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Da Hool

Frank Tomiczek (born 30 December 1968), better known by his stage name Da Hool, is a DJ and electronic music producer renowned for his contributions to the and genres during the underground club scene. Emerging from the working-class town of in Germany's region, Da Hool began his career as a DJ in local clubs during the late , honing his skills amid the burgeoning movement that transformed European nightlife. His early work helped pioneer the "techno-underground" sound, leading to his first major label deal with East-West Records in 1994. Da Hool achieved international breakthrough with the single "," released on Kosmo Records, which blended euphoric elements with driving beats and became a defining of the era. The track's Nalin & Kane propelled it to commercial success, reaching number 15 on the in 1998 and solidifying his reputation across . He followed this with further hits like "Rave Nation" (1994), which charted at number 16 in and sold over 200,000 copies, and later remixes such as "The Funk Phenomena" (2003), which topped the German Dance Charts. Throughout his career, Da Hool has released music on prominent labels including Hooj Choons, Toolroom, and , while founding his own imprints Hool-Productions and B-Sides to support emerging electronic artists. Known for high-energy performances, he has toured globally, remixing tracks for artists like and , and remains active in both club circuits and festival lineups into the 2020s.

Early career

Beginnings in the German underground

Frank Tomiczek, better known by his stage name Da Hool, was born on 30 December 1968 in , , a working-class town in the industrial region. Growing up amid the region's post-industrial landscape, Tomiczek was immersed in the socioeconomic environment of communities, where economic challenges shaped local . In the late , as the area became a hotbed for emerging electronic music movements, Tomiczek gained early exposure to the burgeoning and scenes. These genres, imported from and via underground networks, were gaining traction in small, makeshift venues across the region, fostering a DIY ethos among local enthusiasts. The explosive growth of the German club scene during this period provided Tomiczek with direct access to influential sounds and events that ignited his passion for electronic music. Bottrop's proximity to larger cities like and amplified this influence, as the 's metropolitan sprawl hosted informal gatherings that bridged 's raw energy with 's repetitive drive. Around 1988, Tomiczek adopted the pseudonym DJ Hooligan and began performing initial DJ sets in local clubs, marking his entry into the scene. These early appearances took place in modest "No Name Clubs" typical of the era's underground circuit, where was still niche and far from mainstream acceptance. As one of the pioneering figures in the Ruhr's techno-underground, DJ Hooligan contributed to the nascent club culture by spinning records that captured the raw, energetic spirit of the movement, helping to cultivate a dedicated local following. By the early , DJ Hooligan transitioned from DJing to music production within the culture of the , experimenting in informal settings that embodied the scene's collaborative and resourceful nature. This shift aligned with the broader evolution of the German electronic , where participants often shared knowledge and gear to create tracks that fueled events. His involvement in this phase laid the groundwork for deeper engagement with production techniques, reflecting the era's emphasis on innovation amid limited resources.

Initial releases and local recognition

In the early 1990s, Frank Tomiczek, performing under the alias DJ Hooligan, transitioned from his local DJ roots in to producing his own tracks, contributing to the burgeoning underground scene. By 1990, he had already built a dedicated following through performances across , becoming one of the key figures in popularizing the movement that emerged at the end of the 1980s. His initial productions reflected the high-energy sound prevalent in the club circuit, with early singles like "B.O.T.T.R.O.P." and "It's a Dream Song" gaining traction among underground audiences. These tracks showcased a raw, driving style suited to the era's warehouse parties and emerging festival culture. The breakthrough came with his debut single "Rave Nation" in 1994, released on Ultraphonic and distributed by EastWest Records, which peaked at number 16 on the charts and sold over 200,000 copies, marking his first significant commercial recognition within the domestic market. In 1995, DJ Hooligan released his first album, 3 Years to Become a Ravermaniac, on No Respect Records, a that gathered his early anthems and solidified his reputation as a in the German scene. The captured the evolution of his sound over the preceding years, emphasizing high-tempo beats and euphoric builds that resonated with the growing community. This release further entrenched his local popularity, paving the way for broader exposure while remaining firmly rooted in the domestic landscape.

