Massive #7

MASSIVE massive 7 ONE YEAR ANNIVERSARY ISSUE

sky high skateboards snowboards clothing footwear airwalk droors twist etnies type a vans real gnu stereo blind alien workshop fresh jive dub xlarge swag stussy sky high america established nineteen eighty eight 4649 S. 108TH ST. (HWY 100 & LAYTON AVE) MILWAUKEE, WI. 414.529.8970

massive issue # seven staff: matt mot massive lucas mayville superstar massive brad quadrasonic massive brian junga vibes massive cody fuckin sell out massive massivemagazine One year anniversary issue Also starring: John Sin Massive Layouts: Cody 43D, Matt Mot, Brad QS, John Sin Cover art: Dan Gibbs 'Most'- 913.537.0706 Cover processed by: Pete Superfreak- 414.225.0581 Contributing slaves: anonymous MW-Ravers, voice mail callers, Nick Nice, Doctor B, Speed Demon, Rock Dee, Jsquared Photography: Joe Leprechaun, Massive Posse, Hello Kitty Kid '12 inches' header by: Obione Thanks to: John Sin, Ian at the Globe, The Pukers, Joe Leprechaun Massive, Kate, Pam @ Logic, Reese @ Astralwerks, Victor @ NovaMute, George @ Sky High, Kenny, Reggie, Marty, Al, Brian, Dave, Mike, Keith, Lenny, The Fall Guy Kru, Craig Mack, Todd, Tyler, Mr. Bill(s), Obione, The Plastikman, Doc B, Rock, Lando, Jason @ Annex, Merlin, WMSE posse, Yanu, Nick Nice, Tommie Sunshine, Mark Verbos, JDS, MW-Ravers, Thor-Dawg, Serena @ HGC, Jodi, Noel Shortt Massive, Nicole @ DefJam, Flipside Prod., Formula, Fluid, SPK, Cosmic Baby, DJ303, Matt Adell @ Organico, G-Most, J2, Dubshack Scott, Malcolm @ buttsteak, Stephanie @ Moonshine, Cynethesia, Dory, Dan Torkelson, Satan, anyone at Rustic, DJ Rackme, that one guy... with the hair, Ellen, Zak Massive, Mayville. No thanks to: Pagemaker 5.0, bad journalism, immature 28 year-olds selling E to immature 15 year-olds, acne, the fucker who decided to put our home phone number on the Fantasy Fuckup flyer, laziness due to pot smoking, bureaucratic bullshit, shitty roomates, shitty landlords, deadlines. Dedicated to the memory of Ministry of Truth, Old Fashioned Tribe, Jason (Jae) Gandolf, Ed (Armstrong) Teletske, and better times. Without history, you ain't shit. Issue 8 out between Dec. 15 and Jan. 7- plan accordingly. Subscibe to Massive. Rates: 8 issues- $15; 4 issues- $10; 2 issues- $5; 1 issue- $2.50. Past issues also for sale- Issue #1- $5; #2- $2; #3- $3;issues #4-7are$2.50. Call our voicemail to get a stack sent out to you boonies. Fax- 414.224.7719 Voice- 414.777.EXTC [email protected] E-MAIL [email protected] Massive PO Box 11373 Milwaukee, WI 53211 UPS to: Massive 1910E.Bradford Milwaukee, WI 53211

letters unto Massive Hey! My name is Leigh and I live in Kentucky and recently was turned-on to your zine, I think it is incredible! Any kinda scene or unity in my area is nearly non-existant, it's good to know somewhere there is an effort to keep us all together. I go to parties every weekend. I travel around the east/midwest and occasionally elsewhere. I've never been to Milwaukee, however. I hope to check it out soon. Anyways,- I want to let you know 'Massive' is entertaining to say the least and I'm impressed with you 'guyses' dedication...Keep the vibe alive. Leigh- Louisville Maximum respect, Massive. You have done a lot to promote, develop and lead this midwest scene. 'Nuff respect to all involved. Dubshack was formed to support this midwest scene as well. We are working with Chicago Hardcore Authority Sound System DJ's and MC's. We are also involved in distribution of records from the UK. We're involved with Jungle Ting and CHA fanzine. We've been attending events since E-System's 'Groove Year'. I've seen so many zines and companies come and go and I've watched Massive grow into a publication that truly does strive to represent all views and opinions in the scene. We truly respect the work you're doing @ Massive. ...As a small and slowly growing company, it was Matt's column that motivated us to write. We agree completely with putting back into this scene and helping to make it better. As Matt said, "It's time we start building our underground and support what's true..." Respects, Scott- Dubshack- POBox 8106, Wilmette, IL 60091 Massive- Back in the day it was a group of wild youngsters, you just fuckin' dig it. A good time, no attitude, no bullshit, no nothing. They took care of the children and shit. The music said so much it became a ritual. Sometimes I feel it has faded away. Let's just come together. Let's just dance. Fuck the drugs, LSD and XTC. Don't ever forget what you started for in the first place- the music. The fuckin' music! I remember dancing 'til dawn- powered by a dozen spliffs or so. The music captured me and held me hostage, it still hasn't let me go- 5 years later. It fucked my ears until my mind bursted into orgasm. Mostly when it is silent. I say silence is as loud as you make it. I've done my share of acid, but the trip progresses with every spin of the record, every boom of the bass. I miss San Diego and the scene. I live in Madison now. I barely moved here 3 months ago and have not danced in the environment like I left back here. I have not been to a fuckin' rave since I got here. Help me please. I feel my soul slowly being sucked away helplessly. House music is in my blood and it flows through my body with every beat of my weeping heart. I want to work for your magazine. Hook me up with a way to release all of my inspiration and energy. May Jah bless you. I have guts, 12 inch diction deep in the heart- always looking for the perfect beat. Please practise random acts of kindness. Hurry down to stoned soul picnic. Let's all come together- to bring the scene to anotha level. The party has just begun. Corey Shaw- Madison I recently picked up #4 and it honestly blew me away. I'd never seen a magazine cater to underground dj's like myself. Your magazine is interesting and informative. Now comes the interesting part- I have enclosed my own mix tape you'll review it and enjoy it... I am also the editor of a brand new zine and I feel we should all work together to keep the underground true. I hope some of your staffers will be encouraged to contribute pieces, tapes, and artwork. Peace, DJ Sean Haley -Scribble Magazine 1573 N. Milwaukee, Ste. 504 Chicago, IL 60622 Dear Brian Keigher and Massive: I read your column in World Enlightenment and I'd like to tell you about how I feel about the scene. I just started going to parties- my first was Liquid Groovy. I knew from that start that I would be long with this! I feel it's like nothing I've ever experienced. The music enters my body and just brings everything out. I feel whole and at peace and just can't get enough. I can just feel the positive vibes coming from everyone around me. The only thing I don't get is some of the 'I am the shit' attitudes coming from some of the people! Also, what's up with projection screens showing skits of the Devil and violent cartoons? ...Show more love; how about the Smurfs, Looney Toons, Casper, or Rainbow Brite? Come on now! Here's something I want to share with you: Slacking, slacking, always and forever slacking. Never stopping- just going and going on slacking.. not wanting to get up forever laying around. Only on the weekends do I awake and hear the sound that wakes me up. That sweat breaking sound- the only sound I thank technology for. That tribal beat, the smell of the air, the people around and that lovely sound. At the only place where you know no one but everyone's one. I love to slack and then party- that's my mission until I grow old and gray and wear polyester, pinstiped pants. Tuesday night bridge would be interesting. If anyone out there shares my views, give me a note: Bronwen Meyers (Brownie) 42 Timber Terr. Cary, IL 60013 Well, big up to the crew at MASSIVE! The ORIGINAL MASSIVE! Guys, I told Urb what was on my mind about them ripping off your name for their dirty little purposes. Hopefully they'll print it in their next issue. :) Even though you seem to focus more on the Gabberhaus, and me being a Junglist, I highly respect and admire your work. There is no excuse for Urb to do what they did. David "I get naked at my parties 'cuz it was muddy and went bunk" Prince could have and SHOULD have said something. But fuck 'em. Hardcorps 9D4!! [email protected]

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shit shit your your parents parents never told you. In news across the Atlantic... English Parliment is in the works on a bill called the 'Criminal Justice Bill' or injustice bill as it's detractors call it. The bill outlines in more than one way the illegality of groups of ten or more convening on one place. Though the bill's original purpose was in reaction to rising crime rates in Britain, add-on's to the bill were incorporated due to another illegal act on the rise in England- Raving. Among other things, the bill will empower the police to arrest you and sentence you for simply being on your way to a party and refusing to go home. If you are at a party- even if it is allowed by the property's owner, the police may arrive, destroy the sound system, destroy your car, charge you for the damage they do, arrest, and jail you for three months if you don't leave. If this wasn't enough, the bill, in other parts, goes on to empower the police to invade your home on the grounds of 'suspected terrorist activities' and the paraphenilia associated with such 'acts'- rubber gloves, watches, household chemicals, watches, scales, etc.- making thousands 'criminals' overnight. A large protest of the bill was staged, an account following... "...Yesterday afternoon there was a massive (40.000) protest march and rally against the legislation of the Criminal Justice Bill which is scheduled to go through in the next few weeks... the thousands of people marched through the streets of London, accompanied by the sound systems which promote and support the rave culture in Britain. At around 5pm, when everyone was raving away in Hyde Park, the police started rushing the park on horseback, trying to shut down the rave, whose permit was to end at 4:30. My feeling is that if the police had laid low, the rave would have continued til people got hungry and the pubs opened and folks would have left. But rave music is political here, symbolic in the same way that punk once was. The police were determined to shut it down. But things did not go as planned. When the police charged, the crowds of 4-5000 moved towards them and after hailing bottles and sticks at them, the mounted police moved outside the gates. Along the gates were hundreds of cops in riot gear. Repeatedly they charged the fence, behind which massed hundreds of masked protesters. While missiles were few, folks went on forays into the city and returned bearing paving stones and sticks. When the police charged and tried to batter across the fence, there was a strong hail of bags of sand, bottles and sticks, so they quickly withdrew. Still, the mood was festive, a bicycle powered sound system repeatedly circled and fire eaters and jugglers performed, poets ranted through megaphones and the crowd danced to hardcore techno. When space was reclaimed, it just became part of the dance floor, making the cops assaults increasingly ludicrous. At around 10 pm, word circulated that all the gates had closed and we were all hungry and tired and it felt like a good time to leave. Yet, when we headed for the exits, all the streets were lined with cops in riot gear and the Underground/Metro was closed. Quickly, people broke through the lines across Oxford St. and suddenly store windows were shattering and everyone was running -- fast. 53 Shops had their windows smashed including the Boots and McDonalds, both companies under boycott. When Tottenham Court Road Station was reached, many broke through the lines and entered the transport to go home. The BBC reported that police are looking for a group of anarchist organizers for the riot. Personally I think that it was largely spontaneous, a situation created by the cops, with a crowd sick and tired of being harassed; this week the longstanding road protest in Leytonstone, London will probably end after a slow destruction of homes and communities. The cracks in the system are increasingly evident, and the word political is becoming redefined." [email protected] Though this is across the ocean and well out of our attention, this is something we should all take notice to. If it wasn't for people speaking up for themselves when 'the man' came down on us, those of us who attended 'Grave' would be three hundred dollars poorer... hell, to put this into perspective, we wouldn't be a country if someone didn't say 'fuck this'. Two hundred years later and it seems things haven't changed, just now England is cracking down on it's own. To voice your opinion on this, write to Rt Hon Michael Howard, QC., MP., Home Office, 50 Queen Anne's Gate, London SW1H 9AT and state that you believe sections 56-75 of the Criminal Justice and Public Order Bill are ridiculous and will criminalize thousands for simple lifestyles and activities. Consider including the fact that among those thousands are potential money spending tourists like yourself. Thanks to everyone who unknowingly supplied info for this article.

The Prodigy have collaborated with Pop Will Eat Itself on a single entitled "Their Law" protesting the police break-up of raves. PWEI recently signed to and released their new album, 'dos dedos mis amigos' on Trent Reznor's Nothing label. Perhaps the band responsible for such greats as 'This is the day..' and 'Cure For Sanity' will finally get the recognition they deserve. The new album, though much different than the two above, rocks as well. Also back for cover design and logo's is the delightfully copyable Designers Republic with it's intense font manipulation and product bastardization... not that WE would every copy them.... The 'Psychic Friends Network' has an all-new media barrage of infomercials featuring none other than 'Downtown' Julie Brown in some horrific wash-up pseudo-talkshow where she constantly drawn to some freakazoid guy in a white wig- reminiscent of ol' George or something like a 'Three's Company'esque Santa Claus costume. Scary stuff for scary times. Psychic traveler and acid purveyor Captain Mark Verbos has finally sailed off to Florida to attend the Full Sail School of Recording Arts. Insiders close to the Captain know the real reason for the move- to be closer to 'the man' Tommie Sunshine- fellow psychic provider- who, incedantally, was seen at Big Sexy Bass in his regular array of tight clothing. His Glowingness could not be reached for a sperm count. Goat Man says 'Hi', and hopes to see you all next summer for Rustic 2. He has recently bought a 303 and drum kit and hopes to debut his 57 remixes of the techno classic 'Our Reservation' at next years event. Here's the part where we subliminally slip in the fact that drug abuse and greed will eventually destroy our scene. The most recent issue of Details (the one with Sly Stallone on the cover) features an in-depth story on the rise of L.A. as the rave capitol of the U.S. to it's fall due to 'riots, rip-offs, and the police department' to it's dedicated underground hang on for dear life. The story rings sadly true to the history of other scenes... England, France (this issue's Nick Nice piece), and perhaps Chicago due to recent events er... busts. 'Wake up, it's time to die.' Lucas and Matt of this fine publication recently had an interview printed in the Milwaukee Journal. It reads as follows... "Raving Milwaukee - Two teenagers from Mayville have become the princes of our town's psychadelic rave scene." "2 Teens Having Rave Of A Time - Their Massive magazine chronicles hard-core party scene here." (Milwaukee Journal, pg. D2, 10/19/94) Thor Christensen, Journal Staff Last year, Matt Bonde and Lucas Zimmer were driving tractors, milking cows and dreaming of the day they'd escape the small-town boredom of Mayville, WIs. (population, 4,374). Today, these two self-described "hicks" have become the young princes of Milwaukee's psychedelic rave scene. Bonde and Zimmer, both 19, publish Massive, a fast-growing magazine devoted to rave culture and techno music. They also mastermind huge all-night rave parties and are plotting to launch their own record label. The pair have evolved from rural outcasts into hip rave kingpins so quickly that they still haven't figured out how it all happened. "I'm starting to believe in some sort of slacker rave God whose motto is: 'Do what you want, don't work too hard, and everything will work out,'" said Bonde, known to Massive readers by his nom de plume, Matt Mot Massive. "In Mayville, people couldn't relate to us. But once we moved to Milwaukee, the rave scene suddenly started treating us with respect," he said. Marathon Dancing A rave, for the uninitiated, is a marathon dance party thrown in a warehouse, loft or some other "underground" spot out of earshot of the authorities: In July, Bonde and Zimmer drew 1,100 people to a rave they staged in an old barn near Oconomowoc. "Techno" -- throbbing electronic music akin to a head-on collision between Donna Summer and Pink Floyd -- serves as the soundtrack at raves. After moving to Milwaukee's East Side from Mayville (30 miles south of Fond du Lac), Bonde and Zimmer created Massive with a do-it-yourself ethic they'd learned from reading other fan-run magazines, or "fanzines." "If you know how to use a copy machine, you can start your own magazine," Bonde said. "Our headquarters are at Kinko's at Brady and Farwell." Massive has skyrocketed in circulation, jumping from 500 copies of the first issue in October 1993 to 10,000 copies of the sixth and latest issue (the magazine comes out every 1 1/2 months, give or take a few weeks). While you can pick up copies free of charge in local coffee shops and record stores, Bonde and Zimmer have started eyeing the national market: Each month, they ship stacks of Massive to Atlanta, Washington, D.C., and cities in Germany and Australia with thriving rave scenes. "People have seen copies turn up in Kansas and Louisiana, although we have no idea how they got there," Bonde said. The magazine also gets electronic mail from across the United States and Europe (its E-mail address is [email protected]). "The techno music scene is about to explode all over," Bonde said. "We want to be on the forefront of the scene, reporting on what's going on." Interviews and Reports Massive covers a lot of rave turf, ranging from interviews with local techno artists like Mark Verbos and Mr. Bill to first-person accounts of rave parties in such far-flung locales as Paris and Duluth, Minn. If you're not hip to rave sub-genres like "darkside," "jungle" or "breakbeat," the magazine can clue you in. Pop Will Eat Itself. Closer to 'The Man'.

