Friday, October 30, 2026
Antares (The Nucleus Project: Scorpii Nox)
Another entry in the nucleus project. Read more about the project here:
https://lowentropy.bandcamp.com/album/nucleusproject-part-1-les-champs-m-talliquesThis one is rather frantic, and chaotic.
https://lowentropy.bandcamp.com/album/antares-the-nucleus-project-scorpii-nox
Thursday, October 29, 2026
Low Entropy's Producer Diary: My long road to becoming an Acid-Core producer
Low Entropy's Producer Diary: My long road to becoming an Acid-Core producer
Acidcore was not a love at first sight for me (or, more precisely, "first sound"). While other electronic and "hardcore" styles like Gabber, Speedcore, Breakcore, Hardtrance, Electro... enamored me immediately (more or less)... when I heard my first Acidcore tracks, I went more like "meh".
These were tunes on Fischkopf records for example, or Industrial Strength, UK labels, or even some of the more acid-ic Mokum ones.
This stuff felt very monotone and repetitive too me... also quite "minimal". There just seemed to be a lack of action in these tracks, and not much going on...
In the 90s, I decided that Acidcore was the only subgenre of Hardcore, that I was not very fond of...
The only exception were some tracks by Lasse Steen, those that, in my opinion, had more variety, with lots of melodies and weird tempos, and so on. For example of the Senical and Skullblower variety. And a few tracks by other artists.
But actually, my path to Acidcore had begun, even before I got into "Hardcore proper". During vacation, a trip to a small, "90 souls" village at the border of the norther sea, on reclaimed land, that did not even exist and was the Atlantic ocean a few hundred years ago, before humans walked there, and created that land out of the ocean.
Where i swapped tapes with another teenager my age, which was hardcore punk on one side, acid techno (first time i heard that stuff!) on the other, and while i did not like the sound at that age either, i concluded that it had... potential, so to say.
Another big "woah" event was when i heard some acid tracks by PCP, especially of the 303 nation kind.
But yeah... let's say i was still not convinced.
Until the year 2000, when I went with some friends to a "hard trance rave revival party", here in hamburg, and the first hour was... very oldschool acid and techno.
And it really felt like an enlightenment!
Listening to the tunes, at night time, in a dark club, under ultra and violet light, on a loud sound system, dancing with the freaks, under the influence of caffeine... completely changed the sound to me.
I think that especially the "played out loud" thing changes acid... a lot! all those frequencies, no longer tame and distant, but buzzing around you, getting, getting to, and into your head and mind and soul... ready for liftoff!
also, that year, i had an early producer breakthrough, because a demo CD-R by me (hah!) became quite popular, within a secret community hidden behind the underground "circuit 8" website... which led to me exchanging CD-Rs, tapes, and demos, with quite a lot of people (like Somatic Responses, Christoph de Babalon, Praxis records) and also with Daria Blax from Drop Bass Networks, who sent me a kind of "bootleg mix" (hah!) with the acid classics, from berlin, london, cologne... and that sound blew my mind too!
after this, there was "no holds barred" anymore, i got deep into the acid...
and this led to my first "proper hits", hits in the underground sense, of course... my release on black monolith records, a new york adjacent label, my bookings at tresor, suddenly i played acidcore in front of 1000s of people... literally. was a wild (acid) ride!
and then, many, many (and many) years later, i finally got into more mellow acid too, which led to another wave of releases, that then were mentioned in the big magazines again and was a bit like a "return to fame" for me... "fame", in the underground sense of course, or let us rather call it popularity, or maybe "notoriety".
but all these years, my acid and acidcore tracks go back to the idea, that acid works best, and only "works", if it's made for the party situation in mind, for nights of endless dancing, for the combination of loud frequencies, a gathering of people, and black white flicker-flackering lights, powered by strobes.
and, paradoxically, that the tracks even sound (much) better during "home listening sessions", when they are made with that original thought in mind!
Music:
Urban Uprising https://doomcorerecords.
Farewell Old World https://lowentropy.bandcamp.
