London Pirate Radio Adverts 1984-1993, Vol. 1
Death Is Not The End
London Pirate Radio Adverts 1984-1993, Vol. 1
Boomkat Product Review:
oh my dayz this is unreal, keeling levels of radio and rave nostalgia with a cherry-picked volley of adverts from London pirate radio 1984-1993 somewhere between Mark Leckey’s Fiorucci Made Me Hardcore, Lee Gamble's 'Diversions' and Sublime Frequencies’ best radio surveys, except focussed much closer to home to capture an era that now seems like an entirely alternate reality.
Scanning the airwaves of a golden era in London history between 1984-1993 when dancehall soundsystem culture fostered the early stirrings and full rush of hardcore, Death Is Not The End turn their beady ear to one of the epicentres of UK rave music with stacks of raggo vignettes advertising everything from Greek salons to school reunions, video shops, datelines, drug helplines, and dances, each set to backdrops of contemporaneous club, rare groove, jungle and house.
As much as anything, the set speaks to London’s inimitable, cultural variegation, charting the myriad voices and flavours that make up the city’s stylistic mosaic, and would go on to deeply inform British pop and dance culture for decades to come. It’s as thrilling as Sublime Frequencies’ best radio surveys, but with an extra layer of familiarity for UK listeners, not just those who lived thru that era, but anyone who had the radio crackling as ambient wallpaper during that era. Unfortunately I can only recall RTE or jingles for South Cleveland Garages on radio from this era in our gaff, but if you allow for some vicarious nostalgia, this tape documents a rich slice of the collective cultural memory that we’ve all come to share.
Incredible.
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Boomkat Product Review:
oh my dayz this is unreal, keeling levels of radio and rave nostalgia with a cherry-picked volley of adverts from London pirate radio 1984-1993 somewhere between Mark Leckey’s Fiorucci Made Me Hardcore, Lee Gamble's 'Diversions' and Sublime Frequencies’ best radio surveys, except focussed much closer to home to capture an era that now seems like an entirely alternate reality.
Scanning the airwaves of a golden era in London history between 1984-1993 when dancehall soundsystem culture fostered the early stirrings and full rush of hardcore, Death Is Not The End turn their beady ear to one of the epicentres of UK rave music with stacks of raggo vignettes advertising everything from Greek salons to school reunions, video shops, datelines, drug helplines, and dances, each set to backdrops of contemporaneous club, rare groove, jungle and house.
As much as anything, the set speaks to London’s inimitable, cultural variegation, charting the myriad voices and flavours that make up the city’s stylistic mosaic, and would go on to deeply inform British pop and dance culture for decades to come. It’s as thrilling as Sublime Frequencies’ best radio surveys, but with an extra layer of familiarity for UK listeners, not just those who lived thru that era, but anyone who had the radio crackling as ambient wallpaper during that era. Unfortunately I can only recall RTE or jingles for South Cleveland Garages on radio from this era in our gaff, but if you allow for some vicarious nostalgia, this tape documents a rich slice of the collective cultural memory that we’ve all come to share.
Incredible.
Boomkat Product Review:
oh my dayz this is unreal, keeling levels of radio and rave nostalgia with a cherry-picked volley of adverts from London pirate radio 1984-1993 somewhere between Mark Leckey’s Fiorucci Made Me Hardcore, Lee Gamble's 'Diversions' and Sublime Frequencies’ best radio surveys, except focussed much closer to home to capture an era that now seems like an entirely alternate reality.
Scanning the airwaves of a golden era in London history between 1984-1993 when dancehall soundsystem culture fostered the early stirrings and full rush of hardcore, Death Is Not The End turn their beady ear to one of the epicentres of UK rave music with stacks of raggo vignettes advertising everything from Greek salons to school reunions, video shops, datelines, drug helplines, and dances, each set to backdrops of contemporaneous club, rare groove, jungle and house.
As much as anything, the set speaks to London’s inimitable, cultural variegation, charting the myriad voices and flavours that make up the city’s stylistic mosaic, and would go on to deeply inform British pop and dance culture for decades to come. It’s as thrilling as Sublime Frequencies’ best radio surveys, but with an extra layer of familiarity for UK listeners, not just those who lived thru that era, but anyone who had the radio crackling as ambient wallpaper during that era. Unfortunately I can only recall RTE or jingles for South Cleveland Garages on radio from this era in our gaff, but if you allow for some vicarious nostalgia, this tape documents a rich slice of the collective cultural memory that we’ve all come to share.
