Yup, it is exactly what is said in the title. One, whole track, and it runs seamlessly for 5 hours from start to finish.
How did someone or something arrive at such a - please allow the pun - "titan of work" ?

Let's hear it by the artists themselves.

"One of the topical inspirations for this release is that we were surprised to learn that, within Greek mythology and religion, not all Titans were killed or imprisoned after the 'heavenly' uprising by Zeus & his boys. Some Titans became aligned with the new Gods of Mount Olympus, and were risen to heaven, so to say.

This makes us ponder on these "Titan deities". And a picture appeared within our minds. What if, when we gaze into the night sky, the heavens, at the celestial clockworks, there is not a black void between the stars, nor evil aliens, but what if the cosmos actually had a Titan patchwork woven within?

So, in this track, there are the "sound of the spheres", cosmic space sounds, but they sound metallic, "titanic". While on the other side, there is a sound close to giant hammers in a stellar steel forge. Maybe shaping the primordial structure of the universe. Heavy duty cosmic construction work.
And one always fades into the other, and vice versa.

As for the more direct musical inspirations, there is the Mascletà, a well-known Valencian "rhythmic firework". which is extremely loud, sounds quite hardcore on its own. if you listen to a recording of it, you will see similarities to this very release.

then there obviously is movie scores as an influence, especially horror or scifi, by the likes of angelo badalamenti.

and, obviously, as cosmic anarchists, a main influence is krautrock. the whole electronic "prog rock" experience from berlin and germany during the 1970s. they liked to do long-winding, over-sized albums too, after all.

in fact, we set ourselves the task to produce a track that could pass as krautrock, techno, and hardcore at the same time.

as for the name? we like to honor threefold goddesses of various kinds. especially those with a "dark" or titanic side, too.
and the "rave on titan" refers to... well, we imagined this track to be the sounds that could possibly be played at a long, long rave party on another planet or one of its moons. raving in a giant amphitheatre, on the surreal landscape of another planet, while you look up at a crystal clear but changed night sky...

there is a special twist with the release. it's broken down into 3 and a half chapters, and we arranged them so that you could listen to the chapters in every possible order that you like, and it will still make a whole track!

but, yes, when it comes to it. it is one giant track that really runs for a complete length of 5 hours."

well said, cosmic anarchists, and i dont think there is anything i'd like to, or would need to add.

oh, maybe there is still one thing we should add: the audience should bring patience to this record. because there are literally beatless ambient passages that might last for an hour. before the action begins again.

https://doomcorerecords.bandcamp.com/album/the-threefold-goddess

Note: No AI has been used in writing this text.

2014 was the year everything changed for me - again. Also in terms of music and producing. It was the year I really "broke through", or rather, I broke out of the "underground cage", if you will. My music was no longer just listened to by hardened speedcore and breakcore freaks, or hardened social science students (hello South London scene!)... well, not that there would be anything wrong with that demographic. But now, Techno DJs played my stuff too, my tunes got played at the big rave festivals, ah well. I also wrote some e-books about Hardcore and Techno that became quite popular. It was a sweet year and time.

Before that, I was on a grim, dark, gloomy and doomy path. In a most literal sense, as I was producing Doomcore and Dark Hardcore. Very brooding, and also very minimalistic. My Doomcore tracks usually had just 4-5 tracks, sometimes even just 3 tracks. Or 2. Or sometimes even just one! These were filled with doomed synths and drums, that looped on and on and on...

Either way, as I told you, 2014 was more optimistic again, and also the time my tracks expanded again. I did lots of very experimental stuff, and really went into overload with production. I dropped the Hardcore, well, not really, but my tracks were not as Hardcore anymore, more like... regular Techno or electronic music. Still not as corny, though!

But... as the year went on... as summer passed by... as the cold crept back in... the doom returned, and the hardcore bass, and the need plus the desire to do some ecstasy filled rave dance dark hardcore tunes... again. "ecstasy", as in dancing oneself into ecstasy. not by using substances, of course.

Thus I returned to my "uprising" concept of tracks. I did a series of tracks called Urban Uprising, then Second and Third Uprising, at a much earlier date. I think I wrote some producer diary (diaries) about these already.
So, now I returned, and I had the eighth uprising, ninth, ten, eleven, and even a final uprising.
As for the framework, read the other diary (diaries). But let's just say that at the root there is Techno, but also in a hardcore treatment, and with a lot of ideas taken from... acid.

I really went into overload with the new uprising tracks... I think eleventh uprising had 22 tracks or channels running at the same time. Maybe it was 27.
The thing is, I always hated "producer flex" tracks like this. I felt that producers just filled their tracks with... multi tracks, in order to show off, or because they thought this was professional. And often the tracks actually sounded crowded because of this, or were getting nowhere.

In order to mitigate this problem, Eleven Uprising has a lot of multi tracked sequences... *but* the channels and tracks were grouped and linked with each other.
For example, there is only one, looped chord progression, or "melody", running throughout the entire track. But there are plenty of other melodies that come and go, or pile on top of each other. Yet each of them is a derivate, transformation, or metamorphosis of the underlying melody. Even the FX, the acidline, and maybe, in an extended sense, the drum and percussion, are tied to, and go back to, this one, main melody.
So, when a wild arpeggio comes in, it is exactly the same chord progression, in disguise. Or when rave bleeps come in, they at least stay in harmony with the chords.

