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Tag Archives: DJ Scud

Zombieflesheater -7″Samurai-flux

7″ vinyl only set – ruff as usual. It was originally planned to be played at a party wich seven samurai records as host of the evening had to cancel due problems with the main organisator of that event.


01.Dj Scud – Sick In The Head
02.Rotator – Help Me To Keep Up Destruction
03.Saoulaterre – Ntm Nique La Police
04.I-Sound – Dog Years
05.Minion – End
06.Scud & Nomex – Eurostar
07.Gai/Jin – M.O.D. Theme
08.Donna Summer – Awkward Song About Love
09.Fanny – Stealing & Sabotage
10.Bombardier – Betrayal
11.Perplex Barquettes – Raw Mars Wars
12.John Dark – Terreur Et Voisinage
13.Enzyme – Die Maus Mit Der Grashalmflöte (Suburban Trash Remix Pt.2)
14.aleXdee – Rush (Society Suckers Remix)
15.Statas – Syphilis Unbound
16.Kid606 – Mix
17.Pisstank – Kicking It Straight To You
18.Noize Punishment – Sick
19.Bloodclaat Gangsta Youth – Kill Or Be Killed
20.Snares Man! – Clearance Bin
21.Kovert – Hybrid Riddim (Murderation Mix)
22.Rich Kid – Badman Anthem (Soundbwoy Remember This!)
23.DJ Scud – One (Is The Lonliest Number) (The Rudeboy Remix)
24.Fast Forward – Sexless
25.Jah Vengeance – No Light (Version)
26.The Comformist – This Is War!
27.Istari Lasterfahrer – Bombaclat
28.Zombieflesheater – The Riddim

Here’s a collection of some nice flyers from the very past

Sorry for the partyflock logos, but there’s where the original ones are hosted (and you can see them on the website without logo)

Start The 98th Level · Activate Your Hardcore

Freitag der 13.


Beschädigt vs. Hardest Underground · The Need For Speed!

Audio Death

Hard as Hell

Supersonic Technicum

Turntable Terrorists

One Year Hardest Club Under Earth

Shadowlands · Rave Underground power

Crapshoot Hardcore · In Germany

Fuckparade · 1998

Synthetic War II

Tanz der Teufel

Riot in the city

Mibo’s 20th Anniversary

Hell ou Wien · Gabba & Acid on two floors

Remember Bunker · Terror On 2 Floors!


Doomsday · 2 years of SN.Hartcore

Hellcore on Christmas



The Story Of The Cenobites

Cosmetisc Stäbchen

Deadly Illusions

Back To Castle!

Hamburg Hardcore

Embrace The Darkness · Part II

Digital Illusion

1 Jahr Hakke im Stellwerk

3 Jahre Klangkrieg

Terrorize Twister · from dusk till dawn

Total Darkness · Symbiont

International Underground

Alle im Eimer! · Love & Fuck Chillout

Electronic Invasion

Planet Hardcore

Dark Energy Rhythm

Mibo’s 21st Anniversary

Hard ‘n’ Dark

Embrace The Darkness · Part III

Uwaga II


Operation Nordcore IV · We Call It Hartcore!

Eardrug · Never underestimate the power of hardcore

End of Days

Scheiß aufs Millenium, Wir wollen Hardcore

Staddome · Hardcore Night

Hamburg vs. Berlin · part II

Utterly Wipe Out!

Hell or heaven · part 1

Fuckparade 2k Party

Bass Parade

Utterly Wipe Out



Break Down The Walls

Dark Energy Rhythm · part II

Skull ‘n Bones Party

Well Darkness III

Sir Harris Tunes · Beat Offensive

Peace Off Records


Utterly Wipe Out!

Welcome To Hell · Hakk Up Your X-Mas

Utterly Wipe Out!

When Techno meets Hardhouse

Spectral Noise

Utterly Wipe Out!

Hell or heaven · part 2

From Hell · The Dark Side Of Easter


Utterly Wipe Out!

Big Bang

Nuclear Overkill

Strukturbruch · Auftakt


Utterly Wipe Out!

Tresor.core special

Fuckparade 2001 · International Underground

Bloody Fist

Bloody Fist

Aderlass · Bloody Fist

Live Evil London V

Strukturbruch · Concrete Jungle

Cross Fade Enter Tainment · Get Fucked

Nuclear Overkill II · Battle Of Underground

Terror Struck · DJ Twilight Bday

Strukturbruch · Konsequenz

Death In the Town


Nuclear Overkill · Hardcore Ueber Alles

Live Evil 666

Klangkrieg · Neo Rave

Doomsday · 5 Years

Utterly Wipe Out!


Sick & Twisted

Smash Capitalism

Utterly Wipe Out!

All-Out Demolition

Enter the Deathchant

Hell or heaven · part 4


Sick & Twisted

Utterly Wipe Out!

