For Halloween, Doomcore Records has a special trick (or extra treat!) for you:
A new EP by DarkinGary from Greece!
A true Doomcore smasher, in a modern style; plenty of influences from Techno, Industrial, Acid, and many other genres. Imagine an underground rave turned into doom.
Haunting, instinctual, cruel. And actually very ambitious and futuristic.
Dive into the darkness of underground hardcore techno with "The Legend of the Zombie Rave." This Halloween, the music takes on a supernatural twist, blurring the lines between the living and the dead. Join us for a journey that combines eerie rituals, supernatural forces, and the indomitable spirit of the underground. It's a tale of music, horror, and the thrill of the unknown. Dance to the rhythm of your own heartbeat in this special Halloween short story of "The Hardcore Overdogs."
Credits:
The text was entirely written by ChatGPT ( https://chat.openai.com/ )
The accompanying images were generated using Leonardo.Ai ( https://app.leonardo.ai/ ).
Softened Techno for complacent idiots and "sub-cultural chic" for future CEOs and manager type people who want to boast about their "wild youth days" to their capitalist peers later in life.
Who would have thought. Doomcore Records is about to turn 11, and we're at the 200th (two hundredth) release already. When we started the label, back in a cold, doomy and rainy Hamburg night in December 2012, we didn't expect the label to last that long, to grow so big - and to put out so many releases.
But yeah, it's a fact, so we need to face it like it is.
So, as release number 200, we have something very special for you!
Instead of doing a regular "best of", Rites picked tracks that he thinks are a good representation of the label's output, and he also put them in a mix.
And this mix is also a re-recording of a "Doomcore Records Showcase" set that he did at an underground Hardcore party in Vienna!
So these tracks have been vetted by an audience of Vampire Ravers already, and are now ready to please your eardrums, too - or to blast them to smithereens!
This is the mix only; if you want to hear (and get) the full "Doomcore Records 200" release, with the tracks of this mix included as a bonus, head over to: https://doomcorerecords.bandcamp.com/album/doomcore-records-200
Tracklisting:
01. Librarium & Bohemian - Murdered Me (Holmur Remix)
02. Origin Of Styx - Setting Boundaries
03. Librarium & Bohemian - Murdered Me (Der Cherep Remix)
I've always been very interested in dreams, and find the whole topic of dreams and all that is connected to it extremely fascinating.
I got into things like lucid dreaming and like to explore hypnagogic states.
It is often suggested that as an explorer of dreams, it is sensible to keep a dream diary; as that helps tracking and understanding dream progress, as well as making one's own dreams more vivid, interesting, and also meaningful.
As a music producer, dreams had a huge influence on me and my music, and I based whole tracks, and even albums, on dreams.
Not only my own, of course, but also famous dreams from history, or dream sequences in movies, books, or simply dreamy music, and so on,
While my tracks are often influenced by dreams in a more general way, now and then I get a dream that has a quite direct and drastic impact on a track (or even album!) that I'm producing.
Thus I had the idea to write these down - and start my Dream Producer Diary!
And here it is.
So far, I've written the following parts:
(I write not only about the dreams themselves, but also about how dreams connect to my music production generally.)
I dreamed I was looking at a small house, somewhat remove. A golden, orange, red and yellow light, or glow, was coming from it.
And music was playing that was unlike everything I heard in a waking state. It seemed to consists of harmonies and melodies that were physically impossible; beyond scales, and notions of consonance and dissonance. But most importantly, these sounds gave me a feel of total satisfaction, redemption, salvation, bliss and love. As if one had reached a state where no worries or hurt could exist anymore; only fulfillment, love, and ecstasy.
As I heard this music playing, I saw a women with golden hair and dressed in white clothes standing next to that house; and as the tune played on, her legs began to extend themselves and her body began to raise upwards, to the sky.
When I woke up, I was still completely euphoric, but I also thought "oh boy, you should have never dreamed that dream".
Because almost all my life as a producer, I had been searching for, and trying to create, this "perfect" melody, that sends one to a state of complete happiness and satisfaction without flaw, and without end.
I had just made peace with the thought that this "perfect tune" does not exist, could not exist. And that I should be happy with what I was able to create.
Having had this dream, I know I was bound to go on the hunt once more.
And I did.
I created a whole album out of the inspiration of this one dream. Almost 80 minutes.
The dream and subsequent dreams, nap dreams and mindfulness "states" gave me further inspirations / instructions on how I could go on about creating these melodies I had been searching for since decades.
And I tried to turn this into sound. Did I succeed? Yes, at least in some way, on a small scale. Essentially, the melodies that I created evoked the feelings I mentioned in me (it's clear that not every listener will feel the same way.)
