HCBX

Tuesday, 4 November 2025

HCBXCast Vol 71 - Interview with Spliff Monk / Hammer Damage

It’s always pleasure to welcome Spliff Monk, AKA Hammer Damage, to HCBXCast. A pivotal figure in the UK hardcore underground, both as producer, DJ and through his influential label Sensory Violation. His latest set is fully 1994 released Dutch Gabber tracks (a golden period for this sound) and is a proper trip down memory lane. The man himself was kind enough to answer some questions.

HCBX: Alright Mike, thanks for coming back on HCBXCast - how the hell are you?

SM: Not too bad...

HCBX: You’ve been involved in hardcore techno for a long time. Can you tell us how it all started — what got you into the music, and how did the Spliff Monk / Hammer Damage aliases come about?

SM: When at school in Bristol I was really into music, it was a good way to escape from the bullshit. I used to go and see indie bands at the Studio and the Bierkeller, so my love of loud music was born. In 1989 went to Reading Festival to see New Order, amongst others, was also lucky enough to see the Stone Roses at Alexandra Palace in the same year. I started to buy more records to add to my collection. In 1990 the electronic stuff was starting to break through, Sweet Exorcist and Tricky Disco on Warp, 808 State and A Guy Called Gerald, (who I saw live in New York that year with the Happy Mondays when the Hacienda took over a club for the New Music Seminar), The KLF, The Orb, Renegade Soundwave and the Shamen released "Entact", I liked the sound, it wasn't like the band music, even though at the time I was still listening to both, have a lot of records from the Manchester scene at the time and also was still seeing bands like the Pixies, Jesus Jones, Ned's, New FADs, My Bloody Valentine and the Inspiral Carpets. I went to Glastonbury that year too, and after the Cure on the main stage what was going down in the travellers' field was certainly an eye opener... The repetitive beats and non-stop attitude was infectious...

The following year started going to free parties, I loved the vibe, I am fairly inept socially, I normally just keep to myself, but this was different, that collective energy, it felt like home... More and more techno was filling out my collection with the UK pressings of R&S Records and UK labels like XL, Kickin, Network and Warp being of particular interest to me. Whilst at Art College in Hereford I used to play DJ sets at indie nights and make mix tapes, mixing all sorts really and in 1992 played my first techno set at a party in Ludlow, playing new stuff like Urban Shakedown, Orbital and Messiah with the tracks I had been collecting like Energy Flash, Mentasm and Dominator... By the Summer of 1993, after I had finished at Art College, some friends and I got together to put on small free parties in our local area, we did parties on and off for the next seven years, including a few club nights at the Niteowl in Cheltenham, barns, tunnels, the occasional forgetting of leads, a few too many fun (and not so fun) encounters with the old bill and a great time had with a farmer and his shotgun!!! We are still friends, we last connected in April, where I got to play a techno set (Spliff Monk - Carry On Up The Lode), it's always good to see everyone and re-connect...

At the end of 1993 I was definitely focusing my record buying exclusively on the electronic stuff, I used to listen to tapes of Colin Dale and Colin Faver nights on Kiss FM, scribbling down the names of the records I liked, recognizing certain tracks from mixtapes we had... It was from one of these tapes that I heard 100% by Total Output and Conquest by LSD Psychology, and after buying the records, I decided for some reason to call the number on the record, where I spoke to Hanni, who invited me up to visit, and it all snowballed from there...

Spliff Monk was a name that came from Art College after shaving my hair off, so I looked like a Buddhist Monk... It may also have had something to do with the almost religious rituals of preparing the spliff, but I can't possibly comment... Hammer Damage came about later, when I started producing, by extracting words from the letters in my name and it had a nice ring to it. It was only years later that I found a 70's punk band from Akron, Ohio, with the same name, so I put the (UK) in brackets so there is no confusion, although as a sign of respect, or to create more confusion, I named SV 011 The Noise Pollution EP after one of their tracks, I thought it was appropriate...

HCBX: Can you call out 5 tracks that have influenced you and got you into harder styles of electronic music?

SM: Instead of tracks I have chosen five records that definitely pushed me towards the harder styles of Electronic Music. All of these EPs were something new and fresh at the time, the distortion and tempos in Alles Naar De Kl-te were like nothing I had heard up to that point, External by Zekt, Acid Relevance by Total Output and Electro Comp by DX-13 had acid lines to die for with some monstrous kicks and there is just something about Psychotic Break by Critical Mass that does it for me, doesn't matter which mix, it's something about the sample, I can't really explain it...

Alles Naar De Kl-te - Euromasters (RSN 44)

Senseless - Zekt (Adam 014)

Clip-Lite EP - Total Output (Hanni 007)

Power Surge - DX-13 (IS 020)

Critical Mass EP - Critical Mass (INT 021)

HCBX: What prompted you to start DJing and producing? I know you've said in the past that Total Output has been a big influence.

