fischkopf first caught my awareness when it was mentioned on the old DHR website ca. 1996 on the haywire tree of sites. they wrote, about DHR, labels with 'similiar' had sprung up in other cities as berlin, for example fischkopf in hamburg. it was not long ago that i discovered the hardcore / experimental world, and was completely in love in it, so i was pretty excited; a label from that scene, with that sound, here in hamburg, where i live? i immediately tried to find out more, and got to know fischkopf records operated from a store here in hamburg called container records, for records and CDs of all kinds techno; i think they had one of the largest sections for hardcore only in europe, at least this side of rotterdam. multipara's label discographies webpage - he had one area solely for fischkopf - provided me with further information.
but now, let's cut the introduction, and get to the basics.
fischkopf was started in 1994 by a group of people, including the operator of container records, martin, and people such as DJ Raid. the first release was done by cybermouse. in an interview it was stated, that cybermouse caught the interest of the fischkopf crew as he was known for his eclectic taste in music in the container record store. this resulted in fisch 1 - cybermouse - surprise attack. the tracks on this release were done on an amiga 500, and actually first released in a diskmag called neurowaver, before they found their way on this fine 12".
the follow up was christoph de babalon's "love under will" EP. these two releases already set the way of what was to come, with their exotic, experimental approach to music that was not easily found elsewhere.
after the fourth release, the old crew disbanded. DJ Raid and others set out to create their own label (with others), Cross Fade Entertainment. the first release on the, "methods of mutilation", by somatic responses, was actually the first somatic responses EP also. it had originally planned to be released on fischkopf. also planned, but scrapped, was a fischkopf release by alec empire.
gerhard storz, called hardy, now took over the business of running fischkopf. the first release under his hands was "shortage of oxygen" by eradicator aka patric catani, one of the masterminds of the experimental and digital hardcore scene back then. what followed were releases by monoloop and lasse steen under the name of p.server, which, with their spaced out jungle and hard acid madness, showed that fischkopf could not be pinned down to one style. in this early period of fischkopf falls also the first outing by one of the most celebrated persons in experimental hardcore: joerg buchholz aka taciturne. with this release, "potpourri" EP, he also had the track which is probably the only one known to gabberists by this label; "der toten". it became a sort of "rave anthem", played on many a gabber party, and is, according to my knowledge, the best selling record of this label.
it also sometimes fetches wondrous prices on the discogs page to sell records.
cue several other later releases, and we arrive at fisch 12, "6 fragmente in der chronologie des wahnsinns". named after an independent movie, "71 fragmente einer chronologie des zufalls", it features hard hitting sonic experiments that were unseen at that point in history. you can find a more lenghty and conclusive review of this record on my blog. let's just add, that is also known to fetch wondrous bids of money on discogs.
by now it should be noted, that at that point, fischkopf had become a sort of phenomen. the "normal" hardcore scene more or less chosed to ignore most of its releases. hardy, in an interview for signal zero said, that it was actually one of his intentions, to make music that was outside the hardcore scene at that point, what he called the pcp and nordcore crowd.
so, fischkopf was actually much less known as many of its contemporary labels which sometimes even managed to drop compilations with their stuff in supermarkets and mainstream stores (hey, it was the hardcore heyday back then).
yet, to a smaller group of people, fischkopf was already known as being the source for brilliant, exquisite hardcore creations and sonic experimentation. so fischkopf managed to pierced many a subculture with its sound.
it is only now, it seems, that fischkopf seems to finally get wider recognition (although slowly growing), by the possibilites of the internet - or is it fading into total obscurity? only time will tell.
let's get on.
fisch 14 saw the first and only album by eradicator. tonal assault between 4/4 madness and an industrial record collection can be found here. catani actually got annoyed by the label, as they used a self-made artwork for this, instead of his own cover design.
in this middle period of fischkopf - we are in 1996 - three more important names appear on fischkopf. nawoto suzuki aka burning lazy persons, and the michelsen sisters, no name and auto-psy.
lenghty reviews are due elsewhere - let's just say i consider these releases to be amongst the most important at this point of hard electronic music.
fisch 20 had amiga shock force, with an aptly named assault of "psycore kids vs rave fascists."
fisch 23 saw the master release of fischkopf. a compilation with its acts and related artists. everyone always was about the vinyl version; but, according to me, better get the 2xCD, as some of the best tracks are CD only.
again, not the time for a lenghty review, but it is the outing of some of the best artists at that date with some of their best tracks, and spans from breakcore to acidtechno, from all-out noisecore to the most calm ambient.
fisch 24 saw a release by EPC, whose items are the subject of a collectors hunt these days.
after that - it was the end. why and how fischkopf ended is not clear. did hardy fell out with the container records crew? or didn't fischkopf generate enough attention and a clear balance, in the end?
no matter what it was, the shock hit the fischkopf supporters hard.
we're in 1997 now. by the fourth quarter of 1998, a white label suddenly appeared, followed by a regular release.
fisch 25 by mathey olivers. excellent french hardcore with surreal ideas can be found here.
apparenly fischkopf was due to a relaunch? but just as it appeared again so fast, it faded away again - a shame.
the last outing was the white label of fisch 26, of which only a few test pressings seemingly existed. later, it was found out that it was done by cybermouse, who has also done fisch 1 - a nice and worthy ending for this great label.
this text only covers a fragment of information (or of "wahnsinn"?) about this underrated, appreciated, fantastic, groundbreaking label. much more is to be found out. it is up to you to find out more - or wait for more information to appear.
further information: http://www.discogs.com/label/4356-Fischkopf-Hamburg
Showing posts with label Texts. Show all posts
Showing posts with label Texts. Show all posts
Review: Senical - Dark Domestic Temper - Killing Rate 2
senical works on killing rate are imho his best.
the dark vinyl with its gloomy blue printing prepares us for what is to come on this record.
i will focus only on the tracks that i assume to be the best, or most interesting, this time:
A2 more mellow than most of the other tracks here. a very technoid feel, with a long, multi-channel build up. when the melody comes in, it is killer. we have exotic space synth hits that could be used in a movie such as blade runner. beat and melody stay with us for a long time, and this creates an intricate hypnotic feel. i guess this track would work wonders on a crowd on dancefloor in a dark, strobe flashed location. the, almost, howling synth at the end makes a great finish to this wonderful track.