This gave me a sense of completion, and also the idea that now that I'm finished with my quest, I could leave my music production activities behind me, and focus on other things in life.
An EP release Inspired by a dream about David Lynch and his art.
One atonal Doomcore Techno track, one Ambient Slowcore track, and a Spoken Word experiment. And, as a bonus, an Oldschool Hardcore Techno track.
I have a recurring dream. I dream that I am meeting David Lynch and he wants to collaborate with me on some level. Usually he tells me to check the music he did for a new production, and then to give him feedback whether it's okay. But last night's dream was different.
I dreamt he was working on a new movie or series (details were not shared) and had set up a webcam to see inside the production studio. But you had to be on your own webcam, too, in order to access it. So I was watching the producers going on with their daily routine, when I spotted something out of the ordinary. I looked closer and I saw a man and a woman eating ice cream out of the pussy of a colleague. In this moment Lynch intervened and told me they were tracking my eye movement, and that out of all viewers I was the first one who directly "looked" at this thing, and that it was a secret contest that I thus won. The reward was that they were gonna scan my face and use it in a scene where the face of one of the actors would morph into my own. I told him I was more looking at the ice cream then the thing happening, but was also excited that my face was gonna be in a David Lynch production!
He then told me that the scene might not end up in the final cut, and I told him that it doesn't matter to me, because I think in art the idea is most important, the act of putting it into reality is good, but the result is unimportant, to which he slightly disagreed. I then said, if the idea is great, then "the result is the result", and wherever the result lands is fine, to which he smilingly agreed.
There is even one track on it that came to me in a dream - "let us change the world".
The "Dreams" album, released in 2013, was to me one of the most important releases I ever did. Not because it went big or had a lot of success, which it had not, but for more personal reasons.
I did it in a time I was very nihilist and pushed a bleak worldview, but I longed for more. So I did this release, in which I tried to go total with this nihilism, but also trying to reach idealism and truth at the same time.
So on one hand i wanted to erase everything I associated with music production and its rules; the tracks were all extremely lo-fi, no EQ, hardly any reverb or processing, hard clipping; absolute reduction of elements, sometimes just synths and a drum in the instrumental section.
But on the other hand, there was the 'idealist' longing, and this went into the production of the tracks too; I wanted to evoke dreams, ideals, otherwordly feelings with the choice of sounds and melodies; but most importantly, with the lyrics to the tracks.
So we have "We are the dreamers of dreams" which was based on a 19th century poem.
"Freaks United", a tale of the power of freaks and outcasts and a hymn celebrating those who dare to be different to the social norm.
"Global Riots", as a counterpoint to the more positive songs, with its talk about a global societal collapse; but an *ideal*, imagined counterpoint.
"Henrys", well, it's a long story, maybe I will tell it another day.
"Let Us Change The World", a call for political change, still more emotional then intellectual, but already with a definitive focus.
"Androgynous Girl", well, as the name says, a song celebrating those that are more on the androgynous spectrum.
And finally "Speech", contrary to its title, more a hypnotic recitation of mantras that tries to feed your mind.
But, overall, the main theme of the whole release is, as the name says, "Dreams". About dreamers, the world of dreams, visonaries, fantasies, imagination - and the underlying power of all of this.
So the release went out; and it changed my whole trajectory of doing music.
I quickly left the minimalism and nihlism behind, and instead of reduced lo-fi tracks began making complex and complicated productions again. And I discovered the philosophy of idealism and tried to incorporate it into my sound.
Over the years, the thought came to me to revisit these tracks; and turn these demo-like, fragmented sounds into fully fleshed tracks with better production values.
And I finally did! The result is here: "Dreams Revisited"
It was fun to work on these tracks again, and I put a lot of thoughts and energy into these productions, more than usually, and I'm really happy with the results.
On the stylistical level, a lof ot stuff is going on here:
Cosmic Ambient, Industrial Slowcore, Oldschool Speedcore, Spoken Word, New Wave Ravecore, Erotic Acid EBM, Krautrock, just to name a few aspects of it.
Aswell as the normal tracks, I also added instrumental versions of most the tracks.
I dreamed I was creating a politically motivated track about changing the world.
In this dream, I felt extremely emotionally charged, but in a euphoric, ecstatic way. A more intense feel of joy than almost anything I experienced in waking life.
But not only euphoric; but also experiencing a sense of purpose, meaning, aim, and truth.
After I woke up, I still remembered enough of the track in order to create it; and I especially remembered its lyrics.
While I was very political earlier in life, and very enthusiastic, positive about it, this dream happened in a period of time when I was completely disillusioned, pessimist, depressive.
