Merging Websites

In march 2020 I decided to Merge the main website and the shop. There might be some broken link here and there.

I ll correct them over time ( i m keeping a log for them and fix weekly): meanwhile bear some errors here and there.

RTE #1 Manuel Sanada vs Axel Asher just released

RTE is a label that Axel Asher and I planned something aroung 2002 to host our IDM / Downtempo releases. Then the Vynil market crushed and so we had some track to release.

Axel Asher kept producing quality stuff ( i “the traveller”)

So we decided to release RTE #1 // Genkisound 1004 on the 01.01.2020

Download Here:


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Genkisound 1002 Honest review by Furryz Fornicate

Occulkot – The Gate is Opening EP Review

Favorite Track: The Key and the Gate

Before listening to the EP I gave the cover artwork and song names a look over. The cover was pretty interesting. I liked the greyscale octopus and how Occulkot’s logo was designed. Based on the album artwork and song titles I guessed that the songs would be of a dark speedcore sound. I liked how both the first and last track kept with the gate theme. I always enjoys themed EPs and albums. It makes the EP/Album feel like a journey.

My only experience with Occulkot before was a remix he did of A-Mor so I was interested to hear more of his music as I really enjoyed his remix.

The first track on the EP, Gate is Opening, was pretty interesting. I liked how rapid the synths were. It made the track feel extremely fast and magical.The synths and melody were definitely the strong point of this track. However I felt the kicks were a bit too weak for the track and would have been better with a more bass driven kicks. At parts the kicks weren’t too bad. They just could have been better. Perhaps the thing that bothered me the most was that the drums sounded like they didn’t belong and they had just been pulled from a sample pack and thrown on the track. Overall I liked the track and it’s fancy synths.

The second track, Tunnels of Ininite Darkness, started off catching my attention. It started with a synth that reminded me vaguely of a 303 acid bassline. The synthline gave off a very psychedelic feel to it. I really enjoyed this psychedelic synth as I am a huge fan of Psytrance. However, once again I felt that the kick did not match the song. I feel like this song would actually benefit from a lighter more quick kick with less bass to go with the psychedelic synths. The addition of screaming was interesting. I think it was cool, but could have been done without. The addition of reverb to the vocals was a nice touch. Overall I liked this track but I wouldn’t say it was really great. It was decent.

The third track, Blood Fire Death Destruction, was similar to the first two tracks. It starts off with the synth then lets the kick in. Like the first two tracks I enjoyed the synths, but disliked the kick. How the vocals were added in the far background are a nice touch in my opinion. I like how they are there but not overly loud in the mix. When the kicks stopped to have the synths play and the deep bass pad was probably my favorite part. This track had good use of breakdowns to keep things interesting. Not too much breakdown and not too little. The kicks sounded better after listening to them for awhile and overall I’d say this was a decent track as well.

The fourth track, Unknown Kadath, started with this buzzy bassline and this oriental sounding synth. The kick was not very strong, however I felt this weaker kick suited the track better. The use of vocal sampling was also very fitting however I felt the vocal samples were a bit too loud in the mix. The main thing I disliked was the hi hats used. I felt they sounded out of place. I really disliked them. I did like how the track gave off a whimsical feel to the track. The addition of some extratone parts was unexpected but a nice touch. I would have liked if the kicks had been just a notch quieter and the melody louder.

The fifth and final track, The Key and the Gate, started off with some industrial noise and some dark whispering evil vocals. This was more of what I was expecting before I listened to the album. The vocals almost chant in a demonic manner. This track finally got the kicks down right in my opinion. The kicks matched the atmosphere well. The kick patterns were also interesting and nice. I enjoyed how many instruments were not constant but came in here and there. The vocals also felt perfect for this track. Listening to this track made me feel like I was taking part in a satanic ritual surrounded by zombies wanting to eat my flesh. This was definitely my favorite track of the whole EP.

