ULTIMATE EURODANCE CONSPIRACY PROJECT (featuring DJ POOLHOUSE), Volume 2: The Power plunges deeper into the secret history of ’90s Eurodance. Picking up where the cult-classic first volume left off—yet also operating as a prequel—DJ Poolhouse revisits the original thesis: Eurodance wasn’t just a genre, it was a project of statecraft.
From the Cold War to the Marshall Plan, from the Office of Radio Research to covert cultural operations like the CIA’s amplification of Doctor Zhivago, this volume uncovers the hidden infrastructures that fused sound with power.
Music as propaganda, sound as weapon, and pop as alchemy form the basis for a Poolhousean deep dive into the long arc of sonic control.
At the same time, The Power traces the musical genealogy of Eurodance itself: the German electronic experiments of the ’70s colliding with Black urban American sounds, the birth of techno and house, and the transatlantic feedback loops that gave rise to a truly global pop marketplace. ULTIMATE EURODANCE CONSPIRACY PROJECT functions as pop documentary and esoteric analysis, as myth and material history, as conspiracy theory and nonstop mixtape—all in one immersive experience. Whether you were with Volume 1 from the beginning or are diving in fresh, Volume 2 stands alone as a startling exploration of how songs and statecraft collide.
written and produced by DJ POOLHOUSE for Splish Klash / BACKKLASH © 2025
THIS IS THE MEGAMIX EDITION! FOR SINGLE TRACK EPISODES, AND VOLUME 1 OF THE EURODANCE CONSPIRACY, PLEASE VISIT:
ULTIMATE EURODANCE CONSPIRACY PROJECT HQ: https://backklash.substack.com/s/ultimate-eurodance-conspiracy-project
ULTIMATE EURODANCE CONSPIRACY PROJECT VOL 1 - begins here
TRANSCRIPT: THE CRYPTOPHONIC CONFESSIONS OF COUNT OTTO VON DIALEKTIK:
this is what the ultimate eurodance conspiracy project is about
I. Ordo Oktolektikos
Picture this: the octolectic. A system of systems, a college of corporations, a chaotic cybernetic organism, which the rulers of the world struggle to control. Within the innermost ranks of this OCTOLECTIC, there exist a tier of those who know and understand its workings, its protocols, its secrets. These are the elite, who take up many names and appearances. They dwell atop all key institutions of law, finance, commerce, and military.
What I am proposing is a world system not unlike that which George Orwell sketched in his selections from The Theory and Practice of Oligarchical Collectivism in 1984. That text, along with its notes on Newspeak, provides incredible esoteric insight into the true nature of statecraft as systems-control. Orwell and Poolhouse are both constructing portraits of the world machine as a hierarchical, occult synarchistic tripartite system, powered not merely through material dialectics, but by a cubik-dialektik—a matrix of control that goes beyond rules and regulations, and works through neuro-linguistic programming, ritual statecraft, and mystical semiotics. Perhaps it is itself a continuation of an ages-long struggle to impose order on chaos.
This requires a form of hidden statecraft beyond the familiar propaganda and population management of empires. It is an occult administration of commerce: agreed-upon notions of time, of weights and measures, of contracts, of circulation routes, of terms and conditions. The deep octolectical class of elite administrators has long been in the process of externalizing itself, of unveiling planetary methodology under the whispered banner of a “New World Order.” The rise of this so-called order is not the invention of a new reality but the codification of one already in motion.
The post–World War II period accelerated this unveiling of what Poolhousean octolectics calls the Synarchy—the hidden regents of the planet. The terms of Yalta, both explicit and implicit, nurtured the Cold War, which functioned less as a struggle of ideological opposition than as a business plan for ensuring global dependence on finance capital and military-industrial markets. Out of this framework emerged the consolidation of commerce, the expansion of American influence, the fracturing and reorganization of nation-states, and the steady convergence of Capitalist, Socialist, Fascist, and Communist modalities into a single hyper-financialized consumer order.
"Pump up the jam, pump it up, while your feet are stomping…”
II. Militarized Music Machines
By the 1980s, the postwar program had led to the expansion of intelligence-linked “public-private” operations, disguised as legitimate business under the aegis of Executive Order 12333. Iran-Contra was a symptom of this — a glimpse behind the curtain — but its implications pointed to far broader covert operations linking state and corporate power.
