The CORE: Issue 62 – January 6, 1993

As 1993 dawned, Adelaide’s dance music community found itself in the midst of a vibrant and rapidly evolving scene. The new year kicked off with a flurry of activity, headlined by major international tours from UK pioneers, the launch of ambitious new club nights, and a thriving circuit of local parties and DJs pushing the sonic boundaries of the city.

Major Events Launching the New Year

The start of 1993 in Adelaide was marked by a series of highly anticipated, large-scale raves and club launches that promised to set the tone for the year ahead. These events showcased a powerful combination of top-tier international acts making their way to South Australia, supported by the city’s own formidable roster of local DJ talent.

The X-perience 2 Tour

Set to be what many predicted would be “the first big event of ’93,” the X-perience 2 tour was scheduled to descend on Adelaide on Thursday, January 7th. The event boasted an immense lineup of international and local artists, featuring:

• Dream Frequency
• The Prodigy
• Sasha
• Paul Oakenfold
• Groove Terminator (G.T.)
• Hugh-Z
• Brendon
• James Ingram
• M.C. Scott T

The venue for this massive gathering was Heaven, The New Club at the Newmarket Hotel (7 West Terrace), with tickets priced at $20. The first X-perience event established Heaven as a “ripper rave venue,” praised for its impressive lighting rig. That initial party featured strong performances from The Prodigy’s MC Maxim Reality and dancers Reef and Leroy, alongside a set from DJ Paul Oakenfold. However, it wasn’t without its hitches; headliner Sasha’s set reportedly failed to move the crowd, and the advertised appearance by house legend Frankie Knuckles never materialized, leading many to depart after The Prodigy’s performance. With a refined lineup, expectations were high that X-perience 2 would deliver on its significant promise.

Inquest: Gaol House Rock Rave

Adelaide’s first major homegrown rave for 1993, Inquest, was slated for Saturday, January 9th, at the highly unconventional venue of the Old Adelaide Gaol. Promoted by Instantaneous Productions, the event aimed for a unique “fairground” atmosphere. According to “P” from the promotion team, attendees could expect a car bash, a licensed bar, and even an “art cell block” to explore.

The DJ lineup featured a mix of local mainstays and an international guest:

• Groove Terminator
• Brendon
• The System AD
• MPK
• DJ 2120 (from Detroit)

With tickets priced at $18, “P” confidently predicted the event would be a complete sellout.

Progressive House Debuts at ‘Zoom’

Also on Saturday, January 9th, LTL Vision launched Zoom, a new weekly night dedicated to the burgeoning sound of progressive house. Held at The Zoo, the grand opening was headlined by a special international guest, Kevin Hurry from the influential UK dance act d.o.p.

He was supported by a deep lineup of local and interstate talent, including:

• DJ BJSB (from Melbourne)
• Malcolm Russell
• DJ HMC
• DJ EJB
• Mark Kavan lately
• Code One
• Glacia

The international talent headlining these events brought with them not just new sounds, but also sharp perspectives on a global scene in flux.

International Headliners in Focus

The arrival of prominent UK artists like d.o.p. and Sasha in Adelaide was more than just an opportunity to hear new music; it was a chance for the local scene to connect with the epicentre of the global rave movement. Their interviews provided a candid and sometimes critical look at the evolution of dance culture, reflecting on its rapid commercialization and the challenges of staying true to its underground roots.

d.o.p: The ‘Balearic Pop’ Duo

London-based duo d.o.p., comprised of the “pair of Kevins” – Kevin Hurry and Kevin Swain – were central figures in the UK scene through their releases on the influential Guerilla Records label. Friends since school, their musical journey was shaped by 80s electro, funk, and the first waves of house music, with Hurry having been a DJ since 1987.

Touring Australia for the Zoom launch, Hurry offered a stark critique of the contemporary UK scene. “Raves are killing themselves,” he stated, expressing concern over the commercialization that was diluting the culture. He noted that the underground, which was strong just six months prior, was now becoming “quite popular,” leading to a loss of the very exclusivity and intimacy that defined it.

