released February 26, 2022

Compiled by Boris Otterdam with assistance from JD NoiZe and Eric SEUA in 2022 and 2023. All tracks copyright and copywrong their respective artists. All tracks published with full permission with documentation on file at ENDE Records Australia. Cover Art and Mastered by Steve Munslow at Hyperdriver Studios Bolton UK in June 2023.

Thanks to everyone who submitted a track!!!

In Loving Memory of ENDE contributors and our colleagues in breakcore and hardcore that have passed....it's getting harder and harder for me to remember them all.....

Justin Harmon (ardent supporter of the early Australian breakcore scene), Anna (Newcastle hardcore and Sydney breakcore supporting fiend), Clodagh Monaghan (Pony Bar worker and Melbourne breakcore supporter), Cahl Schroedel (Single Lens Reflex), Alistair (Civilised/*Conditions Apply), Adam James (Clagg), Monique Wakelin (InsuRge),Tina Bruce (DJ Speedtits), Murray Hoffman (MC Nevar), Wayne MacConnachie (Enja Bergman), Ryan Gent (Uda), Sean Baxter (Bucketrider), Ras Edward (Soulscientist), Mario Rosa (Doctor Mario), Drunk Optimus, Benny Klein (Bazer), Penny Acott (one of the first ever followers of Boris music), David Livingstone (Nerve/God Bullies), Tash Mulligan (Ms Devastated), Greg Tangey (Ruxton) and any others I forgot that we lost along the way :(

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FURTHER READING BY BORIS OTTERDAM:
www.patreon.com/posts/ende500-off-grid-87708722

FURTHER READING BY JUSTIN BEAUCAGE:
www.patreon.com/posts/ende500-off-grid-87709856

FURTHER READING BY STEVE MUNSLOW:
www.patreon.com/posts/ende500-off-grid-87710349

INSPIRATIONAL QUOTES:

"We owe you nothing, you have no control
You are not what you own"

- Fugazi "Merchandise" (Repeater 1990)

"I like noise. I like big-ass vicious noise that makes my head spin. I wanna feel it whipping through me like a fucking jolt. We're so dilapidated and crushed by our pathetic existence we need it like a fix"

- Steve Albini (Big Black) 1986

"The virus has been spread"

- Alec Empire (Atari Teenage Riot/Digital Hardcore Recordings Founder) "Digital Hardcore Zine" 1998

"Create something beautiful, then destroy it before anyone else can. Destroy it because you can. Destroy it because it's yours. Destroy it because the destruction is just as important as the creation. Destroy it and destroy it WELL. A well thought out act of destruction is just as hard and just as significant as creating something. Don't blow it up. Take it apart, piece by piece. That's intelligent destruction"

- Deadcode (8-Bit Recordings/ENDE Records)
"The 8-bit Manifesto 2001"

"We don't belong to any country, any state, any culture. We feel lonely"

- Neil Hill SPK (1983)

"I'll keep my integrity. Even if I have to sleep on the street"

- Nailbomb (Alex Newport and Max Cavalera) "Cockroaches" (Point Blank released 1994)

"Who really wants to watch someone chain smoking and right clicking their mouse?"

- Reviewer's comment on industrial techno duo Hogans Anti-Heroes on Perth website Bubblehead in 2001

"I think labels are hugely important in functioning as an incubator for ideas but also as a platform for a scene.”

- Thorsten Hertog (Ultravirus Records)
Honisoit Webzine 2020

"we're doing fucked up shit...shit that's supposed to fuck you up"

- David Hammer (Shizuo/Give Up)
Dutch TV 1997

"we sort of utilise the chaos that we propagate and generate chaos. Not in a sort of punk/anarchy way but....mental chaos"

Jhon Balance (Psychic TV/Coil)
The Sound Of Progress (Dutch TV) 1988

"the rise of "me too" labels. This is one of the biggest differences I notice - it used to be really exciting to find new labels since often they were accompanied by the promise of new artists doing something different which someone liked enough to want to get behind releasing.. But now, it seems like there's a lot of newer labels who are based primarily on releasing (often less than full effort) tracks by the top couple of 'big' artists, even though said artists have plenty of other labels waiting for their stuff.

I'm sure those labels just see it as releasing music they like, and with that regard, there's nothing objectively WRONG about that. Good music is good music. But I feel like there's a certain responsibility that underground labels have to actively seek out and help bring unknown-but-wicked artists to people's attention - if they're not doing that, then what are they really other than middleman financer? All in all, it's made release schedules really boring in my opinion, and it's gotten so extreme in some cases w/certain artists and labels, it's kind of sad.

