Tag Archives: The Hard Data

Satronica Pre-HE Interview

The hardcore poet is back again gracing the interwebs of THD. About to jump the stage at Hard Electronic this weekend, we figured we’d get a little more info about what’s driving the man behind the mic…

So for new readers, let’s cover the basics…

I live in NYC, which influenced my music as I was able to get a lot of help from artists like Lenny Dee and The Horrorist early in my career. I think in NYC you have the ability to be very experimental in your approach – and this is probably also an influence.

What’s the story behind your DJ Name?

It was just my original Instant Messenger name 🙂 I think I thought it sounded like a combination of satan and electronica. I have no idea why I chose that but could never think of anything that sounded better when I decided to focus on an electronic music project.

Who or what events were responsible for making the Satronica we know today?

Mom making me take piano lessons. Being in junior high and high school band. Being in a high school punk band. Being in a college math rock band. Meeting Alex Chesler in college – the brother of the Horrorist and starting to work on electronic music with him in a project called Acrosome.

Satronica Logo

 What’s the crux of your musical message now?

Obviously politics but more and more these days the ability to escape from the never ending barrage of hate and stupidity we see on the news every day.

What moment do you cherish the most so far in your career?

First time playing at Dominator. Putting out my first vinyl release on Industrial Strength. Playing at the legendary CBGB’s where I was on same stage as Ramones, Dictators, Wayne County, Blondie, and countless other legendary and not so legendary acts that had played there before.

Satronica appears at Hard Electronic Sept. 8 and 9, 2017
Satronica appears at Hard Electronic Sept. 8 and 9, 2017

What specifically are you planning to give to the audience at Hard Electronic?

Lots of new hard tracks from my label with Delirium – Kontaminated Recordings. Tracks from new project called Doom Mekanik coming out soon on Hard Electronic. Lots of my vocal tracks! 😊

What is something you really want to tell the public that we might not have asked about?

The Hard Data rocks – so happy someone is taking an interest in and writing about this scene.

Thanks Matt, we’ll bribe you with some Musicoin for saying nice things about us after the party this week! 😀

http://www.facebook.com/satronica

http://www.discogs.com/artist/satronica

http://www.industrialstrengthrecords.com/artists/satronica.html

http://www.twitter.com/satronica

Malke Pre-HE Interview!

Hard Electronic addicts in the USA are in for a treat this month, as Malke brings his musical artistry to New York and Los Angeles. For those of you not familiar with him yet, we were able to get a few words out of him while he was preparing for the shows.

Ok Malke, tell us the basics…

I’m from Campo Grande, Brazil. There I’ve had the opportunity to enjoy dance music at clubs at early age, which instilled a passion for the music right away.

What’s the story behind your DJ Name?

Well, Malke is actually one of my surnames, so that was kind of easy to come up with.

What are you trying to convey with your music? 

Energy and excitement are the two words that best describe what I want to deliver to the audience. I love to blend the chaos of metal music concerts with the danceable mood of the clubs and festivals. Sometimes the lyrics on my tracks have deeper messages related with politics and society but some others I’ve only looked for cool sounding words and that’s it.

Malke killing the drums!
Malke killing the drums!

What moments do you cherish the most so far in your career as an artist?

If I had to pick just a few I’d definitely pick my first international gig in Venezuela and my moving to Europe was another really important step up in my career. Playing at Nature One this year was definitely out of the chain but also my debut album on Industrial Strength Records is something I am really proud of.

What can the audience expect from you at Hard Electronic?

I brought all my collection, from Techno to extreme Hardcore, so I have the freedom, within my style, to follow what I feel the crowd is wanting to hear at each moment.

 Anything extra you want to say before signing off?

Thank you to all hard electronic music supporters out there, you really rock!

This is what Malke looks like when the party gets pumping!
This is what Malke looks like when the party gets pumping!

