Nasenbluten

Last updated

Nasenbluten
Origin Newcastle, New South Wales, Australia
Genres
Years active1992 (1992)–2001 (2001)
Labels
Past membersAaron Lubinski, David Melo, Mark Newlands

Nasenbluten were an Australian electronic music group, formed in Newcastle in 1992. The group was made up of Aaron Lubinski, David Melo, and Mark Newlands, and released six studio albums before disbanding in 2001. They have been described as a significant influence on the breakcore genre. [1]

Contents

History

The group was formed in Newcastle in 1992 by Aaron Lubinski (a.k.a. Xylocaine), David Melo (a.k.a. Disassembler), and Mark Newlands (a.k.a. Mark N, Overcast). They took their name from the German word Nasenbluten, meaning nosebleed, in reference to the phrase "nosebleed techno", used to describe the harder and faster variants of the techno genre. [2] Early in 1993, Lubinski founded the Dead Girl Records label (initially typeset as dEAdGirL) in Swansea.

The group began playing house parties in Newcastle and creating music on Amiga personal computers [3] using tracker software in the MOD format. They self-released a number of cassettes on the Dead Girl label starting with their debut album, Transient Ischemic Attack, which appeared in March 1993. On 31 July that year they recorded a live performance, which was released as Live at Wobble. In late October they recorded another album, You're Going to Die. In mid-1994 following their Dead Girl cassettes they signed to New York City-based hardcore techno label Industrial Strength Records. In August that year, Newlands founded Bloody Fist Records for local releases. Shortly after the release of Transient Ischemic Attack a Bloody Fist sampler featuring two tracks from Nasenbluten was released internationally by other record labels, including Industrial Strength.

Nasenbluten inspired local musicians, leading to a thriving hardcore techno scene in Newcastle. In 2005, Luke Collison (a.k.a. Dsico) acknowledged that his major influences were "probably Nasenbluten and the Newcastle Hardcore scene. I grew up around there ... the radio show that Mark N used to do on 2NUR. Amiga 500 Hardcore was probably what got me into electronic music and especially making it". [4] United Kingdom DJ, Loftgroover declared "there's too much niceness in the rave scene ... Gabba is how I really feel – hard, angry". [2] He described "Nasenbluten-style extreme noise terror: 'punkcore', 'scarecore' and 'doomtrooper'". [2]

The band's emphasis on breakbeats, ironic audio samples and gangster rap samples became influential in the hardcore scene, most prominently with Australian artists signed to Bloody Fist. Due to their influence and the relatively small numbers of records that were pressed for earlier releases (including limited self-distributed cassettes), they have become popular with collectors. Bloody Fist Records provided "horrifically high-tempo electronic music that quickly became a thing of international legend. Specialising in breakcore, gabba and referential sample alchemy/exploitation", comments Shaun Prescott of Mess+Noise, going on to describe the band's 1995 double LP 100% No Soul Guaranteed as a "nasty marriage of power electronics shock tactics with vaguely danceable and purely psychotic electronic beats" making "one of the few genuinely sickening music experiences you're likely to have in your life". [5]

In 1996, Nasenbluten released a limited edition single, "Show Us Yor Tits" (often referred to as "Anna Wood" or "Fuck Anna Wood", from its sampled lyrics), on the Dead Girl label. [5] [6] In October of the previous year Sydney schoolgirl Anna Wood died after using ecstasy at a dance club; she was given copious amounts of water upon her collapse and later lapsed into a coma. [7] [8] Media reports sparked a moral panic surrounding rave parties and drug use at venues. [7] This brought about a hard-line approach from governments to rave and dance parties in Australia. [7] [8] [9] Jack Marx of The Age described how Wood's friends may have been influenced by the prevailing zero tolerance attitude and hence they were too afraid to take her directly to hospital. [10]

"Show Us Yor Tits" was not commercially available, only distributed by the band at gigs. They made 50 vinyl copies, each individually numbered. The label had a picture of Wood with the phrase "I'm having the best night of my life!" and a picture of Dutch DJ Paul Elstak on the B-side with the words "I wanna see the rainbow high in the sky", a reference to the happy hardcore scene, its links to ecstasy, and to the song "Rainbow in the Sky" by Elstak. [6] Cat Hope described "Fuck Anna Wood" as featuring "controversial, sampled snippets from current affairs programs composed to form conversations, laid over with a gabba-style hard beat". [6] "Show Us Yor Tits" appeared on Nasenbluten's next album for Bloody Fist, N of Terror, a double cassette which had been recorded in April 1996.

Nasenbluten continued to issue material and toured Europe from November 1996 to February 1997 on their Christ This Is Dragging on a Bit tour. While in Germany they recorded an EP, Cheapcore, for the local Strike Records label, which was issued in 1997. The group played their last gig on 30 September 2001, and issued a triple LP, Dog Control, in November before disbanding.

