#hardscore

[concorp]

"its just some silly story from my dreams" about the hardscore world.... mcyt dream world hopping theory becoming even more real to the qsmp 👀👀👀

[existentialmagazine]

Review: ultrasaturated’s floating new single ‘In The Sun’ is a journey of ambience and lyrical ethereality

Emerging from the Italian punk and hardscore scene, the upcomers utrasaturated find themselves soaring to new sounds, offering a dreamy rock edge alike no other artist out there. Formed by Federico Ceretta, Gianmaria Cetti, and Samuel Zini in 2022, ultrasaturated consists of members from many previously renowned bands, all collaborating for a new journey of ambience and lyrical ethereality. Drawing inspiration from artists such as DIIV, Beach Fossils, Turnover, and Black Marble, their work feels familiar and yet distinctly different to anything else. With their debut EP ‘Universal Hologram’ recently gracing the airwaves, the band have only been on an upwards spiral since, with one of the singles ‘In The Sun’ particularly catching our eye.

Nestled between the warm bookends of a sound rooted in atmospherics, you’ll drift through the softened bedding of ‘In The Sun’ right from pressing play with an ease that seems almost unreal and intangible, finding yourself gliding through their sound with a dream-like floating feeling all the way through. Wrapped in looping reverberated electric guitar riffs, deep bass twangs, steady drum beats and shimmering synth that at times patters like falling raindrops, ‘In The Sun’ commences with such a celestial air, guiding you amidst its hazy instrumentals and offering you a safe place to escape. The electric guitar riff fluctuates for the choruses intermission, more brightly placed front-and-centre and cascading through differing strings that you can’t tear yourself away from for even a second. The vocals tie everything together though, laced between the sound’s daintiness and a little quiet and subdued in the mix, whilst a heavily smothered vocal effect sees every line echoing out for a real added vastness to the already poignant journey. The softly delivered lines carry the track’s gentle aura, sung primarily in a deeper vocal tone that momentarily soars into slightly higher ranges, all the while carrying an emotional resonance you feel achingly attuned to. There’s no greater feeling than a song that almost brims with a life of its own, and ‘In The Sun’ really bears a sense that it’s connected to, if not one with, the clouds and skies above, drifting through at its own pacing with you onlooking every moment.

For a sound so effortlessly mesmerising, it’s no surprise that ‘In The Sun’ has a lyrical message that feels almost smothered in infatuation and love at first sight, a life-changing moment that’s just as much of a dream as their sound represents. From the opening revelation, ‘you had just walked in, and I had just arrived, I could not take off my eyes. You and I never met, but I felt just alive’, the song immediately sets the scene of an intertwining of souls that’s destined to be, brought together at a time they likely could’ve passed each other by and yet felt compelled to act. Admitting ‘we just couldn't get enough’, the song wields an impassioned romance lulling between its enchanting sound as this pairing can’t keep themselves away from each other, falling from the get-go and never slowing down. The striking line ‘in the right place, at the right time’ says it all though, speaking of the way they were bound to one another, an almost divine intervention causing their union as though it were written in the stars to occur. For a love song, ‘In The Sun’ isn’t at all overdone, in fact it feels almost magical in its delivery that sweeps you away along through the kind of love we can all hope to find.

Check out ‘In The Sun’ here to find yourself enveloped by the uniquely dreamy sound ultrasaturated have carefully constructed, amidst a lyrical journey just as sweet.

Written by: Tatiana Whybrow

Photo Credits: t0mare

// This coverage was created via Musosoup, #SustainableCurator.

[tigermendoza]

DJextreme - Original Mix Tape [July 1995] by Hardscore https://www.hardscore.com/?p=9113 01 Aphrodite – Solaris – Aphrodite 02 Hot Steppers – Vol 1 – Hot Steppers 03 DJ Krust – Set Speed – V Recordings 04 Droppin’ Science Vol.6 – Easy Pt.1 – Droppin’ Science 05 DJ SS – Niceness – Breakdown 06 DJ Zinc & Steve B – Ripple (Drum & Bass Inst) – Renk 07 Higher Sense – Bizarre – Moving Shadow 08 Kim Mazelle – Genius (Dillinja Remix) – Jetstar 09 Roni Size – Step Up – V Recordings 10 Dream Team – To Suit The People – Suburban Base 11 Deadly D – Listen Dis – Flex 12 Bagga Worries & Jooxie Nice – Legalise (Remarc Mix) – Labello Blanco 13 Aphrodite – Basslights (Addict Mix) – Aphrodite 15 Roni Size – Daylight – Full Cycle 16 DJ Hype – Doomed To Fail – Breakdown 17 Jaco – All The Ladies – Unity 18 Sound Station – Sound Station – Suburban Base 19 Lemon D – Feel It – Conqueror 20 Kim Mazelle – Missing You (Noodles & Wonder Remix) – Jetstar

[creakybones5488]

Seeyouspacecowboy...