True to its fanzine roots, Massive brims with inside jokes and off-the-wall stories. "The magazine is basically all about us and the people we know," said Zimmer, a freshman at the University of Wisconsin-Milwaukee and resident hip-hop expert at Massive. "It's a living embodiment of our soul." One thing Zimmer and Bonde don't want Massive to become is a mouthpiece for the drug culture. The two don't deny that nitrous oxide, LSD and Ecstasy are staples at many raves (in fact, the magazine's hot line is "777-EXTC"). But they try to distance the magazine from what Bonde calls "the synthetic high of drugs." "I choose to go drug-free at parties," Bonde wrote in a recent Massive editorial. "The religious experience of intense human interaction serves as the best high -- better than any drug has given me." Zimmer agrees. "There's a spiritual high to getting together with 2,000 people at a rave with everybody dancing," he said. "Massive is about the music, not the drugs." Rave Scene Here Is Known Worldwide Beer, bratwurst and rave? "Milwaukee is the home of America's hardest and perhaps strongest rave scene," writes David Prince in a recent issue of Request, a national music magazine. In a story titled "Milwaukee's Rave New World," the Chicago-based Prince says Milwaukeeans go crazy over hard-edged techno music that reflects "the city's residual punk-rock scene [and] heavy metal sensibilities." He also credits rave gurus Kurt Eckes and Patrick Spencer of Drop Bass Network for putting Brew Town on the map. "Ask your friends about Milwaukee and instinctively they'll offer one word: beer," Prince writes. "But in Europe, Milwaukee's rave scene is accorded major respect." ...obviously we weren't very happy with it. Not only did they misquote us EVERY time, but they made us sound like fruits- in an attempt to glamourize us. If you ever get a call from the Journal for an interview, JUST SAY NO. Also, thanks for the calls on the voicemail saying we sold out and from all the parents who ordered subscriptions for their kids... even after all the articles drug references. Future Sound of London, rather than traveling city to city on tour dates, has devised a plan to perform live from their studios in the UK and send the music and visuals via an ISDN satellite transmitter to each specific event. Also on the band's agenda is a 24 hour Future Sound of London TV channel available free via satellite. Reach out and touch someone. The Aphex Twin, in yet another odd remix hook-up job, has remixed the single "Style" by the Lemonheads. If only he could get a hold of Pantera... ...And, in all the excitement of late in Chicago, the party 'Fantasy Warehouse' failed miserably due to low turnout and the fact that the entire party was a scam... it ended up being on an island- imagine that. In Deee-Lite news... owners of the new 'Dewdrops In the Garden' CD will be surprised that on track 16, it continues in silence for many minutes and then spews forth a few more songs that sound 'mixed'. A very scary discovery, since due to the noise, I thought someone came into the house and started playing the CD again...also, when Deee-Lite came to town I noticed something about Lady Kier- she's really short- not as tall as the promo pictures and videos make her out to be...just thought I'd say that. Another surprising thing about them is that, for the most part, they actually play instruments and keyboards. On-E was often seen playing the bass in addition to spinning in live samples. Lady Kier also sings beautifully. Dead Raccoon. Liquid Love Tribe hot mix tapes, live P.A.'s, straight hustlin' Liquid Love... it just plain spreads better, and it tastes like candy. Kenny "Jammin'" Gino Rustic Tape Available Now! stay tuned for Liquid Love events in december Liquid Love Line: 414°939°0473 SUBTERRANEAN MUSIC BOOKS FASHION Due to the growing demand of the Indiana underground scene, we intend to have the state's best selection of underground techno 12" & CD's!! We also carry: alternative/punk/industrial CD's, vinyl, videos, books, 'zines, hair dye, t-shirts, leather gear, body jewelry and more!! Clothing: Ameba, Lip Service, Man Trap & others 301 W. Washington Blvd. Fort Wayne, IN 46802 Phone/Fax: (219) 424-8417

acid Boy Todd P gnippeop ddot (Massive): Tell us a bit about how you became involved in dance music and when you began DJing? (Acid Boy): I began DJing in the fall of 91...I started Djing at Bermuda's night club. Alot of the music I had to play was what they told me to play...top 40 dance stuff...but I also got to play alot of the new techno trax too. (Massive): Describe yourself as a DJ and the sorts of tracks you like to play? (Acid Boy): I like to play hard trance - trance acid style of things now. I've always been on the harder side of things...I've never played house or anything like that. As far as changing as a DJ, I've learned to understand music and how it's made and waiting for the mix rather than matching the records and just playing them. Anyone can just match beats but you've also got to put the music together so that it doesn't sound all weird. I think I've learned patience over the years...waiting for the tracks that I want to play. (Massive): How did the Milwaukee scene begin and how were you involved in those original parties? (Acid Boy): The first party in Milwaukee was something that Full House had done at Bermuda's when it was closed...it was a 21 and over, drinking thing. Alot of the first parties that were held in warehouses had beer as one of the key points to bring people in. Over and above that, people would go because of the music rather than anything else. Toby Tyler, Mr. Bill and I were Full House productions...along with Drop Bass Network, we helped each other throw parties and find spaces. Basically, every party that went on for the first year or so was a big co-operation of all the promoters. There wasn't any politics or ulterior motives at the time. (Massive): How do you feel the current local underground is representative of parties back then? (Acid Boy): It's changed alot. In many ways not for good reasons. I suppose the only real link it has is the music...and the feeling of kinda doing something wrong and totally enjoying it. It's music that people won't hear anywhere else. Other than that, the parties are different and it's not the same mindset anymore...there isn't the true feeling of unity...totally contrary to what the whole thing was based on. (Massive): As far as the music goes, which labels do you see as releasing the best quality music? (Acid Boy): My favorite labels are the one's from Germany...mostly Frankfurt and some Belgian labels. To name a few would be Harthouse, Important, Eye Q. I like tracks where there's definitely a beat...there's alot going on but it's not full "in your face" either. I like more subtle changes...gentle but still fast. (Massive): What about drug use and it's place in rave culture? (Acid Boy): There's certainly something to say about people experimenting and finding themselves in one way or another. I really feel that the parties nowadays are based upon peoples drug experiences as opposed to the party in general. Originally, parties were thrown and if there were drugs there...fine, let people do what they want to do. Now, the general feeling is that the drugs are running the party...this is where people go to do drugs...not like a secondary influence. It's primary and I don't like it at all. (Massive): What are your goals as a DJ and what are your predictions for the Milwaukee underground scene? (Acid Boy): To keep exploring the music that's out there...I like to play music and play it loud...unite people on the dancefloor...make them forget about there everyday problems. Music and dancing is the way to do that. I think parties have become and will continue to be a formula...a party is good if you have this large of a sound system with these lights and these particular DJs

What I think needs to happen is that more creativity needs to be brought back...in the original parties there was some kind of minor theme...things happened around that theme. Right now...it's, get a space, have a big system and see how long it'll go. If it's gonna have that same thrill and energy...something more creative has to come into it. (Massive): What's your favorite track of all time and why? (Acid Boy): Probably...Hardfloor's "Asperience 1," because it has a harder, driving sound which just builds and builds with little subtle changes going on. I think a close second would be "Substance Abuse" by Fuse. (Massive): Tell us about our best experience as a DJ... (Acid Boy): I would have to say that Drop Bass Network's Genesis...I was the first DJ to go on and hardly anyone was there. But, the system was loud and through my set...more and more people kept getting into it. By the time, I was done there were hundreds of people there. It's the ultimate experience when you're spinning and you look out and there's tons of people getting into it....goin' nuts to the music. I guess that's what it's all about. Be sure to check out the turntable wizdry of da man like da Acid Boy at Sense Productions "Acidic Pyramid" on November 19th in Chicago. Acid Boy Todd P (gnippeop ddot) (Innovative Records, Milwaukee) -Silent Breed...Mental Surgery Rubber (A.F.U.) -Yokota...Panicwaves (Harthouse, Germany) -Dissidenten...Jungle Book Part II (EyeQ, Germany) -Mike Dred...Macrocosm (R & S, Uk) -Union Jack...Cactus (Platipus, Uk) -Acrid Abeyance...The Remix Project (Important, Germany) -Eternal Basement...Kraft (Harthouse, Germany) -Burger Industries...Virtual Elvis (Eat, Germany) -Brainchild...Volume 3 (Eye Q, Germany) -Resistance D...Skyline remixes (Harthouse, Germany) 617 W. Lake St. (Lake & Lyndale, MPLS.) 612.824.7126 Cynesthesia Fashions for Body, Mind and Soul Apparel For All Genders Hats and Bags Local Artist Consignment DJ Mix Tapes Funky Fresh Clothes Rotisserie Chicken

plastikman musik the new album featuring the single and video "plastique". available on novamute compact discs and cassettes. info : [email protected] mutenews mailing list ('subscribe' in message) : [email protected] mail order info : 800.293.3277 NovaMute © 1994 Mute Corporation. Manufactured for and distributed by Tommy Boy Music Inc.

the Plastikman Cometh — the massive ritchie hawtin interview by brad (Massive): Tell us how you got involved in Dance music and how you began DJing? (R. Hawtin): Basically, I got into electronic music in the early 80's through break-dancing stuff, electro, and some new wave stuff from my friends. My dad got me into it by letting me hear some early Kraftwerk records. That basically moved right along to Severed Heads, early New Order...electro-synth stuff and then into chicago house and acid house and at the same time, Detroit techno. It all kinda happened at once. When me and my friends would go to dance in Windsor and Detroit, and hear some of the music we wanted to hear but not all of it...so we went to see if we could rent this old dance club in Windsor on a Sunday night to throw a party...they said "no, but you can DJ on Saturday." I had been playing around in my basement with two old turntables...making tapes for my friends and had been thrown into a situation where I was actually DJing in a club. That all happened in 87. Then, through hanging out in the clubs of Detroit, I came into a job spinning The Shelter in downtown Detroit. Me and this guy named Scott Borden would play anything from Nitzer Ebb to Chicago acid and Detroit techno...that would go on until five in the morning and then we'd head over to a club nearby called The Music Institute where Derrick May and Kevin Saunderson would spin until seven. The next step after getting into DJing, especially being around Derrick and those guys, was to start fooling around in the studio. (Massive): When did you begin experimenting with making music and what was

your first record? (R. Hawtin): In early 89 I was doing some mega-mixes for the radio...four tracks, all heavily edited with some other things over the top. Then, I met my partner John Acquaviva who had a full fledged studio in London, Ontario. Late 1989, we went in the studio together and within the first few weeks all the tracks we did came out as the first plus-eight record States Of Mind - "Elements Of Tone." That was my first in depth approach to music. (Massive): Is that how Plus-Eight began? (R. Hawtin): Yeah...the first record we put out was mine and John's first record together. We needed a name since it was release one...when we Dj'd we used to always play things really fast...at plus-eight since our favorite speed has always been like 130 and most things were recorded at around 122. John mentioned that everyone called him "John Plus-8" and I did the same thing so we called it Plus Eight records. It was a one-off record...no big deal...and that was it. (Massive): And how have things progressed since then? (R. Hawtin): Things are pretty crazy now. After the first record, a friend of mine who used to go down to the clubs and spin with me, Kenny Larkin, said that he'd been working on some tracks. So John and I said, "Well why don't you come down to the studio and we'll fuck around and see what happens?" That was Plus-Eight two. Then we met Dan Bell and said, "Dan, come down and fuck around." That was Plus-Eight three. Then we started getting tapes from guys like Toronto Science and Ron Allen....and a tape from Speedy J who sent us an hour of music and every track was fucking amazing. So...Plus-Eight five! That's how it's continued...we get tapes from people and hang out with people. It's kind of a family...if we get along with someone and like their music, we'll put it out. If we get a tape from someone of good music and don't gel with them personally, we won't put it out. It's like a family and it keeps on growing. (Massive): And what caused you to start the subsidiary labels? (R. Hawtin): Well...Probe was first started because we had a backlog of Plus-Eight stuff and we don't like being in the position where we have a record that we want out now with four releases ahead of it. And, there were some of our artists doing some side projects that they wanted under a different name so we set up Probe. Probe has always been our Plus-Eight artists messing around and doing other stuff...the definition of those labels do cross. Detroit's really into alot of house music and we had a friend who was into it so we set up Definitive...now that's pretty much my partner John's label. He's into alot more housey stuff now. We've worked with some other people like Fred Gianelli who does Telepathic through us. Dan Bell set up Accelerate through us cause he didn't have the cash...so we helped him through his first four releases and now he's doing it by himself. Derrick Carter is doing a label through us now. It's basically people working with people and us helping anyone we can. (Massive): Having worked with so many other artists like Fred Gianelli (PTV) and Pete Namlook (Fax Records), who would you single out as being your favorite collaborator? (R. Hawtin): I can't really say because they're all different. They were all interesting to work with but when it comes down to it, I like to work by myself. I find collaborations are fun once or twice a year. Me and Fred have been talking about doing a full-length Spawn album, which was the name we worked under together. We may do that. I did the thing with LFO and they want me to remix something for them...I don't think we'll work together again because that came off so well that I'd like to leave it at that. Peter and I were really happy with the From Within Ep and we are talking about getting together within the next few months for a follow-up. It seemed to gel with me and Peter... (Massive): How do you like working with a major label like Novamute? (R. Hawtin): Novamute is kind of like a major-independent the way I look at it. They've got the push and the power behind them to get my product out there but still have an independent sensibility. I get pissed at people who are underground for the sake of being underground...no interviews or anything like that. I think you have to balance both...do interviews and then work your hardest to do the best music possible. Your only selling yourself short if you keep yourself as underground as possible. If I'm going to do what I consider very specialized underground dance music and some interviews to help peo- "I'm not putting other scenes down but alot of the kids here were dancing all night to this music before there were any heavy drug influences."