Incredible.
Boomkat Product Review:
oh my dayz this is unreal, keeling levels of radio and rave nostalgia with a cherry-picked volley of adverts from London pirate radio 1984-1993 somewhere between Mark Leckey’s Fiorucci Made Me Hardcore, Lee Gamble's 'Diversions' and Sublime Frequencies’ best radio surveys, except focussed much closer to home to capture an era that now seems like an entirely alternate reality.
Scanning the airwaves of a golden era in London history between 1984-1993 when dancehall soundsystem culture fostered the early stirrings and full rush of hardcore, Death Is Not The End turn their beady ear to one of the epicentres of UK rave music with stacks of raggo vignettes advertising everything from Greek salons to school reunions, video shops, datelines, drug helplines, and dances, each set to backdrops of contemporaneous club, rare groove, jungle and house.
As much as anything, the set speaks to London’s inimitable, cultural variegation, charting the myriad voices and flavours that make up the city’s stylistic mosaic, and would go on to deeply inform British pop and dance culture for decades to come. It’s as thrilling as Sublime Frequencies’ best radio surveys, but with an extra layer of familiarity for UK listeners, not just those who lived thru that era, but anyone who had the radio crackling as ambient wallpaper during that era. Unfortunately I can only recall RTE or jingles for South Cleveland Garages on radio from this era in our gaff, but if you allow for some vicarious nostalgia, this tape documents a rich slice of the collective cultural memory that we’ve all come to share.
Incredible.
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Boomkat Product Review:
oh my dayz this is unreal, keeling levels of radio and rave nostalgia with a cherry-picked volley of adverts from London pirate radio 1984-1993 somewhere between Mark Leckey’s Fiorucci Made Me Hardcore, Lee Gamble's 'Diversions' and Sublime Frequencies’ best radio surveys, except focussed much closer to home to capture an era that now seems like an entirely alternate reality.
Scanning the airwaves of a golden era in London history between 1984-1993 when dancehall soundsystem culture fostered the early stirrings and full rush of hardcore, Death Is Not The End turn their beady ear to one of the epicentres of UK rave music with stacks of raggo vignettes advertising everything from Greek salons to school reunions, video shops, datelines, drug helplines, and dances, each set to backdrops of contemporaneous club, rare groove, jungle and house.
As much as anything, the set speaks to London’s inimitable, cultural variegation, charting the myriad voices and flavours that make up the city’s stylistic mosaic, and would go on to deeply inform British pop and dance culture for decades to come. It’s as thrilling as Sublime Frequencies’ best radio surveys, but with an extra layer of familiarity for UK listeners, not just those who lived thru that era, but anyone who had the radio crackling as ambient wallpaper during that era. Unfortunately I can only recall RTE or jingles for South Cleveland Garages on radio from this era in our gaff, but if you allow for some vicarious nostalgia, this tape documents a rich slice of the collective cultural memory that we’ve all come to share.
Incredible.
Back in stock.
Out of Stock
Boomkat Product Review:
oh my dayz this is unreal, keeling levels of radio and rave nostalgia with a cherry-picked volley of adverts from London pirate radio 1984-1993 somewhere between Mark Leckey’s Fiorucci Made Me Hardcore, Lee Gamble's 'Diversions' and Sublime Frequencies’ best radio surveys, except focussed much closer to home to capture an era that now seems like an entirely alternate reality.
Scanning the airwaves of a golden era in London history between 1984-1993 when dancehall soundsystem culture fostered the early stirrings and full rush of hardcore, Death Is Not The End turn their beady ear to one of the epicentres of UK rave music with stacks of raggo vignettes advertising everything from Greek salons to school reunions, video shops, datelines, drug helplines, and dances, each set to backdrops of contemporaneous club, rare groove, jungle and house.
As much as anything, the set speaks to London’s inimitable, cultural variegation, charting the myriad voices and flavours that make up the city’s stylistic mosaic, and would go on to deeply inform British pop and dance culture for decades to come. It’s as thrilling as Sublime Frequencies’ best radio surveys, but with an extra layer of familiarity for UK listeners, not just those who lived thru that era, but anyone who had the radio crackling as ambient wallpaper during that era. Unfortunately I can only recall RTE or jingles for South Cleveland Garages on radio from this era in our gaff, but if you allow for some vicarious nostalgia, this tape documents a rich slice of the collective cultural memory that we’ve all come to share.
Incredible.
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