Eternity #28

eternity SOUNDS OF THE FUTURE the controversial dance magazine issue no. 28 £1.80 ETERNITY Joey Beltram Arnold Jarvis Darren Jay Hard Times DJ SY Ecstasy... ...is it worth the risk? Testing in conjunction with Central Television... in this issue

Ice T at Thunder & Joy Ice T visited Thunder & Joy at the Raw Club about six months ago and even though suffering from jet lag still stayed most of the night. He thanked the promoters for enabling him to experience the underground Jungle scene and he said he'd definitely be back. On his next trip to London he did just that, dropping into Cafe De Paris. "I'm down with the vibes at Thunder & Joy, I love the energy of the music and the live element of the MC's". PHOTO BY: DEVON eternity 7

JOEY BELTRAM The devoted Techno crowd let out a huge roar, the atmosphere was just right for a night to remember for the rest of my life. As the last record came to a close I prepared my body for the sounds that I knew were about to belt out of the speakers and chase me around the club. This was way back in 1992, when I heard New York's Joey Beltram DJ'ing for the first time at The Orbit in Leeds and my God, he did not disappoint. I'd bought his records from the days of 'Vortex' and I'd even picked up a few before that on the American Nu Groove label. Little did I think that one day I would be interviewing him! We started by talking about his childhood. He was into music even back then, the radio was always on in the house and his dad was a big fan too. Not electronic tracks, more the heavy metal thing. "Apart from listening to the Beatles and all the older classics, my dad was a big fan of Led Zeppelin. All the Zeppelin tracks that he didn't have, I bought. I got into Black Sabbath as well, they were really big around that time in America and all the kids were into their records. Basically if it had a cool album cover, then I bought it!" As Joey got older and started to go to high school, the Hip-Hop and graffiti craze hit America. With a group of friends he used to go up to the Bronx, where loads of all night illegal parties were being organised. He envied the older DJ's who played at these 'jams', the attention that they were getting was just what Joey wanted himself. So, he got into buying records and practised his mixing technique. This was electro and Hip-Hop, but when Chicago House hit New York with records like Master C & J's 'When You Hold Me' and Adonis 'No Way Back', he simply got hooked on this different style. "Instead of risking being shot at, I started going to all the big clubs rather than the illegal parties. I totally got into House, and later the Acid House music. I loved every single track. Tony Humphries was playing all this stuff on the radio in New York and he was playing really progressive for the time, nothing like he's playing now. I was well into it". So this is how Joey Beltram got into what he is known throughout the world for - Techno. Now, 24 years old, he got involved in producing around 1988, but nothing was released until 1989 when New York labels like Fourth Floor, Easy Street and Nu Groove signed him up. The releases that came after these, the ones on Belgium's R & S label, were to change Joey's whole life. He had originally phoned up R & S to get promos because he was starting to play a lot of European tracks at the clubs in New York. They eventually began to talk about Joey's releases on Nu Groove, and wound up licensing one of his tracks for their label, 'Let It Ride', which many of you will not have been able to get hold of. "In the end they asked me if I would like to do some exclusive stuff and, because I was hungry for work I obliged. I recorded 'Energy Flash' and 'Mentasm' in New York, but for the other B-side tracks I flew over and used the studio in Belgium". These releases on R & S started off other big things. The 'Vortex' track was the first ever Hardcore track, never before had the kick drum been so heavy. Many people followed and copied this style, labelling it Hardcore. Producers like Lenny Dee have helped take this to its extremes with 'Gabba'. "I'm not into Hardcore at all. I didn't do my early records on R & S to be hard, I just did them to be different and to explore areas that at the time weren't explored. When everyone started jumping on the band wagon I simply abandoned the whole scene. It became uninteresting. A lot of people criticised me for this, saying that I should have stuck to doing this style, but I wanted to go back and explore other areas and other roots. These people just stayed with the same old sound. There are so many completely different ignorant people who only know of me for these early records and have never listened to anything I've done after that. They don't know nothing. Apart from inventing Hardcore, I've had no other involvement in it. My goal is to keep doing different things and to keep experimenting with sounds and rhythms. eternity 19

This is what I've always done and will always do. Sometimes this works, sometimes it doesn't, but at least I feel right and take pride in what I do, instead of jumping on band wagons and selling out". It is obvious to me that Joey is upset about what people have done to his early records. When they originally came out in late 89/90, they were completely original and from his heart. They were pure unsampled and original tracks. He feels thousands of other artists have made these tracks sound cheap and like novelties, by sampling them to death. Joey Beltram's original 'Mentasm' sound is still heard everywhere. But I suppose if this happened to me, I'd just get on with what I really wanted to do. This is what Joey Beltram did. He went back to Nu Groove under the name Code 6, and even dabbled in some hard stuff, but this style didn't work for him because he felt that everyone just wanted 'machine gun' music with a bunch of gimmicky samples. After taking a break from releasing stuff because of this, he came back with the 'Caliber EP' on Warp, some old re-released stuff, Code 6 on Experimental and a few Acid tracks on Syntox. He also did an experimental chill out album recently called Aonox, a style he has never done before, but one that worked very well. Now he is concentrating on his Odyssey 9 tracks that appear on the Visible Record label in San Francisco. There is an Odyssey 9 album due out later this year. Apart from this he has recently produced a Joey Beltram album that is due to come out on one of, if not the best, underground label in Germany. Look out for this one around early Summer, a complete progression of his '94 style. "I class myself as a DJ first and foremost, so basically what I try to do is quite frankly please myself as a consumer when I make tracks. I ask myself, would I buy it? Would I play it as a DJ? And when would I play it? All these questions are important and I learn the answers from playing in clubs. I guess there was a time when people played my stuff at the hardest and heaviest raves, but that period of Joey Beltram has long gone. I think it's safe to say that Joey Beltram is a club dude. My stuff works great in small clubs of under a thousand, like The Orbit, Lost and Club UK, to really get a good vibe going. You see at the big raves people just want to hear machine gun music that they think is Techno, but it's not. The true Techno is Detroit influenced stuff, the funky rhythms and the hi-tec sounds. People don't want to hear this at raves at the moment, even though if you put these people in a club they'd probably like it". Joey can't understand why no-one is throwing any real raves with purist Techno and really trying to get something going. No promoters have got the balls to build something like this up, so it looks like us real Techno lovers are all going to have to make do without raves for the time being. "Raves at the moment are for the kids who like Hardcore, Gabba and fast stuff. They like it all because they want to impress their friends. They think it's cool to be into hard music, because they want their friends to think they are tough. It's like they think that being into hard music makes them more of a man, and that the rhythm stuff with melody is for girls. Think of the kids who are sixteen, at school into hard noise. I guess they must think they are the envy of their friends and this is the mentality of people into this music. But hey, whatever works for them". "I'm not into Hardcore at all. I didn't do my early records on R & S to be hard, I just did them to be different and to explore areas that at the time weren't explored". Joey also maintains that often the DJ's who play hard music are on the same level as the crowd who are at the raves. He says: "They think they are cool, but really they are becoming more of a fad, because the real Techno stuff has been around way before them and will be around way after them". "I really don't think the kids run out and buy this stuff you know. If you look at the sales of that shit, it definitely is not ending up in too many kids bedrooms. It's going nowhere. Now if raves got rid of this garbage and started to play more sensible down to earth real Techno with a rhythm to dance to, then I think a lot of people would like it more than the hard stuff, if they gave it a chance". It's obvious that Joey Beltram is incredibly wound up due to the fact that Techno is not Techno. He's also annoyed that he cannot enjoy playing at rave events any more. He's not blaming the people who go to the events, he's blaming the promoters. "It's up to the promoters to know what they are booking. I've played at some raves and I was the onlt Techno purist on the flyer. At one point the promoter actually came up to me and told me that I was losing the crowd and asked me to play something harder. I felt like saying, 'what the fuck's wrong, you booked me to play what I play. Just because the last record that you know that I did was Mentasm, don't assume that I'm this Hardcore crazy guy'. I play music, not noise. Promoters should know what they are booking instead of just picking up a magazine, looking at a name and booking him because he's popular. They're ripping off the crowd because the crowd aren't getting what they want to hear. It's really the promoters fucking things up, not the DJ's. They're billing these Techno parties and booking machine gun DJ's, they're billing Hardcore parties and booking real Techno DJ's. You can't blame the DJ's or the people because it's all a question of personal taste. It's the promoters, they just want to make a load of money out of the scene. All the money goes in their pockets, the DJ's charge a modest fee and the audience lose money, hoping that they are going to get a night that they are never going to forget. The promoter should at least have the common decency to try and make an effort to please people". Never has one person been so right. It's happened the same with me. Please will promoters listen to what he is saying. Check who the hell you are booking and tell the people the truth about what music they should expect on the night. If it's a Techno night then book people like Joey Beltram, Richie Hawtin, Warlock, Colin Dale and Jeff Mills. If it's a Hardcore night then don't, book DJ's like Clarkee, Brisk, Paul Elstak and Vibes. Get it right for the people and the DJ's. "There are a lot of good promoters out there. Take The Orbit in Leeds for example. It never mis-represents and if you go there then you know you're going to have a good time. Well worth the money". So, if you want a good night and you like what Joey Beltram plays, then check all these clubs for sure. If you're into good music, don't forget the two albums mentioned earlier. All the best for Joey in the future, he deserves it. A last word from the man himself. "Pure Techno has been around since the beginning - it is the beginning. It will always be around because that's what it is, pure. It's pure creativity and is the centre and the foundation for the rest of the scenes that came after it. There are a lot of creative people out there such as Jeff Mills, Luke Slater, Christian Vogel, Damon Wild, Juan Atkins, Steve Stoll, Kenny Larking, the list goes on and it's growing every day. With a force like this man, anything is possible ....." Interview written and conducted by Mark E.G.