B1 non-4/4 floor beats make a nice change here. it's hard to describe the feel of the track; it is almost electronesque. maybe if electro was done by a kind of cyborg soldier from the future. it has one of these almost oriental sounding melodies i adore in hardcore and techno of that era so much, based on high filtered saw-waves.
the build-up in this track is strong, as usual with senical, and deep space fx add the finishing touch here.
B2 the space beauty of the other track is exchanged with jackhammer romance here. noises, screaming machines, pain, all around. the speedcore bits are another nice touch. this track proves how powerful and disturbing analogue equipment can be used.
B3 for me, this is the true gem of this record. marching drums come in, supported by a powerful techno beat. it goes, hypnotically, along like this. till the melody comes. and this melody is so deep space, so otherwordly, so far away in the universe, i can't describe. it could be the fuel for the most vivid dreams. it sounds as it was sent straight from the year 3035. this shows the true and deep skill of senical, and makes for a perfect ending track. of a wonderful, great record.
the dark vinyl with its gloomy blue printing prepares us for what is to come on this record.
i will focus only on the tracks that i assume to be the best, or most interesting, this time:
A2 more mellow than most of the other tracks here. a very technoid feel, with a long, multi-channel build up. when the melody comes in, it is killer. we have exotic space synth hits that could be used in a movie such as blade runner. beat and melody stay with us for a long time, and this creates an intricate hypnotic feel. i guess this track would work wonders on a crowd on dancefloor in a dark, strobe flashed location. the, almost, howling synth at the end makes a great finish to this wonderful track.
B1 non-4/4 floor beats make a nice change here. it's hard to describe the feel of the track; it is almost electronesque. maybe if electro was done by a kind of cyborg soldier from the future. it has one of these almost oriental sounding melodies i adore in hardcore and techno of that era so much, based on high filtered saw-waves.
the build-up in this track is strong, as usual with senical, and deep space fx add the finishing touch here.
B2 the space beauty of the other track is exchanged with jackhammer romance here. noises, screaming machines, pain, all around. the speedcore bits are another nice touch. this track proves how powerful and disturbing analogue equipment can be used.
B3 for me, this is the true gem of this record. marching drums come in, supported by a powerful techno beat. it goes, hypnotically, along like this. till the melody comes. and this melody is so deep space, so otherwordly, so far away in the universe, i can't describe. it could be the fuel for the most vivid dreams. it sounds as it was sent straight from the year 3035. this shows the true and deep skill of senical, and makes for a perfect ending track. of a wonderful, great record.
Review: Miro - Purple Moon / Understand - DE 2052
it somewhat doesn't feel right to review this record, as it has already be done a dozen times by other people. yet is one of miro pajic's most intriguing works, and worth reviewing.
when it came out, before, there was nothing. there was nothing like it. you can check the backcatalogues of the labels of that era, and you will see there isn't any record like this. maybe some earlier works of miro only can contend. and afterwards, there is nothing either. except for miro's tracks of course. but, as far as i can tell, no artist after this record has managed to pull off something similiar as this. it is definately one of the early highs of miro's music journey.
A1 Purple Moon
this is it. the purple moon. do i need to describe it? outer space beats open this records. we are moved along, more elements are added. while this track paces as a fast speed, it is nothing like the "hardcore" of it's time. this track feels more as if one of the great sonic pioneers such as jarre or klaus schulze had their go at techno, as if this was done by a techno man on a techno label. then, the breakdown, and the high-cutoff-synth-saws come in. i listen to a lot of music; especially melodical music. but this melody is something that is in a field of its own. i rarely heard something as beautiful; as sweet; as moving, as the harmonies of this track. it seems simple at first, but, in its simplicity it is extraordinary complex. the melody is what drives this tracks, and it creates a special track.
B2 Understand
this track is often overlooked in favor of purple moon. but, not rightly so. this too is one of miro and PCP's greatest work. the rising synth sound prepares us for what is to come here. i can't say what image this track invokes in me - a space station, space exploration, or an alien meeting somewhere far in the universe? but it is a powerful image.
the melody again is the main thing for me here, less melancholic, yet as powerful, and more complicated as in purple moon. i could listen to it in a loop for a long time.
the track is more of a hardcore affair than purple moon, yet again far removed from the normal "hardcore" of it's time. this track is a gem, and the whole record is a precious jewel.
when it came out, before, there was nothing. there was nothing like it. you can check the backcatalogues of the labels of that era, and you will see there isn't any record like this. maybe some earlier works of miro only can contend. and afterwards, there is nothing either. except for miro's tracks of course. but, as far as i can tell, no artist after this record has managed to pull off something similiar as this. it is definately one of the early highs of miro's music journey.
A1 Purple Moon
this is it. the purple moon. do i need to describe it? outer space beats open this records. we are moved along, more elements are added. while this track paces as a fast speed, it is nothing like the "hardcore" of it's time. this track feels more as if one of the great sonic pioneers such as jarre or klaus schulze had their go at techno, as if this was done by a techno man on a techno label. then, the breakdown, and the high-cutoff-synth-saws come in. i listen to a lot of music; especially melodical music. but this melody is something that is in a field of its own. i rarely heard something as beautiful; as sweet; as moving, as the harmonies of this track. it seems simple at first, but, in its simplicity it is extraordinary complex. the melody is what drives this tracks, and it creates a special track.