Having this dream, and creating the track about it, set a chain of events in motion that totally changed this, and also upset my entire music direction (in a positive way). I ended up returning to politics.
I had some ideas for a track, and began working on it. I had it nearly finished, but one of elements didn't sound right; I had a certain idea how to use it, but I had no clue on how to technically, or otherwise, implement this track according to the concept I had. More specifically, I had a problem with uncontrolled bass frequencies that cut into the track, interfering with the rhythm of the other parts of the track, and cutting the bass would meant changing, and thus destroying, most of the sound as I wanted to use it.
So I put the track on a shelf for a while, and didn't work on it - for months!
Then one night I dreamed that I was listening to the finished track, and it sounded alright, and I loved it; and in this dream I understood how I could implement the element into the track as I wanted it to be, without interference.
When I woke up again, I tried this "dream method", and it worked! And everything sounded alright and nice to me, and the track was finally finished.
A new set by Doomcore Records Pod Cast veteran Nikaj.
This time, he wanted to do a tribute set to the 90s era German Terror Hardcore scene and parties, with their unique atmosphere and sound. More specifically, this is a tribute to the Bunker, "world's hardest club" during the 90s, set in Berlin.
He told us he only selected tracks that were around at that time, and that he heard at parties being played during that period.
And it is for sure a really violent and diabolical mix, made up of a selection of Hardcore, Gabber, Terror, and Speedcore tracks.
So - it's time to get back to that primordial era of Hardcore once more!
[Note: neither we, nor Nikaj, are officially, or in any other way, affiliated with the actual Bunker and its crew.]
Tracklist:
Doomcore Records Pod Cast 061 - Nikaj - A Tribute To Bunker Berlin
I dreamed a man was standing next to me. He was explaining a track to me that I could create. It was a "Ravecore" type track. He gave me melodies for the melodies to use. He told me the whole structure of the track, including the "bass drops". "breakdowns", and so on. Especially, he explained all aspect and detail of the track I was suggested to create.
But he also told me that music production is not about finding the "right" or "perfect" melody, rhythm, and so on. It's more about what *I* feel, in my heart, what *I* want to do, in my mind.
When I woke up, I had all the *instructions* that I was given still in memory. I wrote it all down, and started working on the track later that day.
The "rave dream man" had given me the melody in musical notation only; I heard no melody in my dream. And at that point I was still a "note illiterate", so I had not the slightest idea how these notes would sound in the end; but I used the notes in my DAW just as they had been told to me in that dream.
In the end, the melodies sounded great to me, and I was very happy with the final track.
It's rare that I when I dream, I get inspired to do a track in such detail; usually more of it is left to the imagination.
I dreamed that I regained consciousness, and found myself floating, or rather travelling, in Earth's orbit.
Just my body, no rocket, no vessel. Far below me I could see the blue oceans and continents of Earth. I saw that I was steadily speeding towards the moon. The moon looked much larger than when viewed from Earth.
Eventually, other people appeared besides me, that were apparently heading towards the moon, too. I saw that they appeared to be from "all walks of life"; business people in business suits; young adults in street-wear clothes; intellectuals; blue collar workers, and so on.
We became quite the large group. Floating in unison towards the moon. Then suddenly everything sped up, and we landed on the moon. There was a large crowd of people now, and everyone headed in some direction, or started to engage in other activities. A few people started to approach me (not sure if they were from Earth, Moon, or other origin in this dream) and to talk to me; but I could not understand them, as their language only seemed to consists of strange sounds that I could not comprehend. As they kept coming closer and closer, and still talking to me enthusiastically, I got a bit scared, and desperately tried to understand what they could want from me, or what they tried to tell me. Eventually there was a huge bang and then a blinding white light, and everything went black.
When my vision came back, I noticed that my head had been severed or disconnected from my body, lying sideways in the moon dust. I could see that my body was still standing though; in fact it was surrounded by the people that approached me, and my body was now happily talking to them (even though it had no mouth!), it seemed to understand every word of what they said, and eventually my body headed off with this group of people, and everything seemed to be fine.
Then I woke up.
I still have the way this "strange moon dream language" sounded in good memory, so I decided to make a track out it. And while I often find it hard to transport "sounds from a dream" to a real track / audio production, this time the "track" almost exactly sounds like the communication in my moon dream.
Who would have thought. Doomcore Records is about to turn 11, and we're at the 200th (two hundredth) release already. When we started the label, back in a cold, doomy and rainy Hamburg night in December 2012, we didn't expect the label to last that long, to grow so big - and to put out so many releases.
But yeah, it's a fact, so we need to face it like it is.
So, as release number 200, we have something very special for you!
