About The Film / Synopsis

Notes On “Notes On Breakcore”

One should not expect “Breakcore – The Movie”, the ultimate Guide to a music genre and its history (although you might find some bits of these informations in here as well) but rather a statement video presenting different artists, labels and their musical styles and strategies as they were touring in the middle of the 2000s.

We just had the feeling there was a peak of creativity in hard electronic dance music at that time and subsequently tried to capture it on tape.

We found not only a rich subculture of independent, self aware producers but also a lot of politically active individuals with an actual message behind their music.

Music press and industry always generate categorizations and in 2005 everything fast, dark or experimental was called Breakcore very much the same way every form of slow, dark or experimental breakbeat music is labelled Dubstep today.

You could name this film “Notes On Somewhere Inbetween The 2nd Wave Of Breakcore”, keeping in mind that interesting new forms mostly happen outside of clear genrefication.

Notes On Breakcore | >>  a statement video about musical styles and strategies in the mid-2000s

Der Begriff Breakcore tümpelt seit über einem Jahrzehnt durch die Randbereiche des Undergrounds elektronischer Musik und führte dort lange ein Schattendasein als Jungle/Breakbeat-Bastard von Gabba und Hardcore-Techno. Durch die zunehmende Popularität in den letzten Jahren wurde er jedoch zunehmend von der allgemeinen Musikpresse als eine weitere Kategorisierung im Schubladensystem der Musikrezeption aufgegriffen. Bei näherer Betrachtung entpuppt sich das vermeindlich neue Genre als hybride Strategie, welche die unterschiedlichsten Stilrichtungen akkumuliert und adaptiert. Das Spektrum der integrierten Sounds reicht mittlerweile von Punk bis Freejazz über Klassik und Metal bis hin zu Schlager, Soul, 80?s Pop/Rock und Hiphop (um nur einige zu nennen). Trotz seiner unzähligen Verwandschaften ist Breakcore weitgehend von den Auswirkungen der Musikindustrie verschont und unkategorisierbar geblieben; dennoch deckt er durch seine Chamäleonhaftigkeit beinah sämtliche Bereiche zeitgenössischer Elektronik ab — vom Party-Noisegewitter am Dancefloor bis hin zu den vertrackten Experimenten der aktuellen elektronischen Avantgarde.

Der Grafiker, Comiczeichner und DJ Bertram Könighofer (Recherchen und Interviews) und der Videokünstler und Musiker David Kleinl (Kamera, Schnitt und Interviews) haben sich aufgemacht, um ihre ProtagonistInnen zu deren Selbstdefinition und Leben als Musiker zu befragen. Was in den 1990ern noch im E- und Kunstmusik-Kontext rezipiert wurde, emanzipierte sich von akademischen Zusammenhängen und fand Eingang in die Clubs.
Die portraitierten Artists gründeten Labels und Plattformen, kommunizieren weltweit übers Internet und schaffen somit unabhängige Vertriebsstrukturen. Sie veranstalten im Sub- und Hochkulturbereich. Mit ihren Laptops, elektronischen Devices und Turntables sind sie die Rockstars der Stunde, die sich mit ihrer Do-it-yourself-Attitüde einer konventionellen, medialen Vermittlung entziehen und somit ihrer eigenen Community bieten, was sie versprechen: “My subculture can kick your subculture’s ass anytime 24/7” — und das weltweit und unabhängig.

mit Livematerial und Wortspenden von:

Aaron Spectre aka Drumcorps
Amtrak aka. S.E.
Baseck
Bong-Ra
Christoph Fringeli
Nicolas Chevreux (Adnoiseam)
Dev/Null
Doormouse
Drop The Lime
DJ Scotch Egg
Eiterherd
Electric Kettle
Hecate
Hrvatski aka Keith Fullerton Whitman
I:gor
Jason Forrest aka DonnaSummer
Kid606
Knifehandchop
LFO Demon
Mike Paradinas aka µ-ziq
Pure
Rotator
Society Suckers
Terror and Mayham
Venetian Snares
Xanopticon

___________________

Wikipedia on “Breakcore”

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 new labels such as Addict, from Milwaukee, USA; Peace Off from Rennes, France; Sonic Belligeranza from Bologna, Italy; 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, allowing for an even broader definition of what was possible in the music.

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 is not a consensus on what is and what is not breakcore, or even over the usefulness of the term itself. Because of the fragmentation, the breakcore scene is not 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 and Widerstand (Eiterherd‘s website, now defunct).

According to Simon Reynolds, of The New York Times, breakcore is “purveyed by artists like DJ/Rupture and Teamshadetek, the music combines rumbling bass lines, 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.”

In Europe, the breakcore genre was solidified by raves and club events such as Belgium’s Breakcore Gives Me Wood, featuring local acts such as UndaCova, Sickboy and Droon; Breakcore A Go Go, in the Netherlands, which was run by FFF and Bong-Ra; as well as Anticartel, in Rennes, the seat of PeaceOff, and later, Wasted, in Berlin.

http://en.wikipedia.org/wiki/Breakcore

Comments are closed.

Partner Sites

  • Widerstand Records

Recent Comments