Live Evil 7

Corefusion II


Morgengrauen · From Industrial To Speedcore

No Speed Limit

Fuckparade · Soli & WarmUp-Party

Sick & Twisted

Utterly Wipe Out!

All-Out Demolition · II

Utterly Wipe Out!

Strukturbruch und Widerstand

Broken Beat Madness

Hell or heaven · part 5

Sick & Twisted

Utterly Wipe Out!

Nordcore Attack

Hakke meets Tekkno 1

Klangkrieg · Low Pop Artefacts

Doomsday · 666 year of Sn.hc

thanks to the original uploaders!

25/07/2010 – Night On Earth Radio Show #04: Ludicus, Incongritus Ac Devianus

A selection of outsider, unclassable, playful and deviant music on vinyl by Madame Patate and Tzii



THE UNRULY GUTS (Perislatic Sounds In Gastrointestinal Obstruction: A Self-diagnostic Tool): Intro&Physics
COLUMN ONE: Queens Of Alley
BEN VAUTIER: Some Ideas For Fluxus
CAN: Cutaway
SOY CARNE: I’ll Mail This To You
CAROLINER: Rainbow Made Of Meat
THE THE / MATT JOHNSON: Three Orange Kisses From Kazan
RICK RUE: Voices From The Inner Aer
MELTED MEN: Abdominal Snowman
DEAD HUSBANDS: Necrostate Nine
AEROBIC GYM: Nana-Banana
AMBROSE KELLY REYNOLDS: Assassin’s Bullet – Edward Fitzgerald kennedy
WAVING ONDULATA: Mozart’s Love Letter
HUMAN FLESH: (Only A) Human Being
BENE GESSERIT: Japanese Song
JON HASSELL / BRIAN ENO: Griot (Over”Contagious”Magic)
V/A SPRIGS OF TIME: Madras 1906
LAIBACH: Across The Universe

Madame Patate:

STEVE REICH: Clapping Music
OVAL: Compact Disc
ASA CHANG: Kuutsu #3
LUCKY DRAGON: Pleasanterie
RETRO SEX GALAXY: Improved Funnel
JOE MEEK: Valley of the Saroos / The beat of my heart / I’m waiting for tomorrow
THE DREAMS: 1st Secret Island
MOONDOG: Tree Trail
GOLLIARD: Exul Ego Clericus
FERIEN IN DEM BERGEN: Echo von Matterhorn
ISAO TOMITA: Daphnis &Chloé
NICO: Mütterlein

Tzii + Madame Patate:

PSYCHIC TV: Je T’aime (Menstrual Mix)
V/VM: (The One Armed Drummer From Def Leppard)
COWBOY GERARD: De Geschiedenis Herhaalt Zich
JOHN JACOB NILES: The Frog Went Courting
MIKE COMTE: Sweet Dreams
DANIEL JOHNSTON: No More Pushing Joe Around
RENALDO AND THE LOAF: (Melvyn’s Repose)
KATERINE: Le Silence de l’Aprés Midi
GOODIEPAL: Nag Nag Bacon
USKE ORCHESTRA: Jacked (Duracell Mix)
BENE GESSERIT: La Chanson d’Ugly
LIKE A TIM: Forever Young
A HACK & A HANDSAW: Maremaillette
BENE GESSERIT: La Brabançonne (Belgian National Anthem)
TURBULENCE: Un Jour Hiroshima


20/06/2010 Night On Earth Radio Show #03: Naïnetize Breakzzz

Pour cette troisième émission Night On Earth sort les vieilles plaques de breaks corrosifs du 20° siècle. Souvenez vous les naïnetize quand on pouvait entendre le noise de Nomex dans “Total Destruction” mixé par Radio Bomb dans un hangar à Fontainebleau 2h00 avant de se faire gazer par les CRS au petit matin! L’époque de l’aventure et du chaos, celle pendant laquelle quelques labels se comptant sur les doigts de la main produisaient des rythmes cassés raclant le tympan avec des distortions bon marché et des amigas de vide-greniers à travers un mastering fait dans la baignoire.
Une approche de la musique électronique antidancefloor et pourtant farouchement stimulante. Un son porté par les sales gosses de la teuf, insolents, avec qu’une envie foutre la merde dans le dancefloor et attendre le signe que c’est un bon set: quand le gars à qui appartient le sound system habitué à la hardtek commence à avoir une goutte de sueur en entendant ses caissons de basse gronder et ses tweeters crier! L’angoisse dans ses yeux tout simplement parcequ’il n’avait toujours pas compris la différence entre distortion et saturation.
Avant que certains formate un genre qui n’en était pas un puisque basé sur l’expérimentation et en fasse la “musique de la teuf du week-end” ou plus personne n’est surpris. Certains organisateurs allant même jusqu’à répondre “ne pas vouloir prendre de risques” en ne programmant pas certains artistes. La politique du non-risque!!! qui l’eut cru!! “Fake people with fake ideals” diront nous, ou plutôt les appellerons nous les fossoyeurs de l’audace et de l’expérimentation, ils en ont creusé la tombe.
Ainsi à l’instar d’une musique industrielle ayant été formaté par certains opportunistes après les années 1970 alors qu’informatable PAR ESSENCE, les breaks saturées et déstructurés des années 1990 furent formaté dans les années 2000, on y a même donné un nom honteux et galvaudé: le breakcore. Cette émission traite donc de l’époque ou le soi-disant breakcore n’avait même pas encore de nom et foutait la merde dans les sound system….nous vous invitons chez les vieux cons du “c’était mieux avant”, live en hardware et mix tout en vinyl bien évidemment!
Mais surtout rapellez vous que “c’est pas tant que c’était mieux avant, c’est surtout que y a toujours mieux à faire… ”