Instead of doing a regular "best of", Rites picked tracks that he thinks are a good representation of the label's output, and he also put them in a mix.
And this mix is also a re-recording of a "Doomcore Records Showcase" set that he did at an underground Hardcore party in Vienna!
So these tracks have been vetted by an audience of Vampire Ravers already, and are now ready to please your eardrums, too - or to blast them to smithereens!
Our final words go out to the countless of people that have supported us on this "hero's journey" (or rather a villain's journey?);
The artists who sent us tracks and made wonderful and doomed music for our releases; our crew member Mattia who did so many great and very disturbing artworks; those big international music magazines that kept pushing and promoting our label even though we never sent in demos, nor suspected they were even aware that we exist; everyone else who kept pushing our music; all the DJs that spun our tracks at big or underground parties, or in online mixes; the enthusiasts that came to our listening parties, or left comments, wrote reviews, etc; and, of course, all of *you*, the fans, the listeners.
Because *you* made it all possible.
You created a monster - and for this, we are proud of you!
Now, let's go on and tackle the next 200 releases.
Tracklist:
01. Rites - Doomcore Records 200 (Tribute Mix à la Rhiz)
02. Librarium & Bohemian - Murdered Me (Holmur Remix)
03. Origin Of Styx - Setting Boundaries
04. Librarium & Bohemian - Murdered Me (Der Cherep Remix)
Halloween is 'round the corner, and we're knee-deep in Spooky Season already.
While all the other mags will recycle their lists about the "best" "scary" movies, comics, pop and rock songs now, we do things differently. Instead, we present you 10 bona fide Hardcore tracks to get spooked during this time of the year!
Thematically connected to horror movies, monsters, cenobites, pure cosmic evil, or other things that are "dark" and "forbidden" (regarding mainstream society) for the rest of year, these are some tracks that are sure to blow the cobwebs out of your crypt by their sheer bassdrum power!
Enjoy this list. And who will dress up as a Hardcore DJ for Halloween this year?
26 years of research into just intonation, microtuning, xenharmonics, and generally non-standard, non-western tunings were poured into this composition :-) enjoy!
I like to create long tracks. And I mean: looong tracks. More than 7 minutes. More than 10 minutes. Sometimes more than 60 minutes.
But it can occur that, for various reasons, at this size the track does not fit in a release. Maybe because of physical limitations of the format (cassette, CD...). Or because it would be too different to the other tracks on the release. So they get cut, and released at a smaller size.
But here are 4 tracks at their glorious original "oversize" length. Between 10 and 21 minutes each. Doomcore, Acid, Techno, Industrial Hardcore, Gabber and even Speedcore! All is included here. From 30 to 3000 bpm.
Are you ready to get oversized?
The tracks (in their cut size) originally appeared on:
for the latest edition of "From The Deep" (Part 3), I created something special: a set made up of bassdrum and percussion centered tracks.
No fuzzy melodies, no synthesized harmonies; very few elements apart from the pounding drum. Quite some changes in tempo in speed, so from 30 BPM Slowcore to 3000 BPM Speedcore / Extratone, everything is here!
Void Pulsar on Doomcore Records with his Neurosis EP!
This is Doomcore that is very heavy on the atmosphere and melodywork; cosmic, mystic synths, going into almost oriental or far eastern melodies, but also invoking dark ambient, Berlin school, or even chiptune and synthwave maybe!
Enforced by powerful beats that also channel Techno, HardTek, and a slice of Industrial Hardcore.
A competent release for all fans of doomed hardcore music!
We cannot fucking believe it. Slowcore Records has been already around for 2 years and is celebrating it's second birthday!
But not only the label grew, the whole Slowcore movement has expanded.
And while Slowcore in the past had been more of a secret cult thing - with quite a lot of people into it, yet being somewhat shut away and hidden from the "rest of the world", this has changed.
A lot of people are aware of Slowcore Techno now, and producers from vastly different scenes started to make Slowcore, even if they just reluctantly release them. Including a lot of "big names"!
But, don't worry, we don't think Slowcore will sell-out yet.
So, without much ado, here is a selection of tracks taken from the various releases we did in the last 12 months.
We tried to choose some interesting and outstanding ones.
It was a AI-controlled "game" that we released earlier this year. You can play it by copying a prompt into ChatGPT - and ChatGPT will generate the game for you!
It was a decide-your-own-destiny type interactive novel (text only) that allowed you to experience the thrilling, and sometimes surreal, life of being a Hardcore Techno DJ.