ple understand it, then I haven't done anything wrong. I like to work in the middle ground with Novamute...big label push and a small label mentality. (Massive): What inspired the Plastikman project and will you ever do another Cybersonik record or a Fuse record? (R. Hawtin): There will never be a Cybersonik record again...at least nothing under that name again. There will be a new Fuse album around February. The Plastikman album is basically a Detroit album...based on things I went through and parties I went to in Detroit. There are definitely drug references to the album. There's a certain vibe thats been happening in Detroit over the past year and I find it one of my favorite places to spin. I find that people here really relate to the music. There's pretty much a healthy underground everywhere in the world now...but alot of the music scenes have been based on drugs. In Detroit, alot of the people have been around the music for so long that they have a greater respect and love for the music. I'm not putting other scenes down but alot of the kids here were dancing all night to this music before there were any heavy drug influences. If you strip everything away...all the drugs, hype, fashion...Detroit has a higher percentage of people who are just there for the music. I think they also have alot more knowledge and background...not because they've searched for it but because they've grown up around the music. (Massive): How do you feel about the music coming out of Detroit lately and also what global labels do you see as putting out the best material? (R. Hawtin): I think right now Detroit is kinda quiet...although, the few people who are pushing it are just amazing like Dan Bell, Carl Craig. I'd say that they are the two main guys in Detroit right now. You've got Underground Resistance who have always been really strong but are very quiet right now. Derrick is still there but when he comes around to making some more music it's gonna be amazing. Underneath that, there are a bunch of new labels and kids coming up and I think Detroit will soon be on the upswing. In America, I think Josh Wink and Woody McBride are really good...The Apollo label and Pete Namlook are really good for the ambient stuff...Robert Leiner of The Source from Belgium... (Massive): Where do you see underground dance music heading? (R. Hawtin): I think that the split between house and techno is coming back together. I did a remix of a track called "Do Da Doo." That was the basic Richie Hawtin acid track slowed down with some housey rhythms added. That was basically a statement...I've always loved house music and I've always loved techno...and it sucks if you go to a club and hear all house music or all fucking techno. I get bored out of my skull. Similar with my remix of XPress2. Everybody was saying, "Why the Fuck is Richie doing XPress2?!" The first one or two XPress2 tracks I really liked but didn't play because they were a bit to progressively for me. I've met the guys and they kind of have the same outlook that I do. So...I did it because in the long run, it exposes some people to new music. Some of the techno is slowing down a bit and getting more funky and some of the house is getting harder. (Massive): Can we have some equipment specifications? (R. Hawtin): Eighty percent of my stuff is equipment that everyone else has. A couple things have been modified and a couple things people either don't have or they overlook. My 303's, 808, and 909 have been modified and I have some filter boxes. I've got a few old modular things which are not Roland, not EMU, or any of the typical types...since they were built for me. (Massive): If you could pick one track to single out as the best of all time, which would it be? (R. Hawtin): That's fucking impossible. It's funny because every interview I do, I get asked this question and If you listed them, they're all fucking different.. The Beginning...Derrick May. E2-E4 by Emmanuel Goshing: a fifty-eight minute track from 83 which is fucking amazing. There's this track on a UK label called Evolution and some of the really old guys recorded some early stuff under the name Link...there's this Link track which is an anthem for me and my friends in Detroit. We only play it as the last track of an amazing night...I've played it only three or four times. (Massive): And what does the future hold for Richie Hawtin? (R. Hawtin): The new Plastikman album called "Musik" comes out November Seventh. The new Fuse album, another Plastikman shortly after that, and then X-Mix 3 comes out next month...it's a video compilation mixed by me and John Acquaviva. A bunch of new Plus Eight products...new Plus8 compilation...new Probe compilation...a full album from these guys in Canada called The Legion of Green Men...a new Speedy J album. And...we're starting a thing called Plastik Produkt which people send their name and address in to us and get card memberships, special CD"s only available for the members, special parties, tour info, everything. It's gonna be centralized for the midwest...but for the whole world. Through that we're gonna do mail order for all of our labels...special discounts. Everyone has been cool to me in the midwest and I just want to say thank you to everyone who's attended our parties and for supporting Plus-Eight. for information on PLASTIK PRODUKT write: 17931 Elizabeth Roseville, MI 48066

uncertified bootleg ALIEN LOVE TEN DOLLARS SAN FRANCISCO JON WILLIAMS EXPLORATORY SPACE ALBUQUERQUE DJ ELDON CELESTIAL SOUL DENVER JOHN KESSEN HARMONIC TRANCE MINDRIVE MADISON DIZ CHICAGO MYSTIC BILL KIND PROJECT AND INTRODUCING THE MUSHROOM CLOUD MARK FARINA MUSHROOM JAZZ G MOST HIP HOP ACID JAZZ MILES MAEDA AMBIENT DUB LIGHTS FROM THE SKY DAVID GANDY AND A VERY SPECIAL PRESENTATION BY JEAN MARIA STARWHEELS HEARTBEATS BY THE TRIBE & PEOPLE OF RYTHMN SOUNDS FROM THE MIND DIVISIED AUDIO november 19, 1994 312. 509 5013 SUPPORTED BY LOVE 312 604 1978 414 434 4214 309 757 5323 314 994 1114 612 458 7081 313 730 2202

MASSIVE: TELL US A LITTLE BIT ABOUT CRAIG MACK BEFORE THE SUCCESS OF FLAVA IN YA EAR? CRAIG: WELL I MEAN, YOU KNOW WHAT I'M SAYING- AT THE TIME I WAS MOVING, SHOPPING THE DEMO AROUND I WAS JUST TRYING TO GET HEARD, PAYING DUES,YOU KNOW WHAT I'M SAYING. IT TOOK ME A LONG TIME TO GET WITH PUFFY. YOU KNOW IT WAS LIKE IN THE MORNINGS I WOULD GO TO MY MAN DJ 4-5'S HOUSE AND GET TEN DOLLARS. CATCH A TRAIN, SEE YA KNOW WHAT I'M SAYING CUZ I HAD NO MONEY, YA KNOW WHAT I'M SAYING. CUZ I COULDN'T HOLD A JOB, CUZ THE DAYTIME WAS FILLED WITH ME GOING TO THE CITY EVERYDAY TRYING TO GET A DEAL, YA KNOW WHAT I'M SAYING. SO I WOULD GO TO THE CITY LOOK AT THE BACK OF RECORD COVERS AND STUFF LIKE THAT. GET THE ADDRESS AND GO TO THE RECORD COMPANIES AND FRONT LIKE I KNEW SOMEBODY OR WHATEVER, SO I COULD GET IN THE DOOR, YA KNOW WHAT I'M SAYING. CUZ DOORS WERE CLOSING IN MY FACE, BUT I KEPT TRYING. I KEPT PERSISTANT, YA KNOW WHAT I'M SAYING, KEPT TRYING. NOW WE'RE HERE. I MET WITH PUFFY IN THE BACK OF THIS CLUB CALLED THE MECCA AND HE HEARD ME RHYME, FREESTYLE AND SAID IF YOU CAN DO A JOINT WITH MARY BLIGE, I'LL HOOK YOU UP WITH A RECORD DEAL. SO IT WAS COOL. MASSIVE: WHAT EXACTLY HAPPEND AFTER YOU DID THAT SINGLE FOR SLEEPING BAG RECORDS A FEW YEARS BACK? HOW COME KNOW ONE PICKED YOU UP RIGHT AWAY? CRAIG: WELL I THINK IT WAS BECAUSE KNOWBODY WAS TRYING TO HEAR ME AT THE TIME. WHEN I STARTED TRYING TO SHOP FOR A DEAL, IT SEEMED LIKE YOU HAD TO KNOW SOMEBODY TO BREAK INTO THE BUSINESS, YA KNOW WHAT I'M SAYING. AND ANY TIME ANY NEW GROUPS WERE COMING OUT THEY WERE GROUPS OF SOMEBODY. I WAS CAUGHT UP IN THAT ERA. IT WAS AN ERA IN RAP MUSIC WHERE IT WAS LIKE YO YOU HAD TO BE DOWN WITH SOMEBODY, YA KNOW WHAT I'M SAYING. THEY WEREN'T JUST PICKING UP PEOPLE OFF THE STREET, ESPECIALLY MAJOR LABELS. CUZ THEY DIDN'T KNOW WHAT DIRECTION RAP WAS REALLY HEADING IN. SO THEY ONLY HAD THE GUIDANCE OF OTHER RAPPERS TO GO ON. AND A SOLO ARTIST COMING IN WITH BRAND NEW MUSIC WAS IFFY, YA KNOW WHAT I'M SAYING. SO THEY WEREN'T REALLY TRYING TO SEE ME. THEY WANTED SOMETHING THAT SOUNDED LIKE WHAT WAS GOING ON AT THE TIME. MASSIVE: SO WHAT'S UP WITH THE RECORD CRAIG: THE RELEASE OF THE RECORD IS ON THE TWETIETH OF THIS MONTH (OCTOBER) RIGHT HERE AND ONE OF THE LEAD SINGLE'S OFF THE ALBUM IS CALLED "CAN I GET DOWN" AND IT WILL BE ACCOMPING THE ALBUM'S RELEASE. THAT WILL BE THE VIDEO FOR THE ALBUM. MASSIVE: IS THERE ANY CONCEPT TO THE ALBUM? CRAIG: THE ALBUM IS BASICALLY A FREESTYLE RHYME ALBUM. IT'S FAT, YOU KNOW WHAT I'M SAYING. NOT NECISARILY TALKING ABOUT TOPICS. YOU KNOW, I'M NOT ADDRESSING ANY CERTAIN ISSUES OR TOPICS AND GET ALL NEAT AND EVERYTHING ELSE. IT'S JUST FREESTYLE RHYMES. IT'S ENJOYABLE MUSIC, YOU KNOW WHAT I'M SAYING. JUST FAT SHIT. MASSIVE: WHO'S DOING THE PRODUCTION WORK ON THE ALBUM? CRAIG: EASY MO BEE DID A COUPLE CUTS AND THEN ME AND MY DJ, 4-5, ARE DOING THE REST OF THE ALBUM. THERE WILL BE ELEVEN CUTS ON THE ALBUM, THERE WAS SUPPOSED BORN TO craig mack the massive interview, you know what im sayin' by lucas

TO BE TWELVE BUT DO TO SAMPLES THERE WILL ONLY BE ELEVEN ON THE ALBUM. MASSIVE: WHAT SAMPLE'S DID YOU HAVE TROUBLE WITH? CRAIG: Michael Jackson, I have a song on the album called "When God Comes" and they wouldn't allow that, but we got through that one. The one we had trouble with was Sly and the Family Stone. MASSIVE: WHAT PROBLEM DID HE HAVE? CRAIG: WELL I UNDERSTAND WHERE THEY COMING FROM, BECAUSE ALOT OF ARTISTS FROM THE 60'S AND 70'S AND DUE TO THE VIBE THAT RAP MUSIC PRESENTED. BECAUSE NUMBER ONE ALL THE GANGSTA RAP AND STUFF LIKE THAT, ALL THE NEGATIVE ATTENTION RAP HAS GOTTEN. THESE PEOPLE REALLY DON'T WANT TO HAVE ANYTHING TO DO WITH IT. BECAUSE THEY DON'T WANT THERE MUSIC TO BE ASSOCIATED WITH ANY NEGATIVE VIBES, YOU KNOW WHAT I'M SAYING. JAMES BROWN IS A BORN AGAIN CHRISTIAN AND HE DOESN'T ALLOW ANY OF HIS MUSIC TO BE USED FOR SAMPLE'S. IT USED TO BE USED, BUT BECAUSE OF THAT FACT HE DOESN'T WANT ANYBODY USING HIS MUSIC TO BE CURSED ALL OVER, SCREAMING AND YELLING ABOUT KILLING PEOPLE AND SLAPPING GIRLS AND ALL THAT, YOU KNOW WHAT I'M SAYING, BUT WE AIN'T ABOUT THAT. MASSIVE: GETTING BACK TO THE ALBUM, PRODUCTION WISE IS THE ENTIRE ALBUM REAL RAW AND STRIPPED DOWN, BECAUSE THAT WAS ONE OF THE THINGS THAT MADE "FLAVA IN YA EAR" SO FAT. CRAIG: THE ALBUM IS FAT, YOU KNOW WHAT I'M SAYING. IT'S NOT ELEVEN FLAVA IN YA EAR'S, BUT THERE'S ELEVEN FAT SONGS, YA UNDERSTAND WHAT I'M SAYING. YOUR NOT GOING TO LISTEN TO THE ALBUM AND GO "I LIKE THREE OR FOUR SONGS", YOUR GOING TO LIKE EVERY SONG ON THE ALBUM. IT'S AN ALBUM YOU CAN LISTEN TO WITH OUT FAST FOWARDING OR REWINDING. YOU'LL WANT TO REWIND BUT NO FAST FOWARDING. MASSIVE: ARE YOU A LITTLE BIT WORRIED ABOUT THE RECORED LABEL PUSHING YOUR RELEASE DATE UP SO MUCH? BECAUSE ALOT OF NEW ARTISTS GET THEIR FIRST SINGLE OUT AND WHEN THEN GET THERE RECORD OUT ALL THE SONGS SOUND LIKE THE SINGLE. MOST RECENTLY THAT ILL AL SKRATCH RECORD. CRAIG: THANK YOU, WE (CRAIG, 4-5) WERE JUST WENT THROUGH THAT. NOW WE AIN'T FUCKING AROUND NOW. WE JUST REVIEWED THIS (ILL AL SKRATCH). THAT'S FUNNY THAT YOU MENTION THAT. MASSIVE: ONE FINAL QUESTION IS DID YOU EVER THINK IT WOULD BE LIKE THIS, WHERE YOU GOT TO DO ALL THIS RUNNING AROUND TO MARKET IT OR DID THINK YOU COULD JUST MAKE THE MUSIC AND THE RECORD LABEL WOULD TAKE CARE OF THE REST? CRAIG: TO BE HONEST WITH YA MAN, I DIDN'T KNOW WHAT WAS GOING TO HAPPEN. I WASN'T SURE. I WAS HOPING, YA KNOW WHAT I'M SAYING. EVERYBODY HAS THIER FINGERS CROSSED. YA KNOW LIKE CHRISTMAS MORNING, BUT YOU KNOW YOU DON'T ALWAYS GET WHAT YA WISH FOR. BUT IT'S HERE NOW AND I'M VERY APPRECITAVE OF IT, BECAUSE OF HOW LONG IT TOOK ME TO GET HERE. SO I AIN'T GOING TO COMPLAIN ABOUT NOTHING, IT'S BIG TIME NOW. MACK

12 INCHES OF ... PLEASURE BLACK MOON- BUCK 'EM DOWN b/w MURDER MC'S/ WRECK "Welcome to flight Black Moon", Captain Buckshot and Copilot DJ Evil Dee continue their blunted journey with their new masterpiece Buck 'Em Down, the follow up to the previous masterpiece I Got Cha Opin. No rough weather here, just sit back and let the voice of Buckshot guide you through as he has total control over the track, with his oh so sweet melodic delivery but packing the rugged rhymes. After these two performances (Buck'Em Down and I Got Cha Opin), Buckshot Shorty is definitely up there with all the greats. It's very easy to get caught up in Buckshot's flow, but don't forget lovely beats put together by DJ Evil Dee and Mr. Walt. Using Donald Byrd's "Wind Parade" to do a complete make over of the original, a true remix. The B-side cut "Murder MC's", starts out slow but builds into a dense dark groove to help lyrics drive a scary vision home to all wack MC's. (Lucas) DIGABLE PLANETS- 9TH WONDER/ PENDULUM I have to admit the first time I saw this record I was a little sketchy on buying it. I thought the Digable one's would of traveled the path of the US 3 shitty Jazz-Hip-Hop fusion stuff, not even close. This shit is too dope, even though they may say there slicker, there a lot rougher. They didn't go hard or anything, it's just more of a straight up Hip-Hop record. The beat is what makes this record the bomb, a barrage of light snares and boomin' bass with that old ass eerie synth line and when Ladybug comes in,"Whole world, MC's", the shilt just goes off. It's no wonder anymore that Digable will be in for the long haul, with the ability to change styles without loosing its roots is something that will keep them fresh and on top the game.(Lucas) COMMON SENSE- I USED TO LOVE HER/ RELATIVITY For the real Hip-Hop heads, like myself this a deep emotion story that brings a tear to my eyes. The lyrics paint a picture of life hood of Hip-hop. The changes she has went thru; B-Boy, Afro centric, Gangsta Bitch roles. Hip-hop was a culture that was cherished and was taken serious. Now that dead presidents are making the rules, Hip-Hop is Hollywood, a showbiz scene. Much love and respect to Common for taking the heart telling this story, nobody wants to hear the truth. This single will be in the Hall of Hits/Rhymes for Hip-Hop. (Rock Dee)

