|#||Release title||Total tracks||Type of release is||Imprint date||Label|
|2||Live Deep Cuts||15||Audio||1986||Not On Label|
|4||Frankfurt (Batschkapp) 14/09/85||2||Audio||Live Series Tapes|
Hypnobeat formed in 1983; founding members were [b][a=Romulus Coeurque][/b] (a.k.a. [a=Insect Commander], now [a=James Dean Brown]) and [b][a=Pietro Insipido][/b] (a.k.a. Piedro Insipiedo). Active contributors to the cassette scene in the 80es, the project is not to confuse with the German electronic labels [l=Hypnobeat]/[l=Hyperium Records].
Hypnobeat are [b]Prototech[/b] representatives and adepts of [b]Neo Tribalism[/b]. Deeply affected by the energy and emotional impact of polyrhythms, RC's goal was to push the boundaries of electronic music by enhancing textural complexity. Thus he transfered primordial physical approaches to the beat into electronic grooves that were packed with overdubs, syncopations, interferences, fusion noise.
After PI had decided to finish his active music phase and adjourn to the listening room instead, it was obvious that [b]Porn Flake[/b] (now [a=Victor Sol]) of [a=Vo Ese] would be the one to shift Hypnobeat to the desired level of technological sophistication. Consequently the group's base consisted of two members again.
However, for their recordings and live performances they have been constantly supported by friends from different artistic backgrounds. Altogether more than 20 people joined the party – among them [a=Pink Elln] ([a=Tobias Freund] who formed [a=Sieg Über Die Sonne]), drummer [a=Peter Prochir] ([a=Cassiber], [a=Sielwolf]), rhythm magician [a=Z'EV], members of [a=Fetus Productions] from New Zealand ([a=Sarah Fort], [a=Mike Brookfield]), and bestseller author [a=Thor Kunkel].
Infected with the inimitable sound of the TR-808, Hypnobeat exhausted a wide range of analog electronic gear in the studio and on stage – including an array of up to six synchronized rhythm machines which incorporated three 808s. Smartly judging from the electronic music development in the mid 80es, RC wrote a manifesto about [i]"Futuristic Minimalism"[/i] which was based on the concept of reducing electronics to the emotional, hypnotic rhythm core. Additionally, one of the cheapest available sequencers back then, the TB-303, which epitomized the sound of the Acid movement later, provided a distinctive [i]"Proto Acid"[/i] flavour to the Hypnobeat sound. Accordingly, it doesn't sound presumptuous to state that Hypnobeat conceived an early, seminal form of contemporary club music by blasting out massive [b]proto[/b]type [b]Tech[/b]no and classic Electro beats.
Most of the group's material was developed in sessions and on stage. Their live sets mostly turned out to become machine improvisations and were fundamentally presenting tracks neither having been tested nor released before. Each new recording revealed a character that (surprisingly?) differed from previous works. Different line-ups and varying styles occasionally demanded a change of name which resulted in: Hypnobeat/Rotozone, Hypnobeat/InCom, Hypnobeat/Big Animal, X/HU (Extended Hypnobeat Unit), [a=Hydrobeast], U.V.M. (Ultra Violent Males Un-Veil Masked Utopian Vault Monsters), Deaf Sol Zone and, well… [b]Hypnobeatles[/b].
Every now and then Hypnobeat served as a solo project(ion) for RC/JDB. After a final rhythmic solo twitch the project finally ceased to exist in 1994 – just to resurrect and transform into [a=Narcotic Syntax] a year later: as slowly as Hypnobeat had faded to inertia from 1987 to 1994, Narcotic Syntax blossomed into a state of eruptive activity from 1995 until today. If you listen to their 2x12"EP [r=810452] from 2006, you will actually experience the original, unerring Hypnobeat concept transcoded to digital production technique.