Monday, July 14, 2008

Is Breakcore the new Stemapunk?

I could have never seen this one coming, but after the recent interview with Knifehandchop and now Otto Von Schirach's top 10 posted on Beatport... is mainstream DJ culture suddenly fascinated with breakcore?

Steampunk was first made popular by Cyberpunk authors William Gibson and our friend Mr. Sterling with the publication of "The Difference Engine" back in 1992, yet only saw a widespread cultural breakthrough this last year. Has breakcore been similarly so far ahead of the curve that it's current attention is almost amusing to its founders? [Rather, do they care at all?]

At this point, many mainstays like Gridlock and God And His Bitches [Ms. Toybreaker's previous band] have turned in their urgent beats for dirgey, post-black metal sounds more akin to Sun O))) and the uncomfortable calm after The Rapture [the Biblical story, not the dance-rock band,] when the blood of the unpure mixes with urine, semen and maggots in filthy pools formed on city streets and boils down into hell.

Obviously not all breakcore has gone drone, but the point is that the genre has been thriving and evolving just fine on its own for more than ten years - in very large part thanks to Detroit's own Low Res Records. Breakcore was primarily created in direct response to the banality of post-rave club culture of the 90s, and like punk's response to rock in the '70s, is defined more by attitude than style.

One of Burnlab and Dethlab's all time favorite artists is Bombardier, who does it like no one else. Betrayl is one of the most complex and precise weapons in our arsenal in the gihad againt lite, boring and drippy music.

Listen to Knifehandchop's "Fabric" here
[According to Billy, this is the "the most straight house dance thing I had ever written." That's awesome, because it sure sounds like he's ripping the intestines out of ravers and feeding on them. He may or may not get invited to Fabric any time soon, but he's always welcome here in Detroit.]


Otto Von Schirach - Laptops and Martinis [2005]

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