The CORE: Issue 81 – May 19, 1993

In the vibrant cultural landscape of mid-May 1993, Adelaide’s music scene was a hotbed of creative energy and competition. The city celebrated the crowning of new home-grown DJ champions while its clubs, warehouses, and bars pulsed with a diverse array of electronic sounds, signaling a community in the midst of dynamic growth and transformation.

Home Grown Champions: The 1993 South Australian DMC Finals

The Disco Mix Club (DMC) Championship stood as the annual proving ground where reputations were forged on two turntables. A premier global platform for DJ talent, its regional finals were a crucial crucible that shaped local scenes and launched careers. In 1993, the South Australian finals showcased the evolution of the craft, crowning the team of Brendon, Angu$, and MC Dee—collectively known as Home Grown—as the state’s new champions. They were followed by the 1992 champion Hob G in second place and Underdogz in third.

The competition was judged on a combination of originality, technique, presentation, and, crucially, crowd response. A rule change from four years prior reflected the changing technology and aesthetics of the era, allowing competitors to use extra hardware beyond the standard two-turntable setup, though a high degree of showmanship remained essential.

Analyzing the Performances

The night’s performances highlighted the diverse approaches to the art of DJing:

• Hob G, the reigning 1992 SA Champion, delivered a technically proficient set using a traditional two-deck setup. His performance began with a flourish of “balletic hi-hats,” demonstrating a crisp and classic style.
• The winning team, Home Grown (Brendon, Angu$, and MC Dee), took the stage with a powerful combination of “full home turntable technique,” deep mixing experience, and a commanding stage presence driven by the full rhythm of MC Dee.
• DJ Code One, assisted by PMA and Cool Mat, pushed the technical boundaries with a four-deck arrangement. His ambitious set even incorporated a drum kit borrowed from the band Bliss, demonstrating a creative fusion of live and electronic elements.
• The final act of the competition featured a formidable lineup that included Angu$ (on his second run of the night) delivering “dope beats,” a “ragamuffin rap from Mad Cap,” and the impressive turntable technique of Ruf.Dk.Hick.

This shift in performance style was a direct reflection of the music itself. As one observer noted, “The whole dance music scene has changed in the last three or four years… Dance music is now based on hip-hop, funk and samples and things, so that’s what we’re about now. We want to see people up on stage doing their own mix.”

Prizes and Future Glory

The champions were rewarded with a suite of prizes befitting their new status:

• 1st (Home Grown): $500 cash, a return trip to Sydney for the Australian DMC Final in October, and custom DMC leather jackets embroidered with their names.
• 2nd (Hob G): A DMC record night case and a DMC leather jacket.
• 3rd (Underdogz): A $100 voucher from Central Station Records and a $100 Analog Live Quest encouragement award.

The national final was scheduled to be part of the Australian Music Convention in Sydney on the weekend of October 2nd-3rd. The scale of the global competition was immense, with an estimated fifteen thousand DJs from 33 countries entering the DMC that year. This victory placed Adelaide’s finest on a path to the world stage, their skills honed in the city’s thriving after-dark venues.

Adelaide After Dark: A Guide to Club Nights in May 1993

Beyond the competitive stage, Adelaide’s nightlife in May 1993 was a sprawling, tribal ecosystem of sound and energy. Every night of the week, a diverse range of clubs and one-off events catered to specific tastes, from packed dance halls pushing the latest house and techno to intimate lounges dedicated to funk, soul, and R&B. This was the landscape where the culture was lived.

The Ark and Fridays at the Ark

• Fridays at the Ark: A cornerstone of the week, featuring DJs ATB, Brendon, MPK, and Karrna, with MC Tim on the mic. From 9-11pm, specials included $1 Tequila & Beer and $3 Champagne.
• Saturday 22nd: The weekend continued with DJs ATB and Madii.

Dance On Club

• Friday 21st: The lineup mirrored The Ark’s, with DJs ATB, Brendon, MPK, and Karrna.
• Saturday 22nd: DJs ATB and Madii took to the decks.

Synagogue

Located at 9 Synagogue Place, this venue was a hub for both electronic and live music.