Side and later projects

Aaron Lubinski made several releases on the Dead Girl and Bloody Fist imprints as Xylocaine. David Melo created several tracks as Disassembler, including one record on the Bloody Fist label that was mis-pressed and was not commercially available. Mark Newlands recorded under the alias Overcast, also on the Bloody Fist. The Overcast album 3PM Eternal was the last double 12" album release from the label. The 1994-2004 12" split album by Aftermath / Epsilon is the final vinyl release by Bloody Fist before it shutdown.

Discography

Albums

Extended plays

Related Research Articles

<span class="mw-page-title-main">Rave</span> Dance party

A rave is a dance party at a warehouse, club, or other public or private venue, typically featuring performances by DJs playing electronic dance music. The style is most associated with the early 1990s dance music scene when DJs played at illegal events in musical styles dominated by electronic dance music from a wide range of sub-genres, including drum and bass, dubstep, trap, break, happy hardcore, trance, techno, hardcore, house, and alternative dance. Occasionally live musicians have been known to perform at raves, in addition to other types of performance artists such as go-go dancers and fire dancers. The music is amplified with a large, powerful sound reinforcement system, typically with large subwoofers to produce a deep bass sound. The music is often accompanied by laser light shows, projected coloured images, visual effects and fog machines.

Intelligent dance music (IDM) is a style of electronic music originating in the early 1990s, defined by idiosyncratic experimentation rather than specific genre constraints. It emerged from the culture and sound palette of electronic styles such as ambient techno, acid house, Detroit techno and breakbeat; it has been regarded as better suited to home listening than dancing. Prominent artists associated with it include Aphex Twin, Autechre, Squarepusher, Venetian Snares, Boards of Canada, Amon Tobin, Telefon Tel Aviv, μ-Ziq, the Black Dog, the Future Sound of London, and Luke Vibert.

Joey Beltram is an American DJ and music producer, best known for his pioneering singles "Energy Flash" and "Mentasm" and for remixing Human Resource's "Dominator".

Digital hardcore is a fusion genre that combines hardcore punk with electronic dance music genres such as breakbeat, techno, and drum and bass while also drawing on heavy metal and noise music. It typically features fast tempos and aggressive sound samples. The style was pioneered by Alec Empire of the German band Atari Teenage Riot during the early 1990s, and often has sociological or far-left lyrical themes.

Happy hardcore, also known as 4-beat or happycore, is a subgenre of hardcore dance music or "hard dance". It emerged both from the UK breakbeat hardcore rave scene, and Belgian, German and Dutch hardcore techno scenes in the early 1990s.

Breakcore is a style and microgenre of electronic dance music that emerged from jungle, hardcore, and gabber in the mid-to-late 1990s. It is characterized by very complex and intricate breakbeats and a wide palette of sampling sources played at high tempos.

Hardcore is a genre of electronic dance music that originated in the Netherlands, Belgium, and Germany in the early 1990s. It is distinguished by faster tempos and a distorted sawtooth kick, the intensity of the kicks and the synthesized bass, the rhythm and the atmosphere of the themes, the usage of saturation and experimentation close to that of industrial dance music. It would spawn subgenres such as gabber.

Techstep is a dark subgenre of drum and bass that was created in the mid-1990s.

Progressive house is a subgenre of house music. The progressive house style emerged in the early 1990s. It initially developed in the United Kingdom as a natural progression of North American and European house music of the late 1980s.

Speedcore is a form of electronic music that is characterized by a high tempo and aggressive themes. It was created in the early to mid-1990s and the name originates from the hardcore genre as well as the high tempo used. Speedcore beats per minute (bpm) is classified when a song is 300+ bpm.

Hard trance is a subgenre of trance music that originated in Belgium, Germany and the Netherlands in the early 1990s as the Breakbeat hardcore production community began to diversify into new and different styles of electronic music, all influenced by Hard house, New beat, Happy hardcore and Jungle music. The popularity of hard trance peaked during the late 1990s and has since then faded in scope of newer forms of trance.

Plus 8 is a Canadian techno record label, based in Windsor, Ontario. Along with Underground Resistance and Planet E, Plus 8 was one of the early producers of Detroit Techno's 'Second Wave' music at the start of the 1990s.

<span class="mw-page-title-main">Sesame's Treet</span> 1992 single by Smart Es

"Sesame's Treet" is a 1992 single by the English rave group Smart E's. It is a remix of "Can You Tell Me How to Get to Sesame Street?", with the song's title being a pun on "Sesame Street". The song reached No. 2 on the UK Singles Chart in July 1992 and peaked within the top 10 in Australia, Ireland, and New Zealand. In the United States, it reached No. 60 on the Billboard Hot 100 chart and topped the Billboard Maxi-Singles Sales ranking.

Rotterdam Records was a Dutch record label founded by Paul Elstak in 1992. It released hardcore and gabber music. It stopped in 2012 and restarted again in 2018 with MP3 releases.

New beat is a Belgian electronic dance music genre that fuses elements of new wave, hi-NRG, EBM and hip hop. It flourished in Western Europe during the late-1980s.