The West’s Defense-Tech State remained ascendant. Silicon Valley gave it a friendly, goofy face, but the same cartels Eisenhower had warned of in his farewell address were now putting their Geeks on the showroom floor. Computer technology created jobs and manufacturing booms, building chips, sensors, transistors, and tubes for devices that defense contractors would reconfigure into weapons, surveillance tools, and systems requested by the Pentagon, CIA, and NATO. Rapid advances in these technologies became the cornerstone of market expansion for the American foreign policy machine, whose primary business as “world police” was an international program of destabilization and reconstruction in the form of US or NATO-backed intervention..
The same defense-tech infrastructure that produced advanced weapons and trafficked in worldwide criminal operations in the name of national security had also birthed a shadow double on the surface world: the consumer electronics industry. DARPA contracts and RCA laboratories had driven transistor miniaturization for military purposes, and the unintended result was civilian access to compact, affordable machines. The Roland 808 drum machine and the Akai sampler were direct heirs of this defense research. By the late 1980s, these hypnotic devices had become the electric pulse of rave culture across Western Europe and the UK.
Rave and club culture would only continue to grow in the West — a cultural movement indebted not only to consumer electronics but also to emerging internet culture, both of which were technologies downstream of military investment in Silicon Valley.
As the West soared to new commercial heights with their global war machine, the East slowly ground its sickle and hammer to halt. This decline culminated with the collapse of the Berlin Wall: a media spectacle in every sense. The fall of the Wall and USSR were moments powered by breathtaking made-for-TV imagery, powerful narratives about liberation and freedom, which came wrapped up in a NATO-meets MTV culture visage, masquerading as revolution.
By the late ’80s, the First World had become a commercial juggernaut to such an extent that the floor finally gave way on the Soviet variation of octolectical programming. The increasing collaboration between the Soviet commercial-left and the Allied center-left orders gradually led to greater and greater Western market penetration of the Eastern bloc, and finally, to Perestroika.
This culminated with the worldwide media spectacle that was the fall of the Berlin Wall. The U.S. State Department organized a series of concerts along the Wall featuring music industry titans – Roger Waters, David Hasselhoff. The Scorpions’ “Wind of Change” became a sonic emblem of this transformation, amplifying the musical spirit of Western freedom. The Scorpions headlined East German festivals organized by Western diplomats, including the infamous Leipzig 1990 festival on a U.S. military airstrip. Also on the bill, representing the new European style of electronic dance music, was SNAP!
Between 1990 and 1992, the outlines of a One World Culture crystallized: NATO, WHO, UN, WTO, NAFTA — the multinational chorus of global order began to harmonize. The 1992 UN Conference on Environment and Development established the groundwork for so-called sustainable development strategies, to be implemented worldwide through international NGOs. These policies were said to balance economic, social, and environmental concerns, producing healthier, more equitable, and sustainable populations — a planetary policy framework.
On 7 February 1992, the Maastricht Treaty codified the parameters the “European Union,” fully enforced by 1 November 1993. The centuries-long shift from princely states to modern nations was now complete. Europe marched toward a consolidated economic zone: the old dream of Napoleon, of Hitler, of Stalin — a Central European economy — now struggling to be born.
New cultural products were needed to facilitate a cohesive European spirit, and to grease the wheels of commerce for this nascent global marketplace. And at that very moment, Eurodance arrived: the perfect soundtrack to this breathtaking moment of history — and the perfect way to sell it.
"Like 007, I’m on a mission…”
III. Aces and Bases
Why were the Eurodance stars so anonymous? For years I assumed it was because of language — maybe they couldn’t speak English, maybe that’s why they did so little press. But the deeper I looked, the stranger it became. The anonymity wasn’t accidental. It was a veil.
And once you start lifting that veil, the picture gets clearer. These weren’t obscure Europeans avoiding interviews — many of them were Americans. Stranger still, many were G.I.s.
Captain Hollywood had already been visible on West German TV as a breakdancer while still stationed in Frankfurt with the U.S. Army, long before “More and More” broke worldwide. SNAP! went through rappers like interchangeable parts — one serviceman swapped for another. La Bouche’s Melanie Thornton left home to live on a military base with her sister, where she joined up with a pop project staffed by ex-military. Both her rappers — in La Bouche and later in Le Click — were also servicemen. Culture Beat’s Jay Supreme was still in uniform when the group began charting across Europe.
And Haddaway? Doctor Haddaway (Ph.D.) admitted in a paperback interview that he was in the Navy when he came to Germany. That detail has been systematically downplayed, scrubbed from the pop histories. But it’s there.