B2 Understand
this track is often overlooked in favor of purple moon. but, not rightly so. this too is one of miro and PCP's greatest work. the rising synth sound prepares us for what is to come here. i can't say what image this track invokes in me - a space station, space exploration, or an alien meeting somewhere far in the universe? but it is a powerful image.
the melody again is the main thing for me here, less melancholic, yet as powerful, and more complicated as in purple moon. i could listen to it in a loop for a long time.
the track is more of a hardcore affair than purple moon, yet again far removed from the normal "hardcore" of it's time. this track is a gem, and the whole record is a precious jewel.
Review: Fisch 22 - Auto-Psy - Necrophage
i picked this up as a white label from the container record store. this was one of the earliest releases of mouse aka stella michelsen - the 3rd or the 4th? i had listened to fisch 18 by her, and was enchanted by it.
the record came with a group of poems in the sleeve, one for each of the tracks. i thought this was a a nice touch, and the poems were touching. it is something i am missing with hardcore releases today - especially the connection with artforms such as poetry.
A2 i'll start with the second track so it's a bit of a change of order. this is one of the roughest track i heard at that time (i considered it to be the hardest track). after the creepy intro, killer bassdrums hit you hard in the head. very industrial sounding, very metallic, very dirty. they have a bit of a varispeed thing to them, which is nice too. the track keeps pounding the whole minutes it runs through. weirded-out, surreal, psycho samples come and go and make it somewhat of a sonic journey - a very fulfilling journey.
A1 the starter track. i remember the poem linked it somewhat to the "nerve cables" inside ones head being torn apart as being the sound source of the first seconds. a very fitting comparising. this is full on noise, yet not in a wall of white noise way, but screeches, ringing, like fingers running along the chalkboard to drive you mad. excellent!
B1 frantic, frantic, frantic. again. yet, this track also has somewhat of a relaxing feel. various "ambient" sounds - dark ambient - are employed here. the kick brakes down, comes back in, drags you forward. this has somewhat of a very interesting feel. different planet hardcore.
B2 next to A2 my favorite track on this record. it seems to me generally the B side on this record is more calm than side A? calm is an understatement though, since this is as frantic, hectic and brutal and it can get with hardcore. again we have a full on attack of noises and surreal, spacy sounds. the last seconds of this track are my favorite part, also my favorite part of this record. strange, bizarre, reverberated sounds that fade out and leave you on into your dreams - or rather, nightmares.
the record came with a group of poems in the sleeve, one for each of the tracks. i thought this was a a nice touch, and the poems were touching. it is something i am missing with hardcore releases today - especially the connection with artforms such as poetry.
A2 i'll start with the second track so it's a bit of a change of order. this is one of the roughest track i heard at that time (i considered it to be the hardest track). after the creepy intro, killer bassdrums hit you hard in the head. very industrial sounding, very metallic, very dirty. they have a bit of a varispeed thing to them, which is nice too. the track keeps pounding the whole minutes it runs through. weirded-out, surreal, psycho samples come and go and make it somewhat of a sonic journey - a very fulfilling journey.
A1 the starter track. i remember the poem linked it somewhat to the "nerve cables" inside ones head being torn apart as being the sound source of the first seconds. a very fitting comparising. this is full on noise, yet not in a wall of white noise way, but screeches, ringing, like fingers running along the chalkboard to drive you mad. excellent!
B1 frantic, frantic, frantic. again. yet, this track also has somewhat of a relaxing feel. various "ambient" sounds - dark ambient - are employed here. the kick brakes down, comes back in, drags you forward. this has somewhat of a very interesting feel. different planet hardcore.
B2 next to A2 my favorite track on this record. it seems to me generally the B side on this record is more calm than side A? calm is an understatement though, since this is as frantic, hectic and brutal and it can get with hardcore. again we have a full on attack of noises and surreal, spacy sounds. the last seconds of this track are my favorite part, also my favorite part of this record. strange, bizarre, reverberated sounds that fade out and leave you on into your dreams - or rather, nightmares.
PCP - More Than Hardcore, Motherfuckers
PCP now is mostly known - and in fact, well known, with a huge fanbase - for it's hardcore, gabber and hardtechno productions. which is great - but also a shame - since there is so much more. even to add PCP's important role in doomcore (well, in fact, they created it!) and dark techno would not do the label justice, as there is a lot more to discover.
while PCP apparently was well received in the beginning of the techno scene in the 1990s, soon other producers and labels took over in germany... westbam, marusha, low spirit, you know the story. even worse, even the hardcore scene was on the verge of "forgetting" PCP, as miro noted in an interview from that era. this was the mid-90s then. but out of these ashes PCP, marc and miro rose like a phoenix. with a new label (but still encomparating the PCP classics into their live acts), acardipane records, and plenty of bookings at the big dutch parties, the "gabber" crowd was throughly reminded of the vital role PCP played in the creation of hardcore, and the status of the label soon rose to legendary. while this was what PCP and its members thoroughly deserved, it also created negative fact that PCP and acardipane were now, by many people, almost 100% identified with "Hardcore" and "Gabber". true, PCP probably supplied more perfect productions and all-time classics in the field of hardcore than anyone else - slaves to the rave, stereo murder, 6 million ways to die, and so on - but as hinted above, the backcatalogue went far beyond there.
there is hardly a style and field of electronic music that has not been touched, and soundwise conquered by the PCP masters yet. they only did not do a accoustic guitar creation yet. you can find house tunes in early PCP and Dance Ecstasy releases. electro (in the old meaning of the word) on narcotic networks. even dark ambient, krautrock and psychedelic music. electronic and techno music in any form and shapes. notable are the ambient workouts of "shakira"'s 1987 metamorphosis or the jupiter pulse. the liquified drum'n'bass classic combination of "beethoven's greatest works", found on dance ecstasy. the rap(!) of the factory of freebase by FBI. the finishing thesis on minimalism via the mover's ruff traxx remix of the meltdown. the departure of all genre-bounds on, again the mover's, last breath of the homelands.
there is too much to explore to fit it into this specific text.
