HCBXCast Vol 68 - Tony Katana - Interview

It’s a welcome return for Tony Katana, who first appeared on HCBXCast for episode 48. The young vinyl DJ from eastern France continues to channel the underground, with a beautifully mixed (we have video to prove it...) hardcore techno masterclass.

This time, Tony joins us for a chat — talking about his passion for vinyl, his experiences behind the decks, various other musical projects, influences and some lovely Bristolian hospitality!

HCBX: Alright Tony, welcome back to HCBXCast. How’s everything going for you at the moment — what’s been keeping you busy lately?

TK: Alright mate, thanks for having me back. I’ve been under a lot of stress lately working multiple jobs and moving flats. Thankfully, the decks are a powerful outlet and I’m feeling pumped and creative as can be!

 

HCBX: For those who might not know you yet, can you give us a bit of background and how did you first get into hardcore techno and the harder styles? Was there a particular track that got you into the scene?

TK: I’ve only started listening to hardcore techno since after the pandemic, so it’s a fairly recent affair. I was always interested in extreme music though, and indulged in copious amounts of dark/dissonant metal. I think my initial interest in techno music stems from a gradual distaste for guitar distortion, instrumentation & rock culture in general.

One day, I stumbled on a mixmag essential mix list that featured Manu le Malin’s “Hardcore Vol.2”. I burnt it on a blank CD, put it in my discman (yeah, I still have one of those ^^) for a train ride, and it blew me away. Then I became completely obsessed and spent the following years navigating Discogs and the GTW Database, which gradually introduced me to the furthest depths of underground 90s hardcore. It’s hard to narrow it down to a particular track but seminal gateways were The Mover & Rave Creator – Rave the Planet (first hardcore record I ever bought) and Celsius self-titled CD from Epileptik.

 

HCBX: You’ve been playing some serious vinyl sets lately. What first got you into collecting and mixing records rather than digital? And do you do any digital mixing?

TK: I guess mostly because collecting records is part of the thrill, and essential to the culture’s legacy. It allowed me to engage and connect with fellow fans, meet some crazy collectors with tons of stories, and celebrate the music in a ritualistic way. In my eyes, vinyl was and still is the cornerstone of this genre. I have never tried digital mixing, but the immediacy of letting the record spin under the needle is exhilarating.

Also digital gear/software seem intimidating to me and I’ve developed a mild fear of any fancy kind of tech... I’ll always admire the commitment, dedication and passion of fellow vinyl-DJs, label owners, and record collectors. And even if I wasn’t there to experience it firsthand, I think it’s a beautiful tribute to the old school ways. It took years before I could afford my first proper setup, and I’m proud to have gathered a more than decent collection.

 

HCBX: What’s your current set up for mixing and has this evolved over time?

TK: Well, my first turntable (a Numark pt01) was actually a scratch-oriented 7 inch deck, gifted to me by my girlfriend. My initial foray into beat-syncing was through a basic audio interface, launching one track from a computer and another one on the turntable, with a knob for pitch control. Nowadays I use a pair of Reloop RP-6000 MK5S and a Vestax PMC-05 Pro III Dx, which I bought as a second-hand bundle. I like to keep things simple, and even though I would appreciate an EQ for mediums, the bare minimum works wonders. When you’re not distracted with FX and filters, you can always cook some killer overlaps which is what mixing is essentially about, right?

 

HCBX: From what you play, you have a cracking record collection - Whats your top 5 hardcore techno tracks just now and why?

TK: Thanks! My first pick would be Rave 2000 - Opening A.D. 2000 / After Hourz released on Techno Tribe. It’s a pretty basic tune from one of Marc Traumer’s countless PCP offshoots. It starts with low bell sounds echoing through the whole track, enters the infamous “quadruple kick” i.e. reverberating on sixteenth notes, then “My house is mine” anthem-like chants, and mid-way through comes a beautiful pad riff. It somehow retains the same cold futuristic “space-arena” atmosphere that much of the Planet Core material is revered for, but the melody brings a subtle and bittersweet sense of euphoria. It feels somehow both elated and disillusioned, a powerful metaphor for the 90s post-industrial mal de siècle, the kind of “dancing to the end of the world” energy that feels very hardcore to me and remains relevant IMO.

Which brings me to another obvious favorite: Powerstation Holocaust – I Saw the End of the World, released in 1997 through the Dutch parent label Planet Hooligan. I’m a sucker for tracks that feature choirs for greater emotional effect, and this one is really special. Clocking at around 180 bpm with a rich bouncy gabber kick, and eerie vocal pads with clever reverse tricks, it carries the same entrancing melancholy. The atmosphere here is unmatched!

Top 5 also has to include Somatic Reponses – Freezing Point on UFO 005, my favourite track from the Welsh brothers. Just from the title, you know you’re in for an extremely cold trip. Heavily distorted kicks, alien-like menacing blips, and a very angsty string pad layered through the whole thing. What’s not to like? It stretches over 6 minutes with interesting variations, build-ups and complex yet catchy arrangements. Total masterpiece!

Increasing bpm here to include DJ Adess – Acid Q.G on the legendary Hardcore Fever compilation. I don’t know who wrote this, but it’s devastating! Kick sounds aggressive and boxy, but the cherry on cake is a distressing alarm sound that brings tension to a whole new level. Dancefloor-friendly yet still experimental, a stripped approach yet packs tons of character, plus there’s a foreboding sense of urgency that few producers are actually able to convey. I’ve given up on getting a copy though, this one’s way above my price range.

Gonna end up this list with Pressurehead – Lungs of Steel on Surgeon 16 n°3, that somehow ties everything together with many aforementioned elements. Dark, urgent, oppressive with that extra nasty grit you can find on some early French speedcore. Dissonant strings stabs, Predator samples, an uncanny melody during the break. It feels extremely violent and nihilistic, there’s a vile and nauseous quality to that track, which now that I write, sounds extremely close to the avant-garde black metal I used to play.

Honorable mentions would include the timeless classics from Disciples of Belial, Static Tremor, Lasse Steen, and of course my fellow countrymen SpeedyQ’s & Joshua.

 

HCBX: Your last set on HCBXCast went down a treat. Talk me though this set?

TK: Thanks! I was heavily inspired by Nico303 (aka Fabrikill), whose taste has greatly influenced me over the last couple of years. Together with Hotrebor, they never fail to amaze me. I had the chance to see them twice in Milan (a 5h-drive across Switzerland) and they both delivered phenomenal sets. I would also like to extend my gratitude to Free Spirit for his feedback and encouragement on this mix.

The idea was to showcase a more acid-oriented repertoire, selecting favorites from Lasse Steen (5 tracks), Brandon Spivey (3 tracks) and many pivotal figures. I love to keep things international and include choice cuts from around the world.

