Freewave's Genre of The Day Exploration

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Re: Freewave's Genre of The Day Exploration

Postby ghelded_kultz » 05 May 2013 08:40

These guys really liked gongs and tubular bells, didn't they? Anyway, great stuff.
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Re: Freewave's Genre of The Day Exploration

Postby ganondox » 08 May 2013 06:39

After listening to the disjointed clicks and scratches of Glitch and EAI hearing Neofolk is a relief.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 09 May 2013 08:16

Yeah lemme get something more tangible up before it goes too esoteric. Any requests that i haven't filled yet. Maybe Grunge or Britpop or something a bit more song oriented :D
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Re: Freewave's Genre of The Day Exploration

Postby ghelded_kultz » 09 May 2013 09:30

Either of those sounds good, but I know less about britpop than grunge, so that might be better.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 09 May 2013 16:40

Ok Britpop it is

"Britpop is a subgenre of alternative rock that originated in the United Kingdom. Britpop emerged from the British independent music scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970s. The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States. In the wake of the musical invasion into the United Kingdom of American grunge bands (in particular Nirvana), new British groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These band were soon joined by others including Oasis, Pulp, Supergrass and Elastica."

Full List

Notable examples:

Suede - Animal Nitrate (1993)

I think it would quite easy to say that Suede really kicked off the Britpop period. They were unlike most of the British sound at the time (Noxious British Pop, Madchester, and Shoegaze) and became overnight sensations. Obviously Britpop often had a pop sound but loud guitars were just as much a part of it and Suede were easily one of the most distinctly British sounding bands.



Oasis - Live Forever (1994)

Of course Oasis really took Britpop overseas and made it a worldwide phenomenon. Their first album really took the rock sound as far as Britpop would go before going into a more mature Beatle-esque direction on Lp2. This is the track (of many candidates) that I think best states the mission.



Blur - Parklife (1994)

Of course the other main competitor to Oasis was Blur's great input. While not as heavy as Oasis they were just as important to the sound (bringing a little more Beatle-esque pop and variety). Parklife luckily saved what was then a career in peril. Although many people consider 1992's "Popscene" one of the key of the earliest Britpop singles, it was their third album that they truly found their sound.



Pulp - Common People (1995)

Of course Pulp was one of the 3 keys bands of Britpop besides Oasis and Blur although they had been around for nearly a decade. Their witty lyrics and their domination of the pop sound made them hard to ignore and likely the best song writers of the period. This is not only their best song but one of the best of the 90's, period.



Loved it, some great music from this period. Shall do Grunge tomorrow.
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 10 May 2013 04:47

I would really like to see you do Drone Ambient.
I like this thread so far.
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Re: Freewave's Genre of The Day Exploration

Postby ph00tbag » 10 May 2013 07:01

I think we had our fill with EAI.

Thank you, though.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 10 May 2013 07:35

Maybe we can do some Drone a bit later but yeah let's get song song-based stuff for a bit. I don't people to think this thread is drone-ing on [/groan]
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 10 May 2013 13:24

Yeah that could be cool, maybe staurday. I'll get some of it when it was still called drill n bass too.
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 10 May 2013 15:24

Drill 'N' Bass!!! Yes!!!

Also, if you're gonna do 'a *core', definitely do Doomcore :D

Or Splitterstep xD (it's funny cuz none of you (but one) gets it).
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 10 May 2013 17:56

Ok let's do this

"Grunge (sometimes referred to as the Seattle Sound) is a subgenre of alternative rock that emerged during the mid-1980s in the American state of Washington, particularly in the Seattle area. Inspired by hardcore punk, heavy metal and indie rock, grunge is generally characterized by heavily distorted electric guitars, contrasting song dynamics, and apathetic or angst-filled lyrics. The grunge aesthetic is stripped-down compared to other forms of rock music, and many grunge musicians were noted for their unkempt appearances and rejection of theatrics. The early grunge movement coalesced around Seattle independent record label Sub Pop in the late 1980s. Grunge became commercially successful in the first half of the 1990s, due mainly to the release of Nirvana's Nevermind and Pearl Jam's Ten. The success of these bands boosted the popularity of alternative rock and made grunge the most popular form of hard rock music at the time. The four key groups to find the most success are Nirvana, Soundgarden, Pearl Jam, and Alice in Chains (although it came into existence through lesser known bands such as Green River, Mudhoney, and Mother Love Bone which perceded them)."

Complete List

Highlights:

Alice in Chains - "Man in the Box" from Facelift (1990)

"Alice in Chains was formed in Seattle in 1987 by guitarist Jerry Cantrell and vocalist Layne Staley. Although widely associated with grunge music, the band's sound also incorporated heavy metal, acoustic elements, and vocal harmonies not found elsewhere in it. It was one of the four key Grunge groups and the first to see commercial success."