SM: The DJing is pretty much covered in the earlier question... But after contacting the Clan, I went up to London and we got on well, I started drawing covers and doing ads for the ITAH zine that they were producing, at New Years 93/94 we took five or six cars up to London for The Institute of Goa New Years bash with PAs from Sean and Hanni. We met loads of great people and partied hard together... I got to play out in London at The Institute of Goa in April of 1994 and World War 4, New Years Eve 1994/95, what a party that was, DJ Freak's set was immense, as was Total Output's PA, I played the first set so had plenty of time to enjoy myself after I had finished... I was also playing out more back home as we put on more parties.

It wasn't until 1996 that I started doing tracks with Sean (Total Output), I would book studio time, turn up with my MC303 and Remix 16 with a bunch of sounds and samples and we would just spend time trying to work out what it was I wanted... Some tracks were finished in a day; others took a little longer. All the tracks I made there between 1996 and 1998 are here, some you will recognize, others probably not...

Hammer Damage - The Early Daze (1996-1998)

I was always learning from Sean, and it set me up for when I went out on my own to produce.

HCBX: What kind of gear did you use in the beginning to produce tracks and mix? Has your set up evolved over time, or do you stick to tried and tested methods?

SM: The first tracks I produced were with Sean, so I can't really give you a list of what we used but by 1998/1999, when I was working at Underground Music, Simon let me use his TR-909 and TB-303, I was running Cubase on an Atari ST with a dodgy Casio CZ-101 keyboard for midi controller. I had already got some bits and pieces, an MC303, a spectral audio protone, a couple of Peavey PMEs, a second hand Akai S950, a Deep Bass 9 (303 emulator), some effects units, pedals and an Akai Remix 16 that I had bought in 1996, which was ideal for collecting my samples, all going through a Behringer 2642 Mixer. Yes it has evolved, the MC 303 went first as it was a real pain in the ass when midi was involved, I have a much better keyboard a Korg Z1, a Nord2 rack, an Akai S5000 from Sean, a second hand MC202, I bought Simon's TB303 off him, a Jomox Airbase 99 (909/808 analog drum machine emulator), a Lexicon Vortex, other FX units, valve Parametric EQ, a bigger mixer and more recently I have got the Behringer 303 and 909 clones... The majority is still analog. I am also well behind the times, running Cubase 5 on a Windows 7 laptop, but it was the most stable it had ever been...

HCBX: Sensory Violation was a flippin' brilliant label that really pushed limits of hardcore (in my humble opinion). It's thrown out some amazing tracks (mostly your own - I've probably told you at some point that Help Us and No More (with Nevermind and Tyrant) are a couple of my favourite tracks of all time). How did you get it off the ground, and would you ever go back to it?

SB: Thank you, I appreciate the love, makes it all worth while... I was working at Underground Music at the end of 1998, into 1999. Was pretty hectic at the time, Luke was starting Rebel Scum, Matt was starting Corrupt, Freak was starting Boneheddz, so with Simons help I put together The Acid Casualty EP, which was a collection of tracks I had made with Sean in 1996/97 that hadn't seen the light of day, and Sensory Violation was born... Was a hell of a ride... It gave me the opportunity to put my stuff out there, and also the music of people I liked in the scene. I just love the fact that John Peel played a track off the first EP, and it wasn't The Demons!!! (Hammer Damage - Psycho (John Peel Radio Show)) As for going back, I don't think so, but never say never. I started a new label, Bass Line Disorder, a couple of years back with a release by Total Output, and I'm still trying to sell them
(Bassline Disorder on Bandcamp)! Nowadays you have to do a low press run and charge too much, it's a vicious cycle and sort of a little dis-heartening... Hopefully there will still be Hammer Damage stuff coming out on vinyl, it just will be on other labels, fingers crossed...

HCBX: Running a label in such an underground scene can’t have been easy. What were some of the biggest challenges you faced trying to keep things going — especially in and before social media and the likes of Bandcamp came along?

SM: Simon at Underground Music does a fantastic job for our scene in this country, and credit must go to him, with his contacts in the UK, Europe, Australia and America distribution was not an issue, promotion was done through postcards and the Underground Datafile, which was a zine that I helped out on at the time and we sent out the releases to many DJs, including John Peel, which really is the best promotion. The challenges were really just getting the music done, I am restricted really to one track at a time, because of the way I work, and some took much longer than others, I had many, many different versions before I got to the final track... And I'm not really good at chasing people up, so the SV010 release took quite some time to sort out, but was definitely worth the wait...

HCBX: One thing that I'll forever dig about your Hammer Damage tracks is your samples. I've started doing sample source videos on the channel, and it would be good to do a Hammer Damage special but wouldn't know where you get half the samples from as there's a few obscure ones! How do you approach sampling when you are producing?