Here’s the full tracklist:

1. Johannes Heil - Untitled

2. Dannytribe - Acid Factory

3. Somatic Responses - Source of Disturbance

4. X - The Grave

5. Whiplash - Untitled

6. ACAB - LS12

7. Lorenz Attractor - Shadowfax

8. Liza N'Eliaz - Loopera

9. Launch - From K to O

10. Zekt - Instant Access

11. Fast Identities vs. Adversity - Untitled

12. VDD-Energize - Battle of the Northstar

13. Omar Santana - Beyond Delirium

14. Earl of Reformation - Untitled

15. Hotrebor - Disquiet

16. USD - One Small Step

17. Jackhammer - Sexual Distortion

18. The Dark Raver & DJ Gizmo - Direction of Fear

19. C-Tank - Speed Will Never Die

20. Fields of Defacement - Urticated

21. C-Tank - C-Machine

22. EVO - We are EVO

23. Auto Tropp - Magma

24. Lasse Steen - Gloomy Simplicities

25. Agro - Dark Bleeps

26. Lord Nord - W.O.R.M Up

27. Eradicator - Fucking Bitch Called Walker

28. AFQ19V - IPY38Q

29. Liza N'Eliaz - Vienna Lights

30. The Speedfreak - Nitemare at 240 bpm

31. Unknown Source - Nuclear Anarchy

HCBX: We've previously spoke about you drumming with DeathAwaits a while back — tell us about that period and are there any other musical projects you've been involved in outside of Hardcore Techno?

 

TK: I’m grateful to have been taught the piano and drums, and played in multiple bands over the years, notably DeathAwaits, Dawohl and Virulent Depravity. My main project was called “Brutal Keys”, for which I would arrange and perform extreme metal songs on the piano. I’ve also done some guest piano work for Allegaeon, Cytotoxin and Hideous Divinity, to name a few.

 

HCBX: Has there been any standout moments from gigs that have stayed with you — good, chaotic, or just pure madness? You’ve mentioned on the HCBXCast chat you've played venues like Beat Generator in Sunny Dundee and across the French scene — how do crowds differ between places like that and home events in France?

TK: Playing drums for this kind of music is extremely cathartic, whether in some underground basement or an outdoor festival. I’ve had my fair share of technical difficulties, from falling off a broken drum throne to drunken fans invading the kit. Hometown shows had a great turnout. I guess crowds were more intense wherever death metal had a proper scene, like in Germany, but I’ve got fond memories everywhere. I remember one night in Bristol, we had nowhere to sleep so the crew offered we slept onstage, however we hit it off with some girl from the crowd who invited all 5 of us to stay at hers. Legendary hospitality!

 

HCBX: Hardcore techno has really strong underground followings in France. What’s the scene like where you are now, and how do you see it evolving?

TK: Unfortunately most of the French core-heads are concentrated West, in Brittany, which couldn’t be further from my area. I was able to meet some hardcore DJs around (DJ Ash, Mystic Soul 999, Alptraum), but there’s no such thing as a scene here (that I know of), that is if you steer clear of the uptempo clubbing nonsense. Can’t really speak for free parties. I know there are some around, almost exclusively playing newish hardtek or tribe from what I garnered.

 

HCBX When you’re putting together a set, what’s your approach — do you plan it out, or do you just wing it?

TK: I plan it out. Happy accidents and spur of the moments are cool for a work in progress, but unless I’m having a fun session with friends, I’d rather show something carefully crafted. I don’t memorize pitch values though, I have a general sense of where it should stand and there’s room for flexibility here. However, most cue points are deliberate. I love trying out different combos and figuring out which works best. I also like to record long improvised sessions to get a “flow” going and see what happens, that’s usually when some the best ideas appear.

 

HCBX Are there any DJs, labels, or producers you particularly respect or draw inspiration from right now?

TK: I’m obsessed with SpeedyQ’s output, both as producer and behind the decks. He’s a DJ’s DJ, full of surprises, great momentum, and a very distinct flow that never fails to grab my attention. I feel similarly about Hotrebor. I’d also like to commend John Dark and Matt Fraktal for their bold selections.

As far as new releases are concerned, I’m partial to anything coming from Aneurysm, Rotten, Traumahead, Narkan, etc. Italy’s an exciting fertile ground with experienced scene veterans as well as upcoming talents. But I guess you knew that already since OiraD, RAF & T.O.T.A have appeared on the show.

In France, I’m curious to see where Angel Flo’s new streak of Unleashed records will lead, same with the Aube-Joie label, and I’m also excited for the upcoming Fatigue Suspecte first release on UPR.

 

HCBX What’s your take on where hardcore techno are heading at the moment — do you think the sound is getting heavier, faster, or more experimental?

TK: As a newcomer into the scene, I don’t feel I have enough hindsight to weigh in on the matter. I guess flashcore, harsh noise and the experimental fringes are the way forward. A prophetic Hedonist titled his 1997 UHF release “Hardcore is dead, [it's] just more of the same...” Just like with extreme metal, I also feel like all has been said and done and nothing pushes boundaries anymore. No matter what the next trend/gimmick is gonna be (because that’s what it comes to these days), I’m afraid it’s never going to beat the excitement of pioneering 90s hardcore.

However, instead of being grumpy old farts about this, let’s bring young blood into our little niche and put them all to work. I try to keep an open mind and while pretty much all of my interest is focused on old school material, I don’t want to corner myself into a revivalist posture. No matter where hardcore techno is headed, I know I’ll be happy to be a part of it... (but I draw the line at piep kicks, c’mon!!) Let’s keep things underground, authentic and adventurous!

 

HCBX Outside the music, what keeps you inspired? Any routines or creative outlets that help you stay in the zone?

TK: I’m grateful to have a wonderful and supportive partner who’s a professional artist. Like many others, I’m also pent up and frustrated with late-stage capitalism, genocide in Gaza, authoritarianism and the rise of fascist scum everywhere. It certainly brings some anger into the mix. I try to hike as much as possible and reconnect with nature whenever I get the chance.

 

HCBX What’s next for you — any upcoming sets, mixes, or projects we should watch out for?

TK: I started working on a new mix, similar to the one I did for the Violent Injection series for my friends at Narkan Records but more speedcore-oriented. I also have ideas for another acid one with newer tunes, and an early hardcore one.

With the help of a basic sequencer (my trustworthy Pocket Operator 33KO) and samples from the wild, I finished producing one of my first tracks, that will hopefully get pressed and released on one of my friend’s upcoming French label next year. Also, if anyone reading this would like to book me, let’s get in touch, I’m sure we can work something out.

 

HCBX And finally — anything else you want to get off your chest?

TK: Congrats! If you’ve made it this far, you’re my new best friend! Thanks to anyone who’s believed in me and encouraged me to pursue this kind of music. Thank you for having me back on HCBX, and thanks to all the beautiful hardcore people out there. Play it loud!

