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act 114 į hypnoskull į electronic music means war to us į cd

tracklist:
the enemy is here, effective mind mechanism, electronic music means war to us (v4), exit, 10 seconds left, bassgun x reload, elektrattack, harddrive, this is not a rhythm (maschine rmx), no chance left (rmx), cleaning heads, mobile komm/einheit, low cristal display oscillator, metal intruder, i'll break your fucking beats, bad neighbourhoods, kill switch (2001.v), everything in reverse.

anarchic industrial techno, hard hitting electronic rhythms, cold electroÉ the world of hypnoskull is an urban city with no place for silence. this one-man project is known in the worldwide industrial scene as one of the 'dissident' projects that offer new directions into an old scene. hypnoskull shows are accompanied by images that fit the sounds like a glove fits your hand. desolate, obscure, somehow alienating. a set lasts from 30 - 50 minutes.

Ōthere are only 10 seconds left to control this unitÉ if youÕre not running you will not make it.Õ the man said to the other man. his command was meant for real. the chance he would actually not make it was bigger than the chance he would. he didnÕt care, but went for the full 100% to get a load of information in his head, in the few 10 seconds they gave him in order to control the unit they appointed him. it was meaningless, cause 10 seconds were too little, he knew that for sure. he pushed the station aside and went along all the way, over the edge and raw as metal and steel. his final answer to the unexpected situation was the 3rd electronic war device he carried inside his left arm, kept there safely to use only in absolute emergency situations like this. Ōfuck that shit!Õ his decision was made. no chance left and nothing left to give away for free! the metal intruder in his left arm was activated and the screaming noises of the miniature electronics of the complex mechanism filled the entire room with an atmosphere of obscure and somehow scary medical devices. the low crystal display oscillation of the strange device made all ears hurt and the radiation filled the air with nausea. the enemy was erased in just a few seconds. he would never give any commands again. but the main problem was still there, leaving nothing but desperate thoughts. he ran into the warehouse he just reshaped into a dangerous place and neglected all the dangers it could usually keep inside. the burnt hall of the old building was a holy ground for the new generation of terrorists he belonged to, because it was an old concert hall where they had those dark assaults of pure sonic attacks in a time long ago. how would those guys feel about the evolution of their violent art and their statements being used by the newborn antiheroes? his effective mind mechanism showed him the archives, projected the old digital low-res images directly into his graphical card inside. piercing eyes in a low resolution gazed at him, directly, cold. he could not relate this image to what he was feeling right now, and could not connect it to the place he was standing right now. the sounds were noisy, the loops were harsh, the rhythms somehow monotone. this strange language was repeated several times and it sounded to him like a curse. the translation unit of his digital access machines revealed the content of it. Ōelectronic music means war to us. and we gonna fight it, raw and mean!Õ it was another one of those past hidden messages stored onto those plates of glass-like steel they used so often to keep a strange form of art they called music. he couldnÕt relate these sounds to what he'd heard music should have sounded like and he got confused about it. maybe they used music as a medium to spread their messages? and this one was clear, it declared war to some others, which he was very much feeling okay with. war meant everything to him and ancient messages like these made him believe he was still doing the business they were starting in that time. the exit was nearby and he decided to leave this place, against his will, but frightened to get caught again. he put on another beat to get the right rhythm and hushed away into the desolate scenery of the urban jungle this city had become throughout the centuries. his goal was to destroy, to break down, because the ones who created him actually wanted to create and they needed the space for that. ŌiÕll break your fucking beats!Õ, screamed the other asshole to him, and the fact was there again: the enemy is here again. the confrontation was inevitable again and it would ask for more destruction and violence as before. the kill switch would bring the effective answer and was the final weapon available. the opponent took his bassgun and crossed it with a reload unit. Ōi clean your fucking head!Õ he shouted and tried to shoot him. cleaning heads was his favourite way of erasing enemies. the mobile komm/einheit gave the latest status of it all and it was not a happy one. his chances would be zero against 10. moreover these bad neighbourhoods would have an influence on the result as well. in case one would stay, he would have almost no chance at all surviving it. at the end we all lose the same game. Ōthis is not a rhythm! this is not for real!Õ, he tried to cut himself loose from the game. Ōthis is out of your control and youÕre not ready for this!Õ shouted the opponent, a slight insult. the broken laptop computer carried a portable virus inside, strong enough to even destroy the device that kept them related to each other. he could use that trying to cut them off, out of the game. in the meantime, the enemy returns and prepares for a confrontation. in a shocking attempt to blow the fuse, the elektrattack failed in opening the hard drive of the portable device and to release the virus. even the precision cut besides the processing unit failed. suddenly everything went in reverse and in a pressure zone of some nanoseconds, the disk was erased, cleaned, archived and filed to a datadisk. nothing was left but some loops and rhythms, some destroyed sounds and soaring noises, broken beats and deathcore attacks. electronic music means war to us, and we gonna fight it, raw and mean!

