Next up on HCBXCast is Doc Ross, coming from Melbourne, Australia, with a set celebrating the sounds of Australian hardcore. A DJ, producer and label boss of Evil Eye Recordings, Doc has been involved in the scene since the early 90s, with a serious history in hardcore, breakcore and speedcore. The set is a mix of all-Australian hardcore, going from the 90s with the likes of Nasenbluten, Fluorocarbon and Epsilon through to current stuff on Evil Eye and newer material from the Doc himself.
The Doc was kind enough to answer a few of my questions on what he's been, and going to be, up to...
DR: Hi mate, thanks for having me on HCBXCast. I was born in Sydney but grew up in Melbourne. My parents are Italian. I've lived in South Africa, Germany and the U.K. I have an ex-wife, two amazing kids, a pet snake, and live on a mountain range 40 km east of Melbourne.
I've been into electronic music since the early 1990s, at the dawn of the rave scene in Australia. As a teenager I was into rock music with electronic sounds, like Pink Floyd, and later to eurodance, house and early techno. As the scene grew I was drawn to the harder end of electronic music, and was heavily influenced by the sounds coming out of Europe and the U.S. which was being played on local radio stations and underground clubs and raves across Melbourne. I've been collecting vinyl since circa 1993, DJ'ing 'professionally' since circa 2005, and producing since circa 2008.
HCBX: You’ve been involved in Australian underground music for a long time. What was the hardcore scene like over there when you first got into it. Was there a particular party or artist that reeled you in? Who were your influences?
DR: The hardcore scene was virtually non-existent in Melbourne during the 1990s. If you were lucky you might hear a hardcore set at a mixed-genre rave or on the radio, and there were a few tiny but memorable hardcore parties. Of course there was no social media (or mobile phones), so parties were advertised through physical flyers, word-of-mouth, or on radio shows. But the broader Melbourne rave scene was booming and often featured European or U.S. headliners. I’m not sure what was happening elsewhere in Australia but I gather there was a small but growing hardcore scene in Sydney and Newcastle, with the Bloody Fist crew leading the way.
Collecting music meant tracking down vinyl (or CDs) at a few dedicated record stores like Central Station and Octave Records. I loved the intensity of the harder sounds and was heavily influenced by artists such as Lenny Dee (who I first saw in Melbourne in 1993), Martin Damm (the Speed Freak), and Marc Acardipane (The Mover), and by labels such as Drop Bass Network, Industrial Strength, Shockwave Recordings, PCP, and a whole host of other legendary labels coming out of Europe and the U.S.
HCBX: This mix that you have sent is an all Australian hardcore affair. A lot of the HCBX regulars, myself included, hold tracks from Australia dear (so naturally, there's a bit of excitement about this one!). Personally, Bloody Fist is one of my favourite labels. What was it about the Australian sound that made it stand out from hardcore coming out of the rest of the world?
DR: The Australian sound was rough, tough, with heavy use of hip-hop rhymes, Aussie samples, and of course breakbeats. It wasn't necessarily 'harder' than European or U.S. productions, but the sound was infamously raw and low-fi. Of course, alot of ‘regular’ hardcore has come out of Australia, but the Bloody Fist sound remains a hallmark.
HCBX: Your label, Evil Eye Recordings, puts out a bit of a range of hardcore with artists like Xylocaine, Dep Affect, Hedonist and Paul Blackout (as well as your own stuff). What was the idea behind starting the label, and what are you looking to achieve with it?
DR: I had multiple reasons for starting the label. First, I’m a strictly vinyl DJ – for better or worse – and I wanted to play my own tunes out. I simply never got into the whole digital side of things. Second, there are no other dedicated labels in Australia releasing hardcore, speedcore and breakcore on vinyl. Third, there are some great artists in Australia and owning a label means being able to release music on vinyl from artists I admire. Let’s face it, digital music gets lost in the digital ocean. Having said all that, the Evil Eye Recordings catalogue is also available in digital format.
I don’t have any particular ambition with the label, but of course I would love to see it grow and gain more recognition as a uniquely Australian label.
HCBX: How do you decide what makes the cut for the label, and is there anything you’re particularly looking for in a release?
DR: I’m proud of the style and quality of tracks that have appeared on the label. There has been a few…missteps (meaning tracks which don’t quite fit, but I won't get into that), but generally the label is about high tempos (200 bpm or above), a ‘traditional’ sound (without being strictly oldschool), good production, and sticking to the strength(s) of the artist.
HCBX: How hard is it releasing music on vinyl these days. I take it it's a bit of investment up front with the cost of pressing records.