HCBXCast 68 with Tony Katana will be live on 18th October - check it out here: HCBXCast 68 - Tony Katana

Follow TK on his YouTube channel for more mixes here: Tony Katana - YouTube

HCBXCast 66 Interview With Kenny Campbell

Scotland’s own Kenny Campbell makes a welcome return to the show with a set even more brutal than his last. Mr Campbell releases his inner rage with hard and fast tracks from the likes of Brandon Spivey, DJ Freak, Delta 9, Re.Pete and more.  This is an hour of punishing hardcore techno abrasion with an ever-increasing BPM count.  I caught up with the man himself, and found out about Soundlab belt drives, getting released on Industrial Strength, and old naked men doing the helicopter.

 

HCBX: How are things with you, Kenny? What’s been keeping you busy?

KC: Alright mate. I’m good. We’re back into the football season so work and football are the main things these days

HCBX: Great to get you back on HCBXCast. Your set is pretty aggressive to say the least, and you go so far as to call it "Release Your Inner Rage". Tell us about the set?

KC: Thanks for having me back. The set was recorded at home. No planning or forethought. I’d listened to some records during the week before recording. Everything from much slower 140bpm stuff right up to speedcore. Then just seen what I fancied on the day. The set was heavily inspired by living with a teenager. Every parent will understand that :D

HCBX: When I was doing some digging about for the interview, You’ve said that Mescalinum United’s We Have Arrived was a turning point for you. What was it about that track and what other tracks got you down the hardcore and techno rabbit hole?

KC: Still the greatest track of all time. I was in Sleeves Records in Falkirk. It was 1991 and I’m certain it was May. I grew up in a small village and although I had friends my age I used to love hearing the music coming from cars from the older ones that used to hang about the shop. It was other worldly to me. I started to seek this stuff out and was buying mix tapes and records when I could to play on the Hi-Fi in my room. On that day they put Mescalinum United on. And that intro noise just grabbed me. It was different to anything I’d heard. Dark. Angry. Noisy. Utterly fucking beautiful. I was hooked on that sound from then and moved away from the acid and breakbeats stuff.

HCBX: You had your first DJ gigs when you were dead young. Tell us about what that was like? And any stories from those early days of raving and playing out?

KC: The early days were the best. The first rave I went to was something else. I’d heard there were some illegal raves happening up into the hills and farmland where I grew up and had to seek them out. When I found them they wouldn’t let me in. I’d peddled a good 6 miles to get there and they were saying no. So I told them they better let me in for a little while or I’d be peddling to the police station to let them know what was going on. Obviously the cheekiness worked and they let me in for 2 hours. Even put my bike safe backstage. It was an eye opener. Hearing this music in the right environment for the first time is still hard to put into words. After that I started to going the Fubar and Rez in 1994. Event 2 being my first Rez and The Rotterdam Experience 2 my first at the Fubar. I was well and truly hooked at this point. It was at the Event 2 I decided I wanted to try DJing. Lenny Dee blew my head clean off that night. It was that set that made me want to try it. It was also that set that made me want to release on Industrial Strength. Even though I had no clue how to make music.

The first gig came for the same illegal crew that let me in when I was 13. I’d gotten to know them and they knew I could play a little so let me do a closing set. When everyone is exhausted and leaving. I didn’t care. I thought I’d made it and was about to be the greatest DJ of all time. I started with Strychnine - The Sacrifice. It was my first time using Technics and I quickly realised it was nothing like mixing at home. Took me 5-6 tracks to get any feel for them. But it was still an incredible experience. Playing hard as fuck to a crowd that initially looked puzzled but eventually came round. Not sure if that was the music, party supplies or just reacting to me losing my shit with each track. But they went with it.

HBCX: You play across quite a broad range of hardcore, techno, industrial, EBM etc. You got a favourite style, or is it just how you feel on the day?

KC: it really depends on the event. 99% of the time I know what I’ve been booked for so have a rough idea of what style to go with and just play. I don’t pre plan any set in advance. Occasionally it’ll be something different. That’s the good thing with modern DJing. Multiple USBs for every occasion

HCBX: Your label Pitch Dark Records is a cracking label, and started as a joint venture with Alex Mullin (DJ Technotrance). How did the collaboration come about? Do you have and future plans for the label?

KC: Pitch Dark is on hold for the foreseeable future. It was great fun running the label but I’d become quite disillusioned with techno and the style I was looking to release just wasn’t around. Everything had went hard, fast and trancey. So I put it on the back burner and it’s stayed there since. I’ve toyed with bringing it back again but techno has gotten even further from the place I want it to be so the hiatus will be for a bit longer now.

The highlight was probably putting out the Sonic X release on PDR20. For those that don’t know, those were tracks produced by my son when he was 7. And they went down a storm.

It started after Alex messaged me to see if I’d be interested in getting it running. He had the idea already and was looking for help and someone with knowledge of the techno scene.

HCBX: I have fond memories of going to Judgement Day event back in the 90s and beyond - how did you get involved with that and are there plans for the future with JD?

KC: This one came about as Alex and I were looking to do some old skool style hardcore and bouncy techno. And again it was good fun. Doing the releases on record too was good. But like most things, costs killed it. Brexit fucked up taxes and postage costs from Europe and it became increasingly difficult to do. It’s another I’d love to bring back as there’s a market for old sounds but it’s finding the time and patience to do it

Judgement Day Records

HCBX: Your first release on Industrial Strength must have been a big moment for you. How did remixing some iconic tracks, and putting a completely different slant on them, come about? And how did you get one of the most influential labels of all time pick them up?

KC: this was a dream come true for me. When I decided I wanted to release on ISR the only option was on vinyl. So that was always my goal.

I’d remixed a lot of old hardcore to play in my techno sets, mostly from ISR and the LD label. The Skinhead remix was the one everyone loved. That and Forgotten Moments. I sent them all to Lenny and Jules at ISR and they liked them. A while later they were releasing the Skinhead remixes and wanted to include mine. I was over the moon with it.

Later they asked if I’d like to remix DOA too for the remixes vinyl. I couldn’t say no. It was a challenge taking DOA down to a techno track and keeping that same ferociousness. Again it seemed to work and came out. That’s why I got the tattoo. I said I’d get one only when I had my name on an Industrial Strength record.

Then to be asked to contribute to the 30th anniversary release was extra special. My hand is also the cover

HCBX: You’ve had releases on some big labels – we've already mentioned ISR, Drøne, RIOT Radio Records SHISHI. Do you write tracks with a label in mind, or do you decide after the fact where something fits?

