Kicks, beats and bass. Bitcrusher is a classic drumtrack made to jumpstart the party but merely a tease! We at Point 44 Records heard the rest of the demoracks they sended us and we are very excited.
This track “Bit crusher” is the beginning of an adventure with two new young adults from the heart of the Netherlands on the block. Ritchie De Leeuw and Juriaan Vijver named themself: Undefined Movement and were formed in the summer of 2017. Undefined Movement will bring you everything between drum and bass, crossbreed, dubstep, industrial and speedcore in a track. These talented producers will not be boxed, so Undefined it is, a movement is what they started!
But there is more. Check out their monthly radioshow with Octopus Conspiracy called “Split the core”. Every last saturday of the month they will bring you “the hardest, undeground and undefined” music from 20.00 pm. You need to check this out.
Bit Crusher is a 44 freebee!! So please download, share and comment!
If we go back to the early beginnings of hardcore techno in the Netherlands than I think it’s (almost)safe to say that you can cut the Netherlands in half, the north west part with capitol city Amsterdam and the south west part with our second capitol city, Rotterdam. The borderline is somewhere between the two big cities, Amsterdam and Rotterdam. And it seems that things started moving around the same time. I will explain what I mean by three examples.
Oldschool (classic rave and techno) became big in Parkzicht, Den Haag (Southern part of the Netherlands) but also around the same time in the House of God in Elemtenstraat, Amsterdam. Rotterdam started the whole gabber movement with Rotterdam Records in 1992 and Amsterdam also started with Mokum Records (first record came out in 1993). Rotterdam had that unbelievable building called “The Energiehal” but Amsterdam got the iconic “Sporthallen Zuid”. “The Energiehal” isn’t there anymore but “Sporthallen Zuid” still exists.
The most popular gabber dj’s from the south west: Paul, Rob, Gizmo and Darkraver and popular dj’s from the north west: Dano, Buzz Fuzz and The Prophet.
I have been to both venues many times. Two of the first big raves I ever went to with the group (HHS) was Eurorave in the Energiehal and the other was the Easter Rave in Sporthallen Zuid both probably in 1992. I was there when in the middle of a live PA of 80Aum (which was really live those days) the power went out for at least 15 minutes. In 1993 they would release the record “Power failure” with a dutch vocal in it saying “he godverdomme valt het geluid weer uit”.
Both Rotterdam and Amsterdam had their horror gabber hero’s who would lure us into labyrinths of nightmares in hell. I speak of Freddy Kruger’s Nightmare in Rotterdam and Pinhead’s Hellraiser of course. To be honest I only been to a few Nightmare in Rotterdam events, and both times were after the millennium.
I was on many “Hellraiser” (Immortality, The Box) events in Sporthallen-Zuid that I can write several blogs just about adventures with my friends over there.
But I’ll stick to just one.
Don’t know which Hellraiser or Immortality this was but somewhere around 1992 or 1993. If you read my blogs than you know that my friends and myself where big fans of Lenny Dee. But he never played that much in The Netherlands in those days. By searching in magazines and documentaries we found out how he looked like.
So finally Hellraiser is there. Now normally you would think we were going to party. But no we didn’t, because the only thing we really wanted is to meet Lenny Dee.
So first we went to the back of the stage. Of course they wouldn’t let us in because we were no artists. But that didn’t stop us. We stayed there, waiting for hours and hours. With a very nice bouncer who from time to time let us in so we could look from the stage to the crowd. That itself was amazing. But no Lenny Dee. Every time we thought he was there but it was never him.
Than suddenly this little man (even smaller than me) with this petite girlfriend comes rushing by and we were like “Fuck, fuck that’s Lenny Dee”. He was in a hurry because he was next to play. We asked the doorman if we could come and watch and gladly he said yes. We could go in for 15 minutes.
So there he was standing on a crate (the set up was a bit to high for him) playing “Kuadra – La Onda” with his eyes closed for the first time probably in The Netherlands. The crowd went absolutely crazy hearing that tune in that massive big hall.
A few years later (probaly in 1995) I would ghost produce this beauty for my former manager Mr. Ace One. He asked me to produce a true Hellraiser banger for ISP (the organisation behind Helraiser). The track only came out on a few compilations cd’s, not on vinyl. Because we got the rights back it will be re-released on Point 44 Records.
The deal is very simple…..if you have a copy of an ugly Point44 records white label from the ID&T era (1994/1997) than I will send you a bunch of oldschool labelstickers for free. Send me a video as proof!
Point 44 Records was asked to be part of ID&T somewhere in 1995. In the beginning of this whole gabber movement, ID&T headquarters was in Wormerveer.
Next to Point 44 labelowner Rob Boskamp, I also had to work with other artists from ID&T. I already had worked with Buzz Fuzz, Pavo and Flamman & Abraxas.
On almost a weekly base I went to ID&T headquarters to listen to the newest music and talk to labelmanagers and artists. On one of those days I walked into Rob Fabrie aka DJ Waxweazle. After bumbing in to him several times and some phonecalls we decided to do a collab.
The track Check Out Da Flava was produced in one session in his studio in Rotterdam. As you can hear, the TR 909 drumcomputer of Rob Fabrie sound different than my TR 909 (I don’t have anymore) which I think makes this track unique. It’s not a specific Waxweazle or Jordens track.
The B-side of the Blah Blah Blah Ep contains two tracks, one of Rob Fabrie and one myself. The track Oldstyle of Wazweazle is my favorite because this also sounds quite different.
The title of this record actually was an inside joke of us because we didn’t have a title. I told Rob that we can rename the title later and call it “blah blah blah something EP” for now. But I thought it was a funny name so we kept it.