Overall the EP had its own pros and cons. I had higher expectations of this EP as I really liked the A-Mor remix Occulkot had done. The EP was very good at creating synths and melodies for a more melody driven tracks. The use of vocals also for the most part felt perfectly balanced. They were just the right amount. However I feel most of these tracks suffer from an identity crisis in the fact that the kicks and drums often times don’t match the overall sound of the track giving the track a mismatched sound. In my opinion I just don’t like how Occulkot does kicks and drums. But, how he does melody and synths and basically everything else is really amazing. In all honesty I want to remix these tracks by taking the kicks off and replacing them with something I think better suited so I can better enjoy the music.

I would recommend this EP if you are into melodic speedcore, but if you are into more brutal speedcore this is a definite no.

-Furryz Fornicate

Furryz Fornicate reviews Analphabetik 005 – Lord Lloigor The Remixes (Full Album)

I am always looking to get better so I asked Furryz Fornicate (an US born producer) to give me some feeback on Genkisound 1001 // Analphabetik 005 – Lord Lloigor The Remixes (Full Album).

The Unreturn EP Review by Furryz Fornicate.

Favorite Song: Lord Lloigor – A-mor (Occulkot Remix)

I was approached to do an album review from an acquaintance of mine. The album in question was “The Unreturn” by Lord Lloigor on the Analphabetik netlabel. Before this review I had nevered listened to Lord Lloigor so I didn’t know what to expect. I had seen tribute albums to him before, but that was all so I went into this review with a fresh mind. My first impression of this album was based upon the album cover. Before listening I gave the album cover a good look over. I expected to hear something very atmospheric with maybe even a choir based on the heaven theme. I expected some melody and possibly flashcore. I thought that this would be something like Speedcore Front Ost Berlin or Sunhiausa.

Before diving in I gave the tracks a look over. The EP consisted of 6 tracks. 3 original tracks and 3 remixes. I had never heard any of the original 3 tracks. There were 3 remixes by Gabba Front Berlin, Occulkot, and Rotello. I knew of both GFB and Rotello, however I had never listened to Occulkot before. I was surprised to see a GFB as I didn’t know they were still producing. I had not seen anything by them in recent years. I looked forwards to seeing the GFB remix. I also knew of Rotello only recently before this. I had only listened to two or three of his tracks before so listening to more of his stuff would be a good experience for me.

The first track I listened to was A-Mor aka LOVE. The song started off like I expected it to with a soft melody that pulled you in. Minutes went by and I sat waiting for some kind of build up or kick drum to be introduced, however it never came. The song went on for 5 minutes repeating rought the same bar of melody. It was a nice melody with a lot of atmospheric effects going on, yet after awhile it felt repetitive. I felt like while this song has a nice melody and catchy atmosphere it lacked the dynamics and change in order to keep things interesting. I was surprised to hear something more ambient than speedcore as I had always assumed that Lord Lloigor was a speedcore producer. Overall I felt like Love was a partial track. Like something you would send to someone to work as a collaboration. It felt unfinished and incomplete.

The next track I listened to was What Lies Beyond. I thought that maybe this track would be more in the speedcore style as the title sounded darker. The sampling in this track at the beginning was nice, as the track went on I quickly realized this wouldn’t be a core track either. What Lies Beyond reminded me of combination of power noise/rhythmic noise and ambient. The background use of insects chirping was a nice addition. I particularly liked how the crunchy bass sound and background melody and sampling came together. Despite this there was an addition of alien like sounds later on that I believed did not match the rest of the song and felt out of place. If the crunchy bass part was faster it would definitely more closely resemble power noise as a genre. Besides the use of the alien like synth I enjoyed the song.

Next I listened to March of The Green Knights so I could finish all the original tracks by Lord Lloigor before reviewing the remixes. The song started out with some horns, lots of reverb, and background noises of what sounded like a war. It was very atmospheric and built a dark mood. However, the song never progressed. It was 4 minutes of horns, reverb, and war sounds. There was never any change.

