About Mark Hillen aka DJ Metatron
My name is Mark Hillen and I was born on the 28th of September 1983 at about 09:40AM in “Winterswijk” (Netherlands).
When I was at a very young age I became a fanatic listener of Progressive and Symphonic rock.Bands like Yes, Genesis (P.Gabriel), PFM, Rick Wakeman, ELP,David Bowie, Earth and Fire,Mike Oldfield, King Krimson, Soft Machine, Camel, Embryo and much more!
But at the age of 12 the era of Techno/Trance and Hardcore began.
I loved these synthesizer genres just as much as I liked Symphonic rock.I loved all synthesizer genres actually….
I started composing music when I was about 12 years young on a Cyrix 6x86 P150+ (PC) with “Scream Tracker” under MS-DOS with a Soundblaster 16 compatible pci Soundcard.
Later on I used “Impulse Tracker”,”Madtracker” and “Sonar Producer Edition”.
I’ve composed music until I was at an age of 25.
Between the age of 25 and 32 I have only made one track (I lost) and several unofficial Hardstyle megamixes called the “Hardstyle Perfection Series”.Hardstyle Perfection vol.1-6.
In spring of 2016 I decided to make a childhood dream come true……
Why “DJ Metatron” ?
I had to choose a new artist name to leave the past behind..
In my beliefs I’m an Incarnated Angel.Could have been an Incarnated Elemental too.But I match the characteristics of an Incarnated Angel best.
Archangel Metatron is one of my favorites.
He cares for Highly Sensitive children (HSP) and is the Angel of Sacred Geometry.I love to care for HSP Children and I’m a bit fascinated by Sacred Geometry.Please take a look at www.Janosh.com for more info about Sacred Geometry.
It was difficult for me to call myself Metatron because I ain’t Archangel Metatron.Wouldn’t want a title I don’t earn...
So DJ Metatron felt better than Metatron.
I’m good at mixing music/composing mixes but not live …
The mixing process will occur before live performance.
So I can set everything up perfectly...That’s my preferred way of mixing/DJ’ing.So I can set up something exceptional/special for perfect live performance.
Maybe there are still unofficial mixes or tracks on the internet under my previous artist names “Hilluh Project” or Teslacoil.
Symphcore (Symphonic Hardcore)
I would like to place a new style/genre next to our famous or should I say notorious,rough but great “Hardcore” genre?
Some years ago, Hardstyle was still original….
Nowadays Trance is too soft for me after everything I’ve been through.
I like Trance but don’t like to produce it anymore...
I like Happy Hardcore.It gives me warm feelings.Nostalgia!
But it is too happy and simple for me.
And I don’t aim for Top40 listings either...
That’s why i produce “Symphcore”.It is a mix of these styles.
Faster and more rough than Trance.
More original than Hardstyle these days...
More melodious than most Hardcore available.
More comprehensive than Happy Hardcore.
My choice of instruments differs from most commercial tracks.
I did this because I like it.I like to be original.I need to be original and I need originality in music to feel alive and express myself.
Like I mentioned above, I’m not interested to get in top40 listings and don’t need to be a millionaire either.
I like to make music that I like!And that’s what I like!
But independently of this, I think there is nothing else as important as creating optimal spheres and playing with peoples emotions to the max (with music)!
Everytime by adding a new instrument the mix of emotions in my projects can change or it can turn around the story completely.
I also like playing with peoples expectations.
Sometimes I create a tension in my tracks and it suddenly vanishes before a climax has a chance to begin.And with a climax I mean when the drum kicks in...
You may look at my tracks as different extreme painful events in my life or maybe better, link them to certain emotional circumstances in your life..Maybe your in an emotional rollercoaster right now ?
That’s wat music is about right ? Feeling understood and expressing your emotions..Like no words can do..
There is one more reason I chose for the name “Symphcore” as my style.
Because, in my newer tracks, you can hear very often 7-10 instruments getting played simultaneously.
And 10 is my max with my current mastering skills.
And I do have to take into account that most speakers/amps or headphones can’t handle more information than this.
Not even most people if I’m correct.
If it was possible I would go further than 10!
So I produce Symphony’s.
Symphony’s emphasized with self-designed kickdrums.
A complete package!For me and perhaps for you ;)
Perhaps I will make my tracks more mix friendly for other DJ’s in the near future.
But good DJ’s can mix everything!
For me it is necessary to work almost every other day on one of my projects.This has partially to do with a difficult childhood and my sensitivity for emotions (energy’s) of other people and areas.
To express my emotions...
Before I continue a session or start a new one I ask the angels to support me. Especially when I’m a bit uncertain about my own skills on a particular moment.This often happens when I haven’t spend time on producing for a couple of days.