SM: I'm glad you like them, would love to see the Hammer Damage special, (I'll do you a list of the ones I can remember!) always wanted to do a visual thing with a live PA where the samples would be accompanied with their matching videos, just never got around to it... I normally start with the samples I am going to use, they are usually integral to the track, although that isn't always the case. I hugely enjoy films, especially UK stuff, horror and sci-fi, cartoons, comedy, documentaries and other weird TV stuff. Would also record comedy stuff and news reports from the TV, like Brass Eye, which pops up in Monumental Depression, then try and find more obscure stuff by the same person, so I found loads of good samples in Chris Morris's early radio work on GLR which ended up in They're All Cunts, with other samples from The Day Today (Radio 4 version), MC Hammer (from the single which I bought especially), The Carpenters (which was from a friends tape from his car. I took the front off the tape deck and manually fucked it up with my finger!!!), The Dead Kennedys (from a CD) and Derek & Clive (from my record collection) just to mix things up...

HCBX: Playing live - You've done this loads as a DJ and a producer - what's been a highlight for you? And have there been any interesting stories you want to share?

SM: I haven't really done that many compared to others, but I prefer doing live PAs as I'm more focused, when I started I used to take most of my kit out and run a track on Cubase that I would have written for the night, Help Us was the second half of my first PA in Rotterdam at Connected, the reason for the really long sample was to give me enough time to load the next track in to the Atari and the Remix 16, had got the samples from a bootleg video, and a couple came up to me after the PA and couldn't understand how I had sampled something they had just seen at the cinema before they came out! At Deliverance in Preston everything crashed half way through my set, so Jaseion had to play some tracks off his Amiga while I sorted everything out, but all was okay in the end. I love Live Evil London, I went to the first one as a punter and have been lucky enough to have played there many times, lots of great nights, got to meet lots of other producers, was an incredible time. I liked to go when I wasn't playing too, just to have a night out listening to the music that does it for me, surrounded by like-minded people, my hardcore family...

The parties in Scotland were always pretty good too, they certainly know how to party up there, and the after parties were always fun, such friendly people all round... And then there's the Geordie Gabba Mafia's Fuelled By Hate boat party... The only time I have played in the Toon but what a night that was... Three people fell in, the boat didn't go anywhere, it was very loud, the people who lived around the quay were definitely not too pleased about a 3 deck, oh no, make that 2 deck set from La Peste, as there wasn't enough room for the third deck, the speakers had to go back because they wouldn't fit through the doors, the ones they got in certainly made most things vibrate including your internal organs, was a cracking night though, met some great people and had a mental time... Had good times in France, Belgium, Holland and America too... Have also really enjoyed playing at the Unit recently, it has a really good underground vibe that brings back memories of early squat parties, the sound system is really loud for the size of the building it is in, just the way we like it, although it was pretty cold in February last year!!! Much more comfortable in the Summer!

HCBX: You've worked with a lot of great artists and some real influential hardcore heads, who have you enjoyed working with most, and is there someone you wish you'd worked with, but haven't?

SM: For enjoyment I guess it would have to be those early days with Sean in his studio under the stairs in Croydon... It was proper escapism for me. Apart from those tracks we haven't ever done anything together, which would be interesting. We had a little jam a couple of years back when he came up for a few days, 303 onslaught...

As for working with others, me and Matt Green were supposed to do a PA together at a Rebellion Christmas party at the Void in 1999, with the first UK appearance of a certain Micropoint PA, but alas, that never happened, I would have paid to see that!!!

HCBX: What are you most proud of out of all you have done in music?

SM: Well, being played on John Peel's show is pretty high up there and receiving copies of my first release on Outcast Clan, but a few years ago I got an email from a bod from the British Library, I think it was during Covid. So, after the lockdowns I went up to the library to give him copies of all of my UK releases, which you can now listen to in the British Library Listening Room... They're All Cunts, in the British Library... Priceless... They will be put safely in the Library vault with all the other records, mind blowing really... Legacy I guess...

HCBX: Your upcoming HCBXCast set is already shaping up to be a monster - previously you have played a full 1993 set. This one is the sequel! Can you tell us a bit about how you approached putting this one together and what made you focus on Dutch Gabber?

SM: I essentially open Discogs, where I have catalogued my collection, put the date in and see what there is, for 1994 I have over 100 records and I noticed 40 of them were from Dutch Labels, which at the time I was pretty into and I haven't really played them for ages, so I pulled them all out, had a few listening sessions to see what tracks I wanted to use off each EP, checked out their tempos, had a mix with certain tracks at certain tempos to see what goes well with each other, plan out roughly where I'm going to start and then commit to a mix, with a pretty firm idea where it's going to go.

HCBX: Further to these themed sets, your Sensory Violation sets on HardSound Radio were as good as you would imagine. You got any other themed sets you want to do?

SM: I really enjoyed doing the SV ones, sort of gave me a chance to reflect on what all the people involved did, including myself, and as a collection I am really proud of what we released. I also love the Drop Bass Network one I did during lockdown 2.0, it's such a good label and was good to spend the time listening through all the vinyl before the mix, you can find it here...