MAD LION- TAKE IT EASY/ WEEDED Not exactly Hip-Hop nor is it Dance hall, but fuck titles, this shit is dope. A haunting melody and true Hip-Hop beat put together by KRS-ONE makes this track a stand-out, definitely in the running for single of the year. Mad Lion's unique (you can understand it) delivery holds it own too, actually its wicked. I think the best word to describe this entire track would be rugged. Make sure you also peep this video too. Strictly B-Boy shit; break dancers, graffiti artists throwing up pieces, a DJ cutting it up, and even Fat Joe. This track will definitely make some heads bounce this year even if your not into dance hall. (Lucas) NAS- LIFE'S A BITCH (REMIX)/ COLUMBIA Mad respect to my man (he know who he is) for hooking me up with this 12". First, supposedly this was going to be the next single, pressed some then recalled it. Next, my man Def Jef and Meech Wells remixed it for the Arsenal. Another bomb track from the East. Doesn't matter, vocal or instrumental you'll be lightin em' both up. Nas the new mentor for Hip-Hop, no disrespect to Rakim or KRS ONE, he just happens to qualify for the hall of rhymes right next Kool Kieth and Buckshot Shorty. It is also good to have an instrumental for the album version. (Rock Dee) MASTA ACE INC.- THE B SIDE/ — First off, I'm dissing for the reason that I got this on bootleg vinyl because the record label didn't press any. Funk it, somebody was smart enough to press it, this is the bomb. As Public Enemy said "The B Side Wins Again"- Masta Ace, La Shay, and it sounds like Lord Digga deliver right to your senses, no if and or butts with the track. The lyrics are mad potent with the music being the perfect wrappings. Some real East Coast Hip-Hop flavor, (so fellas nobody dies, hoes not gettin' smacked, etc...). Needs to be loop for an instrumental, the track is that fat. Big ups to Masta Ace bringing you the real funkin' beat/ rhymes. What more can I say, it's the shit (I express again). (Rock Dee) BLACK SHEEP WITHOUT A DOUBT MERCURY It seems that Dres and Mr Lawng are at it again. After a more than gold first attempt, Black Sheep display their elder status with their new single "Without A Doubt". This single is simply the bomb. This time around Dres and Mr. Lawng alter their style aa little bit by slowing down the tempo and giving Mr. Lawng some more time on the mic, but it seems that all Black Sheep wants to do is to turn the party out and they do just that. But one note the Salaam mix is better than Mr. Lawng's. (The Zen Master) ROCK DEE- L3G RECORDS 1. FRESH-MOVIE SOUNDTRACK/ LOUD 'NUFF SAID'. 2. RAEKWON- HEAVEN AND HELL/ LOUD WHERE DO YOU WANT TO BE. 3. NOTORIOUS B.I.G.- READY TO DIE (LP)/ BAD BOY -- JUST BIG. 4. KRS-ONE- MORTAL THOUGHT/JIVE YOU FIGURE IT OUT. 5. JERU THE DAMAJA- YOU CAN'T STOP THE PROPHET/PAYDAY -- SEE THE VIDEO. 6. DIGABLE PLANET- 9TH WONDER/ PENDULUM -- THOSE DRUMS, THOSE DRUMS. 7. NAS- IT AIN'T HARD TO TELL (RMX)/ COLUMBIA -- STILL MY SHIT. 8. SNOOP- DOGGY DOG WORLD/ DEATH ROW -- ANY QUESTIONS? 9. ADORE- ONE FOR THE TREBLE (DRUMAPELLA MIX) -- JUST FOR COMING OUT AGAIN. 10. METHOD MAN/ REDMAN PROJECTS -- I HAVEN'T HEARD THEM YET, IT'S FOR THE HYPE BEHIND THEM, CAN I GET SERVICED (VINYL PLEASE, I'M A DJ, I'M DYING) 11. BIZ MARKIE- GOING OFF/ COLD CHILIN' (12 INCH VERSION) 12. RUN DMC- TOGETHER FOREVEVER/PRO FILE (12 INCH VESION) WICKED LKS- MASSIVE PLAYERS 1. BLACK MOON- BUCK 'EM DOWN/ WRECK SMOOTHER THAN MALT LIQUOR 2. METHOD MAN- TICAL/ DEF JAM LIGHT IT UP 3. DIGABLE PLANETS- 9TH WONDER/ PENDULUM--EVEN MATT THINK'S IT'S THE BOMB AND HE'S REALLY WHITE 4. NOTORIOUS B.I.G.- UNBELIEVABLE/ BAD BOY--THE GUY IS A FAT CHICKEN WING EATIN' BASTARD, BUT IT'S ALL GOOD 5. GENIUS- I GOTCHA' BACK/ LOUD WHA'D THIS SONG CLOCK IN AT? 30 SEC. 6. BIG DADDY KANE- IN THE PJ'S/MCA AIN'T NO HALF STEEPPIN' 7. BAS BLAST- THE RHYTHM/ RCA THE B-SIDE TO DANGEROUS 8. MAD LION- TAKE IT EASY/ WEEDED TRUE RUFFNECK SHIT 9. BLACK SHEEP- WITHOUT A DOUBT/ MERCURY-- GIVE US MORE 10. GANG STARR- SUCKAS NEED BODYGUARDS/ CHRYSALIS GURU AND DJ PRIEMER ALWAYS COME CORRECT

DOCTOR B.- B-BOY PRODUCTIONS/ SCRATCHPAD 1. METHOD MAN- BRING THE PAIN/ DEF JAM The Redman cut is alright, but this will carry the "Month of the Man". 2. THE UNREAL RECORD- IT'S YOURS/ MAX'N' RECORDS Uses old school flavor and break beats. The B-Side uses the Wu Tang's "Method Man" and a Redman cut which I can't think of the name. 3. DIGABLE PLANETS- 9TH WONDER/ PENDULUM Uses the bass line on "Love Roller Coaster there Sky's", with an off-beat drum track. Could you please turn up the vocal's, thank you. 4. FU-SCHINKENS- BREAKDOWN/ JIVE The shit, the shit, the shit, but the guy who raps in the middle could ease up, we really don't need him. 5. DA BRAT- FOR ALL Y'ALL/ SO SO DEF Due to a typo, should of been in the last Massive. (edt. sorry Doc) 6. COMMON SENSE- I USES TO LOVE H.E.R./ RELATIVITY Is he from Chicago? Tight lyrics, tight music, the shit is tight. No dis intended Chicago. 7. BLACK SHEEP- WITHOUT DOUBT/ MERCURY Thanks for making us wait this long guys. I'm tired of bullshit premieres and release dates that never happen. It's about time. 8. T LA ROCK- IT'S YOURS/ My old school pick. Showing new jack mc's the original style. The horn's in the beginning of Da Brat's "For All Y'all" is originally from here. 9. MO' CHILL- FROM THE T.V. SHOW "HARDCORE REPORTS" LOCAL PICK HIT. Doesn't have a track out but rocked so hard on channel 14 that deserves to get mentioned. Currently being sweated by labels because of it. 10. MATA- HARDCORE REPORT/ REALITY 101 The local dis for suspending the Hardcore Reports/ Reality 101 on channel 14. A gutless move, thank you tripper information systems for booking info call: 708.786.5347 catch the madness live @ HOME nov 12 (chicago) for info: 312.604.1978 be prepared for upcoming 12 inch releases TIS massive MASSIVE T-SHIRTS NOW AVAILABLE $12 BUCKS PLUS $2 SHIPPING & HANDLING massive PO BOX 11373 MILWAUKEE WI 53211

THE DON SHOP The Don Shop is the last piece of the puzzle in completion of our entertainment empire This is a retail Shop for D.J.s. We offer the hard to find vinyl as well as all of your favorite hits. We also offer a vinyl & C.D exchange. L3G RECORDS 300 W. Juneau suite 203 Milw.WI. 53203 1(414) 226-1955 fax 1(414) 226-2217 -Please Contact L3G Records for more Information on the Don Shop (were in the process of moving)

1994 MILWAUKEE DJ COMPETITION ROUNDS 1-3 FRIDAY OCTOBER 28th FRIDAY NOVEMBER 4th FRIDAY NOVEMBER 11th FINALS FRIDAY NOVEMBER 18th WATCH THE BEST DJs BATTLE FOR $100 NIGHTLY CASH AND PRIZES AND TO ADVANCE TO THE FINALS 18&OVER DANCE IN THE MAIN ROOM 21&OVER DANCE IN THE MAIN ROOM AND DRINK IN THE SPORTS ROOM HOSTED BY DJ SON THE ANNEX 804 N. 16TH • 16TH & WELLS • 414.288.7769 DOORS 10PM COVER $3 COLLEGE ID or w/ someone who does

WMSE pushing for POWER wants you to feel some of ours... It's time to PUSH! DJ Toby Tyler Revolutions Mr. Bill Milwaukee Destro Rockford Acid Boy Todd P Innovative Record Source JJ Jellybean & MC Blackeye Chicago Synergy Quadrasonic / Massive DJ Steven Kaye WMSE Latenite Beet Generation saturday, 12 nov. milwaukee Film Loops by E-Fex Massive PSound by Psycho Acoustic Full Intelligent Lighting by Laser Bob Smart Bar by WaterWorks All Proceeds to Benefit WMSE's Transmitter Upgrade. GRFX Spiral Muse Labs 414.481.7407 Info Lines: 414.777.3982 414.548.1973 414.277.6942 Tickets Available 1 nov. $7 at Revolutions, 524 N. Water St. WMSE is a Volunteer Radio Station at the Milwaukee School of Engineering

ThinkingAboutMyself The US debut album by cosmic b featuring "Loops of Infi and "Fantasia" "...finity" 79591-59500-2(CD)/4(CASS) LUSA 001

baby Out Now cosmic baby ThinkingAboutMyself Fantasia Loops of Logic Records US 270 Lafayette Street Suite 1402 New York, NY 10012 USA Phone (212) 219-2940 Fax (212) 219-2050 E-Mail LOGIC [email protected]

Rotation Station Jimi Doom (Dayton) -Submission...Touch And Learn (Jus' Trax) -Master Po...Kung Fu Man (Honeydipped Records) -Aphrohead...In Thee Garden (Global Cuts) -E-Q Lateral...Deep And Dark Secrets Ep (Basement 282) -Bomb The Bass...Bug Powder Dust (4th and B'Way) -Claude Young...One Complete Revolution (Utensil) -Bootman...To The Hip (Freeze) -Monkey Funk...Fusion Flava's Chapter 1 (Monkey Funk) -Tom Tombi...First Experimental Ep (RTR) -Todd Terry...Unreleased Project Part 6 (TNT) Synergy (Bissel Vaccuum DJ Unit, Milwaukee) -Black Science Orchestra...Altered States Ep (JBO, UK) -Ascendance...Rave Style (Rampant, US) -City of Angels...The Crystal Method (Virgin, US) -God Within...The Phoenix (Hardkiss, US) -Blake Baxter...Touch Me (Logic, US) -Shazz...A Taste Of Manhattan (F, France) -Havana...Outland (Limbo, UK) -Yanu...Mind Control (???) -Key Aura...Hot Dog (Consolidated, UK) -Rozzo...Into Your Heart (Bush, UK) Apollo (Minneapolis) -Silent Breed Ep (AFU) -Gene Hunt...Acid Man (Djax) -Woody McBride...Balance (DBN) -Mike Dearborn...Unpredictable (Djax) -DBX...Losing control (Peace Frog) -DJ Sneak...Blue Funk (Relief) -Rob Acid...Statement Ep (Junk Food) -Like A Tim...Look a Like (DJax) -Akilah Bryant...Urban Electronics (DJax) -Freddy K...Control Ep (ACV) DJ DB (Smile Communications, NYC) -BT...Embracing The Future [Sasha Remix] (Music Now) -Air Liquide...Liquid Air 10" Ep (Smile Communications) -Ellen Allien...Use The Bass (Yellow Promo) -Foul Play...4 Track (Moving Shadow Promo) -Nikolai...Are you Ready to Flow (Smile Promo) -Perplexer...Acid Folk [UK Remix] (DEF) -Underworld...Why Why Why (Junior Boys Own) -Prodigy...Poison (XL) -Dead Dread Ep (Moving Shadow Promo) -4 Hero...Universal Love (Reinforced) Efex David Hollands (Muncie, Indiana) -E.C. Groove Society...Wired Urban Technology (Prime, Holland) -Air Liquide...Liquid Air (Smile Communications, US) -Barada...Glue (Definitive Records, US) -Schatrax Ep (White Label, US) -M-Plant...The Protein Valve (M-Plant, US) -RAG...Tangents (Warp, UK) -Drum (Live Mix)...The Aloof (Flaw Recordings, UK) -Katana..Feel It (Jinx Records, Belgium) -Lady B...Vice Versa Ep (F-Communications, France) -Rene' et Gaston...Spectacle de Foire (Fresh Fruit, Holland) -Claude Young...One Complete Revolution (Utensil, US) ESP Woodrow McBride (Communique-Generator, Minneapolis) -Pscenic Overlook Ep (Generator) -Skinny Ep (Drop Bass Network) -Sync 3 (Underground Construction) -Sick and Tired Ep (Communique) -Minimal Nation Repress (Axis) -Tape Ep (Communique) -Balance Ep (Drop Bass Network) -Peace Fixation...Freaky Chakra (Promo) -Ailr Liquide...Liquid Air 10" (Smile Communications) -Coincidence Ep (White Label) 26

