If you want to support Doomcore Records / Slowcore Records / Omnicore Records - or if you just want to have a huge amount of frigging good tracks - you can now purchase *all* releases of the three above mentioned labels for the meagre sum of 3 euro 15 cent. Of course you can tip us a larger sum if you are inclined to support us some more... or just to have a huge pile of exciting releases!
How to do it?
Just go to any releases on the Doomcore Records bandcamp using a web or desktop browser - for example this one:
I wrote a lot about other labels and artists, for different zines or self-published e-books. But I rarely talk about myself!
So I will talk a bit about my own music this time.
I was part of the "original speedcore" scene in the 90s. "I was there" when bpms were raised above 400, 500, or even 1000 bpm, and I even helped to raise them! One of my first "underground hits" was a straight 800 bpm track, released in 1998 on a lux nigra vinyl, alongside other artists like Christoph de Babalon or Paul Snowden.
It sometimes took time until my tracks reached vinyl, so a lot of the tracks that labels released in the year 2000 or on were actually productions I did in the 90s already. But even before the EPs and albums, my music circulated on the internet, on dub plates - and at parties, of course!
My speedcore activism got me booked at places like Tresor in Berlin, or the F**kparade party (yup, the one where the "Technoviking" video was made - I don't think my music is in that vid, though).
But then I moved on and dived into acid, doomcore, more "danceable" techno...
And scored some hits again, but this is another story!
I always stayed attached to the Speedcore scene and produced in that style now and then. And to my surprise, while it was very hard at first to push my doomcore or techno sound "to the crowds", whenever I do speedcore stuff, it seems the sound almost spreads by itself and reaches the fans... (and I would like to thank them this way!).
I started producing at age 16, in 1997. The early tracks were still done on an MS-DOS program called Impulse Tracker. It played back samples at various speeds and in various sequences (that's what trackers do!), but there were no built-in FX like reverb, delay, chorus, EQ... I had to use other apps like Soundforge, Reaktor, or Cool Edit Pro for that.
The project files had to be less than 1.44 MB in size because I saved them on floppydisk. When I wanted to create a demo-tape to send to a label (in an international parcel - because the hardcore scene was worldwide), i needed to ride the train across the city to "record" the projects from the diskettes via my brothers cassette tape deck. Before I finally could afford my own.
Later I leveled up to different programs and tech, of course.
Sooo... this is kind of a look back at all the Speedcore noise I produced in nearly 3 decades.
1997 flatline 1998 adrenaline junkie 1999 society (has no further use for you) 2000 FM 4 2001 Anything is possible 2002 die mächte des wahnsinns 2003 start the panic 2004 angels and devils [intermission] Chorus 2 2007 moonlight 2008 Another orphan of a bankrupt culture 2009 Full-On 2010 46 2011 Getting Faster 2 2012 bleep 2 2013 das ende der welt 2014 métal hurlant 2015 One Two Three Four 2016 Alucard Speedcore (English Version) 2017 Explode like a reactor 2018 the dreamer 2019 redeemded by hatred (vocals null entropy) 2020 i am the storm 2021 struggle for power 2022 nihilism 2023 fuck the government 2024 against afd 2025 all your nightmares
Hi folks & hellspawn, I was invited by Demonic Records to produce some tracks for a new dub plate / lathe cut 10". And I did.
Pre-views and pre-orders are online now... And you better hurry, because it will be strictly limited. Of course, there is a digital version available too!
So let's talk a bit about the tracks and production.
As the title signifies, this time the general theme is the connections of dimensions and times.
The title track, "Enter Dimension" is a classic Oldschool Doomcore affair. But it goes beyond that. The main hook is not a sawtooth-pad, but a synth that is closer to scifi soundtracks, or earlier ambient bands (think 70s "Berlin School")... maybe even with a bit of inspiration by EBM, John Foxx, and Detroit.
"Dawn of Time" pounds at a Slowcore rhythm. But there are plenty of extra elements. Manipulated opera voices... old style UK rave bleeps... doomed chanting... and a bit of animal-like howls.
So I tried to keep it classic with both tracks, but there is also something new... and dark!
The Doomcore Records Pod Cast is proud to present a new Monster of a Mix, or, actually: a Monster Mash! The theme fits to Halloween like a glove (and maybe it's the knifeful glove of Freddy Krüger). Music about Monters, Ghouls, Ghost and Goblins... so don't doze off in a pet semetary (because you don't know *what* you will be *whenever* you wake up...) but put on your dancing shoes and get gabbering to these hardcore tunes!
The mash was mixed (or the mix was mashed) by GabberGirl who is already a veteran on the Pod Cast. While these sick beats were cured... pardon, "curated" - by our in-house witchdoctor Low Entropy.
So enjoy this Pod, and one final word of warning: if you find a different kind of pod laying around, in your garden, during Halloween... don't pick it up and hold it to your ears, for you don't know if it comes from Planet X, the 8th dimension, or the IRS!
Tracklisting:
MONSTER MASH
By GabberGirl & Low Entropy Halloween 2025 (Curated by Low Entropy, Mixed by GabberGirl) DJ Set Tracklist
Deadly Buda—My Theory (mad scientist & Godzilla) C-Tank—Nightmares are Reality (Freddy Kruger) Leviathon—We'll Tear Your Soul Apart Headshop—Xenomorph (from movie “Alien”) Eradicator—Enter Three Witches Steve Shit—Cobra vs Werewolf Dr. Macabre—Poltergeist (performed live) Hyper-Act—Monster Sound E.T.—King Kong Never Existed Zekt—Phantom in the Hall Trickster & Undercover Anarchist—The Phuckin Dead (zombies) Headware—Nightbreed Vs Cenobites (Speed Freak Edit) (from movie “Hellraiser”) Stickhead & Don Demon—Demonhead Eradicator—Titan Psyche Out—Hydra Blast The Speed Freak—Murder the World (Nix from “Lord of Illusions”) Syndicate—Grim Reaper Jack Lucifer—95 Knights (Don’t Fear The Darkness) Reign—Skeletons March The Mover—Impaler II (vampire) Mindviper—The Necromancy Lory D—Lochnar (entity from movie “Heavy Metal”
Hi folks & hellspawn, I was invited by Demonic Records to produce some tracks for a new dub plate / lathe cut 10". And I did.