it is a huge shame that the "hardcore" legacy now to large part blocks the public access to the consciousness to most people around the globe for these sounds.
it is hoped that these sound treasures are discovered and noticed by more and more people. it is collection of gems that wait to be found by cunning explorers and that wait to be appraised by people.
while PCP apparently was well received in the beginning of the techno scene in the 1990s, soon other producers and labels took over in germany... westbam, marusha, low spirit, you know the story. even worse, even the hardcore scene was on the verge of "forgetting" PCP, as miro noted in an interview from that era. this was the mid-90s then. but out of these ashes PCP, marc and miro rose like a phoenix. with a new label (but still encomparating the PCP classics into their live acts), acardipane records, and plenty of bookings at the big dutch parties, the "gabber" crowd was throughly reminded of the vital role PCP played in the creation of hardcore, and the status of the label soon rose to legendary. while this was what PCP and its members thoroughly deserved, it also created negative fact that PCP and acardipane were now, by many people, almost 100% identified with "Hardcore" and "Gabber". true, PCP probably supplied more perfect productions and all-time classics in the field of hardcore than anyone else - slaves to the rave, stereo murder, 6 million ways to die, and so on - but as hinted above, the backcatalogue went far beyond there.
there is hardly a style and field of electronic music that has not been touched, and soundwise conquered by the PCP masters yet. they only did not do a accoustic guitar creation yet. you can find house tunes in early PCP and Dance Ecstasy releases. electro (in the old meaning of the word) on narcotic networks. even dark ambient, krautrock and psychedelic music. electronic and techno music in any form and shapes. notable are the ambient workouts of "shakira"'s 1987 metamorphosis or the jupiter pulse. the liquified drum'n'bass classic combination of "beethoven's greatest works", found on dance ecstasy. the rap(!) of the factory of freebase by FBI. the finishing thesis on minimalism via the mover's ruff traxx remix of the meltdown. the departure of all genre-bounds on, again the mover's, last breath of the homelands.
there is too much to explore to fit it into this specific text.
it is a huge shame that the "hardcore" legacy now to large part blocks the public access to the consciousness to most people around the globe for these sounds.
it is hoped that these sound treasures are discovered and noticed by more and more people. it is collection of gems that wait to be found by cunning explorers and that wait to be appraised by people.
PCP - When The Phuture Was Born
"Phuture" is a concept central to PCP. it is referenced in tracks, record titles, project names, on backcover info and so on. and indeed, while PCP is known for great techno or hardcore, even more so it is futuristic music - or rather, phuturistic music.
the tracks by PCP evoke many a great imaginery before one's eye - the comet swarm rising. the purple moon. the blue sun. of suns and moons.
it was something that always stood out for me with PCP - even before i went fully in love with the label. the sound of PCP always sounded so much futuristic, modern, scifi, alien, outer space. 'music for huge-space arenas', as cold rush records said? rather music for huge space-arenas!
the cyborg unknown, the phuture project, the planet phuture, the dance ecstasy from 3001. PCP is so much riddled with alien, future, exotic references, tricks and hints.
i rarely had this "phuture" feel with any other artists - early Juan Atkins or Somatic Responses can maybe compare, and it is something verily unique with PCP, which makes it special, and i guess is also hugely for the large and dedicated fanbase PCP has now.
PCP is a lot like the best of science fiction movies, novels, art, comics turned music - but not only that, but also intensified, concentrated, enlarged. it feels as if you would really travel around space when you listen to PCP. a darkened room, or even better, a party situation, augments this experience even more, of course.
also noteworthy is that PCP supplies various types of Phuture. from the near-future suburban battles of the cyborgs unknown, to the interstellar travel to the coloured moons, to the esoteric aliens of the outer systems, to the computerised mind of the 303 nation technoville.
it is home to mystery what enabled marc and the others to create this extraordinary phuture vibe. a love for scifi movies? comics? substances? an attitude? regardless of this, they definately suceeded with their task
when enjoying regular scifi stuff, there is always a kind of detachment, that is not there with PCP. it brings the phuture home.
this focus on its own "scifi" earned PCP a special place in the history of electronic music - or rather, put it on a level of its own - maybe a planet of its own.
the tracks by PCP evoke many a great imaginery before one's eye - the comet swarm rising. the purple moon. the blue sun. of suns and moons.
it was something that always stood out for me with PCP - even before i went fully in love with the label. the sound of PCP always sounded so much futuristic, modern, scifi, alien, outer space. 'music for huge-space arenas', as cold rush records said? rather music for huge space-arenas!
the cyborg unknown, the phuture project, the planet phuture, the dance ecstasy from 3001. PCP is so much riddled with alien, future, exotic references, tricks and hints.
i rarely had this "phuture" feel with any other artists - early Juan Atkins or Somatic Responses can maybe compare, and it is something verily unique with PCP, which makes it special, and i guess is also hugely for the large and dedicated fanbase PCP has now.
PCP is a lot like the best of science fiction movies, novels, art, comics turned music - but not only that, but also intensified, concentrated, enlarged. it feels as if you would really travel around space when you listen to PCP. a darkened room, or even better, a party situation, augments this experience even more, of course.
also noteworthy is that PCP supplies various types of Phuture. from the near-future suburban battles of the cyborgs unknown, to the interstellar travel to the coloured moons, to the esoteric aliens of the outer systems, to the computerised mind of the 303 nation technoville.
it is home to mystery what enabled marc and the others to create this extraordinary phuture vibe. a love for scifi movies? comics? substances? an attitude? regardless of this, they definately suceeded with their task
when enjoying regular scifi stuff, there is always a kind of detachment, that is not there with PCP. it brings the phuture home.
this focus on its own "scifi" earned PCP a special place in the history of electronic music - or rather, put it on a level of its own - maybe a planet of its own.
PCP Reference Guide
PCP Reference Guide
references to books, drugs, concepts and other things in the works of PCP by title, artist name or other.