T-1000 (Generator, Detroit) -Balance Ep (Drop Bass Network) -Pscenic Overlook Ep...DJ ESP (Generator DAT) -Interferon...X313 (Generator) -Fuzz Tracks...Joey Beltram (X-Sight) -Red 2...Dave Clarke (Bush) -Orietta's Theme...Alan Oldham (Generator) -Spectra...X313 (Generator) -Funalogue...Hardfloor (Harthouse) -Attitude Ep...DJ Plank (Important) -Telesender Ep...McBride - Oldham (Generator) Nick Nice (Queen, Paris - Cardinal, Madison) -Rock Da Techfunk...TechFunkers (Sex Mania, US) -Melody Of Love...Donna Summer (Promo, US) -Sometimes...Night Department (White Label, Italy) -Tuscania Movement Volume Two...Bass Material (Italy) -Cover Ups Volumes One and Two (White Label, UK) -Spectacle De Foire...Rene et Gaston (Fresh Fruit) -Let's Groove...George Morel (Dance Street, Germany) -Mentally Stable Ep (Calypso, Italy) -Gosp...LWS (Transworld, UK) -I'm in Heaven...Carl Bias and BIP (4 Liberty, UK) Efex (end of the line...back of the stack, Chicago) -Kurt and Pat on Banjos (Drop Bass Network) -Moguai Ep (Important Records) -Delta Nine's Harmonica Solo (12 Gauge) -Ambush 2 x 12" (Harthouse) -Terry Mutha Fuckin Mullan...Straight in Your Face Ep (White Label) -Microbenics Ep (Harthouse) -Mark Verbos...Trip To Florida Ep (303 Records) -Patrick Lindsey 10" (Harthouse) -DJ Synergy...Pogo Stick and A Six Pack (Miller Lite Records) -Flourescent Green Record with a blue line (???) Heather Heart (Magnetic North, New York) -Napalm One (Napalm Records) -DJ ZKY and Angel D...Melting Point (DAP) -Acid Warrior...Acid Bites (JF) -TPH...Acid Pinups Volume One (JJ) -Lumukanda...Everything Must Go (ZZB) -K-Hand...Global Warning (Warp) -Adam X...Sync Jack Trax (Drop Bass Network) -Acid Ramcash Volumes Two and Three (AR) -Communique Volume One (Communique) -Karma...Tattoo (Muzak) Mind Drive (Madison) -DJ Icee...Beats are Rockin (Genuine Zone) -Eternal Rhythm...Deep Down (Logic) -Here for the Love...Metro (Bassex) -Mellow State...God Harmony (Yellow Label) -Planet of Drums...Planet of Drums (???) -Accelerator Ep (Reload) -New York Connection...Dub (Hi Resolution) -The DJ Ep (Caffeine) -RAC...Tangents Ep (Warp) -Harpoon Connection One (Immortal) Mr. Bill (Milwaukee) -Welcome to the Past...Reyes (KNOR) -Power of XTC...Sigma 909 (John Doe) -Beat go Boom...Juggernaut (Ruffneck) -What?...Cyclopede (KNOR) -Who killed the...Lenny Dee and DJ Paul (Rotterdam) -Fuck On...DJ Fistfuck (Mokum) -Taita Oriente...Nosferatu (Ruffneck) -Terradome...Wedlock (Ruffneck) -Dope Man...Lenny Dee and DJ Paul (Rotterdam) -Get the Hook (Ilsa Gold)...House Pimps (NOW!) Jannick (Incorporated, Milwaukee) -Havana...Outland (Limbo, UK) -Sourmash...Throwing Caution to the Wind (Zoom, UK) -Rozzo...Into Your Heart (Bush, UK) -Hardfloor...Mr. Anderson (Harthouse, Germany) -Key Aura...Hot Dog (Consolidated, UK) -Li Kwan...I need A Man (Seka, UK) -Fix...In God's House (Limbo, UK) -Sourmash...Pilgrimage to Paradise (Protekult, UK) -Ijakk (Skunk, UK) -Robert Armani...Road Tour rmx (ACV, Italy) Massive We Care - If You Don't get Help at Massive, please get help somewhere

alice in frogland Greetings again from Paris. This is my last report from France, as I'll be living back in the states by the time your reading this. As a result this article is more of a retrospective view of the Paris scene. I've been through a lot of ups ands downs in the Parisian scene since I discovered it as a student here 4 years ago. Trying to make your living in a very expensive foreign country and especially in the underground scene has been a serious learning experience. When the house/ rave scene began here almost 4 years ago it was a really exciting time to be in Paris. I happend to be in the right place at the right time and was fortunate enough to experience some of the best parties of my life at these first raves. I definitely picked the right year to do my study abroad program! In the beginning there were no flyers, everything was done either by word of mouth or by telephone numbers (there was no voice mail or answering machines, just a friendly person telling you when and where to meet). The first raves took place in really crazy places like abandoned underground metro stations, in the middle of public parks that were normally closed at night and several events in an old mental hospital. One of my most memorable events took place in an abandoned supermarket. I was late for the meeting point so we had to follow the small, white arrows on various streetlights and light posts leading you towards the party. Since all events at this time were VERY underground and VERY illegal, the arrows would only lead you in the general direction of the event so as not to alert the police or curiosity seekers- after that it was up to you to try and find it. Usually there would be somebody hanging out in front of the door leading to the party who would go "pssst!" and tell you to get in quickly and be quiet so as not to disturb the neighbors. The party in the abandoned supermarket was great because although all the aisles were gone there were these huge posters leftover from the supermarket with photos of various fruits and vegetables EVERYWHERE with the words `Fruits et Legumes' written on everyone of them. I guess they took their fruits and vegetables seriously at this particular supermarket. This was the chillout area (or more, just a place to relax) -the dj spun in the meat locker down in the basement. There was something so surreal about raving in a supermarket- I guess that's what made this event so special. Back in those days events were either free or between 20-30 francs ($4-6) to get in and you get a free beer or soda with your admission. The rave scene began here as a response to the expensive ($20-$35 cover) and elitist club scene at the time. The first raves were great because the people who came there were from all walks of life- from princes to metro drivers- everybody came to get into the music and party. There were no battles between house and techno, no star dj's- just one or two dj's spinning a wide variety of underground dance music with a good vibe in the air. This to me was what a real rave was- no attitudes, no drug promblems, no elitist music policies, no fascist bouncers- just a bunch of different aged and different colored groups of people having a good time. As the scene exploded, the parties started getting less and less underground (the birth of the flyer and the 8 dj's a night system) as well as getting more and more expensive. Eventually the barrier between house and techno was drawn- no longer could you hear a wide variety of good underground dance music at a rave- it had to be all techno all night long with each dj limited to hour-long sets (sometimes less) thus ruining any chance of a dj being able to create an actual atmospere. The best raves I went to were with one or two dj's taking you on a magical journey- when you get to many dj's in the lineup the mood gets cut each time the next one takes over. One of the reasons I enjoyed being a resident dj at Queen is because I DJ'd non-stop for 7-8 hours, I really got a chance to play everything from ambient to deep house to techno.. which is something you can't do in your typical dj set at a rave now. Anyways, as things progressed the music kept springing more and more subgenres creating more classifications (i.e,trance, trancecore, acid core, and my favorite- happy hardcore!) and ultimately splitting the various scenes apart. The hardcore scene hated trance, the house scene hated techno, and so on... There was about 1.5-2 years where almost every rave had a good vibe and was a memorable experience. But with everyone splitting into their own mini-scenes the whole movement began to lose its initial energy and vision. Eventually a lot of shady promoters got involved in the scene to try and make a quick buck and they ended up really fucking up the scene for everyone. As things progressed further and the rave scene moved from the underground to the trend that it became, the original crowd either stopped going out or went back to underground clubs like Le Boy ( the Queen is run by the same people who did Le Boy ) and Le Rex (home of Yann's `Space' parties and later on Laurent Garnier's `Wake Up' parties). No one wanted to be part of

final paris scene report by dj nicknice a trend, they just wanted to have a good time and dance to all the new styles of underground dance music. You can't change the world through partying but maybe some stereotypes were broken down when all those different groups of people partied together at their first raves. To me the goal of a serious rave was to party while breaking down musical and social barriers along the way. Somewhere along the way I think people forgot about that idea. As it stands now there's still raves going on here but it's no longer an underground scene- instead it's a mainly all-white group of French middle class kids going out just to be trendy and get fucked up as well. Plus it's now a minimum of 120 francs ($25) to go to a rave-the clubs are actually cheaper now! The Queen is free during the week and 80 francs ($16) with a drink on the weekends. It's now really hard to find that good vibe that was so present at these first raves here in Paris. In my past articles I sort of downplayed the negative aspects of the scene here just because I don't like to write space on negative items. However, it's come time to admit that the scene is basically dead here and there's no denying it anymore. However, there are still a couple of good clubs that you should check out if you're planning to visit France anytime soon. In Paris there's always the Queen which until recently was Paris' largest underground dance club. Claude Monnet, Rony, and myself were the resident dj's with regular guests like DJ Pierre, David Morales, and Kevin Saundersin to name a few. But the people who ran the parties have now left taking all the dj's and barmen with them to open a club in a beutiful old theatre called the Bataclan. It opened Oct.13 and this is the place to check out right now here in Paris. Like the Queen they'll be having big-name guest dj's spinning as well including Junior Vasquez, Johnny Vicious, and Todd Terry to name a few. The Queen also has DJ Pierre and Keoki coming in to spin in the next few months- but I'm not sure the Paris club scene can handle two big (2,000 capacity) underground clubs on a regular basis. It will be interesting to see what happens- I should have an update when I come back here to spin, hopefully in Febuary. Outside of Paris there are two clubs that you need to check out. One is situated in the western parts of France in a town called Poitiers and it's called the Black House. It's basically two clubs in one with one side being more commercial and the other side more underground. The underground side is run by DJ Jack, an excellent dj, who spins a wide variety of music from house to transcore! Best night to go is Saturday night when all the locals come out and party hard. Be sure to look for a crazy 40-something photographer named Jimmy who is so infamous for his partying there that he has his own fan club! The other club worth checking out is located in northern France on the English Channel near Le Havre. I've talked about Le Transfert in past reports but this club right now is the best club in France (even better than the Queen!). The people there are crazy and get dressed up in funky costumes and are completely into the music. It's run by Joel and DJ Freddy who spins mostly American house with some British influences as well. The vibe at this club is just like how it was at these first raves and the crowd is super diverse. The best night to check out is Sunday where the ever talented Freddy invites his favorite guest dj's to spin with him. This club is worth the road trip. So, to wrap things up- it's too bad that the rave scene here is dead but at least there's still a few decent clubs (not many though) and there's lots of new record labels popping up here rather quickly. Maybe someday the underground scene will flourish again but until then we'll have to be happy with the few good clubs that remain. As I leave I have no regrets about my extended stay here in Paris- I got to travel and enjoy the scene while it lasted- so I couldn't ask for more. I've made lots of friends and am looking forward to coming back here to spin at the few good clubs that remain. It'll be nice to be home in America for awhile though. As usual you can write to me at my new address: Nick Nice, 1815 Vilas Ave. Madison,WI 53711-2231 U.S.A... Until next time (whenever that may be!) PEACE. CONTACT TRIBES OF UNITY 94 SATURDAY NOVEMBER 12 1994 saint louis city area 100% LEGAL / PERMITTED WAREHOUSE CONCEPT Everywhere we turn we find hatred and prejudice... in this society the media sells violence and destruction. Until now, the dawn of the children of the future, we are the ones who will change the world for peace... IT HAS ALREADY BEGUN MAIN R.A. ONE HARD TRANCE / BREAKS ARENA II HIP-HOP / HOUSE / ACID JAZZ live performance: midwest avengers ARENA III AMBIENT CHAMBER AUDIO ASTRONAUTS EFEX DERRICK CARTER ASTROBOY STEVE-O MATT BRENDLE DROID BOOMER WAXEE JON 3 DREAMSCAPE KEVIN BROCK RON S. ADRIAN JAERREN saint louis area 314.995.6230 milwaukee (drop bass) 414.777.3998 memphis 901.363.9831 chicago (ATP) 312.509.8068 LOVE 2: marc, albie, paul (my big brotha), noah, mars, joel, kirsty, kim, consuela, monroe ray & joe & wendy, jean, mindy, byron, risa & melisa & amy (u are the sweetest), all the new kidz and Mary Jane & Mush Room (au natural forever) flyer concept: jon 3 (314.995.6230)

COSMIC the massive interview by brad "In retrospect, I think that 90% of those people who said "we love this music and want to produce a global movement with idealistic intents" were only in it for the money and recognition. Massive: How did you begin making music? Cosmic: I began playing the piano at a very early age...at three years old. Over time, I learned that electronic music was really the way that I wanted to express myself in this contemporary time. So, I got my first drum machine at the age of fourteen. When I would go to the clubs and listen to stuff like Afrika Bambatta...all this electro stuff from New York like "Planet Rock," I was so affected by dance music...It inspired me to begin making music that affects the body as well as the mind rather than just classical electronic music. Then, it was a very short step to techno music which came to Germany in 1987 or 1988. Massive: When did you begin recording and how do you feel you've progressed as an artist over the years? Cosmic: I think I started recording music at the age of five or six...at home we had a two track tape recorder and a microphone. I would do recordings as presents for my parents or friends but the first serious recording I did was in 84 when I was 19...at a friend's studio. At that time, computer systems were not existing and I would have to play all the fast sequences in real time. We didn't have access to sequencers and had no knowledge of configuring from rhythm machines to other machines...everything was recorded live in real time. I couldn't believe that some artists played things live at such a tidal wave...but I had no idea about methods of sequencing. I did lots of tapes in the beginning but never sent them to record companies...I've always felt that it is much better to do music because you love it. If some- one comes to you, you're standing is much more powerful and you don't have to compromise. It's a much better position for an artist. The most important aspect of the music I'm making now is that the older you get, the more experiences you can draw ideas from...you communicate with lots of people, travel, and learn about yourself. I think I'm making more interesting music because the source is my existence and my pool of ideas is larger. The music becomes richer and better. Massive: What music do you site as your major influences? Cosmic: If you see my apartment...I think there are at least 600 CD's. My collection starts with very early gregorian chants which I really like...it's a very pure and organic form of music. Then, more contemporary composers like Stravinsky...then people like Miles Davis and Charlie Parker who had such a unique style of expressing themselves with a few analog instruments...avant-garde and existential people from the 50's. Then the Beatles who I feel are still the most innovative rock band in the world. Then the Doors with their very individualistic and psychedelic point of view. Then, the Germans such as Kraftwerk and Tangerine Dream. In the end, people like Richie Hawtin who I feel is one of the most influential techno artists in the world...and Cj Bolland from Belgium...Orbital from England...and Pete Namlook from Germany. It's a very large backbroind with lots of different people appreciated. Massive: Describe to us the music scene in Germany...particularly in Berlin...and how it's developed over the years... Cosmic: I moved to Berlin from Nuremberg in 1988. At this time, the music scene in Berlin was dominated by people like Einsterzende Neubaten, Nick Cave, and lots of american rock bands. When people would ask me, "Who are you and what are you doing," I'd say "I'm Cosmic and I'm doing electronic music." I felt kind of uncomfortable because in the beginning, I didn't have a chance to meet people in the same mindset...music wise or the whole spectrum of art. At the end of 87, the first acid tracks from Chicago were played on the Berlin broadcast staiton...and a guy did organize an acid test party with fifty people. Those fifty people comprise many of the musicians and DJ's who have since become well known globally like Kid Paul, Westbam, etc. Then came the breakdown of the wall and it made us realize that in the Eastern part of Germany there were lots of people who loved house and techno music. The parties became bigger and bigger but were still very underground. It was something which grew in a very underground fashion...and the establishment didn't take notice at all. That changed 30

in 91 when the Love Parade took place for the second time...with 30,000 people. Very soon after that, the most frustrating process took place...within six months, the techno scene became very business oriented. Most of the artists and DJ's went along with it. In retrospect, I think that 90% of those people who said "we love this music and want to produce a global movement with idealistic intents" were only in it for the money and recognition. In my view...the scene is very big with at least one party of over 10,000 people coming together...but the audience is nothing more than a consumer, fascinated with drugs. I only work with people who share this point of view...even though it is sometime difficult. The normal techno records can now sell 250,000 copies...like Marusha...with samples from tracks done twenty years ago. (Massive): Like Gabber? (Cosmic): Gabber was big a few years ago but now it's no longer an item in Germany. I was very astonished the first time I came to New York...at the Limelight...I was expecting a very different, more American type of techno music. I couldn't believe it...it was all Gabber music. This year, I spent alot more time in America and now It seems the American acts are again creating a more interesting and unique style of techno or house music. (Massive): Equipment Specs, Please, Please, Please... (Cosmic): The good thing about techno music is that, wherever you go whether it be in New York, or Berlin, or London, people are using the same instruments. Kimball Collins equipment in Orlando...he's got a 909 and some vintage Roland like a 106 and a JD-800. It's not that particular pieces of equipment make the music...but it's how one uses them. (Massive): Tell us about the music you've composed for the Pyro Space Ballet. (Cosmic): I've always felt that electronic music should not just be club music...I was very happy to meet the people from the Pyro Space Ballet. They wanted to do a classical ballet with dancers coming from both jazz and classical backgrounds and wanted to work with me for the project. It seems nearly obvious that if techno music has something to do with dance, then It must be good to work with people who dedicate their whole lives to it in a professional way. I learned alot from the choreographer...the dancers... I hope that a project like this will help open the normal techno kid to other forms of experience and art. When we did the first show, it was a big success because the audience was full of people who had never seen a ballet who became enthusiastic about it. (Massive): Tell us a bit about your collaborations with Paul Van Dyk and Kid Paul...and will there be another Energy 52 or Visions Of Shiva record anytime soon? (Cosmic): I've always done lots of different collaborations...Kid Paul is my best friend in the techno movement...we're often at parties playing together and in private and I'm sure that our work together will go on. The new Energy 52 will be done probably by the beginning of next year. There's a new Future Rhythm also coming out next year. There will be no more Visions Of Shiva because the aims of Paul Van Dyk and the aims of Cosmic Baby are now very different so we've split as friends and as producers. In the very near future, I will do some work with CJ Bolland and I hope with Richie Hawtin. Working with Richie will be very interesting...imagine putting together his work with the rhythm and mine with the harmony...I hope we can do it next year as well. I have just finished what I feel is my biggest work ever...new versions of Vangelis' Blade Runner soundtrack. It made me very happy since the movie Blade Runner and the composer Vangelis have both had a big effect on me and my music. This will be released in the beginning of January. My new 12" "Fantasia" has been released in Germany. Next year, I will once again be doing work with the Pyro Space Ballet group. I did the music for their last show. In January, I'll be coming to the states again for some live shows on the logic trance tour...I'm very happy because I'll be able to play in San Francisco. "In my view...the scene is very big with at least one party of over 10,000 people coming together...but the audience is nothing more than a consumer, fascinated with drugs. the massive interview cosmicbabyinterview baby