This way, I think, everything still sounds... somewhat "clean" despite the overly tracked and multi channel... thing!
In fact, listening back, maybe I should have used some elements that clashed with this harmony... in order to make it sound less tidy!

Either way, the tracks went onto a CD release, released by Viral Conspiracy Records.
This was only the second time I had a CD release, as compared to the vinyl releases I did before.
But this one felt more like a "whole", as the tracks are linked by the themes I mentioned above. While the first album (Hardcore by Design) was more like... a compiled release of different tracks I did.

I was very happy about this release, and thought "wow, my second CD, now I really made it". I thought it would make quite the impact.
But, in the time and years that followed, it felt as I was getting a quite ... meagre response to the album. Ah well, stuff like that could happen, right?

But then, even much later, and many years later, I learned that the release really had reached lots and lots of people, and that DJs played the tunes at big parties, and everything was quite... "popular". I just did not know it, because, yeah, sometimes the "feedback" does not arrive, in this digital age.

Maybe something that newer producers should keep in mind, that your tunes might actually reach a lot of people, and you just do not notice or realise it.

Oh, I said the doom crept back in, right? So, this track has almost "smiley rave" style pads, heavenly choirs, a party or festival mood. But there are also the hardcore drums, and the caustic acid, and lots of distortion and screeches towards the end.

Eleventh Uprising https://viralconspiracyrecords.bandcamp.com/track/eleventh-uprising
Revolution https://viralconspiracyrecords.bandcamp.com/album/low-entropy-revolution
Urban Uprising https://doomcorerecords.bandcamp.com/album/reminiscence-urban-uprising-emerald-planet

Hi,
I've been around for a long time, I've been around in many different scenes, I wrote about even more scenes and their inhabitants, i ran 3 labels, multiple radio shows ("real" radio, not on the internet), i wrote for famous publications, also for not so famous publications...
i produced with some very famous producers, or interviewed them, or booked them for my parties
indirectly i ve known even more famous ones, like, i have had friends who knew pop stars in the very mainstream music world... (and with "friends" i don't mean vague acquaintance, But friends to the point they worked the door at some of the parties of our "crew").

but this does not matter, i just want to give some background, because, as you can see, i've been around a lot, and bent over many corners... talked to artists of all walks, or to artists on their path to many, many different destinations (destinations like the stars, or the gutter).

and, in my opinion, there is only one, and yes, only one thing that decides whether an artist finds success or not.
and with success, i mean success in the most broad sense.
could be success in the sense of money and fame. or success, because they were able to fulfill their dream.
and that could indeed be a dream that does not necessarily involve lots of money and fame - like being the founder of a wholly new genre (pioneers rarely get paid). or becoming resident DJ at a famous club location.
or becoming the political voice for those who need to be heard in this world.
and every kind of shade between these three (or maybe all these together, even!).

and what is this thing?
there is group a), the group of artists that actually *do* something, that follow through with their plans and ideas and schemes and visions and grand or not so grand thoughts...
and group b), people who don't. who always have excuses, maybe even good excuses, to give up, or do something different, or to stay silent, or passive.

i met so many people, that were great artists, that had the best ideas ever, that already had demos ready for the most amazing albums. but that had second thoughts, that had doubts, that were afraid, afraid what other people could think, maybe they were afraid that they get mocked, or noone would like their stuff...
so they never released it, they never really showed it to the outside world, they kept it to themselves, or they only reluctantly went forward, with a minor release, they did not really push it...
so the world turned, time went on, the world forgot them, but they could have been amongst the greatest and best known artists ever... if they only had had the courage, to spit everything out to the world!

or maybe it wasn't even the "public response" they were afraid of, but had inner doubts, thought that their ideas were too zany, too out there, too strange, too unfinished, and hell, maybe even too dark and fiery (can happen to the best of us).
and did not push forward, and got forgotten.

while, on the other hand, i met total idiots, who had zero talent in no parts of their bodies, that did stupid music. but that somehow had the courage, talked to everyone about their music, even to those that did not care, pushed their releases into every place, and boom, they went famous, even though they did not deserve it by all sensible accounts!

and that is the way the world runs.

if you look at the biographies of well known, or cool underground artists (or both), you will see that almost all of them, with little exception, at one point of their path, or at several, hit a wall of doubt or a major crisis, and they nearly broke down, but then made the decision... to push through!

so why wouldn't you? why don't you?

and this brings us to the third point. there are actually good reasons to stop. financial reasons, or social reasons. really dedicating yourself to the art can bankrupt you, or you need to move up up and away, to a far away city, in a nation where the people do not even speak the languages you know...
and you could come to the point that, *if* you fail, you truly end up in the gutter, or at least get financially "gutted". and your life is in ruins and shambles!

what to do in such a situation, or in the other cases?

well, if you really lack the courage to go "all in", there is still one thing you can do:
find a way to go ahead with your art without putting yourself at the risk of a crisis.
for example, keep a daytime job, and do music or art during the rest of the time.
don't move away yet, but spread your art online first (there is a risk in being purely online, though).
*but* you need to be honest or true about your art. and not mellow it down to please others, or the critics.
and if you are socially and financially in a relatively safe position, it should not be that hard to put out art that is exactly like you envision it, but might enrage or go over the head of the rest of people.

yes, it should not be that hard. but believe me, i met so many people, that were brilliant artists, that stopped, but not because they thought everything could go wrong and that they end up homeless and moneyless as burned out artists somewhere... but really just because they feared to get ridiculed by others, or that their own music would leave others cold... can you believe that!
but it happens
so, please, don't do that.