Also, it seems like some of these label's sole interaction with the "scene" involves releasing these unadventurous releases and posting ads about them on the internet. It really gives it a creepy "businessman" feel to it all."

- Dev/Null C8 Forum 2005

"On the one hand we'll do things which we hope directly inspire people. so we will work on themes that are very positive and ah..but always at the same time we like to show people what they're up against because there's no point just inspiring people with hopeful rhetoric with an inflated language that means they walk away after that and find that nothing has changed or that they still haven't faced up to..to what they're up against. Because without a doubt certainly in Britain...ah the right wing still have the power.

They have the power of all the institutions the people who hold the strings of democracy. The ones who uh..operate behind the scenes. The power that was in them has not been challenged by the ideology of the left for a long time now in Britain and so part of our process is understanding the effect that they are having and making people come to terms with it and to do that you must show the full weight of power that lies with the opposition and so it would be irresponsible as it is often on the news or in the media to show that power but always to contain it then they never show the full effect of the way the establishment operates because things are very filtered within a democracy.

Particularly within Britain. The decision making process is very hidden and the actual effect - what is being done in the name of democracy is it just slips through with a sugar coating. And so we try to in taking the side of the opposition. We really try to show the true emotion the true face of the establishment in action"

- Angus Farquhar (Test Dept)
The Sound Of Progress (Dutch TV) 1988

G : I see,but despite that--don't you feel you're a role model somewhat because you're so young and achieving so much?

B : I've never been asked something like that before and it scares me...

- David Skiba (Bomb20)
Greymag Webzine 1998

"I don't know I don't think I'd find better atmosphere in a different culture necessarily....I'd rather mold the culture that I've got around me and mirror it"

- Jim Thirlwell (Foetus)
The Sound Of Progress (Dutch TV) 1988

"youth culture doesn't really exist anymore.....so it's some kind of invention of industry"

- Patric Catani (EC80R/Candie Hank/E-De-Cologne)
Dutch TV 1997

"As for our position in the hardcore scene, I don’t know, and I’m not really that interested in keeping a check on that; we do what we do, and if that means we’re stuck off in a corner away from everyone else, then fine. If people are into it, if they think it’s good and it’s a worthwhile label then even better, but it’s not something we consciously work towards. If we put a record out and it doesn’t sell, then fuck it. We put it out and if we’re pleased with the product then this is fine."

- Mark N (Nasenbluten/Overcast/Bloody Fist)
Datacide Magazine 1997

"The world is not meant to be good, bad, black, white, one two, one, zero - its not binary...its chaos"

- Genesis P. Orridge (COUM Transmissions/Throbbing Gristle/Psychic TV)
Modulations: Cinema For The Ear (Documentary) 1998

"We must break out of this limited circle of sounds and conquer the infinite variety of noise-sounds"

- Luigi Rossolo 1913

"When we discovered that the word could be cut up, that sound could be cut up. Everything to do with culture, could be cut up and reassembled in ways that didn't exist before. That will be seen as the most radical, important thing that happened (in the 20th century)"

- Genesis P. Orridge (COUM Transmissions/Throbbing Gristle/Psychic TV)
Modulations: Cinema For The Ear (Documentary) 1998

"I always liked the idea of making these kind of miniature universes of sound"

- Christoph De Babalon 1999

"we think that most music is based on the idea of instant gratification for the artist. Gratification through contact with audiences..and with so many people basing their ideas of entertainment around that idea. We think there has got to simply...be something interesting about the opposite"

- Future Sound Of London
Modulations: Cinema For The Ear (Documentary) 1998

"Techno wasn't designed to be dance music. It was designed to be a futurist statement"

- Jeff Mills (Axis)

"It's not like...they are not borders you know. I'm using the sound which I think it's hip at the moment you know but it can change next year...

....that's the great thing about this computers. You can vary your sounds. It's not like a rock kind of thing where you only have guitar and drums and stuff. Here you can work very freely"

- David Hammer (Shizuo/Give Up)
Dutch TV 1997

"the culture by which I mean everything that matters has been dead and you only have to walk down the street and you watch the people walking along who are just...they're shoulders are bowed in defeat. They realise they're living completely meaningless lives and that there's nothing....nothing for them to look forward to. They kill themselves by the admission of their defeat by refusing to explore, by refusing to question. They want the easy life, the easy option. They want to be left alone to carry on doing what they're doing which is always nothing whatsoever...