MIDWEST PARTY REPORT Sunday Aug. 21 Luna- Duluth For a party that was not supposed to happen, it was very happenin'. The previous three full moon Luna parties were thrown by Wade Hampton. He was too busy spinning in St. Louis and Chicago to throw this one so he cancelled it. The minds behind the A&E Network and the Headstrong Society decided it was too good of a party to let it die, so they, with the help of the E-vent crew, put it together in 24 hours. It was held outdoors on the sand beach of Lake Superior on Wisconsin Point. Over 150 people from around the area showed from last minute word of mouth only. Alex spun some wild Latin/tribal house, Apollo sent out his Acid Grooves, E-Tones his usual batch of wicked house, along Gabrielle Champagne, JDSJDS, et. al. made for a night of great music. Respect goes out to all those who helped out, donated, and made for a night of community and cooperation. JDS Thursday Aug. 25 Monster-Duluth Wave Rave II on board the Vista Star Cruise Boat sailing on Lake Superior. We lucked out on the weather again on this one. Just hours before the boat was scheduled to sail, rain was coming down in sheets and there were large white capped waves on the lake. Fortunately, the storm blew over in time and it was dry for the rest of the evening. 230 people enjoyed three continuous levels of music while sailing on the lake. Earth spun a set of house, Drone started with some junglistic breakbeat and then turned things over to DJ JT from Mpls who spun a wild mix of who knows what. JT and Drone spun together behind the decks and really cut things up. More aquatic ambient madness from on the top level under the stars by the E-Vent crew, and some fresh Acid Jazz and House by up and coming DJ Kevin Craig. The after party was on the beach at Wisconsin Point. Despite being a bit chilly, the turn out was good and people danced to an eclectic mix of dub, tribal, trance, acid, house and breakbeat until sunrise. JDS This time around for the Midwest Party Reports, were trying something new in that we are now compiling opinions on different parties off of our voice mail and those posts delivered to the mw-raves network. After trying each issue to write reviews for parties we had attended, it became harder and harder to write honest opinions on every party- due to politics within the scene. It is also hard to attend each and every event and it's a real bitch getting reviews from people who had attended those that we missed. We believe that this method of serving anonymous opinions on parties benefits everyone. You get the best scoop of what went on, good parties get the reviews they deserve, shitty promoters get the bad press they deserve, and, as Lucas can relate (for dissing a party), we don't have to deal with those promoters and all their friends coming up to us at parties and bitching. Whatta deal. We may interject here and there to right some misinformation that may occur, due to the fact that the person may have been on lots of drugs or wasn't at a party long enough or what not. We do encourage promoters to include thier side to some stories, for the sake of saving face, or ultimately, to keep us entertained with sorry excuses. To reach us, our voice mail, e-mail address, and PO Box addresses are at the front of this issue. Rustic- Northern Wisconsin- Sept. 30- Oct. 2, 1994 This party was so fucking strange I don't know how I can accurately describe it. The music was great... the acid, house, and hard trance pumped all night. Efex and Mindrive came up from Chicago... I watched the sun come up. It was unbelievable... As night decended, and daybreak came, I crashed in the tent. Everybody was feeling funny. It was like everyone bonded at the campfires and everyone was feeling good. The vibe was great the second night. Okay, the thing was held on the Menominee reservation at a beautiful campground right off of the Wolf river. The owners were some of the coolest people I've ever met—they liked us and invited us back saying— "let's make this an annual thing". They provided a huge pile of firewood allowing us to have a gigantic bonfire all night both friday and saturday. The weather was gorgeous, sunny all day saturday, although it got a bit chilly at 4 a.m., making us all group close to the cozy bonfire if we weren't shaking our butts in the sound tent. The turnout was surprisingly small, only about 200-250 - I guess everyone was having a good time at Nature-(ha-ha) which really surprised me since everyone was quite happy to drive half way across the country to Interstellar Outback to get hassled by the piglets but they won't drive a few hours to north central WI to rave in complete freedom. Well the people that did show up, the boys and girls mostly from Kenosha/Racine/Green Bay/Minneapolis/ Milwaukee and the sorrounding communities really whooped it up—raving in the pure light of raveness. Friday night was open tables and most of the action was around the fire-yeah, people

were drinking beer, but no one was sloshed and this was northern WI and it was chilly- Saturday day we basked in the heavenly sunshine and discovered spooling- in the tradition of medieval acrobats and jousters some imaginitive ravers took the large wooden spools that are used by the telephone company to spool up its wires and cables and when empty of cables and wires are often set on their sides and used as tables by campground owners and flipped them up like wheels and walked on them causing them to roll forward and backwards sometimes fast sometimes slow doing things like mid-air exchanges and attempts to run over each other and everyone laughed and laughed... all accompanied by a long disco set being played in the tent by some unknown dj. The(dj's) that did show- jedidiah, efex, minddrive, tripper info. systems and a few others whose names i cannot fucking remember shook the woods with a deadly mind altering groove-altogether these guys are my favorite personal dj's in the scene anyway- the brain farm (me) provided visual intoxication with film loops and disco ball and we all laughed and laughed... So the thing was good for everyone involved. once again the racine/ kenosha crew and massive put on an excellent event—these are the same people that brought you mosaic—an utterly free rave—and i look forward to more in the future. It seems like northern Wisconsin—birthplace of Further, Rapture, and Rustic is one of the last rave friendly places left, i.e. no cops, no muggings, and i look forward to more love in this location, especially Rustic 2 next year and Upside Down in Green Bay. Strewn about the campsite were these huge wooden spools, the kind that steel cable comes on, lying on their sides for use as tables.. most of them were around 5 feet in diameter, and one was closer to seven.. we flipped 'em back upright, so's they looked like giant wheels, and by standing on the core between the two sides of the spool, you could make the spool roll around, if you ran like you were on a converyorbelt.. (like logrolling, basicly..) it was a lot of fun, but required a lot more coordination than you'd find in group of people drunk- tripping from hell.. I spooled for hours, man.. we should have 'em at every rave.... Here is my top ten list.. 10. Bust free, it was rad! 9. The people and the communal feeling 8. Ravers and DJ's stood side by side.. Doesn't happen much 7. Got to see Tripper Info Soc. 's drum machine. 6. Could dance anyway you wanted to without feeling stupid 5. Grooving to the trible bongos that were being played at the fire. 4. Meeting the Steven's Point kids. 3. Finally meeting other Netravers 2. Minddrive and Efex spinning! 1. THE VIBE.. It was so thick.. It is undescribable!! Wait for Rustic TWO! Friday night was surreal. I don't often sit around camp fires on indian reservations with ravers and crazies drinking AND dropping/smoking listening to reggae and getting rained on while "on" ephedrine. It makes me happy to see that life can still mix it up. ...when we arrived at the reservation it took us some time to find the campground. After finding the site and paying out the $20 per car cost, we found ourselves a site and threw up (our) tent. Results of our walking round led us to find that there was one brightly lit tent for the music and two main campfires in another area. Now if I would have had to spend more money on this I wouldn't have been very happy. But four bucks per person isn't bad for a weekend. I noticed was that there was a lot of beer and alcohol around which I believe totally kills the vibe. Nothing like a handful of drunken ravers stumbling around. Well the music was good when we got there. But then a long reggae set went down...a really long set...so we called it a night. Rustic at 3:00am (Saturday) was a bit different and (we) found it to be a better night than the night before. The live acid sets really got me moving. That pretty much sums up the journey of a small group of ravers from Minneapolis on their way to find a small niche of freedom in this world. fate is a wonderful thing. First of all, I'd like to offer my condolences to those who went to Nature - all I can say is if it looks like a scam, walks like a scam, and has that odorous stench of scam...Rustic was a blast. Directions at this point were a bit confusing, it was made to sound like the event was either in Shawano or just outside of it. We wound up about an hour north of shawano before we even had a clue we were on the right track. Admission (was) subsequently cheaper - I dug that a lot. We set up camp, played with our new toys, and had a good night's sleep. I woke up Saturday morening to a wonderful surprise - it had stopped raining! I had kind of just assumed that the weather wasn't going to be teriffic (like supernatural) as had packed accordingly, but sat/sun were great weather! Saturday was the chill day, met people, stopcked up on chemicals for that night, etc... At this point I started *really* noticing the vibe - so thick you could cut it with a knife. I was realoy struck by how open and accepting everybody was, none of the usual rave-clique bullshit. So, Saturday night rolls around, the music starts bumpin, and it turns out the surprise NEW headliners are none other than - EFEX and MINDRIVE! I shit my pants, I was sooodo thrilled that they both came on such short notice, many many props to everybody who made

this happen, it was GRRRRRRREAT! I noticed something at rustic - people in general were a lot more open minded than I have previously observed people to be at raves, really open and accepting. I had people come up to ME and start conversing - that almost never happens. And, as a result, noticed myself becoming much more open as well. The "newbies" were suddenly not just annoying nuisances, but I began to see them as people who were just still developing, and had a lot left to discover and learn about people in general and these people in specific. I'm sure others there saw me in the same light. And so, given this new insight, I was much more willing to try to help people learn and grow, as I knew others were willing to help me. All in all, it was a very refreshing and much-needed stepping back and broadening of perspectives - thank all of you who were there for giving me such an almost spiritual high. We were all blown away by the experience, and it's something I hope we can all repeat again sometime VERY soon. Cool things: 1. 100% bust-free 2. the last-minute dj's 3. the vibe 4. the fires 5. the vibe 6. the pancakes 7. the vibe 8. the people 9. the vibe 10. THA PHUKKIN VIBE! Bummers: 1. Lack of attendees due to Nature 2. Goat man horror stories :) Peter John Nature- Chicago- Oct. 1, 1994 ...The word from the promoters was that the cops busted the rave because people were parking incorrectly. Everyone knows that's bullshit. The police have access to towtrucks. If people were parking on lawns (which I didn't see) they must have been beyond stupid, which is why I believe that was a bullshit story. The place was cool. Too cool. If Peter John didn't have permits (which is my guess) he's fucked if he thinks a place like that won't get busted. As far as I could see, there was onlyone exit- a good indication that there was no permit...I am $15 poorer but a little wiser. I will never trust Peter John again. I should have trusted my instincts and not trusted him for Nature, but hell it was DERRICK MAY. Oh well... (net) Renegades- Toronto- Oct. 8, 1994 ...Dj Rap and all the breaks DJ's from the UK were the fuckin' bomb. Even the house was rad. The lighting and sound were incredible- 55.00 watts. Canadians are cool people too- in the morning there was still 2,000 people there- put this down as a rad party- 'cuz it was.(voice) Fantasy Island- Chicago- Oct. 8, 1994 ...whoever decided to herd everybody upstairs was smoking crack or something. If the police are outside, and they hear something going on inside, and then 5 minutes later they open the doors and no ones inside... serious crack- stupid ass idea. (voice) The promoter seemed so sincere and intent on making this concept work, the flyer spoke non-stop of love, good vibes, blah blah....everyone wanted this one to work: 1) Anyone who went would understand. The security (and promoter) from the moment people lined up in front of the door were barking orders. Mind you everyone was peaceful and well-behaved (considering the crowd size), but it really felt like we were entering prison camp with the whole treatment. 2) No set chill-out room. The music on the main floor was *very* disturbingly (imho) hardcore, and there was no place to take a break from it. This to me is very unhealthy, because after some serious sensory overload, one just needs to breathe. When people tried quietly hanging outside, the charming security yelled, "GET IN OR GET OUT!!!!"

3) This is the classic: When police cars started circling the block, they shut off all the music and lights, then hustled everybody to a room upstairs and locked all the doors. My friend and I had been my car when this happened, and when us and some people tried getting in from the cold (not knowing the party had stopped), they let us in (afterwards saying "Now you can't get out! Shut up!") The promoter and posse were yelling at the people like we were in a concentration camp, as if they were doing US a favor for having this party. Everyone wanted to leave (all the cops were already gone), but they blocked all the doors and kept telling us that "No one is leaving until we say so!" *question: If there were cops searching people going into the party, weren't they already aware of what was going on? The promoters locked us all in (no apologies, just "shut the fuck up") to save their own asses. This surely must have given a lot of the people nice trips. We are all just angry and dumbfounded. A generally well-behaved crowd being treated like animals is beyond me. Hell, at least Peter John was out there giving passes out to his free "forgive-me-I-have-sinned" party! *For those of you who missed Fantasy Island, please just rent "Schindler's List" Okay, I got one word that I could say that would sum this party up. Fucked! The smart promoters decide to have the map point on one of the busiest streets in Chicago. I mean.. It wasn't a very good Idea to have 2000 people drive to Rocket 69 for a map point. Next, at the map point there were no maps! You had to copy down the fucking directions... not what I would expect from an event of this size. Ticket price was 15 dollars. I thought this was very unreasonable for a rave of this size. They had 1500 expected. With that many people you don't need to charge 15 dollars a head. Unless that is if you are intending to make a big ass cut! The island was a fucking joke. Instead of an Island they carted us off to a fucking warehouse that has been used over 4 times before. At the door, the security was so tight, that I would have not been suprised if I had a body cavity search done on me. They were big, they were dicks, and I think the pigs that busted the party were probably nicer. At 3:30 am some dork comes on and seez this! "Okay, at 4am the police are going to come it, I want you all to lay down and pretend you are asleep!" I was like, what the fuck is this guy thinking. At 4:00am the same dork comes on and seez this, "Everyone get upstairs, we have to clear the bottom floor in 5 mintues. Lets move it!" Now if you ask me, I would say that this was not the brightest idea. Moving 1500+ people which 3/4s of them are on some type of drug is not a good deal. The wondering herd of cattle, or otherwise known as 1500 people on LSD and E made it somehow upstairs. We sat for and hour or so. Finally we went back down.. The party started for about 1 hour, then got busted. This party sucked.. I hated it.. I mean it was a party and all, but fuck them.. their fliers lied. I would have rather sat at home and watched a movie then went through a night of pure hell. Acidic Opera was cool but since Nature, Chicago is kinda got a bad rep. I was hearing rumors all week that they didn't have the island. I called up the line and the guy was like "dont listen to any rumors! It is CONFIRMED on the Island!" We get there and it turns out to be fantasy warehouse instead. This party was crap. The island WOULD have been awesome. We got there right after the party was busted and was a part of those groups of twenty or so wandering around, looking for the speakers... We were there till about 9:30 or so, when the promoter finally came up. He said there would be speakers there in a half hour... we waited more. Then he came back and said there wasn't enough people there to do it... As far as the people though, they were great! the music was awesome and that island would have been THE shit... But alas... Rumor has it that they didn't even have a permit for that party. Massive's 'send us free shit' Contest!! Well, it all kinda explains itself... Send us free shit and the person(s) who sends us the neatest shit or at least something we can use gets a free subscription to this fine magazine... Yes, money is always helpful, and we won't turn away any monetary 'free shit' offers but we're talking off the wall, wacky shit, or neat useable stuff, like rolls of stamps you stole from work. This can all be anonymous, if you prefer, we just want to see how far you guys will go... and no, we don't want any actual 'shit' though it would be kind of funny. Send us dumb pictures and shit... we don't care! Fax us your dick at 414.224.7719... oh the fun we'll have! Mail to the PO Box at the front of this issue. Be cool, send shit...