flyer by LWIK



JACKAL & HIDE: untitled (AMBUSH 01)
APHASIC + DJ SCUD: untitled (AMBUSH 02)
MWARF: Pillar (AMBUSH 05)
AXL&NT: Va Fa Enculo (NO-TEK05)
DJ SCUD: Mash The Place Up (AMBUSH 04)
SHIZUO: Morphine (SHIZUO 01)
SCUD & NOMEX: Total Destruction (MASCHINENBAU 02)
ATARI TEENAGE RIOT: We’ve ot The Fucking Power (DHR 12)
PISSTANK: Beat Me Daddy (Eight To The Bar) (KOOL POP 12.004)
J-SLIM: untitled (ADDICT 003)


VZR: They Call Him King (IRRITANT 20)
DURAN DURAN DURAN: Who Gonna Survive America? (IRRITANT 20)
CPUWAR: I’ve Got Nil (KOOL POP 12.004)
STUNT ROCK: If I would have opened w/ a noise track everyone would think I’m tough, right? (ADDICT 006)
PISSTANK: Twatstep (KOOL POP 12.004)
RUDE BOY: Discipline of DE (KOOL POP 12.002)
STUNT ROCK: Untitled (ADDICT 004)
EITERHERD: Keine Luegen! (No Lies) (WIDERSTAND LP01 / PRAXIS 30)
RUDE BOY: Are You Down (With The Underground?) (KOOL POP 12.002)
NOMEX: Silence In The Burrow / No-Step 2000 (PRAXIS 33)


11/04/2010 Night On Earth Radio Show #02 Featuring Margaret Lanterman aka The Log Lady

For this second broadcast Night On Earth Records received a very special guest: Margaret Lanterman, better known as “The Log Lady”, coming straight from Twin Peaks, Washington (USA). She concocted a playlist of his own and presented personnally the pieces. She knows the forest like no one does but unfortunately do not speak French, English was an issue …. she apologizes!


PART 01:

The Log Lady: The one leading to the many
GAMABOY: Departure

The Log Lady: Watch and see what life teach us
PERGOLESI: Stabat Mater

The Log Lady: Some ideas arrive in a form a of a dream
BLUE BOB: City Of Dreams

The Log Lady: One day the sadness will end
RAISON D’ETRE: The Well Of Sadness

The Log Lady: Look in the mirror, what do you see? Is it a dream or a nightmare?

The Log Lady: Sometimes my anger at the fire is evident
ZERO KAMA: Inauguration Of The Pleasure Dome

The Log Lady: There is no beauty if the eyes are soulless
HERBST9 vs Z’EV: Awakening Of The Soulless

The Log Lady: Am I being too secretive?
DAVID LYNCH: Ghost Of Love

PART 02:

The Log Lady: Does answers comes in dreams?

The Log Lady: what if cream corn figure into the working of the universe?
FRANK PAHL + KLIMPEREI: Richelieu Cream With Praline Hit

The Log Lady:letters and words calling out for understanding
1997EV: Wet Sun

The Log Lady: sometimes when we are ill, we are not on our best behaviour
BAIN WOLFKIND: This Town Will Kill You

The Log Lady: the case of the two headed shizofrenic
L’ACEPHALE: From A Miserable Abode

The Log Lady: As a wise person says with a smile, the answer is within the question
CONSONO: For there is no answer

The Log Lady: a poem as lovely as a tree
NEOTROPIC: If we were trees

The Log Lady: Balance is the key to many things
COH: Isbn No Balance

The Log Lady: So now the sadness comes
ANGELO BADALAMENTI: Questions in a world of blue (Vocal Julee Cruise)

The Log Lady: what is the secret to the pure and simple life?
IRM: Revelation Pure

PART 03:

The Log Lady: We paint our future with every present brushstroke
LAIBACH: We Are Forging The Future

The Log Lady: Is a dog men’s best friend

The Log Lady: When I see a fire I feel my anger rising

The Log Lady: Is love the blood of the universe?