Overall the three original tracks by Lord Lloigor felt less like musical pieces to actively listen to and more like background music for a movie or video game. As pieces by themselves they are not too interesting, however I think they would mesh well with visual media like a movie or video game. Ambient and atmospheric songs have never been my interest so that may have something to do with my distaste.

I found the remixes much more interesting. The first remix I listened to was Ray Of Darkness (Gabba Front Berlin Remix). This remix went well with the melody. I felt the kick was a bit weak, however weaker kicks usually go well with more melodic songs. The different kick patterns kept the song interesting and made it feel more complete. The remix somehow incorporated the original and made it sound like an original GFB song. A great remix.

The second remix I listened to was A-mor (Occulkot Remix). This remix had to be my favorite song on the album so far. This remix combined the original melody with nice hard kicks. The same situation with this song was the kick and other elements of the remix made the song feel complete versus the original. It even sounded like they tweaked the original melody to keep things more interesting as well.

The last track I listened to was The Shadow Serpent (rotello remix). The song started off slow with the original melody and atmosphere. The remix felt much more glitchy at the beginning than the original which was a nice touch. I enjoy how it slowly introduced the kicks into the song and it sped up the screaming samples. The sped up samples felt much more in touch than the original. The kick are way harder the original which I love. I feel the vocal samples were used much better in this remix. Glitching the original made the remix feel much darker. It was constantly cutting in and out. I greatly enjoyed this remix as well. While the original was dark this one felt much more evil in execution.

Overall the EP felt like a mixed bag to me. The original songs felt like half finished pieces or pieces meant for background music to establish atmosphere. The remixes however were quite solid. I would not recommend buying this for the original tracks, however the remixes are great and make the ep worth getting.

-Furryz Fornicate

About Furryz Fornicate

Furryz Fornicate is a US Speedcore and Terror producer who has been producing since 2015. Furryz Fornicate is the current owner of Splitterstorm Records along with Aeswa. Furryz Fornicate is a huge fan of all kinds of music in the core scene from mainstream hardcore to extratone.

get in contact with Furryz Fornicate

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You can get the track with 50% of discount using the code “furryz50

Congrats hardcore dj’s, you have broken Facebook Ads

As you might have read I am the Digital Marketing Manager in a company called TantraMarketing, and so I am used to test random marketing “theories”  three times longer and deeper than most people in the music biz.

I do this coz:

  • I am used to A/ B / C Tests..
  • I don’t trust “I think that” – but i do trust numbers
  • The more knowledge i gather in a niche the better i can find pattern and improve my results
  • the more results I ve the more the clients will pay me

A couple of months ago I started writing a post called “The history of Speedcore”. I had some questions to do, So i decided to invest around 5 $ in promoting it.

The rusult were interesting, and i decided to write this

Congrats hardcore dj’s, you have broken Facebook Ads or: fan number of hardcore facebook page are fake.

More info about the Facebook Ad:

Since it was a test

  • Image was NOT optimized
  • i did not any split test
  • There was a weak Call to action
  • No retargeting list
  • Targeting everyone (from anywhere, any age, any sex) who has some common interest (I targeted 3 Famous dj, which I am not going to mention)

As I expected, the post was blocked in a couple of days (too much text), so at the end I spent 0.86$ (less than a buck)  but got some interesting data, never the less.

Here it’s the print screen


What I discovered

the above image is not enough to understand fully what i did.

But you can see that I got a whoppy 9.7% engament, with 35 comments and 9 Pages likes… but only one comment… How is that?

The same post has proved to be interesting to fans (posted on low traffic group it generated a LOT of comment) so it’s kinda odd…

Let’s see who are the fan who liked the post…. look at them and discover a pattern:



Is it just me, or it looks like it is suspiciously full of Indians, Pakistans and so on?

Don’t take me wrong, It’s not a problem having a lot of fan from those regions, and I would be very happy to know the scene is growing, but the reality is different.

  1. We know that there is no *core scene over there and
  2. we also know that when you buy fan through agencies (low quality agencies, but i disgress), most of the fan are from those country.

Does two clues make a proof?  Well … Yes.