..I think it's easy to get too...perhaps sort of arrogant about it and say well they should be doing this and they should be doing that. But I'm not saying that therefore people want to get out of this problem then they've got to do this or they've got to do that. Or this is the answer, that's the answer. Perhaps the only....only way out is if you actually go up to them and give them a good kicking and say why don't you fucking wake up"

- David Tibet (Psychic TV/Current 93)
The Sound Of Progress (Dutch TV) 1989

"Dance music as an underground culture used to be a safe haven for those who didn't fit into...the mainstream....to have a refuge for our weirdness. Now, most of it's populated by the kids we once sought to escape from"

- Reid Speed (Play Me Records)

"The way that we approached culture is, if something should be done we feel that it's our duty to try and do it. Whether we have the skills or the equipment or whatever. We knew we should try and make something"

- Genesis P. Orridge (COUM Transmissions/Throbbing Gristle/Psychic TV) "Industrial Sound FOr The Urban Decay" Documentary 2018

"Something really hard to do is make your own music, true to yourself. I mean it. and im not saying i am doing it, or anyone else in breakcore is doing it. When you start to make music, you want to make good music and get yourself heard. Funny music is always a easy way to do it"

- Retrigger/Raul Costa Duarte C8 Forum 2005

"In the mid-90s...a lot of people who'd been taking ecstasy for several years started experiencing the dark side. The music went very dark and that was actually one of the pivotal moments in which rave music turned into jungle"

- Simon Reynolds (music writer)
Modulations: Cinema For The Ear (Documentary) 1998

"Out of all the guys who produce for us, everyone has their own interest, their own direction, and as far as I’m concerned I’m quite happy for all of them to go off on their own tangent, make whatever they like and I put it out for them, the ideas they have, as far as I’m concerned they’re failsafe...
...First of all, the whole idea for me for getting into this and starting a label off was because of the music. The music the music and nothing else. Yeah, what more can I say. It was just the music and as far as I’m concerned it still is....
...when we put records out we don’t really put them out with the premise that they’re going to be played at parties, we don’t put them out with DJ’s in mind usually, sometimes that might happen, but that’s purely accidental I assure you. A lot of the music is put out with train spotter Joe Bloggs in mind, he likes the music, he likes the records, he likes the artist, he likes the sound and the feeling that the music creates. I don’t think it’s necessary to go out to a party to enjoy it or appreciate it for that matter"

- Mark N (Nasenbluten/Bloody Fist/Overcast)
Datacide Magazine 1997

"I´m not afraid of "more" people. If I can play and deliver my message (wearing a antifa shirt, putting a antifascist record sleeve in front of me, playing those anti-ragga-homophobia-religion-tunes and "antideutsche welle" and people still don´t realize it? Gosh, what else should I do? Stopping the music and starting some discussions with the audience as Pure did on Mayday in 1994? Now that would truly be something different than routine.) to more people ? that´s pretty good"

- LFO Demon C8 Forum 2005

"some people (maybe) buying our music have traits that are generally offensive to us, (Godflesh) is not "tough guy" music, is not for macho posturing and empty flexing, we oppose these acts of banality"

- JK Broadrick (Godflesh/Jesu/Zonal/Krackhead)

"we were never musicians. We're just collage artists"

- Future Sound Of London
Modulations: Cinema For The Ear (Documentary) 1998

"f there are things I criticise in current breakcore those are:
1) "the league of superstars": some acts are totally overhyped while nobody cares for some other acts/ crews supporting this music for years. and this is a process which gets increasingly worse"

- LFO Demon C8 Forum 2005

"if you see production techniques as "more crucial" and dark ambience and edits as a "danger element" then you really should fuck off to a Valve records party"

- Dev/Null C8 Forum 2005

"While there was a consensus that the free party scene remained a form that was antagonistic, it seemed to have given up this position in most of its content, creating or succumbing to its own star systems and commercial mechanisms pushing the music itself into the background, at least as far as this music was trying to be innovative and radical"

- Christoph Fringeli (Praxis)
C8 Forum 2005

"we had a great time and it's not people doing Jesus hands to a bunch of fuckin nobodies. It's people partying who actually fucking mean something and having a fucking good time - that's what's up"

- Ben Wall (Logarithm)
Megacore: A Canadian Breakcore Thing (Documentary) 2018

"Breakcore was then a hybrid strategy rather than a style or genre. It drew its influences and sources from industrial hardcore, jungle/drum'n'bass and everything in between and neighbouring it, engaging in an alchemy of sounds, pillaging the rave culture and sharpening, radicalizing and intensifying it.
These ideas were spreading across the world"

