Digital hardcore

From Wikipedia, the free encyclopedia
Jump to: navigation, search

Digital hardcore is a music genre that fuses hardcore punk and industrial rock with electronic music such as hardcore techno, breakcore and drum and bass.[1][2] It typically features fast tempos and aggressive sound samples.[2] The style was pioneered by Alec Empire of the German band Atari Teenage Riot during the early 1990s, and often has sociological or far-left lyrical themes.[2]

Characteristics[edit]

Digital hardcore music is typically fast and abrasive; combining the speed, heaviness and attitude of hardcore punk, thrash metal, and riot grrrl[2][3] with electronic music such as hardcore techno,[2] jungle,[2] drum and bass, glitch, and industrial rock.[2] Some bands, like Atari Teenage Riot, incorporate elements of hip-hop music, such as freestyle rap.

According to Jeff Terich of Treble Media, digital hardcore is "on the verge of reaching speeds incompatible with popular music, as if the rapid acceleration of BPMs would render the idea of rhythm irrelevant or, at the very least, unpredictable. Maybe this is music for dancing; definitely this is music for screaming and breaking things."[4]

The electric guitar (either real or sampled and usually heavily distorted) is used alongside samplers, synthesizers and drum machines. While the use of electronic instruments is a defining feature of the genre, bass guitars, electric guitars, and drum kits are optional. Vocals are more often shouted than sung by more than one member of the group. Typically, the lyrics are highly politicized and espouse left-wing or anarchist ideals.[2] Some practioners have been influenced by anarcho-punk.[5]

History[edit]

1990s[edit]

German band Atari Teenage Riot are considered progenitors of the style.

The music was first defined by the band Atari Teenage Riot, who formed in Berlin, Germany in 1992.[2] The band's frontman, Alec Empire, coined the term "digital hardcore," setting up the independent record label Digital Hardcore Recordings in 1994.[2][6] German bands with a similar style began signing to the label and its underground popularity grew, with small digital hardcore festivals being held in several German cities.[2] By the mid-1990s, a number of new record labels specializing in the genre were formed around the world. These included Gangster Toons Industries (Paris), Praxis (London), Cross Fade Enter Tainment (Hamburg), Drop Bass Network (U.S.), and Bloody Fist (Australia).[2] DHR also had some kinship with the Frankfurt labels Mille Plateaux and Riot Beats.[2] Alec Empire's work subsequently set the template for breakcore.[7][8]

Other prominent digital hardcore musicians of this period include Christoph De Babalon, Cobra Killer, Sonic Subjunkies, EC8OR, Hanin Elias, Lolita Storm, Nic Endo, The Panacea, and The Mad Capsule Markets.

2000s[edit]

In Alec Empire's words, "Digital Hardcore went from a local, Berlin based scene to an international underground movement."[9] The soundtrack to the film Threat included contributions from digital hardcore musicians, along with metalcore bands.[10] James Plotkin, Dave Witte and Speedranch's project Phantomsmasher combined digital hardcore with grindcore. Notable 21st century digital hardcore groups include Left Spine Down, Motormark, Death Spells, The Shizit, Rabbit Junk, and Fear, and Loathing in Las Vegas.

2010s[edit]

Digital hardcore saw less prominence in the 2010s. However, its international influence can be seen in the prominence of electronicore, a similar musical genre fusing hardcore punk and metalcore with electronica. The German band We Butter the Bread with Butter has seen commercial success employing this fusion.[11] The term "digital hardcore" has largely fallen out of use, given it's association with politically-charged lyrics, which are not a characteristic of newer electronicore artists. Some notable digital hardcore artists, however, have remained active into the 2010s, including Left Spine Down,[12] Death Spells,[13] and Rabbit Junk.[14] Fear, and Loathing in Las Vegas have also received considerable praise for their 2014 release, Phase 2.[15]

See also[edit]

References[edit]

  1. ^ Kutner, Moshe (2014-05-22). "Neo-Nazi Fighting Digital Hardcore Musician Comes to Israel". Haaretz. Retrieved 2017-07-09. 
  2. ^ a b c d e f g h i j k l m Interview with J. Amaretto of DHR, WAX Magazine, issue 5, 1995. Included in liner notes of Digital Hardcore Recordings, Harder Than the Rest!!! compilation CD.
  3. ^ "I was totally into the riot grrrl music, I see it as a very important form of expression. I learned a lot from that, way more maybe than from 'male' punk rock." The Punk Years, "Typical Girls" [1] Access date: August 20, 2008.
  4. ^ "Atari Teenage Riot’s Burn, Berlin, Burn! started a digital hardcore riot". www.treblezine.com. Retrieved 2017-07-09. 
  5. ^ "Atari Teenage Riot’s Burn, Berlin, Burn! started a digital hardcore riot". www.treblezine.com. Retrieved 2017-07-09. 
  6. ^ Alec Empire. on the Digital Hardcore scene and its origins, Indymedia.ie, 2006-12-28. Retrieved on 2008-05-28.
  7. ^ Alvin Chan, Music OMH, March 2008. [2] Access date: August 6, 2008.
  8. ^ Matt Earp, "Breakcore: Live Fast", XLR8R, July 20, 2006. "Archived copy". Archived from the original on 2008-09-06. Retrieved 2008-08-09.  Access date: August 8, 2008.
  9. ^ The definitive Alec Empire Interview 26/02/02 Archived February 3, 2007, at the Wayback Machine.
  10. ^ Ryan Orvis, MPR, "Just a Minor Threat", [3] Access date: August 6, 2008.
  11. ^ "Get Infected Tour zabouří už za pár dní v Praze". musicserver.cz. Retrieved 2017-05-21. 
  12. ^ "Review: Left Spine Down - Caution | Sputnikmusic". www.sputnikmusic.com. Retrieved 2017-07-09. 
  13. ^ "Frank Iero's Death Spells are up to something | Upset". www.upsetmagazine.com. Retrieved 2017-07-09. 
  14. ^ "Rabbit Junk preview new track | Sputnikmusic". www.sputnikmusic.com. Retrieved 2017-07-09. 
  15. ^ "FEAR, AND LOATHING IN LAS VEGAS - PHASE 2 - REVIEW | ElectricBloomWebzine (エレクトリックブルーム)". ElectricBloomWebzine (エレクトリックブルーム). 2014-08-17. Retrieved 2017-07-09. 

Bibliography[edit]

  • Reynolds, Simon (1999). Generation Ecstasy: Into the World of Techno and Rave Culture. Routledge. ISBN 0-415-92373-5
  • Taylor, Steve (2006). The A to X of Alternative Music. Continuum International Publishing Group. ISBN 0-826-48217-1