I pick an instrument on intuition and start playing around a bit.
After a few minutes I find a tune that resonates with my mood or situation.
I Eventually make this tune permanent in my sequencer in a loop.
I then go down a list and pick a second instrument.
This is when the process actually begins.
At the second or third instrument an improvisation starts.
The way I see an improvisation with most or maybe all musicians is they get their notes from God.From Angels.
It certainly happens in my case.
I think most of the musicians are unaware about this.
I even have read years ago something about a popular classical music composer who said to believe his music was God’s music.
I can confirm what he said.Unfortunately I forgot his name…
what a shame..
In my case I hear these melodies.They whisper proposals in my ear.Like a dog whisperer but than with music.
So you can see me as a medium or one of God’s instruments.
Like a sort of pawn.I believe we all are pawns in a sort of complex simulation.A gigantic Quantum computer.
They only give information the person (medium) can process (understand)
Otherwise it would be inefficient.
And our universe is very efficient!
The system (God/Creator) knows what he’s/it’s or she’s doing ;)
In all chaos around us is order.You only have to be willing to see it..
What I’m trying to explain is they deliver me for example 25% of the information I need to produce a track and I’ll do the rest.
Almost everything in my tracks I do manually.
Think of rythms, Kickdrumm design, notes,mastering,instrument placement and manipulation or creation of presets etc.
Sometimes an (arpeggiated) instrument (preset) is exactly as it should be.
It gives me a tremendous satisfaction when I complete a project in this way and with my type of audiophile perfectionism.
I can not even read a note.I believe I inherited part of my skills from a past life as a female pianist.And maybe more...
I have future plans to make 5.1 channel tracks.Just for fun or to take full advantage of my skills.
This process is done by me and myself only
About 95% of this already happens when I’m composing my tracks in my sequencer.It saves a lot extra time and frustration.
Most of the time when I finish a composition and compare it to my other projects as reference,it sounds almost similar to finished ones.I would say 90% of the mastering quality from my finished ones.
It seems what I accept or prefer in terms of mastering quality is already baked in to my mind.
When I started composing again 1,5 years ago (Began at an age of 12) I often left my home to judge my music on other audio setups.
I prefer not to use extra DSP’s to make my tracks sound better or louder.Because it’s unnatural ,creates distortion and fucks up the dynamics.
Only in a few occasions I use a compressor on an instrument to lower the spikes.I’m talking about spikes that exceed more than for example 1,5 dB above the average of this instrument.
The Loudness of my tracks can be a bit lower than most commercial tracks.There is certainly one good reason for this…
That’s because of the large amount of instruments playing simultaneosly.From 6-10 instruments max at the same time.
I hope I can refine my mastering skills a bit in the near future.
The most important thing for me is that all the instruments are audible on al sorts of audio devices and setups.
More important than winning a contest about who is making the loudest noise for human ears.
Tip : Maybe if you change headphones or speaker and/or amp combination you’ll hear things you were not aware of.
Explanation of my projects
Der Untergang von “Insel des Atlas”
A while back I was looking up some information about Atlantis when I encountered the German name of Atlantis on Wikipedia.
“Insel des Atlas”
I’m always interested in translations.Especially for countries isolating themselves from the rest in terms of language like Germany for example.
And I like how the German language sounds.
In my opinion German sounds a bit like the eastern Dutch accent called “plat”.But a bit more rough and spicy.
So “Insel des Atlas” is German for Atlantis.
And this composition is about the downfall of Atlantis.
It was first titled “The Definition Of Loss”
Because I was in the middle of a huge process to let go of the old this track helped me to get trough this process more easily.
Atlantis was also a great loss.
At the end of this track the music slowly fades away
This stands for things that were and for Atlantis that disappeared under water.
This was my first project as DJ Metatron that I was satisfied enough about in terms of sound or mastering quality for commercial release.
The foundation or base of this track was done in less than a week time.I have never composed a project like this one this fast.
It’s the most simple one as DJ Metatron.But much more complex than projects in my early twenties.
This title is an abbreviation of a title too long and not recognizable for foreigners.
It stands for “Medisch Centrum Asbest Extreme 12 Steden 13 Ongelukken” in Dutch.
What it exactly means is part truth and part fiction.
Medisch Centrum West (Asbest is fictional) was a television series back in the 90’s.
In English : Medical Center West.
12 Steden 13 Ongelukken was also a television series back in the 90’s.
In English : 12 cities with 13 accidents.
These series was based on reality and had dramatic scenes.
To dramatic for a child like me aged 10 back then.