Pearl Jam - "Even Flow" from Ten (1991)

"Formed after the demise of Ament and Gossard's previous band Mother Love Bone, Pearl Jam broke into the mainstream with its debut album, Ten. One of the key bands of the grunge movement in the early 1990s, Pearl Jam was criticized early on—most notably by Nirvana frontman Kurt Cobain—as being a corporate cash-in on the alternative rock explosion. However, over the course of the band's career its members became noted for their refusal to adhere to traditional music industry practices, including refusing to make music videos and engaging in a much-publicized boycott of Ticketmaster. "



Nirvana - "Breed" from Nevermind (1991)

"With the lead single "Smells Like Teen Spirit" from the band's second album Nevermind (1991), Nirvana entered into the mainstream, bringing along with it a subgenre of alternative rock called grunge (and they particularly had an influence of punk within their music). Other Seattle grunge bands such as Alice in Chains, Pearl Jam, and Soundgarden also gained popularity, and as a result, alternative rock became a dominant genre on radio and music television in the United States during the early-to-mid-1990s. As Nirvana's frontman, Kurt Cobain found himself referred to in the media as the "spokesman of a generation", with Nirvana the "flagship band" of Generation X. Nirvana's brief run ended with Cobain's death in April 1994, but the band's popularity and legend continued in the years that followed. "



Soundgarden - "Outshined" from Badmotorfinger (1991)

"Soundgarden was one of the key bands in the creation of grunge. Soundgarden was the first grunge band to sign to a major label, though the band did not achieve commercial success until Seattle contemporaries Nirvana and Pearl Jam popularized grunge in the early 1990s. They were one of the the longest running Grunge bands, existing even during the first wave."

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Re: Freewave's Genre of The Day Exploration

Postby ph00tbag » 10 May 2013 22:25

No. None of that ever happened.

Only 90's kids remember the 90's.
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Re: Freewave's Genre of The Day Exploration

Postby ghelded_kultz » 11 May 2013 00:20

I'm going to take a wild guess and say splitterstep is a genre of EDM with a BMP of well over 300 (500+ maybe?) in a 2-step rhythm. It might contain or might not have a heavy sub-bass, depending on the namer's knowledge of previous scenes.

Speaking of cores you should do Hardcore next. I'd like to know more about this influential hip-hop movement.
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 11 May 2013 06:36

Heehee, it's funny because I know 3 different types of Hardcore: Hardcore-Punk (guitar shit), Hardcore (uptempo Hard Trance-ish shit) and Hardcore (the one with the kick-shit).
I do hope you're gonna do that last one. I'm very curious what you'll bring up. Nevermind me having said you should do Doomcore, maybe later or something :P

@Ghelded, Splitterstep is a genre that me and a friend (Pyr3light) thought up (and are producing), which is mainly Splittercore (Hardcore 600-999BPM (above that is Extratone)) with Dubstep influences (you know, that genre with wobbles and stuff).
If we're gonna do it like this, please do Nu-Schranz while you're at it :P again a home-made genre, mainly Schranz but more focused on having a melody playing through the heavy drum patterns.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 11 May 2013 08:20

ph00tbag wrote:No. None of that ever happened.

Only 90's kids remember the 90's.


I remember the day when i was working at a used cd shop and the guy came in and told me Kurt killed himself. I wish he was trollimg but alas. That day... sucked. I loved Nirvana. :( *spills some beer on the ground for my fallen homey*

ghelded_kultz wrote:Speaking of cores you should do Hardcore next. I'd like to know more about this influential hip-hop movement.


Ok we gotta a lot of different core's being thrown about (just another day in the core). I covered UK Hardcore Breakbeat and Techno already right? You wanted hardcore hip-hop? I can do gangsta rap or boom bap but my hip-hop expert never put a specific hardcore hip hop set together.

ExoBassTix wrote:@Ghelded, Splitterstep is a genre that me and a friend (Pyr3light) thought up (and are producing), which is mainly Splittercore (Hardcore 600-999BPM (above that is Extratone)) with Dubstep influences (you know, that genre with wobbles and stuff).
If we're gonna do it like this, please do Nu-Schranz while you're at it :P again a home-made genre, mainly Schranz but more focused on having a melody playing through the heavy drum patterns.


Haa ha nice. We can always use another core genre, there's so many of them. You might be talking about trancecore with the sped up trance. Shit i still need to do breakcore after this don't i...gah

I was involved with the stupidest and most short-lived core of all time, googlecore. So dumb, lol.