• Thursday 20th, “Underground Solution”: Presented with The Carrot Squad, this night featured DJs HMC and D’voov playing deep underground sounds from 10pm for a $5 entry fee.
• Friday 21st: The venue hosted a dual-threat night, with DJs Brendon, MPK, and Karrna supplying the beats while live bands Caligula and Bliss took to the stage. The Strange were billed as “coming soon.”
• Saturday, “Intense”: Featured DJs Brendon, MPK, and E-ZEE-G, with a $7 entry that included the first drink.

The Astor

• Thursday 20th: Kicked off the weekend with DJs Gizmo and JK.
• Friday 21st, “Phunky Phresh”: An LL Cool J promo night with giveaways of his new release “How I’m Comin’”. The night featured happy hour from 8-9pm and music from DJ Nigel and MC Quromystix, with promises of upcoming tracks from Arrested Development, Dr Dre, and A Tribe Called Quest.
• Sunday 23rd: DJ Mark Aston spun tunes from artists like Stanking Sun and Public Enemy.
• Tuesday 25th: The week continued with DJs Timelord, North, and Obi.

Heaven

A club night at the Newmarket Hotel, Heaven was a popular weekend destination. On a recent Saturday, the main room was packed with a well-dressed crowd for the main attraction, Vicious D & Vlad, while DJ Tronic held down the techno downstairs.

Other Venues and Nights

• Krush Klub: Billed as Adelaide’s premier Soul, Funk, and R&B dance venue, located at Margaux’s in the Adelaide Hilton. It ran on Sunday nights from 9pm till late, with free entry before 9:30pm.
• Sound Unlimited: DJ Vlad was noted for playing a solid R&B and soul set here in the past week.
• Le Rox: Hosted “Unity” on Saturday with DMC champions Brendon and Angu$, alongside Madii. Another night, “Primary,” featured Brendon, E-Zee-G and MPK.
• C&B at The Astor: This Wednesday night affair was themed “Past – Present – Future – Beyond” and featured DJs DA & Bigfoot.
• Mistress Sirena’s Pleasure Palace: A one-off “Night of Debauchery” that took place on Sunday, May 16th, featuring Mistress Claudia & Gavin.
• Charlton’s Pool Hall: On Wednesdays, DJ HMC hosted a night dedicated to new and underground music, providing a space for sonic exploration.

This established network of venues provided a foundation for the scene, but new ventures were constantly emerging to push the boundaries further.

New Horizons: Upcoming Events and Venue Launches

The Adelaide dance scene in 1993 was anything but static. The constant announcement of new club nights, large-scale parties, and dedicated venues was evidence of a culture that was expanding with confidence, innovating its sound and spaces for an audience hungry for new experiences.

S.T.A.T.E. of Dance: A New Club for Richmond

A major new club, S.T.A.T.E., was announced for the old Metro premises at the Richmond Hotel on Rundle Mall.

• Opening: The official launch was set for Saturday, June 5, 1993.
• Concept: The club promised “State of Art Sound & Lighting” and ran under the motto “Dress to X.S.”
• Music: Resident DJs U-Z-I and Nigel, joined by guests each Saturday, were set to play a broad format of dance music, aiming to avoid being “hard all night long.” The club was officially supported by the Dance 100 radio station.

Release: A Warehouse Party Experience

Scheduled for Saturday, May 29th, the “Release” party promised a massive all-night warehouse experience from 9pm to 7am.

• The Nitty Gritty Room: The lineup was a who’s who of Adelaide’s top talent, featuring Groove Terminator, HMC, UZI, Brendon, Nigel, and MPK.
• Live Performance: The event also included a live show from M.C. Ragga Toaster, Duckie, and Maestro. D.
• Production: Organizers promised a huge sensory experience with Pro’s & B’s Wall of Sound by P.M.B., Adelaide’s largest intelligent lighting rig, and an innovative centre stage dance floor layout.
• Tickets & Venue: Tickets were available from Central Station Records and All Brachs Stores. The location was the Vision Warehouse at 20 Adams St, Hindmarsh.