Labels:
PCP - 1-(1-phenylcyclohexyl)piperidine). the actual term for the drug "angel's dust". one of the most extreme drugs known to man. users regularly go completely mental when using it. causes hallucinations, voices to be heard and other insane things. linked to outburst of extreme violence. many people consider it to be the most dangerous drug.
Dance Ecstasy 2001 - ecstasy is a happiness inducing drug associated with "rave culture".
Narcotic Network Recording - narcotic networks are the drug traffiking networks by the drug syndicates.
Interzone - a concept by William Burroughs. also mentioned in the movie "Naked Lunch" about his life and works.
Adrenachrome - drug described in the movie "Fear And Loathing In Las Vegas".
Future World - name of a famous 70s science fiction movie. sequel to "Westworld".
Gold Digger Records - a gold digger is a girl that dates men for money, i.e. to have the chance to marry a rich man and be well off.
Artists:
Cold Rush City Cru - possible reference to the rap group "Kold Krush Kru".
Dusty Angel - another reference for angel's dust, or PCP.
H flash - the high of a heroin user. (h is a term for heroin)
Mescalinum United: a psychoactive drug. mescaline.
Freebase Factory - freebase is a drug related to crack cocaine.
Free Base International - see above
French Connection - famous drug trafficing network. also name of two well known crime movies of the 70s.
Roy Batty (alias of Michael Hoppe, part of "Turbulence" and "Smash?") = Character from movie "Blade Runner".
Records and Tracks:
Killing Zoo - reference to the 1993 movie "Killing Zoe". samples from the movie are also used in 3 of the 4 tracks on this record.
Lightbringer - term used for "Lucifer". also used for Venus, the morning star, which "brings light" in the morning, which also has been called "Lucifer" in past times.
Subtopia - name for the underworld.
Louder than a bomb - reference to the public enemy EP of the same name.
Last Exit Interzone - possible reference to novel "Last Exit Brooklyn" by Hubert Selby Jr.. see also interzone.
The Art Of Shredding - reference to "The Art Of Stalking" by Suburban Knight.
The Eagle Has Landed - general term for signifying relevant events. has been used during the transmission of the first moon landing.
Yamantaka - ancient buddhist practice. also called "the terminator of death".
The Last Judgement - biblical term for the "judgement day". armageddon.
Skulls And Crossbones - traditional symbol used by the pirates
Leathernecks - "At War" ("Low Spirit, suck my cock"): Reference to German techno label "Low Spirit". [Also see: http://www.discogs.com/groups/topic/363778]
2001 - one of the two dates that PCP continually references. the meaning of it is unknown.
2017 - the other date, that is even more referenced. again, the meaning is unknown.
FFM = abbreviation for Frankfurt am Main.
if you have more info, found an error or a correction, or generally have additional information, feel free to contact me: low.entropy.80@gmail.com
the reference guide is expected to grow a lot over time.
references to books, drugs, concepts and other things in the works of PCP by title, artist name or other.
Labels:
PCP - 1-(1-phenylcyclohexyl)piperidine). the actual term for the drug "angel's dust". one of the most extreme drugs known to man. users regularly go completely mental when using it. causes hallucinations, voices to be heard and other insane things. linked to outburst of extreme violence. many people consider it to be the most dangerous drug.
Dance Ecstasy 2001 - ecstasy is a happiness inducing drug associated with "rave culture".
Narcotic Network Recording - narcotic networks are the drug traffiking networks by the drug syndicates.
Interzone - a concept by William Burroughs. also mentioned in the movie "Naked Lunch" about his life and works.
Adrenachrome - drug described in the movie "Fear And Loathing In Las Vegas".
Future World - name of a famous 70s science fiction movie. sequel to "Westworld".
Gold Digger Records - a gold digger is a girl that dates men for money, i.e. to have the chance to marry a rich man and be well off.
Artists:
Cold Rush City Cru - possible reference to the rap group "Kold Krush Kru".
Dusty Angel - another reference for angel's dust, or PCP.
H flash - the high of a heroin user. (h is a term for heroin)
Mescalinum United: a psychoactive drug. mescaline.
Freebase Factory - freebase is a drug related to crack cocaine.
Free Base International - see above
French Connection - famous drug trafficing network. also name of two well known crime movies of the 70s.
Roy Batty (alias of Michael Hoppe, part of "Turbulence" and "Smash?") = Character from movie "Blade Runner".
Leathernecks - slang for US Marine Soldiers, or generally, tough guys (with "necks of leather", so to say)
Killing Zoo - reference to the 1993 movie "Killing Zoe". samples from the movie are also used in 3 of the 4 tracks on this record.
Lightbringer - term used for "Lucifer". also used for Venus, the morning star, which "brings light" in the morning, which also has been called "Lucifer" in past times.
Subtopia - name for the underworld.
Louder than a bomb - reference to the public enemy EP of the same name.
Last Exit Interzone - possible reference to novel "Last Exit Brooklyn" by Hubert Selby Jr.. see also interzone.
The Art Of Shredding - reference to "The Art Of Stalking" by Suburban Knight.
The Eagle Has Landed - general term for signifying relevant events. has been used during the transmission of the first moon landing.
Yamantaka - ancient buddhist practice. also called "the terminator of death".
The Last Judgement - biblical term for the "judgement day". armageddon.
Skulls And Crossbones - traditional symbol used by the pirates
Leathernecks - "At War" ("Low Spirit, suck my cock"): Reference to German techno label "Low Spirit". [Also see: http://www.discogs.com/groups/topic/363778]
The Mover - Frontal Sickness 2 (1992) - track "Body Snatchers" = Reference to the horror movie(s) "Invasion of the Body Snatchers" (1956, 1978) or "Body Snatchers" (1993).
Leathernecks - "Speedfuck" ("Speedfreak, you're so fuckin' slow"): Reference to German hardcore techno act "The Speed Freak" (Martin Damm).