The Log Lady: A death mask is almost an intrusion on a beautiful memory
NADJA: Dead Skin Mask (Slayer cover)

The Log Lady: How many drawer pull exist in this world?
AIT!: Tempo Morto

The Log Lady: As you lay by yourself in the dark, how do you feel about yourself?
TZII: I Killed Her

The Log Lady: Where is the treasure that when found leaves one eternally happy?
JOHNNY CASH: Redemption Day

The Log Lady: Whoever invented the pie, here was a great person
SOLAR SKELETONS: Bottleneck Licker

The Log Lady: our world is a magical smoke screen
MONOPIUM: God In A Smoke

The Log Lady: My log is aware
PHOENIX TROLLEY: Too many trees in the forest

The Log Lady: Only when we are everywhere, will there be just one?
COIL: I don’t want to be the one


20/12/2009 Night On Earth Radio Show #01: Ritually Yours


COIL: How To Destroy Angels (Laylah)
ORGANUM: Veil (Laylah)
CURRENT 93: A Visit To Dogland (Laylah)
TEATRO SATANICO: Inno A Satana (Old Europa Cafe)
ALLERSEELEN: Untitled (Ahnstern)
COLUMN ONE: W.Transmission 4 (State Art)
THE HAFLER TRIO: Untitled (KK Records)
SORIAH: Star Send Of (URCKarm Recordings)
CURRENT 93: Raio No Terrasu (Jesus Wept) (Laylah)
LUSTMORD: Invocation Of Shivah (Laylah)
Z’EV: Untitled (Iron Flame)
ZERO KAMA: Seven Nights Of Tantra (Athanor)
SICKNESS OF SNAKES: The Pope Held Upside Down (Laylah)
ALLERSEELEN: Untitled (Ahnstern)


check also:



Intro = Buzz
01 Building Of Gel – Repression (New Noise)
02 Save – Eelke (UPR)
03 Le Talium – Arrache (UPR)
04 Joker – Bubonik (Hangars Liquides)
05 La Peste – Untitled (Hordes Liquides)
06 Red Veve Land – No Exit But Woe (Crop Circles Industries)
07 Dj Scud – Put Up Your Lighters (Ambush)
08 Thorofon – Examination (Stateart)
09 Convectorh – Voyage 3000 (HCN)
10 Thorofon – Stundle null (Stateart)
11 Komprex Vs Frassbass – Special Forces (Special Forces)
12 Mr Porc – 400 Butées Par Minute (Revelation)
13 Substance P. – Ingrates (Killout)
14 Building Of Gel – Compensation (New Noise)
15 Building Of Gel – Digi (New Noise)
16 Autoclave – One Cloudy Day (UW)
17 Welcome Monster Lover – Raptus (Muhtant)
18 Hypnoskull – The Final Strike (Ant Zen)
19 White Mellow Bean – WMB01 (Cavage)
20 Lowkey & Noisebuilder – Dancefloor Heaven (Al Ferox Remix) (GOOG)
21 Soft Cell – Tainted Love (Some Bizarre)
22 Ho.Exe – Maidman (UW)
23 Skin Area – Red Eruption / Red Discharge (Segerhuva)
24 Genocide Organ – Death To China III (Tesco Organisation)
25 NON – Lucifer, The Morning Star (Mute Records Ltd.)
26 Inigo Kennedy – Nothing But The Distant Clatter (Rodz-Konez)
27 Jesus Jones – Zeroes And Ones (Aphex Twin Reconstruction # 1 Mix) (Food)
28 Survival Unit – Awakening & Bravery (Steinklang Records)
29 IRM – Purple Scr

FFF – Dj set @ the Bergen Teknival 2002

Tracklist / Chapters

Nico Featuring Makai
Polygon Window
Bodenstandig 2000
Pogos Abenteuer
Edge Of Motion
Pg. 300
Curse Of The Gods
Playmobile Invisible
Dj Y?
Phunk Rock Steady
Caustic Visions
Aphex Twin
Donkey Rhubarb
Chosen Few
Name Of The Dj
Dj Krust
>>> Warhead
Incriminating Evidence
Response Activator
Like A Tim
Dj Scud & Christoph Fringeli
Patric Catani
You’re A Hero
Aphex Twin
54 Cymru Beats
Where Are We
Frederik Schikowski

from the website of LFO Demon:

The evolution of hard Ragga-releated music

Is distorted Jungle with Raggasamples already Raggacore? For example D-Jungle like stuff on Riot Beats? Or Gabber with Ragga like WEDLOCK´s “Ganjaman” (Ruffneck Records) from 1994). Propably part of the origins but not an genre by its own- in fact these examples were Gabber or Jungle with Ragga but not something completely new yet.

