#about: chrome chamber rave

[chevvy-yates]

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⚠️ READ:

Please do not repost/reupload any of my art here or to any other platform, or I will be forced to do anything to get it annihilated.

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Some bits of infos about Garnet.

Like Ryder, Garnet is from Germany. His real name is Falco Ritter. He's the owner of the Hell Bunker, a location that hosts diverse techno parties and concerts (but also some other genres), located under the Dark Matter Building in Japantown, Westbrook.

He's the inventor of the event 'Chrome Chamber Rave', the radio station "Hellbunker fm' is also his own. He wants people of Night City to experience that techno(ise) from Europe is simply the best, especially the one from Germany (as techno roots come from there).

He's well knwon in the underground scene and he even may have some connections to Maelstrom. I'm not 100% done with him, so some details might change and his background story is also more or less in the making. He's more of a side character but a very close friend to Ryder. I created him mainly as supportive character for Ry rather than that he's a V or going to be a main character. He's no merc, but a musician (DJ) who knows how to defend himself as he's got gorilla arms (it's me wanting to play with that set up as well so yea why not give him that).

[mattymontez]

Dallow

The evenings in the small town of Dallow are usually peaceful. The moon and stars hung above, a celestial mural to emphasize the scene below. Officer Chambers of the Dallow Police Department was currently on her routine patrol. A bandolier holding a walkie-talkie and a bronze badge with numbers engraved within; it gave the rather petite brunette an air of authority. Her right hand was occupied with a flashlight, its radiance vanquishing any darkness, revealing any hypothetical illicit activity that may lurk within the alleys. On her waist, like an inert serpent was a leather belt, hanging and clattering with every step was a holster. Within it laid an old revolver, hardly up to code as the officer who possessed it had sworn to never use it, believing such firepower to be an object of discord and chaos. The requiem bell each shot this weapon rings forth has the potential to shatter the delicate tranquility her comrades in blue have worked so hard to maintain.

Looking through each alley, Chambers knew that nothing peculiar was going on, same as every other patrol. As she turned back toward her RMP (Radio Motor Patrol), a sudden banshee-like scream filled the air. Uncertain of where the scream came from, Chambers ran back down the alley, completely forgetting the protocols listed for an officer in her stature. As she continued running in a frenzy towards the high-pitched scream, the sound of gunshots boomed through the alley, causing Chambers to freeze right in her tracks. She wasn't prepared for this type of danger, especially with her belief of fighting for justice without lethality.  

A gruff voice came out of the dark side of the alley and spoke with pure hostility to Chambers. "You are on the wrong side of town, lady in blue. I suggest you keep on moving along".  

As the man began to walk towards Chambers, she noticed a chrome M1911 in his right hand and a whimpering eight year old girl being pulled by the hair in his left. The little girl’s flesh was an amalgamation of blue and purple, the tell tale sign of blunt trauma, most likely caused by the man keeping her captive. Regaining her composure, Chambers knew she had to save the little girl, but she needed to do it the only way she knew how.  

Standing up as tall as she could, Chambers pointed to her badge and said in a controlled tone, "Good evening sir, I am Officer Chambers, but you can call me Rebecca if you'd like..". The man remained silent, keeping his grip on both the girl's hair and the weapon. Rebecca continued, "Sir, you and the little girl do look awfully hungry. How about you put the gun down, and I take you both to the best diner in town where we can solve this issue nonviolently,  hmm? It's not safe here at this time of day".

The man exhaled loudly and gripped the little girl's hair tighter as she cried out in pain. He laughed coldly and said "You ARE right little lady in blue, it ISN'T safe here". In a blur of motion, the man aimed his gun at Rebecca and fired.

Catching her off guard, Rebecca's walkie talkie was shot and destroyed,, but it did protect her from any true physical harm. As she rolled behind a nearby dumpster, the little girl screamed for the man to stop shooting.

"STOP IT DADDY PLEASE YOU DON’T HAVE TO DO THIS!" she begged.  

Angry that his quarry managed to escape, the man’s arm coiled around his daughter's neck in rage and put the pistol to her head, thumb pulling back the hammer.

"GET OUT FROM UNDER THERE LITTLE BLUE OR SHE DIES!" the man raved.

Trying to salvage any possible idea to save the girl, Rebecca realized, with dread and horror alike that there was only one other way at this point. Grabbing her holster, Rebecca came out from cover and pulled out her rustic revolver, aiming it at the man, pulling back the hammer, allowing the sound to echo throughout the alleyway.. He smirked, knowing from Rebecca's shaking hands that she had never shot a person before.  

The man took a step forward with the little girl and said, chuckling, teetering on the edge of sanity "You shoot and I kill her. Both of our deaths would be on your hands!".

Rebecca's whole body began to tremble, not in fear of the man, but in fear of what she was going to have to do in order to even have a remote chance of saving the girl's life.

"Please. Don’t make me do this! There could be another way." she frantically plead, tears were running down her face, marring the makeup she had earlier meticulously applied.  

She stepped backwards, still aiming her firearm at the horrible man.

He chuckled again and said quietly, "To fight chaos... with chaos".