"Friends of Alex": Possibly a reference to Alex Christiansen from U96; also contains a musical reference to Ramon Zenker from Interactive. [See: http://www.discogs.com/groups/topic/365652]
Digital Dictators - "Where the Rhythm Counts (Das Werk der Kraft)" (from FFM Trax Vol. 1, 1990) = Both linguistic and musical reference to German music group "Kraftwerk" (samples from "Musique Non Stop" and "Nummern").
Trip Commando - House Music's Not Dead (JVA Mix) (from FFM Trax Vol. 2, 1991) - "JVA" = abbreviation for "Justizvollzugsanstalt", the German word for "prison".
Konstablerwache = public square and metro station in Frankfurt am Main; famous for drug dealing activites.
Ace the Space - "9 is a Classic" & "9 mm Remixes" = Common gun calibre (9×19mm Parabellum).
Other:
2001 - one of the two dates that PCP continually references. the meaning of it is unknown.
2017 - the other date, that is even more referenced. again, the meaning is unknown.
FFM = abbreviation for Frankfurt am Main.
thanks to user inspector.godot for added information.
if you have more info, found an error or a correction, or generally have additional information, feel free to contact me: low.entropy.80@gmail.com
the reference guide is expected to grow a lot over time.
Atari Teenage Riot (Review)
Atari Teenage Riot - 1995
the debut album by Atari Teenage Riot. they had been around for a few years before releasing this, but they were more active in doing concerts and gigs before that than releasing stuff (as far as i know). this CD came out when the first hype about ATR, Alec Empire and DHR was at its high, with a lot of indie/underground magazines such as frontpage (now defunct techno magazine) praising them for their music and attitude.
it is almost a "compilation" of tracks on this CD, with some live versions, some tracks from other output, some older and some newer tracks. the name "1995" thus is quite a good name, since the album captures a lot of what was going on in that year then.
since there are 12 tracks on this record, i will only review a selection of them.
1. Start The Riot
what an absolute killer of a track. it's a clever choice that this is at the beginning of the listening experience. from then till now there are not many tracks that could be compared in terms of high adrenaline experience. after the strange intro ("i would die for peanut butter"?), the track blasts of into an assault of beats, guitar riffs, screaming and shouting. this track is just so hard hitting, i can't describe it, you need to listen to it for yourself. a legendary track.
2. Into The Death
this is the track that had the most effect and impact on me on the first listening ever, more then any other music i listened to in my life. i heard it first when i was listening to the "harder than the rest" compilation. when that track came on shivers ran through my body and i felt intense. i re-listened to it over and over again on the spot, with the same effect.
on the structure of the track, it is very similiar to Start The Riot, but i do not mind that at all.
4. Speed
this is the track most people know of Atari Teenage Riot, as it was used in the mainstream movie "The Fast and the Furious: Tokyo Drift". it is actually a very good track. the concept here is really well, it is an oldschool-ish Underground Resistance-like techno affair mixed with guitars and shouting. i don't think ATR ever made a track similiar to this again. it packs a lot of energy, especially since ATR made these elements really fit each other.
8. Hetzjagd Auf Nazis
this anti-nazi breakcore number really hit the scene hard when it came out. a necessary political statement and a very good track.
11. Kids Are United
the most unusual track on this record, with its anthemic singing and melody. i think someone denounced this as being too "pop" once. yet it was sort of a hymn for ATR fans back then and it still is for today's fans, i think. the video to it is quite known and features some hardcore slamdancing with a lot of the DHR people back then.
the track itself is a cross between breakbeat rhythms, electronic effects and punkrock.
12. Riot 1995
this track from this album is underrated, but it is one of my favorites.
basically just guitar sounds, effect machines and "riot" shouting on and on, it also has some killer vocals. it has its own emotion which is hard to put in words. well, i just love it.
"do you find it easy to confront your emotions, or do you run away?".
the debut album by Atari Teenage Riot. they had been around for a few years before releasing this, but they were more active in doing concerts and gigs before that than releasing stuff (as far as i know). this CD came out when the first hype about ATR, Alec Empire and DHR was at its high, with a lot of indie/underground magazines such as frontpage (now defunct techno magazine) praising them for their music and attitude.
it is almost a "compilation" of tracks on this CD, with some live versions, some tracks from other output, some older and some newer tracks. the name "1995" thus is quite a good name, since the album captures a lot of what was going on in that year then.
since there are 12 tracks on this record, i will only review a selection of them.
1. Start The Riot
what an absolute killer of a track. it's a clever choice that this is at the beginning of the listening experience. from then till now there are not many tracks that could be compared in terms of high adrenaline experience. after the strange intro ("i would die for peanut butter"?), the track blasts of into an assault of beats, guitar riffs, screaming and shouting. this track is just so hard hitting, i can't describe it, you need to listen to it for yourself. a legendary track.
2. Into The Death
this is the track that had the most effect and impact on me on the first listening ever, more then any other music i listened to in my life. i heard it first when i was listening to the "harder than the rest" compilation. when that track came on shivers ran through my body and i felt intense. i re-listened to it over and over again on the spot, with the same effect.
on the structure of the track, it is very similiar to Start The Riot, but i do not mind that at all.
4. Speed
this is the track most people know of Atari Teenage Riot, as it was used in the mainstream movie "The Fast and the Furious: Tokyo Drift". it is actually a very good track. the concept here is really well, it is an oldschool-ish Underground Resistance-like techno affair mixed with guitars and shouting. i don't think ATR ever made a track similiar to this again. it packs a lot of energy, especially since ATR made these elements really fit each other.
8. Hetzjagd Auf Nazis
this anti-nazi breakcore number really hit the scene hard when it came out. a necessary political statement and a very good track.