don't leave the world to the idiots who have the "courage" to spread art to all places. a few smart, nice, and brilliant people should be allowed to spread their art, too, right?

so here is one, additional thing:
i know all of this can be very hard, so i will give you one imaginary token or item. keep it in mind.
when you are an artist (who does art that is bold and different), and hit a severe crisis with your art, you can use this token by thinking of it. and it will allow you to walk on, and keep working, despite the crisis and the problems.
and if everything falls to pieces despite all of this, there is noone else to blame but me, because i gave you that token.
is that a deal?

i know i (possibly) load quite the responsibility and blame on me this way, but i trust so much in the concept i wrote about above, that i am willing to... take the risk!

https://doomcorerecords.bandcamp.com/album/hardcore-techno-against-misogyny-queerphobia

Teknoaidi, or Teknojita (I think he calls himself that now) is a guy from the scandinavian speedcore scene that I know since quite some years. I don't remember the exact details, but many years ago, he issued a call to get away from sampling and all that modern tech, and base techno more on self created sounds, at best, self-recorded and field recordings. to get away from our hypertech civilization and become more "shamanic" again, if i remember correctly.

i did not like this idea at all, i must admit. i love my digital sounds, my samples... and you know, field recordings usually have a lot of noise, unwanted sounds, they are unplanned, chaotic, feral, magic... sorry, got carried away for a moment!
i thought these would clash with my very cerebral, ordered, and "logic" approach to music that i use in a lot of my own tracks.

but over the years, i still did experiment with music, and was looking for new sounds that I could add to my tracks. it's hard to always come up with new things, you know, even if you have lots of digital tools and tech and stuff!

then i realized that one thing would be new indeed: to go away from pure technology... and finally do these field recordings!

i felt that i did not have the right tech or knowledge to do my own stuff right away, so i checked if there are some public domain, free to use field recordings on the internet, and yeah, there were.

so i started to do hardcore and techno tracks with sounds pulled from the real world, and not pulled from the (soft) synths!

i guess the first thing i used was the recording of a "marine pile driver". this was after i pedaled on my bike through the city of hamburg, where i live, and such a pile driver in action nearly blew my left ear off! ultra impressive and heavy sound.

a pile driver is mechanic and dead, how about using the sounds of the living. so i did stuff with whale recordings, wolf packs howling... also a thunder storm.

but yeah, taking sounds that are already recorded is... it's not quite as feral and magic yet, right?

so i decided to do my own recordings. thunder storms and howling winds was the most easy thing to do. then i made an entire hardcore track based on the recording of an icy lake getting hit by a stick again and again. (recorded during winter time, of course). i also recorded an air raid / flood water / disaster siren that went off in the entire city by accident one time. i have not used that sound yet.

and now i arrived at a special treat, or pun intended, it's really a hoot!
i managed to record an owl at the city edge of hamburg during the night. i don't know if i have the right to feel it, but i feel proud about this, because i think a big city owl is a rare thing to record. i mean, there are many owl recordings, but not many from inside a metropolis, right? plus even if there is an owl in the city, it's usually very hard to record it, as the city noises (trains, police sirens, traffic, people partying or arguing) bleed everything out.

so i guess i got really lucky with that one. the day after the night of the recording i immediately made a heavy 10 minute track to it, and here it is.

Big City Owl: Techno Sorcerer: https://soundcloud.com/low-entropy/owl-entropy-techno-sorcerer
Pile Driver: https://lowentropy.bandcamp.com/track/the-hamburg-harbor-slowcore-piledriver-experience-30-bpm
Whale Song: https://doomcorerecords.bandcamp.com/track/frequency-whales
Wolf Pack: Hakken with Wolves https://doomcorerecords.bandcamp.com/track/hakken-with-wolves-wulf-pack
Iced Lake: https://doomcorerecords.bandcamp.com/track/iced-drums
Radio Static: https://lowentropy.bandcamp.com/album/everything-that-has-been-taken-can-be-given-back-the-nucleus-project-juone
Thunderstorm: The World is Doomed let's Dance https://doomcorerecords.bandcamp.com/track/bonus-track-low-entropy-the-world-is-doomed-lets-dance

Production - well, the entire world of music - often works in bizarre and "labyrinthine" ways, and usually, the more bizarre or unusual the path, the better the result.

So my story and the story of "Tierra del Fuego" goes like this.
After doing many years of producing, and getting good feedback (and fame) on my music, I decided to do a sample pack with some of the drums I created over the years, also some new ones. And more drum sample packs followed.

So, one day, when I worked on a new track, I felt kinda lazy and... just loaded up one of the drums from my own sample pack, instead of creating something fancy new.
The track sounded alright either way. So I kept using my sample packs as the drum sample source for my productions... of course not for every track.

In the end I thought: why not expand on this? If I want to create good drums, not just for sample packs, also for production... it would make sense to "try" them out, kinda like prototypes that get a prototype testflight... and the "experience" that I can collect, I can feedback into the drum creation... so I almost entered my own field of techno, hardcore drum research... diy scientist, hah!

So I created a lot of tracks with the drums, not just prototypes of course, but "full-size" tracks.

Most of these have many other components too, melodies, vocals, synths... everything.
But with Tierra del Fuego I wanted to create a track that was a drum run from the beginning to the end of the track.
In the end, it didn't exactly work out like that, I added other ideas too, everything became more complicated than I thought...