Videos:

https://www.youtube.com/watch?v=sFeA1pw7NUU

https://www.youtube.com/watch?v=syc2jRVJP3M

https://www.youtube.com/watch?v=cxclyX1xlow

http://www.bandsintown.com/Malke%28official%29

Webpage & Socials

www.mariomalke.com

https://www.facebook.com/mariomalke

http://www.youtube.com/mariomalke

https://soundcloud.com/malke

http://www.mixcloud.com/mariomalke7

https://twitter.com/mariomalke

http://mixlr.com/mario-malke/me

 

The Hard Data and Musicoin Pilot Program Report

The Hard Data is an electronic dance music magazine, both print and online, that focuses on several small sub-genres of EDM music. The Musicoin Foundation oversees the maintenance and promotion of a music-focused cryptocurrency called Musicoin. In August of 2017, the two entities endeavored on a pilot program to find out how Musicoin might positively effect a small music scene, and at the same time see if that scene would embrace Musicoin. The program lasted until August 31, 2017. This report was written on the evening of August 30, 2017.

The 31-day program consisted of the following aspects:

  1. The Hard Data would pay writers, photographers, web developers, social media sharers, and artists with Musicoin for the month, in an effort to familiarize the creative base of The Hard Data with the cryptocurrency.
  2. The Hard Data would encourage user sign-ups for Musicoin.
  3. The Hard Data would accept Musicoin for magazine subscriptions and t-shirt sales.

Results

During the pilot program, theharddata.com doubled its readership. Over 2,500 unique users visited thehardddata.com in August, only a little over 1,200 users had visited the site in June and July, respectively.

theharddata.com also greatly increased its flow of content.
23 unique articles were published on theharddata.com during the program, four posts were on its Steemit.com page, three posts were translated to Russian for Golos.io, and a press release and a unique Facebook photo album were uploaded to The Hard Data’s Facebook page. As of this writing, there are still a few articles and photos expected under the program that still need turned in and published after the August 31 deadline. However, the bulk of expected content (35 articles) was on schedule.

The type of content expanded.
During the program, several articles were translated by the community from English into the following languages: Russian, German, and Spanish. This was a new development for theharddata.com, and seemed instigated by the offer of Musicoin for the work.

Adoption of Musicoin by The Hard Data’s creative community was good, especially considering the vast majority of the community was only barely familiar with Bitcoin.
A total of 15 creative contributors were paid with Musicoin during the program, of those, and only four had ever owned a cryptocurrency previously.

During the program, the price of Musicoin tripled.
On August 1, Musiccoin was priced at about .015 USD, and rose to  .048 USD by August 29. This of course intrigued the new adopters. However, many have not taken the required steps they would need to actually sell the Musicoin on Bittrex or Cryptopia because the process is still confusing to them.

During the beginning of the Pilot Program, the biggest hurdle was simply talking to potential users to get them to sign-up for an account and get in the system. About a week-and-a-half was spent focusing on this before the bulk of content could be created in the program.

Users were also paid to share content via social media.
This part of the program was less successful than the content creation in that not as many users signed-up for this task. This was perhaps because The Hard Data was primarily focused on content creation, and spent more time reaching out to those potential users. That said, by the time this article is read by the majority of the public, over 1,050 links back to content generated during the Pilot Program will have been shared on social media. So, the word got out none-the-less, but it would have been nice to have a larger number of users aggressively sharing the content.

67 New Users signed-up via The Hard Data’s sign-up link during the Pilot Program.
12 of these would release music on the platform. Two of these users also contributed to content on theharddata.com. So, of 67 sign-ups, 24 (36%) were active creators in some way to the music ecosystem facilitated by Musicoin.

0 subscriptions or t-shirts were purchased with Musicoin during the Pilot Program.
This was disappointing. However, there was no real online-shopping cart for users to make a purchase. Essentially, the purchase would have had to be made via Musicoin’s commenting interface built into musicoin.org, and would have required theharddata.com to comment back and then contact via email to complete the transaction. So, this aspect of the Pilot Program I believe is only a failure because of the technical handicaps and time constraints.

An unexpected result of the Pilot Program was that the first blockchain-enabled DJ mix was created, which garnered outside press on at least three well-known cryptocurrency websites and brought attention to Musicoin.

Pending Results

There are still a few loose-ends to tie-up to relevant to the Pilot Program. These pending results of the Pilot Program won’t have much directly measurable results with the public though, and as such were considered a secondary priority. Nonetheless, they are expected to be completed shortly.