DJ Seduction - Photo by: Andrew Southard United Dance Recordings & Impact Records United Dance have been successfully promoting dance events since 1993 and have more recently established their own label - 'United Dance Recordings'. Impact Records, on the other hand, have been releasing quality Hardcore since 1991 and have recently began to promote their own parties. The two organisations have now joined forces and are constantly striving to achieve the best parties with the best music - with this in mind I dropped in for a chat with the brains behind the two; Chris Brown (United Dance) and DJ Seduction (Impact Records). eternity 23

UNITED DANCE RECORDINGS Based in Essex, United Dance Recordings have been in operation for 12 months, and have already proved to be a popular label amongst DJ's and party goers alike. The label's music policy is one of uplifting tracks with plenty of energy, always proving popular with the crowd - but I couldn't help wondering how and why an already established party organisation would want to set up a label as well? "At the time of setting up United Dance Recordings, I felt that there simply wasn't enough uplifting material available to the general public; in addition to this, I've always wanted to release my own material, so what better outlet than my own record label?!". It was at this time that Chris produced his first release, "In Jeopardy", which he gave to Slipmatt on a dub plate, and after receiving a good response from the nations dance floors, along with some helpful hints and tips from Slipmatt himself, United Dance Recordings was born. Chris then approached United Dance resident DJ Slam, who supplied the second track "Hold On, and the label's first release was then complete; going on to sell very well indeed. "It personally gave me a real sense of achievement, actually watching the crowd going crazy to a record that I had put together myself, and even though my tracks play only a small part in the musical content of a United Dance event, I feel as though I have given a little something back to our crowd". After the success of "In Jeopardy / Hold On" Chris followed up with U.D.R.'s second release - "I Need Somebody" and then a third release with DJ Dougal entitled "I'm Gonna Get You", which was to be U.D.R.'s best selling title to date. So U.D.R. is already off to a flying start but I couldn't help noticing the strong use of breakbeats in each release and wondered if this was intentional? "I listen to all types of music but I've always been drawn to the Breakbeat sound - be it drum 'n' bass or the more Techno influenced material. For me Breakbeats have always primarily been the sound of British Hardcore - the UK is famous for it's innovative music scene but I wouldn't like to see any one type of music become over exposed as it will inevitably become stale and people will lose interest" With this in mind perhaps the onslaught of deeper, darker, more Jungle orientated music over the last 18 months has contributed to the resurgance of more uplifting material with people looking for a change in musical direction? "I don't feel that people have become bored with the Jungle sound because it is still thriving and if you examine the content it is a progression of the Breakbeat, but used in a different way which is great. Some of the tracks have as much energy as any Happy Hardcore release, but United Dance as a label must reflect the main music policy as our parties. So, if we were to produce music in this style we would set up another label to cater for it". Musically the UK Hardcore scene has changed considerably over the last few years with the introduction of many new categories now firmly in place (Gabba, bouncy Techno, Ragga, Darkside, Drum 'n' Bass, Happy hardcore etc), this could lead to a great deal of confusion to anyone entering the scene as a newcomer; so I asked Chris which category he would place United Dance Recordings in? "The first term which would spring to mind would be Happy Hardcore, but this was also used as a description 3-4 years ago. So myself, as a producer along with several other DJ's and artists including Dougal, Vibes, Slipmatt, Sy and Seduction to name a few, have all agreed that a new term is needed that will describe anything that is uplifting. The term we all agreed on is '4 Beat' and a logo has been designed that will feature on all of our future releases and forthcoming flyers". So, with the future in mind, what's next for United Dance Recordings into 1995? "Well United Dance Recordings 4 will be out by the time you read this and is a joint project between myself and DJ Sy entitled "12 Inches Of Love" (oo-er!), as well as new material from myself, DJ Pooch, Vibes and Wishdokta to name but a few. In addition to our 12" releases we will be releasing an album that we feel is a true reflection of the scene with all the tracks being hand picked by DJ's Slipmatt, Sy, Seduction, Dougal and Vibes. This will feature previously unreleased material as well as exclusive album remixes of well known anthems". So, definitely a label to keep your eyes on in 1995, we wish United Dance Recordings continued success for the future. So with that in mind United Dance Recordings will definitely be one of the labels to have in your collection this year. Discography 1. DJ Eruption & DJ Slam - "In Jeopardy/Hold On" - U.D.R. 001. 2. DJ Eruption - "I Need Somebody / Rescue" - U.D.R. 002. 3. Eruption & Dougal - "I'm Gonna Get You/Love Is The Power" - U.D.R. 003. 4. Sy & Eruption - "12 Inches Of Love/Thunder" - U.D.R 004. 5. DJ Pooch - U.D.R. 005. • 6. Vibes & Wishdokta - U.D.R. 006. 7. Sy & Eruption - U.D.R. 007. • 8. Eruption - U.D.R. 008. IMPACT RECORDS Owned and run by DJ Seduction; Impact Records have been releasing records since 1991 and have been directly responsible for several Hardcore anthems over the years. Originally signed to F.F.R.R records, Seduction's first major breakthrough was with one of his early tracks "Hardcore Heaven" which was released at the time when 'Happy Hardcore' witnessed it's first explosion. This was then followed up with "C'mon", again doing very well in the sales area. It was at this time that Hardcore began to go back to its underground roots and the major label interest inevitability subsided. Undeterred Seduction knew that there was still a huge following for this type of music, and so decided to set up his own label - Impact, but why the name Impact? eternity 24

"At the time the music I was producing was considered quite hard, I always tried to produce tracks with some weight behind them so that they had an impact; so that was it - Impact!!". As with United Dance Recordings, Impact's music policy is one of uplifting tracks coupled with strong beats and rhythms. "Basically, an Impact track must have a strong musical content and a good effect on the crowd. I have experimented, but I try to stick to one format and work around it... .....This has enabled the label to adopt it's own sound and identity". Impact's first releases were all solo projects except for "DJ's Unite", where DJ Phantasy teamed up with Seduction and the result became a well known ravers anthem for several months and has even been recently sampled. As Seduction began to gain experience as an engineer, the quality and frequency of releases became higher; but things weren't always this way. So, how did he learn to produce music? "Well, before setting up Impact I used to put my releases together at Monroe Studios in London. I would always watch and observe what the engineer was doing and from this I picked up a basic knowledge of how the equipment worked. I then decided to take a crash course in engineering which lasted three days and the rest is history!". But why has Impact been so successful? "Well, the experience I have gained as an engineer obviously helps, but more importantly being a DJ you learn to understand the important elements of each track that really turns the crowd on - I then take these elements and incorporate my own version of them in my own style, be it a bass line, piano or keyboard melody, and fuse them together in a way that it will appeal to the crowd and other DJ's. Being an ex-raver helps too - (I would be the one on the top of the speakers wearing a smiley t-shirt and bandanna dancing all night!). So experiencing a DJ and his music as part of the crowd has been very important in making music and the way I play it too". Well, I can't argue with that one! But I can't help noticing Impact recently has taken on many more outside artists and tracks, I wondered if there was any particular reason for this? "When the same engineer produces a lot of material for one label although the ingredients are different the techniques used are the same, so to avoid sounding too similar I have worked with other producers and DJ's as well as signing many new tracks. This way the label stays fresh and other artists get an outlet for their work and everyone's happy!". Being a successful producer often means being approached for remix work; that is rearranging somebody else's work in your own style. Does Seduction get approached for such work? "Impact keeps me so busy I rarely find time for work on remixes but one project I recently completed was for Moby; after being approached by his manager (apparently he's a fan of mine), I was really flattered having someone who is so well known, wanting me to remix his work". So, obviously, the happy scene is even listened to by the rich and famous! Impact hasn't always put out happy, uplifting music though, there was a time when things went dark.... "I've always preferred the happy style, but there was a time when my music changed; the happy scene died off for a while and darker, more sinister music became popular and I veered towards it and experimented by putting out tracks made in this style on Impact. At this point the whole scene was suffering and there was a definite split in the Hardcore scene with some preferring the dark sound and others sticking with the happy stuff. It didn't take me long to realise that I was actually much better at producing 4 Beat and I enjoyed making this sound much more - things soon got back on track". Things certainly are back on track with Impact, nearly on 40 releases now. But what's next? "Well, both myself and Chris (U.D) have the same ambitions; and that is to put on better parties and produce more quality music. Two heads are better than one, so I think we will achieve our goals". Let's hope they do. The next United Dance party is on Friday 16th June at Stevenage Arts and Leisure Centre, so if you haven't yet been, go and check it out, you won't be disappointed. Chris and DJ Seduction would like to thank all the DJ's, artists, ravers and staff at United Dance and Impact for all their hard work, loyalty and support. We at Eternity wish them the best of luck and continued success into 1995. Interview written and conducted by Brisk! Chris Brown - Photo by: Andrew Southard eternity 25

What is Techno? (By Mark E.G) - part 1 On many occasions I have felt the need to to put pen to paper and write in more depth about the world of Techno. It has been difficult with just my record reviews page available, until now that is. This new page, 'What Is Techno?', is not a regular thing every month, but occasionally when I feel the need, the opportunity will be there for me to write about my own thoughts on the music. This month I'm going to tackle a subject that will no doubt upset many people. You see, over the past year or so, an unacceptable number of people are entering the Techno scene who do not understand either the music or the meaning behind the music. OK, fair enough, it's not their fault, they have not been introduced to the music properly. Instead they go to the big one off events and hear what they are led to believe is Techno. I once heard a DJ at 'The Sanctuary' play the cheesiest ravey crap I'd ever heard, only to be told by most people that it was in fact Techno. I tried to convince them that it most certainly wasn't, but I might as well have been talking to a brick wall. So, it's those sort of people who I want to read this article. The type that think a hard bass drum with pianos that make you rush thrown over the top, is Techno. Actually, I'm going to be a bit on the controversial side here and say to those of you who like bouncy and happy Techno; it's time for you to be told the truth. What you are listening to should not be called Techno. Stick to 'Happy Hardcore' or whatever, but please do not call it Techno. The only thing that your music has in common with SOME Techno tracks is the four four kick drum. The speed of your music is irrelevant. The reason why many people think that Techno has to be fast stems back to the beginning of the Belgium scene around 1989, when the speed of Techno seemed to get faster and faster and many people hooked on to this. Believe it or not Techno had been around in Detroit for about six years before Belgium in some shape or form, and it was nothing to do with speed. Incidentally every track sounded different. This is where we should look for the true meaning of Techno. The innovators like Juan Atkins and Blake Baxter were able to nurture their own uniquely captivating sound. The main idea behind their Techno music was the fact that is was made with technology in mind. To me, technology means 'the study of machines to create new ideas'. This is what Techno was and is about - NEW IDEAS. Their music copied no-one and it sampled no-one. In short, pure innovation and it could not be labelled as conventional music - it was a concept. But like usual, much of the media got it all wrong and told everyone that the music was something that it wasn't. So, can you all see what I'm saying? If ever you label anything Techno, then get it right. Anything that is obviously formulated, sounds incredibly like someone else's track and does not push the music forward with new and exciting ideas, is not Techno. Remember, Techno is a concept and not music as you know it. Therefore, Bouncy Techno is NOT Techno, please don't call it that - it's messing things up for the people whose hearts are into real Techno. Imagine how you would feel if someone came along and turned your music into something that it isn't? "It's time for you to be told the truth!" eternity 27