LIFE LOVE FOOD MUSIC DANCE PLAY SUPERFREAK

On Saturday December 10th 1994 In South Central Wisconsin Flipside Productions is Putting You In DEEP FREEZE With DJ'S: JOHN AQUAVIVA (Definitive/Stickman/Plus8•Detroit) REESE (Astralwerks•New York) LIVE PERFORMANCE BY ESP WOODY McBRIDE (DropBass/Labworks/Communique•Minneapolis) JET STREAM (Detroit) EFEX (Chicago) MINDRIVE (Madison) DENEB (Waupun) Sound&Lights by BADGER Refreshmentz by WATERWORKS This is a map point event: FLIPSIDE: (608)283-3116 ATP: (312)509-8068 DFP: (612)946-5938 DBN: (414)777-3998 MASSIVE: (414)777EXTC Admission is $12 $10 with canned food donation

the new shit. Air Liquide...The Increased Difficulty of Concentration (Smile, US) The collaboration of Jammin Unit and Walker otherwise known as Air Liquide has been known for some rather noteable tracks over the past couple years. Beginning with "Liquid Air" which appeared on Germany's Blue Label up to their most recent "Space Brothers Ep" on Rising High...this twenty three track full length is perhaps the best place to find an overview of these exciting artists. Best tracks are "Liquid Air (Bionaut mix)" and "Theme from Robot Wars." Also available is the DJ friendly 2 x 10" release featuring four tracks from the album. Pick this up...you won't be disappointed. (Brad) Kenny Larkin...Azimuth (Warp-Tvt, UK) Originally released on Warp Uk a few months back, this incredible showcase of Detroit style techno has finally been put out domestically. Eleven tracks which continue in Mr. Larkin's series of recordings, constantly proving his versatility and creative genius. Top tracks are the peaceful "Hello" and "Funk In Space." Quite Good. (Brad) Mike Dearborn...Unpredictable Ep (Djax Up Beats, Holland) Four tracks of mid-tempo acid house with the touch of originality that make Mr. Dearborn's music "unpredictable." "Move" drops a harsh 909 kick and some noisy analog stabs..."China Jazz" takes things to a more minimal level with a Chicago style drum track. The B-Side follows with the stomping frenzy of "Rubberband Man" and the trax fashion "Bassline." Another kicking release destined to receive much dancefloor play...all on pleasing grey marble vinyl. (Brad) Robotman...Doo Da Doo remixes (Novamute, UK) The house sensation of last summer has returned with some severe alterations from the Plastikman himself and Sabre's David Holmes. The mix from Richie Hawtin is slammin as expected with killer acid tweaking throughout and an extended break, full of 303 manipulation. David Holmes turns what was once a good track into some kind of hard experimental mush that I find hard on the ears and would probably scare any crowd within the first minutes. It's Richie's mix that saves this record and makes it worth getting one's hands on. (Brad) Voodoo Child...Demons/Horses (Novamute, UK) Ressurecting his psuedonym of years back, Richard M. Hall aka Moby has jumped back with two tracks to win back his status as an underground musician. "Horses" is a german style hard acid track with the token resonating bass drum and drum rolling effect. "Demons" is a tad slower and less harsh with more spacey loops and subdued 303's. Not Bad. (Brad)

Galactica - Osaka EP (Tronic Records, USA) Frankfurt meets Washington D.C. in fine form. This new underground label is sure to keep ya buyin doubles since you'll wear the shit outta these evil mugs with your diabolical needle. I am proud to see the joining of the dark, sinister, subliminally corrupting, shapeshifting poltergeist of a city called Frankfurt (OVERDOZ!!) and the nation's murder capital otherwise known as D.C. DJ Neuromancer comes KORRECKT in a big motherfucking way with this loaded barrel of vinyl produced mostly in Japan. Side A is guaranteed to indian-burn your heart with tracks, "Cosmic Experience" (140 BPM) and "Iceberg" (152 BPM). "Cosmic.." reminds me on Tanochinjaii's track (on Cold Rush Records #2) but with maniac acid lines for pure nasal and spiritual inhalation. "Iceberg" has to be my fave track on here. It's got a cold, dark, and Frederic v. Geluwe (of Test, WAX, and 3XXX fame)-sounding rhythm. Krazy spooky stuff, I tellya. Flip up and smack down the wax for more goodiez. Tracks on side B range from 145-156 BPM and are tracks that suit Harthouse and Bonzai's standards of quality techno.Welcome to the darkfall of the ever-so-housey-Washington D.C. The time is now to submerse into these bottomless pits of fog and Tronic is here to make the accomodations. E-De-Cologne - Hello Again! (Shockwave Recordings, Germany) Alas, the god of noisy gabber trax is back from a hiatus that had us E-de-Cologneheads swarming over his last LP release. Nevertheless, the gray matter basher is here to reclaim his territory and that means your brain is next up for brunch! You'll find everything bizzare sampled from cartoon effects to tweaked banjo licks. Did I mention all these tracks are incredibly fucking fast? Well, dear prey, I should also warn you that any dog catcher seeing you dance to this rekkid will seize you immediately, so watch where you play it. 7 thumbs up and a rolling red carpet for Mr. Cologne. The Drum Club Drums Are Dangerous Instinct 'Although techno is fucking massive, it's still underground," states Lol, of The Drum Club. And it holds true- though packaged nicely and distributed widely, this beauty holds true to it's roots. It all begins with the Drum Club's anthemesque 'Drums are Dangerous'- featuring groovy 303 riffs, the classic didgeridoo, and vocals by Maxine Harvey (remember KLF's 3 am Eternal?) that continue into 'Crime Pays', an upbeat lullabye. The name of this track may have something to do with The Drum Club's activism against The Criminal Justice bill, which if you haven't read allready elsewhere in this issue, will, upon passing, give English piggies to crash any gathering of ten people or more.. among a slew of other things. Saffron of N-Joi takes over vocals on the next two tracks. 'Space Angel Station' gets funky beside Saffron's jazzy lyrics with bongos, tribal groove, and a tekky backhum. Track 5, 'Reefer', kinda speaks for itself, a slowpaced, rasta-induced track dedicated to the weed of lazyness. Killing Joke's Youth offers the Bass. 'De-Lushed' is basically the groundwork track of a collaboration that Drum Club did with Lush awhile back, just without Lush- pretty simple trancey stuff...love to hear the original. 'Rock and Roll is Dead' slides along with no backnone until a bass riff arrrives, leading to a monotonous build-up of bongos and some 'ha, i'm swimming' kinda sounds...very relaxing. The next track resumes the upbeat feel of earlier on- which is pleasant, for I know what grabs me and what does not on this album, all without having to say 'this was blah, this was good'. It's all good. Scooter - Hyper Hyper (Blanco y Negro Music, Spain) If you ever wanted to hear an MC-ridden track that sends shout-outs to a fat list of Euro-DJs, then here is your chance. Title track is the live cut with an English MC gettin the crowd all hypa-hypa'd..B side rocks stupid genitalia as "Unity Without Words" and "Rapsody in E" drop science in a Frankfurt Beat Productions stylee. Choice meatage for you hard trance heads and a must for a seeker of new labels.

Spacetime Continuum...Pressure (Astralwerks, US). Ambient music is tons better when Terrence McKenna's rambling about how drugs will save the world isn't layered over it. The new twelve inch from astralwerks features two excellent chill remixes of the title track..."the horizontal remix" places heavy emphasis on trippy soundscapes and ambient waves whereas "the original mix" sounds alot like some of The Grid's material mixed with beats via Future Sound of London. However, "the vertical remix" places this record into my top ten...a progressive trance track of 130bpm which sparingly resembles the other two and rocks the house in a major way...also check out their latest full length called "Sea Biscuit" for more ambient bliss. (Brad) Blake Baxter...Touch Me (Logic, US) New from Logic's domestic division...one of Detroit's original house artist's dropping a track of the deep variety. The original vocal mix strikes me as a rather mediocre garage houser but when Xpress2 gets ahold of the mix, the quality skyrockets. Super chunky beats which pump like the usual Rocky, Diesel, Ashley method. Watch the "Touch the drums with Pete remix" for maximum versatility. (Brad) Joey Beltram...Fuzz Tracks (X-Sight, US) The latest from New York's Joey Beltram is relatively interesting but nowhere near the quality of his last ep (The Caliber Ep on R&S). Two tracks on this Ep are very slow, dark, and brooding...not exactly dancefloor material. A big pat on the back to the first DJ that uses these in his/her set. The other two are pretty stompin' acid bangers which flow nicely. Not bad. (Brad) Fierce Ruling Diva...Revolt of the Perverse (Astralwerks, US) Maybe it's the purist in me that causes cringing at this album...maybe the industrial style, sometimes crude and always non-intellectual lyrics. This disc is just plain bad...there's no way around it. "Come here I want to Fuck You," "Pissing In the Wind," and "I Need Drugs." The titles pretty much clue one in to the overall quality of this. Don't touch it with a ten meter cattle prod. (Brad) Future Sound Of London...Lifeforms (Astralwerks) What do you get when you combine the angelic voice of Cocteau Twins' Liz Fraiser and two of the most innovative minds in electronic music today? Answer: A thirty one minute track of epic proportions. This isn't danceable by any means...simply something to hear, think about, and respect. (Brad) Eternal Rhythm...Tranzlusion (Logic, US). Tis' an Ep created by two blokes from Australia who can rock it wid da rhythms. "Deep Down" is a super phat...mega active mid tempo trance track equipped with drum rolls and high-energy points. "Tranzlusion" is similar except not as bottom heavy...with a dub version rounding out the record. Quite cool. (Brad) Rozzo...Into Your Heart (Bush, UK). This is one of the best records of 94...very hypnotic and perfected progressive vibes in the Bush style of track formulation. Each mix is interesting and unique...one more to the Dave Clarke school of thought, one deeper and house oriented, the other still deep but dropping 303 lines as well. Bouncy and Kickin release! (Brad) WAX - Revelation (USA Import, Belgium) Frederic van Geluwe throws down a groovin slow-tempo acid 4-tracker on this release, much different than his average, bass-heavy doom sound he is known for. "Jack 'n' Rhythm" is a head-bobbin (not BOBBIT, mind you), that will give you the impression you've fell through time and space into a horse-racing arena. Keep your third eye peeled and marinated for any further releases by this artist. DJ Tom & Norman - Bass 4 Love (Overdrive, Germany) These acid boyz don't put out rekkids until quality is at a zenith. "Bass 4 Love" is another fantastic hard acid trance release from the Overdrive stable, that will produce crazy antibodies for no reason, but to keep you alive so you can dance to it all the more. Title track is a tiny splash of commerciality to it, but is well worth the play of any underground empire. Flip side contains "Flash", a bouncy acid cut with NO vocals whatsoever, so if you don't get this soon, you need to get your head examined before implosion takes place. United States Of Ambience 2 (Moonshine, US) Ambient compilations are often difficult to compare on a track by track basis but are best described by the impression and overall experience one has while listening. Several respected names appear on this lp, such as Orbital, Influx, One Dove as well as innovative newcomers such as Electric Skychurch. This disc is chill...relaxing and atmospheric. Enjoy... (Brad) Psychonautic Experiment 2 (Reload, Belgium) This entire record is one large lobotomy gone awry. From the mellower, controlled midtempo acid surgery on the B-side through the disturbed and distorted bass incisions on the A-side, it's quite evident where the doctors started to fuck up, thus increasing your heartbeat, energy, tension, but most of all, spattered meat, blood, and brain cells all over the place in pure sick 666 fun. Oh well, let's just hope you can survive the entire record before they send your gurney flying over to the autopsy room. By the way, the mental health patients who created this record are part of the ingenious BWP Experiments crew. Orbital Snivilisation FFRR/ Internal, UK Gloomy packaging of this third release by the Brothers Hartnoll caused me to reluctantly approach it in the final days before printing this issue- but I'm glad I braved through the grayness and some-what unappealing exterior to find sunshine inside. In the opening tracks, 'Forever' and 'I Wish I had Duck Feet', stereophonic chatterplay and samples build a peaceful chaos into structure for the third track, 'Sad But True' that features a subdued breakbeat and vocals that carry my mind's eye to tears with hymning reminescent of the la dee da dee da's in 'It's a Fine Day'. At this point the CD takes me further back to an old skool feel of love and laughter with the track 'Crash and Carry' that, to others, may seem cheesy but in this day and age, and it's placement seems almost on purpose. A flow develops into 'Crash and Carry' and refuses to halt for the start of 'Philosophy By Numbers', which mixes stuttered bassbeats, old skool keyboard riffs, and sampling in the style of some Industrial acts- making this track my

favorite on this album and believing that Paul and Phil are of musical genius. 'Kein Trink Wasser' starts and builds in this rapid piano that would seem good placed in the part of a movies soundtrack when the boy is riding his bike to school- it then halts and resumes those bassbeats with the piano gliding back in- making the mood turn into an autumn feel. There is emotion and memories here- the kind of music that makes you stay in bed with your sprite loved one and watching the leaves change. Track 8, 'Quality Seconds' breaks the silence with a horrid speed-tech cheese ball that many have termed as a stab on Gabber... making me wonder if the Hartnoll boys are silently slipping their rendition of the way our music has progressed and digressed and then possibly brings us to present with 'Are We Here?'...featuring more vocals by a one Alison Goldfrapp over happy carnival breaks. This track racks up over 15 minutes- perhaps in apology for 'Quality Seconds'. The arc of descent is defined and the last track seems to be that 'roll the credits' music to the greatest mistake of all time- man, and the sounds he has created. HAVING TROUBLE FINDING... TECHNO • INDUSTRIAL TRANCE • AMBIENT RAVE • INTELLIGENT ?? IF WE DON'T HAVE IT...WE CAN GET IT!! SPECIAL ORDERS NOT A PROBLEM!! EARFUL MUSIC 414/697-1020 M-F 11 to 9 SAT SUN 11 to 5:30 PERSHING PLAZA • KENOSHA TAKE I-94 TO HWY 50 THEN EAST 4 MILES dubtribe Sound System The Debut Album now available on Organico Compact Discs, Cassettes and DJ vinyl double-pack. Featuring "Mother Earth", "Sunshine's Theme" & the new single "Deep Soul" On Tour Now Dubtribe Hotline: 415-764-2903 dedicated to all peace love & respect organico For information & mail order catalog (SASE please) contact us at: 858 West Armitage Ave. #197 Chicago, IL 60614 ph. 312-227-1474 / fx. 312-227-1475