DR: There are different ways of going about it but yeah it’s an investment. I pay upfront costs of mastering and pressing. I also do all the artwork and maintain the online pages for the label. Pressing is currently done in France, and distribution is through MaRave Records (also in France). I’m lucky that a good friend runs MaRave Records.
HCBX: What kind of (musical!) gear are you using, both for mixing and producing?
DR: I have a fairly basic setup. For producing I use Ableton Live on a desktop PC with a midi controller, playing through Fostex studio monitors. For mixing I have four (yes, four) Technics 1200s and two Pioneer mixers which all play through the Fostex speakers. Over the years I have spent vastly more money on vinyl than I have on studio gear.
HCBX: Which of your releases are you most proud of and why?
DR: I would say the first two records are my favourites. I like the diversity in the sound and tempo on those records. Not surprisingly, they have been the best sellers.
HCBX: I read you are/were behind the CRACK and TECTONIC parties in Australia. What were these like, and have you got any stories from these periods that you can share? And did the styles differ between the two events?
DR: Yeah, that’s right. I started CRACK in the late 2000s (together with Matt Bleak of Night Terror Recordings) as an underground club night. There was quite a bit of breakcore in Melbourne at that time but CRACK filled the hardcore and speedcore space. Eventually I purchased a dedicated sound system and started doing squat and outdoor parties, including at an old meatworks and an abandoned underground car park. Over the years the lineups included Mark N, Xylocaine, Noisekick, Dep Affect, Tymon, Maladroit, and many others. All great parties.
After a break from DJing and production (due to family) I started TECTONIC. The intent was to focus on techno (which I also love) as well as hardcore. I’ve had the honour of hosting heavyweights including Tripped and Deathmachine. I also run an annual Evil Eye Recordings label night featuring artists that have appeared on the label, and label friends. These parties have been packed, so there is definitely an appetite for harder sounds in Melbourne, but the underground remains relatively tiny.
HCBX: You seem to have had your fingers in a few musical pies over the years, getting involved in as a DJ, producer, promoter and label boss. Which side of it do you enjoy the most, and is there one that you find yourself spending more time on these days?
DR: I love doing all of those things, and each has its highs and lows, but I couldn’t single out any of them as a favourite.
HCBX: When I announced you were doing a set on HCBX, a few of the regulars were asking if you are a real Doctor... And then we went on to chat about if Geoff was actually a chef, and Jon was actually a Dentist etc. Or is it just a name?
DR: I am, but not a medical doctor. I have a PhD in earth sciences, so I'm a scientist by training. After my university studies I worked as a lecturer and researcher in palaeontology (rocks and fossils) in South Africa, Germany and Australia, and published dozens of technical papers. After that I worked in the mining sector, then in the contaminated land industry, and now I work in environment protection.
HCBX: Looking at Australian hardcore, who are some of the artists or labels you think people should be checking out? Is there anyone coming through that you think deserves more attention?
DR: Tricky question. The Australian hardcore scene is split between the old guard who have been around for ages and understand the history and culture, and a younger generation who have grown up on social media and streaming platforms. Amongst the old guard many are still putting out quality music, but it tends to be self-released on platforms like Bandcamp or Soundcloud, so you need to go and find it. The kids will listen to whatever 'hardcore' is being pushed on streaming platforms. Hence, there is little synergy with the older heads, so even if there was emerging talent I wouldn't know about it. Sad, I guess.
HCBX: For this HCBXCast set, you’ve brought together some classics with newer material from yourself and the Evil Eye camp. How did you approach putting the mix together/selecting tracks? Do you plan your sets out, or just hit record and go for it?
DR: Basically I dug out a selection of the best Aussie hardcore and breakcore in the 200 bpm range. As the set is a dedicated podcast I wanted it to have rhythmic drive, so track arrangement and planning was important. For gigs, my sets are less planned and I'll often play through a range of tempos.
HCBX: What’s coming up next for Doc Ross and Evil Eye Recordings? Any new releases, events or other projects in the pipeline that people should keep an eye out for?
DR: Yeah, a lot coming up. Evil Eye 006 is in the works, and a bunch of new hardcore and speedcore tunes I want to get out, as well as some hard techno. Some of this new material will likely go to other labels as record production can't keep pace. However, that might be changing soon (!). There is another Evil Eye label night (the fourth) in the works, as well as tentative plans for warehouse or outdoor events over the summer.
HCBX: Finally, thanks for the cracking set! Anything else you want to get off your chest?
DR: You're very welcome mate. Thanks for the support.
Massive thanks for Doc Ross for the excellent set - You can check it out here from 7th November 2026 at 7pm UK Time: HCBXCast Vol 88 - Doc Ross
And while you are at it - pay a visit to Evil Eye Recordings on Bandcamp here: Evil Eye Recordings - Bandcamp
