Pause for the Cause: London Rave Adverts 1991-1996, Vol. 1
Another enthralling and nostalgic time capsule from the Death is Not the End crew, this time collecting rave ads from the era's nexus., 1991 - 1996.
Picking up just about where the "London Pirate Radio Adverts" comps left off, "London Rave Adverts" focuses specifically on pirate radio rave stings, described by Simon Reynolds in the liners as "the audio equivalent of a rave flyer". And while none of us were plastering our walls with shoutouts (or making tapes of 'em), he's right that there's a similar rush of nostalgia hearing gravel-voiced MCs shouting out DJs like Grooverider and Mickey Finn over shortwave-corrupted amens and canned piano.
Each ad is like a tiny echo of an era that's been so heavily mythologized by this point that it's almost entirely lost its connection to tangible history: voices are timestretched into robotic dipper wails or splattered into reverberating shimmers, euphoric fuzzed pads and wobbly subs are spliced with chipper cockney banter, sandwiched between radio static and breaks.
Ignore the tidal wave of regurgitated poshnob polite-n-bass rave flatcap-to-fitted doof, this'll remind you of a time when the genre represented change, independence, hope, and genuine progression.
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Another enthralling and nostalgic time capsule from the Death is Not the End crew, this time collecting rave ads from the era's nexus., 1991 - 1996.
Picking up just about where the "London Pirate Radio Adverts" comps left off, "London Rave Adverts" focuses specifically on pirate radio rave stings, described by Simon Reynolds in the liners as "the audio equivalent of a rave flyer". And while none of us were plastering our walls with shoutouts (or making tapes of 'em), he's right that there's a similar rush of nostalgia hearing gravel-voiced MCs shouting out DJs like Grooverider and Mickey Finn over shortwave-corrupted amens and canned piano.
Each ad is like a tiny echo of an era that's been so heavily mythologized by this point that it's almost entirely lost its connection to tangible history: voices are timestretched into robotic dipper wails or splattered into reverberating shimmers, euphoric fuzzed pads and wobbly subs are spliced with chipper cockney banter, sandwiched between radio static and breaks.
Ignore the tidal wave of regurgitated poshnob polite-n-bass rave flatcap-to-fitted doof, this'll remind you of a time when the genre represented change, independence, hope, and genuine progression.
Another enthralling and nostalgic time capsule from the Death is Not the End crew, this time collecting rave ads from the era's nexus., 1991 - 1996.
Picking up just about where the "London Pirate Radio Adverts" comps left off, "London Rave Adverts" focuses specifically on pirate radio rave stings, described by Simon Reynolds in the liners as "the audio equivalent of a rave flyer". And while none of us were plastering our walls with shoutouts (or making tapes of 'em), he's right that there's a similar rush of nostalgia hearing gravel-voiced MCs shouting out DJs like Grooverider and Mickey Finn over shortwave-corrupted amens and canned piano.
Each ad is like a tiny echo of an era that's been so heavily mythologized by this point that it's almost entirely lost its connection to tangible history: voices are timestretched into robotic dipper wails or splattered into reverberating shimmers, euphoric fuzzed pads and wobbly subs are spliced with chipper cockney banter, sandwiched between radio static and breaks.
Ignore the tidal wave of regurgitated poshnob polite-n-bass rave flatcap-to-fitted doof, this'll remind you of a time when the genre represented change, independence, hope, and genuine progression.
Another enthralling and nostalgic time capsule from the Death is Not the End crew, this time collecting rave ads from the era's nexus., 1991 - 1996.
Picking up just about where the "London Pirate Radio Adverts" comps left off, "London Rave Adverts" focuses specifically on pirate radio rave stings, described by Simon Reynolds in the liners as "the audio equivalent of a rave flyer". And while none of us were plastering our walls with shoutouts (or making tapes of 'em), he's right that there's a similar rush of nostalgia hearing gravel-voiced MCs shouting out DJs like Grooverider and Mickey Finn over shortwave-corrupted amens and canned piano.
Each ad is like a tiny echo of an era that's been so heavily mythologized by this point that it's almost entirely lost its connection to tangible history: voices are timestretched into robotic dipper wails or splattered into reverberating shimmers, euphoric fuzzed pads and wobbly subs are spliced with chipper cockney banter, sandwiched between radio static and breaks.
Ignore the tidal wave of regurgitated poshnob polite-n-bass rave flatcap-to-fitted doof, this'll remind you of a time when the genre represented change, independence, hope, and genuine progression.
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Another enthralling and nostalgic time capsule from the Death is Not the End crew, this time collecting rave ads from the era's nexus., 1991 - 1996.
Picking up just about where the "London Pirate Radio Adverts" comps left off, "London Rave Adverts" focuses specifically on pirate radio rave stings, described by Simon Reynolds in the liners as "the audio equivalent of a rave flyer". And while none of us were plastering our walls with shoutouts (or making tapes of 'em), he's right that there's a similar rush of nostalgia hearing gravel-voiced MCs shouting out DJs like Grooverider and Mickey Finn over shortwave-corrupted amens and canned piano.
Each ad is like a tiny echo of an era that's been so heavily mythologized by this point that it's almost entirely lost its connection to tangible history: voices are timestretched into robotic dipper wails or splattered into reverberating shimmers, euphoric fuzzed pads and wobbly subs are spliced with chipper cockney banter, sandwiched between radio static and breaks.
Ignore the tidal wave of regurgitated poshnob polite-n-bass rave flatcap-to-fitted doof, this'll remind you of a time when the genre represented change, independence, hope, and genuine progression.
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Another enthralling and nostalgic time capsule from the Death is Not the End crew, this time collecting rave ads from the era's nexus., 1991 - 1996.
Picking up just about where the "London Pirate Radio Adverts" comps left off, "London Rave Adverts" focuses specifically on pirate radio rave stings, described by Simon Reynolds in the liners as "the audio equivalent of a rave flyer". And while none of us were plastering our walls with shoutouts (or making tapes of 'em), he's right that there's a similar rush of nostalgia hearing gravel-voiced MCs shouting out DJs like Grooverider and Mickey Finn over shortwave-corrupted amens and canned piano.
Each ad is like a tiny echo of an era that's been so heavily mythologized by this point that it's almost entirely lost its connection to tangible history: voices are timestretched into robotic dipper wails or splattered into reverberating shimmers, euphoric fuzzed pads and wobbly subs are spliced with chipper cockney banter, sandwiched between radio static and breaks.
Ignore the tidal wave of regurgitated poshnob polite-n-bass rave flatcap-to-fitted doof, this'll remind you of a time when the genre represented change, independence, hope, and genuine progression.