One of the most influential hardcore bands is Seeyouspacecowboy... They started in 2016 and still are active to this day. The vocalist, Connie Sgarbossa, is a trans-woman who learned to accept that one can be both feminine and masculine. In an interview with Revolver Mag, she said, “Being a trans woman, it’s just really rewarding. I do it as this in-your-face form of feminity in hardcore… a fuck-you attitude that comes with being a marginalized person." A song, Atrocities From a Story Book Perspective, is about not letting others shut you down, and not hiding your identity. Sgarbossa makes it known that she is not afraid to stand her ground.

When asked about the scene, Sgarbossa said that in more recent years, people have been more accepting. When she came out as trans, people were very supportive. Additionally, there has been an influx of diversity which allows for more experiences to be shared among each other.

About not hiding identity and not letting others shut them down.

looks very violent, but very careful

[mushblogs]

*gritting my teeth as i write happy endings for characters I would fight next to a sketchy poorly lit McDonalds at 3am.

[uneasylisteningradio]

Audio & Playlist for April 10 2021: 1981 Membership Drive Spectacular

All songs from 1981, a PARTICULARLY good year for music, to celebrate WPRB entering its 81st year! With special guest DJ Pethie of Powerclashing!

stream on Mixcloud

Playlist: Bay City Rollers - Saturday Night Poison Girls - S.S. Snoopers

DJs speak over Mission of Burma - All World Cowboy Romance

Los Microwaves - What's That Got to Do With Loving You? Andreas Dorau in die Marinas - Fred vom Jupiter The Ex - Constitutional State

Curtis Mayfield - Toot An' Toot An' Toot Unit 4 - Hidden Faces Discharge - A Look At Tomorrow Pictures - Kicks & Tips Plastix - Konsumier Mich

Roky Erickson - Stand For the Fire Demon Head Cheese - Teenage Idol The Go-Go's - Automatic Mistakes - Romance

Au Pairs - Dear John T.S.O.L. - I'm Tired of Life Götterflies - Marbles Bucks Fizz - Making Your Mind Up Flux of Pink Indians - Tube Disasters

Girlschool - C'mon Let's Go Gil Scott-Heron - Gun Black Flag - Depression Red Cross - Annette's Got the Hits

Wipers - Youth of America

The Sinyx - The Plague Yoko Ono - Toy Boat The Partisans - Police Story Virgin Prunes - Twenty Tens The Nitwitz - Jet Set Mother's Ruin - Instant Lover The Particles - Truth About You

Prince - Private Joy Agent Orange - No Such Thing Rudimentary Peni - Dead Living Venom - In League With Satan Ministry of Marriage - Twin Dirt - Hiroshima

The Vapors - Spiders Performing Ferret Band - Fallen Tyrant Adolescents - Democracy

Crass - Where Next Columbus?

[mischiefs-hawk]

Soooo is there a Stobotnik discord server and if so, can I get an invite?

[rainingincale]

If anyone has any music recommendations please send them my way!!

[dangermousie]

Of course she ends up in jail with a death penalty level charge over her. It’s because hobo turns out to be a wannabe assassin and she covers for him but honestly with her lack of thinking ability and impulsive personality, she was gonna end up there for something sooner or later.

I am beginning to think Shawn Dou’s character is a masochist severe enough to need a lifetime membership to one of those hardscore secret clubs. He tries to impress on her the danger she’s in from the evil warlord who’s got her in the dungeon but she continues her saintly martyr routine. I think it’s supposed to be noble but she honestly comes across as too dim to really get the real gravity of her situation. She says she gets it but she does not react as if she does.

This did crack me up though!

His face when heroine is “I know you can kill him but I trust you!”

