因为音乐理念的不合，Alec Empire两年前脱离法兰克福电子基地Mil le Plateaux而只在DHR下发行唱片，但DHR在欧洲和美国都没有大公司为其代理发 行，这种独立制作发行的态度也使其产品相对少见，其后Alec Empire的作品包括 这张重新发行的经典之作“THE DESTROYER”和“SQUEEZE THE TRIGGER"以及多得 他自己都数不清的EP和单曲。
　　以前在电子组合Atari Teenage Riot中，Alec Empire以玩Techno-Punk见长 ，而在这张“THE DESTROYER”里，Alec Empire表现出来的则更多是对Jungle的 执迷。其实Alec对Jungle/Drum&Bass的情有独衷并非一朝一夕的事情，早在90年
　　代初，Jungle在英国初具雏形的时候，Alec Empire就带领ATR实验了自己的Jung le，并自称比英国帮玩得快上40BMP，此话不假，“hard like it's a pose"首先 点题，贯彻了Alec Empire的一贯暴力美学方针，高速分裂的碎拍火花四溅，爆发 出巨大能量的破坏力，间或出入其间的愤怒人声和一贯潜伏的扭曲Guitar Chord 使Breakbeat更加汹涌澎湃。当然典型的Jungle效果出现在乐曲末尾，沉郁的Bas sline左冲右突，压抑着发出无规律的爆裂声。后面的"what are you talking a bout"则从头到尾给听者上了一堂Instrumental Jungle的教学课，工业采样更多 体现在"Down With The shit"上，郁闷的打铁声足以让NIN之流自叹弗如。而对于 执意讨好排行榜的Roni Size等Jungle明星来说，Alec Empire则是不可救药的极 端暴乱分子，听了这张唱片你就不难理解为什么Alec Empire的演唱会会引起德国 的午夜街头暴乱。
Founder of Berlins Digital Hardcore Recordings, Alec Empire created some of the most musically diverse works of the 1990s, recording both as himself and with the trio Atari Teenage Riot. Empire was often identified with (and pigeonholed because of) his ATR productions — lo-fi breakbeats played at the speed of thrash that simultaneously embraced the energy of punk, the uncompromising ferocity of industrial music, and the futurism of techno. On his solo albums, however, Empire ranged through isolationist ambient, electro, breakbeat, hard techno, even twisted lounge music. As such, he gained fans in several fields while recording for the German experimental/electronic label Mille Plateaux. Still, his first American exposure came when the Beastie Boys Grand Royal Records signed Atari Teenage Riot in 1996.
Born on May 2, 1972, in West Berlin, Alec Empire was early influenced by rap and the breakdancing scene. Later he began listening to early punk and played in several bands during the late 80s. By the turn of the decade, Empire became fascinated by the sound of acid and techno, though he detested the drug culture inherent at raves. He began recording EPs for Force Inc — as well as their subsidiary, Mille Plateaux — and formed Atari Teenage Riot in 1992, with Carl Crack and Hanin Elias. A slightly more rock-oriented project, ATR nevertheless focused on the extreme: their political themes and screamed vocals were inspired by punk, but the music concentrated on acid synth and distorted breakbeats. After an Atari Teenage Riot deal with British Phonogram collapsed, Empire used the cash in hand from the Phonogram contract to found Digital Hardcore Recordings in 1994, releasing EPs that year by himself as well as EC8OR, DJ Bleed, and Sonic Subjunkies.
In 1995, Mille Plateax released three Alec Empire albums: the compilation Limited Editions 1990-94; his proper debut album, Generation Star Wars; and Low on Ice (The Iceland Sessions). That same year, Atari Teenage Riot recorded 1995, the first album to be released on Digital Hardcore. After two 1996 LPs, Hypermodern Jazz 2000.5 and Les Etoiles des Filles Mortes, Empire issued his first album for Digital Hardcore, The Destroyer. Soon after, the DHR collective — including ATR and EC8OR — toured the States at the invitation of Grand Royal Records, the label operated by the Beastie Boys. Grand Royal began releasing 7 singles by Empire, ATR, and EC8OR at the end of 1996. Early the following year, many of Empires albums were given U.S. releases by his self-formed Geist Records, and Atari Teenage Riot released their American debut, Burn, Berlin, Burn. The double album Intelligence & Sacrifice appeared in 2002 and was followed by a series of live albums before Futurist appeared in 2006.