Two gunshots echoed throughout the alley and the sound of two requiem bells chimed over the town of Dallow, along with the plop of two fallen bodies.

[jobtypeblog]

DEATH OF RAVE

The Death Of Rave is a vinyl and digital imprint, housed within Boomkat, rooted in Manchester. There is little information online about the label, but it’s contributions to UK sound and arts practices speak for themselves, and have continually caught my interest in their redirecting of rave culture, avant garde sonic practices and sound composition as a medium for philosophic contemplation about the entanglements of electronic music and culture. The more I dig into their catalogue of releases, the more I appreciate the impact of this label has had to my listening for the past several years. I am always unpacking contingencies within the community of electronic production and sound art. The Death of Rave roster is home to a few artists in particular whos work has sat in the ambient subjectivity of my creative mind in the past few weeks.

Notable artists and releases that have shaped my understanding of a sound art approach to contemporary electronic club sounds will be briefly discussed below:

Mumdance, Logos and Shapednoise: The Sprawl - ‘The Sprawl - a sindicate of mutant sound carriers individually known as Logos, Mumdance and Shapednoise. Mastered and cut to vinyl by Matt Colton. Artwork by Dave Gaskarth.William Gibson's uncannily prophetic novel Neuromancer was the 1st in a set collectively known as The Sprawl. The same term also refers to a fictional Megatropolis covering the entire Eastern US seaboard in the books, and was also the title of a staggering, standout track on Mumdance's pivotal Take Time EP. The Sprawl is now also a noun for Logos, Mumdance and Shapednoise's new collaborative trio))), which was first conceived at Berlin's CTM15 festival, and now makes their recorded debut with EP1 of a rolling series to be archived by The Death of Rave. Inspired by Gibson's notions of uploaded consciousness in a post-human society, and the way in which the sensory-scrambling effects of technology have played out across our collective reverie, EP1 ventures four cuts of retina-scorching dis-torsion and chrome-burning modular synth work attempting to emulate the physical and mental impact of SimStim overload and fractious hyperreality. Head first, Drowning In Binary rinses us thru a maze of recursive techno chambers and convulsive noise, acclimatising us to the temporal displacement in preparation for the retching, body-quake detonations and finely-contoured synthetic sensuality of From Wetware to Software to take hold. On the other side, their references become more explicit, and violently dynamic, as the gutted late '90s tech-step structures of Haptic Feedback glance in the direction of classic Prototype and Reinforced Recordings, before Personality Upload steadily dismantles your mental firewalls with a gyroscopic sense of weightless delirium. Ultimately, EP1's mostly beat-less dynamics lends it to polysemous reading; at once comparable with elements of La Peste's late '90s french flashcore or the unquantised designs of FIS, and likewise, it's applicable as both 'floor-shocking DJ tools, or as a prop in your own, private sci-fi fantasy.’ - press release description for ‘The Sprawl’ on Soundcloud.

The trio of The Sprawl are known collectively, and in their individual outputs for their love of analogue hardware sound systems and exploratory sample and synth modulation. Composition is a defining methodology in electronic music and sound design, and in the case of Mumdance especially, the rearrangement and performance of deconstructions/reconstructions of Grime, Hardcore, Noise and Stockhausen-style musique concrete and Cagesque industrial ambience have remained integral to his practice. Combined with regular DJ sets, mixes, and a backlog of instrumental backings for UK MCs, Mumdance has made efforts to pioneer a new terminology for this re-engineering of audio culture: ‘Weightless’ refers to ‘the sound, the movement that traces the liquid space between spectral grime, sound design & electronic experimentation’.

Gabor Lazar:  Hearing for the first time the slapped out laser resonances and hyper synthetic drum programming of Gabor Lazar’s ‘Unfold’ EP last year was a pivotal moment in my perception of the potentials of forward-thinking dance music. Reading as much terminological music journalism as I have been doing, phrases appear in my mind when attempting to descirbe the sounds of this Hungary based engineer across his live performances and physical releases, phrases such as  hyperprismatic mutant elek-trance. Gabor Lazar is an artist who has the discipline to properly explore an idea with composition, to recallibrate technique over a significant duration to increase potency >>  https://www.youtube.com/watch?v=eYzSvepYwuI

Yorkshire Sound Artist Mark Fell, who has a number of solo releases on Death of Rave, as well as a collaborative album with Gabor Lazar, has been equally  ear-opening for me, and has informed a more sophisticated conceptual understanding of the entangled concepts of sound, technology and meaning>> https://www.thewire.co.uk/in-writing/essays/collateral-damage-mark-fell

http://markfell.com/media/2015_fowleryoungs_sleevenotes/mfell_REvERsE_pRacticE.pdf 

^This is a sleeve insert to a record by Luke Fowler and Richard Youngs on which Mark Fell contends with certain philosophies of media theory and listening using (amongst other methods) digital technology and computer software. The text is extremely useful in applying aspects of Marshall Mcluhun’s ideas to the search for meaning and creativity in the saturated media landscape of contemporary society. Imagining and engineering sound as ‘truth’, simulation and ‘the real’ produces fascinating philosophical conundrums, especially when you place the magnifying glass over the dance music and sound art worlds. The record is intended as ‘research music’ to document interactions within and between vibrational phenomena and technoculture. 

https://www.youtube.com/watch?v=hUspVAx9FKA

^A video depicting important research into technological advancements in the last few decades that have defined sound culture for generations.