I Love Drop Bass Network : Mix for Hardsound Radio

I was thinking about doing an Outcast Clan one as I have the complete collection and Epiteth would be fun as well...

HCBX: What's your thoughts on Hardcore Techno and the scene these days? Anyone out there (DJ or Producers) that you are digging or taking inspiration from?

SM: Have been reading How Music Works by David Byrne (from Talking Heads) and in it he discusses how bands sounds change with the size of venues that they play in. I believe that this is the way Hardcore Techno has gone, as the parties got much bigger, the sound became more expansive, there was more clarity, and the sound fundamentally changed to fill the larger spaces, I personally prefer the dirtier sounds of the past, but I also prefer smaller, more intimate venues. So it's each to their own I guess... Not overly keen on the glossy photos of moody DJs either but I understand that it is part of it now, it used to be about the music, not image, not likes, not followers, just faceless techno bollox, I prefer the simpler times. As for artists, I don't really listen to too much new stuff, the Oraj tracks on Sodom 21 were pretty cool, am still loving Total Output's new stuff, always enjoy the hard acid so liked Sean and Crabby's releases on AVC and Agro's last release on Epsilon 4, also noticed a new release from Acidgun on Audio Riots, although it doesn't seem to be on vinyl, loved his track on EAR, but that was years ago now... Matt Green's new stuff always stands out, Lorra Laffz on Must Trust was an absolute belter, again shame no vinyl, but that is the way it is.. I am also partial to a little bit of Perc, especially the EAS acid stuff, it is a lot of fun mixing his tracks into some of the early techno stuff, it just sort of elevates it to another level...

HCBX: What's the plans for the future? Any releases or gigs planned?

SM: I haven't been very productive this year, I have a load of samples, just haven't found the drive to get going, although I did finish a track for Larry at Apocalypse Recordings, clocking in at 300bpm with vocals from Alex B from Inebrious Bastard/Leech Woman/Shitspitter, so that should see the light of day at some point in the future... Have also started compiling stuff for a book about the Outcast Clan, which will hopefully be a collection of stories, a chat with Sean and a compilation of the zines ITAH and UTR that I was involved with between 93 and 95, have just finished scanning over 200 pages and there is a huge amount of hardcore history that many have never seen, a good snap shot of what was going on back then... As for gigs, I don't really get out as much as I used to. I don't really do the digital thing and there isn't a huge demand for vinyl DJs... Any promoters out there want a brutal acidic hardcore live PA then I will happily oblige... Get in touch... sensoryviolation@hotmail.com

HCBX: Finally - anything else you want to get off your chest?

SM: Not without getting myself into trouble, so I'll pass on that one...

Although... Legalizing cannabis in this backwards thinking country would be a good start...

Until the next time... Enjoy the mix...

Links and stuff

HCBXCast Vol 71 - Spliff Monk 8th November 2025

Hammer Damage On Bandcamp

Sensory Violation Discogs

Mashed up stuff for mashed up people... https://flamingpigs.co.uk/

Picture credits...

Bredon Hill, 1993 - Unknown

121, Railton Rd, 1996 - Nod

Deliverance, 2000 - Stef

Fuelled By Hate, 2001 - Mel (I think)

Live Evil 7, 2002 - Matt Wood

Class vs Trash, 2007 - Azil De Flous

Psicose, 2023 - Harm Veenstra

Tuesday, 28 October 2025

HCBXCast Vol 70 - Interview With Nikaj

Nikaj — the vinyl-first (but not always!) DJ behind Pure & Obscure and Gabberet — is one of those DJs who lives in his record crates. He’s submitted a bunch of HCBXCast mixes, founded our Mixmarathon sessions with Gabbergirl, Low Entropy and myself, and runs multi-genre shows like Mainstream Pollution. Now he’s doing a joint set with me tackling Bloody Fist and various offshoot labels which is going live on 1st November. I catch up with him to ask some questions where we dig into his love of vinyl, how he keeps so prolific on DJ sets, and the labels he is involved in.

HCBX: Alright Nikaj, how the hell are you?

Nikaj: I'm doing fine. I've been busy with work and preparing for various mixes. By the way, nice interview you did with Deadnoise for your latest podcast on HCBX. I too practiced for years on other people's turntables, but that was because I was a poor wretch. I sucked at mixing for years because of it! His favourite tracks are also high on my list.

HCBX: You’re known as a vinyl-first DJ with a proper collection — how did that obsession start, and what’s the story of the first record that made you think “this is my thing”?

Nikaj: Actually, you have to go back to 1989. That’s when I started collecting 7"s, 12"s, and LPs and also did tape trading — exchanging cassettes with people through the mail. In the beginning it was mainly Grindcore, Death Metal, and Crustcore, and after a few years also Techno and Hardcore. I also played in a band at that time.