How did everything start? Hard to define it specifically but the first time Raggacore became well known was with VENETIAN SNARES – „snares man“ 7“ (History of the future) and KNIFEHANDCHOP – „bounty killer killer“ 7“ (irritant/dyhane) in 2001 and BLOODCLAAT GANGSTA YOUTH – “kill or be killed” 7″ (full watts). This was the first when it wasn´t Ragga Jungle any more but a step beyond- Breakcore combined with Raggavocals.

Since 2001 there are many records out combining Breakcore with Ragga. Like in Breakcore these records can´t be defined as one, specific style but as many ones. There is not one certain set of elements used to define a style but every artist inventing his or her individual style. So Raggacore is fusion or crossover of many styles getting combined in various ways. In many cases these are elements of Gabber, fast Amenbreakbeats, Ravesounds and Dancehallvocals or –elements.

Triangle of the sound: Dancehall, Ragga Jungle and Breakcore

So Reggae/ Ragga/ Dancehall is the common element sampled from. The reference to it is not clear at all: Most acts out of the Breakcore-scene didn´t have any relations to this scene. They simply sampled the music and didn´t care for the background of the music at all. So for them it didn´t matter first either sampling country&western, Heavy Metal or Dancehall- it was just a resource to get some musical material from.
But in the meantime when more and more Ragga stuff was sampled there seemed to be also more discussion about Dancehall music. This was raised by the discussion about Dancehall and Homophobia.
But people still see themselves as “Breakcore”, many of them having roots in Punkrock. So the approach is not to make “Raggacore” or even “Breakcore” but to create an own, individual sound and not caring for some asthetic ideals of a scene.

In contrast to this many people in Ragga Jungle refer to Dancehall and the scene and identified themselves with Dancehall music and the releated culture out of Jamaica. Ragga Jungle seems to be a scene quite similar and connected to Dancehall putting out mainly versions with amenbreaks of Dancehall tracks.

Compared with Ragga Jungle Raggacore is harder and wilder. There are many more experimental elements in the music than just Ragga+Breakbeats. Also there is more distortion in the music and it´s not based on the same breakbeat all the time.
So for many Breakcore fans both Dancehall and Ragga Jungle seemed to be too monotonous and repeating all the time. This changed in the last time with the newschool Ragga Jungle which is quite big in North America. Acts like Twinhooker, Debaser, General Malice, DJ K, Soundmurderer do much harder music than the old Ragga Jungle from the UK in the mid-1990s.

But there are also some differences to Breakcore in most of the Raggacore records: the experimental approach is constricted in favour to dance compability. The impact of Industrial sounds and pure noise can be kicking and sexy, but it also can be extremly boring after listing to too many poorly produced records. Beat is still more danceable than noise, so in contrast to Breakcore the principles of dancefloor usually top the experimental approach often. So Raggacore seems to be more easily consumable to many people than “normal” breakcore.

It´s not definable where Raggacore starts or end. Boundaries are fluid. There are also similar combinations like Raggacore with music related to Dancehall- especially Dub but also Ska and Reggae. So “Noisedub” would be Tracks of DJ SCUD (Full Watts#3), some tracks of THE BUG or SAOULATERRE “We are da Rasta.

Raggacore-no scene?!

In fact there is no “Raggacore”-Scene. This has various reasons: At the one hand the output of releases is simply too small. At the other hand, most artists can´t be subsumed as “Raggacore” only. So many artists sample Raggarecords in some tracks, but in many other tracks not. Take VENETIAN SNARES for example. He started the hype with the “snares man” 7″, but most of his tracks have nothing to do with “Raggacore”. Even a artist like BONG RA put out a record with non-Ragga music (“Praying Mantis e.p.”). Take all the other artists from DJ SCUD to ENDUSER- least of them fit to the term “Raggacore” only. Also if you would ask them “Are you Raggacore?” most of them would propably deny it. Most of the producers do what they want and not trying to produce Ragga based stuff only.
Same is valid for labels. Most of them also publish “normal” breakcore. Clash, Full Watts, Razor X and Shockout are the only ones specialized in Ragga-related releases only. All the others release different music, too.

Also there is no infrastructure for a scene: no networks, no fanzines for “Raggacore only” yet. For most of the communication and networking the infrastructre of the Breakcore scene is used.

So it doesn´t make any sense to talk of Raggacore as a “scene” or even a specific “genre”- it´s simply a collective term to describe hard, Ragga-related music.
So does it make sense to use the term “Raggacore” at all? I think: yes. Instead of describing it as “certain Breakcore records with Ragga-samples and/or Ragga-related sounds or rhythm structures” we simply call it Raggacore. Other people call it Speedhall, Yardcore or whatever…we call it Raggacore.

Producers & Labels

I don´t want to bore you with endless lists of records – so here is broad overview of of some of the people behind these releases. Please keep in mind that most of these people are also doing much interesting music than only Ragga-related Breakcore.