Pre-views and pre-orders are online now... And you better hurry, because it will be strictly limited. Of course, there is a digital version available too!
So let's talk a bit about the tracks and production.
As the title signifies, this time the general theme is the connections of dimensions and times.
The title track, "Enter Dimension" is a classic Oldschool Doomcore affair. But it goes beyond that. The main hook is not a sawtooth-pad, but a synth that is closer to scifi soundtracks, or earlier ambient bands (think 70s "Berlin School")... maybe even with a bit of inspiration by EBM, John Foxx, and Detroit.
"Dawn of Time" pounds at a Slowcore rhythm. But there are plenty of extra elements. Manipulated opera voices... old style UK rave bleeps... doomed chanting... and a bit of animal-like howls.
So I tried to keep it classic with both tracks, but there is also something new... and dark!
My Halloween playlist: Death's knocking on your door Here is a playlist I made, and I think it's very fitting for Halloween and Spooky season.
It deals with death, ghosts, the afterlife... but (most of the time) not in a gory or violent way. There are some "funny" / macabre tracks... for example Steven Kilbey's "Like a ghost", in which he tells the story of a man who slowly realizes he might be... a ghost. " But also some deep, soulful ones like John Foxx' "The Garden".
Most of the time, the songs allude to death in a metaphoric way or one that is open to interpretation. Like in Bowie's "Man Who Sold The World".
AI generated music video for the Techno track "Astrid Gnosis - Sin Armadura (Low Entropy Remix)"
The video muses on the concept of different dimensions, journeys between worlds, artificial realities. The vision of liquid Cyberspace and its connection to the very real, solid, earthly, physical world. The viewer of this video - the spectator, the passenger - is moving freely between time and space; yet also being stuck in a dark reality. Shifting between painful isolation and vivid communication. And, in the end, rising above this.
These strange but comforting images try to create a new layer on top of the underlying Techno bass, beats, and sounds.
The "butterfly" is a traditional symbol that connects all these threads.
The visuals were generated using the Leonardo.Ai image and motion generator(s). https://leonardo.ai/
Books or E-books about Electronic Music, Hardcore, or Experimental stuff are still very hard to come by. So we are happy to announce a new one, this time dedicated to DHR out of Berlin!
All the infos about the book:
It was due time that Digital Hardcore Recordings aka DHR got its own, unofficial guidebook. It was an important part of music history, of 90s culture, and of history.
This book lists and reviews all Digital Hardcore releases; all albums, EPs, and single releases, CDs, Vinyls, including those that got put out on sublabels.
It's not just a dry, music-centered look at the tracks alone. But also mentions the cultural context, the philosophical context, the political context. And goes way off on various ways sometimes - by looking for connections to other media, movies, movements...
The book is for the dreamers, the restless minds, that were looking for a true alternative in the 90s, or are (still) looking for it in today's times.
We put it on Blogspot for the time being, but working to get it into a real .pdf etc. Note: No AI has been used in any of these texts.
It's Bandcamp Friday, And a lot of artists and labels will message you and tell you to download their tracks and releases for you to listen to. But isn't that a bit boring? So I will instead let you know about my sample packs. Which help you produce your *own* tracks instead of merely listen to that of others! And they are all free.
They might be useful for producing Techno, Hardcore, and other genres.
And here are some example tracks that were made with the sample packs and have been released on actual labels (so you can see this is some legit stuff, and not just some baseless claims (pun intended)).
Recently, people commented on a claim I made: that I produced the audio material for an album with a runtime of over 60 minutes in only around 30 minutes. Is that really possible, because that means the production time is less than the length of the tracks?
And I think it's an interesting music production topic to explore.
There is a thing I call "sonic boom production", and to me, it is one of the holy grails of the music producer profession, an outstanding achievement. At least if the result is meant to be somewhat audible and meaningful.
But first, we must cross and denounce two popular myths and assumptions.
The first: Production length is related to the length of the track or the song. But it is not defined or limited by it. Yes, most of the time, a longer track means "more work".
But if an artist does an album, and it has the tracks:
A 3 minutes B 4 minutes C 5 minutes D 8 minutes (and so on)
This does not mean the artist *really* spent double the time on the 8 minute track, compared to the 4 minute one It could even be that the shortest track - A 3 minute - was the most work-intense one.
The second is that music production would be hard work, or takes time, or is complicated, etc. Yes, it is, but it also is not. It's like any other activity, being a chef, athlete, tightrope walker, writer, whatever. It might be impossible to some people. But for those for whom it comes natural, it comes natural. And if they're initiated and they're used to it, it's more a rather simplified task, like slicing bread or dicing onions. Yeah I know, musicians like to wear the halo of being a hard-working martyr, but the truth is that a lot of the famous hit songs you hear on the radio or the tube were conceived, created and completed in bare minutes.
So, if you consider the above facts, it's indeed possible to beat up the clock, and outrun the speed of sound by producing a track in a shorter amount of time then it takes the listener to fully appreciate it from start to finish.