These aspects currently in process are: a modified version of this report will appear in the print version of The Hard Data magazine. There are several jobs for the print issue that still must be finalized by its publication on September 21. Initially, the print magazine was scheduled for the last week of August. However, Insomniac Eventsthe USA’s largest EDM show produceragreed to buy an ad in the upcoming issue, and the artwork will not be ready until the first week of September. I decided it would be best to delay the printing a week or two to facilitate the nation’s largest event company in the magazine’s space.

3.5 hours are still pending on web development tasks. The proposed tasks were integrating Musicoin with theharddata.com via API more directly, and streamlining various aspects of the site.

Conclusion

Obviously, I have a biased conclusion being the publisher of The Hard Data. However, I think the numbers support my view that the Pilot Program achieved important goals.

  1. It introduced users unfamiliar with cryptocurrency to accept the currency in exchange for services.
  2. Because content creators were paid, it doubled the readership of the site, and generated more, better, and wider-ranging content, expanding the music ecosystem with which the magazine and Musicoin was involved with.
  3. Musicoin tripled in price. Though the Pilot Program was not solely responsible for the uptick in price, it was an active and visible participant aggressively spreading the word of Musicoin’s adoption to crypto and non-crypto users, which was recognized by the crypto community.

Ultimately, I believe the Pilot Program demonstrates that Musicoin can have a profound impact on a small music scene and these techniques can be extrapolated to larger music ecosystems. It can be reasonably concluded that the only things delaying Musicoin’s greater adoption can mostly be solved by mere manpower. The Hard Data/Musicoin Pilot Program has established that non-crypto users will accept and adopt the usage of Musicoin in exchange for services and listening to music.

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.

The Mover: Selected Classics Plattenkritik

(Im Original geschrieben von Colby X, übersetzt von Sönke Moehl)

Dance Music trat in verschiedenen Phasen in mein Leben. Ich wuchs an der Ostküste in den 80ern auf und Cybotron, Strafe, Run DMC waren frühe ballistische Raketen die mich in der dritten Klasse trafen, als mein Sportlehrer Linoleummatten ausbreitete und versuchte einem Raum voller Vorstadtkinder Breakdance beizubringen. Hip Hop und Electro wurden meine erste Liebe, gefüttert durch New Yorker Radiosender, und ab Anfang 1988 durch tägliche Dosen von Yo! MTV Raps und Rap City. In 1988 betraten auch “Good Life” und “Big Fun” mein Leben mit Hilfe von Metromix Sessions auf Pittsburgher Radiosendern, die ich auf Kassette aufnahm. Obwohl ich keine Ahnung davon hatte wer die Belleville Three waren, waren diese Tracks meine Einführung in den Sound of Detroit.

Zuhause mit The Mover: Selected Classics und einigem Spielzeug

Ich begann mehr und mehr Musik zu hören, und mein Geschmack erweiterte sich und schloss elektronische Pioniere wie Yello und Art of Noise mit ein, aber merkwürdigerweise war es die Demoscene welche mein Interesse Richtung Techno lenkte. Für die, die es nicht wissen, in den 90ern haben verschiedene Gruppen von Programmierern “Demos” geschrieben – eigenständige Programme mit eigener Kunst, bewegter Grafik und Musik, um ihre künstlerischen Talente auszudrücken. Verbreitet wurden diese Demos auf Computer Bulletin Board Systems und man konnte sie (sehr) langsam mit Dial-Up Modems herunterladen, und diese Demos wurden fortlaufend umwerfender mit jedem neuen Release, da die Künstler ihre digitalen Zaubereien verfeinerten, oft so, dass sie gleichwertig oder besser waren als die beliebten Videospiele ihrer Zeit. Und die Musik kickte mich richtig – Soundtracks mit eigenständiger Musik von der ich bald erfuhr, dass es sich um Techno, Trance und Ambient handelte. Die Demoscene brachte mich dazu, tiefer zu suchen – zugegebenermaßen erstmal oberflächlich, da einiger meiner ersten Käufe kitschige Compilations aus Einkaufszentren waren. Aber alles änderte sich nachdem Deadly Buda von The Hard Data den Power Rave ’92 organisierte – mein erster Rave – auf einer Rollschuhbahn in der Nähe von Pittsburgh. Die Musik in dieser Nacht war härter und düsterer als alles was ich jemals gehört hatte, und als die Nacht zu Ende war, reichten mir die Compilations aus den Einkaufszentren auf keinen Fall mehr. Ich kaufte mein erstes Mixtape bei Turbo Zen – Budas Plattenladen – und außerdem die erste Industrial Strength Record Compilation. Der erste Track auf der CD war “We Have Arrived” von Mescalinium United, welcher inzwischen als der Track bekannt ist, der die Geburt von Hardcore Techno einleitete. Der Titel konnte nicht zutreffender sein, und ich war sofort süchtig – ein ganz neuer Ansatz bezüglich der 808s und 909s die meine frühen musikalischen Interessen bereicherten.