In 1994, I started buying Hardcore, but it was too late to re-purchase all those great tracks from 1993. Most of them I bought in obscure record stores or from DJs who stopped, and later when Discogs came up. I did hear these tracks through all the tapes I received — Turbulentie Radio (Rotterdam), Delta and Balans (The Hague), but also the first five volumes of Thunderdome and some other compilation albums of that time — all of which were my inspiration.

That early Hardcore Techno Gabber has always fascinated me because of its simple structure and straight-in-your-face approach.

HCBX: You've spoken about how the more obscure hardcore and gabber tracks around 1993 hooked you to the genre, what are your favourite tracks from this period?

Nikaj: Ultraviolence – Psycho Drama is my favourite album of all time. But also Embolism, Gabbanation, Hellfish, GTI, Lasse Steen and all of those great releases back then inspired me so much.

My next upcoming mix on HCBX is all about that era.

Natas - Interview at 200.

Marc Acardipane - Give Me a White Line.

Took me years to find it but finally got it in via Hard Wax in Berlin.

Enfant Terrible - P.W.A.

BSE DJ Team - Outbreak

DJ Dano - Welcome To The Thunderdome.

HCBX: Pure & Obscure and the Gabbaret connections show you wear a few hats in the scene — label runner, producer, curator and DJ. Which of those roles do you enjoy the most?

Nikaj: Actually, I don't find being a label owner all that interesting. I do it to be free in releasing whatever I want and supporting the producers. Producers get far too little credit for what they do — many DJs don’t even add a tracklist, that’s a bloody shame.

The other day I heard a Hysta mix — all boring Hardstyle and a few happy tracks. Reading the comments, it seemed like she’d just pulled off a miracle, even though it was just hits and no one seemed to care which tracks were which. DJs like that play for people who don’t have a real passion for this music. It’s a cheap shot.

Many DJs take themselves too seriously and are adored for something that anyone can easily learn. Marc N, Flapkack, Q-Bert, X-Ecutioners — those are truly excellent DJs and that’s really hard to learn. But Hysta, Lil Texas, Darkraver and the rest who go with the flow don’t do anything special.

HCBX: You’ve done several sets on HCBXCast and the Mixmarathon sessions and are pretty prolific when it comes to mixing — do you plan your sets out, or just hit records and see what happens?

Nikaj: With hardcore, I often just play whatever comes to mind, but the problem is that it takes longer to find the right track, and sometimes you’re not satisfied afterwards. That’s why I’ve been preparing everything lately.

With the multi-genre Mainstream Pollution podcasts, I have to prepare carefully because the styles don’t always match well. I played the first one unprepared — that was more random luck than conscious choice.

HCBX: What kind of gear do you use for mixing and your various other artist endeavours?

Nikaj: Two Synq record turntables or Virtual DJ, a Xone 23 mixer, Yamaha RMX1 sequencer, Ableton, and I master with Audacity.

HCBX: Your Mainstream Pollution Podcast shows cover a wild range of genres. How does running a multi-genre podcast differ from the way you build a hardcore/gabber set, if at all?

Nikaj: Actually, this podcast is something Low Entropy, Gabbergirl and I mostly do intuitively.

I usually collaborate with another DJ on one mix. I ask them to use a wide range of styles that suit their taste, and then I supplement that with other styles to create a varied end result.

In my experience, that’s much harder to put together than a random hardcore set. But that’s what appeals to me, even though I sometimes feel like we’re only a small group of enthusiasts who enjoy this kind of mixing.

HCBX: Tell us about your record collection — you have a lot of classics and some more (pure and) obscure releases. Do you chase labels, eras, regional scenes or is it more personal? Is there a particular record you are really attached to?

Nikaj: I have about 1500 records, mainly Hardcore, Techno and Terror from 1991 to 1997.

What I like most are the first 40 volumes of Mokum and Rotterdam Records; the first 20 of Terror Traxx, Hardstuff, Rave Records, No Respect, Reload, Drop Bass, Labworks, Djax, Bloody Fist, Force Inc, Industrial Strength, Deathchant, Twisted Vinyl, Fischkopf, Strike, Juncolor, Overdrive, Nordcore, Gabbanation, Ruffneck, and Knor, to name a few.

But also those obscure records from 1993, often released on tiny labels — I’ve managed to get quite a few of those.

HCBX: Pure & Obscure releases / collabs with Gabbaret show you’re well versed in putting music out as well as spinning it. How do you decide what’s right for the label(s)?

Nikaj: That’s the hardest part of Pure & Obscure and Gabbaret for me. I prefer to approach people based on tracks they already have available — that way I know the final result and like it already.

When people send me things themselves, I often agree to tracks I’m not fully into. The quality of tracks from 1993–1995 was so good — Thunderdome 1–5 was 90% top quality — it’s hard to get that same level in 2025.

With Breakcore, I have that problem much less because the producers there are more in tune with what I like.

