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Hans Besselink

Oddiction // Hans Besselink in front of his Eurorack Modular
Oddiction // Hans Besselink in front of his Eurorack Modular


This page is here to give you a little more insight into whom Hans Besselink is, the person behind the Oddiction moniker.

Some folks might think I’m still a new kid on the block and that’s alright. As an introvert I rather prefer operating under the radar, and far away from the spotlight. Just being an eccentric artist in the shadow, creating serious sonic mischief. The truth is; I’ve been a musician and an artist for a long time. Started out with keyboard and synthesizer lessons. at a younger age (the DX7 era). After a little while also guitar/bass lessons. But I always had the urge to explore more and go outside the given proverbial boxes. The first band I played in was as a rhythm guitarist and lead singer in a -drumroll please- metal band, but I really sucked at playing guitar (I still do haha).

Traded my guitar for a bass, much better! Also was doing vocals and different styles in multiple bands. Having ADD means you’re bored easily, so I need to keep myself challenged, interested and entertained. That’s the point when sound design, synths, drum machines, and programming came in. Always been a gearhead with an absolute fetish for pedals and stomp-boxes. The pedal craze surpassed the absurdity of well over a hundred pedals at some point. A GAS intervention was needed!

Still here? Continue below to find out more about Hans Besselink.


Growing up in the post-Punk and New Wave era formed, and left many great musical impressions. Growing up in the ’90s also meant I experienced the whole Grunge and the Rap Superstars wave blowing over from the USA. The original Straight outta Compton CD and Nirvana Bleach vinyl are both still in my collection. Then the crossover between metal and rap became a thing, with BodyCount was another band I really embraced, metal and Hip-Hop usually both ended up on my cassettes and later MiniDiscs. In the Netherlands, we had Osdorp Posse and Nembrionic that combined similar vibes. That era also meant dealing with the losses of people you idolized. I clearly remember how the deaths of Eazy, Tupac, Biggie, and Kurt Cobain impacted me at that time. But also people Like Jeff Ward (NiN), Euronymous(Mayhem), Dwayne Goettel (Skinny Puppy), and Frank Zappa. Because those were all artists that I listened to.

While other kids played Street Fighter or Super Mario, I was up in my room trying to recreate Hip-Hop and other electronic beats in ProTracker on the Commodore Amiga 500. It got better when the Amiga made room for an Atari 1040ST with Cubase.

I kept at it for years, sometimes on the backburner, but creating Hip-Hop beats has always been a thing in and around my Studio. Sold beats, sample packs, and collaborated on various Mixtapes with rappers from the Netherlands, Belgium, and Germany.


A big mouth and obviously some talent got my ass introduced into the Dutch hardcore scene (Gabber). It didn’t take very long to get noticed by one of the scene pioneers. This is when Hans Besselink turned into artist names like Carnivore, Khafra, and Lords of Dominion (together with Rob Fabrie aka Waxweazle). My metal background and wayward thinking made up for the lack of skills at that point. Idea exchanges became collaborations and some of those became releases. A lot of stuff didn’t make the cut for just being too odd.

My true passion has always been dark, odd, and raw stuff. Weird sounds, tons of percussion, repetitive and broken beats. In my own Industrial tracks, there are hardly any melodies. I love weird, chaotic percussion, but odd meters and dance music usually don’t mix so well. Thinking commercially is a thing that I still have to learn today! If I just didn’t love coloring outside the box so much.


In 2011 I sold almost my entire hardware studio, wanted to follow a different path, and needed money to realize that. Parallel to that project, I continued to focus on sound design and creating audio content for music products and DAW software. To help me relax I make weird, Glitch music, Blackgaze, and all kinds of crossovers. Breakcore and  Hip-Hop are still favorite genres to work on, alone or with others.

My sound design developed over the years and I managed to measure myself with a recognizable sound signature Wonderful friendships have been formed around the globe with other sound designers, developers, and artists. My presets can be found in the factory libraries from Unfiltered Audio, Glitchmachines, kiloHearts, Creative Intent, and Rob Papen products, among other things. The list of these fun projects keeps on growing.


In 2018 I started field-recording to add an extra dimension to my sound design. Making your own library with unusual and uncommon sounds is very satisfying to work. I sculpt those sounds into other things like drum kits and -racks, instruments, or complex wavetables.

Also bought more DAWs to work and beta-test in. Currently, I have the latest versions of StudioOne, Nuendo, Ableton Suite, Reason Suite, Reaper, and Wavelab Pro.

In 2021 a new journey started, I started building my very first Eurorack. It started as a 9U–84HP Doepfer case. Meanwhile my system continues to grow and the added Doepfer Monsterbase is nearly completed too. You can read about it on my blog.

2022 had a few curveballs and other surprises for me to deal with. Caused me to rethink a lot of things and shift my focus into different directions. Mental Health can be a difficult beast to wrangle. But thanks to friends, a great network, professional help and music; my creative chaos is returning. Postive changes will continue to push on into 2023 and new exciting stuff will happen.

Feel free to visit my social media and a follow or like of those social media profiles would certainly be greatly appreciated.