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T O P I C R E V I E W
rafferty
Found this shared by a lot of people on soundcloud, is basically all 2020 style Hardcore mixed in a marathon of sets by
SUMMER JAE,
AK47,
MIKE REVERIE,
TECHNIKORE,
HIXXY,
JTS,
TWO MINDS PROJECT,
MACKS WOLF,
WEAVER,
There is definitely a new sound developing in the 2020s. Props to the guys down in Australia doing this podcast. They seem ahead of the game with their scene.
And "that" sound is no different to anything before it.
Bring back that mid 00's sound and I think you'd have a winner.
Guest
weaver is doing a live stream with cotts on 31 july
Samination
quote:Originally posted by LeVzi:
And "that" sound is no different to anything before it.
Bring back that mid 00's sound and I think you'd have a winner.
rafferty has already said he hated that kind of sound so :P
jenks
All the J-Core I hear seems ahead of the curve. A lot more dense and dynamic (and some of it maybe what Freeform was supposed to be) rather than people just people trying to copy the clean Darren Styles formula. One thing I've disliked about UK Hardcore for a while is the tendency to try and hide the tempo as if to make it more palatable for a mainstream audience, when in truth it's the main selling point and defining feature of the entire genre.
HARDCORE TANO*C is worth subscribing to on Youtube if you haven't already.
(this isn't the most amazing example of that now that I listen to it, but it is decent and recent)
jenks
Samination
Japanese knows how to take in elements while keeping the original sound. UK and American's can only copy, paste and increase the BPM
Guest
quote:Originally posted by jenks:
he lost the fight like the rest of the scene and started to make proper hardcore
tenfold234
There needs to be more tunes like:
Darwin & Haywire - Another Life
That is right way to make a tune in the spirit and fun of the 2000's while updating it for modern productions. Its gotta be my top tune of the year. And yes I broke down and bought HH6 just for this tune...its that good.
It brings me back to the good ol days of TNC, Next Generation, Hecttech and so on. Rough kicks, scratching, rap samples heavenly melodies.
Haywire has another tune called Stick Em that Brisk has cained a few times in the past on his Brisk Selection and its pure dope 2 Damn Tuff style.
Just wish Joey Riot would get off his ass and release it.
But yeah. Japan is where it is at right now. Can't go wrong with Tano C, Megarex, Dynasty, Lillium, ST2B, Sketch Up, Sound Ave.
rafferty
quote:Originally posted by tenfold234:
There needs to be more tunes like:
Darwin & Haywire - Another Life
That is right way to make a tune in the spirit and fun of the 2000's while updating it for modern productions. Its gotta be my top tune of the year. And yes I broke down and bought HH6 just for this tune...its that good.
It brings me back to the good ol days of TNC, Next Generation, Hecttech and so on. Rough kicks, scratching, rap samples heavenly melodies.
Haywire has another tune called Stick Em that Brisk has cained a few times in the past on his Brisk Selection and its pure dope 2 Damn Tuff style.
Just wish Joey Riot would get off his ass and release it.
But yeah. Japan is where it is at right now. Can't go wrong with Tano C, Megarex, Dynasty, Lillium, ST2B, Sketch Up, Sound Ave.
(Darwin & Haywire - Another Life) You have to be kidding, we had 15 yrs of that same dated sound. That crap is dead and buried.
Is not even real Hardcore, just Trance riffs spead up to 170bpm.
rafferty
Keep it fresh.
rafferty
quote:Originally posted by Samination:
Japanese knows how to take in elements while keeping the original sound. UK and American's can only copy, paste and increase the BPM
No the U.S, UK and Australia seem to be ahead of the game with labels like Justice Hardcore, Lethal Theory and One Seventy.
You can't even understand what they are saying with a lot of Japanese releases.
Heard the Japanese Hardcore you play. Is not real good, is like kindergarten music.
Impulse_Response
quote:Originally posted by rafferty:
quote:Originally posted by Samination:
Japanese knows how to take in elements while keeping the original sound. UK and American's can only copy, paste and increase the BPM
No the U.S, UK and Australia seem to be ahead of the game with labels like Justice Hardcore, Lethal Theory and One Seventy.
You can't even understand what they are saying with a lot of Japanese releases.
Heard the Japanese Hardcore you play. Is not real good, is like kindergarten music.
Justice Hardcore is mostly trash. The only thing I found that I liked was the Gavin G EP, i.e. European.
That song you posted is relatively boring hardstyle trash. Give me trance all day.
A lot of the Japanese stuff gets old fast for me, too, but I still feel like overall I have a better chance of finding something I like. A lot of the Japanese producers killed their style with too much EDM and high-pitched cute anime J-pop remixes, though.
jenks
People getting uppity about Hardcore styles has been cringe since 95_was_the_time.
Samination
I'd prefer his cringeness...
jenks
Vladel
If you need to remember how bad it used to be just look up futureworld future bass from 2014.
You're welcome.
Guest
quote:Originally posted by jenks:
sounds like shit that
crossbreed in ya house yo ganja man, keepin the bristol roots
Icewind
Just chiming in to reinforce that yes...the mid 2000's stuff was way better.
jenks
jenks
jenks
whispering
quote:Originally posted by jenks:
Just bought this compilation, amazing song.
ATM its probably the only 2020 Hardcore release i own...
quote:Originally posted by jenks:
The rubber boot bass in that is the reason i don't listen UK Hardcore anymore. Its either that, or the clown sounds.
Triquatra
quote:Originally posted by LeVzi:
And "that" sound is no different to anything before it.
Bring back that mid 00's sound and I think you'd have a winner.
100%. I was expecing to hear something different.
Sounds exactly like the hardcore that's been being produced for the last 10 years, complete with kazoos.
warped_candykid
I have to say I'm tired of so many tracks having the
Boom - splat - boom - splat drum pattern. Can we return to the solid 4-beat?
Bring Me Round To Love
Would love to see Hardcore sounding a bit more like these tracks:
I remember Joey Riot & Seduction did make some great collabs in the 2000s.
For the way the music is going, it's quite good I don't mind it. I would play it. But I am unsure about the word anthem. It would probably grow on me after a few runs out
chappy_hardcore
Hixxy still at it, wow!
jenks
quote:Originally posted by rafferty:
Found this shared by a lot of people on soundcloud, is basically all 2020 style Hardcore mixed in a marathon of sets by
SUMMER JAE,
AK47,
MIKE REVERIE,
TECHNIKORE,
HIXXY,
JTS,
TWO MINDS PROJECT,
MACKS WOLF,
WEAVER,
There is definitely a new sound developing in the 2020s. Props to the guys down in Australia doing this podcast. They seem ahead of the game with their scene.
I remember Joey Riot & Seduction did make some great collabs in the 2000s.
what is it about Seduction always selling off all his assets, then doing a disappearing act, One of the biggest Hardcore Rave labels and Happy Hardcore labels and one of the top 90's Happy Hardcore raves promoter and of course has one of the biggest DJs during that time, only to come back and do it all again for a SECOND time during the peak UK Hardcore, only to sell it all off again.
Hardcore Heaven and Uproar was some of the best raves i ever went to, and and Impact and Maximum Impact some of the best tunes of that era
Even his early Hardcore Raves tunes was entering the UK top 40 pop charts and has much has i loved the bedroom style producers back then, Seduction was definitely not one of them, already knew what he was doing from the get go.
Has he ever made a bad tune?
LeVzi
quote:Originally posted by Bring Me Round To Love:
I remember Joey Riot & Seduction did make some great collabs in the 2000s.
what is it about Seduction always selling off all his assets, then doing a disappearing act, One of the biggest Hardcore Rave labels and Happy Hardcore labels and one of the top 90's Happy Hardcore raves promoter and of course has one of the biggest DJs during that time, only to come back and do it all again for a SECOND time during the peak UK Hardcore, only to sell it all off again.
Hardcore Heaven and Uproar was some of the best raves i ever went to, and and Impact and Maximum Impact some of the best tunes of that era
Even his early Hardcore Raves tunes was entering the UK top 40 pop charts and has much has i loved the bedroom style producers back then, Seduction was definitely not one of them, already knew what he was doing from the get go.