Ceaseless Cycle is a new project by Cement Tea and Clyme. And it's a very interesting project indeed; straying from the worn out paths of ordinary Doomcore, they both venture squarely into other dark and occult realms, such as Dark Ambient, Oldschool Industrial, Slowcore, Experimental, Soundtracks, VGM... creating an exquisite but maybe taboo connection.
So for connoisseurs of audio vitriol, macabre and vicious, this is surely the right experience.
Created by Deadraver for his Doomcore Techno track "Road to Nowhere", it features a dark and gloomy trip through deserted nature, roads, empty spaces, liminal crossroads... set to sounds following the same direction.
Evoking the vision of restless souls who wander the afterlife without aim or destination, in search of salvation... or purgatory. As well as being open to various interpretations.
Midwest Hard Corps and Drop Bass Network party veteran GabberGirl did not only create one, but *two* sets for the D.R.P.C.! And what a second set it is; a true, ecstatic, sincere banger once again!
The theme this time ain't stark raving rednecks, but "Doom & Boom".
Dark Hardcore, Techno, Gabber, and Terror tracks from the past and present day.
A mix informed by wall-shaking bassdrums and an extra-dose of gloomy motions.
So head over here, and go bang!
DOOM & BOOM
Mixed by GabberGirl
September 2023
Spun on 909 day!
DJ Set Track List
“Nuclear” by Zomboy (sample only)
“End of Days” by Xaero
“I Like Dreams” by Chosen Few
“Apocalypse” by Mefioz
“The End of Days” by Omkara Techichi
“Lesneth” by Charly Lownoise & Mental Theo
“World of C” by Cybernators
“Acid Willow” by Flail
“Low Motherfucker” by Keng
“Black Out” by Tugie
Samples of destruction from apocalyptic movie montage
“The Day Before the End” by Bombardier
“Doomsday” by Nero
“King of Hell” by Delta 9
“Call Ticketron” by Run the Jewels
“Killers on the Road” by Terrorclown
“Cave” by Gravelhands
Sample of world ending scene from the movie ‘5th Wave’
“The Destruction” by Khaoz Engine
“Total Damnation” by Tugie
“Death by My Hand” by The Mastery and Brutal Jesters
On a very warm and sunny autumn day I was riding my bicycle through the port of Hamburg area.
As I was pedaling onward, I began to hear strange noises in the distance, that sounded a lot like work being done on heavy machinery.
But with all the urban reverberation and other sounds, it was not easy for me to make out what the sounds actually represented.
There are few (if any) factories in the area. I thought it might be workers assembling a ship, or maybe constructing a building. But as I came close, I realized the sound was rhythmic, looped.
I was still puzzled, but my curiosity was sparked, too. As my bike ride continued, the sounds became much louder - and clearer.
Now I realized the noise was a "bang...... bang.... bang....", rhythmic, in a loop (as mentioned), somewhere between 20-30 bpm.
Very abrasive and harsh.
I still was not sure what type of machine or work created such sounds. But I thought "Oh, this is going to be really good. I'm gonna experience 'Slowcore' on a loud volume, in a large space, for the first time! (Instead of listening to it at home, or on headphones). Today is my lucky day!".
And I was not disappointed. As I approached the source, the sound became massive, loud, gigantic... now more a "boom.... boom... boom....".
So, as I arrived at the scene, I finally discovered what created this ruckus: a pile driver was hammering a huge metal sheet pile into the harbor basin.
It really resembled the sound of a Slowcore track; the moment when "metal hit metal" creating a noisy bassdrum-like sound. The volume resembled those of some of the loudest hardcore parties I've been at. My ears felt deaf after the experience. It could have used a bit more sub-bass though, but I'm not complaining.
I got off my bike, stood there for a few moments, listening to the sound. I was completely mesmerized and felt like I was going out of my head (I usually feel that way when I'm at places with loud "Hardcore" sounds ;-)
also interesting was that quite a few spectators were standing around or sitting on benches, obviously enjoying this spectacle, too.
I thought, man, this is a great experience, and this type of noise really works on a loud volume; and it attracts people!
Which made me assume that Slowcore Techno is really a way to go forward in music, and could attract people too; and that's about time to play Slowcore at parties, too!
Some might object that comparing heavy-duty machinery work with the sounds of "bassdrums" or even "slowcore" (and parties!) is "nonsense" and "silly".
So for this case, I have created a track to prove my point - well, I also created the track to keep that experience in mind, and because i felt i *had* to do that track.
the track uses the real field recording of a pile driver operating in a port. eventually, drum machine bassdrums come in, and everything gets modulated, twisted, and distorted.
the sounds swell on and fade out over time in this track, just as they did on my bike ride.
So, here it is: my very own Hamburg Harbor Slowcore Piledriver Experience.