I fail to get her enthusiasm for the hobo. At least the heroine in Siege in Fog was ignoring her hot warlord for a man who (a) looked like Jeremy Tsui (b) was actually competent at assassination, but here I think hobo needs a hair cut and a vocational school more than the devotion of a good woman!

[darkelectron]

honestly? kinda feel like the best plan would be to just restart. change the hardscore system to something like 5 lives each (akin to 3rd life, but obviously don’t want too many similarities), come up with a name for the smp before the series starts (none of this confusion. decide on Free Trial SMP or 30SMP or 30 Days SMP or Hardcore SMP and then stick with it), and maybe pick a different area to start in. i know the whole point of the 100 x 100 world is to have limits on blocks, but ffs give us something? nothing? you give us nothing? like, have an area with multiple biomes and more than one type of tree. at least.

mainly i just think starting over would give them another chance to create a story more cohesively. it’s clear they’ve got things planned, but when charlie slimcicle dies on the first day, then what the hell is the story gonna be to make that worth it. and maybe he’s back, but now what? you say that death matters but not if it’s on the first day? that’s just realising that you created a system where the consequences are ones you feel guilty for. like i said, restarting with more deaths per person could be good. (though if anyone wants to discuss what you think they should’ve done please reply i’m interested in what other people think about this whole smp)

and like, people get bored if they can’t play with their friends. i’m glad the smp has a strict limit on how long it’ll last, but already people are running out of things to do. the pace could probably do with a bit more speed, as people are dying rapidly and the streamers are gonna feel an obligation to play on the server until something happens, which is a hard commitment if there’s nothing to do.

of course, i might be totally wrong. instead of thinking that people would survive all 30 days and that the hardcore aspect would only give the world stakes, maybe they expected so many people to die so soon. when the timer reaches 21, there may only be 2 or 3 people left, and then there’ll be an event involving all the dead people that’ll mean people dying early was necessary for the story. this clearly wasn’t an impulse idea, so if i have faith in their planning, it might just create something wonderful.

[big-dick-moneybags]

apparently there was someone on twitter roleplaying hardscore smut as ted bundy.

Not even surprised anymore

[gmaxgrimmsnarl]

bad day, bad week, but hardscore is the good life

bad month, bad year, but speedcore is the good life

i finished this a while ago, wasn’t sure i liked it enough to post it but eh

kind of a nonsense thing... idk what exactly’s goin on here ahahah

music inspo

[salvejoon]

Yoongi fucking KILLED IT YALL KSJDHFDSJHG AND HE LOOKS AM-FUCKING-MAZING ASJKDFHSADJKFGHSD I CANNOT ASKJFHGSDHJG DEAL AUYFGDSIUY 

And I gotta go check up on my sister cuz she be hardscore Yoongi stan and Im not sure she’s alive

[soleilfeedback]

POST-SCRIPTUM 1040

PHILIPPE MATÉ / DANIEL VALLANCIEN, Daniel Vallancien / Philippe Maté, SouffleContinu Records

Certes discrète, la carrière du saxophoniste Philippe Maté n'en aligne pas moins les disques indispensables : que ce soit avec l'Acting Trio, Jean Guérin (Tacet) ou Jef Gilson (Workshop), sans compter ses collaborations en grand orchestre et en quartette avec Lawrence “Butch” Morris, ou sa présence dans le Quatuor de Saxophones et sur le génial L'Enfant assassin des mouches de Jean-Claude Vannier.

Quant à l'homme de l'ombre Daniel Vallancien, ingénieur du son peu habitué à être mis en avant sur les pochettes, la collection Actuel du label BYG lui doit énormément (il est aux manettes derrière Anthony Braxton, Don Cherry, Sonny Sharrock ou Steve Lacy), tout comme Saravah pour le compte duquel il a notamment enregistré Areski, Brigitte Fontaine, Maurice Lemaître ou Cohelmec Ensemble : excusez du peu ! Qui plus est, Daniel Vallancien appartient à cette prestigieuse lignée d'ingénieurs du son français aux oreilles ouvertes et souvent eux-mêmes musiciens, même si parfois uniquement de manière occasionnelle : citons Bruno Menny, Daniel Deshays ou Jean-Marc Foussat, qui tous ont eux aussi gravé sous leur nom des opus remarquables.