Has he ever made a bad tune?
There have been the odd dodgy mid 90s Seduction tune but most are decent all through the impact catalogue tbh, but he wasn't the most popular DJ by any stroke. I went to god knows how many events over the years and he wasn't on all of them by any means. You'd have the regular names at most, like Slipmatt, Dougal, Brisk, Sy, Clarkee but Seduction was on n off.
jenks
tenfold234
quote:(Darwin & Haywire - Another Life) You have to be kidding, we had 15 yrs of that same dated sound. That crap is dead and buried.
Is not even real Hardcore, just Trance riffs spead up to 170bpm.
Well the 00's sound is what I want to hear (at least updated versions of it).
Hey if the Kniteforce followers get to hear updated versions of old sounds why can the 00's get their due, which given that its the last time hardcore was really profitible of any kind. I would think there would be a market for updated 00's sound.
I'm not saying to have the other sounds as well. We need variety, and that is part of the problem as to why UK/Happy hardcore is in the slump its in.
Gazza1712
Not many producers nowadays make any decent stuff compared to years gone by, that al storm mix on hixxys rinse fm show was awful. I respect al because he made some great tracks in the 90s and 2000s but not feeling this new 24/7 stuff at all and also I don?t like that rob iyf. Just my opinion by the way guys, I much preferred the Marc smith mix on the hixxy show.
jenks
Impulse_Response
quote:Originally posted by jenks:
Decent melody but some of the worst percussion I've ever heard. What is that?
9oh9
quote:Originally posted by Impulse_Response:
Decent melody but some of the worst percussion I've ever heard. What is that?
The kick sounds like someone slapping a cardboard box. Maybe it sounds better on a big system(!).
trippnface
quote:Originally posted by jenks:
Has Smoogie seen this?
raving sims are his shit
Vladel
I love this song.
Sulphurik
Wasn't expecting this track to be this style. Prefer the style after first breakdown. After second breakdown more hardstyle.
Vladel
quote:Originally posted by Sulphurik:
Wasn't expecting this track to be this style. Prefer the style after first breakdown. After second breakdown more hardstyle.
Nice track but too slow.
Impulse_Response
quote:Originally posted by Sulphurik:
Wasn't expecting this track to be this style. Prefer the style after first breakdown. After second breakdown more hardstyle.
I like it. Just two complaints I have about several more recent tracks. Choruses are too short, and I'm not a fan them adding in hardstyle for the second chorus.
jenks
quote:Originally posted by Sulphurik:
Wasn't expecting this track to be this style. Prefer the style after first breakdown. After second breakdown more hardstyle.
160bpm
Is it even hardcore?
Impulse_Response
quote:Originally posted by jenks:
quote:Originally posted by Sulphurik:
Wasn't expecting this track to be this style. Prefer the style after first breakdown. After second breakdown more hardstyle.
160bpm
Is it even hardcore?
It is after timestretching it with elastique 3 pro in Reaper. Outstanding results.
Sulphurik
quote:Originally posted by jenks:
quote:Originally posted by Sulphurik:
Wasn't expecting this track to be this style. Prefer the style after first breakdown. After second breakdown more hardstyle.
160bpm
Is it even hardcore?
On Discogs it says it is.
MC Deecee
Why is it that everything coming out these days uses the pretty much exact same lead sound? it wasn't the nicest sound to listen to 4 years ago, it still isn't.
Icewind
Can't wait for this phase of hardcore to be over and done with tbh
Sulphurik
It seems Bananaman is now known as Darren Tyler.
Elliott
Hardcore has spent the last three decades speeding commercial dance trends up to 170 BPM. Every attempt to carve out some kind of genuine identity has eventually failed, which is why there are only three relevant golden eras/distinct styles of hardcore: breakbeat ('91-95), happy ('96-'99) and supersaw ('03-'11) -- the latter turning out to be surprisingly resilient and lasting compared to what came before and after. To each their own on personal favourites: I obviously favour the supersaw era but have respect for the other two.
I have a morbid interest in what hardcore is going to be in the '20s. Let's find out, I guess.
Elliott
quote:Originally posted by Sulphurik:
quote:Originally posted by jenks:
quote:Originally posted by Sulphurik:
Wasn't expecting this track to be this style. Prefer the style after first breakdown. After second breakdown more hardstyle.
160bpm
Is it even hardcore?
On Discogs it says it is.
That's surprisingly not terrible. I guess because the overall sound (minus perc and bass and before the second drop at least) is closer to 2010 than 2020.
Elliott
I'm still listening but overall I've thoroughly enjoyed this mix. Much, much more than I thought I would given the direction hardcore took to drive me from the scene in the first place. The effects actually weren't as common in the backend from what I noticed (though I was writing on here at the time!). Good stuff, well done. :)
Sulphurik
For something harder, new album from Skinrush. This isn't the type of hardcore I usually listen to but came across this from checking out some Enzyme Records releases. Hadn't heard of this duo before. Thought this new album seemed well produced - songs seemed quite interesting with good breakdowns and good use and choice of vocals. Some tracks are hard but like sound of the kickdrums in some tracks and some good melodies. Some tracks contain some good variations in kickdrums.
Nice to see active new members since I left. Just for that, I'm going to check out one of your mixes. :)
Hi and thanks. Are you back for good? I would like to take on your 60 hardcore tracks in 60 minutes challenge.
Engage yourself for effort-posting, my friend. But records are made to be broken. :)
This is going to be a very long post because it includes a copy-paste of a thorough ruleset I constructed with my friend Mike in 2015 for hardcore speed-mixing competitions and I think it's still a very solid base (and it's the ruleset that "60 Songs" follows). We were hoping to get other people involved so the fact that you've asked and given me the opportunity to post this makes me happy!
Feel free to send me anything rapid. I hope to have the excuse to eventually set up a site for tracking the record and contest leaderboard as I said I would in the draft rules (see below). Don't worry if you're not close to breaking 0.9 yet. All of my other mixes are 0.6-0.7 and I plan to put those in the leaderboard too just to make it clear how much is required. Besides, 0.6-0.7 is still a rapid ****ing mix; traditional compilation mixes and the most basic sets are 0.25-0.4, extending up to about 0.5 for livesets and studio mixes if the DJ has a reputation for playing quickly. Gammer is the only famous hardcore DJ who consistently plays above 0.5TPM and not actually by much a lot of the time. From these stats you can see why 0.95 is a big deal, to the extent of quite justifiably being considered a record.
FWIW, I'll probably return at some point next year to finally at least break 1.0 (if you beat "60 Songs", I definitely will return for my crown!). It's incredible and infuriating to me that running 3 minutes over on "60 Songs" gave me a 0.95, which sounds far away from 1.0 when it's really so damn close. I won't be making that mistake again: all I have to do is ensure that the number of tracks beats the number of minutes to guarantee the win. I could actually re-record "60 Songs" with an extra few minutes containing a silly number of tracks.. And I would win doing that, because the rest of the mix is already well inside the rules. But it just wouldn't be cricket. It'd be poor sportsmanship and I know there's a group of people who enjoy my mixes so I'd be gypping them out of a brand new one after years of dormancy.
But OTOH, I'd have to listen to thousands of new tracks, find the ones that I like, learn to mix with them, and then find good transitions for them -- **** me! This is why one mix doesn't just take me the length of its runtime. They're usually hundred-hour creations. Gammer says exactly the same about his mixes and he has a far smaller pool of tracks to realistically choose from.. And with all the years of hardcore I've missed (most of everything after about 2016), it's going to be a project and a half. But then all my mixes are projects. That's how I enjoy treating them. And it's why I've released an average of one for every two or three years that I've been DJing.. The strange thing is that I've done less than 40 mixes in my life despite having been a DJ on Krafty Radio, having played house parties and stuff, and having been at it for over a decade now with some (if I may say so) pretty cool mixes. From the beginning, I've wanted my mixes to be climactic events rather than just another everyday commodity. But that's enough of that tangent! Let me get on to the background and ruleset I created years ago! :)
Copy-paste of existing stuff from here on out:
Background:
I, with help from my friend Mikey who competed against me throughout 2015 and narrowly lost, already formalised rules for this exact scenario. My record mix ("60 Songs in 60 Minutes"), Mikey's attempt (which I still have somewhere but need permission to upload), and the mix we were both trying to beat all adhered to these rules (as well as my aborted sequel "120 Songs in 90 Minutes"). I gave up on "120 Songs" for a good reason - one which led me to think that *heavily* beating "60 Songs" is almost pointless or at least stupidly difficult - but more on that in a minute.