Then there’s Ace of Base. In the tabloids, they were painted as a “fake far-right band,” due to founding member Uff Ekberg’s past political associations and their Nordic , i daresay hyperborean, aesthetic. And it’s true: with no Black rapper fronting them, their blonde, the ultra-scandanavian image left space for audiences to project a white nationalist fantasy onto them. But the content of their music was the opposite: mystical, new age, drenched in imagery of tarot, the East, and esoteric spirituality. They appeared aligned with the far-right, but in practice, they were pulling that projection toward deradicalization, repositioning even those energies into the broader current of the New World Order. under the ultraviolet glow of our eurodance conspiracy, Ace of Base looks less like a pop band with a scandal and more like the first experiment in managed deradicalization by way of mass culture.
What emerges isn’t the story of plucky artists hustling their way into the charts, but a closed loop of NATO-linked personnel: military G.I.s moonlighting as rappers, cultural operatives shuttling between bases, labels, and state-backed exchange programs. Eurodance was more than a genre. It had all the hallmarks of a state-sponsored cultural operation.
"This is the rhythm of the night, the night, oh yeah…”
IV. This is What The Ultimate Eurodance Conspiracy Project is About
It all began with nostalgia. I was watching the videos, reliving the soundtrack of the ’90s, when the question hit me: Who are these people? I kept asking it over and over. No but really, WHO are these people?
That’s when the cracks started to show. The first revelation came with Captain Hollywood. I realized he wasn’t just a stage name — he was literally a captain, an American G.I. stationed in Frankfurt, already appearing on German television in the 1980s as a cultural ambassador of sorts, introducing breakdancing and Black American culture to a Germany still under the U.S. shadow.
West Germany, after all, was not just an ally but a subject of U.S. influence. Its record industry, its cultural circuits, all tightly entangled with American power. And here was Captain Hollywood, bridging the gap — a soldier and a pop star. Eurodance wasn’t just music. It had the fingerprints of a military project.
The second moment broke my brain completely. While watching the dazzling me music video for SNAP!’s “Rhythm Is a Dancer,” I discovered the whole thing was filmed on not a soundstage, but on a NASA set. Literally at NASA. Like, in Cape Canaveral. The machinery, the rockets, the scaffolding — the icons of the U.S. (Paperclip-sponsored) space program serving as the backdrop to Eurodance’s most iconic hymn.
It wasn’t subtle. It had been right there, hiding in plain sight.
In that flash, I saw the sign. The harmonies, the symbols, the structures all snapped into place. Eurodance revealed itself as something more than just chart fodder — it was a perfectly synthesized global product.
Eurodance had wanted us to not take it seriously. To treat it like a cheap, disposable product. Eurodance did not want you asking too many questions about who those people were.
Because then you might start to wonder why so many of them were American, and why so many of them were GI’s.
The soaring Teutonic synths woven into the booming rhythms of Detroit and Chicago, the black-and-white vocal pairings, the visuals of space, progress, unity: in Eurodance, I see the tantalizing soundtrack of the New World Order: a genre in perfect alignment with the post-1992 objectives of the UN, NATO, and the European Union — racial harmony, multicultural exchange, planetary consciousness.
That revelation was the birth of the ULTIMATE EURODANCE CONSPIRACY PROJECT FEATURING DJ POOLHOUSE. Both testimony and investigation. On the surface, the program is a secret history of eurodance music. Underneath, it’s the story of NATO psyops, military pipelines, and geo-cultural engineering at the dawn of the 1990s.
This project is my attempt to tell that hidden history — data-driven yet mythologically framed, an excavation of how Eurodance functioned as propaganda, as ritual, and as octolectical machinery. The Eurodance Conspiracy does not ask you to fear the “New World Order,” but instead challenges you to recognize how this elusive superstructure has already surrounded us for decades. UEDCP invites the audience to perceive cultural spectacle in new ways: to pierce the veneer of synth melodies and four-on-the-floor rhythms, and to recognize these artifacts as parts of a grander, more intricate choreography of power.
The inner party of the octolectic had one final, essential command: DANCE.
ULTIMATE EURODANCE CONSPIRACY PROJECT VOL. 2: THE POWER
written & produced by DJ POOLHOUSE for Splish Klash / BACKKLASH
Chapters
(0:00) - Prologue: The Cryptophonic Confessions of Count Otto Von Dialektik (c.1593)
(5:04) - Captain Hollywood Project: Impossible - Theme From the Eurodance Conspiracy
(5:33) - Pt. 1: THIS IS WHAT THE ULTIMATE EURODANCE CONSPIRACY PROJECT IS ABOUT
(6:39) - 1a: Ordo Oktolektikos
(11:02) - 1b: Militarized Music Machines
(18:08) - 1c: Aces and Bases
(22:48) - 1d: This is What the Ultimate Eurodance Conspiracy Project is About
(28:10) - Pt. 2: ULTIMIX MODE (Electronic Supersonic Dub)
(29:55) - 2a: The Electronics Music Biz
(32:32) - 2b: The Radio Research Project
(37:55) - 2c: Do You Hear the People Sing
(41:30) - 2d: Even Reds Get the Blues
(44:52) - 2e: Did David Hasselhoff End the Cold War?