Thunder & Joy Sunday raving? Something at the time I hadn't accomplished as yet, so when Eternity asked me to go, I willingly took myself off to the Cafe De Paris, 3-4 Coventry Street, London W1 for 'Thunder & Joy'. 10pm start and already a well organised queue, with use of railings, was forming. As I entered, a thorough search took place, be warned I.D is a must for those young lookers, as one pretty face was turned away. Straight away I realised why Thunder is appropriate, B-line thundering at you from underneath the 'wicked venue Cafe De Paris'. An all round balcony with DJ's and MC's the opposite end and two stairways leading down to one dance floor; the Thunder room. DJ Rusher was in action with MC Gee. My first time of hearing both; Rusher, I'm impressed. Although at this time there weren't any ravers around, most were skanking Jungliss style helplessly to his rhythms. Even though I always feel lost on Sundays with nowhere to go after Saturday, I wasn't sure if a Sunday would kick off, and to my pleasure before Rusher's set was finished, the club had started to fill out nicely. Crazylegs took control over the decks pleasing everyone, especially under the DJ box where a few people were emerging. The dancers on the night did their routine, egging on the crowd to get jungling. Crazylegs gave us 'Fire' a braking out tune no matter how many times it's danced to, the crowd warmed up a little. In kicked the lighting system showering the Thunder room arena with awesome visuals which I think most people were focussing in on because I was starting to notice the atmosphere! Plenty of skanking to the tunes going on, but there was no eye to eye smiley contact, just straight lipped, slit eyed ravers. Maybe their loving feeling had all been used up after Saturday night, but true enough all the DJ's and MC's were on top form. Darren Jay, one of my personal faves at the moment and MC Det took over. Lighter, lighter crew, "Where are you?" Come on, you should give the DJ's and MC's respect and show them that they're giving it right. Sadly no communication came from the crowd, it could have been the bar prices that shocked them; £1.80 water, £2 Lucozade, because Darren Jay made me strut my stuff!! eternity 28

Cafe De Paris During his set I noticed a famous visitor to this country amongst the crowd; New Jack City actor and Rapper Ice T. 'Fair Play' the promoter tells me that he attends Thunder & Joy while in London. YES! Jungle massive is reaching out to all nations and backgrounds globally. Next on the decks came SL, his set held a lot of Breakbeat which tonight I thought I'd give a miss. My partner was grinning from ear to ear loving it, braking out wildly, so off I went to check the toilets. The ladies were immaculate, clean, plenty of loo roll, mirrors and dryers. The mens, courtesy of Trevor, 'Ughhh!', sort it out! On returning to the Thunder room Kenny Ken with MC's Moose, Det, Five O and Gee took the last hour through until 4am. A deep, dark set, truly Kenny Ken on form as always. Thunder & Joy gave a line up that was truly thundering Jungle, but a crowd who sadly had no joy. As I was leaving the club a scuffle broke out. "No bad attitudes" is a must to keep the scene alive and kicking. We can't let the followers of the C.J.B win and say "we told you so". Let's all keep the good vibe alive. The promoter of this event thought may be the time given to widely advertise, affected the night. A point to remember for the next Thunder & Joy. To the massive: Show others you're happy and spread the good feeling. Keep safe raving. Thanks to Louise. Shout out: the only one junglet lighter and to Trevor. From me to you The Lady Home Crew. eternity 29 Photography supplied by Devon

2000AD PRODUCTIONS 2000AD PRODUCTIONS PROUDLY PRESENT 2000AD PRODUCTIONS DESIRE 95 MAIN ARENA "Lords of the Underground" - In this room we will have No Barriers, our DJ's will be playing all forms of Intelligent Music in all it's Glory. RANDALL • GROOVERIDER • HYPE • MICKEY FINN DARREN JAY • RAP • ELLIS DEE • SLIPMATT • DJ SS SWIFT & ZINC • MC's - STEVIE-HYPER D • RAGE • FLUX ARENA TWO "Back in Time" - This room is totally dedicated to the early Acid House Days and The Infamous "Summer of Love." If you were unfortunate enough to miss these emotional days of freedom and expression, now is your chance to experience the Unforgetable feelings, vibes and sounds of this era. FABIO • KENNY KEN • MATT MAURICE • DREW WARLOCK • SKIE • PHANTASY 9pm - 7am SATURDAY 29th APRIL 1995 9pm - 7am Advanced tickets are priced at: NON - MEMBERS £16.00 plus booking fee MEMBERS £13.00 no booking fee 'THE SANCTUARY MUSIC ARENA' DENBIGH LEISURE PARK V7 SAXON STREET BLETCHLEY MILTON KEYNES PLUS FOR THE FIRST TIME EVER A LIVE P.A. BY DJ RAP & PROPER TALENT, featuring tracks from the forthcoming album "INTELLIGENCE" INFORMATION LINES: 0181 887 0951 / 0181 887 0598

Record Label Profile BACK 2 BASICS Back-2-Basics are one of Jungle music's premier record labels, and are based in Wednesbury in the West Midlands; not London which may surprise some of you. The Back-2-Basics label was formed in 1993 by a guy called Jason Bell, whose fascination for the music began on his 15th birthday, when he received two Technics turntables from his parents. Back then in the early days, Jason used to mix it up with the sounds of Hip-Hop, Soul and early House until 1988-89 when the Acid House explosion took place and from there he followed the progression into the rave/Jungle scene of the early 1990's. At 18 years of age, Jason decided to attend college and pursue his ambition to become a sound engineer. His first assignment on the sound engineering course was to record a band and assemble a promotional package along with a tape of the recorded track. But Jason decided to take things a little further and actually got the track pressed onto vinyl. The track was a rave orientated tune and was titled 'No Way Down'. Later in 1990 he remixed a track for a group called Congress, who had a track in the top 40 titled '40 Miles Away From Home'. Whilst still continuing the course in 1991, Jason remixed the infamous Egyptian Empire Horn track with fellow DJ and producer Tactics and, as a result, they got themselves signed up to Focus Records in London. Following on from this success, they released their first major track, again on Focus Records and this was titled 'Istanbul'. In 1992 things got even better as Jason successfully completed his sound engineering course and then, together with DJ Tactics, they released another track with the Top Buzz - Mad P sample which became one of the top tunes of 1992. In June 1993 Jason launched his own record label and called it Back-2-Basics, together with the label they opened up the Back-2-Basics shop in Wednesbury, West Midlands, selling the best in up front Jungle, Drum 'n' Bass plus House too! Back-2-Basics were also involved with the smash hit Jungle track Dead Dreds which was signed to Moving Shadow Records, London's premiere Drum 'n' Bass label and sold over 25,000 copies and reached number 60 in the national Gallup charts. In addition, Jason was awarded the Gold Disc by Telstar, for recognised sales of Jungle Mania 2, which incorporated the Dead Dreds track. The track was produced by DJ Ascend and DJ Ultravibe and was co-produced by Jason. Incidentally, the Dead Dreds are being managed by myself for the live P.A's, so any organisation interested in booking them, contact me on 0585 625-157. Following the success of the Dead Dred, Jason was voted one of the best Jungle/Drum 'n' Bass producers of 1994 by the NME magazine. eternity 33

In November 1994, in association with DJ Ascend, Jason launched their sister label Second Movement which has already had several successful releases with more releases coming throughout 1995- so watch out for those! Jason himself has recently produced a track containing a vocal sample from Karen Wheeler of Soul II Soul fame. Jazzy B, founder of Soul II Soul, listened to the track and thought it was excellent, just leaving Jason requiring clearance from Virgin International for the sample before he could release the track. Fortunately, the sample was cleared and the track is due for release on 24th April 1995, and is titled 'Back-2-Life - The Dedication'. The word at the moment is that this track may be a contender for top 40 fame. Watch this space!! So Jason, why did you start up your own record label? "I wasn't happy with releasing material onto other people's record labels because I was always limited in what I could do. I suppose you could say they cramped my style, and by starting up my own label I could produce and release tracks exactly how I wanted to". What sort of music would you say you put on your label, both presently and for the future? "I've always released Drum 'n' Bass/ Hardstep style and I aim to carry on in the same groove for the future, but in addition I love US House music and hope to extend things further in that direction. I also play House and I will be doing my first House set at Pimp in Wolverhampton soon". Being a record label from the Midlands, how were you received by the London Boys? "I have to say we were very well received and supported by everyone concerned, especially the DJ's. After all, some of our material was put out by Moving Shadow, the main Drum 'n' Bass label in London, so for them to work with us shows that us from the North of Watford can tear it up as well". What is your view on the way music has split and been put into individual categories? "It's a shame really, obviously because it causes the crowds to split up, but it's something that has just happened. Maybe it's called progression, I don't know really". Who do you rate as the Drum 'n' Bass producers at the moment? "Well, let's see .... Dillinja, LTJ Bukem, DJ SS, DJ Hype, Rupert from Photek, Doc Scott, Wax Doctor, Alex Reese, Andy C, Liftin Spirits, Roni Size ... er, that's it!!" Why are you sticking just to releasing Drum 'n' Bass tracks? "It's because I feel that I am tailored towards the Drum 'n' Bass sounds, it's like a natural vibe to me and that's it. Other than the House project, I don't intend to do any other styles of music at this moment in time". What are your plans for the future regarding Back-2-Basics? "To continue releasing good music with good production, basically to keep doing what I feel I am best at. Other than that I hope to collaborate with Suburban Base, a label from London, and look at doing a compilation album with them. Also, even though the label has been going since 1993, it's only just started to make the impact that I intended and I would like to stage a Back-2-Basics launch party". Final word from Jason: "I would just like to say big respects to all the DJ's and MC's involved, especially Ned Ryder, also to SRD for distribution, plus all the labels unifying the scene and everyone involved with Back-2-Basics including my family; without their support the label probably would not be here!!". So, there you have it, keep your ears to the ground as this label promises to churn out some tearing vinyl this year as the future looks very good. If any budding Drum 'n' Bass or House producers would like to send demo's, then please do so, to: Back-2-Basics Recording House 39 Upper High Street Wednesbury West Midlands. WS10 7HJ. Or telephone 0121 505 3608, c/o Jason Ball. Forthcoming releases in 1995 include work from DJ Ascend and DJ Ultravibe, Mark Caro-Technical Itch Crew, Ned Ryder and many more. Interview and profile conducted by Magika. Edited by Gary Elliot. Next month I'll take you on a journey with a profile of the Pleasuredome organisation and their new and exciting venue in Skegness. Also coming soon to English shores is Euphoria, Germany's No.1 Techno and Breakbeat organisation at Club Kinetic in Stoke-on-Trent in June 1995. Check flyers for details. Until next month, be good, be safe and be happy. - Magika. Remember you can catch Magika live and direct on 0585 625 157.