It might seem like there's a lot of rules - and there are - but they're mostly entirely standard stuff that >95% of hardcore mixes follow by default. The rules are there to remove ambiguity and to prevent a situation where someone crams three-second slices of tracks together to "win" by creating a technically unbeatable but also entirely unlistenable mess. That is the antithesis of the reason the competition was formalised in the first place, which was instead to encourage skilled DJs to create amazing fast-paced technical mixes for people who love that shit as much as we do.
As I started working on "120 Songs" and trying to break my own record, I quickly realised that 120 songs in 90 minutes would mean that each track would be able to play for an average of 45 seconds. As a DJ, you probably already recognise the significance of 45 seconds as almost exactly the length of one drop (both phrases). To create a mix that still sounded good under those conditions, I was going to have to do some ****ing stupid stuff, if, indeed, there was a way to make a mix like that still sound good.
After plotting about 20 minutes of material that included 10 double drops, I was struggling to go anywhere that didn't end in drop after drop after drop, and it wasn't very good to listen to. There's very clearly a limit on how high tracks-per-minute (TPM) can go before you start creating masturbatory speedrunning-type stuff for yourself and your own niche community that nobody on the outside would want to listen to. The magic 1.0 that I came so close to reaching on "60 Songs" is near the upper limit of sanity, in my opinion, but it remains to be seen by how much! Regardless, I do feel like there's tons of room for improvement in that someone could do an actual 1.0 or beat mine by a 0.01 or two and have it sound great.
The main takeaway lesson of the aborted "120 Songs" project is that you hit the point of marginal gains and diminishing returns long before 1.3TPM, and that the difficulty curve is exponential past a fairly low level. I'd say ~0.7 is where the difficulty curve blows up and that even ~0.6 is a challenge as it's the point after which you can no longer afford to let any track drop twice. At 0.7TPM, you get an average of 1:27 per song, which is a short breakdown followed by a standard drop and nothing else. With 1 minute and 27 seconds per track, a vanilla DJ would be stuck chaining them back to back, drop to breakdown and back again, in a repetitive pattern.
History:
- 2012 (0.5 TPM): I created a 90-minute mix called "The Touchpad Hardcore Mix" (>0.5 TPM). I'd been DJing for two or three years. My style had always been fast mixing - "never let the same track drop twice" sums up my approach - but I wasn't planning on going for any kind of "record". "Touchpad" turned out to be very fast for a 90 minute mix and insanely fast for a mix done with a laptop, RealTek embedded soundcard and no mouse, controller or additional hardware. It had a lot of technical errors, particularly in cuts due to the 150ms latency I had going on with my soundcard and the difficulties of using a touchpad, but compared to a lot of mixes out there, it was unique. I'd found my niche. After that, I tried to evolve and switch up my style in every mix while still keeping an identity.
- 2013 (0.9 TPM, ineligible): Gammer was mixing close to his peak speed. Before he went back to mixing the old fashioned way even on compilations (I have massive respect for that), one of his prerecorded studio mixes, which he was fond of doing at the time, was about 30 minutes long but contained almost as many tracks as minutes. It was ineligible by our rules for several reasons but it was a blistering feat of speed regardless. He actually noticeably slowed down a little in most contexts for some time after this. I think he understood a lot of people's complaints that he no longer knew how to just let a tune drop (which is a pitfall I've always worked hard to *try* to avoid despite its inarguable impact on TPM).
- 2013/2014 (0.811 TPM): During this time, I made a habit of keeping up with Gammer's mixes as I had done since the beginning. Even if I'd gone off him as a producer by this point, his mixes were a snapshot of where mainstream UK hardcore currently was and where it was going (the same function CXH used to fulfill) and his snappy mixing style was still a fun delivery system. I calculated the TPMs of all his fastest livesets during this period and still have the result of his highest in a text document: "Gammer: 0.811tpm". That kickstarted the TPM love affair for me and Mikey.
- 2015 (0.83TPM): I was very active in production in 2014 and 2015 so I was just devouring other DJs' mixes throughout the non-producing parts of my days as a way to stay constantly exposed to the wonders of my favourite genre, old and new. I heard every major DJ and almost everyone in the scene with more than 50 SoundCloud followers during this period. Any time I heard a mix in 2014 or 2015 that sounded like it had a high TPM, I'd figure it out. I heard some people floating around the 0.6-0.7 mark (which, for context, is faster than the vast majority of DJs and means basically never letting a track drop twice). Only one guy with one mix was above 0.8 and it was one of the guys with strange names in that "French production collective" (one of them is on this forum -- or at least was). I'd like to try to find out the other DJ's name from him at some point (the guy did an unauthorised but very funny remix of one of my own productions but I just can't remember his name!). All I remember is that the mix was 93 minutes long and that its TPM was 0.83. The guy didn't have great English but it was pretty clear he was boasting about his TPM in the SoundCloud description. And that set the scene for me and Mikey. We were also spurred on by what was happening in dnb at the time, where it was perfectly possible for any competent DJ to get to 1TPM (I've done it: it's much, much, much easier than in hardcore due to the comparative nature and particularly structure of the genres. 1.1 or even higher is the target for dnb IMO, but plenty are competing for that one.
- 2015 (TPM: 0.92-95): Mikey and I planned, performed and recorded mixes in tandem. I produced "60 Songs in 60 Minutes" and he produced "G-Force 60". Both were intended to be mixes just over the one hour mark with 60+ tracks in them (i.e. the bare minimum one could do to break the full-length 1.0TPM boundary). I still have his mix somewhere on my many 10TB HDDs and will try to get permission to upload it since Mikey, like me, long since gave up on modern hardcore. He achieved 0.92, which was still remarkable and probably in line with or better than anything anyone else had achieved up until that point (to the best of my knowledge anyway). I went the extra mile and got enragingly close to that 1.0 with my 0.95.
- Now (?TPM): I'm sure there have been plenty of fast, high TPM mixes hitting all of the competition criteria since 2016 when I was driven away from the scene by the low average quality of the music coming out and by a serious long-term illness that would make it extremely difficult to commit to a scene my heart was no longer in (I'm receiving something resembling serious treatment ATM!). I haven't done a thorough check but AFAIK nobody with a public presence has uploaded anything to dethrone "60 Songs" in the meantime.
1:04:07 (1 hour, 4 minutes) is my actual competition time on that mix. The rest is a kind of "extended mix" that happened because I decided to run with the Future Set vocal mashup until the end for listeners' sake (it's also why there's an audio ****-up about a minute later where one channel just cuts off because the full version wasn't supposed to exist). The competitive version cuts off right after the end of the first drop at 1:04 for a total of 61 tracks in 64 minutes (61/64 = 0.95). To keep it foolproof for the mathematically disinclined, we calculate the score as (eligible tracks)/(whole minutes rounded down) -- otherwise it's a multistep calculation to include seconds and the less intuitive or careless mathematician might try 61/64.07.
ACTUAL RULES AND STUFF Basics
- The mix must be a full-length (>=1 hour) mix consisting of a supermajority (>=66%) of happy/UK hardcore tracks (or closely related rave genres). The mix should have a base tempo inside the genre standards (165-185 BPM). If your typical speed is honestly outside this range, you can continue to use it (the advantage of mixing at 180 vs 175 is actually not spectacular). Remember that going above 180 can be quite offputting to new listeners, which is kind of the opposite of what we're going for.
- The mix has to actually make sense as a mix: the whole thing must stick to a well-defined 4/4 pattern (or 6/4 if you're playing something like "Paranoia") and not sound like someone using the crossfade transition in Windows Movie Maker. This is intended to be a very low barrier to entry and anyone who has a hope of legitimately beating any record produces these mixes all the time already.