Really Into The Space Stuff https://zuur-nl.bandcamp.com/
Acidcore was not a love at first sight for me (or, more precisely, "first sound"). While other electronic and "hardcore" styles like Gabber, Speedcore, Breakcore, Hardtrance, Electro... enamored me immediately (more or less)... when I heard my first Acidcore tracks, I went more like "meh".
These were tunes on Fischkopf records for example, or Industrial Strength, UK labels, or even some of the more acid-ic Mokum ones.
This stuff felt very monotone and repetitive too me... also quite "minimal". There just seemed to be a lack of action in these tracks, and not much going on...
In the 90s, I decided that Acidcore was the only subgenre of Hardcore, that I was not very fond of...
The only exception were some tracks by Lasse Steen, those that, in my opinion, had more variety, with lots of melodies and weird tempos, and so on. For example of the Senical and Skullblower variety. And a few tracks by other artists.
But actually, my path to Acidcore had begun, even before I got into "Hardcore proper". During vacation, a trip to a small, "90 souls" village at the border of the norther sea, on reclaimed land, that did not even exist and was the Atlantic ocean a few hundred years ago, before humans walked there, and created that land out of the ocean.
Where i swapped tapes with another teenager my age, which was hardcore punk on one side, acid techno (first time i heard that stuff!) on the other, and while i did not like the sound at that age either, i concluded that it had... potential, so to say.
Another big "woah" event was when i heard some acid tracks by PCP, especially of the 303 nation kind.
But yeah... let's say i was still not convinced.
Until the year 2000, when I went with some friends to a "hard trance rave revival party", here in hamburg, and the first hour was... very oldschool acid and techno.
And it really felt like an enlightenment!
Listening to the tunes, at night time, in a dark club, under ultra and violet light, on a loud sound system, dancing with the freaks, under the influence of caffeine... completely changed the sound to me.
I think that especially the "played out loud" thing changes acid... a lot! all those frequencies, no longer tame and distant, but buzzing around you, getting, getting to, and into your head and mind and soul... ready for liftoff!
also, that year, i had an early producer breakthrough, because a demo CD-R by me (hah!) became quite popular, within a secret community hidden behind the underground "circuit 8" website... which led to me exchanging CD-Rs, tapes, and demos, with quite a lot of people (like Somatic Responses, Christoph de Babalon, Praxis records) and also with Daria Blax from Drop Bass Networks, who sent me a kind of "bootleg mix" (hah!) with the acid classics, from berlin, london, cologne... and that sound blew my mind too!
after this, there was "no holds barred" anymore, i got deep into the acid...
and this led to my first "proper hits", hits in the underground sense, of course... my release on black monolith records, a new york adjacent label, my bookings at tresor, suddenly i played acidcore in front of 1000s of people... literally. was a wild (acid) ride!
and then, many, many (and many) years later, i finally got into more mellow acid too, which led to another wave of releases, that then were mentioned in the big magazines again and was a bit like a "return to fame" for me... "fame", in the underground sense of course, or let us rather call it popularity, or maybe "notoriety".
but all these years, my acid and acidcore tracks go back to the idea, that acid works best, and only "works", if it's made for the party situation in mind, for nights of endless dancing, for the combination of loud frequencies, a gathering of people, and black white flicker-flackering lights, powered by strobes.
and, paradoxically, that the tracks even sound (much) better during "home listening sessions", when they are made with that original thought in mind!
Music:
Urban Uprising https://doomcorerecords.
Farewell Old World https://lowentropy.bandcamp.
Really Into The Space Stuff https://zuur-nl.bandcamp.com/
Tuesday, October 20, 2026
Low Entropy + Sigma - 8 + Ægoist - Queens of Light and of the Darkness
after the two debut single releases, here is the first full length album by the Industrial Speedcore Black Metal project.
The "Speedcore" part needs to be put in quotes, though, as the band opened up to a lot of other influences and genres... there are concepts out of doomtechno, oldschool rave, gabber, ambient, "industrial hardcore" to be found on the album... and on the metal side of things, it's not just black metal riffs anymore, but maybe also a bit of influence from death and different styles...there is even an electronic "black metal dub" instrumental at the end of the album!
the project is made up of low entropy, an "experienced" electronic music producer from hamburg, germany, who did lots of releases since decades (in other styles). Sigma 8, a black metal guitarist from chile, who also does oldschool rave and breakbeat music on the side (or is it the other way round?). and Ægoist, a witch from germany, who provides the vocalisation for the whole thing.
the theme of the album is "Queens of Light and of the Darkness".
in honor of deities and goddesses that represent liminality, duality, the crossroads. knowledge, healing, compassion, transformation and metamorphosis.