11. Kids Are United
the most unusual track on this record, with its anthemic singing and melody. i think someone denounced this as being too "pop" once. yet it was sort of a hymn for ATR fans back then and it still is for today's fans, i think. the video to it is quite known and features some hardcore slamdancing with a lot of the DHR people back then.
the track itself is a cross between breakbeat rhythms, electronic effects and punkrock.
12. Riot 1995
this track from this album is underrated, but it is one of my favorites.
basically just guitar sounds, effect machines and "riot" shouting on and on, it also has some killer vocals. it has its own emotion which is hard to put in words. well, i just love it.
"do you find it easy to confront your emotions, or do you run away?".
Somatic Responses (Review)
Somatic Responses - Passages EP
this record had a huge impact on the scene. it received praise from everywhere. it marks a shift in the transition of the sound of somatic responses, from the 4/4 driven, industrial-acidish relentless tracks they did on the likes of their first CFET EP or on Shockwave, to the experimental, dreamy music with arhythmic beats, limitless sonic exploration and deep space sounds they became rightfully famous for.
A1 - Sickwave
Sickwave starts with slow, spacey synth stabs, sounding dark and futuristic. a friend of mine told me that he thinks the synths in this track are full of despair. maybe the most defining track of this record. then distorted and hard beats come in, with a rhythm that makes one want to dance to (is it offensive to describe a somatic responses track as "dancable"?) and get the track going. in the middle part the melody changes and we get a different variation of space travel sounds. i remember the PCD catalogue described this record as "sounds like lory d meets the mover" (or a similiar wording), this might be an accurate description for this track (without taking anything away from the individual, unique style of somatic responses).
A2 - Freezing Point
indredible. this can't be made on earth, it must've been created on a planet far far away. i don't know how somatics created these sounds and melody, but i don't think i've heard something similiar in other artists' tracks yet. this is just the far away future feel that seemingly only they can do.
the track starts with ice cold cascading sounds - "Freezing Point" is correctly named so - then very hard distorted drums kick in, with a 4/4 rhythm this time. more elements get added in and the melody changes, the track progresses in a good way. the drones at the end of the track give me an extra chill.
B1 - Milk Jugs
this is more of a traditional somatics affair here. faster, distorted 4/4 kicks and lots of sound exploration, and spacey synths too. a very great composition again.
B2 - Passage
Sickwave and this track are my favorite ones on this record. it starts with electronic sounds, then kicks off into relentless hardcore drums. it has a strong build up, first it is drums and effects only, and slowly synths are added which build up the tension and one starts to expect what might come. we arrive at it then; the kick drops off and the synths unfold to a huge composition of sound, like a space symphony, as i said, only somatics really manages to do melodies as this. after this breakdown, the drums come back in and synth and kicks move alongside. if dropped in a set, i am sure this track would give the crowd a total adrenaline rush from the start to the end of it.
this is a groundbreaking record, and one of the first big records of somatics in their own, special style.
if you are interested in the sound of the duo, this is likely something you would love.
this record had a huge impact on the scene. it received praise from everywhere. it marks a shift in the transition of the sound of somatic responses, from the 4/4 driven, industrial-acidish relentless tracks they did on the likes of their first CFET EP or on Shockwave, to the experimental, dreamy music with arhythmic beats, limitless sonic exploration and deep space sounds they became rightfully famous for.
A1 - Sickwave
Sickwave starts with slow, spacey synth stabs, sounding dark and futuristic. a friend of mine told me that he thinks the synths in this track are full of despair. maybe the most defining track of this record. then distorted and hard beats come in, with a rhythm that makes one want to dance to (is it offensive to describe a somatic responses track as "dancable"?) and get the track going. in the middle part the melody changes and we get a different variation of space travel sounds. i remember the PCD catalogue described this record as "sounds like lory d meets the mover" (or a similiar wording), this might be an accurate description for this track (without taking anything away from the individual, unique style of somatic responses).
A2 - Freezing Point
indredible. this can't be made on earth, it must've been created on a planet far far away. i don't know how somatics created these sounds and melody, but i don't think i've heard something similiar in other artists' tracks yet. this is just the far away future feel that seemingly only they can do.
the track starts with ice cold cascading sounds - "Freezing Point" is correctly named so - then very hard distorted drums kick in, with a 4/4 rhythm this time. more elements get added in and the melody changes, the track progresses in a good way. the drones at the end of the track give me an extra chill.
B1 - Milk Jugs
this is more of a traditional somatics affair here. faster, distorted 4/4 kicks and lots of sound exploration, and spacey synths too. a very great composition again.
B2 - Passage
Sickwave and this track are my favorite ones on this record. it starts with electronic sounds, then kicks off into relentless hardcore drums. it has a strong build up, first it is drums and effects only, and slowly synths are added which build up the tension and one starts to expect what might come. we arrive at it then; the kick drops off and the synths unfold to a huge composition of sound, like a space symphony, as i said, only somatics really manages to do melodies as this. after this breakdown, the drums come back in and synth and kicks move alongside. if dropped in a set, i am sure this track would give the crowd a total adrenaline rush from the start to the end of it.
this is a groundbreaking record, and one of the first big records of somatics in their own, special style.
if you are interested in the sound of the duo, this is likely something you would love.
Taciturne (Review)
Taciturne - 6 Fragmente In Der Chronologie Des Wahnsinns
Taciturne is one of the most sought after of the early underground hardcore producers. not a small feat when one takes into account that he only released 3 and a half records (or rather, two halfs - there is also a split EP he did under a different name) during his active period. Yet he fully deserves this appreciation.
"6 Fragmente In Der Chronologie Des Wahnsinns" means "six fragments in the chronology of madness" in english.
it is probably a reference to a well known independent movie, "Sechs Fragmente in der Chronologie des Zufalls".