- A full tracklist must be provided along with the mix. It must include every track that is audible for so much as a split-second (this is to help interested listeners figure out what they're hearing).
- Mixes must be performed and recorded live in one session. Preplanning your setlist and even your transitions is almost a necessity to get reliably good results. Even practicing in advance is recommended. Some people want to come off as effortlessly cool or ******** like that but I'll be the first to admit that I put a lot of time and love into "60 Songs" and I'd be shocked if anyone is producing mixes of similar technical prowess without either hard work or shortcuts (Gammer used to, if not still does, premix some stuff to make his double drops easier, which should make anyone who does it 100% live feel great).
- Postprocessing should be limited to trimming silence etc. from the finished mix and some optional volume normalisation (or mastering if you must). Small "quality-of-life" normalisation to make your mix more pleasant to listen to is encouraged if clearly needed (the goal of the competition is not winning so much as encouraging some awesome fast mixes). Ideally, one would have the skills to manage the perceived overall level during the mix as you would need to while playing out, but we all make mistakes with volume, which is always difficult to level properly between headphones and speakers.
- Some people put their mixes through mastering plugins with compression - and you can if you really want - but I personally don't do that and it's honestly a pretty bad idea: your average listener may not consciously notice but due to the way that tracks in genres like hardcore are already maxed out at 0.0dB, you're potentially introducing distortion and clipping artifacts into your mix that experienced listeners will hear and hate (some applications like VirtualDJ offer headroom options which can circumvent these problems to a limited extent: you're still pushing the compression even harder in a very compressed genre).
Definitions Subtrack: Any track that is audible but never becomes the primary or focal track is defined as a subtrack and counts towards the total track tally (so long as counting it doesn't violate any Track Eligibility rule). Subtracks are marked with a "-" before the artist/title in the tracklist (see Tracklist rules). Common uses of subtracks include double drops, acapellas, cuts, scratches etc. (unless they later become the primary track). Theoretically, subtracks can be nested (the naming algorithm is then recursive; see Tracklist Rules), but subtracks of subtracks are very rare in practice since they would usually require at least 3 decks playing aloud simultaneously without any ever becoming the focal deck!
10 Second Rule: The 10 Second Rule determines whether a track, subtrack or transition is eligible for inclusion for counting purposes. Tracks, subtracks etc. must be audible for at least 10 seconds to be eligible (these seconds can be consecutive or nonconsecutive as long as they total at least 10). 10 seconds is the gold standard because it's approximately the length of 8 bars at any reasonable hardcore tempo. If you're playing a hypothetical Track One together with Track Two for 8 bars before moving into Track Two, both tracks and the transition pass the 10 Second Rule. If you drop the odd beat or bar out of either track during this time for stylistic reasons (e.g. moving one way during a end-phrase fill), the tracks still count. There's some subjectivity here so just don't take the piss.
Tracklist
The purpose of your tracklist is primarily to promote our scene and its producers by helping people find the music. The list is also required for competitive purposes but I'm trying to be accommodating and mindful of the purpose of this whole exercise: to have fun and celebrate hardcore DJs and producers! As long as you're acting in good faith, you can use your own best judgement regarding the best way to present your tracklist. If the info is clear and available, some deviation is fine. There are, however, a handful of "must follows" for the sake of good competition and to easily generate stats programmatically using regexps.
Any intelligible format is acceptable for the artist and track names. I use the simple "<artist> [feat. artist] - <title>" format. Feel free to include record labels and/or timestamps etc. if you want to be extra helpful! Timestamps are especially helpful for judging your mix from a competitive standpoint (I regret not doing them previously and will do so in future!).
Tracklist rules:
- Use one line for each track played.
- Any track that is audible at any time must be included.
- The tracklist should be in strict order of audible appearance.
- If a track is ineligible under the Track Eligibility rules, start the line with a hash character ("#") before the track info (this allows for automated line counts).
- "Subtracks", under various names, are common enough that there's already a semi-established rule for listing them, which is what we use. A subtrack is listed on a new line directly underneath the track that it's a subtrack of and denoted by a dash symbol ("-") preceding the subtrack name.
e.g. "- Dougal & Gammer - Your One"
- Acapella tracks should be listed as a normal track or subtrack (in practice, they're almost always subtracks) but with "(Acapella)" at the end.
e.g. "- Carly Rae Jepsen - Call Me Maybe (Acapella)"
- Any special premade and/or non-live edits in the mix must be declared with a suffix that makes this fact clear. Include in parentheses an edit title or just your name and "Edit" as you would a remix.
e.g. "Darren Styles - Getting Better (Gammer Remix) (Elliott's Reversed Edit)"
Mix Structure
Rules aren't fun. Unfortunately, some rules are necessary because it's super easy to create a statistically unbeatable mix that nobody would ever want to actually listen to. These rules may seem very pedantic - and they are - but I think it's better to be clear and unambiguous before the fact than to argue about it afterwards. Having the rules be well-defined is fairer for everyone. Honestly, you shouldn't even need to pay much attention: If you're engaging in the true spirit of the competition, you're probably following these rules without trying!
Mix Structure rules:
- The mix should contain at least 5 full breakdowns, 5 full drops, and should contain at least 10 melodic/vocal tracks (unless they aren't in your typical style). This is all somewhat subjective but it's good form not to break the rules simply because you can. Any one track can only be counted towards a single criterion from the list. The purpose of this rule is to promote variation in the mix and dissuade people from cutting through songs phrase to phrase every 22 seconds. These criteria are quite lenient: for reference, "60 Songs" with a 0.95 TPM contains probably at least 15 of each.
- At least half of the transitions between any two consecutive tracks in the tracklisting (where subtracks act exactly the same as regular tracks) must be _actual_ transitions and not just cuts. An "actual transition" is one that passes the 10 Second Rule. Double drops and other not-technically-transition segments where two tracks are playing together and meet the 10 Second Rule also satisfy this condition between the two tracks involved.
- Ideally, there should be a varied mix of styles of hardcore with some popular/anthemic tracks, which is to prevent unrealistic mixes of nothing but minimalist hardcore double-dropped for soulless efficiency. I mean, you can win by doing this but it'll be a pyrrhic victory.
- Tying into the last point, the overall result should ideally be a mix that people would want to listen to for fun and not just a vacuous technical showcase for its own sake. We formed the rules and laid down the gauntlet to promote more great fast mixes, not to stifle their enjoyability. There's no real point, in my opinion, in mixing if you're just doing it to fulfil some quota. These mixes, by virtue of being fast AND good, should make fans of hardcore say "wow, this is awesome".
- Although these rules seem rigid and austere, the reality is that any normal mix passes these tests with flying colours. Almost the only reason it wouldn't is if it was designed with mindless competitive efficiency as the sole priority. Just do your thing.
Track Eligibility:
- Any track or subtrack (including nested subtracks) from the tracklist that passes the 10 Second Rule may be counted in the final tracks per minute calculation (except for any exclusions elsewhere in these rules). The 10 Second Rule exists to prevent e.g. cutting out single bars of random tracks and counting those.
- Subtracks used for/as double drops, acapellas, samples etc. all count as distinct tracks towards the total even if they never become the primary (focal) track.
- An acapella that exists separately from its original and must be beatmatched separately may be counted as a separate track as long as it passes the 10 Second Rule and doesn't overlap substantially with its origin track.
- A track that is used for scratching is counted as long as the scratching passes the 10 Second Rule and no other track is used for scratching at any point in between. If the track used for scratchingis played normally elsewhere in the mix, the scratching may be counted as a subtrack anyway due to the level of skill involved. A maximum of one track used for scratching may be listed as a subtrack between any two consecutive tracks. These rules don't apply to samples of scratching premade by others and played over the mix: those count as samples (see the rule below on samples).