The duo describes their own musical style as “Balearic Pop“—a sound rooted in the eclectic, sun-drenched club sounds of Ibiza. It is defined by “simple keyboard riffs, arcing basslines, spacey simple keyboard effects, and distinctly 80’s electro pop sounds,” citing artists like The Human League as an influence.

Key Releases:

• The Nino Retini (their first record)
• Dance For Thought
• Future Le Funk (The First)
• Here I Am (reached number two on the UK Club charts)
• Sorry (a remix of a Paul Reard classic, due for release in early 1993)

Their double album, Musicians of The Mind, was available locally through Mushroom Distribution Services, ahead of their performance at the Zoom launch party on Saturday, January 9th.

Sasha: A Critical View on the UK Rave Scene

Another key figure from the UK, DJ Sasha, was in town for the X-perience 2 tour and shared a similarly critical perspective on the state of the UK rave scene. He described a shift towards a younger, less engaged audience and a more hostile environment.

“It’s all aggressive atmosphere. We now have bouncers escorting school kids to police to counter the obvious drug problem,” he explained. In his view, the scene had become dominated by a crowd that “isn’t actually into the music.”

In response, Sasha cultivated a professional approach that set him apart. He noted that he has “always gone against the grain,” preferring to play longer sets in smaller, more intimate clubs. His sets were known for incorporating harder, faster, mono-melodic garage tracks, and he was unafraid to be eclectic, having once famously dropped a Whitney Houston track. His first single, Appolonia, recorded under the alias B.M.EX, was scheduled for release on January 7th to coincide with his Adelaide appearance.

While these international perspectives provided a global context, the heart of Adelaide’s scene remained its dedicated local DJs, clubs, and passionate followers.

The Adelaide Scene: Voices and Venues

Beneath the banner of major international tours, Adelaide’s local scene pulsed with its own distinct energy. From the unfiltered opinions of its working DJs to the comprehensive array of weekly club nights, the city offered a diverse landscape for dance music enthusiasts.

A Local Perspective: DJ Johnnie Kum Lately

John Kennaghan, a 25-year-old DJ known as DJ JK or Johnnie Kum Lately, offered a candid and somewhat disillusioned view from behind the decks. As an employee at Central Station Records and the resident DJ at Cargo on Wednesdays, Kennaghan was deeply embedded in the scene but felt constrained by its prevailing trends.

He described the Adelaide dance scene as “narrow-minded,” criticizing a dominant rave mentality. “If it’s not 150 bpms and it’s not a rave… they don’t wanna know,” he explained. This local frustration with a singular focus on harder rave sounds mirrored, in a way, the critiques from his international counterparts; while Sasha and d.o.p. saw the UK scene becoming overly commercialized and aggressive, Kennaghan saw Adelaide’s scene as resistant to the musical diversity he championed. His passion lay with garage, jazz, and acid jazz, defining his preferred style of garage as music with “nice vocals, 120 bpms and very repetitive.“

His critique extended to the very sounds being imported from overseas. “I can’t go out to Le Rox and I can’t go out to places that are playing that stuff,” he said, adding a blunt assessment of UK trends: “English breakbeat rave I can’t stand.“

Weekly Club Guide: January 1993

For those looking to dive into the scene, Adelaide in January 1993 offered a packed weekly schedule of club nights catering to a wide range of tastes.

Thursdays

• Accelerate @ Banning Dock (Gawler): DJs MPK, HMC, and guests
• The Ark: DJs ATB, Glacia, and Madness
• Le Rox: DJ Mark Aston and live bands
• MCM: ‘Rage Night’ with music giveaways and dollar drink specials
• Roundhouse Bar: DJ Michael Jacques
• Rush: At 171 Hindley Street
• The Zoo: DJs Hugh-Z, HMC, Nigel, and guests