I'll do Hardcore Punk and Post-Hardcore to get the rock version of "hardcore" outta the way....
Last edited by Freewave on 11 May 2013 09:23, edited 5 times in total.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 11 May 2013 08:59

Hardcore Punk

Hardcore punk (or referred to simply as hardcore) is a punk rock music genre that originated in the late 1970s. Hardcore is generally faster, heavier, and more abrasive than regular punk rock.

Hardcore has spawned the straight edge movements, whose adherents refrain from using alcohol, tobacco, and other recreational drugs, and its associated submovements, hardline and youth crew. Hardcore was heavily involved with the rise of the independent record labels in the 1980s, and with the DIY ethics in underground music scenes. It has influenced a number of music genres which have experienced mainstream success, such as alternative rock, alternative metal, metalcore, thrash metal, emo and post-hardcore.

Hardcore sprouted underground scenes across the United States in the early 1980s particularly in Washington, D.C., California, New York/New Jersey, and Boston—as well as in Canada and the United Kingdom. While traditional hardcore has never experienced mainstream commercial success, some of its early pioneers have garnered appreciation over time.

The 80 Track Megalist
The Alternative Streamlined One

Neither are my lists or quotes..... ;)

Black Flag - Nervous Breakdown (1978)

The Middle Class's - Out of Vogue and Black Flag's earliest ep's for the beginning of Hardcore splitting off from punk.




Circle Jerks - "Operation" from Group Sex (1980)

Black Flag soon to be singer Henry Rollins was impressed at the fury all the Circle Jerks Fans could release.




Misfits - "Hatebreeders" from Walk Among Us (1982)

Misfits and T.S.O.L infused a Gothic Horror feel into Hardcore Punk. They inspired 100s of Bands that make the Genre of Horrorpunk today.




Adolescents - "Who is Who" from Adolescents (1981)

Jesus Christ, how hard is it to sound like this? You don't have to be pop-punk to write something catchy as shit.

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 11 May 2013 16:11

Ok we'll get Post-Hardcore in a sec or otherwise originally known as Emo before all those crybabies ansd screamers with eyeliner took the name.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 11 May 2013 16:24

Post-Hardcore

Post-hardcore is a genre of music that developed from hardcore punk, itself an offshoot of the broader punk rock movement. Like post-punk, post-hardcore is a term for a broad constellation of groups. Many emerged from the hardcore punk scene, or took inspiration from hardcore, while concerning themselves with a wider degree of expression.

The Big List

Some Highlights


Hüsker Dü - "What's Going On (Inside of My Head)" from Zen Arcade (1984)




Big Black - "Bad Penny" from Songs About Fucking (1987)




Fugazi - "Instrument" from In on the Kill Taker (1993)




At the Drive-In - "One Armed Scissor" from Relationship of Command (2000)



Sorry no real album descriptions on this one. ;)
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Re: Freewave's Genre of The Day Exploration

Postby ghelded_kultz » 12 May 2013 02:15

Oooh, some of my favorite genres (For the people who somehow haven't been able to tell)! Since I happen to know all the examples you posted for post-hardcore and you are lacking notes for the songs, have my pseudo-intellectual take on them (based on my experiences and what I remember from other people's writings).

1) Husker Du- The earliest post-hardcore was more or less exactly what it says on the tin, hardcore punk but beyond what is traditionally thought of it. One of the earliest of these bands was Hüsker Dü. While their first album, Metal Circus is fairly typical of hardcore punk, Zen Arcade, could be considered punk heresy (I'm not sure if it actually was, but the point still stands). Not only is it a concept album (actually a full blown rock opera), but it incorporates elements of psychedelic rock, piano music and a 14 minute instrumental piece. It focuses on the story of a young boy who runs away from home and what he learns from his experiences. The individual songs from the album are great, but it really needs to be listened to as it was recorded, in one order, in one sitting. Definitely my my favorite concept album and one of my favorite releases from 1984 (which was a great year for alternative music).

2) Big Black- Two genres that more or less fell under the post-hardcore, especially in the beginning were noise rock and math rock. And a key person in the development of these subgenres (not to mention post-hardcore as a whole) was recording engineer Steve Albini and his bands Big Black, Rapeman and Shellac. The album Songs about Fucking was Big Black's final album and more or less exactly what one would expect from the title. Anyway, another great album, especially for people who like feedback, distortion and drum machines (one of Big Black's most famous elements).