- A track that is used purely for samples - on a "sample deck" or otherwise - may be counted once towards the tracklist as an eligible subtrack if it meets the 10 Second Rule and no other track is sampled with "sample deck"-style techniques in between those seconds. Sample tracks are those that can be triggered at any time without regard for beatmatching. Samples are frankly stupidly easy to abuse here so only a maximum of five sample subtracks may be counted as eligible tracks. I rarely ever use samples in hardcore and almost nobody does, but I want to facilitate different styles of DJing. Nonetheless, even if used in good faith, they confer such a big advantage, whether intentional or not, that they have to be limited to five eligible tracks (which is entirely fair because playing samples doesn't actually deduct from your time to play other tracks). A good, legitimate use of sampling can be found in "60 Songs" where I rhythmically trigger a variety of cut up samples from Willow Smith's song about whipping hair over Re-Con's "The Grudge" (yes, it counted towards the total).
Mixing methods and classification:
- Mixes must be recorded live. If they couldn't be broadcast for others to listen to while you record them, they're not live.
- Other than the requirement that they be live, they can be of any type: vinyl, CDJ, live digital software (e.g. Traktor, VirtualDJ, Mixxx, Serato), or quasi-live digital mixing software (e.g. Ableton) in a live performance configuration. The hardware and software used (including any post-production software, e.g. Audacity) must be specified.
- Vinyl is obviously allowed but, as awestruck as I would be by a record-breaking vinyl mix, the near-total lack of availability of modern (or even post-2010) hardcore on vinyl as well as the inherent "inferiority" of the format for this purpose (in terms of time efficiency and number of tricks and effects etc. available), I can't recommend it.
- You may submit non-live mixes to be included as part of the competition history/leaderboard etc. but only in a separate subdivision for studio mixes. Non-live mixes include those that use pre-mixed files, use prerecorded components, are assembled in a full DAW ("studio mixes") like FL Studio, Logic, Cubase etc. or Ableton in a non-performance configuration, or are recorded in multiple sessions and assembled retrospectively. Non-live mixes must be declared as such. Note that non-live mixes are usually obviously such and honesty is the best policy.
- Depending on the discrepancy in functionality between Ableton and other software (which actually seems to be shrinking to some extent with VDJ8 etc.), we may, in a hypothetical future in which a group of us are competing, decide to rank Ableton mixes separately, (Live etc. bring with them a whole new paradigm of mixing that may act as a PED in a straight speed shootout as Live is somewhere between a DAW and a performance tool). We would hypothetically consult everyone involved for their thoughts on the matter before segregating Ableton.
- All hardware and software (and any unusual techniques or components in the mixing chain) must be specified. Providing more specific details about your setup (e.g. "a touchpad" in the case of one of my mixes) and how you achieved certain feats, especially unusual parts of your mix, is strongly encouraged in order to help your fellow speed freaks. I've recorded videos, written tutorials, and discussed tons of my techniques over the years; in return, some of the producers in our genre have been great to me. Sharing is caring, and **** selfish people in our scene. I use VDJ so there's no concern that you're going to make yourself look like more of a "noob" than me (I can use Traktor and Mixxx flawlessly but I'll always argue passionately in favour of VDJ for its customisability).
- You can of course use the notorious "sync" function of your software and even most high-end CDJ units. I personally don't give a shit about the sync wars. When used right, it can absolutely elevate your end results to new heights where you have more time not spent worrying about beatmatching -- and I believe the end result for our listeners is all that matters in a mix, as long as we're still retaining that human element where we're choosing which tracks play, when they play and how. Funnily enough, I never use sync myself (except in a handful of cases of ultra-live house party environments). VDJ's sync algorithm has historically not been great and even if it is good now, my ears can accurately percieve millisecond timing differences so I literally always beat the computer when I beatmatch manually. It's a personal matter and a balance between accuracy, ability and technicality (if you're really trying to push the technicality, for example, you might be willing to sacrifice the accuracy of beatmatching sometimes).
- For competition purposes, I recommend recording your mix in a lossless format and keeping it lossless as far through the chain as possible. FLAC is the ideal format for exporting your final trimmed mix, not least for an archival copy. But ultimately we're just making mixes for fans. MP3s etc. are more portable and more widely compatible. I'll accept a mix in any lossless format or any common lossy format equivalent to or better than MP3 CBR 128Kbps (or VBR V3). SoundCloud uploads, to the best of my knowledge, are transcoded downwards to 128Kbps MP3s for streaming so they're not ideal but they'll do, as will modern YouTube uploads supporting OPUS and 128-192Kbps AAC. My personal transparent MP3 bitrate is not far above 128 so I'm pretty lenient with that stuff, but if we create a contest page, audiophiles and the like are probably going to want better.
Tallying tracks and calculating results:
- The tracks per minute (TPM) calculation is the ultimate score. It's a simple division: (total number of eligible tracks)/(total length in minutes as an integer). Length should always be rounded down (i.e. take only the minutes part and ignore the seconds completely). We use a whole number (integer) because the mathematically disinclined or careless might try to express 12 seconds as 0.12 (it's 0.2, but the mistake is easy enough to make). The formula is intentionally a simple one-step calculation (no rounding, no conversion) because you shouldn't need any mathematical ability to compete.
- Since this is the de facto standard document for the competition, we've set the accuracy of the TPM format to 4 significant figures (functionally, 3 decimal places; for example, 0.914). 3 s.f. (e.g. 0.95) is just not good enough for tiebreaks when the results tend towards clustering around the same area. You can express your TPM as accurately as you like so long as you provide at least this minimum of 4 significant figures.
- In the event of a tie at 4 significant figures, the tie can be unofficially broken, if desired, by comparing additional decimal digits (e.g. 0.9144 beats 0.9143). Since we specify a 4 s.f. standard, however, it can't be assumed that your 0.9144 beats a 0.914 (doing so would unfairly penalise someone for sticking to the standard). The 0.9144 and 0.914 are therefore officially tied.
- As an unnamed competition with no official component, there is no leaderboard or anything like that (the targets to beat were already established by "60 Songs" and "G-Force 60"). Even though we've been remarkably thorough in testing other people's mixes on their behalf and are pretty confident that we're accurately tracking real records, this is still not a widespread contest in an organised, purposeful sense. We're hoping one day - especially when we eventually make this specification document public - to encourage a legitimate speedrun-style competition with a public leaderboard and several active participants. If someone intentionally tries to beat "60 Songs" and "G-Force 60" and gets anywhere near them (say, 0.8TPM) with a published mix, we'll make the competition official by designing a nice webpage featuring links to the mixes and known competitors (as well as a formalised specification, based on this one, contributed to by the founding competitors and subject to iterative evolution over time).
Elliott
Anyway, since I posted all of that, I may as well share my record-breaking mix for anyone who hasn't heard it and wants to reject 2020s hardcore:
Edit: Hm. I dunno what SoundCloud have done but everything I've ever uploaded sounds like it's been horribly crushed by a laggy compressor with a ridiculous release time.
Frankly both of those platforms suck for various different reasons these days tho. Anyone have any better alternatives to either?
MusicILove
Challenge accepted.
Elliott
quote:Originally posted by MusicILove:
Challenge accepted.
:D
What happened to your previous posts btw? I didn't get to see if you quoted my posts about your mixes. They've been an excellent reintroduction to hardcore!
MusicILove
quote:Originally posted by Elliott:
quote:Originally posted by MusicILove:
Challenge accepted.
:D
What happened to your previous posts btw? I didn't get to see if you quoted my posts about your mixes. They've been an excellent reintroduction to hardcore!
I think someone got too excited with the delete key.
I have my first track and transition already picked out. :)
Maybe we should have a thread for this. To keep things organised.
Elliott
quote:Originally posted by MusicILove:
quote:Originally posted by Elliott:
quote:Originally posted by MusicILove:
Challenge accepted.
:D
What happened to your previous posts btw? I didn't get to see if you quoted my posts about your mixes. They've been an excellent reintroduction to hardcore!
I think someone got too excited with the delete key.
I have my first track and transition already picked out. :)
Maybe we should have a thread for this. To keep things organised.
Probably. The only question is which subforum? Hm.
I'm so hyped I've actually started writing a brand new track for the first time in three years just for my next mix.
MusicILove
quote:Originally posted by Elliott:
quote:Originally posted by MusicILove:
quote:Originally posted by Elliott:
quote:Originally posted by MusicILove:
Challenge accepted.
:D
What happened to your previous posts btw? I didn't get to see if you quoted my posts about your mixes. They've been an excellent reintroduction to hardcore!
