20 best: Hardcore records ever made – FACT magazine
No, silly- the other hardcore.
Young kids fed everything they heard, felt and imagined into the sampler.
“It was mad. It was music made purely for dancing, and it was all over the place, hysterical, very hyper, and kind of crazy. It was the first time that the democracy of the Akai sampler ruled, when young kids fed everything they heard, felt and imagined into the sampler – and out would come the result. You’d hear Jam & Lewis, electro things and pop samples by the likes of A-ha – sometimes they’d be used blatantly and other times their use was more subtle. Hardcore was really a collage-like music – it’s funny to think now that you’d get off on a tune that would sample the theme from Eastenders.”
Novelty waves
Biosphere — Patashnik
Novelty Waves - Biosphere
1995
A reblog from the archives to supplement this interesting read:
How The Internet Transformed The American Rave Scene
A nice, tidy history of rave, and for those of you who were there, you might have the odd flashback. For instance: Massive Magazine. There’s a name I haven’t heard in yeeeeeears. How about Hyperreal.org?
“As a style whose digital nature was encoded into its very name, techno is the music of early adopters. Rather than the smoothly homogenous World Wide Web of today, cyberspace was fragmented, and whether you were on Compuserve or AOL, the codes differed. “When [I] first signed up for the Internet in the early ’90s, [I was] assigned a username, by first and last name,” says Richie Hawtin. “Mine was RH199.” Whomever next signed on that shared his initials, then, would be RH200. Presuming that numbering system kept its pace, Hawtin says that today, “a number assigned anyone would be in the millions and billions. Having a two- or three-digit number dates you as early.”
Many early technology adopters became acquainted with bulletin board services (BBS) and proto-instant-messenger services such as V-Rave (the “V” is for “virtual”). “I got involved with BBS back in 1992,” says Stallings. “It wasn’t even the Internet. You were calling someone’s hard drive, essentially, and typing messages back and forth.
…
Early rave thrived on anonymity, from the multiple aliases of a producer like Hawtin — who went, variously, as F.U.S.E., Plastikman, Circuit Breaker, Concept 1 and Xenon — to the white-label 12-inch, a format whose lack of artist or track information gave it a cultish mythos. Information was scarce. “Other than at raves, there was no environment to talk about [the music],” says Samuel, who was active on MW-Raves and PB-CLE-Raves (Pittsburgh-Cleveland). “When someone put out a new mixtape, it was all over the lists.”“