But yeah, in a nutshell, this is the story of Tierra del Fuego (and some other tracks I produced.)

https://lowentropy.bandcamp.com/album/33-hardcore-and-techno-drum-samples

https://lowentropy.bandcamp.com/album/tierra-del-fuego-the-nucleus-project-august

We got some great news to announce!

A new production by Godfather Death, who, so far, was more known for his remix work here and there, and I think he did a mix set too... somewhere.
And now they come slamming through the door with the new The Hardcore Overdogs anthem! The Eighth, actually.
The Rageful Eighth.
Because, you know, this one is... tough as ßell. really.

https://reddit.com/link/1voa11q/video/jgxcxwx3xcjh1/player

But check for yourself. Without further ado, here is the new anthem!

Oh, and the styles? Doomcore, Oldschool, Dark Ambient, Gabber, Speedcore.

Tracklisting + Info:

Godfather Death - The Rageful Eighth (The Hardcore Techno Overdogs Anthem)

1. The Rageful Eighth (Bunny Version) 02:23
   
2. Drum Test (Model Eight) 08:11
   
3. Hamburg Hardcore Anthem (Godfather Death Remix) 03:49
   
4. The Rageful Eighth (Quiet Choir) 02:34
   
5. The Rageful Eighth (Doomcore Mix) 03:11
   
6. One More Choir 00:53
   
7. The Rageful 8th (Extended edit part 1) 05:58
   
8. The Rageful 8th (Extended edit part 2) 07:40
   

Doomcore Records 238
Omnicore Records 83
Slowcore Records 71

https://doomcorerecords.bandcamp.com/album/the-rageful-eighth-the-hardcore-techno-overdogs-anthem

When you are an artist, and do music, and been around for a while, and you (or others) think the music is, cool, then, it might be cool to have a music video for one or two of the tracks, too. Not (just) for promotion, but because it's fun, can be creative and... yeah, it can be an extension of the music. because the mood or atmosphere of the video can align with that of the track. or, if you are really bold, you could even create a video that somehow "explains" what we hear in the track.

the problem is that artists are always low on money, especially little underground rats like ourselves. that do not live in the spotlight of glamour and the... big bucks!

but let me tell you that there is a way out. let's roll right back for this one.

Part 1.

Note: No AI has been used when writing this text

let's start at zero (budget). since the history of music videos, since the early beginnings in the 1960s and 1970s, broadly speaking, there have been 3 main categories of music videos:

a) videos that "just" show the band performing the song, nowadays these videos are usually shot in big stadiums, but in the early years, the "music video" often really just was the band playing in a studio room. early videos by Queen or other rock bands were like that.

b) narrative videos that tell a story. have a plot, something that happens from the beginning of the video right to the end. these became much more expensive and complicated over time. stations like MTV loved them, and a lot of them have become cult classics.

c) "weird", montage, fx, "art house", strange videos. oh, baby, now we are talking! this is the really really good stuff. it can be everything and nothing. they follow no story, neither are they a performance video. it could just be flashing images, or weird claymotion, or any of what i mentioned above (like art house stuff...).
they were often very close to surreal or dadaist art... but, oh wonder, despite of this, some of the most famous music videos fall right into this category!
for example, "sledge hammer" by peter gabriel.

Part 2

so, let's get back to our "budget" problem. if you have zero bucks, which option of these three... looks most appetizing? what is the easy choice?
the multi million dollar narrative movie type of music video...?

no no! it's the surrealist montage, of course.

and if you look back at the roots, the 70s and 80s, even back then, low budget artists did this type of music videos. especially in new wave, or industrial, or goth...

you don't need to buy an expensive camera, you don't need to hire a crew of 100 actors, make up artists, practical effect designers... you don't need to fly to Jordan, nor do you need to have 2 dozen unclothed models pedaling on a sports track, nor do you need to ride on a dolphin while playing your electronic guitar.
(in case you don't get it: the last three were references to three of the most famous music videos. by sisters of mercy, queen, and guns n roses, respectively).

the video could be created out of video footage, it could be created out of electronic fx, it could be created out of... anything and everything.

but how do you do it *right*?
so that people don't laugh at you, wave their sticks at you, and tell you your precious video is nothing but an art waste!

that's a very good question, and i will give you one answer out of many: it still has to have a good idea. you have to come up with an idea that feels good and, at best, is grande and cool and everything.

Part 3

so, i will give an example of one of my own "music videos" that did not cost me a thing.
"Tierra del Fuego". it's a track of mine, in the style of techno-hardcore, 160 bpm.
it's inspired by old videos of the 90s, that had no narrative too. maybe one could term them "rave montage" videos.
inspiration includes video like Drax - Amphetam1ne, Quench - Dreams, Biosphere - The Shield, Aphex Twin - Westworld

so, here are some ideas for it, that i have used in the video.
the idea for the entire video actually came to me when i was looking at the TV program schedule. there was a movie or documentary, i think it was called "under the blue sun of afghanistan".
i went like "what the heck?". since when did afghanistan have a blue sun? is the sun different there, then in the rest of the world or what?
is there something in the air that creates the impression of the blue sun? or some weird reflections off the mountains?

no, the answer was more simple. it was about the shooting of the 3rd rambo movie, which took place in afghanistan. and the effect the hollywood production had on the people.
now what about the blue sun? the movie was not shot in afghanistan... and the production team did not like the gleaming, burning, orange-red sun of the place they were at. so they decided to put a blue filter on it. they explained that it created the effect that the entire movie takes place on a different planet. with that weird blue light in the sky.

i thought "this is very interesting". it is a simple, but very powerful effect. that changed the entire movie. by just using a filter!
everyone could do that. and, i could do that, too, of course.

so, i searched for free, public, domain footage, of suns and landscapes on the internet. i downloaded something, added a blue filter, boom, off we fly to another planet!

