ElHase - Confusion (Baarz Remix)

Aquí os dejo mi cuarto set de Breakbeat. Espero que os guste tanto como a mí. Viene cargado de temazos de artistas como Urbano, Aggresivnes, Basstyler y muchos más.
Gracias a @Undergrafik por las portadas tan guapas que hace siempre.

Grabada con unos xdj1000mk2 

POWAH - BREAKBEAT SET VOL.4

Aquí os dejo un nuevo set llamado Bongo Bounce, el cual ha sido grabado a tres platos, 2 xdj1000mk2 y 1 xdj700. Espero que os guste y lo disfrutéis tanto como yo al hacerlo. Y si queréis compartirlo me haríais muy feliz.💕✨

POWAH - BONGO BOUNCE

funny L.p. homesession with friendzZ and special guest >Sub-Marin< from >Hypnotic revelation< soundsystem : )
a second mix on this evening wos recorded
chapter2--> https://soundcloud.com/jugiexo/rascal-jam-distorted-perception-mix-chapter2-sub-marin-exilant
Sub-Marin--> https://soundcloud.com/sub-marin-hypnotic-revelation

rascal jam distorted perception mix chapter1  - exilant & Sub-Marin

Arakneed - Nono Marmandmix (1999).mp3

Live - Groove Tekno

Recorded 01.01.2025.

Music by Caspar Großmann, Niko Steinmann, Miss Dark, Elhase, Lena Terhaar, CAS. 

Special thanks to Caspar for providing the music.
Please go follow Caspar Grossmann and support his incredible work.

Đ₳Ɽ₭ ⱧɎ₱₦Ø₴ł₴

Dj Set um 6 Uhr Sonntag morgen, was hatten wir für ein Spaß. Hier der Zweite Teil des Mitschnitt der erste ist auf dem YouTube Channel von S.U.T. zu sehen und hören. Viel Spaß damit.

Tonverschieber @ Kamo Leipzig / 11 Jahre SUT / 05.04.2025

HATE exclusive premiere.
Full streaming of the EP soon on our HATE YouTube channel.

Support the label, buy it here: 
https://gigifm.bandcamp.com/album/virgo-space-acid-2

Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Artist: GiGi FM
Title: Virgo Space Acid
Label: Sea~rène
Catalog: SRN003
Format: 12" Vinyl & Digital
Genre: Electronic
Style: #Techno
Release Date: May 23, 2025

All tracks written, produced and performed by GiGi FM.
Mixed and mastered by Ahmet Altinbas.

Photography by Yumiya Saiki.
Layout by Studio Phazed.

Special thank you to all my close friends of my space time continuum ~ I am grateful for y'all (｡♥‿♥｡)

Tracklist:
1. Calibration
2. Mercury
3. Virgo Space Acid
4. Floresta

Follow #GiGiFM here:
https://soundcloud.com/gigi-fm
https://www.instagram.com/gigif_m/
https://www.facebook.com/GiGixFM/

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.
Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.


Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of
reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.

"We are Sea~rène, swimming in-between supernatural tides, forever
following the emotional waves of the universe." GiGi FM

℗ & © 2025 GiGi FM - Sea~rène.
All rights reserved. Made in the EU.

 ___

https://www.facebook.com/hatecollective/
or via email: hatemusic1@gmail.com

Follow us on SOUNDCLOUD for exclusive podcast series:
https://soundcloud.com/hate_music

Follow us on INSTAGRAM for releases previews and news:
https://www.instagram.com/hate_collective

Virgo Space Acid

Premiere: GiGi FM — Virgo Space Acid [SRN003]

It's always the same fight

La Vie à 2 - Manu Chao (Laton Raver Remix)

The point of early raves was never personal fame or glory for anyone. No single person mattered. It was the system that mattered. And it was the system they fought against. 

///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\
///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\
///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\
///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\///\\\


 -I focus on-
oldschool Tekno, Hardtek, Tribe, sometimes drum&bass, little bit acid 303, melancholic / melodic Techno eaven UndergroundTechno. all that with industrial touch

..

..

I started enjoy freepartys 2005. 
Since then I hardly want anything else. its the Tekno family.
The first Tekno artists/systems/labels my brain picked up: 
wako, sp23, ifp, lego, nw23, circus alien, teknambul, 69db, wakuum, mem pamal, heretik, dsp, crystal distortion, metek, teamtrash, matu, fky, msd, okupe, 9mm, banditos, micropoint, turbotek, ben tetrips, x-tech, adam vandal, suburbass, utopeak, desert storm, co2, capsule corp, asystematik, lsdf, infrabass, arobass, foxtanz, aristocrad, hocus-pocus, zone33, alchymist, triphaze, uniko, Acid Anonymous,  jeff23, vinka, hujer maslo, R4G3, labo14....
________________________________________________________________

.....https://www.youtube.com/watch?v=HWSEIwoSeLI.....
.........short lucky successful scratch demo..........
________________________________________________________________