Breakthrough and mainstream success

Release of "Meet Her at the Love Parade"

"Meet Her at the Love Parade" originated from Da Hool's experiences with Berlin's annual techno festival, which drew massive crowds in the mid-1990s and inspired the track's euphoric theme and title. Da Hool produced the song in 1996 as his fourth single, initially releasing it independently on his own B-Sides Records label after major labels declined it. Building on his growing local recognition from earlier underground releases, the track captured the underground rave spirit with its driving rhythm and repetitive vocal hook. The production blended elements with emerging influences, featuring squelching basslines generated by the synthesizer, a staple of the genre for its distinctive, modulated sound. In 1997, the single received a wider re-release through Kosmo Records, which propelled it to international prominence. This version, particularly the Nalin & remix, amplified its anthemic quality, making it a staple in club scenes. Upon release, "Meet Her at the Love Parade" achieved significant commercial success, earning gold certifications in , , and , and silver certification in the UK. It peaked at No. 4 on the German Singles Chart, No. 4 on the French Singles Chart, and No. 15 on the in early , marking Da Hool's breakthrough into mainstream . The track's immediate impact solidified Da Hool's reputation, transforming him from a regional DJ to a global electronic music figure.

International hits and chart performance

Following the breakthrough success of "Meet Her at the Love Parade," Da Hool's debut album Here Comes Da Hool, released in 1997 on Kosmo Records and distributed internationally by BMG, featured several tracks that contributed to his growing profile, including "Bora Bora" and the original "Meet Her at the Love Parade." The album showcased his early production style and helped establish his presence beyond through licensing deals in markets like via S3 Paris. In 1998, the single "Bora Bora" marked a significant international milestone, peaking at number 35 on the and reaching number 1 on the UK Dance Chart. This release, also included on the album, reinforced Da Hool's appeal in the European electronic scene and led to performances at major events such as the 1998 in , where he played to over a million attendees. Building on this momentum, a 2001 remix of "Meet Her at the " further expanded his chart success, peaking at number 11 on the . The remix's performance highlighted Da Hool's ability to sustain popularity with updated versions of his signature tracks. These achievements solidified his transition from underground DJ to a prominent figure in global electronic music festivals and club circuits.

Later career

Albums and collaborations post-2000

Following the success of his early hits like "Meet Her at the Love Parade," Da Hool sustained his career in the through structured album releases and strategic label partnerships that expanded his production scope. In , he released his first full-length studio in over a decade, Light My Fire, on [PIAS] Germany, featuring 14 tracks that showcased a blend of , , and elements, including standout cuts like "The Cheek of It" and the title track with vocals by J. Pluta. The album marked a maturation in his sound, incorporating pulsating electro influences while retaining his signature driving rhythms, and it was distributed across platforms emphasizing . Throughout the decade, Da Hool collaborated with prominent labels such as Toolroom Records and Subliminal Records, aligning with the rising movement. A key example is his 2004 partnership with producer Gary Bruckheimer on "In the Beginning," initially released on Toolroom Trax and later reissued on Subliminal in 2006, which fused grooves with accents and received remixes from artists like & . These label affiliations provided platforms for his evolving production style, shifting toward in subsequent works, as evident in the heavier synth layers and club-oriented builds on . Da Hool's mid-2000s output also included notable remixes for other artists, reinforcing his role as a versatile collaborator in the scene. For instance, his 2008 remix of Alex Party's "Read My Lips" infused the track with energetic beats and flourishes, updating the classic for floors. These partnerships, alongside his label work, helped maintain his relevance by bridging his roots with the surge of the era.

Recent activities and remixes

In recent years, Da Hool has continued to engage with the electronic music scene through high-profile remixes and new productions that pay homage to his classic sound while adapting to contemporary trends. In 2023, released a of Da Hool's iconic 1997 track "Meet Her at ," reimagined as "Meet Her (Tiësto vs. Da Hool)," which was featured on the Ultra Music Festival 2024 compilation album and performed live during Tiësto's set at the event in . This collaboration highlighted the enduring influence of Da Hool's hits on music, inspiring fresh interpretations across genres. Da Hool's own productions from 2024 onward further demonstrated his active role in the and scenes. He released the single "" on the Filth on label, a high-energy track reflecting his roots in the underground with pulsating lines and driving beats. Additionally, his collaboration with on "The Parade," originally from 2022 and included on Corry's 2023 debut album Another Friday Night, blended elements with Da Hool's signature energy and continues to feature in club rotations as of 2025. Live performances underscored Da Hool's ongoing festival presence throughout 2025. He delivered sets at in , , where he played on the Power Plant Stage, captivating audiences with acid-infused anthems during the July event. Da Hool appeared at Outside World Festival events in 2025, including October 4 at Edelfettwerk in and May 17 at Lokschuppen in , focusing on retro and acid vibes that connected with longtime fans. The legacy of Da Hool's early work continued to inspire remixes in , exemplified by BIIANCO's "Bruv Parade," a 150 hardgroove reimagining of "Meet Her at " released on , which infused the original's acid riff with modern speed and intensity for club play.