Sous-tendant cette collaboration, l'idée était d'accoucher d'une musique libre, directe et spontanée, bien qu'un minimum réfléchie. Une musique, selon les brèves notes de pochette, voulue “détachée des longues et patientes gestations de laboratoire”. Ici, donc : aucun outillage sophistiqué propre aux recherches électroacoustiques, mais principalement une console, qui dans les mains de Daniel Vallancien agit sur la matière sonore instrumentale originale en direct, et la modifie ou démultiplie tout en respectant son jaillissement naturel.

Qu'il s'agisse de Paul Méfano, Betsy Jolas, Gérard Grisey ou Jacques Lejeune, de nombreux compositeurs contemporains ayant oeuvré en France ont, à un moment ou un autre, intégré le saxophone à leur travail. Par exemple, Michel Redolfi, du GRIM puis du CIRM, a expérimenté avec le saxophoniste André Jaume le temps d'un disque convaincant (Hardscore). Pourtant, rien ne peut être comparé à la singularité du dialogue entre Philippe Maté et Daniel Vallacien, décrit par eux-mêmes comme tour à tour “sérieux, sarcastique ou humoristique”, avec çà et là des “sonorités angoissantes”. Sauf que les mots, y compris ceux choisis par les protagonistes de cet album, ne sauraient suffire à décrire pareil objet sonore, aussi difficilement identifiable, et, pour tout dire : sidérant.

—

Although discrete, the career of saxophonist Philippe Maté includes nonetheless several indispensable albums: be it with the Acting Trio, Jean Guérin (Tacet) or Jef Gilson (Workshop), his collaborations in a big band or quartet with Lawrence “Butch” Morris, his presence in the Saxophone Quartetand also on the brilliant L'Enfant assassin des mouches by Jean-Claude Vannier.

As for the man in the background, Daniel Vallancien, a sound engineer rarely featuring on the sleeves, the collection Actuel on the BYG label owes much to him (he is at the controls behind Anthony Braxton, Don Cherry, Sonny Sharrock or Steve Lacy), the same goes for Saravah for who he notably recorded Areski, Brigitte Fontaine, Maurice Lemaître or the Cohelmec Ensemble: not bad for starters! What is more, Daniel Vallancien is one of a prestigious group of French recording engineers with open ears and often themselves musicians, even if only occasionally for some, including Bruno Menny, Daniel Deshays or Jean-Marc Foussat, who have all recorded remarkable albums as leaders.

Behind this collaboration was the idea ofcreating music which was free, direct and spontaneous, while having also a minimum of advance planning. Music, according to the brief liner notes desirous to “remove itself from long and patient laboratory experiments ”. So, there can be found here none of the sophisticated tools associated withelectroacoustic research, but mainly a recording mixer console, which, in the hands of Daniel Vallancien acts directly on the original instrumental sound in real time, modifying and multiplying it while respecting the natural flow.

Be it Paul Méfano, Betsy Jolas, Gérard Grisey or Jacques Lejeune, many contemporary composers working in France have, at one time or another, includedthe saxophone in their work. Michel Redolfi, for example, with the GRIM and then the CIRM , experimented with saxophonist André Jaume on a convincing recording (Hardscore). Nothing, however, can compare to the singularity of the dialogue between Philippe Maté and Daniel Vallancien, which they themselves describe as being “serious, sarcastic orhumorous”, with, here and there, “disturbing sounds”. Words, however, even those used by the protagonists themselves, are insufficient to describe such a sonic object, difficult to identify and, it has to be said, extraordinary.

[ranodo-mobile-2]

"Clark. It's practically in the robin handbook that you have to have a hardscore crush on superma to be one. We talked about you like all last night, I'm sure if you walked down naked he'd more than love it." Dick stared at the cock and nodded. "Bigger than I expected." He was sporting his own big member.

ranodo-mobile-2​:

“Oh. Were you planning on taking one? You could always join me if you want?” He offered as he was stepping out of his pants.

Originally posted by male-celebrity-world

Clark looked back as Dick stepped out of his pants. “Dick I didn’t know you were interested in me like that.” he said with a grin. “what’s Jason gonna think?” he asked pushing down his pyjama bottoms revealing his naked form, his Kryptonian gifts not limited to his powers but also his cock.

[sacji]

i was such a Day6 hardscore stan ,, i wanna get those days back