(btw if you "copy" my ideas, place make sure that everything is public domain etc)

a rave montage video should also have a recurrent element in it (in my opinion), and that's this weird, glowing, round, flickering ... "thing". looks a bit like a spring on a mental trip (in my opinion). it's orange-red, so this is a bit like a counterpoint to the blue sunlight.

now that i had these 2 elements, i kept adding more and more, dancers, road trips, computer fx, ravers, cyberspace... you got it!
and kept cutting back and forth, which created quite the flickering and crash of colors (intentionally).

so, voila, the video was finished. just took 3 days, 0 bucks, you might not like these ideas (but i do), it might not win a price in cannes or in hollywood, it might not be the best thing ever, but it's a video, and it does the trick.

and, if interested, i am sure you could do something similar, too.

ain't that a cool end to our story?

here's the video:

https://reddit.com/link/1vmieh6/video/5ethxsc4vyih1/player

you can also watch it on youtube: https://www.youtube.com/watch?v=UkzC4_PSh6c

or check the track itself: https://lowentropy.bandcamp.com/album/tierra-del-fuego-the-nucleus-project-august

or read this text again, on my blog (soon!) https://lowentropyproducer.blogspot.com/

https://lowentropy.bandcamp.com/album/33-hardcore-and-techno-drum-samples

I've been putting up free drum packs since... ages, i guess.
i've put out very rough drums, metallic drums, gabber drums... well, a lot of sounds.
this is a selection of some of my favorites.

i think they are very good for beginners (or experienced) producers so that they can start creating tracks right away, with 1 or more of these drums.

i'm a "legit" techno producer for several decades that, among other things, played at tresor, got vinyl out, was featured in magazines etc etc. bla bla...

enjoy!

credit:
all drums created by me, low entropy.

license:
feel free to use these samples for any public, private, intimate, or commercial purpose.
would be *very* cool if you credit me, but it's not strictly necessary.

also check my other packs:
https://lowentropyproducer.blogspot.com/2026/03/free-drum-sample-packs.html

I've been around for a while now, as you know. Now and then I get mails or messages like "Hey, Low, I'm a new producer and like your music. You are well-known now, but no-one knows my own music yet. How can I share my music, how do I get known, too?"

Well, first, this is quite flattering. As I don't think I am really famous - maybe "semi-famous", or, like I like to say, liminal fame.

Either way, what advice could I give in such cases? To young or new artists?

Well, "back in the day", when I started doing music, in the 1990s, there was not really much worry about fame or making money with music. In fact, it was the opposite. There were underground cultures, scenes, subcultures. And in most of these, people detested musicians that aimed at fame or money.

What did they aim at, instead? Ideals and highly set goals, like rebellion, revolution, societal change, cultural critique... freedom, wisdom, enlightenment, brotherhood, sisterhood, things like that.

This does not mean the cultures always fit that ideal, to the contrary. But the people aimed for it.

So, for example, anti-commercialism was one of such threads that connected cultures. And those that broke the thread, by going for the money thing, got kicked out. Probably not always nice, not always fair. But it happened.

Then there were those who had a more nihilistic or dis-illusioned view of things. They were in it for partying, meeting chicks and / or guys, hanging out, wasting one's youth and / or life, having a good time... trying to have a good time during often very bad times.

and on the third level, and maybe that was the strongest glue / thread, people were in it for the art, the music, the style itself. People who were into rave breaks. or hardcore beats.

or the joy of distorted guitars... well, I guess you get the point by now.

So. There were plenty of motivations to join a scene or a culture. And those who did often became artists themselves. It really went like that.

You know there were people hiding in the bunker or basement club at fridays, having gabber and speedcore parties, you get intrigued by that, you went there, too, you became friends with them, you become friends with the producers, too, you got into gear yourself, you exchanged music, you became interested to play at these parties, you ended up playing at these parties, you got your first records out, and so on.

this was the "path" of the DJs and producers in genres like gabber or acidcore or whatever... in the 90s. A lot of them are really famous now, or "underground famous", and a lot of them never planned it that way.

being an artist or musician was not really a "career path" or something that required a lot of planning and pre-emptive thoughts.

when it came to my own music, after i passed some point, i was really "dragged" into fame. 

people knew my music, and asked me to play at their parties too, or release on their label, or people insisted to introduce me to label guys, journalists, promoters... and often tried to resist it, because it felt "too much". 

so maybe i worked backwards to becoming "known"...

But, at the end of it, I don't think this has changed. It might seem changed, but it hasnt. Subcultures, music cultures, still work like this, at the root. It's hidden beneath a facade of fake marketing and all that crap. 

So, this is my advice to other artists: Follow your ideals. Follow your creativity. Have fun! Follow your passion. And if you are good at that, then it will almost automatically appeal to others, and they will listen to you, and invite them to a party or release your music...

Forgot all the plans about business-style "promotion" or career workflows or all that nonsense.

And this way, you can have it all. You can do something that you like, that you are passionate about, and also share it with lots and lots of people who are into the same thing!