Sam Kidell: Sam Kidell’s work sits in a very specific mode of sonic art and UK music culture that deeply resonates with my own preconceptions of a progressive sonic practice that combines sound composition with social theory. Kidel credits grime as an ‘enduring influence’ on his work, which takes a significant departure from the conventions of this nearly 20-year-old movement, and brings as much care, attention and conceptual motivation to the accompanying artwork. and visual performances. Operating as a designer of sound pieces and installations within his solo work, and as part of the Bristolian Young Echo collective, who experiment with sound and performance to explore the intersections of collective consciousness, identity and contemporary existence with a forward-facing take on ambient, dub and post punk.

SUPERMARKET! (2015): This is a deeply hauntological and brilliantly simple ambient inversion of pop r&b into 

Adam Harper writes: “The one thing you can say about underground music in 2015 is that it’s talkingpop’s language. No longer are its stars enemies to be derided - now they are appreciated for their perfection, the craftsmanship, their transcendental demi-god status, and, displaced from their original industrial contexts, as totems of everyday listening.

As SUPERMARKET!, Sam Kidel of Bristol’s Young Echo collective offers the latest and one of the most surprising re-engineerings of pop. He takes acapella R&B vocals from Aaliyah, Brandy, Destiny’s Child, Ciara, Timberlake, and Beyoncé and wraps them in fine fragile films of quaverous machine breath and the stultified knocking of a rapturous trance in which no other response is possible. In doing this, SUPERMARKET! is a way of listening, encoding a strange, otherworldly response to pop that couldn’t be more different from pop, but that finds again the awe and wonder that gets lost among the shopping aisles.”

Disruptive Muzak (2016):

https://www.youtube.com/watch?v=mdAjgt3MR10

‘Sam Kidel’s debut for The Death of Rave is little short of a modern ambient masterpiece. Following a celebrated debut for Entr’acte in 2015, the Young Echo and Killing Sound member’s sophomore solo album is a playful, emotive inversion and subversion of Muzak - that “background noise” variously known as “hold” music, “canned” music, or “lift” music - employing government call centre workers as unknowing agents in a dreamily detached yet subtly, achingly poignant 21 minute composition, backed with a DIY instrumental in case you, at home, want to get your phreak on. Drawing on research by the Muzak Corporation (the company who held the original license for their eponymous product), and his concurrent interests in the proto-internet technique of phreaking (experimenting or exploring telecommunication systems - Bill Gates used to do it, and thousands of kids have probably made a prank call at some point in their time), Sam played his music down the phone to the DWP and other departments, not speaking, but recording the recipient’s responses; subsequently rearranging them into the piece you hear before you. Aesthetically, the results utilise a range of compositional styles - ambient, electro-acoustic, aleatoric - and could be said to intersect modern classical, dub and vaporware, whilst also inherently revealing a spectrum of regional British accents rarely heard on record, or in this context, at least. But make no mistake; he’s not making fun at the expense of the call centre workers. Rather, he’s highlighting a dreamy melancholy and detachment in their tedious roles and tortuous, Kafkaesque systems, one known from first-hand experience. Disruptive Muzak may be rooted in academia, but it’s far from pretentious. We really don't want to give it all away, but the way in which he executes the idea, both musically and conceptually by the time the final receiver drops the line, is deeply emotive without being sentimental; making tacit comment on questioning our relationship with technology, economics and socio-politics in the UK right now: in the midst of right wing policy delivering swingeing benefits cuts and zero-hours contracts which damage those on the margins most, and a scenario where corporate composition and electronic sound form a blithely ubiquitous backdrop to capitalist realism.’ - Boomkat Description of ‘Disruptive Muzak’

‘Sillicon Ear’:

https://www.youtube.com/watch?v=5uoM8FmfXZk

‘Following his compelling comment on the modern-day culture of call centres, Disruptive Muzak – awarded Album of the Year 2016 by Boomkat – Sam Kidel turns his analytical artistry towards the ominous gatekeepers of online communication with a rave-inspired rebel spirit to match his scientific methodology.’ 

“Chamber music meets free-party-scene warehouse-invasion”  First exhibited at EBM(T) in Tokyo, Live @ Google Data Center trespasses in Google’s data centre in Council Bluffs, Iowa to perform electronic music amongst the humming banks of servers and endless cable runs, without actually breaking in. In a process he describes as “mimetic hacking,” Kidel used architectural plans based on photos of the data centre to acoustically model the sonic qualities of the space.  The resulting acoustics on Live @ Google Data Center simulate the sound of Kidel’s algorithmically-generated notes, rhythms and melodies reverberating through the space, as though a bold illegal party was being held in the maximum security location. Kidel’s manipulation of his generative direction of the music, all inspired by images of the data centre. “Music that deafens the silicon ear” The generative audio patch Kidel used to make Voice Recognition DoS Attack seeks to disable the functionality of voice recognition software by triggering phonemes (the smallest units of language). The project, first developed for the Eavesdropping series of events in Melbourne, exploits a weakness in voice recognition that cannot distinguish between individual voices. When you speak while the patch is playing, the cascading shards of human expression mask your speech and thus protect you from automated surveillance, questioning our vulnerability in the face of global data giants. In amongst these displaced sounds, Kidel fed additional musical elements into his patch to create the version of the project heard on this release.’ - 