DJ SCUD from London had an massive influence on both the Raggacore and the Breakcore scene. He produced many records that are still played today on every party. The more Ragga-orientated are „Total destruction“ (maschinenbau recs) and „Mortal Clash ep“ (Ambush). He also runs Ambush records. „In Chains“ (Soot#3; rereleased on NETTLE- „Firecamp Stories 1“ (Agriculture17). Best Dub+Core with hard bassdrums and noise, offbeat-piano and dubby sounds. A “Best of” selection of his tracks was released on Rephlex records on 2×12″ “Ambush!” (Rephlex Cat 133). Also did some projects together with PANACEA (together as THE REDEEMER with some releases on Position Chrome).

DJ SCUD. Picture taken by BONG RA

Ambush´s sisterlabel Full Watts, run by the New Yorker I-SOUND, and specialized in Ragga+Noise has released 3x 7inches yet, where aka BLOODCLAAT GANGSTA YOUTH (DJ SCUD) – „kill or be killed” is a classic record. Ambush has also the Sublabel Amex where Remixes of “kill or be killed” have been released.

Homepage Ambush Records

BONG RA is one of the most famous producers subsumed under “Raggacore”. Comes from Holland and released several records yet from labels like Djax, Death$sucker, Russian Roulette, Hydrophonic, Clash. Runs his own 7″ Label Clash Records for Raggacore and hard Ragga Jungle.

Homepage Clash Records
Homepage BONG RA

A special case is THE BUG aka Kevin Martin who did formely play in projects like GODFLESH / TECHNO ANIMAL.Less breakbeat orientated but more distorted Dancehall-Industrial and released records with “official” (means not only stolen from some resources) acapellas from CUTTY RANKS and DADDY FREDDY – also performs live with MC´s.

He released yet the 2×12″ “Pressure” on Rephlex, also various 12″ and 7″ (7″ all released on the label Razor X). Also was remixed by APHEX TWIN on the AFX-„smojiphace ep“ (Men2), which is remix of THE BUG´s „run the place red“. THE BUG also did some remixes: for T.RAUMSCHMIERE on „Rabaukendisco“ (NovaMute). In fact his mixes aren´t electroclash any more, but strictly distorted dancehall.

Interview with THE BUG in UNCARVED BLOG

THE BUG. Picture from Planet Rock Booking.

Then we got KID606 who does mainly glitchy Idm but released many really nice Raggacore tracks on his last full lenght album “Kill sound before sound kills you“ (tigerbeat 100). Fat Gabberbasses, kicking breakbeats, Raggasounds and everything chopped with DSP-effects and Noisesounds.

The tigerbeat6 sublabel Shockout is specialized in Raggacore+ Ragga Jungle and releases as concept only legalized accapellas – on the first releases of MC Wayne Lonesome.

Homepage Shockout Records (tigerbeat6)

SOUNDMURDER & SK1 runs his own label called Rewind where he only releases own tracks. Hardcore Ragga Jungle, the most freaky programmed ever. He did some Ragga-Gabber tracks on OMEKO records from Japan (split12″ with ENDUSER). A “Best of” collection from his tracks on Rewind has been just released on Rephlex records.

Homepage of Rewind Records (with Discography of SOUNDMURDERER)

Also important is THE PANACEA aka RICH KID. He not only released on Germany´s hardest Drum´n Bass Label Position Chrome as THE PANACEA, but as RICH KID also on various breakcore and industrial related labels like Mirex, Ad Noiseam and also on Hardliner Records, Ambush. From Ragga-hardcore-noise-Drum´n Bass to distorted Dancehall (”Bad Man ep” 7inch on Mirex002). He did several projects together with DJ SCUD like THE REDEEMER.

Discography RICH KID
Homepage Mirex Records

Also a hot man in these days is SHITMAT from Brighton/UK, who releases mainly on Planet Mu records but also a 7″ on Parasite´s Label Death$ucker. His style is totally crazy- he mixes weird old records with Ragga Jungle, Rave, Noise, Gabber and Oldskool Breaks.

Listen to 2 tracks of the KILLABABYLONKUTZ 2×12″/ CD
original babylon
rudeboy babylon

Homepage Planet Mu Records
Homepage SHITMAT
Discography SHITMAT

PARASITE from Bristol/UK does also some great hardcore stuff. He release already on Peace Off records and on BONG RA´s label Clash some hard tracks with a very unique distortion between Ragga, Breakcore, distorted Ragga Jungle and Gabber. Also released on his label Death$ucker yet BONG RA and SHITMAT. Does also the “Toxic Dancehall” parties in Bristol.
Homepage Death$ucker Records

FFF from Rotterdam/NL is another hot act. He´s the king of harsh Amen breaks combined with Dancehall elements and fat synthesizerlines from old Rotterdam Records- the term “Thunderdome Junglist” (refering to the first gabber compilations ever on 2xCD when the sound was good in 1993). He uses also sometimes Happy Hardcore Pianos but arranged so well that they don´t become boring. Released on several Breakcore labels like Clash Records, K-Hole and Mindbender. He often plays together with ASSASSIN from Rotterdam, another fine DJ (and sometimes MC). They organized together with BONG RA the legendary Breakcore a Go-Go Parties in Waterfront/ Rotterdam.