Buying fan to gather music is a bad practice that a LOT of dj are still doing…

The party promoters are still so fucking stupid to believe that the total number of fans is a mirror of the numbers of “engaged” fans…

It’s not.

Much better having 20K true fan than 300K people who don’t care about your music and will NEVER came to your page.

But in Hardcore music this bad practice is so deeply rooted that even the facebook algorithm believe that indians and Pakistans are the largest hardcore fan community! It’s the first time I see this “broken result” thing in such a bad shape.

That is big problem for many reason

the day facebook delete fake account most of Dj will lose 60% of their fandom.

If Facebook is not able to find people that might like your post, the fan base is not going to become larger, even if you pay

Tips Promoters:

If you are so dumb not to be able to read Fb analitcs and thus cannot see the difference between fake and real please book djs who are good with music, you deserve to close.

Ask anyone working in social media to do a quick audit with a couple of hundred dollars you can get wonderful insight

Tips for Musician

I understand that buying fans is quick way to be “someone”,  and I understand quantity is a “quality” in itself…

while I vote against buying them for the long term damage they create, I cannot say that is fully bad if they are created to build momentum.
It s bad when the fake fans are more that 10-15% and very bad when they are more than 30%.


Music taster week 25 2018: Basswall by Zatox & Le Shuuk (RawStyle)

This track is not so recent but it felt i had to speak about it here.

I like this track and i think this is a good example how sometime you just need a couple of things well done to have a good track.

What i liked:

  • The video, very simple, but effective.
  • The Kick and bass part: absolute hammers!

Where i think there is area to improve :

  • the intro (rap and useless synth)
  • the build up
  • the balace of the track


I liked this track a lot , the Basswall title is totally congruent with the track.

I loved how Zatox took risk to do this kinda stuff the melodic hardstyle was huge. Props to him

What i think is really missing is a better way to fill up the hole between the “basswalls”. I understand that the lower is the normal part the higher it look the peak… but this is too extreme.

Nevertheless a track worth listening.

Music taster week 24 2018: Thor: Ragnarock / Magic Sword – In the Face of Evil (Synthwave)

What can you expect from a OST of a Marvel music? An Epic movie score, and then 40 minutes of the same music re-arranged.

Thor: Ragnarok has been a surprise. Not only the movie itself was much better that expected (I truly enjoyed that), but the trailer music (the immigrant song) was so fitting… and the OST was good, too.

Mostly is Retrowave, Synthwave with a lot of arpeggios. I like that.

Go on youtube and listen to all suggested mix… I am sure you will like it

Listen to Thor: Ragnarock Trailer music / Magic Sword – In the Face of Evil (Synthwave)

17 defining hardstyle tracks by Dj Tatanka

Last week Dj Tatanka was guest on a network italy here in Italy. It was kinda that a radio which usually broadcasts edm, hip hop, 90s dance and house blasts our speakers with Hardbass stuff and speak about hardstyle, hardcore, happycore, underground scene and stuff.
Not only

Records that have been played

How The Sickest Squad has been staying on top of the game for over a decade.

I have been knowing Samuele and Jacopo for like 20 more years now. I remember the long chats with them when Hardstyle was a new thing and we discussed about the coolness of reversed bassdrum, or when the early brostep (dubstep) was coming out and we loved the way the bass was used… (“it makes you the shampoos”), and again every time Aphex Twin has a new release.

I promise I will have a focus article on them sooner or later.

I appreciate their dedication to music, their full commitment to producing Danceable stuff, their manical sound engineering and above all their unique ability to stay in balance between commercial, easy stuff and “awesome” stuff.

Let me explain why The Sickest Squad is a success case you should study if you want success

In the “play it again, the psychology of Follow up” article I wrote  how difficult is keep your mind sane when, after years of producing stuff with only moderate success, you actually hit the jackpot.

You are at a crossroad.

“What should I do?”

“Should I produce the same stuff again and again and again, till the cash cow is dead


change style again and keep fighting for the air?”