- Christoph Fringeli (Praxis) C8 Forum 2005

"They teach you there's a boundary line to music. But man, there's no boundary line to art"

- Charlie Parker

"The temptation of the technology is to smooth everything out. But the net effect of correcting every perceived mistake is to homogenize the whole song until every bar sounds the same...until there's no evidence of human life at all in there. There is a reason, after all, that even purely digital, "in the box" sequencers and drum machines have functions to "humanize" their beats - to make them correspond more to the looseness and occasional hesitancy of real human players"

- Brian Eno (Oblique Strategies) 1975

"Breakcore as a scene was in part founded in the rejection of certain aspects of the Rave scene. The cheese and tedium"

- Skeeter (God Rekidz) C8 Forum 2005

"On the headphones, we do have them extremely loud. Because we like the sound...when you have the headphones on. We like the sound to bury inside your brain. So it's bashing your brain around your head and that's the way we can really hear the drums"

- Jim Baker (Source Direct) 1996

"I'd like to state my growing irritation with the amen-break. It's not that I mind it, but it's just way overused. It's like "the breakcore formula" exists of an amen, and then, but less important, gabber kicks + samples."

- Capslock (Ketacore Records) C8 Forum 2005

"Some of the most talented producers soon came from North America, such as Venetian Snares and Abelcain, and the spectrum was expanded from dark electro to hyper-edited breaks that questioned the relationship between the sound and the dancefloor. The virus was finding hosts in places as far as Brazil, Australia and Japan."

- Christoph Fringeli (Praxis) C8 Forum 2005

"I think perhaps all forms of music begin radical, but as they become accepted as legitimate forms of music they necessarily lose that edge, take RnB... the sound of the delta bluesmen, before the civil rights movement, was incredibly radical, but as more people became interested in the style, and in parrallel, interested in the black civil rights movement, a critical mass formed. its no longer radical to like RnB or support equal rights for minorities. Its not the attitude of the music thats changing, its the attitude of the people listening"

- Ella Rudland/Angry Teenagers Who Want To Kill People (ENDE Records/God Rekidz) C8 Forum 2005

"For some reason Breakcore is politically still regarded by many people to be somehow left wing, but if you look at it closer, the labels with an explicit position are in an extreme minority. However, my argument is not that music should be agit-prop, but that labels with a consistent aesthetic (and I don't mean design!), a real depth of content, a commitment to experimentation and development are rare these days. This seems to suggest that the label as an art form is in a crisis as well"

- Christoph Fringeli (Praxis) C8 Forum 2005

"Personally I uh..want to fit...far from...the mainstream (smiling)...I hope so...I never want to be inside the mainstream...if I'm inside the mainstream I would change my music...I fuck the mainstream.....fuck these people (laughing)...I fuck house, techno....and all that shit"

- Rotator (Peace Off Records)
"Break It Down" Documentary 2010

"Progress... ...is a train. You can climb aboard, you can get out of the way.......or you can be crushed"

- Carver (Robby Benson) "City Limits" Movie 1985

"For the techno guys, techno is a revolution and it's really not - you know. Techno exists since...I dunno....6 years or anything like that...6...8 years and it's nothin..it has nothin..revolutionary, there's no revolutionary aspect. Our music, our noise, our hardcore drum n bass, this is really...we wanna...SHOCK THE PEOPLE WITH OUR MUSIC! and we're getting shocked off our music! When I am hearing one of my records I think...oh my God what have I done?"

- Panacea
"Modulations: Cinema For The Ear" Documentary 1998

"We had no professional musical background. In fact we always believed that musical training was just the worst thing you could have..because it then immediately imposed on you sort of regulated or rule based view of how music should be. When we didn't have that. We were free to do what we want"

- Stephen Mallinder (Cabaret Voltaire/Acid Horse/Ku-Ling Bros)
"Industrial Soundtrack For The Urban Decay" Documentary 2018

"We have those freaked out frequencies you know, those very high, very low frequencies....always..very distorted hard sounds and it's not only the drum and the bass. We have very, very ill atmospherics"

- Panacea
"Modulations: Cinema For The Ear" Documentary 1998

"At the end of the day, it doesn't matter what anyone thinks. The music is the music and there's no arguing with it"

- Mark N
Bloody Fist Records/Nasenbluten/Overcast
Interview on "Alchemy" from SBSTV 1998.

"We have trash can beats. You know when you turn it around and you beat on the other side?"