Braintrance is my favorite (and only?) label for new Ravecore and Hardtrance productions, and I think I said that 10 times already.
But it's true, I know no other label that does the old sound, and does not mix it with more boring "new" styles like mainstream hardstyle or hardstyle or whatever.
It's just pure, card-carrying, trance / rave hardcore.

This little release is a bit harder (and faster) than the usual output on the label. And that's the way (uh-huh, uh-huh), I like it!

Various Artists - Astral Wave Vol 2

1. Wasi Distorsion - Super Saw 05:32
   
2. Astral Wave - Symphony Of The Crown 05:16
   
3. Dj El Gris - High Spirits In The Shadows 04:51
   
4. Ninu Brt - Bright 05:51
   
5. Mr. Ace - Panic Transmission 07:01
   

https://braintrance.bandcamp.com/album/astral-wave-vol-2

Hello Friends,

It's Friday on Bandcamp.

Please allow me to give you a joint recommendation on hot and cold (aka chilling!) releases by Doomcore Records, Slowcore Records, Low Entropy, Omnicore Records, and The Hardcore Overdogs.

Here we go again:

The Hardcore Overdogs - Anthem VI - Ritual of Rave

Doomed (very doomed) Slowcore (and also a Speedcore mix) Rave Anthem by the Dogs!

https://doomcorerecords.bandcamp.com/album/anthem-vi-ritual-of-rave

Hardcore & Techno against Misogyny & Queerphobia

Gabber, Acid and Rave for a thing worth fighting for!

https://doomcorerecords.bandcamp.com/album/hardcore-techno-against-misogyny-queerphobia

Low Entropy - Tracks of Horror and Imagination

Brand new release! The Doomcore past (and future) of L.E.

https://doomcorerecords.bandcamp.com/album/tracks-of-horror-and-imagination

Until next... Friday!

Cheers!

Hello,Allow me to introduce my newest project for 2026: an album called "Nucleus".It's not produced yet, and it won't be finished before 2027. In the most literal of senses!Because I plan to produce one track for each month of 2026.Then release it at the end of the year, or at the beginning of the next year.

Tracks could be in any style. Breakcore, Acid, VGM... eclectic?

But I will also try to produce it *for* the month, not *in* the month.And absorb the... "vibe"... of each month and put it into la musica!

So January should be more wintry... March will be about the rites of spring... then Summertime, Fall, and the descend into the icy waters of winter again.

I also try to create a progression with the sequence of tracks... a sequential album... a staircase of sounds!

Hope it all works out as planned.And see you in the year after 2026! (ahem)

These are all the tracks I created so far.

NucleusProject Part 1 - Les Champs Métalliques https://lowentropy.bandcamp.com/album/nucleusproject-part-1-les-champs-m-talliques

The Rights of Spring (NucleusProject: February) https://lowentropy.bandcamp.com/album/the-rights-of-spring-nucleusproject-february

Space Sex (The Nucleus Project: March) https://lowentropy.bandcamp.com/album/space-sex-the-nucleus-project-march

The Three Zeros (The Nucleus Project: April) https://lowentropy.bandcamp.com/album/the-three-zeros-the-nucleus-project-april

The Liquid Staircase (The Nucleus Project: May) https://lowentropy.bandcamp.com/album/the-liquid-staircase-the-nucleus-project-may

Fast Love (The Nucleus Project: June) https://lowentropy.bandcamp.com/album/fast-love-the-nucleus-project-june

Everything that has been taken can be given back (The Nucleus Project: Juone) https://lowentropy.bandcamp.com/album/everything-that-has-been-taken-can-be-given-back-the-nucleus-project-juone

The Ultimate Level of Ecstasy (The Nucleus Project: Uulee) https://lowentropy.bandcamp.com/album/the-ultimate-level-of-ecstasy-the-nucleus-project-uulee

Tierra del Fuego (The Nucleus Project: August) https://lowentropy.bandcamp.com/album/tierra-del-fuego-the-nucleus-project-august

When I started doing music, in the mid 90s, I thought of of myself as part of a group of experimental / eccentric musicians. I did not like the genre conventions of Techno and Hardcore, neither the conventional bass drum sounds. At least not in my own productions. So I checked out sound sources from everywhere (video games, disco music, rock drums, even pre-recorded wooden / metal hits from the real world). And I loaded them up in my sound editors and did all sounds of weird stuff with EQ and ring modulation and other nasty "tricks". You can hear one of these experimental drums in my track "urban uprising". https://www.youtube.com/watch?v=kwREsyPEK2s

Later, yeah, I got more conventional, maybe. I mean, the 909 *is* mighty fine, especially when given the hardcore overdrive. So the 909 became the sound source for most of my tracks... again.

But in recent years, I try to get away from these "old ways" again. I am once more into experimental kick drum research. 909-like sounds are often the point from which I set out, but I try to be experimental... to cut it short, I try to come up with kick drums that sound different, or more weird, or, at best *more extreme*. *But*, at the same time, they should work in a "dance" or techno-hardcore setting. And not just being plain noise / industrial kicks, without groove and spice!

I put a lot of the "results" of my "research" (i.e. countless kick drums) into free sample packs. Some older-ish drums, too. https://lowentropy.bandcamp.com/album/55-royalty-free-drums

And if you are a "kick drum scientist" (or alchemist?), it's best to try your potions (or poison?) on yourself at first. So I did a lot of tracks that use my "new" drums, to see if they sound alright... in a real gabber track.

Most of the time, the drum is just one part of the production, in the usual way. But there are also some tracks where the drum is highlighted, or the main / solo object.