hypnoskull discography 04.2k1:
2001 electronic music means war to us. cd. ant-zen act114
2000 tunne / hypnoskull / soa eact(r). fucked be other's attitudes. picture 7''. spectre noc05. deleted
1999 ffwd>burnout! cd. ant-zen act 94
1999 hypnoskull / tunnel. darkbeat planet / react ammo. 12". hymen “011. deleted
1998 rhythmusmaschine 1 -2. cd. ant-zen act 74

hypnoskull webpage : www.escape3.org

reviews:

equinoxe ausgabe 16
absolut ŸberwŠltigend fand ich hypnoskull, eines der projekte des umtriebigen belgiers patrick stevens, bislang zugegebenerma§en nicht Š zu monoton und zu sehr nach brechstange klang manchmal der bisherige output. mit āelectronic music...Õ scheint der knoten jedoch endgŸltig geplatzt zu sein. zum einen bieten 65 minuten respektive 18 titel einen mehr als adŠquaten gegenwert fŸrs geld, zum anderen Š und das ist natŸrlich weitaus bedeutsamer Š dominiert hier in weiten teilen musikalischer einfallsreichtum und nicht lediglich ermŸdendes rhythmÕnÕnoise-wummern. stevens hat sein repertoire erweitert und stellt neben die obligatorischen voice-samples und das herrlich raue und verzerrte synthie-geschredder knallharte tribal-, break- und sonstige beats, die auf der tanzflŠche die urtriebe wecken. da freuen sich die djs Ÿber neuen stoff, aber auch im heimatlichen bereich eignet sich die scheibe ausgezeichnet dazu, die ungeliebten nachbarn abzufoltern. electronic music means war to us, and we gonna fight it, raw and mean Š jawollja! (rainer metz)

side-line no.36 july-august-september 2001
mr. stevens is hammering away at it again as if gabba and power noise never existed. his industrial techno attacks are still blowing oneÕs head off. this time he is dabbling with the idea of a concept album, a rather rare occasion for this genre (i can only think of one hardcore techno opera by ultraviolence). futuristic cyber fantasies occupy his vision of the near-future where electronic music has mutated into a deadly weapon. i guess we had all already suspected he harbored a penchant for violence. music like this just doesnÕt leave any other option. also worth a mention, all music has been produced with broken, faulty and technically insufficient gear. i donÕt hear the difference but i will attest to the barrage of sound being much grimier than before. even though all tracks run a relatively straight course and an even more technoid than before (at times almost as easily looped as his reset project, which does sound a bit dated and oft-used) they all still pack a punch worthy of a steam roller gone berserk. he never hid his opinion that industrial is dead, and thus he presents us his version of hard music Š in-your-face breakbeat techno, dirty rotten distortion drumÕnÕbass, hyperventilating overdrive hardcore, repetitive noise loops. if punk were to have only happened now, it would sound like this. the rhythm box grunts and sighs, shouting never ceases and the message couldnÕt be more aggressive. maybe he should consider a duet with atari teenage riot. (ttm)

