We’ve got another digital release coming up on September 3rd! Hot on the heels of yesterday’s S2TB announcement, we’re excited to reveal that we’re going to be bringing DJ Noriken’s 2nd album, #From_Ten_Wonderland, to our shop as well as all major digital networks!

The digital release will contain all 14 unmixed tracks from the first disc, which includes new remixes by DJ SHIMAMURA, P*Light, XIO, and Massive New Krew!

We’re excited to announce that we’re once again working with S2TB Recording to bring both of their new August releases to major digital platforms worldwide! On September 3rd both S2TB Gathering 2014 EP and Akira Complex - The Synthesis Collective will be available on Bandcamp, iTunes, Amazon, Spotify, and more! To top it off, we’ll also be carrying both albums physically on our shop starting the same day!

We’re excited to announce that we’re once again working with S2TB Recording to bring both of their new August releases to major digital platforms worldwide! On September 3rd both S2TB Gathering 2014 EP and Akira Complex - The Synthesis Collective will be available on Bandcamp, iTunes, Amazon, Spotify, and more! To top it off, we’ll also be carrying both albums physically on our shop starting the same day!





We’re excited today to be announcing yet another new member of the Attack the Music family! Our new addition is bringing some real hardcore sound to the lineup.
Seeds of the Upcoming Infection (abbreviated S.O.T.U.I.) is Denis Siks’ alter ego focused on Mainstream Hardcore music. This Spanish guy was born in 1993 and his fascination for Hardcore music started when he was around 12 years old, listening to old Pont Aeri and Scorpia compilations, where Hardcore was appearing among many Hard Trance and Makina tunes. At the age of 15 he started fooling around with Fruity Loops 3, taking it as a little hobby. But in 2012, only 2 years ago, he decided to go one step further, and he started studying how to produce music, learning about EQ, learning a bit of synthesis and he self-released 2 EPs in his own free netlabel Dark Castle Records (defunct). 
After that, he started working harder to achieve a better sound quality and sending demos to labels. Some months later he signed a contract with Kurrupt Recordings HARD (UK), which he has released 2 EPs on (“Fight for your Family” and “Lord of War”. The third, “Sandalface” will come out this year). Having joined compilations on labels like Factory of Core [ES], Satan Inside Recordings [ES], Hitneck Records [JP] (as Kansen Satsujinki), Kyokudocore Records [CZ/JP], Splitterkor Rekords Dziwko!!! [PL] (as Kansen Satsujinki), DiamonicBeat and Juggernaut Music Group [UK], he also co-owns the Argentinian-Spanish Hardcore label Decikore Records, and his own label, A Nation of Distortion. 
Now he is prepared to do his best in the Attack The Music family. Expect some distorted kicks, twisted melodies and evil vocals; it’s time to unleash the infection!

We’re excited today to be announcing yet another new member of the Attack the Music family! Our new addition is bringing some real hardcore sound to the lineup.

Seeds of the Upcoming Infection (abbreviated S.O.T.U.I.) is Denis Siks’ alter ego focused on Mainstream Hardcore music. This Spanish guy was born in 1993 and his fascination for Hardcore music started when he was around 12 years old, listening to old Pont Aeri and Scorpia compilations, where Hardcore was appearing among many Hard Trance and Makina tunes. At the age of 15 he started fooling around with Fruity Loops 3, taking it as a little hobby. But in 2012, only 2 years ago, he decided to go one step further, and he started studying how to produce music, learning about EQ, learning a bit of synthesis and he self-released 2 EPs in his own free netlabel Dark Castle Records (defunct). 

After that, he started working harder to achieve a better sound quality and sending demos to labels. Some months later he signed a contract with Kurrupt Recordings HARD (UK), which he has released 2 EPs on (“Fight for your Family” and “Lord of War”. The third, “Sandalface” will come out this year). Having joined compilations on labels like Factory of Core [ES], Satan Inside Recordings [ES], Hitneck Records [JP] (as Kansen Satsujinki), Kyokudocore Records [CZ/JP], Splitterkor Rekords Dziwko!!! [PL] (as Kansen Satsujinki), DiamonicBeat and Juggernaut Music Group [UK], he also co-owns the Argentinian-Spanish Hardcore label Decikore Records, and his own label, A Nation of Distortion. 