REACT Ambient/Jungle™ artcore™ artcore SOUNDMAN & DON LLOYDIE FEAT. ELIZABETH TROY GREATER LOVE (T-POWER RETRO GRADE 'N' MOTION MIX) ALLADIN WE ENTER (DEEP FOREST DUB VIP MIX) DJ KRUST JAZZ NOTE SOUNDS OF LIFE CURRENTS ROGUE UNIT DANCE OF THE SAROOES LITTLE MATT SPARKLING (EXCLUSIVE MIX) OMNI TRIO LIVING FOR THE FUTURE AUSTIN REYNOLDS TRANQUILITY (EXCLUSIVE TECHNARCHY REMIX) JAZZ JUICE JAZZ JUICE DJ CRYSTL SWEET DREAMS DJ PHANTASY ATMOSPHERE (ALEX REECE REMIX) LINK AMENITY (CHAMELEON REMIX) LP/CD/DJ MIX TAPE. AVAILABLE FROM OUR PRICE / VIRGIN / HMV / ANDY'S / TOWER / ALL GOOD REACT STOCKISTS. STREET DATE: 18.4.95.

Amazon at First Base nightclub Wolverhampton - 25th February We came, we saw, we heard; then we believed. At about 9.20pm on Saturday 25th February, Trevor and I entered Amazon at the First Base nightclub, Worcester Street, Wolverhampton. One question was on our minds, "Can Wolverhampton deliver the kind of Jungle which we've become accustomed to, heavy boombastic bass with Junglist massive begging for more". Pentagon Security welcomed us into the club with no problem, present but not pushy and handed us over to Gerald, the promoter, our host for the night. Up the stairs and into a fair sized room, we were greeted with Swift on the decks. With not many people in the club as yet we were able to check out the room and of course the speakers. There was a lowered dance floor in the middle, with plenty of floor space all around it and seats for the weak hearted at the edges. Speaker boxes were situated at all angles giving vibrations and sensations, you know the score!! Swift shook 'em good and we both knew we were in for some heavy b-line tonight. Gerald came and took us to Quest, his first rave club, for an hour and then we returned at about 11.20pm, Amazon had been stormed. Jungle massive from all over, London, Nottingham, Birmingham, Derby and Rugby. No shock though, Brockie's in the house and everybody, and I mean everybody, no weak hearted here, is shocking out to his mean selection of tunes to get us ready for the don, DJ Ron. Ron tore down the place, Amazon begging Ron for more. Hey, hey, hey, MC Det gave us more and more! Unbelievable. I personally hadn't realised MC Det could deliver so much. Definitely MC of the night. Respect due. DJ Ron took Amazon through the Jungle, no corner unturned to let Younghead take us to unlimited shouts of 'selector, selector, selector', from a local Wolverhampton raver, who had a wicked time and tells me Amazon is ruff and rammed most weeks. Come, Junglist massive all over, get yourselves round to Amazon to make it ram every week. Let's keep the good vibe alive. Kool F.M choose the right venue for their Midlands debut. We were promised no warm up DJ's and Kool F.M were true to form. Pure ruff Jungle from start to finish, just right for Wolverhampton's Amazon. Photography supplied by Pee Wee Productions What with two single strobes giving the effect of terra strobes and two multi-coloured laser systems. Pentagon Security were polite but right with a metal detector and search, although a proper queuing system instead of barging would be sorted. A crowd which is black, white and united, Gerald has given us Amazon which is definitely the place to be. £8 Saturdays from 9.30pm-2am (6am would be nice eh Gerald). Respect to all Jungliss massive at Amazon for a safe night. Refreshments are readily available, the toilets are clean and the venue can be easily found in the town centre. For more information call: 0902 711619. I would like to thank Louise and Paul from Eternity. Shouts to Del - cheers for the lift, to all Jungliss massive at the back of the dance floor, all horn crew massive and a big hug to Lindo. From me to you: The Lady Horn Crew. eternity 36

Quest Wolverhampton - 25th February A few of my 'Happy' friends frequent Quest at Wolverhampton, so when I was asked by Eternity to review the club I geared myself to an open mind, being a true Junglet, Booyaka!! The promoter of Quest showed Trevor and I into the club at about 10.30pm. There was no queue to stand in, good, but strange, this emptiness will become apparent in a minute. Quest's own security 'Pentagon' greeted us politely, but not pushy and we went in smoothly. A big smile reached our faces, Quest massive, you certainly make use of the time, 2am finish; It's good to see you dancing from the start with no hanging around and then all DJ's and MC's get their just deserves. We went round to the stage and looked into the massive. YES! Smiles, stomps and an atmosphere that lifted upwards, I had to get amongst it all. Round I went and greeted Quest with a lung full through the horn. "Horn, horn!", they shouted. Bring the noise to Quest they love it. DJ Nexus was on the decks with what I call Happy Jungle and the massive were bouncing right along with Quest's own dancers who I recognised from The Sanctuary, excellent then, even better now. I'm sure you the raver would agree that if a few more lights were shone on the stage area, we all could have appreciated them even more. Looking half way down the room the stage was in darkness, we like to see where all the energy is being produced!! There I found a dance platform, up on it I could see all around, wall hangings were placed so the existing lights changed their shape and colour, wicked! And three, yes three more dance platforms, which sadly a lot of promoters miss out. A split level effect from platforms make a lot of difference. Hey, what's this... Jason Jay brocking out, time to Jungle. My disillusion, strictly happy view of Quest was now apparent. Quest massive strided along and shook the floor, well it felt like they did!! Phew, time for a cool down. The chill out was easily found and had comfy seats, refreshments and importantly a good vibe. Next thing I know Trevor's waving, it's time to meet Gerald again to talk about Quest. Sorry massive to leave you, a Quest goer - Matthew, assures me that Quest raved to the end; apart from when Micky Finn blew the set and five minutes of silence lured. The technicians did their stuff and Micky Finn and the Quest massive got right back to it. Quest all started with a clothes shop with Gerald, the promoter, was working. While he was there he was offered to rent a building, namely Pimp at Picasso's which is your normal run of the mill night club, only one problem. A top room standing empty and silent. Four years ago Quest was born. The first Saturday night open, Quest grew a massive which has carried on through, Gerald says, "You aren't a raver until you've been to Quest". My view to feel a happy vibe and feel no way, smile on Quest. Sorry I can't say much more about the night, we were only at Quest for about an hour and had to leave for Amazon. For information on Quest line-ups for every last Saturday of the month with a £5 coach service throughout the Midlands: 0902 711619. Respect to Gerald and Pentagon Security. To the massive: Keep safe, keep raving, keep safe raving. Shouts to Marie, Murphy and the Hackney massive. From me to you - The Lady Horn Crew. eternity 37

Get your web suite on dude... ...we're going Cyber Surfing! [email protected] Eternity is now on the Internet (e-mail as above). This new monthly column is going to bring you the very latest news on what's going down in cyberspace for Eternity internauts. To get the ball rolling, we're going to give you a brief intro into the much hyped internet and break through the technobabble! The INTERNET, or net for short, is a worldwide network connecting thousands of computers throughout the world, with around 30 million users. There is no central location, or "Internet plc", the only operating companies are those that run gateways connecting to the internet. A GATEWAY is a central computer that links directly into the net (24 hours a day), to which other computers are connected. When electronic mail began there were only a couple of networks connected together, the main one being "ARPANET" (Advanced Research Projects Agency NETwork) of the US Department of Defence, which was built in 1969 to aid the sharing of information between researchers. The net became operational in 1983 with just a couple of Gateways, by 1991 there were 4,000 and the number has grown exponentially since. The main philosophy of the Internet was the fact that information flows without a central point, so a single Gateway can disappear and the net still operates. Given the original source of the Internet (the US Dept of Defence) you can see the appeal... there's no central point to destroy! One unpredicted aspect of this de-centralisation is that it is now impossible to censor the net. Information flows constantly, unfiltered and at incredible speed. Typically the US government are trying to implement Bill 314 to control the content of electronic mail, the "Communications Decency Act of 1995", but this can only take the form of fines for unacceptable e-mail after it has been distributed. You could think of the net as being a giant worldwide road network. Some roads are large with high speed, high capacity links joining major centres such as corporations, universities, governments etc. Others are smaller roads such as companies or individual people at home. Like a road system, if one road is out of action there's always another route and, unfortunately, you have to pay a toll! To connect to the Internet you will need a Car... hang on, this is getting out of hand... I mean a Personal Computer with a Modem (a device that connects your PC to another computer via the telephone). You'll need to connect to the Internet via a service supplier, such as Demon, Cityscape or CompuServe - your Gateway to the Internet. For this you usually pay a monthly fee (around £12) and will be allocated a unique e-mail address. The only other cost involved is the telephone call from your PC to your service supplier's PoP. The PoP, or Point of Presence, is the place where your service supplier has a gateway computer with modem for you to connect to - make sure it's nearby and local call rate! Your e-mail address will be made up of a Mailbox name (you can have as many of these as you want!), unique Node name (max 8 characters) and the service supplier's Gateway name. For example, if your e-mail address was "[email protected]", your e-mail mailbox would be "rave", your node name (you get to chose this) would be "dance" and your service supplier would be "eternity.co.uk". For a list of all major service suppliers, we recommend you pick up a copy of any quality internet magazine at your local newsagent. CompuServe is slightly different as it is a network in its own right, with a gateway connecting to the Internet. So you get a CompuServe number allocated to you (CompuServe's internet gateway address is "compuserve.com"). It can be expensive, and sometimes known as Compu$erve! In the US there are several networks like Compuserve, some of which connect into the Internet and others which operate separately. IBM and Sears (the retail corp) joined forces to create Prodigy in the US, a special home network system which has absolutely nothing to do with Liam Howlett... Once connected to the Internet, you have a wealth of information at your fingertips. For starters, you can e-mail any other user on the Internet, 24 hours a day at the cost of a local phone call. Fellow internauts include 808 State, Moby, Underworld, Black Dog, FSOL, Richie Hawtin, Mixmaster Morris, Yello etc... look out for exclusive internet interviews in the coming months! Using IRC (Internet Relay Chat) you can "chat" live to other users on the internet by joining an IRC Channel, such as #RAVE. A new development allows users with a sound card to actually talk on IRC, which essentially means speaking to anybody on the internet at the cost of a local telephone call! TELNET, on the other hand, allows you to remote connect and operate another computer, anywhere on the internet (providing you have the logon and password, if required). To use IRC you need to Telnet to an IRC server/computer, which will probably be running on your service supplier's system. eternity 43

