Tag Archives: Hard Bass

Hard Bass: The Last Formation 2019 Review

On Saturday 9 February 2019, 30,000 hard dance fans from all over the world gathered together in the Gelredome for Hard Bass: The Last Formation. For those who don’t know, Hard Bass was an annual party for the last ten years at the Gelredome organized by B2S (one of the major hard dance event organizers in the Netherlands). Last Saturday was the final edition of Hard Bass and the end of one of the largest most popular indoor hard dance events in the world.

What made Hard Bass unique is that, unlike other parties where DJs typically perform one-hour sets back to back (or in some instances longer sets versus other DJs), Hard Bass was notorious for its use of “teams”. The ten-hour long party (as always, not long enough in my opinion) this year was divided into five teams: Blue, Green, Yellow, Red, and Heroes (Ten Years of History). Each team consisted of multiple DJs who perform in a similar style. This edition was coined the “hardest” Hard Bass, which was evidenced by the predominance of rawstyle DJs on the line up – B-Front, Ran-D, Radical Redemption, and E-Force, to name a few.

 

Although my heart beats at 300 beats per minute, I was blown away by the production and music on Saturday night. This truly was a show rather than just a typical rave, so much that at times sitting out in the stands (the Gelredome is large stadium with tiered seating) I felt as though I was watching Hard Bass: The Musical. Each team was provided with a proper introduction and ending similar to the curtain call in play. Once they finished performing their epic last track, the lights would go off, everyone would applaud, and an introduction would start for the next team.

Being from the New York area and having attended multiple Broadway performances, I couldn’t help but wonder what it would be like to attend this as a play where you sit down and watch the performance as if you were watching Phantom of the Opera or Fiddler on the Roof, for instance. All of the elements were there. The stage was a giant space ship, which fit perfectly with the theme, the lasers were out of this world, and of course there was fire, fireworks, and even some theatrics.

The evening truly was a tribute to ten years of hard dance, and to the artists and fans who made it all possible. The music was a quintessential mix of the classics we all know the words to, such as “Imaginary”, “Castles in the Sky”, “You’ve Got the Love”, and “Eternalize”, as well as some new tracks including my one of my personal favorites of the evening, “The Last Resort”.

 

This night was particularly memorable for me because I learned what “kick rolling” was for the first time. As previously mentioned, although I do enjoy rawstyle, I have not had much exposure to it, as it is a stage I don’t typically frequent at festivals. Usually passing by the rawstyle stage at Defqon, Dominator, or Masters of Hardcore, I would always see a large crowd of very tall, buff Dutch guys all moving their hands in a chopping motion to the beat. I figured this was just a dance that everyone did both collectively and individually, for example as gabbers hakken.

 

However, now I know that it is in fact a style of dancing (which is often pre-rehearsed) so that the chopping motion hits right on the beat. The more you know! I found this particularly fascinating because with speedcore/terror we have something similar (albeit less rehearsed and fluid) where when the beat drops you see everyone with one hand to the sky basically having a seizure (don’t judge it until you try it!) 

My favorite team of the evening was definitely Red, and those last few minutes were the perfect ending to the night. I particularly enjoy when rawstyle tracks are sped up, although I guess this would make kick rolling more difficult for some. Rawstyle is known for its brutal kicks, complex layers, and screeches, therefore just kicking it up a bit to 200 beats per minute makes it even better (in my humble opinion).

 

The evening concluded flawlessly with the GPF remix of Killshot-Beastmode, which of course kept me wanting more. The finale of the show consisted of the space ship taking off, closing off a chapter in history of ten years of Hard Bass. What will B2S have for us next?

*Disclaimer: The opinions in this article are strictly my own and do not necessarily reflect the opinions of the companies and organizations I am affiliated with. Furthermore the pictures water marked “Hard Bass” are not my own pictures but rather B2S.

American Gabberfest Retrospective 2017

Thousands of miles separate the concrete jungle from the sweltering west coast heat. Gathered under the high noon of the Las Vegas summer sun, delegates from all over the globe gathered to celebrate hard music as one. Representatives spanning many time zones, countries and genres delivered performances proving that the heart and soul of hardcore is alive in a powerful way. The diversity from style to style and coast to coast did not seem to interrupt the core message that hardcore has captured hearts around the globe. Disciples left their souls on the dance floor of American Gabberfest in the sizzling Las Vegas summer heat—under one love and one very blistering sun.

Despite the sizzling conditions the diverse assemblage delivered heart-stopping sets across the board. Day one included declarations from Australian representatives, DJ Phoenix, Epidemic, and Rohdan. American Gabber Legend Rob Gee also addressed the congress that afternoon on the outdoor main stage, followed by delegates from New York including the Pied Piper of Hard Core, How Hard. Outstanding performances from the Hard Data DJ Team of Deadly Buda, Lostboy and Mindcontroller, CAP, Arcid, Cik, KORE, Inspektor Gadget, Delusion, and so many others to rounded out scorching day one. It was also a proud experience to be invited to represent with some New York City Rawstyle!

Official Timetable American Gabberfest 2017: Congress of the Kickdrum

Day two also proved to be an intense declaration of hard bass including addresses from Flapjack, Acid Enema, System Malfunction, En3rgy, Seppuku, Nekrokick, and Drencrom—among many other dedicated artists.