KC: I used to spend most nights just making music and I’d have a whole batch ready to go. So when asked I could pick some out that suited the specific label. Now I don’t make as much so generally make them when someone wants a release. The good thing with that is the tracks are always more tailored to the label

HCBX: You’ve played across Europe and even further afield – How do crowds in different countries respond to your style? Do you adapt your sets to suit the crowd, or just go in full Kenny Campbell (your range is pretty diverse I suppose!)?

KC: I’m lucky that I’ve managed to get a decent reputation for any gig I play so people generally know what’s coming and go with it. While I don’t plan any sets I’ll always check who’s on the line up and the promoters previous nights to get a good feel of what’s expected. And when in the night I’ll be playing. Once I start it’s always a bit of where I’ll be trying to go while being mindful that the dance floor is the most important part so playing what keeps them dancing also. It’s too easy to get caught up in playing only new and unknown music. But often while you’re thinking you’re cool you’re lost the dance floor

A weird highlight is still playing at a party in France and having a naked old man doing the helicopter in front of me for almost 2 hours. That was a bizarre experience but at least he seemed to be enjoying himself

HCBX: I read that you started off on the old Soundlab Belt Drives - I started on these too - think I got them from Pegasus Sound and Light in Edinburgh in the mid 90s. They were mad to mix on, but I really liked them. Was it a big difference going into a club or rave after practicing on these?

KC: I did. The DLP-1. Can’t remember what the mixer was but it was basic with 2 punch buttons. Bought them in Nieto Electronics in Falkirk.

They were great to learn on but you definitely noticed a difference when moving to better decks. I wished I’d had a chance to try Technics before my first gig. It may have went more smoothly!

HCBX: What’s your current studio setup like (Both for producing and and mixing)? How has it evolved a lot over the years?

KC: for producing everything is in the box. I use Ableton and really just a handful of VSTs. Serum mostly as you can do pretty much everything with that. I’ve got Push 2 and some other controllers for playing live but they’re rarely touched these days. I went through a spell of using hardware but I just didn’t enjoy it. Working solely in the computer is better for me

For DJing I’ve got an Alpha Theta XDJ-AZ and 2 Epsilon DJ 1300 turntables. The ugliest turntables you could imagine but they’re incredible things. Same Hampin motor as all the new Super OEM turntables but a fraction of the cost. And as close as I've ever had to my old Vestax PDX-2000’s

After my Soundlab I got a pair of Vestax and loved them. They’re the best turntables I’ve used to date and were miles better than Technics. And I’ll fight anyone who says otherwise

HCBX: Who's influencing you, or who do you admire these days across both hardcore and techno?

KC: I’ve kinda stopped listening to newer techno and don’t listen to newer hardcore. I’m not going to say either are bad, just aren’t to my taste now.

But for influences Lenny Dee and Manu le Malin will always be up there

HCBX: Scotland has its own hardcore and techno history. What’s your take on the current underground scene there compared to when you first started going to events?

KC: I’ll do my best not to sound like a grumpy old raver here. The scene is different now. In the 90’s it was new and fresh. There won’t be another period like it. But the current scene is the new crowds 90s moment. It’s new to them and I hope they get the same enjoyment from it I got back then. There’s a lot of revivalist stuff going on with lots of old skool nights happening. It’s great to see, but I feel there’s so many that it’ll burn out quicker than it needs to. Less is more with this stuff I feel

HCBX: What’s next for you – any releases, label projects, or collaborations on the horizon?

KC: I’m very quiet these days. Mostly as don’t take on as many projects for music now. It’s difficult when you don’t feel inspired by the scene as it is.

At home I’m finding myself going back and playing all my old hard trance records more and more. And lots of drum & bass too. I used to love drum & bass but fell away from it. Someone who’s opinion and views I trust put me back onto it and it’s been pretty refreshing

HCBX: Final word – anything you’d like to get off your chest, or any shout-outs you want to make?

KC: There’s lots I could get off my chest but I’m a reformed character and no longer go for the wind up…

Just a thanks to everyone who’s supported my music, hated my music, took the bait at my wind ups and generally been sound. And to the one, for keeping my head in the game in more ways than one.

And also thanks to HCBX for having me back on!

Kenny's set goes live on 27th September 2025 here: HCBXCast 66 - Kenny Campbell

Kenny Campbell on SoundCloud: KC on SC

Pitch Dark: Pitch Dark Bandcamp

Here's Kenny's last Outing on HCBXCast: HCBXCast 22

HCBXCast 65 - Interview With Low Entropy

Low Entropy has long been a unique voice in the Hardcore underground. From Doomcore and Speedcore to experimental offshoots like Slowcore, his catalogue stretches across decades and countless labels, always pushing against boundaries.

For HCBXCast 65 he delivers a different kind of live set – raw, unpolished, and true to his approach. In this conversation we talk about his history of raving and performing, his creative process, the huge range of music he puts out, and his perspective on Hamburg’s changing underground scene.

This one goes in-depth, and gives a real glimpse into the mind of one of Hardcore’s most distinctive artists.

HCBX: How the hell are you? Good to get you back on HCBXCast! What has been great about your submissions has been the varying themes of your sets. Tell us about this one?

HCBXCast Vol 65 - Low Entropy

LE: The idea behind this set is related to a story by a guy who, just like me, did a show at a local DIY “anarchist” radio station here in Hamburg (kinda like a semi-legalized pirate radio). He told me one of the venues he was involved in booked an industrial band to come to Germany and do a gig (forgot the name, but I think they were from Scandinavia).

But instead of a band, a parcel arrived at the venue, containing a pre-recorded cassette and a handwritten note explaining: “this is our live performance.”

My mate said he thinks they were right about this: “Why shouldn’t a cassette tape be a live performance?”

My idea builds on this. The submission is my live performance. I’m doing music for around an hour, and an audience listens to it. The only difference is that the listeners are spread all over the world instead of being together in one venue. Why should an artist, DJ, band, or listeners be required to be physically present for a gig?

HCBX: So a Low Entropy “Live Set”! What’s your history in playing at raves and parties? Do you have any stories to tell either playing a gig or raving?

LE: Yeah, I played at a lot of parties, especially “back in the day”. For example, at Tresor in Berlin – together with Simon Underground and a few other maniacs – or right here in Hamburg at Nordcore. Particularly nice was my first gig in the Netherlands, in The Hague with FFF and some other DJs.

Most of the time, traveling, gigs, or even venues were not as well-organized as they are now (maybe). So here are some assorted memory nuggets:

Standing literally in the fields, at midnight, in the middle of nowhere, in Lower Saxony, with a group of other crazed ravers. Looking around and for miles, only darkness was visible, other fields, and forests. “Now where is the venue again? Did we take a wrong turn? Could someone get the map again?” (before the days of GPS and smartphones – if you were lost, you were lost).