In the above mentioned post (that you should read) I suggested that the strategy of the 90s of doing a follow up and then change song structure to keep innovating is a good way to cash in here and there without losing fans. The article is nowhere near to the final word, and I am still searching for the equilibrium point.

The Sickest Squad has another interesting strategy, let’s call it The Sicke Squad Model (TSS Model)

The Sickest Squad Model to kick asses for 15 years.

Prerequisite of the Model

  • Prerequisite 1: Being able to produce top quality sound with constancy. If you are not confident in your ability of going beyond a hit and run success, this Model is not for you.
  • Prerequisite 2: Be open to new genres. Listen to other music to appreciate its differences, It does mean two thing basically:
    1. New good stuff come out every year, realize that the raw power lies in innovation and not stagnation
    2. Learn to listen to stuff (older and newer) without pre-conception of the “good vs bad” music.

If you have the two above mentioned qualities you must be able to risk a little bit without anxiety to lose your hardly earn fellowship.

8 Things Sickest Squad do, and you don’t.

  1. Be a little different. A little means enough to sound different from others, but not so much to sound stranger. So, if the world is listening slow hardcore, do something different which will satisfy people left out from the “main” fashion – like… faster stuff.
  2. Try to brand your style of music with your own name. Sickest Squad don’t produce “frenchcore” or “hardcore” or whatever… they do “sickcore” . Basically they can do whatever they want as long as it s *core and it s good.
    This branding thing can be done in other way (name your label with your name, do “concerts”, company name, release “tribution” Ep…)
  3. Produce a lot, and keep producing over time. Quality stuff obviously. You must always have a “new” track coming up ( or just released).
  4. Release music in many similar, adjacent genre (hardcore, frenchcore, mainstyle, uptempo, hard hardtekno in their case). This way you will be at least 6-12 months ahead of the early adopter of the style and you will be identified as a pioneer of the genre. Being a first mover is always a good thing.
  5. Do good tracks, gather enough fans… and only then make a “easy” track (or even a “cheap” one) – old fans will forgive you and you’ll gather a lot of new ones.
  6. Before music become repetitive and it goes to the shithole, and old fans get pissed:
    • release some solid stuff that is 100% your style and
    • release other less “cheap” but still accessible, danceable stuff ( like: The Sickest Squad & Lenny Dee – It’s Just A MF 2018). This will satisfy and educate the new audience you earned with easier stuff done earlier.
  7. When they call you to play give it 120% at the party, even if the location is shitty and there is few people ! The Sickest Squad play like 60+ times a year, and the are always kicking asses. No matter their family issue, their mood, or whatever. The dancefloor is your battle field.
  8. Here and there try with some new direction before the style became famous.
  9. Repeat and dominate, Sickest Squad style.

Is it easy? No,

will be it worthy? Yes, absolutely.


Praise to The Sickest Squad

I had this article in the “to do list” for a while, but i decided to write it after hearing their “Blue” track.

It’s a fucking fab – I bet this will be a cornerstone in the core music of 2020’s

and it’s in many ways:

Why The Sickest Squad – Blue will be a cornerstone of the Core music of the 20’s

I am not saying that the track will be a big success and I am not saying it has some unique stuff never heard before. What I am saying is that this track will make school. It will be seminal. In the future people will copy tracks that will be a copy of something which took inspiration for this. I bet it.

Why Blue kick asses?

  • Visual impact. Video is very attractive. low fi, but additive never the less. The guy behind the video are talented
  • Long, breath-taking music that you can rarely in a *core track.
  • Use of the main synth as was done in late 90s dutch trance (now forgotten but still very powerful)
  • Track build up easly but it s still enjoyable. It’s not the usual loooooong build up followed by a shitty drop.
  • Kick and double bass – psy trance style.
  • Kick and single bass to release the tension the above psy trance style didn’t release
  • Emotional, in a sweet, deep way.
  • Other “secrets” I cannot tell you now (I spoke with Jacopo, Samuele and Cri from Art Of Fighter about that…)

Listen to The Sickest Squad – Blue (2018)