3) Fugazi- Possibly my favorite band. I'll try to contain myself. But first, their role in post-hardcore. If Hüsker Dü represents the bands that were clearly extensions off hardcore, but still quite hardcore, and Big Black represents the Math Rock/Noise Rock wing, then Fugazi represents the artistic/dubby side of post-hardcore. According to frontman Ian MacKaye (of influential hardcore band Minor Threat, and basically part of all the developments of hardcore, from the earliest proto hardcore to post-post hardcore), Fugazi was an attempt to be "like the Stooges with reggae", and they do have amazing basslines. Known for being extremely anti-corporate and having cheap shows, Fugazi is awesome. Anyway, In on the Kill Taker was one of their most successful albums and while I prefer Red Medicine, it's definitely worth listening to.

4) At the Drive In- So I've heard less At the Drive In than the other bands, but I've sadly heard what they opened up. Thanks to Relationship in Command and a couple of other early 2000s albums recorded by Ross Robinson, Post-hardcore went from relative obscurity, to the next nu-metal (well, maybe not that bad but still. Mr. Robinson is really good at doing this though). Anyway, this album combines energy, melody, dissonance and angst in a near perfect combination and according to Wikipedia, is one of the most important rock albums of the 2000s.


In case no one noticed, I really like pre-pop post-hardcore (which includes "screamo" which like techno is a term that is misused by everyone), though for the purposes of education, there probably should be an example of it. Maybe some thing by the Alexisonfire or My Chemical Romance?)

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 12 May 2013 09:49

^^ brilliant!! thx man^^ just popping in but thanks for elaborating much better then i could!! ;)
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Re: Freewave's Genre of The Day Exploration

Postby ghelded_kultz » 13 May 2013 08:55

No problem. It was pretty fun to do actually.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 16 May 2013 10:50

Alright let's get some electronic stuff up now.

Drill 'n Bass / Breakcore

"Soon after album-based British techno producers like Aphex Twin and Squarepusher got their hands on drum'n'bass during the mid-'90s, they naturally twisted it to their own ends. The result was Drill & Bass, a spastic form of breakbeat jungle that relied on powerful audio software and patient programming to warp old midtempo beats and breaks into a frenzied, experimental potpourri of low-attention-span electronic music. Beginning in mid-1995, three figures led the charge with pioneering EPs: Aphex Twin (Hangable Auto Bulb EP), Luke Vibert's Plug project (Plug 1), and Squarepusher (Conumber e:p). The following year, drill'n'bass went overground with full-length releases by each of the above, most notably Plug's Drum'n'bass for Papa and Squarepusher's debut album Feed Me Weird Things. Soon the rush was on, and a group of artists emerged with immediately identifiable ties to drill'n'bass, including Animals on Wheels, Amon Tobin, and Clifford Gilberto Rhythm Combination."~AMG

The Drill & Bass sound eventually evolved into the even harder and abrasive Breakcore;"An extreme form of electronic music which uses cut-up breakbeats and atonal noise, often sequenced at incredibly high tempos, to create a harsh and often unsettling sound."~RYM

Full List

Highlights

Squarepusher - "Come on My Selector" from Big Loada (1997) [EP]

"A mini-album of sorts, Big Loada finds Tom Jenkinson playing the genre game a bit, skipping from new wave-y breakbeat to ragga hardstep to the tinker toy 303 jungle of recent Aphex and mu-Ziq. Not as organized or polished as the Hard Normal Daddy LP, which preceded it by a scant few months, but a bit more varied and developed than his Rephlex, Spymania, Dragon Disc, etc. releases."

Like the Come to Daddy EP a definite push on taking the drill n bass sound to the masses (also featuring a Chris Cunningham video) and pushing the volume to 11. Another definitive EP for the genre.~theScientist




Aphex Twin - "Come to Daddy (Pappy Mix)" from Come to Daddy (1997) [EP]

"Retaining the experimental edge, but with a stated wish to make the British pop charts, James' next two releases, 1997's Come to Daddy EP and 1999's Windowlicker EP, were acid storms of industrial drum'n'bass. Come to Daddy has been interpreted by some as Richard D. James' sly send-up of the Prodigy's massive hit "Firestarter." If that's the case, it only goes to show how clever the Aphex Twin really is. Built around an intense drum loop and a deliriously demented, booming voice yelling "Come to Daddy!," the track could be the biggest sonic assault James has ever constructed, and even with the underlying menace, it remains one of his most accessible and memorable songs. "~AMG




The Flashbulb - "Kirlian Choices" from Kirlian Selections (2005)"

Benn Jordan is an idm musician operating under many pseudonyms. Since 1999 his most widely distributed and eclectic music has been released under the name of The Flashbulb, whose songs mostly fall under the idm/breakcore genre. As The Flashbulb, Jordan typically releases drill n bass music. His style differs strongly between albums, but they all have a cohesive bond tied around fast drum programming, acid-influenced melodies, and a wide array of live instrumentation from various instruments Jordan has acquired."~LastFm