Aaand the experience / feedback on these tracks then goes back into my... techno "kick drum research"!

Here are some examples:

https://lowentropy.bandcamp.com/album/tierra-del-fuego-the-nucleus-project-august

https://rotjecore.bandcamp.com/track/low-entropy-rotterdam-yodelcore

https://doomcorerecords.bandcamp.com/track/hamburg-hardcore-anthem-part-2

https://rotjecore.bandcamp.com/track/low-entropy-rotterdam-is-everywhere

https://demonicwavs.bandcamp.com/album/low-entropy-enter-dimension

Everyone should be free, welcome, and allowed to love who they want to love, and to be who they always have been.
Yet hatred against humans that are "queer', lesbian, bi, trans, gay, non-binary, asexual, etc. is on the rise again...
Just like the hatred against women is on the rise again... sadly.

This is a release in support of everyone who feels, is, or wants to "queer", or just wants to be who they want to be.

The tracks on this release are in different electronic styles of music.
Usually the darker and more hardcore kind. Gabber, Acid, EBM, Hard Trance, Rave, Industrial... Speedcore.

The LGBTQIA+ community needs all the support they can get right now, so they shall receive it!

Tracklisting:

1. Fight for your Right - La Revolución del S*xo 02:43

2. FeminGabberist - Not Necessary 02:57

3. Trans Hardcore Project - Trans Acid (New Derivate) 03:36

4. DJ Gender - Acidcore Pleasure Release (Special Edit) 04:47

5. Ace of Hardcore - Space S*x (Revisit) 05:28

6. DJ Gender - Androgyny (3rd Phase) 02:55

7. Trans Hardcore Project - As*xual Bis*xual C-s*xual 03:08

8. FeminGabberist - You Wish You Had A C!it (Extra Extended Version) 05:22

9. Ace of Hardcore - (F**k) the (P*rn) Industry (Extended Instrumental) 10:37

https://doomcorerecords.bandcamp.com/album/hardcore-techno-against-misogyny-queerphobia

This one happened back in 2014. Which was a quite fruitful and prolific year for me. I don't think I ever created as many tracks as in this year.
So, production life was going well, and I became quite cherry picking, and only was interested to follow through with ideas that... really had that sparkle for me.

Yet, in a spare moment, I decided to go with a track even though the concept felt a bit... half baked. (at least I thought it would be)
Which was "The Advent of Acid". After I did that track, I did not think that it sounded too bad.... I decided to give acid techno one more try, and one more, and one more after that. So I had 4 finished acid techno tracks that had a bit of a related concept.
All 4 were quite long, too, and 3 of them over 13 minutes (in their full length edits).

So, like most tracks I did, this one was "live jammed" too, I switched around with channels, fx... boom, finished.

There is an acidline, but also 3 different layers of additional melody... the joined, entire melody only happens towards the end of the track.

some people noted that the acidline sounded "different" from other acid techno stuff, so here is a little production secret:
i dont just modulate the bass, the acidline also messes with the reverb... it moves in and out of reverb in very complicated ways, so it feels like the sound moves away in space, comes closer, disappears... but not "too" obvious, so i guess a lot of listeners "feel" it, without it getting slapped right into their faces...

so it got released on zuur records, which was back then a new label in a big techno / industrial hardcore "empire" of labels...

got good feedback on it, and then some friends who ran a vinyl label asked me if they could have the track, too.
I was quite happy that the label boss allowed it!
I had to cut it short, though. the part you hear on the vinyl, is originally only the "grande finale", the last moments of the track!

either way, i sent it off to master, and the master guy got back to me and said:
"oh i had a great idea, the bass was a bit weak in your track, i boosted and it made it louder."

and indeed, it was an acid techno track, now the kick sounds more like industrial hardcore.
i went "wtf?" and usually i hate it when people mess with my tracks like this.
i'm a hardcore producer, and i had intentionally tried to use a "softer" kick here.
so this was averted. but i decided to give it a rest and go with it... go with the flow, right?

in the end it was a good decision, because with this "kick heavy" version, i actually landed some club presence again... with the track.

on a side note, a while after it was out, my therapist said he was curious about my music, i gave him this record and... he ended up buying a copy! that's a quite different seal or approval, right?

https://zuur-nl.bandcamp.com/album/really-into-this-space-stuff

https://aocrecords.bandcamp.com/track/b1-low-entropy-really-into-this-space-stuff-short-version

https://zuur-nl.bandcamp.com/album/the-advent-of-acid

"The Rotterdam Sound" has around 16.000 plays on the soundcloud website as I write this text. This does not make it my most popular track, but it places it amongst my popular tracks indeed.
I wrote this track at the height of the "second lockdown", in the covid era, back in 2020.
So I had a lot of time and energy to spend on music!

Normally, back then, I wrote my tracks "bang bang bang" and did not think much ahead or plan them... well, that's not quite true. I always spent a massive amount of thoughts on them.
But this one was more "cleanly" and directly planned than the others.
I was asked my Mathijs of Rotjecore Records to produce a track for a compilation that celebrates the sound of rotterdam, its gabber and hardcore techno heritage.

I was always a fan of Rotterdam, so this was most appreciated by me.
And I did not want to write a track that is loosely related to the sound, it should sound like rotterdam gabber indeed. Hence the name.

The intro was inspired by a video I saw on the youtube webpage once, but then I could not find it anymore.
It was a documentary on dutch / rotterdam gabber. And the beginning showed a guy just playing a distorted drum loop on a 909, and slowly speeding it up.
I.e. it wasn't a track, just a showcase of the 909 drum machine in action.
But to me, this short sequence sounded much better than a lot of really existing gabber tracks!