A1 - Mourning
there are six tracks on this record so start with the first, "Mourning".
the name is rightly chosen. it starts with quiet, calm, choral chanting, a bit gregorian, but not "epic" gregorian, something soft and slow. then the beat comes in, sounds like a distorted 909. the speed is slow, but with a lot of offbeat kicks lined in the rhythm. after a while a breakdown comes, and we hear the sound of a heartbeat speeding up. in fact this creeped me out one night, when i was listening to it half asleep and wondered why my heart suddenly seemed to sound so strange, before i realised it was in the track.
this is actually all elements the track has, yet this is enough. the track is wonderful and great, the concept is just brilliant and well worked out. hardcore enthusiasts might label it as "doomcore" and it could be used in such a set, but it is also much more than that.
A2 - Dexpanthenol
if you're an experimental hardcore fan, go for this one. abrasive sounds, broken rhythms and hard beats.
to be honest, for me less interesting than the other tracks on this record, yet still hugely better than most productions
A3 - Boys Don't Cry (Revisited)
this track stands out with it's ironic sense of humor. it's a remix of Boys Don't Cry by everyone's favorite postpunkwavegothic band, The Cure. this was when a time when remixes of "pop" tracks where not common in the scene outside the "happy hardcore" world. i remember taciturne once did a chart for the french TNT magazine (one of the most spread hardcore zines back then) which had only synthpop and new wave songs in it, so i think he honestly likes The Cure. the track is a lot of fun either way, should put a smile on everyones face. what i especially like is the complete intentional trash/lofi way this track is produced, the sample often somehow muddles up as if token from a bad tape, and seems somewhat offrhythm most of the time. lovely.
"we're pleased to welcome Robert Smith from The Cure".
B1 - Phenylephrin-Hydrochlorid
from the fun of the end of the A-side to something very serious again. maybe this could be called nightmare techno? a very slow beat, a drone throughout the track, and one of the most creative uses of the mentasm sound i've ever heard. in the middle of the track it speeds up and becomes somewhat more of a hardcore affair.
brilliance. play this when it rains outside.
B2 - Haematopan F
anthem. the track starts with a slow, but very hard pounding, industrial distorted kickdrum. then more metal and noise sounds are added, and a female voice declares "hardcore" (where did he take this from?).
but it doesnt end at this, in the middle of the track choral sounds come in and add a very soothing touch to this track.
it's hard to find words for how good this track is. it just has such a big impact, while being cold and chill.
B3 - Phenprocoumon
the last track and this is my favorite track of this record. a bit similiar to A2 again, we have lot's of unstraight rhythms and distortion. but what makes this track so stunning is the melody that comes in now and then. it sounds almost japanese or chinese, very soft, very still. this antagonism between this melody and the abrasiveness of the rest is amazing.
so there are six complety great tracks on this record, that stand out from a lot of other music.
a masterpiece. top notch. magnificient.
Taciturne is one of the most sought after of the early underground hardcore producers. not a small feat when one takes into account that he only released 3 and a half records (or rather, two halfs - there is also a split EP he did under a different name) during his active period. Yet he fully deserves this appreciation.
"6 Fragmente In Der Chronologie Des Wahnsinns" means "six fragments in the chronology of madness" in english.
it is probably a reference to a well known independent movie, "Sechs Fragmente in der Chronologie des Zufalls".
A1 - Mourning
there are six tracks on this record so start with the first, "Mourning".
the name is rightly chosen. it starts with quiet, calm, choral chanting, a bit gregorian, but not "epic" gregorian, something soft and slow. then the beat comes in, sounds like a distorted 909. the speed is slow, but with a lot of offbeat kicks lined in the rhythm. after a while a breakdown comes, and we hear the sound of a heartbeat speeding up. in fact this creeped me out one night, when i was listening to it half asleep and wondered why my heart suddenly seemed to sound so strange, before i realised it was in the track.
this is actually all elements the track has, yet this is enough. the track is wonderful and great, the concept is just brilliant and well worked out. hardcore enthusiasts might label it as "doomcore" and it could be used in such a set, but it is also much more than that.
A2 - Dexpanthenol
if you're an experimental hardcore fan, go for this one. abrasive sounds, broken rhythms and hard beats.
to be honest, for me less interesting than the other tracks on this record, yet still hugely better than most productions
A3 - Boys Don't Cry (Revisited)
this track stands out with it's ironic sense of humor. it's a remix of Boys Don't Cry by everyone's favorite postpunkwavegothic band, The Cure. this was when a time when remixes of "pop" tracks where not common in the scene outside the "happy hardcore" world. i remember taciturne once did a chart for the french TNT magazine (one of the most spread hardcore zines back then) which had only synthpop and new wave songs in it, so i think he honestly likes The Cure. the track is a lot of fun either way, should put a smile on everyones face. what i especially like is the complete intentional trash/lofi way this track is produced, the sample often somehow muddles up as if token from a bad tape, and seems somewhat offrhythm most of the time. lovely.
"we're pleased to welcome Robert Smith from The Cure".
B1 - Phenylephrin-Hydrochlorid
from the fun of the end of the A-side to something very serious again. maybe this could be called nightmare techno? a very slow beat, a drone throughout the track, and one of the most creative uses of the mentasm sound i've ever heard. in the middle of the track it speeds up and becomes somewhat more of a hardcore affair.
brilliance. play this when it rains outside.
B2 - Haematopan F
anthem. the track starts with a slow, but very hard pounding, industrial distorted kickdrum. then more metal and noise sounds are added, and a female voice declares "hardcore" (where did he take this from?).
but it doesnt end at this, in the middle of the track choral sounds come in and add a very soothing touch to this track.
it's hard to find words for how good this track is. it just has such a big impact, while being cold and chill.
B3 - Phenprocoumon
the last track and this is my favorite track of this record. a bit similiar to A2 again, we have lot's of unstraight rhythms and distortion. but what makes this track so stunning is the melody that comes in now and then. it sounds almost japanese or chinese, very soft, very still. this antagonism between this melody and the abrasiveness of the rest is amazing.
so there are six complety great tracks on this record, that stand out from a lot of other music.
a masterpiece. top notch. magnificient.
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