Gabber: Square wave bludgeoning

[shiels]

1993 german hardcore played by Jeff

What’s that intro? Belfast journalist?

 

[thirdform]

What’s that intro? Belfast journalist?

Might be actually!

 

[okzharp]

The ones that are outside on a sunny day with pleasant green trees around... that just doesn't seem right somehow.

Yes the strange corporate-welcome grading. The boxfresh sportswear. The staging. It's like an instructional video.

 

[okzharp]

Why don't we have hypermorris dancing to west country oompah donk?

 

[william_kent]

I'll chip in with a couple of "big tunes" - the "pop" end of the spectrum



Rotterdam Termination Source - Poing

1992 - this is like the Pulse X or Spongebob of gabber - stupid but seminal


Wedlock - I'm The Fuck You Man!

1994 crossover tune - hoovers, LL Cool J sample, and attitude

 

[yyaldrin]

this one was played a lot as well early 90's

 

[william_kent]

some more proto gabber ( out of Belgium ) - I'm sure it was referred to as nosebleed techno at the time ( as much to do with the side effects of the cheap speed as the sound )


KAA - Emphasis ( Quickstep )

170 bpm from 1991


L.A. Style - James Brown Is Dead (160 BPM Vanity Mix)

1991 - remix of the number one ( in Netherlands ) hit

 

[IdleRich]

some more proto gabber - I'm sure it was referred to as nosebleed techno at the time ( as much to do with the side effects of the cheap speed as the sound)

That never occurred to me somehow... makes perfect sense though.

 

[IdleRich]

I'll chip in with a couple of "big tunes" - the "pop" end of the spectrum

Ahhh... I'd been wondering about that catchy little tune my milkman had been whistling.

 

[thirdform]

Wedlock - I'm The Fuck You Man!

1994 crossover tune - hoovers, LL Cool J sample, and attitude

Ah yes. DJ Ruffneck was one of the producers who was consciously engaging with UK hardcore. practically everything he has done in the 90s has some kind of reference to what was going on in UK. I wanted to share quite a bit of his stuff but I don't think it's representative of the majority of the scene. But probably an omission on my part.

Predator - Mind of a Lunatic


Lockjaw - Selecta

 

[thirdform]

interview with the man here

 

[bassbeyondreason]

Why don't we have hypermorris dancing to west country oompah donk?

Definitely something of the Strathspey in North East and Scottish hardcore dancing:

 

[wektor]

It's the faces that fascinate me. The pleasureless anhedonia. The glimmers of effort.

it's the kind of dancing you do when you're absolutely strung out on stimulants, all muscles tense, putting as much force into those small movements as possible.

 

[blissblogger]

It seems to come from a similar place as that Irish riverdance style - all the action below the knee, the top part of the body perpendicular, almost like a Maypole with the legs as the ribbons twirling around.

Deep recesses of folk memory

No, it's not funky but it does show up the "there was no rhythm, no dancing" in Europe until jazz / rock'n'roll etc arrived on these shores argument that has been voiced here by certain ideologues.

Every society on Earth has some kind of communal rhythmic movement for celebration, ritual events, holy days, letting off drunken steam, weddings, courtship events (the balls in Jane Austen novels / films got pretty sweaty)

Medieval danzfieber crazes, people swept up in terpsichorean frenzies (assisted by massive intoxication), the Tarantella etc etc

 

[IdleRich]

Think I mentioned riverdance a page or two back... there is definitely something in those movements that recalls it.

 

[thirdform]

Eastern European (well, yugoslav) brass band music is an analog to funk so yeah the zhao idea doesn't hold for Europe.

 

[luka]

he'd just tell you that it comes from Gypsies and they aren't proper whities becasue they descend from India.

 

[thirdform]

he'd just tell you that it comes from Gypsies and they aren't proper whities becasue they descend from India.

Yeah, he's American (granted, ethnically Chinese but still American) so he gets to define people to suit the contours of his argument.

 

[thirdform]

@WebEschatology Mark N from Nasenbluten selects (and talks about) his 10 favourite records. think you'll enjoy reading this.

Chroniques de Mark N

J'ai trouvé ça sur un webzine nommé Cyclic Defrost. Mark N liste les 10 disques qui l'ont marqué et en fait la description. Tout est en anglais mais ca vaut...

www.artskorps.org

Don't worry the actual interview isn't in French.

 

[thirdform]

Oh look he calls out @craner here, I just did a tap dance.

Right at the end of the Nasenbluten tour, we were killing time hanging around at our UK distributor when a box arrived from Germany full of new releases. One of the records was on a label I had never heard of called Chrome and was by an artist I had never heard of called Panacea. According to the distributor this was a German drum’n’bass record that was causing a bit of a ruckus amongst the UK drum’n’bass purists. Any time a purist gets the shits with something you know you should investigate it . . . and so I did.

The track ‘Tron’ was a monstrous distorted seven-minute drum and noise epic that twisted, turned, ducked and dived in a manner hitherto unheard of. The record seemed to follow a drum’n’bass template, but I was floored by the immense combination of rough percussion and a piercing mid-range bassline, which came across heavier, angrier, darker, denser, juicier and more challenging than any UK drum’n’bass I had ever heard. The record probably had more in common with German industrial hardcore and early DHR [Digital Hardcore] stuff than with any of the UK drum’n’bass at the time. I got the same feeling that I had when I first heard gabber five years earlier – and I immediately wanted more. ‘Tron’ also received bonus points after I trainspotted a sample of The Mover’s ‘Nightflight (Non-Stop to Kaos)’ track – an early record by the German PCP guys.