HCBX: You’ve played with Gabbergirl, Low Entropy and myself for Mixmarathon sessions — what did you take from those back-to-back marathon experiences? Any weird technical or creative lessons?

Nikaj: The Mixmarathon is a really fun project with people who complement each other in tracklisting but don’t resort to shameless classics or styles that don’t suit us. Jumpstyle, Hardstyle, Happy Hardcore, and Uptempo are not welcome.

The Mixmarathon always has a specific structure — from slow to fast, calm to hard. You have to get a feel for tracklisting, just like a producer needs to structure their track.

I hope we can build a community by inviting more DJs — with the four of us, our supporters, and the guests we bring in, I hope we grow a bigger audience. I try to play records people remember from the past but haven’t heard in a long time, and when I play newer stuff I want to surprise people and make them curious.

A DJ needs to find a public that matches his taste — not be a clown doing Ableton mashups of The First Rebirth with Stereo Murder. That’s poser stuff for nitwits with no musical background.

I’m always learning. In the first episode we used Ambient, which I felt was too far-fetched for a Hardcore Mixmarathon. In the second one I made a Mainstream Hardcore part that didn’t match your more obscure selections, so I changed it to pure Gabber — that fit much better.

HCBX: How do you balance nostalgia for the 90s/early-2000s gabber sound with modern releases and keeping people interested in newer tracks and sounds?

Nikaj: I specifically seek out artists who still use those ‘90s styles — people like Wardyyr, Low Entropy, O.p.b., Don Distorted, James F, and King Cog. I’m proud of what they’ve created for our label.

I work intuitively and hope it makes people happy — never for commercial reasons. For Gabbaret, it’s the same. We don’t make money anyway, so we may as well do what we love.

HCBX: There’s a strong DIY culture in the hardcore/gabber scene — is Pure & Obscure / Gabberet trying to capture a specific DIY ethos? What's the future for these labels?

Nikaj: The future for labels like Gabbaret and Pure & Obscure will continue as long as underground subcultures exist. I’ve been part of that DIY movement since 1989 — we did tape trading, played small gigs, and made music ourselves.

Back then it was letters and tapes; now it’s podcasts, Bandcamp, and social media. The DIY spirit still exists — just in a new form. It’s much easier and cheaper to build a scene now, but the heart of it is still the same.

HCBX: Are there any producers, labels or DJs out there that are inspiring you these days — who should our readers be checking out right now in your opinion?

Nikaj: There are too many to name. Besides hardcore, I’ve been into Igorrr, Methods of Mayhem, Mindustries, Starving Insect, Dev Null, Deathchant, Enduser, Doormouse, Groinibard — and also your recent stuff is great!

I also enjoy electronic folk music from the Arab world. Artists like Wardyyr (who released on our label) are doing pure analog, raw stuff I love. Maladroit, Unstable Tone, Impotentacles, and M5K have released or are releasing great material on Gabberet.

HCBX: What’s next for Nikaj, Pure & Obscure and the Gabberet project? Any releases, collabs or trips we should know about?

Nikaj:

A new Mixmarathon on January 1st

A new episode of the Break The Core various artists album on Gabberet around Christmas

A new Mainstr€am Pollution podcast from Ben (Gabberet) and me under a new alias: The Gabbaret Panthers — out now

A Bloody Fist tribute set from you and me for the HCBX Podcast this coming week

A strictly 1993 mix mentioned above

An Impotentacles release on Mainstream Pollution Records in the coming months

A joint release from DJ Asylum and King Cog, date TBA

Next year, I hope the Tales of the 90’s CD is finished — lots of work and still saving up for its release

HCBX: Anything else you want to get off your chest?

Nikaj: Lots of respect to you for building this HCBX network full of exciting DJs — 100% no Classics and Uptempo guaranteed! Gabbergirl, Low Entropy, King Cog, JD NoiZe, Ben Jalvingh — and all the DJs and producers still creating beats because they follow their taste, not because the mainstream polluted media or fans asked them.

Check out Nikaj vs DJ Asylum on HCBXCast 70 here (broadcast date 1st November 2025): HCBXCast Vol 70

This is the link to Pure & Obscure: Pure & Obscure

And Gabberet here: Gabberet Records

Sunday, 26 October 2025

THROWBACK — HCBXCast Vol 38 – Kampfgeschwader303 (26 October 2024)

This time in 2024 I was absolutely chuffed to get Kampfgeschwader303 on HCBXCast. He delivered a full live acid jam — pure hardware, pure distortion, pure chaos. Here’s what I said at the time

"A very special edition of HCBXCast – We have Kampfgeschwader303 performing a full set of Acid Terror specially prepared for you lovely HCBXCast listeners. The Austrian Acid maestro gets the hardware out and cranks the distortion up to 11 to create some brutal sounds for your enjoyment. I'm really proud to get the fella on the show doing a set like this – you're in for an acidic treat."