Driving to a gig in Bakalla’s SUV. And, when we got there, the promoters were nowhere to be seen! We looked at each other in amazement, but Bakalla said “We can do this!” So we went directly to the owners of the venue, did the soundcheck and setup ourselves, and played the first sets. I think the promoters eventually arrived – sometime around 2am.

Being lost in the sticks (again), asking a passerby how to get to the central station of Hannover to take the train home to Hamburg. He just pointed in one direction and told us to go there. We asked “That’s it, no other instructions?” “No.” So we went off and walked in a straight line, for 2 hours and several kilometres, without taking any turn left or right – and actually arrived at the gates of the central station.

HCBX: You have your fingers in a vast number of musical pies working with lots of different styles of hard electronic music. How did you first get into Hardcore Techno and all the other stuff? Was there a particular track or artist that sealed the deal?

LE: Well, I was 13 years old, the techno/trance wave was sweeping Germany, everyone was talking about Hardcore too. But the radio/TV stations more or less boycotted that sound, and I felt “too young” to go to the clubs, so these sounds were not as easily accessible as they are now. There was no YouTube, SoundCloud, anything.

One night I switched on MTV’s Party Zone. Turned out they aired a Digital Hardcore special. For one hour I was seeing clips by Ec8or, Atari Teenage Riot – bands and sounds I had never seen or heard before. From this moment on, I was lost to Hardcore. I knew this was where I wanted to be, what I wanted to do.

HCBX: Who are your main influences in the Hardcore scene, both back in the day and now?

LE: Back in the day, mainly “the big three”, as I liked to call them: Fischkopf, Praxis, and DHR. All three stood for a more experimental, adventurous, and eclectic approach to Hardcore and Techno.

It’s funny, nowadays most people would not even connect these three labels with each other anymore, but they shared part of their artist roster and networked together.

I have a special connection to Fischkopf, maybe because it’s based in Hamburg too, and I feel attached to its cold and dark seaport vibes.

And then there’s PCP, a label that has become my overarching desire.

As for today’s influences: I of course love the early Hardcore/Terror revival scene and its artists. Then there are projects that combine HC/Gabber sounds with other extreme genres like punk, rap, and EBM in a very good way (and I don’t mean just sampling).

Plus, there are so many thrilling and inspiring genres around… synthwave, indie pop, witchhouse, black metal…

HCBX: As well as 3 million digital releases on nearly every hard label going, you’ve had vinyl releases on Widerstand, Blut, and Black Monolith to name a few. How do you keep the tracks coming? Which of your releases are you most proud of and why?

LE: The tracks keep coming by themselves – it would be harder for me to stop producing than to just keep going.

Here are some releases that I think might be interesting:

Stirner Trax – I highlighted parts in Stirner’s book (there is only one) which I think express some of the most important and deepest philosophical insights. I recorded myself reading them, then gave them the Slowcore treatment. I also distorted the recordings of the text so that they became incomprehensible. So the meaning got lost, but I think this is exactly the meaning of Stirner’s book too!

All The Beautiful Ones Dance in the Shadows – The story sounds strange, but it’s true: I woke up at 3am one night ’cause the full moon was beaming through my window like a fireball. I thought: “I know exactly what to do”, got out of bed, fired up the computer, started a production session from scratch, and 30 minutes later I had a finished 60-minute album ready!

Love Destroys All Hierarchies – From inception to finish, this project took me 27 years! And it’s the longest Hardcore track ever, running for over 1 hour. It switches between various styles – Doomcore, Hardcore, Speedcore – but is one coherent track. I tried to embed the meaning of love within this hour, but I am not sure anyone has found it yet. Also, I won’t tell you the minute mark.

HCBX: How do you approach the many different styles you produce? Do you wake up and say, “today I’m going to make Slowcore”?

LE: Yes.

HCBX: Straight to the point! What is your studio setup like for producing and for your mixes, and how has this changed over the years?

LE: I actually tried to keep my setup secret, as I thought it would damage my reputation, but I guess my reputation is bad enough anyway (?), so I can let the cat out of the bag as well:

I do everything on lowest budget equipment. I still have a half-damaged stereo from the 90s, I buy €20 headphones at the chain store till they break down and I buy new ones.

I started on Impulse Tracker for MS-DOS in 1996 (my 12"s on Blut, Praxis, and Widerstand were produced that way). Then I switched to Jeskola Buzz Tracker, and almost all my tracks were produced using that program.

Other people told me they never got Buzz to work properly, and indeed it is prone to crashes, but it works for me for some reason.

You know, some people take in dogs that are already missing a limb, an ear, and half their tail... That’s what Buzz is for me. A damaged and discarded app from the history of music production, that grew fond to my heart over the years; and strangely enough, it gives me back amazing music in return (I hope!).

HCBX: Production-wise: what’s your workflow like? While you produce in a number of styles, your sound is unmistakably Low Entropy – how do you create your sound?

LE: Yes. It’s me. It’s the concept of “low entropy” in physics – the second law of thermodynamics. The sound is a representation of that (I hope!).

HCBX: Writing seems to be a big thing for you – you are quite the documentarian of the Hardcore scene with your blogs, essays, and contributions on the likes of Discogs and Reddit. The Hardcore Overdogs is an encyclopaedia for the scene. What attracts you to writing and how do you keep so prolific?

LE: It’s an interesting story, and I don’t think I have told it yet. Back in 2001 I stayed a week in Berlin in order to deliver the CD-R master for my 12" on Praxis to Christoph Fringeli.

While we were hanging out at some café in East Berlin, he mentioned that the situation is dire for underground electronics, as all the major magazines and news outlets were boycotting this scene. And the internet was not really helpful in that regard, either. He suggested that someone should set up a paper fanzine for this sound. He asked me whether this would not be exactly the right thing for me, and when I said yes, he assigned me to that task.

So I got together with a few friends and acquaintances, and we started the Auralsex magazine. I interviewed Dr Macabre for that zine and wrote record reviews etc. It was a xerox magazine, like the old punk fanzines. We had “acolytes” in different German cities to whom we sent a copy, and they then xeroxed 100s more. And we handed them out at parties, squat raves, or sent them by mail to the readers.

It could be that a single issue of our magazine had 10,000 readers or more this way. Which, in retrospect, was quite a large amount for a Hardcore Techno mag on cheap paper that came from the xerox machine.

It was very short-lived though – only 5 or 6 issues. So that was the proper start of my “writing habit” as regards Hardcore Techno.

HCBX: Collaborations, podcasts, sample packs, projects like DJ AI, video production etc. Is there no end to your output? How do you find the time to fit everything in, and what do you like working on most?

LE: No, there is no end to it. I sometimes fear that I have some obsessive-compulsive disorder, like those poor people who need to wash their hands 10 times every 5 minutes. Only that my obsession is to work on art projects.

My “time secret” is that I always have a pen, phone, laptop, or brain with me, and work on my projects while being on the bus, train, having lunch, doing sports, watching TV, or any other “leisure/free time” activity.