Like Hecate, Lilith, Sophia, The Morrigan, and The Goddess herself.
credits
Omnicore Records 85
Slowcore 74
Doomcore Records 239
Credits:
Low Entropy - Producing, Programming, Synths, additional Vocals
Sigma 8 - Guitars, Producing
Ægoist - Vocals
1. Hecate (Queen of Light) 05:39
2. Lilith (Queen of Knowledge) 03:15
3. The Morrigan (The Phantom Queen) 06:40
4. Sophia (Queen of Wisdom) 06:51
5. Hecate, our Healer 06:18
6. The Goddess 06:53
7. The Labyrinth 06:42
8. Hecate Ritual Core 03:48
9. Dark Entrance 12:58
10. Black Metal Dub 13:49
https://doomcorerecords.bandcamp.com/album/queens-of-light-and-of-the-darkness-2
Monday, October 19, 2026
Low Entropy's Producer Diary: Being a Hyperdisciplinary Artist and learning about the "Art Core"
I am not only a music producer, but here are some other ventures into art and other things I did or do:
Journalist
Author (of fiction, non-fiction, and poetry books)
Visual Artist
Video Director
Label owner
Party promoter
Music producer (hah, mentioned this one already)
Music "teacher" (just online and one on one, not in a university)
Hobbyist cook
Anarchist / Activist
Traveler (hiking / biking)
Code writer
And likely a few other things as well.
And, no, I do not write this list to boost my ego (well, maybe a little bit), and I make no claim that I am good in all, or even any of these disciplines.
But let's just say that I got good feedback in every one of these "fields", and, now and then, even received "official accolades", like being featured in an established magazine or other cool stuff, for all of them.
Well, maybe not for the cooking and hiking. Not yet, at least (ironic smile).
Also, this list seems a bit disjointed and disconnected (video director and hobby cook?) which brings me to the point I *actually* want to make:
I think all of these "art forms", hobbies, or activities, are not very different and apart from each other, but instead they are very similar.
For example, by studying movie directors, reading up on movies, movie techniques etc. I learned a lot of things, that do not just relate to the world of movies, but can quite well be used in music production, too.
(Just one random example, related to this example: the structure of movies, the segmentation of movies can be used in song structures, too. Why not make a cool song or track, with a prologue, first act, second act, third act, and epilogue, too?).
The same goes for writing computer code and music production. I was one of the computer kids of past decades (yeah, i was quite the nerd, sorry) and when i got into music production, DAWs, tracker programs as a teen, my first thought was actually "these programs work just like writing code! glad that i already learned how to do this."
I won't tell how cooking influences my music production (at least not right now), and I agree this might be a claim that is a bit more on the bizarre side. But, hey, cooking is about combining different ingredients, too? Just like songwriting!
Part 2
From my own experience, it is one of these big "collective secrets" kept by successful artists (and a few not-so-successful artists, too). that *art* must not be segmented and cut up into lots and lots of tiny genres, topics, fields, realms. But that art is art itself and stays art.
No matter if it manifests as music, as movies, as poetry... or if it merely manifests as taking a walk in nature and watching a beautiful sunset.
Art is made up by your very own and unique thoughts, emotions, views of the world, sentiments, grievances, and hopes.
And it might not be very important whether you channel these and manifest them as music... as poetry... as movies... or merely go for a walk and enjoy a beautiful sunrise.
And if you think about it, the best artists are usually the ones that worked in more than one field. Like musicians that did soundtracks for movies. Or even music video producers that became real movie directors.
Part 3
So, I think there is a core of art, and this "core" is the same for *any* form of art. No matter what kind of art you do.
And this "core" is not (only) a vague, emotional, intuition thing, but there are very real, accurately explainable techniques to be found inside this core.
and if you know these, you can apply these to every art, in music production just as much as in visual art or poetry.