▶️ Listen / Download

YouTube:

Bandcamp (Free Download): https://hcbx.bandcamp.com/track/hcbxcast-vol-38-kampfgeschwader303

No set list for this one – it was a full live acid hardware jam.

Follow HCBX: https://m.facebook.com/hxcbxx

Tags: HCBXCast, Kampfgeschwader303, Hardcore Techno, Gabber, Acid Hardcore, Throwback, Mixes

#HCBXCast #Kampfgeschwader303 #HardcoreTechno #Gabber #AcidHardcore #Throwback

Thursday, 23 October 2025

HCBXCast Vol 69 - Interview With Deadnoise

I'm more than chuffed to get Deadnoise back on the show, the U.S.-based DJ and producer who made his first appearance on HCBXCast Vol. 42. Known for his hard as fuck hardcore and speedcore sets, top mixing skills and track releases on the likes of Apocalypse Recordings - Deadnoise has long been a pillar of the American hardcore underground. His latest mix for Vol. 69 is a brutal masterclass in hardcore excess. You don't want to miss this one. The man himself took time to answer a few questions.

HCBX: Alright Deadnoise, welcome back on HCBXCast. What have you been up to?

DN: Glad to be back on. It's hard to believe that almost a year since my first HCBXCast. Since then, I have been recording mixes and TRYING to finish new music.

HCBX: You’ve been involved in the hardcore and speedcore scene since the 90s — how did it all start for you? What first pulled you toward this type of music? Was there a particular track?

DN: I spent the early to mid 1990's writing graffiti and painting freight trains in Arizona. It was though the graffiti scene that I was first exposed electronic music and Hardcore when a friend lent me a mixtape that had "TRANCE" written on it. I have no clue who made the mix or if it was good but I do remember hearing tracks from Bodylotion, Krimson, Gizmo, Short Circuit, and Neophyte. Shortly after hearing that tape I began to buy whatever Hardcore vinyl I could get my hands on. Unfortunately the only two stores that carried Hardcore were located in Phoenix so I had to drive 2 hours each way and HOPE they had something worth buying.

Here are a few of tracks that really got me into Hardcore:

Parrot Torture - Angel of Amphetemin

Speed Nova - Impulse

Odysee II - Domino

Son Of A Bitch - Sucker

Sorcerer - Winter

Neophyte - In Your Head

HCBX: How did you get into mixing? Was there a party that made you say: "I'm going to do that"? And what gear did you start on?

DN: I have always been interested in DJing. Even as a child I remember seeing Run DMC and was fascinated by what Jam Master Jay was doing. In middle school I used to order pro audio catalogs so I could look at turntables and the rack-mounted mixers made by MTX, Numark, and Biamp.

I had a few friends that owned 1200's but I could only practice on their schedules. When I finally did get my first set of 1200s, I would spend 10+ hours mixing every day. Once I was confident in my abilities, I began recording mixes and sending them to promoters and record labels asking for promos or information on where to get their releases.

I remember receiving records, flyers, stickers, letters, and information about distributors from DJ Freak and Michael Zosel at Shockwave. Through them and others I met Stefan at Sound Base, Simon at Underground Music, and Rubick at Mad Dog Distro. Meeting Rubick changed everything for me. When I started to produce professional mixtapes I sent him 100+ copies and in return he would send me a box of vinyl. He continued to send boxes for several years and kept me supplied with amazing vinyl I couldn't find anywhere else. I owed a lot to him.

HCBX: You've played gigs all over the shop, what's been your most memorable moment over the years?

I've had amazing and terrible bookings over the years. Some of the most memorable Arizona parties were Hiatus, Synthetics, Lotus, Blue Balls, and Tranceformtion 2000.

I started getting booked in Los Angeles in 1999 and played a lot of amazing and horrible events out there. I was fortunate to have caught the tail end of 1990's Los Angeles Hardcore scene so I had pretty consistent bookings there for several years.

Europe was always amazing. I could play the hardest/fastest records I had and never had an empty room. Paris was probably one of the most memorable. Tense and I went to a party the night before and got absolutely smashed. The next day we were so hung over we could feel the earth spinning. Nevermind had flown into Paris the next day to join the tour we were on and we ended up playing a killer party called Alternation 2119.

HCBX: How has your gear set up evolved over time? Both for mixing and producing?

DN: For mixing it was 1200's and various mixers. I made "Sinistrum" and "Shit Hemorrhage" on a super cheap 2 channel "American DJ" mixer that outlasted my Vestax mixers.

Currently I am using the Pioneer XDJ-XZ and I love this thing. Vinyl DJing will always be my first choice but mixing with WAV/FLAC opens up so many possibilities that aren't there with vinyl.

For production I use a PC and a tracker. I started Fast Tracker II then eventually moved on to Mad Tracker. We all used Mad Tracker for about 6-7 years until Fiend introduced us to Renoise. I think our music improved when we made the change to Renoise. We could finally use VST/VSTi without it slowing our computers down.