Now he is prepared to do his best in the Attack The Music family. Expect some distorted kicks, twisted melodies and evil vocals; it’s time to unleash the infection!

Check out this video of our homie Banvox performing live at Tower Records Shibuya earlier this year! He absolutely killed it at Hardcore Synergy, and his album “Watch Me Dance” has been on heavy rotation for us ever since its release. If you’re not already keeping an eye on him, you really should start now!

Hey I was wondering how to be part of the staff of attack the music or what does it take in order to accomplish this task?

- Asked by Anonymous

The short answer is that we’re not currently adding to our staff at the moment.

We’re still a pretty small label, and as such the amount of work currently on our plate is easily handled by our core team. That doesn’t necessarily mean that we aren’t looking for people to work with under certain circumstances. Some examples are below:

Artists/Designers - We usually contact illustrators and designers independently when we have an idea for a project or product that calls for it. We’re always looking to add to our talent pool, so if you’re a graphic designer or illustrator and want to work with us, send us an e-mail with a link to your portfolio or some samples of your work and if we like what we see we’ll add you to the talent pool we work with.

Producers/DJs - Same as above, we typically contact people on a case by case basis (aside from people signed to the label itself). We spend a lot of time crawling soundcloud for new artists, but we’ll also take submissions for people interested in getting a track on one of our future releases. In some cases we’re also open to working with an artist to release and market their album or EP if the quality meets our standards. You can e-mail samples and soundcloud links to us and we will be sure to check them out. If we like your work enough, we may make an offer to include you in our family of producers.

Convention staff - We’ll always announce well in advance if we have a convention coming up, although we won’t typically make an open call for staff due to the nature of having a direct sales business. In some cases we may have an open call for some positions to help out if the need arises, so keep an eye out if that’s something you’re interested in. We don’t have the budget to pay for travel or anything, but if you plan to be attending the event already we can arrange badges and access to our parties and panels.

For any of the above situations you can shoot us an e-mail at taskforce@attackthemusic.com and one of us will respond in a fairly timely manner.

Aside from all of that, we do plan to form some sort of street team in the future. The groundwork for that isn’t entirely set, but we would love to build a passionate team of fans to help us promote and get the word out about our releases. Once we have that program all figured out we’ll definitely post regarding it and have more information here on the website.

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Our Trip to Japan, or, why we do what we do.

I’m sitting here thinking about this most recent trip, listening to one of the many CDs I picked up during our travels to Japan, and I’m constantly reminded of why we’re doing something that feels right to me. On a personal level I’m feeling that ‘yes, you need to do this,’ and it’s not because I’m the only one that can do it, anyone can get up and do what we’re doing. Granted there is a ton of personal risk involved, but what’s life without a little danger?

Our trip was a whirlwind of club visits, artist introductions, music hunting, talent discovery, and occasionally, a moment of respite. Every day introduced us to new people, new music, and a greater appreciation for just how good Japan has it, and what we can do to spread that greatness to the US.

Now let me qualify that last statement. Think of your typical event on any given night in the states. You get in your car, because American public transit is kind of horrid with very few exceptions, you drive (sometimes 20 or more miles), you pay for parking, you’ve got your ticket (that you probably paid Ticketmaster a ridiculous fee for), you enjoy yourself, sure, even though you heard a lot of the same club bangers that are currently residing in the top 40, the show ends and you call it a night. You don’t remember that particular DJ, but he played a song you liked so it’s all good. 

The American underground scene is thankfully a bit more varied in this regard, with specific artists coming out to promote themselves and the artists they enjoy. Our friends over at ZOOM LENS are particularly adept at the promotion of Japanese artists of the JPop variety that also fit their individual styles of music. 

In Japan things are a little more simple. Mainly because of how densely the nation is distributed given their population. But their public transit makes it fairly easy to get to any one particular city where an event is going on. All of the shows we went to were in Shibuya, at locations like T2, Club Asia, Vision, 2.5D, and R Lounge, each a no more than 10 minute walk away from each other. There aren’t really tickets to these events, just cover charges, which usually include a drink. Day time shows make it possible for all-ages events, and these events usually run for about six hours. During these shows, we’re seeing artists who produce their own music, and play tracks by people who inspire them. This leads to a great variety of music being played at any one given show. Sure there are tracks that are played that have placement on the Oricon charts, and a few American club hits, but for the most part it’s a celebration of the individual artist who’s up there, showcasing his/her craft to some die-hard fans, and some new listeners. 