Discography FFF

DJ ASSASSIN @ Clash of the titans II. Berlin 3.7.04
Picture taken by AMBOSS

Also Peace Off records from Rennes/ France should be mentioned. One of the main breakcore labels with nice layouted sleeves on all of their latest releases.

They have various Sublabels and Ragga-related stuff mainly was released on Damage, like REPEATER – „Terrestral Activity“ 12inch or KOVERT- “versioning” 12inch. The “versioning” 12inch is quite unique with no acapellas but a unique basis of hard breakcorish breaks, ravish sounds and vintage Reggae/ Dub sounds. Totally dry produced and …Murderstyle!

The label is run by Frank aka 50% of ROTATOR which did some Highspeed-Raggajungle-core-Bombs already e.g on Difraktion Recs.
Oh…and they also organized the famous “Anticartel” parties in Rennes with up to 2000 people.

Homepage Peace Off Records

In Hamburg/ Germany there is ISTARI LASTERFAHRER who runs the label Sozialistischer Plattenbau. Also he´s doing some regular breakcore, some of his later releases are getting more and more Reggae influenced. For example his split7inch „Dubcore Vol.1“ of ISTARI LASTERFAHRER / PARASITE with a Highspeed-Remix of ALEC EMPIRE´s „Bassterror“.

The nice thing about is style is that he´s sampling mainly old Roots-Reggae and not Dancehall combined with Jungle and Breakbeats and a good portion of Punkrock-Attitude. He released together with Sprengstoff Records the “do you think” 12inch.

Homepage Sozialistischer Plattenbau Records

ISTARI LASTERFAHRER@ Clash of the titans II.
Berlin 3.7.04 Picture taken by ZOMBIEFLESHEATER

(me, haha) runs the label Sprengstoff Recordings. His Raggacore releases are so far: 7inch „Rave for communism“ (with Speedcore-Ragga-Remix of german Chart-Dancehall project SEEED) and a split12inch with FFF “Clash of the titans” (in cooperation with Mindbender records).

Mindbender, the label of DJ ROKKON also put out the ZOMBIEFLESHEATER 7“ or „Shizuo goes Raggacore“, how some call it. Influenced by old DHR stuff and Dancehall ZOMBIEFLESHEATER from german region Westerwald/ West-Germany destroys music with his splatterbreaks in a wild cut up mash up style.

Also from the same region (and actually the same village) comes AMBOSS (the 2 put also out a split12inch on Restroom Records). He usually does dark, hardcore-drum´n bass core (influenced by old Postion Chrome stuff) but also released 2 Raggacore tracks on the SPEEDHALL 12″ of the Label Kool Pop from Berlin (one of Germany´s oldest and most influencial Breakcore label also the owner says he´s “not part of any scene). “Speedhall” was a term invented by Something J (the owner of Kool Pop) together with DJ Scud describing the style we use the term “Raggacore” for.

Homepage Kool Pop Records
watch a video of Something J live at IWTBF-Festival 6.12.04/ Berlin: SOMETHING J
watch a video of DJ Rokkon live at Utterly Wipeout 10.4.04/ Berlin: DJ ROKKON
Videos by KOI GEORGE taken from

Worth to mention is GEROYCHE from Chemnitz with his
„GalongGalong Rmx“ on SuburbanTrash. Hardcore-Dancehall-Riddim-Style.

Homepage of GEROYCHE

There´s ENDUSER from Cincinnati/ Ohio from Sonic Terror records who released also on various other labels Breakcore and Ragga-releated Breakcore.

Biography/ Discography ENDUSER
Homepage of ENDUSER (with mp3 section for downloading)
Interview with ENDUSER in Exploding Plastic magazine

Also to mention is Mash it Records, the label of DJ C. Check out their website, you can listen to all releases over there and also download some DJ Mixes. One of the acts/ DJ´s of the label is AARON SPECTRE who is playing all over the world at the moment his mixes with laptop and records combined to one huge Ragga Jungle-Mash-up thing.

Homepage Mash It Records

A new label from Belgium is M.A.S.H. Records run by Nonprohet releasing hot stuff soon on the first 12inch “Raggagum and Bubblecum” with Igor, Society Suckers, Istari Lasterfahrer, Puzzelweazel and DuranDuranDuran.