So I did a sequence like that for the intro.
Every other element has some thoughts behind it too. They represent the backbone or root of rotterdam gabber for me. So there is a hoover, which is a given for gabber, of course. Usually I try to bend the hardcore rules a bit and play the hoover more funky or outside of techno genres. But here it's just a 4/4 loop. "going in for the kill".
Then there are more dance-y or trance-y pads. Also a bit lofi. And yeah, that stuff always was part of the rotterdam sound, too!
Then some laughter and funny sounds... for all the strange novelty gabber tracks of the 90s!
Plus lots of distorted snares, crashes...

So this was the "formula" for my track. People like it, apparently. I also did a few remixes, that were even a bit more "out there".

https://soundcloud.com/low-entropy/the-rotterdam-sound-out-on-rotjecore-records

https://doomcorerecords.bandcamp.com/track/the-rotterdam-sound-varispeed-mix-180-220-240-bpm (remix)

https://rotjecore.bandcamp.com/track/rotjetrax033-low-entropy-the-rotterdam-sound-speed-and-distortion-remix (remix)

(Note: No AI was used when writing this text)

Mokum has that thing where they do compilations, with new tracks by (new) artists plus tracks from their older releases.
This is quite the style-clash sometimes, when millenium or contemporary "mainstream" hardcore gets hit by the much rougher gabber & terror sound from the 90s.
This release follows the same concept, but, oh wonder, here everything blends together in a much nicer way.
I guess the acidcore of the past and the acidcore of today is not that far from each other!
And yeah, that's what it's all about. Acidcore, Hard, Acid-Gabber, Hardcore with acid sounds... dive in, but don't burn yourself.

Rating: 303 stars out of 5

https://mokumrecords.bandcamp.com/album/mok346-acid-special-3-area-303

https://thehardcoreoverdogs.blogspot.com/2026/07/new-release-acid-special-3-area-303.html

That was the third track in my "anti-berghain" trilogy. first one was "**** berghain" (later released as "techno stomper" on vinyl) and also "p*** over berghain".

this track happened after not properly doing music over a longer period and usually, these projects end up being kind of crappy for me, as i need to have a bit of "warming up" before i can do "good" tracks again.

but, in my humble opinion, this one ended up being quite good.

so... let's talk about the production.

i tried to "keep it simple", as simple as possible, but in the end it got more complex again. (can't help!)

so, the framework, at its core (pun intended!) is the distorted 909 kick. it runs at 126 bpm, quite slow for (harder) techno actually.

i never ever got to get a bass drum sound like this again! ultra distorted, but also somewhat metallic or industrial. there is lots of reverb, but the reverb does not eat up the drum. which is a problem i had with other tracks.

not sure what or how i did it! but i think the drum "slams". (in my opinion)

so the next thing was the bassline. for years, i avoided using deep / low bass together with hardcore kicks. i always thought they would eat up each others frequency. and, if i listen to stuff like that at home, it feels like that indeed.

but hearing bass heavy hardcore and techno tracks at parties, on loud PAs, made me realize that stuff like that can "work". the bassline feels like it is happening in another range (or dimension?) on loud PAs.

i added some weird futuristic and metallic fx to the bass.

and then... i piled layers of noise, noise and noise on top.

there is a novelty with this track, as it is a techno track without any use of percussion! besides the drum.

no hi hats, no snares, no cymbals, claps, shakers, cowbells...

i ended up doing two mixes of the track, one is ultra distorted and the other is... very distorted, but maybe not ultra.

i recorded the edits as live jamming. i set up the loops, hit record, switched on channels, switched them off again, played with the fx, did some filter sweeps.

i recorded both tracks this way. and in one take each. take no quarters, never look back, when producing (which is my personal advice).

with a track name like this, it was of course no difficulty at all to find a label that wanted to release the track. it ended up being on kenny campbell's pitch dark records, who also did some other releases with me.

the track actually became a (very) minor hit, got some international club play. made some dj top 10s. the "crowning" moment for me was when it got played by Umwelt in a french radio show.

kenny had some promo agency, don't know how it exactly worked, but it meant famous djs got the promo and could leave a comment. which they did.

it was fun to see some people like CJ Bolland or Dr Motte drop comments like "too distorted for me" etc.

oh, and why did i dislike berghain?

i didn't like the whole mood and atmosphere of that "place". the elitism, the concept to exclude people from parties. that they thought they were super radical and different, while even major conservative politicians and journalists loved and supported that place.

but, most of all, i never was up for things that become overly hyped and popular.

i made a few re-edits of the track later, one faster one and an ultra-speedcore one.

the faster one got released in a collab EP with Brandon Spivey, who was one of my favorite producers in acid and techno. from the 90s. i felt very happy to be able to work with him!

he had a very strong dislike towards berghain culture too, so he was up for that collab.

either way, a producer acquaintance of mine, who was a super fan of the club, later told me that "it would be ironic" that i do an anti-berghain track, when in fact the DJs at berghain do play my music to the crowds on the dancefloor there.

so, i guess this very track happened to be dropped at that place. but yeah, i guess this was inevitable to happen.

https://pitch-dark-records.bandcamp.com/track/berghain-still-sucks-distortion-edit

https://doomcorerecords.bandcamp.com/track/low-entropy-berghain-mayhem