Fridays

• Bels: DJs ATB, Brendon, X-Citement, Hugh-Z, and MC Rhyme D
• Disco: ‘Thank God It’s Friday’ with DJs Major Move and Angelo; ‘Boogie Wonderland’ with Groove Terminator
• Le Cornu Showroom: DJs James Ingram and Steve Chivell
• Le Rox: DJs Mike Cosmit, David Collins, and Nigel
• McManly’s Tonsley: DJs Gary, James, and Ray
• MCM: ‘Dollar 2 Dance’
• The Zoo: DJs Phil and Anthony

Saturdays

• The Ark: DJ ATB
• Club Caligula: DJ Steve Chivell
• Club Colosseum: ‘Back Night’ with DJ Steve Chivell
• Disco: ‘Fever’ with DJ Groove Terminator and MC
• Essence: ‘Experiments in House’ at 171 Hindley Street
• Heaven: DJs James Ingram, X-Citement, HMC, Hugh-Z, Groove Terminator, Brendon, Angus R, and MC Scott T
• Inquest @ Old Adelaide Gaol: Special event on Jan 9th with DJs Groove Terminator, Brendon, The System AD, MPK, and DJ 2120
• Le Rox: ‘Retro Rave ’92’ & ‘Choice Tunes ’93’ with DJs X-Citement, Nigel, Gary Hughes, PhD, and MC Dee
• Lysicon: DJ Con Press and MC Kondor
• McManly’s Tonsley: DJs Gary, James, and Ray
• The Zoo: DJs HMC, Hugh-Z, Phil and Anthony, Smooth Groover-Bar (DJs Andrew and Joe)
• Zoom @ The Zoo: Grand opening on Jan 9th with Kevin Hurry (d.o.p) and a massive local support lineup

Sundays

• Bounce @ The Venue: DJs Prevision, SFX, EJB, SR/R, E Smurf, and guests
• Disco: ‘Weekend’ with DJ Groove Terminator and Nigel

Mondays

• Phreedom @ Le Rox: Featuring The Eclectic Collective

Tuesdays

• Astor Hotel: ‘Essential Dance’ with DJ The Vortex
• Disco: ‘Inferno’ with DJs Deluxe and Major Move

Wednesdays

• Austral: ‘Groovy’N’Funk Tunes’
• Cargo Club: Resident DJ JK
• Club Luna: DJs Mark and C Diamond
• Le Rox: DJ Mark Aston and live bands
• Lysicon: DJ Nigel
• Transformers: Funk Station

As the new year’s events got underway, clubbers were also taking stock of the massive parties that had just capped off 1992.

Reviewing the Year’s End Festivities

As January 1993 began, reflections on the holiday season’s biggest events were still fresh in the minds of Adelaide’s partygoers. The New Year’s Eve celebrations, in particular, offered two distinct, large-scale experiences that showcased the health and diversity of the local scene.

Liquid at Le Rox (New Year’s Eve)

Billed as the “final major rave for ’92,” Liquid at Le Rox was a resounding success. The event was praised for being exceptionally well-organized, with minimal queues allowing for smooth entry. The Liquid DJs delivered “excellent” and “energetic” sets that kept the energy high throughout the night.

As the evening progressed, the crowd grew more intense, amplified by spectacular laser and lighting displays. Not all elements hit the mark; the “Laser Chamber was not, very hot!” and the “Therapy Drum Room was a mess of fluro paint with big speakers,” creating a chaotic, sensory-overload experience. Despite this, the overall atmosphere was electric, with around 1500 people packing the venue while an additional 400 were seen relaxing in the good atmosphere of Light Square nearby.

Encore at Metro (New Year’s Eve)

At the Metro, the Encore party offered a different vibe, with DJs spinning a high-energy mix of ’70s disco, soul, and funk. The “highlight” of the night was a performance by local act Juice, featuring new member Puddin. Their “faster drum’n’bass remix of Life Support System” was singled out for particular praise.

The event’s production was top-notch, with lighting designer Sam Hopkins enhancing the atmosphere and a live video mix by Bubba G. Sauzak complementing the music. The party demonstrated serious staying power; although the bar closed at 7 am, the music continued for the 400 dedicated patrons still on the dancefloor.