I think someone got too excited with the delete key.
I have my first track and transition already picked out. :)
Maybe we should have a thread for this. To keep things organised.
Probably. The only question is which subforum? Hm.
I'm so hyped I've actually started writing a brand new track for the first time in three years just for my next mix.
It?s because Silver removed the spam.
quote: I nuked all the chicken spam if you quoted it... it got nuked as well
I am going to start at 90s Happy Hardcore. Then move in to 2000s era which is my favourite. Then end with some new stuff. I already have 7 tracks worked out. About to test record to see my time so far. But it?s fast I know it.
I am in 2 minds about sync for this. I will do things the old way but if I have to use it for a track or 2 I will state it and when it was used.
I am very excited too. I have been wanting to do this ever since I found your original post. I am also a huge fan of Gammers old mixes.
Vladel
The thing is with these kinds of mix, it's kinda stretching the idea somewhat and to me sounds like a bunch of shortened clips rammed together. I suppose technically interesting but horrid to listen to.
Sulphurik
Not heard a big amount of UK Hardcore releases this year but Close to me one of my favourites.
UFO - Together Again another really liked from this year.
Sulphurik
This Monster EP released tomorrow - In Saying Goodbye the part before breakdown sounds decent...wasn't expecting the harder style afterwards.
God, the track was lovely around 2:00, but then he ****ing ruined it with a near-minimalistic drop around 3:00... almost thought he'd make a good track a-la Synthwulf, but it turned out to be the Jakazid I started disliking already in 2006
Alex Threat
I'm liking the sounds of the tracks on this release:
Klubfiller going back to the older hardcore sound. Going to get this and the other EP with new tracks on.
jenks
jenks
Sulphurik
quote:Originally posted by jenks:
This is ok actually, don't listen to Frenchcore but like sound of most of this. Nice piano sections in intro and breakdowns - track from first breakdown onwards is sounding good.
Sulphurik
quote:Originally posted by jenks:
This mix looks like could be good. Second track Sc@r & Eazyvibe feat. Lindsey Marie - Be Mine liking that.
rafferty
quote:Originally posted by Sulphurik:
quote:Originally posted by jenks:
This mix looks like could be good. Second track Sc@r & Eazyvibe feat. Lindsey Marie - Be Mine liking that.
What's with the cover pic. Looks like it came from a 2 year olds birthday party. Is just embarrassing and makes a lot of people ashamed to even like the music.
You would never get that on a Hardstyle or Dutch Hardcore cover.
This looks better
rafferty
quote:Originally posted by Sulphurik:
Not heard a big amount of UK Hardcore releases this year but Close to me one of my favourites.
UFO - Together Again another really liked from this year.
Respect to electric fox and oneseventy for giving UK Hardcore some kind of credibility again.
jenks
quote:Originally posted by rafferty:
What's with the cover pic. Looks like it came from a 2 year olds birthday party. Is just embarrassing and makes a lot of people ashamed to even like the music.
There are a lot of insecure people out there for sure.
Samination
quote:Originally posted by rafferty:
What's with the cover pic. Looks like it came from a 2 year olds birthday party. Is just embarrassing and makes a lot of people ashamed to even like the music.
You would never get that on a Hardstyle or Dutch Hardcore cover.
You do know that quite a lot of Hardcore and Hardstyle fans like Anime too right?
If you can't accept other people's choices, why bother visiting a website dedicated to Happy Hardcore, a genre that (supposed to!) generate PLUR!
Sulphurik
Headsplitterz seem fairly new to scene, have had some releases on Scarred Digital. A forthcoming track We take on the world have heard clip of recently which really liking sound of - found on this mix below at around 27min 50. This mix sounded more hardstyle at start with UK hardcore later.
quote:Originally posted by Sulphurik:
Headsplitterz seem fairly new to scene, have had some releases on Scarred Digital. A forthcoming track We take on the world have heard clip of recently which really liking sound of - found on this mix below at around 27min 50. This mix sounded more hardstyle at start with UK hardcore later.
yeah the headsplitterz boys are working extremely hardcore and coming on leaps and bounds. i def recommend checking them out
jenks
LeVzi
quote:Originally posted by Sulphurik:
Came across this on Lethal Theory. Future bouncy techno, sounding good especially XXV (Hardcore Overdose), third track on this starting at 3 minutes.
I can't believe it, something I might actually get behind and its from Joey Riot ! Last person I expected to do something like that. And do it well too.
Anon.
Hardcore is well and truly dead, these tracks are horrible.
The kicks are getting weaker, shit percussion (if there is any at all in the tracks), same monotonous Kickdrum and bass in every track these days.
Everyone is jumping on the Hardstyle band wagon and trying to emulate it in Hardcore.
People are getting lazy and not experimenting. At least back in the golden days people were defining there own sound.
Sulphurik
quote:Originally posted by Sulphurik:
Headsplitterz seem fairly new to scene, have had some releases on Scarred Digital. A forthcoming track We take on the world have heard clip of recently which really liking sound of - found on this mix below at around 27min 50. This mix sounded more hardstyle at start with UK hardcore later.
You lot should check out what Cruze is releasing on bandcamp.
Samination
quote:Originally posted by Vladel:
You lot should check out what Cruze is releasing on bandcamp.
kinda hard to do that without a link
trippnface
quote:Originally posted by jenks:
I think we've changed more than the music. There are loads of tunes that would have been massive if Styles had released them in 2005.
I dunno, I would still buy stuff like cutting deep, but I don't feel driven to purchase this track. It feels boring to me. They are not using the hardstyle influences right.
I did purchase Hostile from Al Storm, and the remix of Hasta Manana & love light & happiness IS hardstyle influence done right. 10/10.
Sulphurik
quote:Originally posted by trippnface:
quote:Originally posted by jenks:
I think we've changed more than the music. There are loads of tunes that would have been massive if Styles had released them in 2005.
I dunno, I would still buy stuff like cutting deep, but I don't feel driven to purchase this track. It feels boring to me. They are not using the hardstyle influences right.
I did purchase Hostile from Al Storm, and the remix of Hasta Manana & love light & happiness IS hardstyle influence done right. 10/10.
Like the Moonglow track - would be a track I might buy.
Sulphurik
From his newly-launched record label I Love Beatz.
Samination
quote:Originally posted by trippnface:
quote:Originally posted by jenks:
I think we've changed more than the music. There are loads of tunes that would have been massive if Styles had released them in 2005.
I dunno, I would still buy stuff like cutting deep, but I don't feel driven to purchase this track. It feels boring to me. They are not using the hardstyle influences right.
I did purchase Hostile from Al Storm, and the remix of Hasta Manana & love light & happiness IS hardstyle influence done right. 10/10.
I would buy it. I don't care for the hardstyle elements, I care more for the more japanese feel to the song.
LeVzi
quote:Originally posted by Sulphurik:
From his newly-launched record label I Love Beatz.
I initially thought "Oh ffs he's released forver young" at the start lol
Jury is out on that track tbh.
Samination
quote:Originally posted by LeVzi:
quote:Originally posted by Sulphurik:
From his newly-launched record label I Love Beatz.
I initially thought "Oh ffs he's released forver young" at the start lol
Jury is out on that track tbh.
So I wasn't the only one who thought it was a straight up Forever Young clone
jenks
LeVzi
quote:Originally posted by Samination:
quote:Originally posted by LeVzi:
quote:Originally posted by Sulphurik:
From his newly-launched record label I Love Beatz.
I initially thought "Oh ffs he's released forver young" at the start lol
Jury is out on that track tbh.
So I wasn't the only one who thought it was a straight up Forever Young clone
Nope, thats pretty much what it is tbh, a re-hash and a dip into the original tracks popularity.