taking drugs & talking shit oh yea, and graphic design, too fresh for 86, you suckers forty three (studios) mix tape reviews massive DJ G-MOST.... DISCO 2 GO Instead of Disco 2 Go this tape should should be called Strictly 4 Chillin', for two reasons- there's not a lot of disco on the tape and once you begin to listen you won't get out of your chair. From begining to end, every groove as fat as Thanksgiving, using a nice combination of Acid Jazz, Disco, and Hip-Hop. One of my favorite things about this tape is it is mixed really well, unlike a lot of Acid Jazz and Hip-Hop tapes were the beats don't seem to line up they all fall in their right places here. Some other highlights of the tape are the new Common Sense record is on here and the visions of red lights, disco balls,and players that come into mind when listening. So for all those who like to just kick back and chill this is the tape to accompany that experience. KENNY GINO RUSTIC CELEBRATION and MASSIVE LOVE Two new tapes out by Liquid Love Tribe's own Kenny 'Jammin' Gino dedicated to the recent indian reservation event, Rustic. Rustic Celebration is a heavily trick orientated tape that flys with samples and phlanged-out beats while Massive Love is heavy on the vocal house side. Both have Gino's trademark 'talkovers' dedicating and thanking all the guys and gals who made Rustic and Liquid Love a happy success. Contact: 414.939.0473 TERRY MULLAN.... NEW SCHOOL FUSION VOL. 1 Before I get a chance to open the tape up I take a look at little note attached to it, "Behold the real shit niggaz!". I guess Terry don't fuck around when it comes to tapes. As soon as I begin listening, I'm brought into a world of drive-by's, crack dealers, pimps, and other forms of urban decay. The G-funk era in full effect here, just kidding. Instead we have a dope tape of Acid-House classics with some modern day classics tossed in for good measure. This tape is a definate crowd pleaser with all the records everybody likes to hear, it kind of reminds me of one of those K-tel compilation records except this has realy good mixes and no edits at that. One thing this tape lacks though is scratching but since it has Circus Bells and Future we'll overlook that. So instead of that Warren G tape you've been eyeing up for a couple of weeks peep T-Dawg's New School Fusion tape and then see who's really regulating. CONTACT....312-509-2910 MERLIN After one listen to this tape I can't understand- why doesn't this man doesn't have a lot more jobs? This tape is like Shaft- one bad motherfucker. Serving up a fat-ass selection of slow breaks(the bomb), delicately weaving one record after another into a comfy quilt of funk sure to lure all the honey's in, strictly pimp shit here. Another great thing is how versatile it is, it would please any raver, it also works well when you have twelve bi-sexual Playboy models over and a pool of pudding (call for details on that one) and even works well when hosting Luke's dancers (Go Shelia, it's your birthday!). Now that you know the key to a better sex life, just remember who wrote the instructional tapes. CONTACT...314-995-6284

DJ APOLLO KISS MY ACID and DOUBLE DIPPED (two tape set) Apollo, of Minneapolis, offers his newest effort, Kiss My Acid, and the tapes name beckons you to do so, with his offering of trancier acid that slips from harder trance to upbeat techno and always back into the murmuring hum that we've all come to love from that cute piece of Roland machinery. Double Dipped, a nicely packaged jem- comes complete with a duo-tape holder. Both tapes are unmarked as to what they are, which could make confusion as to what side and which tape is playing. A personal identification system would probably be in order after listening to both. The first tape that I popped in was a chaotic, gloomy mixture of breaks and undescibable tracks that seem to take off where experimental techno left off in yesteryears. It's not horribly experimental (like some experimental tracks are), making it bearable for the ears. It seems to tempt the inner realms of the brain with it's layering of odd noises and funky beats- a nice mindfuck. Side 2 is an absolute change of style and direction, putting the speakers to work with some hard-ass acid- which is refreshing, since I can't remember hearing this shit since, well, the last time I was in Minneapolis. With the exception of a couple of mixes that don't work well for me, this side rocks the chaotic cow. Side one of the second tape is is a nice acid and bass groove sliding in and out acid trance and Miami-induced boombass with and old school tip. Side two continues on with some acid minimalism tracks. This set of tapes really defines what Apollo is all about, but all hints that he is not held to any style. Very nice and recommended for fans of the acid, trance, and the hard hybrids of the two. Contact: 612.871.3120 Ron D. Core MK Ultra- Acid Test 2 (2 tapes) Named after the government's code word for LSD during their tests on the unknowing, this very nicely packaged release from California's Ron D. Core illustrates right on the package what is in store for you- 'A collection of the best acid from 1986 - 1994.' Tape 1- 'In the Beginning' is the true memory inducer while tape 2 'The Next Generation' rehashes the more recent classics. All those tracks that probably grabbed your attention back when you first got into the acid thang are here, like a family album yelling out 'Aceeed!!, Aceeed!!!' This is something to get if you want all your favorite oldies in one place instead of having to hear them as 'the old-school bomb' on DJ 'insert-name-here's new tape. The handy packaging is guarenteed not to break from falling and will keep your tapes surviving throught the next nuclear scare. A must have. Contact:714.967.CORE Stay tuned next issue for Ron D. Core's (and others) 'California Project'- a 24 hour, 16 tape package that will blow your mind and give you the California Connection. MR. BILL (North Carolina) High Time Back in the day we thought that Kentucky was a far out location to go for a party- and upon traveling there we were put in our place. Then we went down to Atlanta, expecting a kickin' scene... but where were we told to go? North Carolina. DJ Mr. Bill, of Greensboro, NC, confirms this rather well, with his newest tape- High Time, a seamless house and acid house tape that struts a happy walk. For a little exposure to what's going on in other realms of raveland, check this guy out. Contact: 910.370.9725 or :[email protected] dj terry mullan new school fusion finally available at these finer stores: chicago • hot jams, gramaphone, & hip house milwaukee • scratch pad, spontaneous, & revolutions st. louis • deep grroves minneapolis • cynesthesia also look out for NEW SCHOOL FUSION VOL. 2 available around New Years 43

INTERSTELLAR Some bullshit about Interstellar Outback I.O. was a three-day campout event in Lexington, Kentucky, thrown the last weekend of August, 1994. It was intended to be free, but in fact both campsites wound up charging the campers. Yes, the first night was a disaster- the state park turned away literally hundreds of people, they were doing anything they could to make us leave. Yes, the second night was incredible, in many ways. I don't feel comfortable reviewing any party having been so close to it, so I'll just quote what someone else used to describe it: "It was simultaneously the absolute best and absolute worst party." If you came, I hope you found it worth your time, travel, and effort. What I'd like to do instead, is just talk about it for a bit. First off, if you didn't think it was worth the trouble, then I can't apologize enough. One guy came from Baltimore and yelled for ten minutes about how a flyer is really a kind of contract between the promoter and the person who picks it up; when you hit the road, you've invested time and energy and when you get to the door you expect what is on that piece of paper to be there. Promoters have to expect things to get totally out of control. And be prepared. That's the job. We apologize for what was wack and hope you dug what wasn't. But the wackiness and the vibe wasn't the significance of the event. If you didn't know about it, a girl died at IO. She injected heroin into her veins and went into cardiac arrest. She was flatlined for 8 minutes; we had an EMT and an RN who worked at an emergency room as our medical staff. They basically saved this girl's life. This is heavy shit: a girl went as close to you can to the edge, and then came back to us. Her skin was literally blue. A group of maybe 40 ravers sat meditating by the dawn, focusing on her coming back. There were 600 people in a circle in the campground, staring. Brain damage is supposed to start around 4 minutes. The girl had none. This was one seriously lucky chick; we were one seriously lucky scene. The connection we felt as the realization hit us was as powerful as the realization itself. It was like an enormous wakeup call, as big a kick in the head as we're going to get without an actual death. Those have happened in England, and look at the resistance the scene there faces: parties are illegal. A law just passed basically meaning more than ten people and amplified bass in one place = everyone there can be thrown in jail. In some regions, their clubs have curfews, for crissakes. Imagine the consequences, the headlines. Like our worst fears that lurk in the background, all coming true. Dramatizations could probably wind up on Cops. So let's think a little.

OUTBACK This mix of people, vibe, and music is incredible. I personally find it the most beautiful thing I've ever experienced- I want to jam it out as loud, show it to all my friends. This whole "scene" schtick is arguably one of the wildest collection of intense, creative folk ever. But is the shit worth a single death? Nope. Whoa. Is the shit worth a single death? The question I had to ask when I saw China there on the ground, was, "Is throwing this rave evil? Does this expose people who can't handle hard drugs to drugs harder than they can handle?" If the answer to the latter is yes, then if we don't do something about it, it looks pretty scary. For example, did you know that if you consume any dairy product during or soon after downing MDMA than you can become incredibly sick? It's some pretty serious neurochemistry. As in, cripplingly painful headaches which can last up to days. Do you even know what an MAO inhibitor is? Pretty scary, with all that milk and cheese lying around in Wisconsin. I'm sure there are people who think that this issue shouldn't be discussed, lest it bring unwanted attention down on the parties. The thing is, we have to get our feces cohesive ourselves before that attention not only falls upon us but becomes justified. If you don't know what a chemical is, and you put it in your body, take a second to consider the implications. Straight up, are you kidding yourself? I've always believed in no regrets- when you do something, do it with a whole mind, without guilt- live it, enjoy it, learn from it. But think about what you're going to do before you do it. It's not a moral judgement, it's a rational one. Whether drugs are evil or not is for someone else to decide. But remember that they can be dangerous. There's a cost/benefit analysis of pleasure and risk. Yeah, you're talking about a lot of fun. That means people are willing to take risks. If people are brought into the scene thinking that, hey, everyone does it, it's an established tradition, then it just keeps snowballing. We all seem to give a damn about each other, and that means we should take care not to screw up everyone else's good time. We may feel like social pioneers when we build an incredible temporary society, but that doesn't mean we have to stupidly risk our lives. So think. Check this out. Do your research; you're a bright bunch. Clue your friends in to what you find out. Yes, these things are built as totally wild peak experiences. But like the plastikman says: just because you like chocolate cake doesn't mean you eat it every day. As always, more thanks than I can possibly express go out to everyone who helped out with IO. It is the massive effort of dozens of people that makes a thing happen - you know who you are. The CD is still available by mailing $11 to: 11510 North May Ave #206, OKC, OK, 73120. Money orders payable to Quinton Fulson. Happy Valentine's Day. j2 is available for communication at <[email protected]> or 606.281.4193. PS. Heroin by any other name is still WACK. CALLING ALL JUNGLIST! DUB SHACK P.O. BOX 8106 WILMETTE, ILLINOIS 60091 USA

artist compilations Theory Collapse 'Pupils of the Universe' This is an 8 song demo from two guys in Ohio. Side One, they warned me, was the side to listen to, while side two was an attempt to emulate gabber and should not even be listened to. Both sides are great though. Side one starts with 'The Cirlcle Earth', a very beautiful upbeat acid trance song. 'Rainsong' takes us through fog and rainforests with samples of a some animal and a catchy keyboard riff. It builds throughout, at a fast but reasonable speed. 'Visra' is a catchy trance and organ track with hints of early eighties pop. The song develops from one thing to the next along these lines, landing in a psychadelic time tunnel. The last song on side one- 'Drift' catches me in a new agey kind of way and I'd probably label it as such if it wasn't for the distinct 140-150 bpm's. Side two's 'Kavorkian' blasts out with a grinding acid rifff leading to doomsday rhythm that pleases the Milwaukee in me. Nowhere as monotonous as gabber, this song builds and builds as a hard acid techno thriller. 'The Powers That B' opens with bellowing bass leading into happy but rockin' tune that would be an adequate soundtrack for the Little Mermaid- if she was a biker. The song develops into another trancey tune with a female vocal sample 'powers of technology'. 'Hyperjump' begins with harder beats, but gradually changes it's ways for a mellower trance song with the utmost danceability. The last song on side two- 'Surviving Mutant' is probably the song they were warning me about- hard fast beats with little graduation from that style. On a whole this whole tape rocks, nearly every song evolves into more than words can describe and I would definatly suggest checking these guys out. Contact: 614.889.5973 or 614.241.6324 Tripper Information Systems 'Monks' A sonic array of caustic tribal reverbs, bass, and dreamscaped samples awaits you in this newest release from Waukegan's own Tripper Information Systems- Jack Tripper, that is- of Three's Company fame. Imagine if you may, that all those indians that sold off manhattan back in the day for a bunch of beads and shit decided they ain't on that shit no more and they's takin' over.... OK, maybe that's not exactly it. Alright, how 'bought those same indians all of a sudden become like, Einsturzende Neubauten freaks and attempt emulating them in the only way they know how...maybe this whole relating it with idians thing is working out... cuz I didn't see one indian at Rustic while the TIS was jamming out. BUT, is this stuff worth checking out- for it's pure novelty of being the one and only... nothing else sounds like this. Side zero- Monks, is the absolute representation of what it would be like if you slipped the pope acid- way out there, with Gregorian chants flying off the handle. When I first listened to this, I swear I fell asleep! Now, this might be a bad point otherwise, especially in a REVIEW, but the point here is, I believe Malcolm, at some point in this song, hit the right button and caused some serious wicked shit to be going on.. Mind you, this man is loose and roaming in public! Side One- Naked, is a journey to the Methadone clinic and getting kidnapped and being sent to the tundra for some serious withdrawal. By now, I bet you're really wondering what drugs I'm on, but I'm not on anything, I swear. I tell you what, if you buy this tape and send us a review describing exactly what comes to mind when you listen to this tape, we will give you a free subscription to Massive. Contact: 708.786.5347 REVOLUTIONS underground music & clothing SPECIALIZING IN: house, techno, trance, breakbeat, hip hop, acid jazz & ambient records & cd's APPAREL BY: third rail, gat, tribal, top 2 bottom, blunt, fathouse, rewind, werner etc. ALSO AVAILABLE: mix tapes, dj accessories, mix mag., can control, urb, street sound, bomb, DMC videos... 524 north WATER st. downtown, milwaukee (414) 347-1141

waterworks good folks. good fun. good hair. 414.256.1379

moonshine is in the mix ACCEPT NO IMITATIONS, MOONSHINE MUSIC IS THE INNOVATOR AND LEADER WITH DJ MIX COMPILATIONS. FEATURING U.S. AND INTERNATIONAL DJS DELIVERING THE MOST UPFRONT DANCE MUSIC AS IT SHOULD BE HEARD. . . IN THE MIX! DJ CULTURE 2 STRESS RECORDS COMPILATION MIXED BY DJs STEVE LORIA & KIMBALL COLLINS JOURNEYS BY DJ PAUL OAKENFOLD MIXED BY DJ PAUL OAKENFOLD DJ CULTURE STRESS RECORDS COMPILATION MIXED BY DJs SASHA & DAVID SEAMAN JOURNEYS BY DJ KEOKI MIXED BY DJ KEOKI DANCE HITS U.K. MIXED BY DJ TALL PAUL NEWMAN JOURNEYS BY DJ DJ DUKE MIXED BY DJ DUKE PSYCHOTRANCE MIXED BY DJ MR. C OF THE SHAMEN moonshine music Moonshine Music • 8391 Beverly Blvd. Los Angeles, CA 90048 • U.S.A. tel: 310.246.0091 fax: 310.246.0092