Gabber is a style of electronic dance music and a subgenre of hardcore techno, as well as the surrounding subculture. The music is more commonly referred to as Hardcore, which is characterised by fast beats, distorted & heavier kickdrums, with darker themes and samples. This style was developed in Rotterdam and Amsterdam in the 1990s by producers like Marc Acardipane, Paul Elstak, DJ Rob, and The Prophet, forming record labels such as Rotterdam Records, Mokum Records, Pengo Records and Industrial Strength Records.

<i>Happy 2b Hardcore</i> 1997 compilation album (DJ mix album) by Anabolic Frolic

Happy 2b Hardcore is a DJ mix album by Canadian DJ Anabolic Frolic. It was released in 1997 on American breakbeat label Moonshine Music and is the first series in Frolic's Happy 2b Hardcore series of DJ mix albums, documenting the emergence of happy hardcore music in the United Kingdom and Europe. The series itself is a spin-off of Moonshine's Speed Limit 140 BPM+ series of fast-tempo dance music compilations. The album was conceived to introduce American audiences to happy hardcore, and contains sixteen of the genre's anthems which carry many of happy hardcore's defining characteristics, such as fast tempo, frantic breakbeats, major key tonality, off-kilter, quirky keyboard effects and "semi-melodies."

<i>Make Em Mokum Crazy</i> 1996 compilation album by various artists

Make 'Em Mokum Crazy is a compilation album of music by various artists released in 1996 by Dutch record label Mokum Records. The album, which consists solely of music from the label's catalogue, displays the happy gabba or "popcore" sound that had emerged from Dutch underground raves during the mid-1990s and had partly started to reach mainstream success, such was the case with the album's lead single "I Wanna Be a Hippy" by Technohead. Upon its release, the album received critical acclaim for its upbeat, manic tone and happy spirit. Robert Christgau named it the 53rd best album of 1997, and, as an example of its acclaim had continued over years, Rolling Stone named it the 30th greatest EDM album ever in 2012.

<span class="mw-page-title-main">Lenny Dee (DJ)</span> American DJ

Lenny Dee is the performing name of Leonard Didesiderio, a DJ based in New York City. Starting as a house DJ in the 1980s, Dee quickly moved towards harder sounds such as techno and gabber. He set up the well respected record label Industrial Strength in 1991.

Belgian hardcore techno is an early style of hardcore techno that emerged from new beat as EBM and techno influences became more prevalent in this genre. This particular style has been described as an "apocalyptic, almost Wagnerian, bombastic techno", due to its use of dramatic orchestral stabs and menacing synth tones that set it apart from earlier forms of electronic dance music. It flourished in Belgium and influenced the sound of early hardcore from Netherlands, Germany, Italy, UK and North America during the early-1990s, as a part of the rave movement during that period.

References

  1. ↑ Rodriguez, Daniel (18 October 2014). "The N of Terror. Nasenbluten and the cult of Bloody Fist records". vice.com. Retrieved 16 March 2021.
  2. 1 2 3 Reynolds, Simon (1999). "15 Marching into Madness, Gabba and Happy Hardcore 1992–97". Generation Ecstasy: Into the World of Techno and Rave Culture. Routledge. pp. 291–2. ISBN   978-0-415-92373-6 . Retrieved 23 July 2013.
  3. ↑ "Interview with Mark Newlands". datacide. 24 June 1997. Retrieved 28 April 2018.
  4. ↑ "Starting Afresh with Sydney's Dsico..." Australian Music Online. 7 February 2005. Archived from the original on 21 November 2005. Retrieved 24 July 2013.
  5. 1 2 Prescott, Shaun (10 June 2011). "Aus Classics That'll Never Be on a Triple J List". Mess+Noise. Sound Alliance . Retrieved 24 July 2013.
  6. 1 2 3 Hope, Cat (2009). "Cultural Terrorism and Anti-Music: Noise Music and Its Impact on Experimental Music in Australia". In Gail Priest (ed.). Experimental Music: Audio Explorations in Australia. UNSW Press. p. 68. ISBN   978-1-921410-07-9 . Retrieved 25 July 2013.
  7. 1 2 3 Cockington, James (August 2001). "Total Ecstasy". Long Way to the Top: Stories of Australian Rock & Roll. Sydney, NSW: ABC Books (Australian Broadcasting Corporation (ABC)). pp. 245–255. ISBN   0-73330-750-7.
  8. 1 2 "The Publicly Released Coroner's Report/Autopsy on Anna Wood's Death". erowid.org. Archived from the original on 5 May 2008. Retrieved 24 July 2013.
  9. ↑ Gibson, Chris; Pagan, Rebecca (2006). "Rave Culture in Sydney, Australia: Mapping Youth Spaces in Media Discourse" (PDF). Youth Sound and Space. NSW: Division of Geography, University of Sydney: 16. Retrieved 24 July 2013.
  10. ↑ Marx, Jack. "Bless the Beasts and the Parents of Dead Children". The Age . Archived from the original on 6 May 2008. Retrieved 25 July 2013.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.