USENET, also known as Network News, is a collection of Newsgroups on the Internet covering every imaginable subject (we mean it!) and you can Post e-mail messages to your chosen newsgroup and read all other messages there... it's kinda like a global notice board. The list of newsgroups runs into hundreds, examples include alt.rave, alt.music.techno, alt.music.makers.dj and alt.drugs. Some have heavy traffic (updated every couple of minutes) and others are only updated once every week or so, depending on the topic. One of the newer developments on the Internet is the WORLD WIDE WEB (WWW or Web, for short). The WWW was invented by CERN in Switzerland as an easier way of navigating the Internet. It's a Graphical User Interface (GUI) allowing easy navigation of the net by using simple menus and a mouse. To access the WWW you will need software called a Browser, examples include Netscape or Mosaic. When you subscribe via a service supplier, you can usually FTP (File Transfer Protocol) this software free of charge from their computer (to FTP is to download information from another computer to your PC). The WWW is by far the best method of navigating the net, since it includes graphics, sound (you'll need a sound card to hear it though) and full motion video (you can FTP software to view this, and we'd recommend a good graphics card). However, bear in mind that all information (graphics, sound, video etc) has to be downloaded before you can use it. It can take a couple of minutes to download 30 seconds of audio, depending on your modem speed and service supplier, so don't get carried away! Because the Internet is such a massive information resource it can be hard to find what you want. To help you locate the information you're after, you can use ARCHIE. Archie is a server (dedicated computer) that helps you locate files over the internet. It contains information on thousands of computers connected to the net and is a useful reference tool. Another utility for this is called GOPHER, and this will search the internet for the subject you're interested in and provide you with a list of all located reference sources. A BULLETIN BOARD is pretty self explanatory. You don't have to subscribe to an internet service supplier to access a Bulletin Board, you just need a modem and the relevant telephone number. You then dial from your PC to the Bulletin Board PC and log-on. You'll probably have to enter some personal information and set-up your own logon name and password the first time. Check out Black Dog's excellent BBS on 081-983 3472. For those of you already net surfin' and with a Web Browser, we've painstakingly researched a hot-list of interesting sites you'll wanna visit, many with downloadable sound samples and full motion video. Just enter the URL (Uniform Resource Locator) listed for the subject of interest. In the following months we'll be producing a hot-list of e-mail addresses, Usenet groups and IRC channels. Current internauts subscribing to Eternity who have any technical problems can contact us for assistance and we'll download a member of the eternity crew to sort yer out! If you missed Radio 1 FM's recent Interactive Night on 26th March, check out their WWW site for further information on http://www.bbcnc.org.uk/online/radiointeract. Also worth a visit is The Zone at Ministry Of Sound on 13th April, a collaboration of technology and clubbing featuring internet play stations, a THX cinema and loads of other cool stuff. While you're in London you could also check out Cyberia Cafe at 39 Whitfield Street... have a double expresso and get wired! ;-) KEIR feedback ARTIST / WWW URL ADDRESS 808 State: http://www.feedback.com/808/ Aphex Twin: http://www.mit.edu:8001/people/trellos/Aphex.html Autechre: http://www.mit.edu:8001/people/trellos/Autechre.html Beastie Boys: http://www.nando.net/80/gm/BeastieBoys Biosphere: http://www.math.uio.no:80/music/Biosphere/ Bjork Gudmundsdotter: http://xanadu.centrum.is/Bjork/ Black Dog: http://www.mit.edu:8001/people/trellos/BlackDog.html Brian Eno: http://www.acns.nwu.edu/eno-1 Cocteau Twins: http://garnet.berkeley.edu:8080/cocteau.html Eat Static: http://news.xs4all.nl/-chrome/eat.static/ Enigma: http://www.hsr.no/~joarg/Enigma.html Eskimos And Egypt: http://www.warwick.ac.uk/~esvtk/EnEdiscog.html Front 242: http://www.ifi.uio.no/~terjesa/front242/ FSOL: http://www.hyperreal.com/music/artists/fsol/www/ Global Communications: http://http2.brunel.ac.uk:8080/~cs92bbm/global/global.html Information Society: http://phoenix.creighton.edu/~duke/ Janet Jackson: http://www.mit.edu:8001/people/agoyo1/janet.html KLF: http://www.edu.isy.liu.se/~d91johol/KLF/ Kraftwerk: http://www.cs.umu.se/~dvlawn/kraftwerk/ Kylie Minogue: http://www.eia.brad.ac.uk/kylie/ Laurie Anderson: http://www.iuma.com/warner/html/Anderson_Laurie.html Madonna: http://www.iuma.com/warner/html/Madonna.html Mixmaster Morris: http://iuma.southern.com/MMM/ Orbital: http://www.dur.ac.uk/~d3g2w4/orbital.html Ozric Tentacles: http://news.xs4all.nl/-chrome/ozric.tentacles/ Pet Shop Boys: http://www.seas.upenn.edu/~hcheng/psb.html Peter Gabriel: http://www.acns.nwu.edu/gabriel/ Planet Dog: http://news.xs4all.nl/-chrome/planet.dog/discography.html Portishead: http://www.godiscs.co.uk/godiscs/porthead.html Prince: http://www.iuma.com/warner/html/Prince.html PWEI: http://www.elmail.co.uk/music/pwei/pweipage.html R.E.M.: http://www.iuma.com/warner/html/R.E.M..html Rolling Stones: http://www.stones.com/ Senser: http://news.xs4all.nl/-chrome/senser/ Sonic Youth: http://geffen.com/sonic.html System 7: http://www.hyperreal.com/music/artists/system_7/system7.html The Orb: http://www.hyperlink.com/orb The Shamen: http://www.demon.co.uk/drci/shamen/nemeton.html The Smiths: http://www.public.iastate.edu/~krajewsk/ U2: http://www2.ecst.csuchico.edu/~edge/u2.html Vangelis: http://bau2.uibk.ac.at/perki/vangelis.html Yello: http://space.net/yello/ Yellow Magic Orchestra: http://www.wmin.ac.uk/~clemenr/ymo.html LABEL / WWW URL ADDRESS 4AD: http://www.evo.org/eyesore.html American Recordings: http://american.recordings.com/ Beyond Records: http://iuma.southern.com/beyond/ Breakfast Records: http://www.breakfast.com:2500/ China Records: http://www.cityscape.co.uk/users/cs23/ City Of Tribes: http://www.organic.com/Music/City.o.tribes/ Comatonse: http://www2.med.cornell.edu/~terrent/subdir/comatonse.html Creation Records: http://www.elmail.co.uk/music/creation/ EMI Holland: http://www.riv.nl/ Geffen/DGA: http://www.iuma.com/DGC/ Geffen: http://geffen.com/ Go! Discs: http://www.demon.co.uk:80/godiscs/ God Says No!: http://iia.org/~cuddihd/gsn.html Grand Royal: http://www.nando.net:80/music/gm/GrandRoyal Kickin' Records: http://www.elmail.co.uk/music/kickin/ Mammoth Records: http://www.nando.net/mammoth/ MCA: http://www.mca.com/mca_records/ Nettwerk Records: http://www.wimsey.com/nettwerk/ Rising High Records: http://www.demon.co.uk/drci/risinghigh/ Rykodisc: http://www.shore.net/~rykodisc Silent Records: http://www.iuma.com/Silent/ Sin Drome Records: http://kspace.com/KM/music.sys/SinDrome/pages/home.html Sony: http://www.music.sony.com/ Southern Records: http://kafka.southern.com:80/Southern/ Sub Pop: http://www.subpop.com/ Virgin Records: http://www.vmg.co.uk/ Warner Bros: http://www.iuma.com/warner COOL STUFF! / WWW URL ADDRESS AMPAS: http://www.ampas.org/ampas/ Andy Warhol Museum: http://www.warhol.org/warhol/ Aussie Music Online: http://aussiemusic.com.au/ BBC: http://www.bbcnc.org.uk/ Cyberia Cafe, London: http://www.easynet.co.uk/pages/cafe/ Drugs FAQ: http://hyperreal.com/drugs/ Echo New York: http://www.echonyc.com/ E is for Ecstasy: http://www.cityscape.co.uk/users/bt22/ Fractured Mirror: http://www.demon.co.uk/drci/fractured/ Hex Media: http://iuma.southern.com/pipe/ Hyperreal: http://www.hyperreal.com/ Internet Phone: http://www.vocaltec.com/ IUMA: http://www.iuma.com/ MDMA: http://www.ramp.com/music/drugs/mdma/mdma.html Media Maniacs: http://www.crawford.com/media.maniacs/media.html Metaverse: http://metaverse.com/ Next Online: http://www.next.com.au:80/music/ PaddyNet: http://www.paddynet.ie/ Rave FAQ: http://hyperreal.com/raves/ ReliefNet: http://www.reliefnet.org:2805/reliefnet.html State 51: http://www.state51.co.uk/state51 The Ultimate Band List: http://american.recordings.org/wwwofmusic/ubl.html The Web Museum: http://www.enst.fr/~pioch/louvre/ UK-dance: http://www.tecc.co.uk/public/tqm/uk-dance/ Video Positive: http://www.cityscape.co.uk/users/ac54/ Wired Magazine: http://www.wired.com/ Woodstock 2: http://www.well.com/woodstock

