sample spotting saddo (girl I'm starting to source it)

What I think of as the heart-palpitation or cardiac-arrythmia break - the asymmetry in the hi-hats - 

is sourced in this track below: at around 16 seconds in the original tempo track, and then the poster has helpfully done a sped-up jungle-tempo version so check it out at 3.40 to really see the connection, and again at 5.45

But what's the source for the Prince Lover Dalu beat? There's 'Think' in there but I'm not sure that is actually where the hi-hat flutter comes from.  Possibly it's achieved through retriggering on an MPC.

Twas a genuinely perturbing track to hear the Q-Bassed "Dark Stranger" on the pirates, not for the horror movie elements but the juddery bass and shuddery synths (like a prickle of fear twitching tip-toe up your spine) and above all the heart-skips-a-beat effect, the little jolts in the rhythm. Syncopes is the medical term. 

Not sure I ever heard it this in a club. But we did play it in the car when we drove out of Even Furthur in '96 in the grey dawn. It really fit the tired-wired feeling of aftermath.

Put this on the Energy Flash CD - but infuriatingly they gave us the edit version as used on the Drum and Bass Selection 1 comp, instead of full 7 minutes plus terror ride. So just as the awesome drop at around 4.40 is about to yawn chasm-like, the track fades! 

Still the palpitation break and the clammy synth and the abyssal bass are present and correct.

^^^^^^^^^^^^^

The Q Bass remix of "The Dark Stranger" is so far above the original, it's befuddling. On the original, the heart-tremor break is there from the start, but it's buried -  not made the most of. And then you have the hammy screams. It's the clunkier side of darkcore. 

The gap between the original and the remix parallels the improvement in "Lord of the Null Lines" between the Hyper-On Experience original and Foul Play's re-production. Similar sort of romping maximalism that then gets pared down. (Although I do like the original "Null Lines" a lot - a great example of Hyper-On's busy-busy approach to arrangement).

The Origin Unknown remix of "Dark Stranger" is a definite improvement - the jolty hi-hats are starting to take effect, the bass is gloopily doomy. But I could do without the Anthony Hopkins and Gary Oldman vocals.

Johnny Jungle doesn't seem to know what's he about with his version. 

So the Q Bass Remix is supreme. And in fact it's only version I ever heard on the pirates. It must count as one of the  greatest auto-remixes (Boogie Times Tribe is Q Bass - plus D'Cruze). 

^^^^^^^^^^^^^^^^^^^

All the versions plus the flipside(s) "Real Hardcore" in a playlist

S'okay... 

shample shpotting shaddo

 

doth take a snippet from this 

Mixrace + Pro-Ton-Isospace via Cardrossmaniac2's post on the trackige of the Hyper-On/JMJ&Richie/EZ-Rollers diaspora  - but wisely steering clear of the Flytronix morass

although that said I did find a few Fly specks of niceness on my own not-so-long-ago trawl through said diaspora

Hyper-On the rmx tip w/ Pro-Ton

didn't realise that Parallel World was part of  said diaspora though 

"Tear Into It" is a tuff tune

niceness

dolphin jungle before that became a byword for boring

oddly another Moving Shadow associated artist, DJ Trax also went by the name Parallel Worlds

Hyper-On Experience have a Facebook page! With stories of their formation, how certain tracks were made! And a photo of the studio circa 1994!

One of my fave H-O E tunes - mad beats, skid-tastic, like a breakdancer on a butter coated dancefloor

Another fave Hyperchoon

until the bass drop, this track off the forthcoming album by Bassnectar (#2 brosteppa after skrillex) sounds like vintage hardcore in the maximalist vein of Hyper-On Experience and circa-"Window in the Sky" Acen



that break is one used by Urban Shakedown on "Some Justice", and countless others, right?

strange days we're living through