Mark Leckey:

Masters lecture: https://www.youtube.com/watch?v=MJHyg4g8MzQ

‘Fiorucci Made Me Hardcore’: https://www.youtube.com/watch?v=-dS2McPYzEE

Next year, on January 2nd 2020, The Death of Rave will be reprinting their inaugural release to vinyl, the soundtrack to the Turner Prize Winning video and installation by Mark Leckey - ‘Fiorucci Made Me Hardcore’ (1999). This seminal work that defined a career for Leckey was in many ways a response to the ‘heady critical thinking’ he had struggled with in art school. The work for Leckey presented an oppurtunity to tackle something he was familiar with in a creatively satisfying and nostalgic sense, though the final 15 minutes of footage presents more melancholia than it reminiscing. The narrative of the video gives glimpses into the miserable reality of late capitalism and the absurd and sublime world of British dance music. Leckey confronts cultural phenomena and the history of his own identity in relation to society. Through nostalgic collaging, abstraction and manipulation of the temporal quality of archival media, Leckey presents a hauntological speculation of his cultural and societal position as a child growing up 11 miles from Liverpool’s city centre. 

‘A phantasmic and transcendent collage of meticulously sourced and rearranged footage and sound samples spanning three decades of British subculture - from Northern Soul thru '80s Casuals and pre-CJB Rave - it may be considered an uncanny premonition of the Hauntological zeitgeist which has manifested in virulent sections of UK electronic dance and pop culture since the early '00s.This record severs the sonic aspect from the moving image, offering a new perspective on what rave culture maven and esteemed author Simon Reynolds calls "a remarkable piece of sound art in its own right." Detached from its visual indicators, Leckey's amorphous, acephalic cues are reframed as an ethereal, Burroughsian mesh of VHS idents, terrace chants, fragmented field recordings and atrophied samples cut with his own half-heard drunken mumbles. At once recalling and predating the eldritch esthetics of Burial or The Caretaker; it's an elegiac lament for an almost forgotten spirit; an abstracted obituary to the rituals, passions and utopian ideals of pre-internet, working class nightlife fantasias, now freeze-framed forever, suspended in vinyl. It's backed with an edit of another soundtrack to a Mark Leckey video installation: 'GreenScreenRefrigeratorAction' (2010). In stark contrast, the original video features a black Samsung Bottom Freezer Refrigerator stood in front of a green screen infinity cyc, recounting its contents, thoughts and actions as narrated by the artist in a radically transformed cadence. Taken as a wry comment on cybernetics and the ambient ecology of household appliances which permeate our daily lives, it's an unsettling yet compelling piece of sound design whose subtly affective dynamics reflect the underlying dystopic rhetoric with visceral and evocative precision. The piece has since been used in a collaboration with Florian Hecker for the Push and Pull exhibition at Tate Modern in 2011.’

https://www.youtube.com/watch?v=CATey5LcEF4&t=116s Leckey quotes in a video interview on the Tate’s Youtube Channel: ‘I think it put me in a position where I felt outside of the action... on the periphery of the action... on the edge of the dancefloor looking in’, a perspective that articulates a sentiment that has in many ways shaped my own creative thinking and world view with regards to the topics I choose to contemplate with my creative work. I even draw a similarity with my very first electronic compositions and Leckey’s installation ‘Exorcism of the bridge@Eastham Rake’, as it was a motorway bridge underpass where me and my friend Archie would discuss and listen to our first compositions, and imagine alternate possibilities of living through music. We even codified the accompanying texts to our music with the longitude and latitudes of the bridge where we conceptualised our creative endeavors.

I inhabit urban environments temporarily, but ultimately am a stranger to a life subsumed by industrial machinery and the concrete and metal of urban sprawl. Perhaps this is what has led my creative mind to embrace the dystopian hyperstitions of late modernity as aesthetic strategies for radical art-making and sound production. I have lived in the same house, 10 miles from Leeds city centre quaint middle-class rural countryside, and feel an affinity to the slow pace, fresh air and wildlife. I contend with the stresses of urban and industrial living, but ultimately with the knowledge and experience of a ‘better place’, or more natural environment... ‘it stood me in good stead for being an artist. You become more observational in a way’. You take an interest in things that might seem humdrum, or might not excite other people in the same way that I would’.

https://www.youtube.com/watch?v=Q8HlSHTEtdc

Leckey describes himself as the kind of person who has ‘perpetual crisises’, and often questions the meaning and person of art practice in the modern economic and political landscape. As Steven Shaviro points out in an article on E-flux, ‘transgression no longer works as a subversive aesthetic strategy. Or, more precisely works all too well as a strategy for amassing cultural capital as well as actual capital’. He gives an image of his works as being ‘exorcisms’, moments where he is ‘overbrimming’ with nostalgia or curiosity and in turns creates temporal, sculptural and experiential manifestations of the things that have buried themselves into his sensibility.