Aside from the awesome performances, it was an amazing gathering of old school and new school— meeting of the minds  from so many different styles, and walks of life. New friends and old friends intermingling and sharing their passions and talents  was a testament to the music, empowering us to think, connect, share, and learn. This year’s American Gabberfest not only left all the hardcore warriors with memories of an amazing weekend, but was an amazing manifestation of our music as a unified heart beating at a very fast tempo.

World’s First Blockchained DJ Mix Released by Deadly Buda on Musicoin

When DJ Deadly Buda’s “Rock the Blockchain” DJ mix is played on Musicoin.org, fifteen separate electronic dance music tracks and their artists get paid automatically, within seconds.

The system that makes this possible was made public at about 2:00 AM, on August 13, 2017, when Deadly Buda finalized the integration of 19 “smart contracts” on the Musicoin blockchain and attached them to his DJ mix on Musicoin.org. “This will completely change the dance music landscape,” said DJ Deadly Buda, “it’s a

Click here to visit Deadly Buda's Musicoin profile.
Click here to visit Deadly Buda’s Musicoin profile.

development on par with the introduction of the 12” single or the crossfader. It will change the way we do things creatively and the listener will be the winner.”

The DJ mix contains 15 EDM tracks of various genres, hard electronic, dubstep, hardstyle, hard bass, jungle, drum and bass, hardcore techno, shamancore,  tekno, and ambient, by artists Counterstrike, Satroniq & DJ Delirium, Teknoaidi, Subterranean, Cap, M27, Harhor, and Deadly Buda.

The DJ mix format was popularized in the 1970’s and since then has existed in a quasi-legal state. A recorded DJ mix is a continuous blend of several separate songs or “tracks”. To be traditionally legally compliant, this requires numerous permissions, paperwork, and licenses. By the time the paperwork is done, the audience generally considers the music in the mix old, and has moved on to the latest sound in fashion. Consequently, most DJs over the decades haven’t bothered to get the permissions, and have released the mixes “illegally” on cassettes, CDs, and now, SoundCloud and YouTube. Generally, the artists in these mixes aren’t receiving any compensation for their music and oftentimes aren’t even credited as part of the mix.  Many DJs don’t supply playlists due to avoiding scrutiny, time constraints, lack of proper labeling on dance records, or at worst, just wanting all the attention for themselves.

Rock the Blockchain's flyer graphic is from the 1993 Turbo-Zen party in Pittsburgh, PA, High Voltage! The graphics would later be mentioned by Dan Mross in the movie "The Rise and Rise of Bitcoin" for its slogan, Technology Must Be Used to Liberate the Indvidual."
Rock the Blockchain’s flyer graphic is from the 1993 Turbo-Zen party in Pittsburgh, PA, High Voltage! The graphics would later be mentioned by Daniel Mross in the movie “The Rise and Rise of Bitcoin” for its slogan, “Technology Must Be Used to Liberate the Indvidual.”

Ironically, dance music producers make their music specifically so that it can be mixed by DJs, and clamor for popular DJs to use their songs. DJ mixes, though often technically illegal, are the main channel of publicity for smaller dance music scenes or up-and-coming talent. So for the last few decades, the music industry has generally not enforced their copyrights against DJ mixes while retaining their right to do so. Consequently, the DJs, still fearing potential incrimination, can rarely publicize their mixes on a grand scale or derive much more income than money they spent purchasing the records or Mp3s used in the mix. The cumulative effect of this quasi-legality has been that DJ mixes are still considered “underground” even though it is the audience’s preferred manner of listening to dance music.

“The more I understood blockchain technology, the more I realized that the legal problems with the DJ mix were about to be a thing of the past,” stated DJ Deadly Buda. “All the permissions, paperwork, and payments could be done in an instant.”

Blockchain technology is basically a decentralized ledger system maintained by multiple computers. The most popular blockchain in the world is Bitcoin, and it has inspired other blockchains to target specific areas of the world economy. Musicoin, as the name suggests, is geared towards music, musicians, and fans.  When a user plays a song on musicoin.org the artist of the song gets paid one Musicoin (currently worth about $0.01-0.04 USD)—usually in a matter of seconds. This is significantly higher than average artists get paid per play on Spotify or iTunes.

You can sign up to Musicoin here.
You can sign up to Musicoin here.

Furthermore, the Musicoin blockchain system allows an artist to upload a song and attach what is called a “smart contract” that can distribute payments to multiple parties if needed. For example, the smart contract could be programmed so that every time the song is played, the drummer, singer, guitarist, and bassist in a band all split the payment.

“When I realized every song on the Musicoin system had its own payment address, I got as many people I knew that made great music to upload. Then, I asked their permission if I could use their music in my mix,” revealed Deadly Buda. After conferring with some of the artists, realizing they were helping to establish a new paradigm, the following formula was decided: 40% of the mix revenue goes to the DJ, and the remaining 60% is split evenly between each of the songs in the mix. “A DJ spends a lot of time sifting through a lot of bad music to find the gems he or she plays for the public, so I wanted to honor that time and money expenditure while at the same time leaving a fair amount of room for each song to make money as well.”

A new paradigm for how DJ mixes can be made and monetized is now officially live thanks to DJ Deadly Buda and Musicoin, but there is still work to be done says Deadly Buda, “In the very near future, there will probably be just a checkbox an artist can use that gives anyone on the system the right to mix their music so long as they get paid via a smart contract. As soon as that happens, the system will be unstoppable and will benefit the established music industry and new artists alike.”

You can sign up to Musicoin here.