HCBX: You've had a load of cracking tracks out over the years, on Apocalypse, TNI, SWAN and Shit N Gutz (my personal favourites have been Suspiria and King Of The Witches). Which of your releases stand out for you/are you most proud of and why?

DN: I am proud of Arrogant, Suspiria, King Of The Witches, and XRCSM. I don't consider myself a great producer but I have been very lucky to have music released on some cool labels. I still have a lot to learn and hopefully a long life to learn it.

HCBX: Your connection with Apocalypse Recordings has been a constant. How did that relationship come about, and what has working with Larry Nevermind and the label meant for you as an artist?

DN: In 1998 I started working with Jon Berry at Industrial Strength, he became my manager and took care of everything relating to bookings and promotion. Through Jon Berry I was able to get a several page feature in Mixer magazine and was part of an article about American Hardcore artists in URB magazine.

In early 1999, Jon introduced me to Siege from Siege & Menace at a party outside of Los Angeles that Lenny Dee, Simon Underground, and Siege were playing. Siege had recently started a new management agency called Coalition Management, which already had Tron, Tense, and Nevermind on board.

Later that same year, I met Fiend at a party I was playing in Los Angeles. Siege managed to get all of us connected and not long after, Fiend and I joined Apocalypse Recordings.

Working with Apocalypse has been amazing. I trust Larry and I know he loves the music as much as I do and is in it for the right reason. He doesn't use the label to promote himself at the expense of everything else. The label doesn't change with what's popular and releases music that fits with the label.

HCBX: There’s a distinct Deadnoise sound in what you produce. What’s your process when you sit down to make a track or build a mix even?

DN: There is? It's mostly luck. I don't have a specific process when writing music. It's all trial and error until something comes together. I wish I did have a process because I end up getting in my own way most of the time.

HCBX: Who's inspiring you now in hardcore, either producer or DJ?

DN: Producers: Bumphead, Lord Terror, Rottencore, Darkside9878, Nevermind, Fiend, Virtue, The Ctrl, Hellcreator, RedOgre, Desolation, and Sucre Rose.

When it comes to mixes I am very selective. There are only a few DJs I listen to — Dan Efex, Tron, Fiend, Nevermind, DJ Raf, and Hellcreator. The last HCBXCast Tony Katana was killer mix.

HCBX: Stateside, there’s a long history in hardcore. How is the scene in Arizona, and how has this lasted the test of time?

DN: Arizona has always been weird for Hardcore. I have played Les Diaboliques, Dj Freak, Skullblower, Napalm and had full rooms that went crazy. The following week I couldn't play anything above 190 BPM.

Arizona has had a handful of Hardcore DJs/producers since the mid 1990s with The AZHCJ, but I am the only one that played Industrial and Speedcore. Forsaken Is Dead was releasing a lot of music for awhile but he has disappeared.

It's been a while since I have played in Arizona but harder music is starting to make a comeback here. There are a few local DJs that play hard Techno and Gabber so hopefully the scene will continue to grow.

HCBX: You've got the TNI label night coming up in Switzerland soon. Congratulations, there's a quality line up at that too! What are your plans for that and what type of set are you going for?

DN: I pulled the usual 1990s and early 2000s Speedcore. I approach parties differently than recorded mixes and play whatever seems to work for the room. I practice so much and know my music so well that I rarely run into problems and my live sets are just as clean 98% of the time.

HCBX: Let’s talk about your HCBXCast Vol. 69 set — it’s an absolute onslaught - fuckin brutal stuff. What was the thinking behind the set? Was it planned or did you just press record?

DN: When I make a mix there is always some amount of planning. I have played classical piano for most of my life, so I approach my mixes with the same attention to detail and preparation.

I start by pulling tracks I like and listen to them until I memorize all the changes and length of phrases. Once that is done I typically record 3-4 different mixes with the same tracks and use the best one. I feel that mixes show what you are capable of and should be as clean as possible. I refuse to put my name on a sub par mix.

HCBX: What’s next for Deadnoise — any new releases, collaborations, or gigs on the horizon?

DN: I am currently working on some solo tracks and a few collaborations Nevermind. I have a good booking in Phoenix on February 21st, 2026 with a killer line-up. Hopefully it's one those parties I can play Speedcore at, but if it isn't I will have a bunch of 1993 Gabber. I am open to playing more parties in the future.

HCBX: Anything else you want to get off your chest?

DN: In the words of the great Bob Barker: "Help control the pet population — have your pets spayed or neutered."

Thanks to Deadnoise for taking the time — catch his full HCBXCast Vol. 69 on Saturday 25th October here: HCBXCast Vol 69 - Deadnoise

Follow Deadnoise on SoundCloud: Deadnoise SC

Thursday, 16 October 2025

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

Wednesday, 17 September 2025

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