https://www.youtube.com/watch?v=yS18_iVTQEs&t=731s 

https://www.youtube.com/watch?v=tWMfnK7bEg4

- Dream English Kid 1964-1999AD was one of Leckey’s earliest videos, which contemplated the anxieties and mystification of living with and between electronic and mechanical technology. Leckey explains in an inteview about the moment he found an audio recording of a Joy Division gig he attended on Youtube, which inspired within him a fantasy of timeless recalling of history, and an exploration of how audio-visual software has changed our relationship with our past. Leckey put together much of his most important video work in a time that predated the speeds of the modern internet. Through the laborious process of sourcing footage, writing to people and waiting for responses and VHS tapes, Leckey talks about getting drunk and editing the video alone, often to the point of tears, which can be heard in the backing track.

[chevvy-yates]

RYDER’s INVOLVEMENT

Garnet and Ryder are old chooms. They've known each other since Ryder attended one of his first underground raves Night City had to offer: an event at Maelstrom’s Totentanz where he met Falco in the crowd and came into a chatter that resulted into a deep friendship.

Both young men noticed fast, that NUSA techno(ise) differs very much from the one in their home country Germany. So instead of complaining about how bad NUSA raves were, they sat down and developed Garnet’s idea together: the concept of HELL BUNKER and the birth of Chrome Chamber Rave. Garnet may be the founder of it all and came around with the concept but without Ryder’s help he wouldn’t have been able to put everything into action. Ryder had different connections in the city that would help them find a place and where to get helping hands for actually creating Garnet’s vision. Ryder has an eye for neat design and together with Garnet’s business know-how they started the project. Garnet also suggested Ryder to be co-owner, but Ryder declined as he has too much work to do already as a merc but he will become co-owner later when he can finally put his merc job aside after a last great mission. Nonetheless Ryder continued to help Falco to get CCR known in Night City by creating flyers and posting on his socials until it grew quite known already by 2075. Ryder also used to work as a bouncer in the beginning as well and still offers to do it when the club appears to be understaffed. In return he doesn’t have to pay for entering and friends of his always get in for free as well.

To give you a better imagination of what HELL BUNKER might look like, here are two 3-min videos of the Berliner Techno Club 'TRESOR' in its previous¹ and newest form², that shows how Garnet's location might look like – at least the base of it.

I can recommend watching this over an hour documentation if your are interested), This is literally the underground bunker style I imagine for Garnet's club. —

¹ First video is from the old club that got deconstructed in 2005. It has a long history together with techno subculture after the Berlin wall fell. This is literally the underground bunker style I imagine for Garnet's club. ² The second video seems to be of its current location, a big hall and/or rooms within a heat and power plant, that shows a part of it used in the underground for some parties.

[chevvy-yates]

CHROME CHAMBER RAVE

Chrome Chamber Rave (short: CCR) is a sex-positive hard techno(ise) rave event in Cyberpunk 2078 – Pandemonium that occurs every 1st Friday per month at the ’HELL BUNKER‘, an old underground air-raid shelter from the early 2000s, located in Woodland Street, in the underground of the Dark Matter Building complex in Japantown, Westbrook, Night City.

The entire concept of the HELL BUNKER is red, black and silver/chrome, and so is that of CCR as the main event of the location. It was founded and initiated by the German DJ Falco ‚Garnet‘ Ritter (together with Ryder). In Garnet’s view music, fashion, art and desire are so close together and yet rarely have enough space to exist at the same time in everyday life. With CCR he wants to provide a retreat and safe space for creative minds and free spirits. Falco simply wants to give artists a stage to present their art and music to their audience. Several known DJs specialized on hard techno play their music during the 3 days and nights long event alongside other supportive acts in forms of performers, light shows and digital art. The genre played is 90 % pure hard techno(ise) – it goes deep into every fiber of your bones, it can be very dark, apocalyptic and fucking hard for your ears, chrome and soul. Deal with it or attend a standard NUSA rave. The other 10 % are softer, melodic hard techno(ise) that will be played in between the artists to give you time to regain your breath and stamina back and to freshen up as it is required to leave the heated floors in between for some fresh air. It gets steamy, hot, almost hellish down underground in HELL BUNKER as sweat will definitely drop from the chains on the ceiling after a certain amount of time. The installed fans aren’t capable of blowing the heat away when the bunker rooms are filled up with ravers to its maximum capacity. Taking pictures and videos inside is not permitted as CCR is a sex-positive event that follows a certain dress code with offering playrooms for its passionate ravers (see the rules section). However, there is an extra hired photographer around taking pics but asks for permission first (the pics are for the 160+BPM magazine if allowed to use), The waiting line is often long and people will be selected at the entrance. If you do not match the taste of Chrome Chamber Rave you will not have a chance to see the bunker from the inside.

WANNA GET A SMACK OF THE NOISE PLAYED AT CCR?

Have a 18+ long listen! Like that noise? We welcome you at the next CCR at HELL BUNKER!

This long list contains various hard tech artists that deejay frequently at CCR which explains the playlist is 10h+ or more long. You have various melodic songs in between bigger artists to catch a breath.