HCBX: About Hamburg: you’ve been integral to the city’s Hardcore narrative—what’s Hamburg’s current role in underground electronic music, from your perspective? And how has it changed since you started off?

LE: Hamburg used to be an innovator and had very strong music scenes/subculture. Hamburg was the “hardcore punk capital” for Germany in the 80s, bands like Einstürzende Neubauten were connected to the city, Hamburg was a leading force in Speedcore, and its early Breakcore output was only eclipsed by Berlin.

But at the turn of the millennium, the big gentrification happened, like in many cities around the world. Clubs only played tech house and chic minimal, for people in designer clothes who don’t want to get sweaty. Even the infamous red-light district (St. Pauli!) is now a safe & boring tourist hub.

Here is a story that might show the situation in Hamburg right now: last November I was visiting a Christmas market, and once I got there, I noticed that the most pricey drink did cost €200. And on the way there I passed by an innocently-looking store, yet when I looked through the window I saw they had a €1,000,000 electric sports car on display. Right in the store, just for show! That’s how insane Hamburg is right now. Big money creeping around everywhere...

But I think the underground is slowly rising again, too! And maybe that’s how Hamburg has always been? City of merchants & pirates.

HCBX: What’s next for you? Any big plans in the pipeline?

LE: Yes.

HCBX: Quality! Final note: anything else to get off your chest?

LE: Thanks for having me on the show again. And thanks for having the patience for this very long interview.

And shouts out to all my friends and supporters who stuck around for all these years! Hardcore will never die!

Check out the excellent set here:

And here's the set list:

1. The Devil Himself
2. Three Minutes
3. Fucklove Prophet of Death
4. Napalm Bombing
5. Das Tier (Toccata Und Fuge)
6. Struggle for Power
7. Without Hope (Hopeless Mix)
8. Acid 8
9. Hell Is Only A Word (Believe It Or Not)
10. Underground Anarchy
11. To Some (Other Mix)
12. Billions
13. Die Meister
14. True Faith
15. Bubble Tune
16. Scream for me
17. Death Waits in Samarra

Go further down the Low Entropy rabbit hole with a few links:

The Hardcore Overdogs: The Hardcore Overdogs: The Hardcore Overdogs e-zine turns two!

Doomcore/Omnicore/Slowcore Bandcamp: Music | Doomcore Records

Low Entropy on Discogs: Low Entropy Discography: Vinyl, CDs, & More | Discogs

Low Entropy on YouTube: (783) Low Entropy - YouTube

HCBXCast Vol 62 - Interview with Toxic Den

HCBXCast Vol 62 - Interview With Toxic Den

Straight outta the Dutch underground, Toxic Den makes his debut on HCBXCast with a filthy, early hardcore and terror-fuelled mix. Raised on rave culture around the Amsterdam area, Den’s been living hardcore since day one—and it shows. This set is raw, nasty, and unapologetically heavy. A proper no-holds-barred session from a DJ who lives and breathes the scene. I caught up with TD to ask him a few questions.

You can check out the show on 12th July 2025 at 9pm (UK Time) - Here:

HCBXCast Vol 62 - Toxic Den - 12th July 2025 9pm (UK Time)

When did you first get into Hardcore, and what got you into this style of music? 

I got in to hardcore at a very young age. My uncle was going to parties back then and he always brought something home for me: flyers, t-shirts, CDs,  so I really don't remember which track got me in to hardcore but I've lived it my whole life.

What made you want to become a DJ, and when you made that choice, what gear did you learn on?

When I was 12 we threw a party to end the school year and good family friends helped us set up and then they came over with a fully packed installation with DJ gear. That's the moment I was sold to DJing.  Shortly after I got my first gear and my DJ adventure has started… I started with Numark CDJs  and played the first 2 year on that and after that I traded them for some turntables and an bunch of records.

What's the hardcore techno scene like where you are based? 

I live near by Amsterdam so yeah, we get a lot of parties here in Holland every weekend. I like the smaller early hardcore party’s like Gabber Resistance or real underground hardcore party’s but I've also  been to the most common like Thunderdome, Masters of Hardcore, Pandemonium and so on…

You play a lot of the harder early stuff and pump out some terror - how does that go down with the local Amsterdam crowds?

Sometimes very good, but sometimes the stuff I play is not for everyone, but that's okay.  It depends on the time slot I have to play. If I play early I like to play some slower stuff but if I have to play late... Yeah then you can get some fast pounding terror

What gear are you using now and do you have a preferred way of preparing for a set?

I have a Pioneer XDJ RX1 DJ controller and vinyl turntables 

You seem to have a good few gigs and parties under your belt. What’s been your favourite set to play so far? Any moments that really stuck with you?

The most that really stuck with me was my last performance that was at club Rodenburg… always going there as a visitor but last time it was my turn to play. That one was always on my bucket list so the dream has now come true. Been there many times on the Terrordrang parties from Noisekick and lots of other parties. I've spend a lot of weekends over there so it remind me of some of the best times of my life.

What gear are you using now? And how do you go about selecting tracks for a live set? Do you build around a theme, have it all prepared ahead of the show, or do you wing it based on the crowds?  

I have a Pioneer XDJ RX1 DJ controller and vinyl turntables. It depends on the situation, but I can do everything because you always have to be prepared for the worst. I can select a set but if I know already that the crowd is not up for it I must play then I can switch fast.. so a little tip… always have a back up plan!

What's your go-to track in a set now? Any personal favourites or hidden gems?

That's a hard question.  Of course I have a lot of hidden gems - really a lot!! And also have a lot of go-to tracks so it's hard to narrow it down… But I am a big fan of the French hardcore from back in the day. Not Frenchcore, but French hardcore. You have a lot really really good labels, but my most favourite one is S.O.D.O.M (Slaves of Devil our Master).  I've done did some dedication mixes to labels, so if everyone likes this set, I can make some of these for the next time!

Which DJs or producers are inspiring you right now?

My al time favo Artist is Frantic Freak - got me in to this wonderful world of early hardcore.

I think you've dabbled with a bit of production in the past - any plans for doing any more tracks?

Yeah I do there is a lot more coming in the future. For now though I have nothing planned because I'm going back to school this year to start a producers course for a year, so I can learn more about producing music and we will see what the outcome will be.

Tell us about the set you’ve submitted for HCBXCast?

Oh I'll keep it short… its a fucking nasty one!

What’s coming up for you—any upcoming gigs, guest mixes, or other projects you’re working on?

I have Some gigs confirmed but the producer's course is the priority at the end of this year with full focus on producing - so expect a lot off new stuff coming your way!

Anything else you want to say?

Thanks for asking me it was fun to do an interview like this. Keep underground hardcore Alive!