orkus nr. 06 juni 2001
patrick stevens geht mit seinem solo-projekt hypnoskull mittlerweile in die dritte runde, und man kšnnte behaupten, dass er seine persšnliche definition von industrial meets techno jedes mal konsequenter umgesetzt hat. begann beim viel beachteten debut rhythmusmaschine eins-zwei noch alles mit einer relativ inhomogenen mixtur aus brachialem industrial-geknŸppele a la sonar und aphex twin-mŠ§igen electronica-experimenten, hat hypnoskull seinen fokus inzwischen mehr auf minimale techno-strukturen und deren fusion mit industrial noise verlagert, was electronic music means war to us zum bislang geradlinigsten und tanzbarsten hypnoskull-werk werden lie§. es erfordert vom hšrer (oder tŠnzer) sicher eine gewisse offenheit fŸr ādanceÕ im weitesten sinne, aber im mittelpunkt steht trotzdem noch der kompromisslose rhythmus, der aggressive noisloop, und keineswegs das kopieren von irgendwelchen styles und trends. neben minimalem techno, electronica und den nicht zu leugnenden hardcors-drumÕnÕbass-einflŸssen sind die industrial-wurzeln des belgiers immer noch ein sehr dominierendes merkmal von hypnoskull. patrick sieht in der fusion mit techno Š mit oder ohne breakbeats Š eine logische weiterentwicklung des industrial, und genauso selbstverstŠndlich tanzbar und krachig wirken auch seine sehr dj-freundlichen interpretationen des gegenstands. electronic music means war to us ist ein spektakulŠrer beitrag zum thema industrial-techno-crossover, den man sich nicht entgehen lassen sollte. (alexander maciol)

surface
aus dem hause ant-zen kommt diese cd von hypnoskull. eines vorweg, ich habe seit langer zeit kein noise industrial gehšrt wie es auf dieser cd geboten wird, soll hei§en, es ist einfach nur noch klasse. angefangen vom intro (ich nenne es mal so) ćthe enemy is here", bis ćeverything in revers" folgt ein kracher dem nŠchsten und ich mu§te bangen das mir meine lautsprecher nicht um die ohren fliegen. (was dann doch nicht der fall war). aber so mu§ es nun mal sein, denn noise sollte & mu§ man laut hšren. die sounds fliegen mir nur so um die ohren, von einer sequenz zur anderen. ein loop folgt dem anderen, ein hŠmmern dem anderen, noise, sequenzen, loops, bassdrums, es passt einfach alles. hypnoskull knŸpfen nahtlos dort an, wo andere schon lŠngst aufgegeben haben. ein meilenstein in genre ćindustrial". geboten werden sage und schreibe 18 kracher. eines genialer als das andere. natŸrlich sind auch 1 oder 2 tracks dabei, die nicht so ćhart" sind, wie andere, aber das ist ja nicht zwingend negativ, denn abwechslung sollte schon sein, deine lautsprecher und deine nachbarn werden dir dafŸr danken. der sound ist, wie soll es auch anders sein, perfekt abgemischt und ergŠnzt sich so zu den sprach samples bis ins kleinste detail. ich sage einfach mal, das, wer diese cd nicht sein eigen nennt, selbst schuld ist nichts wie zu eurem mail order und besorgt euch diese cd, denn "this comes from ant-zen" love it or hate it! (d.w.)