These techniques and key points stay the same, all the time.
Now to the next point, which brings us full circle:
At the same time, there are indeed differences between the arts, and I think you can only understand and use some of these techniques if you learn another discipline of art.
For example, by reading up on movie directing and on the mindset behind movie production, i learned techniques that i could use (and do use) in music production, that i would never have learned if i just stayed within my own realm of... music.
so, all ego and other undue silliness aside: if you are an artist, it will do you (very) good if you try to learn (and to create) a different kind of art, too!
for example, if you do visual art - try to write a book too.
if you are a musician, shoot your own no budget diy short movie
if you are a poet - write a script for a theatre play! (even if it never gets made)
and you do not even need to be good at it, or excel at it, or get praise for it...
by doing a different mode of art, you will learn things that will come in very handy and useful for your "main" art, too!
Example Links:
Music: https://doomcorerecords.bandcamp.com/track/frequency-whales
"Movie" https://www.youtube.com/watch?v=j-IMaRJDzrY
Book: https://archive.org/details/pcp-legends-in-their-life-the-unofficial-planet-core-productions-book/
Journalism: https://thehardcoreoverdogs.blogspot.com/
Journalist
Author (of fiction, non-fiction, and poetry books)
Visual Artist
Video Director
Label owner
Party promoter
Music producer (hah, mentioned this one already)
Music "teacher" (just online and one on one, not in a university)
Hobbyist cook
Anarchist / Activist
Traveler (hiking / biking)
Code writer
And likely a few other things as well.
And, no, I do not write this list to boost my ego (well, maybe a little bit), and I make no claim that I am good in all, or even any of these disciplines.
But let's just say that I got good feedback in every one of these "fields", and, now and then, even received "official accolades", like being featured in an established magazine or other cool stuff, for all of them.
Well, maybe not for the cooking and hiking. Not yet, at least (ironic smile).
Also, this list seems a bit disjointed and disconnected (video director and hobby cook?) which brings me to the point I *actually* want to make:
I think all of these "art forms", hobbies, or activities, are not very different and apart from each other, but instead they are very similar.
For example, by studying movie directors, reading up on movies, movie techniques etc. I learned a lot of things, that do not just relate to the world of movies, but can quite well be used in music production, too.
(Just one random example, related to this example: the structure of movies, the segmentation of movies can be used in song structures, too. Why not make a cool song or track, with a prologue, first act, second act, third act, and epilogue, too?).
The same goes for writing computer code and music production. I was one of the computer kids of past decades (yeah, i was quite the nerd, sorry) and when i got into music production, DAWs, tracker programs as a teen, my first thought was actually "these programs work just like writing code! glad that i already learned how to do this."
I won't tell how cooking influences my music production (at least not right now), and I agree this might be a claim that is a bit more on the bizarre side. But, hey, cooking is about combining different ingredients, too? Just like songwriting!
Part 2
From my own experience, it is one of these big "collective secrets" kept by successful artists (and a few not-so-successful artists, too). that *art* must not be segmented and cut up into lots and lots of tiny genres, topics, fields, realms. But that art is art itself and stays art.
No matter if it manifests as music, as movies, as poetry... or if it merely manifests as taking a walk in nature and watching a beautiful sunset.
Art is made up by your very own and unique thoughts, emotions, views of the world, sentiments, grievances, and hopes.
And it might not be very important whether you channel these and manifest them as music... as poetry... as movies... or merely go for a walk and enjoy a beautiful sunrise.
And if you think about it, the best artists are usually the ones that worked in more than one field. Like musicians that did soundtracks for movies. Or even music video producers that became real movie directors.
Part 3
So, I think there is a core of art, and this "core" is the same for *any* form of art. No matter what kind of art you do.
And this "core" is not (only) a vague, emotional, intuition thing, but there are very real, accurately explainable techniques to be found inside this core.
and if you know these, you can apply these to every art, in music production just as much as in visual art or poetry.
These techniques and key points stay the same, all the time.
Now to the next point, which brings us full circle:
At the same time, there are indeed differences between the arts, and I think you can only understand and use some of these techniques if you learn another discipline of art.