I stayed with my grandma one time and saw these horrible scenes of man almost burned to death.
I cried the whole night cause of the nightmares.
The beginning of this track sounds a bit like the music when “12 cities with 13 accidents” began to be broadcast.
It also sounds like a dutch ambulance racing to a hospital for an emergency.But at 5:65 (min) they arrive at the hospital and it seems the patient has past away already.
At 7:09 they try to start his heart again with a defribillator.No succes..patient has left his/her body.
At 8:26 the energy of this patient has returned and is sliding slowly into his or her body again.
The snare at 9:04 is the heart that try’s to beat again.
And at 9:13 the heart is beating at 210 beats a minute.
A bit too fast but hey who cares the patient is alive again ;)
30 minutes later the patient went to work.
I would :P
And with such a great ending I don’t have to suffer from nightmares anymore! ;)
The Big Bang in Symphony
This track was first named “The Big Bang In Blade Runner Style”
When I began composing this track , the beginning reminded me a lot of the beginning of the movie “Blade Runner”.
You know the music from Vangelis at the start of the movie in the city of the future scene.
I think this scene in combination with that music is very powerful and intense.To me it is!
Blade Runner belongs certainly in my top 25 of favorite movies
At the time I was working on this track I did now knew “Blade Runner 2049”was in production.
My composition and this film were ready about the same time.
I renamed this composition a few months prior to it’s release to “The big bang in Symphony” before I knew the movie was in production.
Why this title ?
Because of the enormous tension that builds up and then get’s released by this explosion of emotions.
And then I saw the big bang happening at the same time.
It fits for me like a glove.
I don’t know if I really believe in this theory.
This composition took the most time and brought the most frustrations of all my compositions for my first album!
I really struggled with some parts!
“Insel des Atlas” was the least difficult project of my first album “Chapter I : Reborn”
“The Big Bang In Symphony” consists of 40 stereo tracks.
In other words 40 different stereo instruments and/or samples.
I think I worked more than 200 hours on this project.
And here is also a lot of time included to improve my production skills...
I Woke Up Because She Kissed Me, Spirale deux, Shànghǎi kūle
When I started composing the first part of this track in I think the second week of September 2017, I thought of having a bad dream and be woken up by something sweet.Someone who cares about you and is letting you know it was just a bad dream simply by a kiss.
A bad dream that turns into happiness.Knowing you’re not alone as a human being.That’s what I felt while composing this part.
In the second part (Spirale Deux) you can hear an instrument coming up that sounds a bit like the main instrument of “Spiral” from Vangelis.I still have this album on Vinyl actually.And I don’t have much records in my possession while writing this text.
If I had to visualize a picture with “Spirale Deux” I see stars getting pulled by a Black Hole’s gravitation.It looks like the stars or planets are dancing around the black hole.Like in an orbit from and passing this black hole.
And everytime this instrument get’s more clear I see a star or planet passing by with me at or near the black hole (if this was possible ofcourse)
(((Excuse me if there is something in this text that does not add up.
It has been some years I watched “Trough The Wormhole” every episode 4 times :P )))
The last part of the track I called “Shanghai Cry”.It’s to me a chinese sounding piece of music with at some point an innocent cry.
I have been working on this track with 3 parts between the 50 and 75 hours total.I’m not capturing my exact working hours.It is an estimation.
Creating and releasing my first album “Chapter I : Reborn”
This release was in a bit of a hurry.I initially planned to release each of my new tracks seperately.
I heard this was going to give some problems with online stores.
The length of 3 of my newer tracks exceeded the 10 minute length limit.So I had to compose an album.
I was already suffering from a burn-out.
But in order to find rest and to recover I had to release these tracks.
The tracks on “Chapter I : Reborn” are listed as follows:
1.Der Untergang von “Insel des Atlas” (8:10)
2.MCAE 12S13O (15:19)
3.The Big Bang in Symphony (16:44)
4.I Woke Up Because She Kissed Me, Spirale deux, Shànghǎi kūle (15:20)
5.Exceptionally Sad (3:39)
6.Mouth of Madness (5:41)
Track number 5 and 6 are older tracks.
I produced these tracks over 10-15 years ago under artist name “Hilluh Project” as an amateur and early adult.
I’ve never thought I would release these some day.”Exceptionally Sad” is Hardtrance and “Mouth of madness” early Hardstyle in my opinion.
Because I needed some extra minutes of music to complete this album and I already had remastered these older tracks at the same time I finished the new ones, this choice was simple.
The word “Reborn” in this album title (Chapter I : Reborn) refers to me as artist “Hilluh Project” who’s reborn as “DJ Metatron”.
I received support of other energies while translating this text from dutch to english