Orpheus was a duo, Dimitri and Don, from Coevorden. I met those two youngsters in december of 1996 or 1997 on a small location called ‘T Stuupke. I got this booking because Dano had a double booking and ask me to fill in.
Don and Dimitri were dressed up as Sinterklaas and zwarte Piet and did a funny act on stage.
Don who was just 15 or 16 years had already big plans, Dimitri wasn’t to sure about the music business. They split up not to long after I met them.
When I signed them, Don’s parents had to sign the contract for this record, because he was still underaged. The bizar part of this story is that it wasn’t Don’s first recorddeal. He already released a record earlier called Mary Go Hard and even played on an event in New York.
Don and I would also make music together as Der Kraft on Explosive Records (A New era, Creatours of Sound). In those days he changed his name into The Raven and currently everyone knows him as……….. Don Diablo.
Without a doubt the most talented and gifted man I ever met.
Ik kan mij de dag nog herinneren dat ik op Injected with a Poison stond met een track van Duo Pennoti (samenwerking met mijn oude vriend DJ Pavo) genaamd Addicted II Raves (uitgebracht op Bad Vibes Records). Ik schreeuwde het uit want voor mij was dat toch wel het hoogst haalbare als producer.
De dag dat deze cd bij mij thuis binnenkwam trok ik de stoute schoenen aan en ben met een stapel compilatie cd’s de plaatselijke Rabobank binnen gelopen om een lening van 6000 gulden te vragen. Deze had ik nodig voor betere studioapparatuur.
De man die mij hielp viel bijna van zijn stoel van verbazing. “Ehm, ehm…….dit is hoogst ongebruikelijk”, stamelde hij. “Normaal gesproken moet iemand iets van een baan hebben om een lening aan te vragen, meneer”, vervolgde hij. Hij liep weg en kwam na ongeveer een minuut of 5 terug.
Toen zei hij: “Meneer ik vind het zo bijzonder dat u dit doet dat wij bij wijze van hoge uitzondering deze gok wel willen wagen”. Een uur later had ik mijn geld en een paar dagen later nieuwe spullen.
Daarna nog vaak met eigen tracks waaronder “Return of a Looney” en “Please Pai” en tracks van mijn label Point 44 onder andere “Energize – Demonax” en “Cyndrum – Bionic Commanders” op Thunderdome edities gestaan.
En in 2005 heb ik naast mijn allergrootste held Lenny Dee op een Thunderdome gedraaid in de Jaarbeurs. What a rush was dat!!! Deze neemt niemand meer van mij af.
One of the things you need to know about Denztraxxx is that I produced 3 records but you will only find two on Discogs. So where is the third one? Well…..that is a funny story or not……
If you read my previous posts about how I got in contact with ID&T you know it started with Pavo and I (Duo Pennotti) coming across Denis Doeland (DJ Weirdo) at distributor Boudisque in 1994. After that classic release on Bad Vibes and the big hit on Point X “Return of a looney” in 1995 Point 44 Records owner Rob boskamp would make a deal with ID&T about distribution and further partnership.
So now things changed a lot for me. It wasn’t producing just for my label anymore but I had this big, hungry machine behind me waiting for more product.So I started producing a lot. On daily basis I worked in the studio and in weekends I tried to play or to score gigs. It was al about making and playing, living the gabber dj life.
In the spring of 1995 I produced my first Denztraxxx record. It was a four track EP with some really cool tracks. It wasn’t happy hardcore at all, it sounded a bit like the first Knight Phantom record “What’s the situation now” but then a little faster and harder. I had a Roland Juno 106 at that time I remember I using it in this record.
Just before summerholiday I gave the dattape to lD&T, I don’t remember exactly if I gave it to Dj Weirdo or to someone else. He would listen to it and let me know what he thought of it. For you newbies, in the summer allmost all musicbusiness stopped in those days. There are no releases and basicly you have to wait untill the end of the holiday. So I had to wait for at least a month.
So the summer was over and I was excited about what they thought of my new record and when we could release it. But sadly they didn’t listen to it, yet. So in the weeks following I kept asking and asking untill DJ Weirdo told me they probably lost the dat tape. I was gutted. Not because they lost the dat tape, those things can happen but I forgot to make a copy. Back home I couldn’t find the cubase file so there was no way I coud recreate this record.
So I started to make another Denztraxxx from scratch. Resulting in 3 faster happy hardcore tracks which doesn’t sound like the first record at all. I produced the tracks in under a week. Because of the misfortune surrounding this record I named the best track of that EP, “The lost denz”. I know that Flamman & Abraxas still play this track from time to time in their happy hardcore dj sets.
It wouldn’t be the last trouble this record gave me but I will tell you about that in another post on another day.
McLoud was the correct spelling of one of the many nicknames of Point 44 labelmanager William Jordens. The First record was spelled correctly, the second record was spelled wrong as Mc Cloud.
It was meant to Sound like ordinary UK hardcore. He even performed in his homecity of Haarlem as McLoud on a big rave. Well he wasn’t actually on stage, his friend was. Facepainted with a wig on, he performed as the Scottish McLoud.
Both record came with gimmicks of music William Jordens liked. Freedom was the title of this track. Maybe you can tell is why?
McLoud was the correct spelling of one of the many nicknames of Point 44 labelmanager William Jordens. The First record was spelled correctly, the second one was spelled wrong as Mc Cloud.
It was meant to Sound like ordinary UK hardcore. He even performed in his homecity of Haarlem as McLoud. Well he wasn’t actually on stage, his friend was. Facepainted with a wig on, he performed as the Scottish Mc Cloud.
Both record came with gimmicks of music William Jordens liked. Freedom was the titel of this track. Maybe you can tell is why?