Follow Toxic Den

https://on.soundcloud.com/E0RqEmhhyBhagIo9Yk

https://www.instagram.com/toxicden_official?igsh=ZTQyd3EyOWo5MGd1&utm_source=qr

https://www.facebook.com/share/15r34bmtib/?mibextid=wwXIfr

DJ Asylum

Sign up to the HCBX Mailing List:

http://eepurl.com/i80rHw

HCBXCast Vol 61 - GabberGirl - Merica: Home Of The Hardcore

GabberGirl is back, and she's bringing in a hardcore fireworks display for USA's Independence Day in the form of HCBX vol 61.  This set is a trip through the US (you know GG likes a themed set!) as she brings you her "Merica - Home of the Hardcore" set.

GG has been collaborating with HCBX since the New Year 90's Madness event at the beginning of 2025 and made her first HCBX appearance in March on Vol 49 where she did an excellent acid fuelled DBN inspired bumper set - this went down with the HCBX crew, and attracted a few new followers (cheers pal!). And more recently she featured on the Summertime Mixmarathon event along with Low Entropy, Nikaj and some other unknown Scottish DJ.

Back to present times - here's the bollocks I spraffed about her 4th July set on the flyer...

"GabberGirl makes her welcome return to HCBXCast with a special themed set for the 4th of July.  Last time, she spun a set of all Midwest Hardcorps heroes.  This time she goes nationwide in the US, bringing you her “’Merica - Home Of The Hardcore”.  This set celebrates some of the heavyweights of hardcore from over the pond, such as Tron, Delta 9, DOA, the Apocalypse crew and many more.  Get ready for 90 mins of rootin’ tootin’ muthafuckin’ hardcore. USA! USA!"

As you may or may not know I've started to do some interviews and articles on the back of these sets, but GG has literally just done a massive interview on Mr Low Entropy's excellent Hardcore Techno Overdogs blog... so I really didn't want to step on the lad's toes (since he's such a nice guy after all).  To compensate - here's the link to what is an excellent interview.  GG has a wealth of hardcore related stories over the years (many of which she's told in HCBX chats, so get yourself involved any time you see her on the chat!) so this is a quality read.

GabberGirl's Overdogs Interview

But I also had an online chat with GG about the set and the work and research she's put into what has turned out to be a wildly diverse (in style) and excellent trip through her homeland.

"I'm so excited for my Independence Day set.  I spun out the set a few times last weekend.  It is a really intense set.  I had to sit on it a couple days.  Last night I listened to one of the recordings and it was AWESOME.  

I just want to say this was a ridiculously hard set for me.  you know I spent weeks and months getting it ready.  I listened to whole discographies of some artists to pick one track.  I did tons of research.  I searched and searched for some tracks of artists who maybe only published a few in the 90's and are hard to find now.  It was a crazy fun adventure.  

The setlist itself has been meticulously planned by GG as it's been split into territories! 

"Once I had the tracks, I had another impossible task to order them.  There are all sorts of tempos and styles represented-- not just hardcore, but also breakcore, noizecore, hardcore techno, acid, speedcore, & doomcore.  I definitely dipped out of my comfort zone with the breakcore and noize.

Plus I wanted to do the regional grouping. This set is comprised by tracks created only by American hardcore producers.  First I hit you hard with the Midwest at 180, back it up to 145 to 160 for a few tracks, then murder you with some 240 as the Midwest heads to the West Coast.  After a few tracks, it drops to 200 with some brutalizing west coast weirdcore, not letting up as we move to the East Coast and some 320 out of NYC.  It levels out again for a while at 200, then 240 for a few, ending at 270.

Oh yeah, I also mixed in 2 of my own tracks from the 90's that I had never released before."

Here are the tracks in all their glory!

MIDWEST

• Bombardier (Iowa)—Unchosen
• Delta 9 (Chicago)—Ground Zero
• The Demix (Milwaukee)—Regolith
• Doormouse (Milwaukee)—Acid Americano
• William Darkzyde (Wisconsin)—End of Days
• Bad Acid Cult (MN)/John F. Ketamine Remix (WI)—Adrift on Celestial Waves
• GabberGirl (Minneapolis)—Gambient Radio
• Laura Grabb (Detroit) & Freddy Fresh (Minneapolis)—Friendly Fuego
• Laura Grabb & Freddy Fresh—La Calendaria (Cuckoo)
• DJ Tron (Chicago)—Demon
• Delta 9—Control

WEST COAST

• Delta 9/Fiend Remix (SoCal)—Control
• GabberGirl (San Francisco)—Meter Murder
• Ron D Core (Los Angeles)—Fuck Deep House
• Flail (San Francisco)—Buckfaster
• Nakedslice (Oakland)—Desperados
• 396 (Oakland)—Fuck You
• Aneurysm (Oakland)—Back Up
• DJ Fiend (SoCal)—Asshole
• Deadly Buda & The Superstars Of Death (LA)—Beats Upon Your Brain

EAST COAST

• Hellz Army (Tyrant & DJ Churchshoes—New York City)— Terrorists Taliban
• Lesbians in their Burquas
• Satronica (Washington DC) & Narc (NY)—Jackrabbit
• Duran Duran Duran (Philadelphia)—Theme
• DJ Tense (NYC) & Deadnoise (AZ)—Dissolution
• Lenny Dee (NYC)—I Don’t Understand This
• Doormouse—1500 Micrograms
• Fury 8 (NYC)—In Her Burqua
• Bombardier (NYC)—Kamphetamine
• Disciples of Annihilation (NYC)—Unleash the Brutality
• Pussyfist (Baroness Jennylee & Jay Maniakal) & PTBS (NYC)—World Eaters
• Doormouse (Miami)—Spring Break Forever
• Amok (NYC)—Twenty Three
• DJ Repete (NYC)—Imortal Kombat
• Nevermind (NYC)—No Surrender (Larry Nevermind Remix)
• Flail (Philadelphia)—A Maze

As you can see from the set list there are some household names, but also some you may not be so familiar with.  Prepare to be educated on some US hardcore!

The momentum continues for GabberGirl with plenty of bookings on the horizon under GG and also her new alias Mechanical Clown.  Massive thanks for the set and hope all you punks enjoy!

Cheers

DJ Asylum

HCBXCast Vol 60 - Interview with Pardonax

HCBXCast 60 – Interview with Pardonax

We welcome Pardonax back to the show. One of the best and most prolific of the current crop of hardcore techno producers (in my humble opinion, of course). When he first jumped on HCBXCast back on vol 13 he played a live set of his own productions and, of course, it was fucking excellent.  This time he's swapping the DAW for a mixer and he has mixed an set of acid flavoured hardcore from the early 90s.  To accompany this cracking set, we got him to answer a few questions.

When did you get into Hardcore Techno, and what was the track that hooked you?