Samination
quote:Originally posted by jenks:
but that track is from 2005 :P
Impulse_Response
quote:Originally posted by Samination:
quote:Originally posted by jenks:
but that track is from 2005 :P
huh. I knew it was too good for it to be recent j-core
jenks
[edit]
Vladel
If you didn't like the beat on Re-style & Vertex's shadow world, you won't like this one either
jenks
jenks
Impulse_Response
lol more of this fake hardstyle hardcore
Samination
Still better than what DS and Gammer is/were pumping out
Sulphurik
quote:Originally posted by Sc@r:
quote:Originally posted by Sulphurik:
Headsplitterz seem fairly new to scene, have had some releases on Scarred Digital. A forthcoming track We take on the world have heard clip of recently which really liking sound of - found on this mix below at around 27min 50. This mix sounded more hardstyle at start with UK hardcore later.
still sounds better than gammer, darren styles and their copycats
Sulphurik
Any thoughts on this? It's nothing special in my opinion.
jenks
To his credit at least he's quite open about that stuff not being hardcore.
LeVzi
quote:Originally posted by Sulphurik:
Any thoughts on this? It's nothing special in my opinion.
Utter generic shite, typical of a sellout.
jenks
Sulphurik
quote:Originally posted by jenks:
Didn't like sound of anything on the mix until 28 minutes - Alaguan track.
jenks
warped_candykid
I have 3 mixes that are specifically meant to capture upfront tracks: Give them a listen sometime.
Warnman
It's interesting to notice that the sound of the music, which I had adored, still seems to be stuck in the American dictatorship of EDM after 15 years! There is absolutely no way to deny that the roots of Electronic Music was founded in the U. S. (Detroit) - of course, the pioneers, like Kraftwerk and others were originally from Europe.
However, I have adored the sound of synthesizers since the 80's and Americans used to call me a faggot, because back then, they still connected this kind of music to the Homosexuals. However, in Europe Electronic Music was the big fashion in the 90's (Eurodance, Hardtrance, Happy Hardcore, etc.), but whenever you go and visit a "typical 90's Party", it's all about Boy-/Girlgroups and Popcrap from the U. S..
Kindly hand over anything alreday perfectly designed to citizens of the U. S. and they are going to develope it to completely shit instead:
Rugby turns to American Football
Cricket turns to Baseball
Soccer (football) is called a sissy sport, although I personally think that a bunch of meatballs hopping on each other should be more confusing.
Impulse_Response
quote:Originally posted by Warnman:
It's interesting to notice that the sound of the music, which I had adored, still seems to be stuck in the American dictatorship of EDM after 15 years! There is absolutely no way to deny that the roots of Electronic Music was founded in the U. S. (Detroit) - of course, the pioneers, like Kraftwerk and others were originally from Europe.
However, I have adored the sound of synthesizers since the 80's and Americans used to call me a faggot, because back then, they still connected this kind of music to the Homosexuals. However, in Europe Electronic Music was the big fashion in the 90's (Eurodance, Hardtrance, Happy Hardcore, etc.), but whenever you go and visit a "typical 90's Party", it's all about Boy-/Girlgroups and Popcrap from the U. S..
Kindly hand over anything alreday perfectly designed to citizens of the U. S. and they are going to develope it to completely shit instead:
Rugby turns to American Football
Cricket turns to Baseball
Soccer (football) is called a sissy sport, although I personally think that a bunch of meatballs hopping on each other should be more confusing.
How about you go back to bed.
DJ_FunDaBounce
quote:Originally posted by Impulse_Response:
quote:Originally posted by Warnman:
It's interesting to notice that the sound of the music, which I had adored, still seems to be stuck in the American dictatorship of EDM after 15 years! There is absolutely no way to deny that the roots of Electronic Music was founded in the U. S. (Detroit) - of course, the pioneers, like Kraftwerk and others were originally from Europe.
However, I have adored the sound of synthesizers since the 80's and Americans used to call me a faggot, because back then, they still connected this kind of music to the Homosexuals. However, in Europe Electronic Music was the big fashion in the 90's (Eurodance, Hardtrance, Happy Hardcore, etc.), but whenever you go and visit a "typical 90's Party", it's all about Boy-/Girlgroups and Popcrap from the U. S..
Kindly hand over anything alreday perfectly designed to citizens of the U. S. and they are going to develope it to completely shit instead:
Rugby turns to American Football
Cricket turns to Baseball
Soccer (football) is called a sissy sport, although I personally think that a bunch of meatballs hopping on each other should be more confusing.
How about you go back to bed.
lol!
Samination
quote:Originally posted by Impulse_Response:
quote:Originally posted by Warnman:
It's interesting to notice that the sound of the music, which I had adored, still seems to be stuck in the American dictatorship of EDM after 15 years! There is absolutely no way to deny that the roots of Electronic Music was founded in the U. S. (Detroit) - of course, the pioneers, like Kraftwerk and others were originally from Europe.
However, I have adored the sound of synthesizers since the 80's and Americans used to call me a faggot, because back then, they still connected this kind of music to the Homosexuals. However, in Europe Electronic Music was the big fashion in the 90's (Eurodance, Hardtrance, Happy Hardcore, etc.), but whenever you go and visit a "typical 90's Party", it's all about Boy-/Girlgroups and Popcrap from the U. S..
Kindly hand over anything alreday perfectly designed to citizens of the U. S. and they are going to develope it to completely shit instead:
Rugby turns to American Football
Cricket turns to Baseball
Soccer (football) is called a sissy sport, although I personally think that a bunch of meatballs hopping on each other should be more confusing.
How about you go back to bed.
sssh, you're gonna start WW3
And Warnman, where the hell have you been all my life. I havent seen you post much since.... 2014?
Sulphurik
At moment in hardcore, there's the UK hardcore style and the modern happy hardcore style.
UK hardcore which has various influences including from hardstyle but also other influences - from labels such as One Seventy which seems to be one of the biggest labels about at moment.
Modern happy hardcore sound that many artists from 24/7 Hardcore are doing such as Al Storm, Rob IYF, Stompy, Easyvibe. 24/7 Hardcore not only doing that sound but doing a modern style also with hardstyle influences and harder kicks.
Which style is anyone preferring at moment?
LeVzi
quote:Originally posted by Sulphurik:
At moment in hardcore, there's the UK hardcore style and the modern happy hardcore style.
UK hardcore which has various influences including from hardstyle but also other influences - from labels such as One Seventy which seems to be one of the biggest labels about at moment.
Modern happy hardcore sound that many artists from 24/7 Hardcore are doing such as Al Storm, Rob IYF, Stompy, Easyvibe. 24/7 Hardcore not only doing that sound but doing a modern style also with hardstyle influences and harder kicks.
Which style is anyone preferring at moment?
Having heard nothing of the two styles you talk about, I am liking the Lethal Theory EP of bouncy techno.
Samination
24/7 is still mostly UK Hardcore aswell...
jenks
Samination
God dammit. That set became much better when he stopped playing the same stuff for 18 minute. 2nd half was definitely much better
Vladel
quote:Originally posted by Sulphurik:
At moment in hardcore, there's the UK hardcore style and the modern happy hardcore style.
UK hardcore which has various influences including from hardstyle but also other influences - from labels such as One Seventy which seems to be one of the biggest labels about at moment.
Modern happy hardcore sound that many artists from 24/7 Hardcore are doing such as Al Storm, Rob IYF, Stompy, Easyvibe. 24/7 Hardcore not only doing that sound but doing a modern style also with hardstyle influences and harder kicks.
Which style is anyone preferring at moment?
I find the 24/7 stuff hit and miss but with a lot of good tracks in there and I certainly wouldn't like to be without them. The stuff from One seventy I find as dull as dishwater.
Samination
Taking queues from late 2010's Hardcore while still staying true to early 2010's
It's a good track, but that 'breathe in' vocal has been used by others already (Darwin and Technikore(?) come to mind)
jenks
Sulphurik
warped_candykid
Is it just me, or are many new tracks just not using a hard drum? It's getting harder and harder to find tracks with a stompy 4/4 sound. Many tracks have that "boom splat boom splat" drum pattern, and it just steals the energy away.
Vladel
quote:Originally posted by jenks:
Nice track, shame the intro is rubbish
Warnman
quote:Originally posted by Samination:
And Warnman, where the hell have you been all my life. I havent seen you post much since.... 2014?