DJSY If you have been following Eternity for a while, you will remember an interview with DJ Sy in issue 8. Read on as I catch up with him to find out what he's been doing for the past 2 years.... eternity 70

Sy is now 26, and started DJ'ing when he was 15. He was just a normal club DJ, playing everything back then. There was a lot of Hip-Hop music going which Sy liked playing. A few years later, early House started to be recognised in the UK, which once again Sy really got into playing a lot more in the club he was working in. "I first started off in a wine bar, then I moved into a club. This was in Nottingham, I live in London now. It was just at the time when House music was becoming popular. I used to listen to a lot of the new tracks on the pirate radio stations. I'd also listen to DJ's like Carl Cox. Then I'd get the records and play them at the club I worked at". While Sy was DJ'ing in Nottingham, he didn't really get much recognition until he was heard by Eddie Richards. Eddie was a guest down at the 'Venue Club' and heard Sy play. This was mentioned to Dynamics and Phil rang him and asked if he would like to work for them. This gave Sy the helping hand he needed to boost his career as a DJ. Once with Dynamics he got work outside Nottingham. So, his name and his excellent scratching, which he has become famous for, was being recognised all over the country. Sy's style of music has progressed from the early days, but it still has the rough beats and the rolling bass line of his early taste in music. As Sy puts it, "It is music from the street". The correct name for it now is 4 Beat, that's the name all the Hardcore DJ's are using. The definitive feature of this style of music is the 4 x 4 kick in it. "I'm trying to go a little bit deeper with my music now, it's gone really happy over the past year. This isn't too bad because I like the happy stuff, but I'm getting fed up with the really cheesy tracks. I'm trying to steer clear of that, and get a bit tougher, slightly deeper". In the last interview, we asked Sy if he would play a fluffy set. Well, if you didn't already know, he does. He plays quite uplifting House, and is especially popular up North, in places such as Leeds and Blackpool. Sy really likes House, and would like to play at more venues that cater for House music. It would have been easier to play both House and Hardcore at one venue a few years ago, but now the scene is too segregated, with just one musical taste being catered for each night at most clubs. This limits Sy to the different sets he can play. "Myself, I love Jungle just as much as I like the happy stuff. I do prefer the happy stuff because of the crowd reaction, but if I go out all night DJ'ing everywhere, I would get very bored with one style of music. It would be nice to play different styles at one event". "Myself, I love Jungle just as much as I like the happy stuff". The happy scene has exploded this past year with new clubs opening up everywhere, and old clubs dusting down the cobwebs, and starting off new nights. Sy has noticed the big uplift in the Happy Hardcore scene, and loves playing anywhere in the South West and Wales, and also well known clubs such as Kinetic, Diehard, Vibealite, Leisuredrome, Fusion, Dreamscape, United Dance and many other's across the country. He describes the crowds in this country 'as good as everywhere', but says there's no madder people than in the South West!! He has also played overseas, but much prefers playing in the UK. "The scene in Europe is a bit weird, they are a bit behind the times. In Germany they will have Techno, Jungle and Happy Hardcore at one event, which is a bit like England was a couple of years ago. The Jungle and Happy Hardcore is quite new to them, so they're not really clued up on it". A lot of Sy's spare time is taken up with making music now and is working on some very interesting projects. He has been really busy since about last Spring, and after giving up his day job, he has a lot more time to spend in the studio. Sy has done tracks for all the major Happy Hardcore labels, which have all been released now. He also did something called 'Cheddar One', which is released on 'Quash' Records.

"We called it Cheddar One for a piss take really. But if you listen to the tracks, it's not cheesy at all. We have got about another three releases ready to go". He has also worked with DJ's such as 'Unknown' and 'Temptation', making good quality music. Unknown and Sy met at Fusion last Spring. Unknown invited Sy into the studio and they got on really well. With the help of Temptation, they all worked together making tracks. Sy thinks the music being made at the moment is very good and has got a lot better over the past year. He has much respect for people like Slipmatt, Seduction, and for originality; Ramos. "Yeah, the music has got a lot better. The Jungle has got much calmer now, more of a groove in it, which is what it's about. We make our records at about 160 to 165 bpm, but you always get some idiots playing everything at plus 8". The new project Sy is working on is with Gideon, it's a double album and a triple CD. The content of this is Jungle, Happy Hardcore and House. It is split into three because of obvious narrow minded people. Sy and Gideon go back a long way, Gideon has organised it all and licensed the tracks. He has also done the work for the design of the cover and taken care of the distribution. "We are old friends myself and Gideon. He's doing the triple idea release, one section House, one section Jungle and one of 4 beat. The 4 Beat section has quite a lot of my tracks on it. The Jungle is there for the roughness, and House because there's a lot of stuff not being recognised. You can't fault the production of House, there are some very good tracks out there. I did the mixing and scratching on it, I think it's called 'The Scratch Master'". The album is due to be released in mid April. So, as you can see, DJ Sy has been quite busy since we last spoke to him. At the moment he wants to carry on making/producing records on his new label 'Quash', and also to play a few more House gigs, and of course keep the crowd happy. Sy has a few people he would like to give a shout to, so here goes: Brother Dave, Unknown, Temptation, Original Urban Groove Posse, DJ Seduction's mum (nudge, nudge!!), Chris and his mum (United Dance), Shaun (Diehard), Murray, Dave, Andy, Phil and Lance, Gemma, Maryke, Pippa, Catherine, Vinyl Distribution, Eternity, all the promoters and most of all, you the raver, respect!! My thanks to Sy for this interview. Written and conducted by Killa!