Homepage MASH
(with mp3 section)

as found on :

Influences and Development Breakcore as a genre developed from elements of many different styles of music beginning around the mid 1990s. Simultaneously, it began to evolve out of a boredom with stagnant forms of more traditional techno and rave music as well as an evolution within noise and sound art. A need for faster BPM’s as well as a more anti-authoritarian sound also pushed the various sub-genres to more extreme states. At this point pre-breakcore came from London, Berlin and Newcastle, Australia (home of Bloody Fist Records). Early influential artists include Alec Empire, DJ Scud, Panacea, Christoph Fringeli, Nasenbluten, and more. According to Simon Reynolds in the New York Times [1] breakcore is “Purveyed by artists like DJ/Rupture and Teamshadetek, the music combines rumbling basslines, fidgety beats and grainy ragga vocals to create a home-listening surrogate for the bashment vibe of a Jamaican sound system party. Others within the breakcore genre, like Knifehandchop, Kid 606 and Soundmurderer, hark back to rave’s own early days, their music evoking the rowdy fervor of a time when huge crowds flailed their limbs to a barrage of abstract noise and convulsive rhythm. It’s a poignant aural mirage of a time when techno music was made for the popular vanguard rather than a connoisseurial elite, as it is today.” [edit] Ambush Records At the same time London’s DJ Scud co-founded Ambush Records with fellow producer Aphasic which focused on more extreme noise-oriented hardcore Drum and bass. Some artist to have released on Ambush have been Christoph Fringeli, Slepcy, Panacea, and Noize Creator all of which are still productive and active in the scene today. [edit] Bloody Fist Records At the same time, the now defunct label, Bloody Fist Records based in Newcastle, Australia released many records of hardcore/gabber, industrial, and noise. Artists signed to Bloody Fist in its lifetime include Syndicate, Xylocaine, Epsilon, and Nasenbluten. [edit] Breakcore Becomes A Genre As the early days of “hardcore techno” or just “hardcore” began to settle in Europe, Breakcore as a genre began to take more concrete forms in other parts of the world. Inspired by the seminal labels above (among others) new labels such as Addict Records from Milwaukee, USA, Peace Off Record from Rennes, France and Planet Mu from London began to take a new shape, adding in more elements of mashup and IDM to the hardcore sounds. Each of these labels began to draw in aspects of their own social and aesthetic scenes into their music thus allowing for an even broader definition of what was possible in the music while at the same time also confirming certain elements of style to unite the music. Matt Earp describes his impressions of early breakcore as “a high-bpm mash-up of hyperkinetic, post-jungle breaks, feedback, noise, and Jamaican elements paired with a devil-may-care attitude towards sampling that pulls from the broadest musical spectrum of styles (hip-hop, rock, industrial, pop, and beyond).” [2] One of the most controversial issues in Breakcore is that of the mere existence of the genre. Because it pulls liberally from other musical genres, there isn’t a consensus on what is and what isn’t Breakcore, or even over the usefulness of the term itself. Because of the fragmentation, the Breakcore scene isn’t centered in any one geographical location, but is rather scattered into disparate groups. Perhaps the one place where Breakcore’s “voice” can be heard is virtually, through the internet and various online forums, such as those at C8. [edit] The Amen Break While Breakcore is definitely not only organized around the cutting and distortion of the Amen Break, it is a key to defining the genre. The amen break in Breakcore is primarily used at high-speeds and edited to produce jarring effects when distorted and layered in combination with almost any sound. This particular drum-break sound characterizes many breakcore songs and is still used as a key factor to define the sound. This is in line with breakcore’s tendency to create a post-modern parody of Drum and Bass clichés – many of the sounds heard in breakcore are very “classic” jungle samples. [edit] Distribution Among the many types of music now being spread online, perhaps Breakcore is the most fascinating to observe in regard to its online diffusion. Since the genre as a whole still is developing and growing rapidly, the music itself is largely downloaded via peer-to-peer networks, and discussed on internet forums. Its many producers now find the samples they create the music from online, as well as use illegally downloaded software to create the music[citation needed]. Whereas the early days of Breakcore were based in select urban cities, the genre now has no geographical center. The music itself tends to reflect this multiplicity of media diffusion itself (as already mentioned) by incorporating so many different forms of music all hacked together to form breakcore. It remains a relatively small genre, but compared to its size prior to the 1990s web boom, it continues to grow substantially. [edit] Developments In the Genre Breakcore has recently been changing and branching. Many newer breakcore artists focus on melodic progressions and complex drum programming while other ‘classic’ breakcore artists still focus on distorted hardcore breakbeats and dark-edged musical influences (such as heavy metal, and industrial). A third group of artists work has developed closer to Drum and Bass, and focuses more on hardcore drum and bass sounds. A fourth group takes yet another direction towards mash-up, happy hardcore and rave to make a lighter, more humorous sound.