- Panacea
"Modulations: Cinema For The Ear" Documentary 1998

"If you're into it, I'm out of it"

- Christoph De Babalon
Digital Hardcore Recordings 1997

"We've been working against the system. If it's bound to ripen it's bound to rot"

- Toecutter
System Corrupt
Interview from VICE Magazine 2004

"It's reached a level where it either becomes more popular and established as a core genre like drum n bass or trance. People will continue to buy records and throw raves like in the trance scene or perhaps it won't catch on and just dies again. Of course a small group of people will keep it alive"

- Nicholas Chevreaux 2006
Ad Noiseam
Interview from "Notes On Breakcore" Documentary 2006.

"if you're genuinely going to try and change people or make them you know face up to something which is quite an awkward thing to try and do anyway. There has to be that area of confusion where you break the mold of the past and look for a new pattern and that confusion is part of the process"

- Angus Farquhar (Test Dept)
The Sound Of Progress (Dutch TV) 1988

"Even though there's a lot of generic crap that comes out, because there's so many people now that are making so much music and it's all building off of itself, even if a lot of it sucks, eventually really awesome cool shit does bubble up out of the top, just because there's so many ideas bouncing back and forward, it's almost inevitable that something fucking brilliant will shoot out of it somehow"

- Dev/Null 2006
Interview from "Notes On Breakcore" Documentary 2006

"If one's nature is a problem, rather than just problematic, is that I see things in terms of victory or death, and not just victory but total victory. And it's true: I always have. It's either victory, or don't bother. The only thing worth doing is the impossible. Everything else is gray. You're born... as a man... with the nerves of a soldier, the apprehension of an angel, to lift a phrase, but there is no use for it. Here? Where's the use for it? You're set up to be a philosopher or a king or Shakespeare, and this is all they give you? This? Twenty- odd years of school which is all instruction in how to be ordinary... or they'll fucking kill you, they fucking will, and then it's a career, which is not the same thing as existence... I want unlimited things. I want everything. A real love. A real house. A real thing to do... every day. I'd rather die if I don't get it"

- Jim Bennett (The Gambler) 2014


"Having been there before....I realised how much the place had changed and the place was just crawling with western hippies and fake gurus and llamas who's only real interest was conning people out of as much money as possible"

- David Tibet (Psychic TV/Current 93)
The Sound Of Progress (Dutch TV) 1988

"when the institution becomes a parody, the institution must laugh at itself and the parody must take itself seriously. neither outcome is attainable so the only rational choice is total annihilation"

- Stevan Hicks (Tyrant X/Nethercord Records) 2023

"those who restrain desire do so because theirs is weak enough to be restrained"

- William Blake

"It meant nothing to us if we were popular or not, or if we sold either a million records or no records. So we were invulnerable to ploys by music scene weasels to get us to make mistakes in the name of success.
To us, every moment we remained unfettered and in control was a success.
we never had a manager.
we never had a booking agent.
we never had a lawyer.
we never took an advance from a record company.
we booked our own tours, paid our own bills, made our own mistakes and never had anybody shield us from the truth or the consequences.
The results of that methodology speak for themselves.
Nobody ever told us what to do and nobody took any of our money"

- Steve Albini (Big Black) 1987

"destroy the idea that you gotta be good at artistic things to enjoy them, that every hobby has to become something you're so good at, you can monetise it.

A capitalist lie.

Sing Offkey, Draw poorly, write badly.
Life is meant to be enjoyed not monetized. You're not a product"

- anonymous

"I must create a system or be enslaved by another man's I will not reason and compare: my business is to create"

- William Blake

"Recently I realised a truth about myself.
I am not my age, my weight, my mental illness or my past.
I am not my physical representation or my neurological one, screened to the world.
I am nothing more than desire and ambition harnessed by a vessel of flesh.
My only true purpose is to create and to help others create.
ego and vanity are concepts of human error. Emotions that are broken when misused by the unfamiliar.

Desire and ambition is the natural evolution of the restless creator.
The restless creator does not know ego or vanity.
They only know that to stop thinking, dreaming, creating and contributing....is to die.

Worlds are meant to be conquered not endured.
A capitalist is a sociopath that enslaves souls to build physical wealth.
True contribution and attribution of wealth. Real wealth. Spiritual wealth - is to encourage others.
To bare them naked to their potential and show them what is possible....when they shed the shrill, interfering screech of negative dismayers"

- Boris Otterdam (Noistruct/Deceased Estate/Founder of ENDE Records Australia) 2021