Alec Empire

因為音樂理念的不合，Alec Empire兩年前脫離法蘭克福電子基地Mil le Plateaux而只在DHR下發(fā)行唱片，但DHR在歐洲和美國都沒有大公司為其代理發(fā) 行，這種獨立制作發(fā)行的態(tài)度也使其產(chǎn)品相對少見，其后Alec Empire的作品包括 這張重新發(fā)行的經(jīng)典之作“THE DESTROYER”和“SQUEEZE THE TRIGGER"以及多得 他自己都數(shù)不清的EP和單曲。
　　以前在電子組合Atari Teenage Riot中，Alec Empire以玩Techno-Punk見長 ，而在這張“THE DESTROYER”里，Alec Empire表現(xiàn)出來的則更多是對Jungle的 執(zhí)迷。其實Alec對Jungle/Drum&Bass的情有獨衷并非一朝一夕的事情，早在90年
　　代初，Jungle在英國初具雛形的時候，Alec Empire就帶領(lǐng)ATR實驗了自己的Jung le，并自稱比英國幫玩得快上40BMP，此話不假，“hard like it's a pose"首先 點題，貫徹了Alec Empire的一貫暴力美學方針，高速分裂的碎拍火花四濺，爆發(fā) 出巨大能量的破壞力，間或出入其間的憤怒人聲和一貫潛伏的扭曲Guitar Chord 使Breakbeat更加洶涌澎湃。當然典型的Jungle效果出現(xiàn)在樂曲末尾，沉郁的Bas sline左沖右突，壓抑著發(fā)出無規(guī)律的爆裂聲。后面的"what are you talking a bout"則從頭到尾給聽者上了一堂Instrumental Jungle的教學課，工業(yè)采樣更多 體現(xiàn)在"Down With The shit"上，郁悶的打鐵聲足以讓NIN之流自嘆弗如。而對于 執(zhí)意討好排行榜的Roni Size等Jungle明星來說，Alec Empire則是不可救藥的極 端暴亂分子，聽了這張唱片你就不難理解為什么Alec Empire的演唱會會引起德國 的午夜街頭暴亂。
Founder of Berlins Digital Hardcore Recordings, Alec Empire created some of the most musically diverse works of the 1990s, recording both as himself and with the trio Atari Teenage Riot. Empire was often identified with (and pigeonholed because of) his ATR productions — lo-fi breakbeats played at the speed of thrash that simultaneously embraced the energy of punk, the uncompromising ferocity of industrial music, and the futurism of techno. On his solo albums, however, Empire ranged through isolationist ambient, electro, breakbeat, hard techno, even twisted lounge music. As such, he gained fans in several fields while recording for the German experimental/electronic label Mille Plateaux. Still, his first American exposure came when the Beastie Boys Grand Royal Records signed Atari Teenage Riot in 1996.
Born on May 2, 1972, in West Berlin, Alec Empire was early influenced by rap and the breakdancing scene. Later he began listening to early punk and played in several bands during the late 80s. By the turn of the decade, Empire became fascinated by the sound of acid and techno, though he detested the drug culture inherent at raves. He began recording EPs for Force Inc — as well as their subsidiary, Mille Plateaux — and formed Atari Teenage Riot in 1992, with Carl Crack and Hanin Elias. A slightly more rock-oriented project, ATR nevertheless focused on the extreme: their political themes and screamed vocals were inspired by punk, but the music concentrated on acid synth and distorted breakbeats. After an Atari Teenage Riot deal with British Phonogram collapsed, Empire used the cash in hand from the Phonogram contract to found Digital Hardcore Recordings in 1994, releasing EPs that year by himself as well as EC8OR, DJ Bleed, and Sonic Subjunkies.
In 1995, Mille Plateax released three Alec Empire albums: the compilation Limited Editions 1990-94; his proper debut album, Generation Star Wars; and Low on Ice (The Iceland Sessions). That same year, Atari Teenage Riot recorded 1995, the first album to be released on Digital Hardcore. After two 1996 LPs, Hypermodern Jazz 2000.5 and Les Etoiles des Filles Mortes, Empire issued his first album for Digital Hardcore, The Destroyer. Soon after, the DHR collective — including ATR and EC8OR — toured the States at the invitation of Grand Royal Records, the label operated by the Beastie Boys. Grand Royal began releasing 7 singles by Empire, ATR, and EC8OR at the end of 1996. Early the following year, many of Empires albums were given U.S. releases by his self-formed Geist Records, and Atari Teenage Riot released their American debut, Burn, Berlin, Burn. The double album Intelligence & Sacrifice appeared in 2002 and was followed by a series of live albums before Futurist appeared in 2006.