G.E. REAL RECORD REVIEWS This month I've had more records to review than protesters throwing themselves in front of animal live stock trucks. But on a more serious note (for those who say I'm always joking), the afore mentioned subject is one where the media concentrate more on disturbing and fanatic protests scenes rather than encourage active discussion and positive action. This month's page includes some intelligent and Hardstep selection with more upfront material available on the latest mix tape by myself. More Rockers LP - Dub Plate Selection - Volume One On first listening to this 18 track album of original unreleased material, you speedily go through each track then put it to one side which later you might regret. I found myself with nothing better to do but erect record shelves in my studio and listen to some music. Enter More Rockers. You may snub this LP at first listening but it is more appreciated when you take time to absorb the hooking melodies. Subdued drum beats and roots and culture bass lines and vocals which require an extensive appreciation of music in general to perceive the excellence in which this album was put together. 'You're Gonna make Me' track has been previously released and doing well. I hope more are to follow. Urban Shakedown featuring Debo General Disc 1 - Some Justice (Nookie Remix) Burning Passion.. Disc 2 - Some Justice 95 - Arsonist Dub Beats The Urban Shakedown stormer of yesteryear 'Some Justice (One Family) gets two '95' remixes courtesy of Nookie and Urban Shakedown themselves (DJ Aphrodite and Micky Finn). Nookie produces the unabashed mix on the first 12" disc with smiling chords to start with the Amen drum pattern accompanied by a bass line which gives you an option to shock out or chill. Disc 2 contains the ragga chat of 'Some Justice' featuring Debo General with the dub version on the flip just in case you're not keen on the vocals. This tune can be directly compared with the Urban Shakedown mix of 'Fire' reviewed last month. LARGE. Andy C - Cool Down/Roll On - Ram Records Congo's being echoed and played at different pitches gives 'Cool Down' a real in the Jungle, tribal feel. This is somewhat misleading when you hear the 'Cool Down' vocal and a bass play over a breakbeat that sounds a little funny. I'm sure this was deliberately done. You are given the wrong impression again, into believing this is the main core of the tune for it fades away and a champion sound type rhythm dominates from here on. 'Roll On' on the flip starts with horror movie type strings. The arrangement is simple enough to follow where each beat is brought in after a set number of beats and a Jazzy, laid back bass sits nicely on the top of all this. Darren H & Punisher - All Massive Remixes - Headless The two remixes just completely over shadow the original. You often hear a remix which is no better or is on a par with the original. If I do a remix and it doesn't compare to the original, I seriously don't bother. The A-side begins with some seriously dark string and time stretch passes of 'All Massive' vocal. Hardstep breaks come and warm things up, but soon disappear. The left off section soon takes over and you're instantly hooked and end up in a frenzy jumping all over the place. The B-side mix has this effect even more so. The piano intro reminiscent of the original is quite pleasant. Joint Venture - Just A Dream/Don't Ever Stop - Liftin Spirits 'Just A Dream' is another tune with this laid back tribal intro where you're left in suspense as to what happens next. Actually you're left in this state of mind throughout studying the way the beats are played and listening to the different instruments making an occasional appearance. The bass is of a reduced intensity that you almost forget its there. 'Just A Dream' vocal stabs are whispered throughout and add to the spooky, hypnotic, aggitative, still and remarkable way this tune is put together. 'Don't Ever Stop' has a pure sound to it. Saying that, I mean refreshing and original with the overall sound of being very still. Tin breaks used in both tracks as not to dominate the music. One for the mind. Roni Size - All The Crew - It's A Jazz Thing (remix) 'All The Crew' has a piano/musical intro that you'll end up singing throughout the day without realising it. I might add that this intro has a Nookie feel to it, so now you know what I'm basically talking about. Between these mesmerising piano breakdowns is some serious breakbeat edits being played in a way so clever that some of us won't begin to understand it's done. 'It's A Jazz Thing' was a classic and the remix is on par with the original. If you know, then obtain. If you don't, well get to know and pretty soon. B Jam - Gunshot Me'Head/Rukus - No Smokings Records A new label with the first release by Labello Blanco's Smokey and Tobi. The A-side is a typical Smokey Joe catchy bass line and simple breaks but that's only to start with. After the bouncy start the tune just tears up with heavy amen breaks and crashes with occasional gunshot Me'Head vocal stabs with weird sound effects added to it. 'Rukus' has an intro that completely loses you. You're tricked into thinking Ice T type Hip Hop track is about to bust out, but manic 170bpm beats come in to relieve your anxiety along with sub warbling bass line. Trinity - Gansta Gansta has a quaint intro with trumpets and drum machine licks and the odd 'Gansta' vocal stab. The main section is well jump up and the ragga vocals that exists don't have exceedingly loud audible levels, but preferably so. The vocal adds to the riding of the bass line rhythm and if you don't shock out to this one you must be dead or deaf, being tired is no excuse. More ruff beats and bass lines let loose again on the flip side and believe this two tracker is just completely ruff and complete value for money. Why can't other records be like this? Moule & Lucida - City In The Clouds/Aquarium - Code 001 Records A nice long airy intro covers the start. High pitched strings and other sounds that are hard to pick out and define, create a sensation of relief. Just imagine waking up in the morning. It's bright and shining, you look out of the window and all you see is air that is fresh and pastures carefully maintained. The experience when listening to this track is similar to that what I've just described. The beats are hard but you don't loose that feeling of refreshness. 'Aquarium' follows the same suit but, beats are less dominating and the overall sound is more rolling. Sky - Sky - Wanna Say Yeah 'Sky' and 'Wanna Say Yeah' both have a steady pace and jazzy touch to them and refreshingly so. So much stuff out at the moment can get too hard for the head. 'Sky' has the musical element more of us want to hear and not just to be played in our cars, but in the clubs as well. This is not necessarily chill out or intelligent, but it tends towards that with the element of dance to it. 'Wanna Say Yeah' has a bass which contrasts with the chords and instrument hits with complimentry beats which push it into the boundaries of relaxation. Excellent music. Johnny Jungle - Kill A Sound/What's On Ya Mind - Sub Base 'Kill A Sound' is a track that would just do that. The lyrics are quite abrupt and rude so if anybody is coming fresh with you all you will have to do is play this tune to make a next man know your intentions. The main groove is quite simple, but as I've said before these are often the most effective way to build a tune. A bass line hook plays throughout and keeps the tune rollin nicely and this is all that is needed to make this tune absolutely wicked. 'What's On Ya Mind' is all so soothing with serene female vocals of the track title 'What's On You Mind'. Cowboy Ranger - Ganster Don't Joke - Greensleeve Amongst all the good material Greensleeves seems to be bringing out 'Ganster Don't Joke' excels above as far as programming of beats are concerned and having a unique and effective bass line sound and hook to keep you interested throughout the whole of the song. Time stretched voice 'Ganster don't joke, ganster don't laugh' precedes the drum 'n' bass with a rude laugh (also time stretched) just before that wicked bass riff and beat patterns take over. Listening to this tune time and time again doesn't reduce your interest in it. Expect to hear it played out often. Advantage - Seven EP - X-Press Records This 4 track EP follows in the footsteps of theme from Advantage release reviewed previously. (A1) Seven rides on a simple drum and bass rhythm with patterns that don't change dramatically but don't need to anyway. (A2) Avalanche sounds just like one, heavy, tumbling devastating and comes down on you all at once. (B1) Motorway and (B2) The Connection leave you comfortably sitting in your seat to absorb the sounds and harmonies that bring all activities of your mind to an even level. Existing and forthcoming releases worth purchasing. Jungle Massive 3 - Various Artists Best mix album yet in this series. Also available 8 track DJ sampler. Harmony & Extreme remixes - Boo/Watch This - Section 5 Records. Scarface (Goldie remix) - Hand Of The Dead Body - Raw Hip Hop/Jungle Fusion. Red Rose - Hotter - Admiral Bailey - Jungle Pannany - Greensleeve Records. DJ Flash - Pulp Fiction - Urban Gorilla Records. Notorious - Feel Love - PH Division Records. Dist - J Parkes - Pin High Records. Brotherhood Vol1 - Quayside In Between The Lines - Rampage/Were Rollin Formation Records. Roni Size - 1155 - Full Circle Records. Flatliners - remixes - Ram Records. Remarc - RIP - Sub Base. Flyn & Flora - Silk Cut/Dream Of You Independent Dealers Records. Dr Know - Make Me Feel/One Star - Deep Red Records. More free tapes galore of G. Spot (Happy Techno) and G.E.Real (Jungle/Breakbeat) for new subscribers to Eternity Magazine from Scotland, Ireland and Wales (lucky sods). See page 15 for subscription form. All you kids calling me when you're not supposed to be using your parents phone, ask before hand or you don't get shit from me!! Tel: 0850 669593. Teaser talk: If animals weren't meant to be eaten, they wouldn't be made of meat! eternity 78

Fabio's Record Reviews Hidden Rooms/Spice Of Jazz - Sounds Of Life - Certificate 18. Consistency is the key to the building up of respect in the music world. Sounds Of Life/Source Direct are consistent, having a way above average strike rate, this is close to their best. Two totally different sides "Spice Of Jazz" is a sparkling smooth brain teaser, wispy sax, jangling keyboards, rolling bass and a very musical arrangement. "Hidden Rooms" is a frenzied Jah Shaka style workout. A fat man "Amen Break" that has been totally taken apart accompanied by a monstrous bass line and a nervy Techno-esque line works its way into the subconscious. Don't doubt these boys, they're ready for the big time. The Flute/On The Roof - Hidden Agenda - Dub. We are still in the early changes of the year and there are already nominations around for the track of the year. This is one of them. Hidden Agenda from Newcastle have created a near masterpiece. "The Flute" rumbles and quakes for 7 minutes. Chuggin bass, superb live bass clips, whispered vocals all create a jazzy hi tech totally tripped out feel. "On The Roof", is just as good. Wonderfully put together with the now unique hi-tech Jazz feel associated with the likes of Photek, Wax Doctor etc. Get ready for the space aged. Taking Over Me/Lunar Funk Alex Reece & Wax Doctor - Creative Wax. Two of my favourite producers together for the first time in ages and they have created a monster, a superb double sider. "Taking Over Me" is a catchy little ditty, a summer string intro that breaks into a wonderful tongue in cheek Jazz drop and sax break. The whole thing is held in check by a great arrangement. "Lunar Funk" is serious business. A Carl Craig, Dan Curtin, Kenny Larkin style workout, complete with great percussion, strident bass vocal edits et al. Great stuff and what you'd expect from two innovators. Icons - Icon - Basement. With so much well produced stuff around it's getting very difficult to do a top ten. Icon consist of Blame & Justice, two of the scenes unsung heroes. Having a catalogue that goes way back, this is their best for some time. Slow Jazzy intro builds into a rattling Drum 'n' Bass workout. Great arrangement slowly bringing in a lovely summery keyboard line that builds and builds into a shimmering string break. Owing as much to the deep Italian house of Don Carlos/Alex Lee etc and Techno influences than anything else, this is a superb marriage of musical styles that works immaculately. Pulp Fiction - Alex Reece - Metalheads. If you've seen the brilliant Tarantino film this should have been the sound track. A track as cool and unpredictable as it is ultimately danceable. Short vocal edit intro leads into a truly devastating sparse workout with only a drum, bass, percussion and sax edits Alex has created one of the biggest dance floor thrillers in a long time. Like Tarantino, Mr Reece is young and his major talent lies in taking his strengths from watching and learning from the masters of the past and creating something uniquely his own. Check Pulp Fiction coming to a dance floor near you soon.

DARREN JAY Brought up on a council estate in Greenwich, South East London, Darren Jay has established himself as one of the U.K.'s article heavyweight DJ's. Although initially making a name for himself was an uphill struggle, Darren's persistence finally pulled him up to where he belongs. The first piece of pocket money that Darren was ever given never went on no big bag of sweets, he was told that he saved it until he had enough money to buy his first record. As a child he was only ever interested in buying records, so by the age of ten he already had a record collection. Early influences to buy records came from Darren's mother who was never too keen on him watching television all evening, so the only alternative was to play music. This encouraged him to buy his own choice of records rather than have to play his mothers. By the age of fourteen Darren became attracted to Punk and Reggae, which may seem quite weird to us now but back then they were played together. The music pulled in a mixed crowd of punks and dreads. Although he wasn't old enough to get into Punk concerts he used to sneak in with a few of his mates to see bands in pubs who went on to be big, such as The Clash and the Sex Pistols. "I managed to blag my way into playing by telling the guy who ran the club that I had been playing for a couple of years". Back in those days there was a link between Punk and Raggae, and following this Darren ended up getting invited to Reggae parties afterwards. By the age of fifteen Darren had started to go to Reggae and Blues parties. He strongly believes that this was the first time he consciously started listening to dance music. Although the Punk thing seemed to grow out of his musical taste, the Reggae thing stayed which is quite relevant when you listen to the style of music which he plays today. Darren finds it quite ironic that all those years ago he was listening to Reggae and how relevant it now is to today's scene. Around 1987/88 Darren started going out with a friend of his to parties, one of which was at The Tunnel Club in Greenwich where Micky Finn was playing. Darren and Micky never knew each other then, although they shared the same friends. At that time The Tunnel Club was playing out Acid House music with the likes of Todd Terry. Fast Eddie, C C Rogers, Micky Finn and Jarvis (who used to do Biology). eternity 93