For example, by reading up on movie directing and on the mindset behind movie production, i learned techniques that i could use (and do use) in music production, that i would never have learned if i just stayed within my own realm of... music.
so, all ego and other undue silliness aside: if you are an artist, it will do you (very) good if you try to learn (and to create) a different kind of art, too!
for example, if you do visual art - try to write a book too.
if you are a musician, shoot your own no budget diy short movie
if you are a poet - write a script for a theatre play! (even if it never gets made)
and you do not even need to be good at it, or excel at it, or get praise for it...
by doing a different mode of art, you will learn things that will come in very handy and useful for your "main" art, too!
Example Links:
Music: https://doomcorerecords.bandcamp.com/track/frequency-whales
"Movie" https://www.youtube.com/watch?v=j-IMaRJDzrY
Book: https://archive.org/details/pcp-legends-in-their-life-the-unofficial-planet-core-productions-book/
Journalism: https://thehardcoreoverdogs.blogspot.com/
Thursday, October 15, 2026
Low Entropy's producer diary: Writing the world's slowest Hardcore and Techno track or: I'm Creeping Doom at 1 BPM
So, in 2017 I really got into producing Slowcore Techno again. I already wrote a lot about this "bizarre" genre elsewhere, so if you are new to this, I refer you to my other tracks. And no, it's not (really) related to the guitar based Slowcore genre of the same name...
So... where was I? Ah, I will give you an introduction anyway. "Slowcore" is Hardcore and Techno music below 130 bpm... and some tracks get *really* slow, slow, as in, like, 80 bpm, 50 bpm, or even less.
In the 90s, I had already helped driving up the tempo threshold in the opposite direction... by having the first, full, from-start-to-finish 800 bpm hardcore track released on vinyl in 1998!
So it felt almost "obvious" to me I now needed to do the inverted case, too.
I decided to do a track with 1 bpm. yes, one fudging bpm only. one beat, in one minute. sounds almost biblical right? like an apocryphal proverb... not sure.
Either way, to go get back to the point... I did one, and called it Thunderdoom. Obviously a nod-by-name, to a popular Hardcore compilation series. I put it on my soundcloud, and the feedback was positive.
But the naysayers were banging on my door quite quickly. "this is not really 1 bpm".
Because both the percussion and melody ran at a... let's say faster speed, and just the bass drum itself, did a loud "bang" every 60 seconds.
which is a kind of buckwhip argument in my opinion... 1 bpm is 1 bpm. most speedcore tracks have slower elements too, and this does not make them any less... legit.
naysayers come and naysayers go... but they did not blame this on any "meagre" productions skill on my part... instead they said i failed because it was simply impossible... it was technically impossible to produce a track, that really is 1 bpm speed, and would still sound sensible or enjoyable to anyone.
this "enraged" the need to defend the entire slowcore genre inside of me...
so, back to the producer room again.
and i did one, where the entire clock of the track really clocks at 1 beat a minute...
this one was called "creeping doom" (maybe... just maybe, a nod-by-name, to a popular track by a band called metallica... which also a has cool, slow middle part, btw).
so, let's get down to the production details:
the beat hits home one time every sixty seconds.
because there is a lot of "space" inbetween each "hit", this allows the kick drum to be really, really, distorted, and deep, with lots and lots of bass frequencies... and an overkill of reverberation, delays, and echos!
the percussion elements are at each 16th note (which means, for example, a snare drum could come in after 15 seconds... but not one second earlier).
same goes for the melody and the pads.
i decided to use one of my favorite chord progressions again, four descending chords separated by notes or half notes...
plus i added some additional notes, too.
i sustained the chords as, obviously, nothing else (or not much) would happen in the 59 seconds before the next hit... in the track.
bang, bang, bang, bang, track finished, it goes up and released, and the naysayers go "uhmm... okay, 1 bpm is really possible after all".
the track became one of the most popular tracks i ever did, and by the end of 2017, it appeared in at least one "best music of 2017" charts in one of the well known music mags (forget which one, but i guess it was either groove or the wire). it keeps getting mentioned again and again, also by the music press, in the years that followed.
and i suppose it also generated enough interest so that other things happened, for example that a record on my own label got reviewed by the music mags again. and more good things.
and, i do not say this as "ego", but i try to give an advice for other, or new producers this way:
it is always good to go on a dare, a dark dare, and to risk a lot with your projects, and your music. and do not listen to the naysayers ever!
and that way, you can get a lot of feedback and reactions, and very good things!