Must have been around 2011/2ish... Not sure when exact. A friend introduced me to what was hardstyle at that moment. But I found it soft too quick. After that I discovered hardcore and soon also early hardcore which quickly grabbed me... Especially with Citrus - Fascination (UK, 1993?) which also helped to grow my love for breakbeats!

What’s your best memory of a party you’ve attended or played at? I take it the Fuckparade event last year where the police cut your set short wasn't one of the best, but what was your memories of that?

Probably the first time I did a performance as Pardonax in 2023 under the public eye. A new era for myself and a step up in my production game. Regarding the Fuckparade thing... It was before my set. Felt more sorry for the crew who organized all. It wasn't their fault but the police avoiding the made up agreement around the dB levels...

You are pretty prolific in releasing tracks. What made you decide to start producing?

Simple as I was bored of hearing the same shit over and over again (same reason I dislike most radio music)

How did you learn to build a track? What did you use at the start, and how have you refined your process? Do you still lean on digital DAWs, or have you worked in any other methods?

I tried to remix parts in traxx that I liked or rebuild them to discover techniques. Which also allowed me to build parts around it into full traxx. But as I like a lot of styles I don't have a certain style element except a raw edge perhaps? I still do use inspirations from other people their work, emotions or just what's in my head.

Regarding equipment... I have used a broken copy of fruity loops 10 since I started. On a more and more broken laptop also... before that I did pure noise music on my iPad. Some off which I sampled in my own work too. But you can't call that a studio really...

Are there any tracks that you’re particularly into right now? And do you have a favourite of your own that you want to talk about?

Mmm... Been digging a bit more in UK hardcore lately. But for me that is all but the Deathchant kinda style. Labels like Tuff Shit, Surgeon 16, Sensory Violation & Outcast Clan kinda material. Decent bpm, dark & rough. As it should.

I will always have a love for gabber styled traxx where I am still more into faster, industrial material. And my number 1 track will always be Final Revolution by R. Wagner on DOM. It also helped raise my interest in lesser known and faster gabber, as heard in UK sets. Which I mainly used to discover new tunes. 

As for my own works... I'd like to put some focus on my Parting Ways track, which I initially made as a sorta goodbye to the scene (at least the production corner). I was so fed up with some things I mention in the last question...  I made this prior to my first performance too and had to use it there for myself.

When I made Parting Ways, I posted it on SoundCloud with a sorta text where I threw out all my irritations at the time.  A lot of people resonated with them and felt sorry I wanted to stop, which surprised me.  But with this track, I more or less got the needed inspiration and motivation again.  As other traxx started to sound like I wanted them. It was meant to be perhaps?

You co-run Speedcore Worldwide, but which other record labels do you follow closely, or feel a connection to?

Not really any. But I check what my friends release on and French labels. Especially France still has interesting releases as they are more open minded as most countries at the moment. Also some Italian, UK or German labels but nothing specific.

Also a I mostly dig into older labels on the regular... As I can discover more material I didn't yet in a better moment of our music. Say period 93-07 for me... Afterwards it got more and more boring for me.

Who’s inspiring you in the scene right now, and what stands out about their work both from a producer and DJ aspect?

ATM... No one really? At least production wise. I take inspiration from older artists more. As more do these days. It's all rinse and repeat.

DJ wise... I must mention L.S.A. or Wolffy. They both do a eclectic mix of more than just traxx which can be seen as hardcore techno. But also from other ends of the spectrum like acid, trance and more. Which makes for a interesting / eclectic tracklist and atmosphere. And also... Avoidance of the known classics...

I would also like to mention Core25 & Soulkeeper. Who have a ear for dark & lesser known material. In the corners where I like to be...

What prompted the switch to DJing recent—or is it something you've always dabbled with?

Always wanted to but vinyl is ATM too hard. My girlfriend also helped me get around with Rekordbox and motivated me which made it a easier step into digital area's. Sometime in the future I'll work on my vinyl skills probably too.

Tell me about the DJ set you've submitted for HCBXCast. Some cracking old school acid hardcore tracks in this.

Well... I have a big love for the sound of 1993. When all the styles of this "house music" which are now subgenres started to merge to their own respective style. But around 92/93 a lot was really more of a crossover and easier to combine...*

Trance, Acid or Techno could easily work in what we saw as the first actual hardcore (techno) records. Which I wanted to show and try and combine... Like a lot did back then and now less and less sadly (take Wolffy, Tec-9 & L.S.A. for example). And I wanted to give my take on it. Also it uses some of my favourite tunes from 92/93... Which I know through my biggest inspiration... Liza N Eliaz.

What does your current studio or live setup look like. In the past you've said you like to restrict your set up and make sound just with what you have. You mention the old faithful laptop. Any hardware, controllers, or effects you rely on for performance or production?

Old crappy laptop still (for the productions...) and I have a slightly newer, working laptop for Ableton for the pure Pardonax sets. Which some redeem as live sets... Which is up for debate. I always called those dead acts (as they weren't that live...).

I use samples mostly and avoid using VSTs or so... Less choice means a more creative thought process to get what I want. And less is more right? I just like to fuck up sounds from others...

Also as I don't wanna sound like every other artist who uses the same pre-set in their VST or watched a bass drum tutorial from DJ Arjuna...

You have a good few records under your belt now. Do you prefer working with vinyl, digital, or a mix of formats?

For now digitally as I can see BPM. I find it hard to hear these ATM which makes it difficult for me... But I've already got enough records for to do something interesting perhaps. But I just can't play them in a set.

What have you got coming up—new releases, shows, or projects?

There should be a 7" with 2 traxx, various digital releases and 2 parties atm. Also have a demo ready which I am sending around atm. Party wise... I probably play at the Fuckparade again or the afterparty... And a set with Wolffy in September.

Besides that... Let's see! I'm more into producing and pissing off people as performing. I don't ask / suck people's dick to get spots on a line-up. The music I do isn't that favoured in Holland anyway I always feel that at least... But I appreciate those who like me for what I do and book me.

Anything else you want to get off your chest?

I love this music and a good amount of it's people who make it. But I hate the biggest part of this scene (these days even more).

There are too many wannabe/cocksucker artists who only work with like minded organisations who don't have passion for what they do. There are a lot of copycats especially when it comes to producers.

Nobody tries to go a bit over the line with different styles. Those that do get shut away... Which is a shame. Dare to experiment a bit! Be it your own traxx or artists that you book for a party. Don't rely on friends and big names. Most are a big name in their head and the people who carry them onto a throne made op bullshit. Don't feed what already has had enough...

I'm happy I have people around me who know what I mean. And a good amount are the people who I talk about. At least some keep it real.

Hardcore is dead, it's just more of the same...

Check out the excellent Pardonax set for HCBXCast 60 here:

You can follow Pardonax on SoundCloud here:  Pardonax