wicked XXX – Out Of Control
Annihilator – Out Of Focus
Cookiemunsta – Cook & Curry (Ganggarden Mix)
Walter One – Gabber Over Tetris (Remastered)
The Speed Freak – Freak Tonight
Riot Nation – Abba Gabba (Speedfreak Mix)

https://hearthis.at/thehardcoreoverdogs/dcrpd-105/

Low Entropy's Producer Diary: Producing the "Berghain Still Sucks" EP

That was the third track in my "anti-berghain" trilogy. first one was "**** berghain" (later released as "techno stomper" on vinyl) and also "p*** over berghain".
this track happened after not properly doing music over a longer period and usually, these projects end up being kind of crappy for me, as i need to have a bit of "warming up" before i can do "good" tracks again.
but, in my humble opinion, this one ended up being quite good.

so... let's talk about the production.
i tried to "keep it simple", as simple as possible, but in the end it got more complex again. (can't help!)
so, the framework, at its core (pun intended!) is the distorted 909 kick. it runs at 126 bpm, quite slow for (harder) techno actually.
i never ever got to get a bass drum sound like this again! ultra distorted, but also somewhat metallic or industrial. there is lots of reverb, but the reverb does not eat up the drum. which is a problem i had with other tracks.
not sure what or how i did it! but i think the drum "slams". (in my opinion)
so the next thing was the bassline. for years, i avoided using deep / low bass together with hardcore kicks. i always thought they would eat up each others frequency. and, if i listen to stuff like that at home, it feels like that indeed.
but hearing bass heavy hardcore and techno tracks at parties, on loud PAs, made me realize that stuff like that can "work". the bassline feels like it is happening in another range (or dimension?) on loud PAs.
i added some weird futuristic and metallic fx to the bass.

and then... i piled layers of noise, noise and noise on top.
there is a novelty with this track, as it is a techno track without any use of percussion! besides the drum.
no hi hats, no snares, no cymbals, claps, shakers, cowbells...

i ended up doing two mixes of the track, one is ultra distorted and the other is... very distorted, but maybe not ultra.

i recorded the edits as live jamming. i set up the loops, hit record, switched on channels, switched them off again, played with the fx, did some filter sweeps.
i recorded both tracks this way. and in one take each. take no quarters, never look back, when producing (which is my personal advice).

with a track name like this, it was of course no difficulty at all to find a label that wanted to release the track. it ended up being on kenny campbell's pitch dark records, who also did some other releases with me.

the track actually became a (very) minor hit, got some international club play. made some dj top 10s. the "crowning" moment for me was when it got played by Umwelt in a french radio show.

kenny had some promo agency, don't know how it exactly worked, but it meant famous djs got the promo and could leave a comment. which they did.
it was fun to see some people like CJ Bolland or Dr Motte drop comments like "too distorted for me" etc.

oh, and why did i dislike berghain?
i didn't like the whole mood and atmosphere of that "place". the elitism, the concept to exclude people from parties. that they thought they were super radical and different, while even major conservative politicians and journalists loved and supported that place.
but, most of all, i never was up for things that become overly hyped and popular.

i made a few re-edits of the track later, one faster one and an ultra-speedcore one.
the faster one got released in a collab EP with Brandon Spivey, who was one of my favorite producers in acid and techno. from the 90s. i felt very happy to be able to work with him!
he had a very strong dislike towards berghain culture too, so he was up for that collab.

either way, a producer acquaintance of mine, who was a super fan of the club, later told me that "it would be ironic" that i do an anti-berghain track, when in fact the DJs at berghain do play my music to the crowds on the dancefloor there.
so, i guess this very track happened to be dropped at that place. but yeah, i guess this was inevitable to happen.

https://pitch-dark-records.bandcamp.com/track/berghain-still-sucks-distortion-edit

https://doomcorerecords.bandcamp.com/track/low-entropy-berghain-mayhem