Venetian Snares - "Második galamb" from Rossz csillag alatt született (2005)

"As a hardcore IDM and drill'n'bass wizard living in a place like Winnipeg, Manitoba, Canada, Aaron Funk (aka Venetian Snares) isn't likely to be seduced by visions of mainstream success. This particular offering from Funk is typically uncompromising and unsettling, although it is certainly constructed with great technical skill and maintains an abrasive beauty throughout. Material for the CD was supposedly gathered during a trip to Hungary; Musically, the world has truly become a global village. He has used the Hungarian theme as an impetus for the integration of various bits of melancholy and/or brittle classical string music with his own jackhammer beats and crazed sonic manipulations."~AMG

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 18 May 2013 11:05

I guess I'll get another set up here in a sec. Something similar.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 18 May 2013 11:20

Here's Digital Hardcore

As Hardcore Techno phased out of the Rave era it began a new evolution into much harder breaks, more input from industrial, noise, and punk, and a variety of new artists leading the way. Digital Hardcore Recordings released music by artists such as Alec Empire, Patric Catani, Shizuo, Atari Teenage Riot, EC8OR and Bomb 20, shaping the sound as well as naming it. Bloody Fist Records was one of the most prolific labels involved in hardcore/gabber, industrial, breaks, noise, and related genres from Australia. In Milwaukee there was Drop Bass Network which specialized in Gabber and Hardcore. In London, DJ Scud co-founded Ambush Records with fellow producer Aphasic to focus on more extreme noise-oriented hardcore drum and bass towards the end of the 90's.

Full List

Highlights

Alec Empire - "Lash The 90ties" from Generation Star Wars (1994)"

Founder of Berlin's Digital Hardcore Recordings, Alec Empire created some of the most musically diverse works of the 1990s, recording both as himself and with the trio Atari Teenage Riot. Empire was often identified with (and pigeonholed because of) his ATR productions — lo-fi breakbeats played at the speed of thrash that simultaneously embraced the energy of punk, the uncompromising ferocity of industrial music, and the futurism of techno. On his solo albums, however, Empire ranged through isolationist ambient, electro, breakbeat, hard techno, even twisted lounge music.

He began recording EPs for Force Inc — as well as their subsidiary, Mille Plateaux After an Atari Teenage Riot deal with British Phonogram collapsed, Empire used the cash in hand from the Phonogram contract to found Digital Hardcore Recordings in 1994."




Atari Teenage Riot - "Start the Riot!" from 1995 (1995)"

Atari Teenage Riot's first full length album Delete Yourself stands head high as a musical document of the intense political struggles and debates that emerged in post-reunifaction Germany. Atari Teenage Riot weren't just an angered, aesthetic reaction to the loved up boredom of rave or a desire for a scene that actually engaged with the realities of rising unemployment and accommodation shortages. It was a deliberate attempt to politicise and organise." indymediaireleand

"Originally entitled as "1995", ATR's first album was re-released in 1997 as "Delete Yourself!" with the same catalog number and identical content, but a different front cover and altered back cover artwork." ~AMG

Alec Empire - vocals, programming, production and Founder of Berlin's Digital Hardcore Recordings.



Shizuo - "Emptiness" from Shizuo vs. Shizor (1997)"

A more rabid onstage showman than most of his Digital Hardcore colleagues (quite a feat of itself), David Hammer's Shizuo project also reflects the machinations of a more diverse music-maker and a rather humorous personality. The light-speed breakbeats and punk attitude of DHR flagship act Atari Teenage Riot are in abundance on Shizuo tracks like "Sweat" and "Emptiness," but Hammer also samples Blondie's "Heart of Glass" and sound effects from The Six Million Dollar Man as part of his sonic repertoire.

Shizuo Vs. Shizor is a bit easier to take than other Digital Hardcore groups, not because the music is any less abrasive, but because of the lack of politics, other than a vague punk nihilism on tracks like "Punks" and "Emptiness". Hammer is also a man of more diverse tastes, his lack of patience with ideas, avoiding the one-note repetition of some Digital Hardcore efforts. "~AMG

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Re: Freewave's Genre of The Day Exploration

Postby ghelded_kultz » 18 May 2013 12:29

Digital hardcore aka "We couldn't tell what people meant when they said hardcore so we just put them all together"

Anyway, more great work
"Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating." - John Cage

Trolls and makers of bad music, thats us!
http://soundcloud.com/ghelded-kultz/tracks
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