(48:52) - INTERLUDE: I DIDN’T CHOOSE THE CONSPIRACY, IT CHOSE ME by ULTIMATE EURODANCE CONSPIRACY PROJECT FEAT. DJ POOLHOUSE + BRUISEFIIST
(52:05) - Pt. 3: THE SECRET PRE-HISTORY OF THE EURODANCE CONSPIRACY
(53: 43) - 3a: The (Alleged) Cold War Roots of the Eurodance Conspiracy
(1:08:39) - Proto-Eurodance Dossier #1: Donna Summer
(1:16:00) - Proto-Eurodance Dossier #2: Kraftwerk
(1:21:14) - Proto-Eurodance Dossier #3: Frank Farian/Boney M
(1:24:35) - Proto-Eurodance Dossier #4: ABBA/Eurovision
(1:24:25) - Proto-Eurodance Dossier #5: Marshall Plan/Marshall Fund & West Germany
(1:31:00) - 3b: Euro by way of Detroit
(1:34:54) - The BodyRock Connection #1: Captain Hollywood
(1:37:09) - The BodyRock Connection #2: DJ Rico Sparx/We Wear the Crown
(1:44:00) - 3c: The West German Pop Crossovers
(2:07:45) - 3d: Eurodance as the Commercial Product of Military History
(2:09:43) - Pt. 4: STATE OF THE EURODANCE CONSPIRACY
(2:11:04) - Voicemail #1: Milli Vanilli
(2:14:33) - Voicemail #2: Planet of Bass
A Message From Commander Poolhouse: Eurodance State of the Union
VOL 2: THE POWER - SERIES MIXTAPE:
Captain Hollywood Project - Impossible (Red Jerry Dub) / Impossible (DJ POOLHOUSE Edit)
The KLF - What Time Is Love (1988 Pure Trance Original)
Kraftwerk - Europe Endless / Trans Europe Express
BG The Prince of Rap - This Beat is Hot (Extended Mix)
Kraftwerk - Computerwelt
SNAP! - The Power (Jungle Fever Mix)
David Hasselhoff - Looking for Freedom
Technotronic - Pump Up the Jam (Hugo Cantarra Mix)
SNAP! - Rhythm is a Dancer (Purple Hazed 12” Mix)
Corona - Rhythm of the Night
Haddaway - What is Love? (DJ Poolhouse Get a Clue to Love / Supersonic Dub)*
- *featuring sample of Electronic Supersonic
Newcleus - Jam On It (Dub)
Kraftwerk - Radioactivity / Radioactivity (Francois Kevorkian Mix)
France Mon Amour - La Marseilles (Techno Mix)
Eiffel65 - Blue (Poolhouse Dub)
DJ Rasputin - Here We Go Again (Johnny Came Marching Home Again)
Genos - Looking for Freedom (Cover)
Luca-Dante Spadafora x David Hasselhoff - Looking for Freedom (Hardtechno Remake)
ULTIMATE EURODANCE CONSPIRACY PROJECT feat. DJ POOLHOUSE & BRUISEFIIST - I DIDN’T CHOOSE THE CONSPIRACY, IT CHOSE ME
- sample: Binary Finary - 1999
Justified Ancients of Mu Mu - Porpoise Song
Lady Gaga - ARTPOP (Dub)
Gigi D’Agostino - Tojours L’Amores (Slowed)
Donna Summer - I Feel Love
Boney M - Rasputin
ABBA - Gimme Gimme Gimme
A Number of Names - Shari Vari (Ectomorph Remix)
Nena - 99 Luftballoons (Special Club Mix)
Newcleus - Computer Age (Push the Button)
Newcleus - Automan x SNAP! - Rhythm is a Dancer (Poolhouse Sees the Sign Edit)
Kraftwerk - The Telephone Call
LaBouche - Be My Lover (Poolhouse State of the Eurodance Dub)
Comic - I Surrender to Your Love
Captain Hollywood Project - More & More / Impossible (Radio Edit)
Playlist series on Spotify
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