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This list has everything I consider fitting for the event. Most songs follow the dark themed almost apocalyptic path. There's tons of songs in there and there's even those I do not enjoy either but I thought, yo this is supposed to be an event you are attending and ofc you do not like every song played during it, so deal with it! if you do not like sth, just skip it and pretend you're going up for some air or imagine talking with new people you meet or get a drink at the bar. Have fun finding the melodic softer ones! I will keep adding songs as the hours of ca. 52h aren't reached yet. Fun fact (not so much): some songs have distorted voices saying words or whole sentences. Imagine this is B.E.A.S.T. talking to Ryder. You know Ry escapes into technoise as the music is louder than B.E.A.S.T. is — yet it also is in the songs he keeps listening to. The questions is: is he only hearing the voice in addition or is it really in the song? Or is B.E.A.S.T. in everything?

[chevvy-yates]

CLUB OWNER

The owner of ‘HELL BUNKER’ wears the name ‘Garnet’. A simple man, born as Falco Ritter in Cologne, Germany.

Coming from a middle class worker family, he migrated over to the NUSA to fulfill himself a dream of becoming an artist and of owning a place of his own to show his passion to the world: Techno(ise). Garnet’s lifeblood is not only his bunker and mixing music as a DJ himself, but also his event Chrome Chamber Rave and the radio station ‘HELL BUNKER.FM’ that provides the newest tech hits as well as an online and print techno(ise) magazine named “160+ BPM” that he releases every month. Garnet is an artist and self-starter through and through! Falco has earned quite a high cred and respect in the Night City raver business as his location with mainly CCR is unique compared to other techno(ise) clubs in the city. His vision was not only to bring European, especially German, techno(ise)¹ back to the NUSA, but also to combine it with other artforms and the desire of primal energy that lies deeply rooted within us. He used to be dj-ing at Totentanz years ago which gave him a lot of inspiration for creating HELL BUNKER afterwards. Today, being a quite known underground Techno(ise) DJ within the scene and his bunker, Garnet is still down to earth as a musician and business owner who loves to collaborate with other artists to create art that moves you cerebral and visceral altogether. He also does not shy away from acting as a bouncer for his own club. So if you may have asked yourself why he’s decorating himself with Gorilla arms: It’s for throwing out those who don’t behave appropriately. Falco doesn’t make any excuses.

SET LIST

Garnet's common set list for Chrome Chamber Rave, a fictional hard technoise event in the world of Cyberpunk 2077. He still deejays at CCR. His setlist is of course all hard techno(ise) yet he concentrates to mix it with more emotions and a touch of industrial, even some lyrics and tends to venture further than that. Each song is unique to itself and can be a true experience if you are willing to let yourself soaked in and let it touch your soul.

“Technoise may not be able to save the world, but it will save your soul.”

— Falco ‘Garnet’ Ritter

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Cover artwork by me. Steal and you will be doomed. I‘ve chosen tracks only by one artist named ‘Roman Gehrecke’. This artist is the closest to what I imagine Garnet would produce as well. So I decided to borrow the music for Falco. Of course all the music belongs to Roman Gehrecke! There's one song at the end of it I see as the one that is always played at last so the audience knows ok after that it's done. This song is also not by the artist mentioned above but has a well known melody majority knows.

Recommendation: ‚Gefallene Engel‘, ‚Anderswelt‘, ‚Stimmen der Tiefe‘ and ‚Schutt und Asche‘ – best listened to via headphones and making time for it should you want to try to get soaked into.

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¹ "Technoise and its various derivations dominate much of the German scene. If you're hip, you already know about Technoise. If not, listen up. Technoise is quite popular with the discerning young punk; it was popularized by Germany's own NetWerk actually, you've got your Overlay style from London, Jazznetic from Rotterdam and Echo from Frankfurt. In addition, there are people producing Frock (Fractal Rock) all over the place. The good thing is, Technoise is quite easy to produce. You only need a small computer, some software and you're ready to buzz. Those of you with a message might miss the political attitude, but you're missing the point. Technoise is strictly for partying, tripping and dancing. People meet and dance up to the runner's point. Maybe that's a political statement in itself, oder?" — Eurosource Plus – The New Eurotheater Sourcebook for Cyberpunk

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find more here:

//////////////////////////////////////////////////// —————————–———– CHROME CHAMBER RAVE —————————–———– —————————–———– under construction —————————–———– —— MAIN | ABOUT | RULES | AESTHETICS | DRESSCODE ——

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Please do not repost any of my art, otherwise Demon of Kabuki is going to hunt you down. Thank you.

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HOW IS CHROME CHAMBER RAVE DIFFERENT FROM OTHER PARTIES IN THE HELL BUNKER?

Chrome Chamber Rave is no ordinary rave. It was created to celebrate techno(ise), dance, ecstasy and the joy of your own body. Art, music, fashion and desire are so close together and yet rarely have enough space to exist at the same time in everyday life. Chrome Chamber Rave changed this providing a retreat for creative minds and free spirits. At a sex-positive rave, it‘s not just the layers that come down, but often the inhibitions too, which is why it‘s absolutely essential to respect the other person‘s boundaries and to be polite and friendly towards one another. Unasked touching is not desired.