Other Premieres and Preparations

• Instantaneous Productions at Discovery: This new Thursday night event had already been running for over a month, building a dedicated following. It featured the 3-time DMC Champion duo Brendon and Angu$, alongside MPK, Gyst, and Piia.
• Hip Hop at Tuned: A brand-new local hip hop night was set to launch on Tuesday, May 25th. The lineup included Mark Lontag, Leons C, Franki, and live performances from local rap acts Capital C and Loose Leco. DJ Wholistic was scheduled as a special guest DJ, appearing alongside guest MCs and members from Melbourne rap group Hoot McLoot.
• Prepare For Release: A pre-party for the main warehouse event was scheduled for Thursday, May 20th. It offered a taste of the upcoming party and a chance to win one of three free passes to the main event, given away between 1:20 am and 1:30 am.
• Experience The Future: At the Adelaide Uni Bar, the “Urban Rhythm Syndicate” event on Tuesday was set to showcase “future techno sounds and club culture.” This free event featured a deep lineup of forward-thinking DJs, including Arthur, HMC, Biaa, 3.A, T-Cym, V-Agent, and Splice.

These live events were fueled by a constant influx of new music, both from international artists and local producers.

The Sound of ’93: Music News and Reviews

The sounds filling Adelaide’s clubs and airwaves were a direct reflection of global trends and local ingenuity. Dispatches from the international hip hop world and brutally honest reviews of the latest dance records offered a real-time guide to the tracks and artists defining the moment.

Hip Hop and Global Music News

• Pete Rock & C.L. Smooth were reportedly heading into the studio to record their second album.
• De La Soul‘s third album, Buhloone Mindstate, was delayed. In the interim, their old label Wild Pitch was planning to release earlier material under a title they would reportedly favor: De La Soul is Dead.
• Young MC announced his new album, What’s The Flavor?, was set for a June release.
• Sydney’s Urban Poets had a new 12″ single produced by GT and engineered by Nook, which featured guest rappers from Melbourne’s Ransom.
• 2 Unlimited, the Belgian pop-dance duo of producers Phil De Wilde and Jean-Paul De Coster with performers Ray and Anita, were enjoying massive success following their two No. 1 hits with the track No Limits.
• Guerilla Records was putting together a compilation tribute to Fela Kuti, featuring contributions from artists like The Orb and Brand New Heavies.
• MDS Records was active in the compilation market, with releases from labels like Warp Records, Strictly Rhythm, and Peaceville.

Record Reviews

• Broken English, Wook Up: Described as “vagely underground dance” and simply “weird,” this release earned a “Gen One” rating.
• Bone Hard Zaggin, Bone Hard Zaggin EP: The reviewer minced no words about their dislike for the “happy rap” style, declaring “Bone it to the bin.” Despite the harsh critique, it was awarded 4 stars.
• Polygon Window, Surfing on Sine Waves LP: Identified as a project from Aphex Twin, this album was hailed as “classic UK Analog techno” and deemed a “definite must-buy.”
• Various Artists, Dance ’93 LP: A compilation of commercial dance hits from the year, featuring acts like Bizarns Inc and Dr Alban.
• Tetris, Doctor Spin: This local track, reviewed by Andrew Illman, was dismissed as “very tacky,” yet was also inexplicably given 4 stars.
• Various Artists, GBA Sound/Factory Compilation: Another local release, this compilation was praised for its strong production and collection of groovy tracks.

This vibrant musical culture was accompanied by an equally distinct visual style, with fashion and streetwear playing a key role in the scene’s identity.

Street Style: 1993 Fashion and Headwear

In the 90s dance and music scene, fashion was more than just clothing; it was a core component of cultural identity. Streetwear, and particularly headwear, served as a uniform and a statement, signaling allegiance to specific sounds and subcultures.

The Hat Trend

Hats were an essential accessory, and Adelaide’s retailers offered a diverse range of styles, from Beanies and Caps to Pork Pie Hats and distinctive Malcolm X Extended Ski Caps.