Musical style

Genres and production approach

Da Hool's music is primarily associated with electronic dance genres, beginning with in his early career and evolving to encompass , , and . His breakthrough track "Meet Her at ," particularly its Nalin & Kane remix, incorporates elements through the use of the to generate squelching acid bass lines within a primarily framework. Later works, such as remixes and tracks like "" (1997), incorporate and elements with punchy synths and driving rhythms suited to settings. His production approach emphasizes high-energy builds and repetitive structures that create tension and release, drawing from rave culture's emphasis on communal . Da Hool employs club-oriented mixing techniques, layering percussive elements and filtered synths to optimize tracks for large sound systems and extended DJ sets. In the 1990s, his style shifted from the raw, underground sound of to more polished mainstream productions, broadening accessibility while retaining high-impact energy.

Influences and evolution

Da Hool's early musical influences were deeply rooted in the burgeoning electronic scenes of the late 1980s, particularly the raw energy of acid house pioneers such as Phuture and , whose use of the synthesizer shaped the squelching basslines and hypnotic grooves that permeated his initial productions. Growing up in the industrial region of , he was immersed in the local club culture of and surrounding areas, where underground raves and warehouse parties echoed the rebellious spirit of American , fostering a sound that blended gritty percussion with emerging elements. Additionally, Berlin's served as a pivotal inspiration, embodying the mass euphoria of rave culture and influencing his thematic approach to tracks that captured communal celebration and sonic escalation. His style evolved significantly from the raw, underground of the late 1980s, characterized by stark rhythms and acid-infused honed in area raves, to a more polished aesthetic in the . This progression incorporated elements, evident in euphoric builds and melodic hooks that bridged club anthems with broader appeal, reflecting the maturation of from subcultural rebellion to mainstream accessibility. The impact of the 's industrial rave scene persisted, infusing his work with a driving, relentless energy derived from events that drew thousands to abandoned factories and open-air gatherings, emphasizing endurance and collective intensity over fleeting trends. In later years, Da Hool adapted to advancements in digital production tools, leveraging software like and advanced DAWs to refine remixes that updated his classic sound for contemporary dancefloors. This shift allowed for precise layering of synths and effects, enabling collaborations such as his 2022 tech house track "The Parade" with , which fused electro grooves with undertones while maintaining the high-energy ethos of his origins. As of 2025, he continues this evolution with remixes like the 2024 update of "Meet Her at " alongside and Maddix, and tracks such as "Madhouse" (feat. RANI) with and , blending and for modern festival audiences.

Discography

Studio albums

Da Hool's earliest full-length release, issued under his initial alias DJ Hooligan, was the 1995 album 3 Years to Become a Ravermaniac on No Respect Records. Released on February 8, this compilation gathers tracks from his formative years between 1992 and 1995, emphasizing high-energy rave anthems in styles such as trance, hard trance, techno, and acid. The artist's second studio album, Here Comes Da Hool, arrived on November 17, 1997, via Kosmo Records. This 12-track set highlights his rising prominence in the electronic scene, incorporating hard house, techno, electro, and tech house elements, with standout inclusions like the hit single "Meet Her at the Love Parade." In 2008, Da Hool delivered on November 14 through [PIAS] . The 14-track album shifts toward and house productions, featuring club-oriented anthems including the titular , which blends pulsating rhythms and vocal hooks for dancefloor appeal. No additional studio albums have followed , with Da Hool's output since focusing primarily on singles, remixes, and collaborations.

Singles

Da Hool, initially performing as DJ Hooligan, debuted with the single "Rave Nation" in 1994 on EastWest Records, which peaked at number 16 on the charts and spent 18 weeks in the top 100. His breakthrough came in 1997 with "Meet Her at the ," released on Kosmo Records, reaching number 4 in and number 15 in the UK. The following year, "" followed on Kosmo Records, charting at number 21 in and number 35 in the UK. A of his signature track, "Meet Her at 2001," was issued in 2001 on Kosmo Records, peaking at number 11 in the UK. In , Da Hool released "No Love Anymore" on Recordings, marking a shift toward influences without major chart success. More recently, on December 10, 2024, he released "" on Filth on Acid, a high-energy track reflecting his ongoing production in the genre.
TitleRelease YearLabelGER PeakUK Peak
Rave Nation (as DJ Hooligan)1994EastWest16-
Meet Her at the Love Parade1997Kosmo415
1998Kosmo2135
Meet Her at the Love Parade 20012001Kosmo-11
No Love Anymore2011Zouk Recordings--
2024Filth on Acid--

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