Acid Trax records was doing it in those days and this was Darren's first experience of this kind of music. After this he went on to attend every Sunrise, every Back To The Future and all the old Genesis parties. He found it only natural to buy the records which he was hearing at these events, and as most of his friends were DJ's, his next step was to start playing. "There was a party called Asylum which was held at London Polytechnic in Woolwich. I managed to blag my way into playing by telling the guy who ran it that I had been playing for a couple of years. There were about fifteen hundred people there and Micky Finn was playing straight after me. Luckily I played OK and since then I have never looked back. You must remember though, in those days things were different. People really wanted to go and play to people, now there is too much talk about money. Then it was a totally different thing". Darren's inspiration to play came from the likes of Kid Batchelor, Frankie Valentine, Paul Oakenfold and Paul 'Trouble' Anderson. "Paul 'Trouble' Anderson used to always do it for me at all the Sunrise parties. He used to make me hear records in a way that I had never heard them before". In 1991 Darren went out to Teneriffe to DJ for eight months. Although it was good out there, upon his return to the U.K. he felt that he had shot himself in the foot. All the DJ's that were on the same level as himself had moved up the ladder, and when he returned he thought he could do the same, but he virtually had to start again. His luck eventually changed when he started playing for AWOL on a Saturday night at the Paradise Club. Playing side by side with the likes of Micky Finn, Kenny Ken, Randall and Gachet plus other guests, was guaranteed to get him noticed. The Paradise Club had the same atmosphere as the Eclipse in Coventry used to have. People would travel down to the Paradise Club from as far as Manchester and Huddersfield. The place became legendary. Although Darren's style may sound very Jungle orientated, he does not believe in being labelled solely as a Junglist DJ. "I like to play a bit of everything. Right across the board. Sometimes I can go into a place and know exactly what they want. I went to Germany with Hype, MC Stevie Hyper and Lee before Christmas and we played back to back for six hours. In that amount of time we rinsed through every selection of music we had, Jungle, Reggae, Drum & Bass, the more intelligent and more mellow. I am not into messing about with the cross-fader or too much trickery. I just concentrate on keeping the crowd dancing and keeping my style original". Darren believes that there is still a lot of confusion on the streets regarding tunes which go commercial or rather 'cross-over'. "Some people believe that if something gets commercialised then it's no good anymore. People told me that when General Levy got into the charts with 'Incredible' it will be the beginning of the end of Jungle music. This has not proved to be the case at all. Whatever people say, 'Incredible' was a big underground track. I can remember people rushing out trying to get dub plates cut from Music House and trying to buy 7" copies in Reggae shops. But when this record crossed over people were saying that it was a shit record. Yet, a few weeks before hand people were playing it and going mad to it. It's almost like there are double standards out there. If I made a record which was a big track on the underground and it crossed over to a bigger audience and more people liked it, then that's great. This is what this is all about. This is not just about a couple of thousand people hearing your stuff. People get involved with this for the love of the music, and still are, but obviously now it has turned out to be more of a business. DJ's are flying all over the world, and this music is going places. I am not into the people who make music for the record company's so that they can market it, because that is selling out. Those people will just become record companies puppets who are told what to do. Some people are getting samples of people saying things from Raggae tracks, putting the shitiest beats with them and putting them out. This is not what it is about. You can have catchy samples but if the beats are not there then it's no good. This is about people who are listening to bass lines and listening for beats". "You can't just be turning up to play with the same records or not really trying as hard as you used to. You have to be as keen as you ever were because there are millions of people out there waiting to step into your place. This is definitely a twenty four hour full time business for me". eternity 94

Darren has been working with Yomi who runs an independent label called 'Tone Def' for the past three years and has started getting involved doing remixes on tracks. This included putting a few albums together for some big record companies and launching a couple of mix CD's which went out to America and all over Europe. With the music now being played all over the world and DJ's travelling abroad, he has wasted no time in getting involved with the scene overseas. He has played in Paris a couple of times and the last time he was out there was with Micky Finn the crowd were more into Drum & Bass because it was before the Jungle had really started. Last year he went out to Berlin with DJ Hype, Lee and George from Thunder & Joy and he played at the first ever Jungle party there to a crowd of about six hundred people. There was a party out there about two weeks after for two thousand people so he knew that it was a success. "I went out to Toronto twice last year because the scene in Canada is massive. Toronto is like London, its unbelievable that you can drive one hour out of London and you have to watch what you play, and yet I can fly for seven hours on the plane to Toronto and play like I would at Paradise Club. Those people are really up for it out there". This year Darren should be going out to Zurich and Montreal, but the one place he would really love to go to is Australia. Grooverider and Kenny Ken have both been out there and he has heard some good reports about the scene out there. The scene in the U.K. seems very much to be a London thing at the moment and Darren believes that there are a number of reasons for this. "Anyone who says that London isn't happening and that this is not a London thing isn't being honest. Not so long ago I was travelling to play at a lot of events all over the country where people didn't like Jungle and they were asking me to play Happy Hardcore. They were telling me what to play. These people are claiming now that they have always been into Jungle, but really they have got very short memories. When the Acid House scene started it was centred in London, it started up and spread out. Whatever happens in London today seems to happen somewhere else tomorrow. The fact that everything seems to be happening in London is because these people have been into it a lot longer and they have had a headstart. There is also the fact that London is the capital, hence there are a lot more clubs and more things going on. Not to mention the fact that most of the top name DJ's live here. London is definitely on a roll at the moment". Although being based in London is an obvious advantage, Darren explains that as soon as you become a DJ up there with the best of the bunch, there is a lot of baggage that comes with it. "You can't just be turning up to play with the same records or not really trying as hard as you used to. You have to be as keen as you ever were because there are millions of people out there waiting to step into your place. This is definitely a twenty four hour full time business for me". Being a DJ doesn't come without its fair share of embarrassing moments as Darren recalls with a smile. "Once, whilst I was out working in Teneriffe, I was in the middle of a mix and a Spanish guy tried to leap over the decks. Unfortunately, he landed with his foot on the decks and everything went crash!! The majority of the crowd never saw what actually happened because this guy was lying on the floor, so they thought it was something that I had done. Another embarrassing thing that happened to me was when I was playing for Asylum. It was the second time that I played for them and I was in front of fifteen hundred people. I was in the middle of doing a really good mix, and it was going on for quite a long time, people were standing there clapping and just as I went over with the cross-fader I took the wrong record off. That was a classic because people went from clapping to total silence. I couldn't believe it". Now for the future: Darren has got a few projects planned which he would like to be starting on this year. He has put together some ideas for different tracks such as Hip Hop and a Raggae track - something completely different to what he is involved with at the moment. One of his main ambitions is to get a studio together this year and hopefully learn how to work it himself. Although Darren does have a fair idea of how to work a studio, he still intends to go on a course. After all, practice does indeed make a perfectionist. Big up Darren Jay and all the best for the future. Darren would like to say a big hello to : Damon, Micky Finn, Long Youth, all promoters, MC's, DJ's and true friends. Special thanks go to Darren Jay for taking the time out to do the interview and also to Micky Finn and Johny Damage for taking us out to AWOL that evening. Interview written and conducted by DJ Weasel. Tel 0378 259620

Hyperbolic/Pure X at Kings Lynn - 24th February 1995 8.45pm on the 24th February and we set off on the delightly short 12 mile journey to Kings Lynn, Norfolk, home of Hyperbolic. (Quite a refreshing change from the usual 250 mile round trips). To be honest I was on a bit of a downer. All day everything that could go wrong did go wrong, I just hoped the night wasn't heading the same way. We arrived at the club at about 9.20pm and within five minutes we were inside. After checking the DJ times I made my way to arena one to be greeted by DJ Swift dropping 'Diehard'. It was just what I needed, within seconds the old familiar buzz was back and the memories of a crap day slipped quietly away on the wings of a dove. I had seen Swift on a couple of occasions and had been well impressed both times, tonight was no exception. He played a wicked set blending piano Breakbeat and Happy Hardcore with some spot on mixing. In fact my only whinge about the whole night was that he was on so early. Still, someone has to be. Next up was Cybernate who kicked off with some heavy Drum and Bass, but after the exertions of the last 40 minutes it was time to take a breather and explore. The club itself is situated in a speedway stadium, well away from the town centre with loads of parking and no noise restrictions. It's made up of four arenas, with arena one being the largest playing Happy Hardcore and Techno. I twas a long narrow room with dance platforms each end and all the usual lights and back drops in between; including a multi-colour laser set low at one end which gave some quite good effects. Arena two was a fair size and dedicated to Junglists, tonight playing host to Pure X. Unfortunately the promoters were badly let down by the sound system so things didn't get going in there until about one. (Although all credit to them for finding one at such short notice). Arenas three and four played a good selection of Hard House and Trance throughout the night, but struck me more as chill out rooms than actual arenas. Both had plenty of comfortable seating and like the rest of the club were clean, which was good to see. It was also good to see the taps were left on all night, (something that should be made compulsory at all raves). Anyway, back to the music. Slam didn't waste any time in getting the whole places on its feet and in arena two Gachet and SS were doing the business. Hype was due to follow SS but I was told he was playing in West Germany instead. The next hour or so was spent wandering around with a silly smile, (as you do), talking to a few familiar faces and shaking hands with some unfamiliar ones. The atmosphere was 100% and I didn't feel any bad vibes all night, although I did hear of one girl getting her car pinched. (Bastards). My last visit of the night to the Jungle room saw Kenny Ken raise the atmosphere to another level. But then he usually does. (I must admit, although I enjoy Jungle, I find it bleedin' hard to dance to). I only caught about 15 minutes of G E Real before heading back to the main arena to see the PA for the night; Ramos and Supreme and the Sunset Regime - nutters. It was the first time I'd seen them and it definitely wont be the last, the place rocked. They may have been a hard act to follow, but who better to do it than Brisk. Sixty minutes of ass-kickin' mayhem flew by in a whirl of arms and legs, Vicks and glo-sticks. I really rate Brisk and without a doubt (for me) he played the best set of the night. Before long Vibes was playing the last track and once again it was time to head for home. On reflection, there could have been a few more people there, but a good time was had by all and I'll definitely be going back. So, until next time, thanks for havin' us and we'll see you soon. Shout time: Big shouts to Kate and Jaeson (remember me?), Andy P, Elaine and Naiomi, Tim and the Long Sutton crew, and Joe from Bury St. Edmunds. See you around. Goffer. Photography supplied by Rupert Dickson

8PM - 2AM £8 ENTRY SATURDAY 29TH APRIL 1995 GROOVERIDER MICKY FINN DJ SS · PILGRIM · DJ SY DJ KID · NEXUS MC'S - RIBBS · SCARLET · RANGER T QUEST · BROAD ST · WOLVERHAMPTON · INFO & COACHES · 01902 711819 · 716762 · 0831 427033 NEXT QUEST · 27TH MAY 1995 moonshine music PRESENTS MICKEY FINN AND DARREN JAY in... jungle warfare IN THE MIX WITH TWO OF LONDON'S FINEST OVER 100 MINUTES OF CONTINUOUS MUSIC AVAILABLE ON DOUBLE CD AND CASSETTE. OUT ON 24TH APRIL 1995 FROM ALL GOOD RECORD SHOPS. DISTRIBUTED BY RTM moonshine music