HOW OLD ARE YOU ALLOWED TO ENTER?

Admission is always from 21 years of age. Transfers of supervisory duties aka mom notes are not accepted.

IS THERE A DRESS CODE AT CHROME CHAMBER RAVE?

Yes, there is a dress code. Anything that stands out is allowed, so feel free to let off steam creatively. If someone turns around to look at you and your outfit in broad daylight, you‘re moving in the right direction. Conversely, everyday things are not desired since Chrome Chamber Rave is a hard techno rave with a sex-positive option and playrooms, we create a space for free development. If you can‘t deal with it, you don‘t have to worry. There are plenty of other hard techno events without a dress code at the Hell Bunker. Come by another time!

Go’s: black • red (holo) • silver • chromed • metal • chains free • fetish • rubber • leather • latex • kinky • shrill • loud naked • masked • mysterious No’s: non-fitting CCR color concept • CorpoRat suit • regular jeans everyday wear • tracksuit • simple all black • jeans and shirt combination

WHAT ARE BOUNCERS FOR?

Our doorbitches at the entrance check if the dress code has been adhered to and your mindset fits the event and other guests. We want to create a retreat for all creative free spirits with Chrome Chamber Rave, thus we offer a break from everyday life and want to protect this space as best as possible.

IS THERE A POSSIBILITY TO CHANGE INTO THE FITTING DRESS CODE AT THE LOCATION?

We understand that you don’t wish to arrive already un-dressed at Chrome Chamber Rave. If you need to change into your outfit at our place, please provide a picture of the outfit and we will lead you to the changing rooms after you pass the security controls. Private lockers as well as a cloakroom for storing your stuff are available to help turn you into your final fit for the rave.

WHAT ABOUT TRACKING/WEAPONIZED CYBERWARE?

Harmful body cyberware and any cyberware capable of recording videos/taking pictures, as well as cell phone cameras will be deactivated once you enter the bunker through our scanner.

WHY IS TEHERE A BAN ON PHOTOS AND VIDEOS?

Chrome Chamber Rave is a hard techno rave with a sex-positive option and playrooms. So that every visitor has the chance to let themselves go, unobserved by cameras, there is an absolute ban on photos and videos. To do this, every visitor’s cell phone camera will be deactivated as soon as you enter the bunker. Anyone who does not adhere to this rule will be expelled from the event without exception or discussion. Addressing the runners extra: quit trying to hack the systems. We have Watchdogs all over the subnet. So, opt out and give yourself into the exciting meatspace.

WHAT? YOU SAW SOMEONE TAKING PICS?

If you see a photographer walking around taking shots: it‘s the boss himself collecting content for 160+BPM (magazine) and HELLBUNKER.FM (radio station). And yes, he even asks if he‘s allowed to take pics of his guests first.

CHROME CHAMBER RAVE HAS AN AWARENESS CONCEPT WHAT DOES THAT MEAN AND HOW DO I RECOGNIZE IT?

At Chrome Chamber Rave we have an awareness team consisting of trained and experienced doll employees. You recognize them by the blue highlighted shining eyes and holo chains around their necks. The awareness team‘s job is to ensure an unforgettable and breathtaking evening. You have any questions, feel uncomfortable or harassed? Contact the awareness team. All other employees are also available as contact persons, whether at the counter, the door, the wardrobe or our MedTechs.

WHAT IS A PLAYROOM/DARKROOM?

The playroom and the darkroom are separate areas where you can retreat for sexual activities. The playroom offers a wide range of furniture and opportunities to fully express your kinky side, whilst in the darkroom you can experience sexual activities more anonymously as it‘s almost dark in there with less kinky furniture but a bunch of more private booths, sex toys and a sex sling as highlight. Whether you‘re an experienced player or curious to push your boundaries, you can give each other moments of bliss and enjoyment in those rooms. Even if you can let off steam here, some important rules apply: — ask first, then touch or join in — be discreet and tolerant — sexual self-determination and consensual acts are the goal Pay attention to safe sex and personal hygiene – you will receive condoms, wet wipes and hand disinfection at the entrance to the playroom. If our high med tech scanners detect a sexually transmissible infection you are not allowed to enter.

ARE LIQUIDS ALLOWED IN THE CLUB, SUCH AS NASAL SPRAY OR LUBRICANT?

To protect our guests, no liquids from outside are permitted in the club. This also includes nasal sprays, eye drops, deodorants and lubricants. At our awareness checkpoint in the club you will receive everything you need and can stock up on deodorant during the event.

WHAT ABOUT STIMS AND DRUGS?

The use and dealing of illegal drugs is not permitted. This counts for stims as well. Don‘t even dare to try. If you have to take special medication that falls under stims we ask you to show us your MedTech‘s official prescription at the entrance. If you wish, we can keep it safe for you as well.

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I thought about starting to tag some vp with #ccr dresscode were ocs by fellow mutuals/friends/content providers are wearing clothes that would totally fit to my hc event chrome chamber rave.

But here I am not knowing what kind of music all your oc's do listen to, neither if they would go there (as I haven't posted much intel about it other than it is a hard technoise event).

Maybe I'll just add a sentence like 'tell me if I should delete the tag'? if someone doesn't want to be there.