electronic surveillance
patrick stevens really cranks out the music and this time he has delivered his finest release yet. well known already for his involvement in sonar, sona eact, tunnel, reset, and god knows how many future projects, hypnoskull always seemed to be his most interesting. patrick likes loopsÉa lot!! known for fairly simple (intentionally) and repetitious noisy music with a focus on beats and rhythm over synths and bass lines, hypnoskull adds a more ingenuity with vocals/vocal samples, catchy synth sounds, and a new found love for dance music. but fear not established fans of mr. stevens projects, the new album still contains much of his original formula but mixed in with some more electro/techno flavor and cleaner production. 18 tracks provide a little something for everyone and showcase a little bit of each of the styles incorporated in all of the projects. tracks like "the enemy is here", "exit", "bassgun x reload", "elektrattack", "metal intruder", "bad neighbourhoods" and "kill switch v. 2001) are dead on hypnoskull tracks (even with a little sonar influence for good measure) that will please fans of the earlier releases with their simple, noisy, beat driven structure. tracks like " effective mind mechanism", "10 seconds left" , "harddrive", "mobile komm/ einheit" , and "low cristal display oscillator" show hints of reset and sona eact and lean to the more distorted idm side. tracks like "electronic music means war to us", and "cleaning heads" see patrickÕs wife mieke m. on the vocals and give us what may be a preview of the upcoming tunnel album. tracks like "this is not a rhythm (maschine rmx)", and "no chance left (rmx)" show absolute club playing capability with their infectious rhythms and boot stompin beats. these tracks could easily appeal to any electro ebm fan!! i think the two tracks that stick out the most are "iÕll break your fucking beats" which is an instant give away of what the track is and it sticks out like a sore thumb as i am not used to hearing breaks in most of stevens materialÉespecially like this, and "everything in reverse" which is also self explanatory and humorous. this album is a great way to get into hypnoskull and any of his projects as it is his finest produced and most diverse giving new listeners plenty to chose from and established fans an album full of the music we have known to love ( or hate in some peoples case) him for. itÕs a bit more dancey than the other hypnoskull releases and oddly enough it seems many ant zen acts have been going in that direction. highly recommended for fans of electro/ebm, power/rhythmic noise, and even techno/idm. thereÕs plenty of love in this monster of an album for everyone! (tommy t.)

black #24 sommer 2001
mr. stevens knallt es uns mal wieder vor den latz, als hŠtte es gabba und powernoise vorher noch nie gegeben. seine industrialtechnoattacken wummern einem auch diesmal echt wieder die rŸbe weg. diesmal versucht er sich an einem konzeptalbum, was in diesem genre je eher selten ist (ich kann mich da nur an die hardcore techno oper von ultraviolence erinnern), lŠ§t seine cyberphanatsien freien lauf und prŠsentiert eine zukunft, in der elektronische musik zu tšdlichen waffen mutiert ist. das er martialisch veranlagt war, haben wir ja wohl alle schon geahnt. au§er dem kontextuellen rahmen ist noch zu bemerken, da§ das gesamte album mit defektem, zerstšrtem und technisch unzureichendem gerŠt erstellt wurde, was ich aber nicht raushšre. was ich dem ganzen gebollere aber bedenkenlos attestiere, ist ein weitaus dreckigerer klang als noch beim vorgŠngeralbum. obwohl alle tracks relativ straight sind, noch technoider als sonst (manchmal aber schon mit so einfachen schleifen wie bei seinem reset projekt, was dann vielleicht doch etwas abgelutscht klingt), rumpeln sie ordentlich los. das industrial seiner meinung nach schon lange tot ist, daraus mach er ja nie eine hehl, und deshalb zeigt uns seine vorstellung harter musik. in-die-fresse-breakbeat-techno, dreckiger distortion drumÕnÕbass, hyperventilierender overdrive hardcore, repetierende krachschleifen. so mŸ§te punk heute eigentlich klingen. es kracht und knirscht im rhythmboxgebŠlk, es wird geshoutet ohne ende und die message ist aggressiv. vielleicht sollte er mal an ein duett mit atari teenage riot denken. (t™)