....................../´¯/)
....................,/¯../
.................../..../
............./´¯/'...'/´¯¯`·¸
........../'/.../..../......./¨¯\
........('(...´...´.... ¯~/'...')
.........\.................'...../
..........''...\.......... _.·´
............\..............(
..............\.............\... SysteM
.
.
.
.
.
.
.
.
.
.
.
. 
.
genre: 	Tekno, Free Tekno, Teknival
scene: 	Techno  (born in Detroit)
Tekno - 	early 90s

Hardtechno is the official music genre of rave culture. about raves - real raves 

The raves in the UK in the early 90s were free, renegade, seasonal, and run by ontological anarchists armed with the philosophical weapons of Hakim Bey and Robert Anton Wilson. In the winter months they broke into empty warehouses and occupied them for the night (rave culture loves recessions -- it means more unused urban spaces). In the summer they organized roaming flash mobs to crash police barricades and set up in farmer's fields. They rarely asked permission. What they were doing was illegal so they had to keep moving, and what developed from this radical hedonism was the concept of the mobile soundsystem.

Often situated on the back of flatbed trucks (what the Brits would call lorries) and caravans, the mobile soundsystem became the key to the rave experience. If the rave got busted or shut down by the cops or an angry farmer with a gun, the soundsystem packed up, moved over to the next field, and unloaded the party again. Repeat all night (or week) as necessary or until the drugs wear off. ^^  There were no cell phones or Internet back then so people were kept in the know via pirate radio stations and secret info-lines (ie: recorded messages on telephone answering machines).

These soundsystems had names like the rave promoters of yore -- Spiral Tribe, Bedlam, DiY, Circus Warp, Adrenaline, Rough Crew -- and it was these soundsystems that became famous in their own right. The people would locate where their favorite soundsystem was playing on a given weekend and then track it down like rock groupies. It's probably a weird concept to fanboys of certain DJs or producers (or even labels or promoters, you corporate whore), but the point of early raves was never personal fame or glory for anyone. No single person mattered. It was the system that mattered. And it was the system they fought against.

The organizers and owners of the soundsystems aimed to reclaim public space and occupy them as Pirate Utopias. Being more political-minded and radicalized, they looked nothing like their friendly Acid House forebears: Skinheads wearing jackboots, camo pants and combat fatigues. They had to look scary -- they were the promoters, owners, drug dealers, DJs, and security of their own parties. Just because these are free parties doesn't mean you are free to do anything.

And the music? The music was mostly produced live on the fly, like jam bands at Grateful Dead festivals. It was cheap, simple, disposable, looping thumping Techno music that went on for hours with no break; (today its different cause many analogue homestudios existing) blistering fast with an abrasive industrial edge, squealing 303s, a sample or two, and terrible sound mixing/mastering. This lo-fi grungy filthy Techno was the punk rock of electronic music. It was never called Hard Techno until years later, before Hardcore got its act together.

The free rave scene finally reached critical mass at the infamous Castlemorton festival from May 22-29, 1992. A rave that lasted seven days with an estimated 100,000 people in attendance. All aforementioned soundsystems were there. It was the rave to end all raves, a worse-organized, more anarchic catastrophic Woodstock. And like Woodstock many old Brit DJs and producers today will tell you that they were there when they probably weren't (and if they were, they're not supposed to remember anything anyway). Even still, everyone who went insists that it was wicked.


Castlemorton (allegedly)
The Authorities had had enough. Thirteen members of Spiral Tribe were arrested and after a long show trial the UK government passed the Criminal Justice Act of 1994, outlawing all raves (or what it called "any party that plays music with repetitive beats") and beefing up law enforcement to take the problem seriously.

Essentially the bill singled out and outlawed certain lifestyles -- specifically the "techno traveler" kind. The leftover members of Spiral Tribe and other soundsystems fled the country in voluntary exile, and they are still around today as the Free Tekno scene, a traveling circus that backpacks around Europe throwing free parties or Teknivals.


What a Teknival might look like. That smoke in the distance might possibly be tear gas. Teknivals get raided a lot. You're not a real participant in this scene until your party gets busted by the Police and you have to outrun the dogs.
Back in the UK the rave scene decided if it wanted to survive it had to go legit and comply with the laws. 1994 is a pivotal year: Everything after this year is safe, boring, and club-friendly, making shitty Eurotrance music for grandmothers and 8-year-olds, the edges completely smoothed out of what was not just a vibrant and revolutionary form of music but a lifestyle and culture.

Finding music of the very early free party scene is actually quite tricky because not a lot of it was recorded or pressed to wax (or, that is, not a lot compared to how much was made live in dozens of raves every weekend for years). And what music I do have was released well after the rave scene was crushed. And it's kind of hard to catalogue music that has no name, no label, no artist, no identification. It is Temporary Autonomous Zone music -- it exists only where it is needed, which is at a free rave. Not a music guide.
.
.
.
.
.
.
.
.
____________________________
TEK TODAY MAYDAY
____________________________
know how it works
but don't understand it
____________________________
origin unknown
not recognized
____________________________
stand for something
don't know for whom
____________________________
the genuine underground
never recorded as a copy
____________________________

rascal jam distorted perception mix chapter1 - exilant & Sub-Marin

XilanT

Recent comments

Laura Plis

Laura Plis

Laura Plis

KRON

Related tracks