Showing posts with label ARDKORE. Show all posts
Showing posts with label ARDKORE. Show all posts

Friday, July 08, 2022

Pause for the Cause: London Rave Adverts 1991-1996 Vol. 1














Luke Owen of Death Is Not The End has just today released a new volume in his compilation series collecting pirate radio ads from the '90s. Here's my blurb for Pause for the Cause: London Rave Adverts 1991-1996 Vol. 1.

 "Back in the early ‘90s, whenever the pirate radio MC announced “a pause for the cause”, I usually pressed pause on my cassette recorder. That’s something I would regret years later, when ad breaks had become cherished mementos of the hardcore rave era. Luckily, back in the day I often left the tape running while I went off to do something else. So a fair number of ad breaks got captured accidentally for my later delectation. Not nearly enough, though. So in recent years I started combing through the immense number of pirate radio sets archived on the internet.  Sometimes the tracklists would note “ad break” or “ads”, helping to narrow the search. But often I’d just stumble on a bunch in the middle of a pirate show preserved on YouTube or an old skool blog.  A few of my original unintended “saves” and latterday “finds” are included in this wonderful collection by audio archaeologist Luke Owen. It’s the latest in his series of compilations of UK pirate radio advertisements, with this volume focusing on the audio equivalent of the rave flyer: MCs breathlessly hyping a club night or upcoming rave, listing the lineup of deejays and MCs, boasting about hi-tech attractions like lasers and projections, mentioning prices and nearest landmarks to the venue, and occasionally promising “clean toilets” and “tight but polite security” (“sensible security” is another variation). Some of these ads are etched into my brain as lividly as the classic hardcore and jungle tunes of that time. (Most rave ads incorporate snippets of current music, of course – big anthems and obscure “mystery tracks” alike).   Names of deejays ring out like mythological figures: who were Shaggy & Breeze, Kieran the Herbalist, Tinrib, Food Junkie?  Putting on my serious hat for a moment, I think these ads are valuable deposits of sociocultural data, capturing the hustling energy of an underground micro-economy in which promoters, deejays and MCs competed for a larger slice of the raving audience.   But mostly, they are hard hits of pure nostalgic pleasure, amusing and thrilling through their blend of period charm, endearing amateurism,  and contagiously manic excitement about rave music’s forward-surge into an unknown future. The best of these ads give me a memory-rush to rival the top tunes and MC routines of the era."    

Here hear -  and buy - Pause for the Cause, which is available digitally and as a limited-edition cassette. 

Death Is Not The End has a regular NTS Radio show and this Sunday Luke will be playing a batch of radio ads not on the new compilation (including a few more of mine). It broadcasts at 8pm GMT on Sunday 10 July, then will be available on the archive via this link sometime early next week.


One of my contributions to Pause for the Cause. 

Here's my Guardian piece from last year on the first two collections of UK pirate radio adverts that Death Is Not The End put out. 

And here's a longer interview I did with Luke about his label and the interest in pirate radio transmissions.

Since then Death Is Not The End has out a collection of a different era of pirate radio - Brooklyn Pirates: Neighbourhoods in the Sky, 2014-2021 - compiled by David Goren, an audio archivist based in Brooklyn. 





Monday, March 04, 2019

extinguished

Went to bed, after watching Leaving Neverland, feeling troubled...

Woke up uneasy, to find out that Keith Flint has died.

Every week there seems to be some new sickening blow (as if the actual news-news wasn't sufficiently distressing).

What a performer, an energy force.



As Andrew Harrison noted in  New Statesman, "the best pop stars are cartoons – instantly recognisable, bright, bold and primary-coloured, and in their simplicity far larger and more thrilling than life."

Keith Flint's commitment to his 2D role gave it an electrifying conviction. 



I always liked to compare the cross-over era Prodigy with The Sweet - pure excitement for its own sake, a perfectly wrought storm of hooks and hysteria.

That analogy doesn't quite work because Howlett and crew were an autonomous unit, rather than puppets - writing and producing their own material, fully in control of the hit factory.

But perhaps another punk-before-punk parallel does fit: Alice Cooper. A band that worked perfectly as pop-with-edge for teenagers, while grown-ups might enjoy them without being able to take it seriously. And yet, and yet... for all the vaudeville aspect, a band that in moments actually conjured - purely through sound and structured frenzy  - a sense of apocalyptic drama and danger.



Another in that lineage would be Adam and the Ants.




Wednesday, January 31, 2018

RIP Tango




Tango interviewed by Droid five years ago and written up for Blog To the Old Skool 
















three years of nuumvolution across three remixes - 91 - 92 - 93








on the ones and twos with Ratty











































Saturday, January 27, 2018

lord of the universe



Acen's "River Deep, Mountain High" *

The second-best version:



The best of the rest










The best version again - i.e. the first video, the one at the top with the amazing female dancers - the "Monolythikmaniak Mix"  - only this time without the annoying hiss and the abrupt too early cut-off



* in the earlier Blissblog post I nominate "Window in the Sky (Kingdom of Light Mix)" as the 300th best hardcore tune of all time (this being an unfinished, indeed barely started project - the #300 tune entry was the only installment of it, I'm ashamed to admit).  Having already planned for "Trip to the Moon" to be #1 (ah, but which mix, which mix, eh?), and "Close Your Eyes" at #150, the circularity would place Acen Razvi at the centre of the Canon, its spine). 

At that point I'm not sure I'd heard the "Monolythikmaniak Mix" - or if I had, it hadn't really registered with me - but if I was to re-embark on that lunatic List, I'd be placing that mix high, much nearer the top. Which would mean that "Window in the Sky" appeared twice. (Not a unique occurrence, actually - three, possibly four, mixes of "Renegade Snares" would have to feature, obviously...  and at least two of "Open Your Mind").  

Somewhat unusually - given rave's general tendency towards the purely sonic, its downgrading of the visual component in pop's audiovisuality - this was a dance track whose glory was opened up for me by that promo video when I came across it a few years ago. (Who knew there were actually a fair number of rave promos made back in the day?) . Above all  it was those astounding dancers....  the chaste frenzy of their movements transmitting and incarnating the sheer ambush of rave -  its "something new under the sun" quality -  just as forcefully as Acen's beats and vamps.