Several key retailers catered to this demand:

• Crystal Cylinders: Located at 32 Twin Street, Adelaide.
• The Mad Hatters Hat Shop: Situated at 56 Pulteney Street, this store was introducing the “Head Extreme Gear” range.
• Hats All Folks: Found at Shop 3 in the Cosmopolitan Centre on Hindley Street.

A feature on “phat hats” showcased the most popular styles and where to find them: the Headworx Beanie (Hats All Folks), the classic Kangol Cap (Mad Hatters), the NY Cap (Youthworks), the Cross Colors Beanie (Mad Hatters), and the SMF Beanie (Youthworks).

Streetwear Retailers

• Coastal Creatures: Located in Glenelg, this shop sold Surf ‘n’ Street Wear and In-line Skates, offering a free beanie or wallet with the purchase of a Polar Fleece Top during May.
• Urban Streetwear: At 235A Rundle St, this store offered a 10% discount to customers who presented a specific symbol from the magazine.
• TUFF: Billed as “Innovative Fashion For Men” and located on Pulteney Road, it stocked brands like 26 RED and KLUE, offering items such as corduroy wide-leg pants and striped zip-front cardigans.
• Wild Child: A Rundle Mall retailer stocking popular brands like Brave, Indigo, and Dangerfield.
• Youthworks Retail Co: Located in the Regent Arcade.

This visual culture on the streets and in the clubs existed alongside the dominant popular culture consumed in cinemas.

Reel Time: Film Reviews

A look at the films playing in May 1993 provides a snapshot of the broader cinematic landscape, offering a mix of political satire, Hollywood drama, and psychological thrillers that formed the cultural backdrop to the music scene.

• Bob Roberts: A sharp political satire directed by and starring Tim Robbins as a folk-singing fascist candidate. Also featuring Giancarlo Esposito and Gore Vidal, the film earned a strong 92% rating.
• Sommersby: This post-Civil War drama, directed by Jon Amiel, stars Richard Gere and Jodie Foster. The review deemed it a “good romance” and rated it 73%.
• The Vanishing: A Hollywood remake of a Dutch thriller about a man’s search for his girlfriend who mysteriously disappears at a service station. It stars Kiefer Sutherland, Jeff Bridges, and Nancy Travis and was rated 68%.
• Consenting Adults: A suburban thriller starring Kevin Kline, Mary Elizabeth Mastrantonio, and Kevin Spacey. The review found it to be a “glossy but not evil” film, rating it 67%.
• Used People: Described as a love story set within a solid Italian family, this film featured an all-star cast including Shirley MacLaine, Marcello Mastroianni, Jessica Tandy, and Kathy Bates. It was rated 64%.
• Fire In The Sky: Based on a real-life UFO abduction case from 1975, this film was directed by Robert Lieberman and received a 65% rating.

The film section also reviewed an “Event”: the 7th Melbourne Super 8 Film Festival, which was presented as a selection of “twelve entries of varying quality.” While these professional productions offered polished narratives, the magazine’s own pages provided a direct line to the voice of the community itself.

Community Voice: Correspondence

The letters to the editor offer an unfiltered window into the passions and debates raging within the Adelaide music scene. These dispatches from the dancefloor reveal an ideological battle over the soul of the sound, pitting local tastes against international standards and commercial energy against underground purity.

• The core tension was perfectly captured by two opposing viewpoints. A letter from Michael Hambly passionately defended “supposed hardcore dance music” against critics who called it “mindless” or “commercial.” He championed its raw energy and authenticity as a “living/new/fresh” sound, contrasting it favorably with a tamer scene he’d witnessed in Germany.
• In direct response, a letter from a German visitor, Anja Wiedenmesten, expressed a preference for the harder, faster music of her home country. She found the “slower” house music at clubs like The Ark to be too tame for her tastes, highlighting the global debate over BPMs and intensity.
• Closer to home, a reader signing as “Miss Muff” lodged a classic club-goer’s complaint, criticizing a DJ at the Synagogue for dropping a “cheesy” Top 10 track into the mix—a timeless cry for musical integrity.
• On a more personal note, a reader named Roddy wrote in to mention a recurring football injury.