seven
it is hard to say whether it is a next logical progression for hypnoskull or simply a different turn, change in music style. it appears that patrick has studied a lot of recent rhythm&noise projects and has incorporated many elements in hypnoskull sound, at the same time keeping the repetitive hard-hitting rhythms he has always been famous for. one of the positive things about this album is that hypnoskull intensified its sound, at the same time keeping it persistent. before my main problem with hypnoskull was its "bouncy" sound; it was too "light," lacking heaviness and aggression of many rhythm&noise bands. patrick has finally grasped and put together the best features of all his side projects and previous material, creating a record that brings out the essence of rhythm&noise. those of you that have enjoyed raw violence and heaviness of early sonar, or crunchiness of sona eact and mono no aware, or technoid beats of ion cro will find all those on this album in their primal, cleaned-up and perfected form. it appears that hypnoskull finally took that special spirit and aggression that before surfaced only during the live shows, and finally incorporated it in the studio album. this new hypnoskull is heavier, crunchier, more layered and abrasive. at the same time it never gave up its relentless beat structure, spicing it up with addition of well-placed screeches, corroded textures. at times i keep wondering, how in the hell he managed to keep all this aggression and heaviness hidden for such a long time. it would be interesting to notice that tracks like "electronic music means war to us" or simply brutal "elektrattack" get really close to a bizarre and yet very powerful hybrid of noisy speedcore and zhark-like power rhythms layered with violent noisy clashes. at the same time, patrick ventures out to technoid/breakcore world with tracks like "harddrive." and sometimes you can even detect some non-linear idm-like broken, bleepy percussion textures, or pulsing acid techno overlaid with corroded noises. no matter what elements were used on each track, the result is always violent, heavy and driving. overall, it is a surprisingly good album. i can (finally) wholeheartedly accept hypnoskullÕs sound, and truly enjoy its heavy, aggressive, uncompromising nature. this is definitely an album i would recommend to anyone into rhythmic noisy side of music. patrick has incorporated so many elements coming into this album, that it redefines the whole genre, and takes it to the completely new level.

re:mote induction
electronic music means war to us is the third album from patrick stevens' hypnoskull project to be released on ant-zen. in some ways his primary project and for the most part the one which has held the most interest to date. especially after recent outings under the names of reset (unit) and sona eact (pro noize). in recent times patrick has developed a stripped sound philosophy, which is to cut the music down to its rawest sensibility. sona eact follows on from the sound he established with sonar, cut to the bone of grating, repeated loops. reset is very much comparable to sona eact, using the same principle in a more techno vein rather than rhythm noise fashion. both have their moments, but by their nature have a tendency to a monotone, which unfortunately becomes tiresome quicker than it should. for my hypnoskull has avoided this extreme until this release. rhythmus maschine eins zwei to me was the most diverse and experimental hypnoskull release, remaining my favourite. ffwd burnout did what the title said for the most part, cranking it up with an eye on making hard, fast technoid music. from that electronic music is more an extension of ffwd that anything else, with a rawer feel, stripping down a degree so that this hypnoskull release is more comparable to the sound his other recent work. though in saying that it doesn't become as extreme as those, remaining more interesting and truer to the hypnovibe. however from that i also find it to be the least interesting hypnoskull release to date. there are moments which give appreciative pause, but those are too far apart for my expectations of what hypnoskull is capable of. (ptr)

toronto industrial kollektive
how to sum up this album in five words: this is fucking amazing shit! hypnoskull have created an incredible masterpiece here. i somehow suspected that this album was going to be really great, just by the title of it, electronic music means war to us. with this concept, how could you possibly release anything but totally aggressive, and confrontational music. my prediction is that this is the album that everyone will soon be talking about. a perfect blend of rhythmic noise, drum nÕ bass and techno, while at the same time, being none of the above. this album creates a new sound from those three genres and in so doing, creates a perfect album for dance clubs, an something refreshingly new. those djs who arenÕt playing any rhythmic noise, should look this album up and fit it into their playlists. it is a necessity. this is an album that cries out to be played as loud as possible. any problems you could have had with hypnoskull in the past have been resolved and eliminated in this album. the vocals, for example are no longer the standard industrial fare. to me the idea seems simple enough, and only now are some bands realizing it, that you donÕt have to use the sample vocal distortion technique in every song. highlights of the album are hard to pick. the whole thing is great from start to finish, but currently "iÕll break your fucking beats" (track 15), and "this is not a rhythm" (track 9) rise slightly above the others. "iÕll break your fucking beats" starts with drum nÕ bass beats only to be erased by noise, to begin again and again to be smacked down. its just the sort of musical destruction and reconstruction that appeals to me. "this is not a rhythm" also engage in audio destruction, sonic warfare, and yet comes across as a totally dance floor track. how often can i say perfect in one review? this album may now put hypnoskull up to the level of converterÕs shock front, synapscapeÕs so what and imminentÕs nord. the holy trinity of rhythmic noise now have a fourth member, it would seem. (squid)

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