That’s kind of the long and short of why we’re doing what we do. We wish to celebrate the individual artist and their hard work and expose them to a new audience. We’re pretty sure a lot of people who are reading this didn’t know who Banvox was before the most recent Hardcore Synergy. 

But beyond that, the culture of music in Japan is just so vast and accepting, you’ve got shows dedicated to ani-song, JPop, EDM, Hardcore, Rock, and it’s all about having a good time. Everyone is accepting of other musical styles, while at the same time willing to try out something new. When people asked what I was in to, I wasn’t derided for having a differing taste in music, or saying I liked a particular style of music, if anything people were more interested in checking out artists after our conversations. 

I want to share music with everyone out there, because it is something that has saved my sanity during some of my darkest times. I believe that it has the power to change people’s lives for the better, and I’ll keep doing it for people that visits our site or shows. 

Today we’re excited to officially announce the addition of KO3 to the Attack The Music family! After 2 strong tracks included on our May 2014 releases we’re beyond excited to see what he cooks up for us as time goes on!KO3 (Read KOMI) started making music in 2013. He primarily specialized in UK Hardcore with a Japanese influence and individuality. Also in 2013, he started making tracks that he could use to play at the club with high energy. Currently he is expanding his horizons and producing Electro House and Handz Up music as well.

Today we’re excited to officially announce the addition of KO3 to the Attack The Music family! After 2 strong tracks included on our May 2014 releases we’re beyond excited to see what he cooks up for us as time goes on!

KO3 (Read KOMI) started making music in 2013. He primarily specialized in UK Hardcore with a Japanese influence and individuality. Also in 2013, he started making tracks that he could use to play at the club with high energy. Currently he is expanding his horizons and producing Electro House and Handz Up music as well.

We hope you’ve enjoyed this journey through sound.

We’re a week removed from Hardcore Synergy 2014. Personally I’m still exhausted from the weekend, and wondering how it’d be possible to do more than one of these shows a year. That said, I really hope those of you in attendance to this year’s Hardcore Synergy had a good time. Planning for next year’s show is already under way, and if our trip to Japan next month is any indication of how massive things might be, well… just wait and see.

But I’m not really here to tease about next year, instead I wanted to talk about this year’s show. Some of the things we think we could have done better, some things that were a pleasant surprise, and a bit more of a look in to the process of how Hardcore Synergy has evolved so much over the past few years. 

  • DJ Line-up

This is something we can discuss until the end of time, but when all is said and done, it’s up to us to make the best possible line-up. Having JAKAZiD up first to open the show disappointed a lot of people, since the line to get in was a pain as always and prevented people from seeing his set. We always like to have our Japanese guests book-ended by other talent, like last year when we opened with DJ SymBiotiX and DJ Mesophunk, and closed with SuperJack!. For 2014 we elected to have JAKAZiD open, and we were slated to have Sidequest close the show, but due to the late start, DJ Noriken was our closer for the night. This is another thing we could have done a bit better, place Noriken earlier in the show, I mean, he made our anthem for this year’s show, he should have not been our closer, but he still gave us a hell of a show, and we thank him for that. We also felt like we could have put Cranky up earlier in the night. But overall we’re satisfied with how the line-up played out.

  • Sound check problems

We got a few bits of feedback regarding the sound of the show, with some people having difficulty hearing the show. This is what we get when we rush the sound check, introduce a VJ to the show, and don’t get all the time we normally hope to have to test everything out. Thankfully this wasn’t the LMC incident of 2012, but that’s no excuse for the sound being what it was. 

  • Cranky’s set

After the show, we got to tell Cranky that his set felt like a love letter to Bemani fans, and allowed the show to come full circle. We’ve all been music game nerds for the longest time, so to hear stuff like V, Gold Rush, and Red Zone played live, it was one of the most surreal and amazing moments in the history of Hardcore Synergy.

  • Including a VJ felt like a major addition

muratA Yuzi put on a hell of a show all by himself. After six hours of work, we’re kind of upset with ourselves that we couldn’t give him a break of some sort, or wish the show was earlier so that he wasn’t so exhausted the next day.

We’re always striving to put on the best possible show in conjunction with Anime Central. We do this out of passion for the artists and the music they produce, sometimes at great personal expense, but to see people have such a good time, really makes it all worth it. 

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