Music:
Creeping Doom https://doomcorerecords.bandcamp.com/track/low-entropy-creeping-doom the original
Thunderdoom https://lowentropy.bandcamp.com/track/thunderdoom-1-bpm-2 the other track
Creeping Doom (Nekra Damage Remix) https://cultureofviolence.bandcamp.com/track/creeping-doom-nekra-damage-remix a cool remix (with faster bpm)
So... where was I? Ah, I will give you an introduction anyway. "Slowcore" is Hardcore and Techno music below 130 bpm... and some tracks get *really* slow, slow, as in, like, 80 bpm, 50 bpm, or even less.
In the 90s, I had already helped driving up the tempo threshold in the opposite direction... by having the first, full, from-start-to-finish 800 bpm hardcore track released on vinyl in 1998!
So it felt almost "obvious" to me I now needed to do the inverted case, too.
I decided to do a track with 1 bpm. yes, one fudging bpm only. one beat, in one minute. sounds almost biblical right? like an apocryphal proverb... not sure.
Either way, to go get back to the point... I did one, and called it Thunderdoom. Obviously a nod-by-name, to a popular Hardcore compilation series. I put it on my soundcloud, and the feedback was positive.
But the naysayers were banging on my door quite quickly. "this is not really 1 bpm".
Because both the percussion and melody ran at a... let's say faster speed, and just the bass drum itself, did a loud "bang" every 60 seconds.
which is a kind of buckwhip argument in my opinion... 1 bpm is 1 bpm. most speedcore tracks have slower elements too, and this does not make them any less... legit.
naysayers come and naysayers go... but they did not blame this on any "meagre" productions skill on my part... instead they said i failed because it was simply impossible... it was technically impossible to produce a track, that really is 1 bpm speed, and would still sound sensible or enjoyable to anyone.
this "enraged" the need to defend the entire slowcore genre inside of me...
so, back to the producer room again.
and i did one, where the entire clock of the track really clocks at 1 beat a minute...
this one was called "creeping doom" (maybe... just maybe, a nod-by-name, to a popular track by a band called metallica... which also a has cool, slow middle part, btw).
so, let's get down to the production details:
the beat hits home one time every sixty seconds.
because there is a lot of "space" inbetween each "hit", this allows the kick drum to be really, really, distorted, and deep, with lots and lots of bass frequencies... and an overkill of reverberation, delays, and echos!
the percussion elements are at each 16th note (which means, for example, a snare drum could come in after 15 seconds... but not one second earlier).
same goes for the melody and the pads.
i decided to use one of my favorite chord progressions again, four descending chords separated by notes or half notes...
plus i added some additional notes, too.
i sustained the chords as, obviously, nothing else (or not much) would happen in the 59 seconds before the next hit... in the track.
bang, bang, bang, bang, track finished, it goes up and released, and the naysayers go "uhmm... okay, 1 bpm is really possible after all".
the track became one of the most popular tracks i ever did, and by the end of 2017, it appeared in at least one "best music of 2017" charts in one of the well known music mags (forget which one, but i guess it was either groove or the wire). it keeps getting mentioned again and again, also by the music press, in the years that followed.
and i suppose it also generated enough interest so that other things happened, for example that a record on my own label got reviewed by the music mags again. and more good things.
and, i do not say this as "ego", but i try to give an advice for other, or new producers this way:
it is always good to go on a dare, a dark dare, and to risk a lot with your projects, and your music. and do not listen to the naysayers ever!
and that way, you can get a lot of feedback and reactions, and very good things!
Music:
Creeping Doom https://doomcorerecords.bandcamp.com/track/low-entropy-creeping-doom the original
Thunderdoom https://lowentropy.bandcamp.com/track/thunderdoom-1-bpm-2 the other track
Creeping Doom (Nekra Damage Remix) https://cultureofviolence.bandcamp.com/track/creeping-doom-nekra-damage-remix a cool remix (with faster bpm)
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