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Hellraver first broke into underground NYC music circles a decade ago, as both talent buyer for mega-clubs Limelight, Palladium, and Tunnel, and as the primary Industrial DJ for the city’ longest running Gothic/Industrial club, Batcave. Shortly thereafter, Hellraver’ reputation for hard-hitting, pulse-pounding mixes grew. He secured residency status at Limelight and the Bank, as well as Guest DJ spots for innumerable big ticket after-show and record launch parties throughout New York City, among them, Nine Inch Nails/David Bowie, White Zombie, and Front Line Assembly.
Following his conquest of NYC, Hellraver easily acquired regular spots throughout New Jersey, and later, the entire East Coast. It was during this time period that Hellraver sought not only to continue his DJ trajectory but to magnify his inherent music skills by creating some of the Industrial genre’ most sought-after remixes; the likes of which include Think About Mutation’ “Motorrazor” for German label Machinery Records, Spahn Ranch’ “The Aftermath”, and My Psychotic Motor’ “Let Your Mind Drain” on US-based Cleopatra Records and Suburban Dance Records, and Deathline International’ “Wild Boys” on COP International Records.
The remixes were well received worldwide and brought his skills into the forefront of the international music scene. Having whet his appetite for music creation with the remixes, Hellraver then went on to form his own band, Earthshock!, creating the original track, “Fallen Angel”, which appeared on Cleopatra Records’ “The Unquiet Grave 2000” CD, and the cover version of Front 242’ mega-hit “Rhythm of Time” for Cybertec/Cleopatra Records’ tribute to the Industrial legends.
Despite having traveled from coast to coast, and throughout clubs in Canada, Hellraver strongly resisted stereotyping himself as a stringently Industrial DJ. In 1999, he shattered the boundaries of Industrial music subculture in NYC with the introduction of a multi-dimensional, cyber-electronic music format at primary residency, AlbionBatcave.
Rather than retaining the same music format and style that has garnered him great acclaim in the industry, Hellraver pushed the limits of his technique to encompass a wider range of genres, reflective of his own expansive interests.
Melding traditional, old school Industrial and its hard-hitting beats with the fluidity of Electronica and bass-heavy Techno, Hellraver has successfully bridged the long-standing chasm of the New York City club scene. The result has been resoundingly positive, as new music-thirsty club kids crowd to AlbionBatcave at Downtime each week to sample Hellraver’ refreshingly innovative sets. Not only does he succeed in attracting this new breed of club kids; he also welcomes in the club-weary scensters of years past. Tired of the same music sets, the same one-sided approach to format, and the limited variety of the crowd, old faces are resurfacing and are reveling in Hellraver’ new take on the underground scene. This, above all things, is what motivates Hellraver’ work. It’ the theory that if you take several things, all similar in certain aspects, and tweak key elements of each, you can create a homogenous mixture that appeals to many, rather than one specific group.
What does the future hold for Hellraver’ next endeavor? It would appear that longevity is a mainstay in this DJ’ career and with regularly scheduled guest spots throughout the US and Canada, it would be logical to assume that he won’t be slowing down anytime soon. Next stop: world domination.