Industrial Strength ISCD1: Die Compilation die mich 1992 mit The Mover bekannt gemacht hat

Obwohl ich so viele Parties in Pittsburgh besuchte wie ich konnte, wurde Marc Acardipane (und seine vielen Aliasse) schnell einer meiner Lieblingskünstler. Ich zerstörte viele Lautsprecher zu “Nightflight (Non-Stop To Kaos)” in den kommenden Jahren – pass auf deine Bassboxen auf, sag ich dir – und vielleicht tue ich gerade das gleiche, 25 Jahre später, während ich diesen Text schreibe.

Die 2×12″ mit “Selected Classics” wurde auf Killekills Sublabel Boidae veröffentlicht, lizensiert von Acardipanes neuem Planet Phuture Label. Selbst für eine 33 Rpm Produktion klingen die Hihats und Snares klar und deutlich, und die unterschwelligen Basslines sind dick genug um deine Zahnfüllungen wackeln zu lassen. Die Trackauswahl ist sorgfältig kuratiert und neu remastered, und reicht von dem erwähnten “We Have Arrived” (ursprünglich in 1989 aufgenommen und in 1990 veröffentlicht) hin zu Albumtracks aus “Final Sickness” von 1993 (Planet Core Productions) und “Frontal Frustration” von 2002 (Tresor), und den EPs die dazwischen released wurden. Schmerzlich vermisst auf dieser 12″ wird der Track “Over Land & Sea” von der Signs of ’96 EP, ein langsamer, brodelnder Track der in einen Choral des Dooms voller alptraumhafter, dröhnenden Basslines und Crashes kulminiert. Dystopisches 3-Uhr-morgens Nebel- und Strobo-Material, das bis zum heutigen Tag unbedingt in einem Film verwendet werden sollte. (Digitale Käufer dieses Releases werden sich freuen, dass der Track enthalten ist, sowie “Spirit Slasher” von 2002). Man findet hier auch den kickenden “Waves Of Life” mit seinen treibenden Vocal- und Synth-Stabs die in einer wahrhaft himmlischen Coda enden, den desorientierenden, schweren Wirbel von “Reflections of 2017”, und das perkussive, eindringliche “Astral Demons” mit seiner absolut fantastischen Stereoakrobatik.

Als ein vollkommen indoktrinierter Fan sind alle diese Tracks in meine Psyche eingebrannt, aber für die Uneingeweihten sollte diese Sammlung eine wirklich lohnende Reise in diese einzigartige Energie und lebhafte Bilderwelt von The Mover sein. Für diejenigen welche in all den Jahren den Mythos von Acardipanes “See You in 2017” Botschaft entschlüsseln wollten (für einen tieferen Einblick in diese Sache lies dir auf jeden Fall die Frühlingsausgabe 2017 von The Hard Data durch), nun ja, “We have arrived”. Heutzutage lassen Aphex Twin und Nina Kraviz Mover Tracks auf einen ganz neue Generation von Menschenmengen auf Festivals los. Acardipane hat wieder ein weiteres Label seinem Oeuvre hinzugefügt (das Erscheinen von Planet Phuture), und uns erwartet ein neues Mover Album diesen Herbst. Ich will keine politischen Gemüter verärgern, aber war “The Emperor Takes Place” prophetisch?

Bis zum heutigen Tag klingt das immer noch wie einige der futuristischsten Sachen die ich jemals gehört habe, und trifft beängstigend genau ins Ziel. Willkommen in 2017 – endlich. Seit 2002 ruhend und nun auferstanden wie ein dunkler Phönix ist The Mover zurück – wie es seinen treuen Hörern vorausgesagt wurde.