It's just there's a lot of cool outfits, especially (and sadly) for female V that fits very well to the concept of ccr.

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A goth club I went to in my early 20s mostly played industrial music on weekends and then at the back you could get strung up for a bit to get flogged and/or sit in this little booth and have someone use a violet wand on you. I don't think I ever saw any live shows or sets there, it was more like a bar in practice.

Interesting.

tbh I never heard about that but ofc I googled it quickly and I must say, this could be something that you can find and make use of in the playroom of the bunker.

Also yay for industrial music <3 I used to go to such parties as well until in my early 20s! I also hc that Hell Bunker hosts industrial parties as well but the best event is alway CCR once a month.

thanks for sharing <3

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thoughts thoughts thoughts

I've spend an hour with trying to create some sort of layout I wanted to do with the stuff I've written for Ryder and why he likes Techno.

Somehow I got the idea to do it like it's a few pages in a magazine but my idea is currently all over the place so I'll stop now and go look for inspiration in other design mags that might help me find a base for it. I know the Style where it has to go, it's ste already butI need a base. We have a lot inspo at work.

Also need to go over the text so it sounds maybe more like an interview, but not with an actual interviewer asking questions. it's just like "We've had the honor to ask Ryder about why he likes techno blabla" and they let him talk. Don't want to waste too much time about what the interviewer could ask and what is the name etc. I think Hell Bunker or Chrome Chamber Rave just picks out people from time to time to let them talk about their passion.

And idk why all of a sudden but I imagine Ryder has a very close contact to the owner of the Hell Bunker who is hosting Chrome Chamber Rave. I think I need a face for some self invented location as well. Which would mean a new oc, but I have no capacity for making a new oc as I already have yet to create Hizumi and – some Medtech dude haunts me as well since a few months – which means I will have 6 ocs in the end and I cannot afford a 7th as I'm already overchallenged with my current four …

I just like the thought that Ryder is friends with the owner of the club and they sort of where chooms with benefits for a bit. aaahh silly ideas. If you do not already, you gotta know: Ryder is sort of the type who - pardon my language but - fucked around a lot before the love of his life named Thyjs appeared in 2078. He is the only one I can imagine with multiple hook ups that do not turn into a serious relationship.

So yeah … :)

idk what's going to happen with this. Have to think over it and make better details about CCR in general.

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When will I eventually be satisfied with Ry's fav. radio station playlists? whennn?

I think the 'Hell Bunker FM' playlist is still in need of more hard tech shit, as I hc these songs are all played at 'Chrome Chamber Rave' which is a party that takes place every second Sat, 10pm—Mon, 5am, at 'Hell Bunker' located underneath the building complex (where the Dark Matter is also located), so in Japan Town, Westbrook.

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I'm constantly thinking about how to present that chrome chamber rave location. I know I'm unable to build it. xD

Technically I can use some parts ot 7th hell location as it has some chains and cages and the red light I need, but it's still too less and the room is too high.

Hell Bunker is what the names says; a bunker.

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[NC_RES]-31102049-EUR-GER scharfenberg_g_portraits_043_2_CCR_HB_JP_HB.file ///core:_ryder_von_scharfenberg.file\\\

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⚠️ READ: Please do not repost/reupload any of my art here or to any other platform, or I will be forced to do anything to get it annihilated.

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[NC_RES]-00001631 mercs_vergara_scharfenberg_portraits_003_BP.file ///core:_dark_pink\\\

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Pics done by @gloryride. ❤️ Vanessa belongs to @gloryride. Ryder belongs to me.

⚠️ READ: Please do not repost/reupload any of my friends and my art here or to any other platform, or I will be forced to do anything to get it annihilated.

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[NC_RES]_00003131 raver_ritter_scharfenberg_002_CCR_HB_JT_WB.file ///core:_tech_bitez.file\\\

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Please do not repost/reupload any of my art here or to any other platform, or I will be forced to do anything to get it annihilated.

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Ry and Garnet are old chooms.

They've known each other since Ry was able to attent one of his first underground techno(ise) raves Night City had to offer. They were also chooms with benefits some years back, now they are just chooms.

Ry and Garnet always complained about the NUSA techno and the rather boring parites. They sat down and developed the concept of Hell Bunker toegether once Garnet told Ryder about his idea to have his own location to host parties.

So Ryder helped him in the beginning whenever he had time. He helped turning the location into something cool and even created flyers for the events (mostly for Chrome Chamber Rave tho) and pushed the location a lot so that it grew quite big by 2075.

Garnet acts as a DJ often but has also a lot to do behind the curtains as he's the owner of Hell Bunker (tho I hc Ryder to join him after the big story is done). He even does sorting at the entrance for Chrome Chamber Rave as there are strict rules such as a certain dress code you gotta have to wear, otherwise you may not be able to enter.

Ryder still helps out when there is a shortage in staff, so it is not unlikely that he plays sorter at the entrance as well.

Their brotp name was the fasted I came up with. I gave Garnet sharp teeth like Ry has (my new hc is now that Ry got his bc of Garnet). Garnet's are fully chromed teeth tho with blood red canines. His entire mouth and tongue are chromed black.