Other Holiday Parties

Several other events over the Christmas and New Year period also drew positive reviews:

• Trilogy (Unlicensed): Held on December 19, this riverside party was lauded for its good crowd, strong DJ selection, and a unique “real nature trip” vibe.
• Miller’s A Vague Star – Too: This Christmas Eve party at The Zoo drew over 300 people. Despite some “messy accounts,” the event was remembered for its great vibe.
• The Zoo Xmas Party: On Christmas night, The Zoo was reportedly “pumping” with a large, enthusiastic crowd.
• The Ark Rave Club: A regular night at The Ark saw a slightly larger-than-usual crowd of around 200 people by 1:30 am, enjoying sets from DJs Brendon, ATB, and Glacia.

Music Charts and Industry News

The sounds and trends of the Adelaide scene were deeply connected to the wider music world. The weekly charts, industry awards, and global news provided a snapshot of the tracks, labels, and artists shaping the culture at the beginning of 1993.

This Week’s Charts

TC’s HYPE TEN

1. Subculture – Dreams
2. Masters At Work – Gonna Get Back To You
3. Radical Nomads – La Da Dance
4. Piclce – Mission I
5. Drum Club – Alchemy
6. Snafu – Entertimate
7. Vibe Alive – Spirit In Me
8. Clementine EP
9. Plastic Solution EP
10. Vortex – Industrial Barrage EP

Top 10 Soul Albums

1. Wreckx ‘N’ Effect – Hard Or Smooth
2. Pharcyde – Bizarre Ride II
3. Charlie Moore – Precious
4. Various – New Jack Swing 2
5. Ice Cube – Predator
6. Paris – Sleeping With The Enemy
7. Stephanie Mills – Something Real
8. Shabba Ranks – Xtra Naked
9. Positive K – Skills That Pay Da Bills
10. Mary J Blige – What’s the 411

Industry Commentary and News

• DMC Awards 1992: Key winners from the prestigious DMC Awards included Michael Jackson (Best International Male Artist), Ce Ce Peniston (Best International Female Artist), Clivilles & Cole (Best International Producer), and XL Recordings (Best International Record Label). In the genre categories, Kylie Minogue’s “Love At First Sight” was named Best House Record, while Future Sound of London’s “Papua New Guinea” won Best Techno Record.
• Australian Artists in UK Charts: Australian dance music was making waves internationally. Ground Level’s track “Dearee Of Heaven” climbed to number 6 on DJ magazine’s UK hype chart, while Sydney duo Itch-E & Scratch-E’s “Impact” sat at number 53.
• Critique of Major Labels: There was sharp criticism directed at major labels like BMG’s Arista, which were accused of focusing on image over musical substance and creating “genetically produced” acts that lacked authenticity.
• Scene News: The San Francisco rave scene was reportedly in decline. On a more positive note, Sydney DJ Sugar Ray made his vinyl debut with the track “Reach,” and a visit to Adelaide from renowned UK DJ Carl Cox was announced as “coming soon.”
• Rap News: In Germany, non-German rap artists like Serious Posse were speaking out against the rise of neo-Nazism and racism. Meanwhile, the scene in France saw the emergence of a four-year-old rapper named Jordee.

Culture and Community

Beyond the dancefloors and DJ booths, the scene was supported by a culture that included film, fashion, and a strong sense of community voice, allowing participants to share opinions and celebrate their collective favourites.

The Core’s Favourite Films of ’92

Film reviewer Jinky shared a list of the publication’s top films from the previous year, reflecting the eclectic and often arthouse tastes of the culture. The diverse list included:

• Naked Lunch
• Romper Stomper
• Delicatessen
• Strictly Ballroom
• Bram Stoker’s Dracula

Community Voice

A reader correspondence section provided a platform for community members to voice their opinions on everything from hair styles to their holiday rave experiences. Looking ahead, the magazine put out a call for readers to submit their own “Best of ’92” lists, seeking nominations for the Top Five Raves, Top Five DJs, and Top Five Dance Tracks of the year. The results were promised for an upcoming edition, ensuring the community itself would have the final word on the year that was.