That must be while and I deeply still like your style of your mixes, Samination!! Please don't automatically consider my posts as an official comeback - it's not! Still I am courios about Hardcore Music and you! are a part of it! We are all f***ing Hardcore!
jenks
Sulphurik
quote:Originally posted by jenks:
Never heard of him...not liking what heard from this mix.
**** 160bpm "hardcore", can't we keep it fast? Using "modern" sounding vocalists, modern production techniques and an old school sound should be the way to go :)
**** 160bpm "hardcore", can't we keep it fast? Using "modern" sounding vocalists, modern production techniques and an old school sound should be the way to go :)
**** 160bpm "hardcore", can't we keep it fast? Using "modern" sounding vocalists, modern production techniques and an old school sound should be the way to go :)
love it!
Yes nice one
Sulphurik
Liking sound of Dy5on & Andy L - Losing myself also
Like the inclusion of that old skool sound at 1m 50. Remember this sound from Q-Tex - Equazion part 9
Sulphurik
Hadn't heard the original or this Fracus remix - this remix sounding great
jenks
Samination
quote:Originally posted by jenks:
Taking queues from speedcore and doesnt go the american way. This is what uk hardcore should have done
Would be great if they just did the UK kick and left out the gabber.
Or just the harder kick they used in just part of the track for all of it.
Samination
The track isnt that bad, but i cant get over the stiffness of the animations. it's like its rendered in 2015 but uses 2001 skeleton-rigs
Sulphurik
Have you guys heard this one? I do love the main riff especially and majority of track is ok. I'm not sure I'm fan of it going hardstyle at the end. I'd have preferred the kick to have remained the same (without the hardstyle kick)
TheodoreMiller1
* mod edit * link spammer banned.
Sulphurik
Boom - this track is out now :)
jenks
Sc@r
for those who love their happy hardcore feels!
im absolutely digging this one from Delusion and Ceci
Sulphurik
Many new UK Hardcore or Happy Hardcore tracks (as it's more commonly known as again) are starting with a style that is recognisable as a happy hardcore track. Often though after the first or second breakdown, the style of the track changes to a hardstyle sounding track mainly with the change to a hardstyle kickdrum. What are your thoughts on this change in style from what started as a HH track to basically finishing with a hardstyle track?
I'm aware of older UK hardcore tracks having a section in the middle of the track that features a harder kickdrum but then returns to the kick that was in first part of track. Brisk & Brown - Back & Forth and UFO - Music Makers are two examples. I'm not a huge fan of the harder part in for example Back & Forth but was interesting that it changed to the harder style and liked that it returned to the original style of the track.
Sulphurik
New EP which includes Gammer, Darren Styles, Technikore and Stonebank.
Falling Down sounds great and Quit sounds good also
Second track is Hixxy's new remix of Castles In The Sky - sounds great
possys2
ill have a listen to that hixxy set in the afternoon (so i can have it at an high volume) see what/where the music is going, think last hixxy set i heard was during lockdown on rave anywhere.
only other sets i hear are on here and i dont know whats new/newish tracks, lost interest around 2016.
did hear a few good tracks in 2020 but soon lost interest again
Sulphurik
Liking this one from Alaguan
Sulphurik
Yes liking this one - of the various styles of UK hardcore around these days, this would be the style I would prefer to listen to. It's good that 24/7 hardcore are still keeping their usual style in many tracks.
If you lot are looking for any of the new 2020s hardcore sounds, I've developed my own: Drive music - that is, music for driving in a car to. It's basically 90's-style happy hardcore slowed down to a reasonable tempo of 143 BPM and given a driving feel (that is, a "driving-in-the-car-on-the-motorway/freeway/autobahn" feel):
Here are some examples of my hardcore driving music:
You could say that this is perhaps a new 2020s Northern Irish hardcore sound as I live in Northern Ireland, UK.
I hope this fulfills your desire for new 2020s hardcore, folks.
Samination
That's just mid 90's Scooter
Not saying that I dislike Open Road (love it for it's mid 90's scooter sound), but it's not happy hardcore (Trance could sound fast back then too), nor a 2000 sound
quote:Originally posted by Samination:
That's just mid 90's Scooter
Not saying that I dislike Open Road (love it for it's mid 90's scooter sound), but it's not happy hardcore (Trance could sound fast back then too), nor a 2000 sound
Now that I actually listened to it in its entirely, there are certain parts literally taken out from a Scooter song XD
DJ Bulletix
quote:Originally posted by Samination:
Not saying that I dislike Open Road (love it for it's mid 90's scooter sound), but it's not happy hardcore (Trance could sound fast back then too), nor a 2000 sound
Because, my good sir, it's Driving music; that is, music for driving in a car to (especially on motorways, freeways, and autobahns). It's not true happy hardcore because it's slowed down to 143 BPM, the moderate and easy tempo, but that's what Drive music is designed for; I slowed it down to that tempo of 143 BPM as a means of giving it a "driving-on-the-road" feel, not too fast, not too slow, but just right that millions of people will like, appreciate, and be able to handle it since Drive music is not too fast.
Does this make sense, sir?
Also, yes it sounds like mid 90's Scooter, but that's because, in inventing the Northern Irish Drive music, I was heavily influenced by the mid 90's Scooter sound. But not only that, with e.g. "The Open Road" I wanted to combine the mid 90's Scooter sound with the driving feel of Kraftwerk's "Autobahn" from the mid 70s.
With all due respect, my good sir, I jolly well hope this makes sense to you.
Sadly the happy hardcore scene doesnt work like the retro video game scene.
If more people actually wanted the 'silver age' of happy hardcore (95-99), we would have seen far more revival series, but only the old stuff (pre-94) appears to have this kind of interest (which as existed since early 2000, despite the constant "back to oldskool" shouts people keeps making)
Sulphurik
Nice one from Miel-Music. This was on an album called Stardust from 2021
jenks
jenks
Samination
nothing wrong with a little bit of Kobaryo
Sulphurik
quote:Originally posted by jenks:
Yes liking this UK hardcore track
Vladel
Sulphurik
quote:Originally posted by jenks:
I do like the sound of the first part of this track and breakdown (start to 2.50) and the end part from 3.30 but not keen on the middle part after breakdown. This is what would like to hear more of in European/Dutch hardcore/gabber - more melodies and mainly instrumental tracks. Kicks i'm ok with sound of them, harder style without the need for the high pitch kick nonsense
Sulphurik
A new TRS track completed last year. They have been remastering their older tracks.
Sulphurik
New one from Paul Elstak
jenks
jenks
Sulphurik
Bittersweet Goodbye (Tiesto's Hardcore Remix)
Samination
That... sounds like tiesto did the bare minimum to call it Hardcore
During 2019 to 2021 there was quite a bit of great sounding UK Hardcore tracks. In 2019 there were the Hardcore Heaven 4 & 5 albums from Hardcore Underground and the label also was releasing various artist album and artist anthology albums. There was also the HH vol 6 album in 2020 - Fracus & Darwin, Macks Wolf & Jakka-B, had forgotten about that album. I did get volumes 4 & 5 which were good, some very good quality UK Hardcore tracks on them.
Some tracks around 2019-2021 I liked and still do:
Mark Breeze & Macks Wolf - Turn on the light
Jakka-B - Chasing the sun
Technikore, JTS, Firelite - Close to me
Technikore & Tweekacore - Find the spark
Technikore - Stay Forever
Summa Jae - Oblivion
Summa Jae - Find Me
Jakka-B & Macks Wolf - I don't wanna fall
The Viper, Boogshe & Paul Elstak- Rave, rinse, repeat
The point of the post is to question were there various things that affected how things have gone in UK hardcore within that past few years. I've heard some tracks within the past few years but certainly haven't been keeping track of all labels and new releases - so there could be more decent tracks that haven't been aware of.
I am aware of more tracks being at 160 bpm and many releases having a stronger hardstyle influence than a few years so. Other parts of tracks that I think have changed in recent years is different track arrangements that what would usually be in UK hardcore and shorter tracks.
A number of factors in the scene that could have affected things:
- Covid pandemic could have affected many aspects eg. would have had an affect on hardcore events
- Labels releasing slower tempo tracks
- Labels and artists releasing more hardstyle-influenced and other hard dance genre influenced tracks
jenks
jenks
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