The CORE: Issue 66 – February 3, 1993

In early February 1993, Adelaide’s music culture was a dynamic mix of homegrown talent and global influence. The city’s burgeoning hip hop scene championed local artists finding their voice, while its clubs and large-scale raves pulsed with the sounds of international electronic music, creating a vibrant and multifaceted nightlife.

1.0 Spotlight on Adelaide Hip Hop: Finger Lickin’ Good

Amidst a growing local scene, Adelaide rap duo Finger Lickin’ Good emerged as featured artists of the moment, representing a confident and authentic new wave of South Australian hip hop. Composed of Madcap and Quro, the pair’s journey began with casual rapping among friends before solidifying into a more focused partnership. With nearly eleven songs completed, their recent work showcases a polished sound that has quickly gained attention.

Their artistic philosophy is rooted in authenticity and self-expression. As Madcap explains, “The whole culture is about expression, outward expression.” This ethos sets them apart from more commercially restricted artists, allowing them the freedom to create without compromise. They refuse to be boxed in, viewing their output as a creative “hybrid” that draws from various influences. Their process is organic, with tracks evolving over months in the studio until they achieve a sound that, in Quro’s words, is “just fat, that’s fuckin’ dope.”

Finger Lickin’ Good are deeply invested in the local community, viewing themselves as contributors to a larger movement. They express a strong desire to “keep hip hop alive in Adelaide,” actively working to foster a supportive environment for writers, b-boys, and DJs. They acknowledge the challenges of a smaller scene but remain dedicated to providing a platform for local talent, believing that with strong community support, Adelaide hip hop can flourish.

This dedication has been on display at recent high-profile performances, including a set at the Big Day Out festival and a residency at the Le Rox hip hop club. Looking ahead, the duo’s next scheduled performance is at the Vipers benefit in Sydney on Saturday, 13th February.

While local acts like Finger Lickin’ Good were building the city’s hip hop foundation, major international electronic music events were simultaneously capturing the attention of Adelaide’s dance community.

2.0 The Electronic and Rave Scene Heats Up

The strategic booking of international DJs and the promotion of large-scale rave events were pivotal in shaping Adelaide’s electronic music landscape during this period. These events served as cultural benchmarks, introducing global sounds and creating unforgettable, high-energy experiences for the city’s partygoers.

2.1 The Long Weekend with Carl Cox

On Friday, 29th January, The Planet hosted “The Long Weekend,” an event headlined by the acclaimed DJ Carl Cox. According to a review from Whatsworld, the night was a resounding success, with a packed crowd and an electric atmosphere. Cox masterfully utilized three decks to build a dynamic set that moved from fusion and house into a “technical hoopla,” demonstrating his exceptional skill and creating a perfect vibe for the enthusiastic audience.

The support act 21st Century AD was praised for a set that was “friendly and energetic,” with DJs Aquila and Mindflia delivering a spontaneous and memorable performance. Also playing that night, local Adelaide ravers Brayn and Bropton “DJ’d exceptionally well in the main room,” contributing to a memorable night of dance music.

2.2 Upcoming Extravaganza: Garden of Eden ’93

Looking forward, the highly anticipated “Garden of Eden ’93” is scheduled for Saturday, February 27th. Promoted as taking place at a “remote private bushwork location,” the event promises to deliver “memories, mindfuck and musical madness.” The lineup features a strong roster of DJs, including:

• X-citement
• G-Trip
• Jared S
• HSR
• Special guest The Key

Tickets for this exclusive event are priced at $70, with sales extended to February 20th due to popular demand. They are available for purchase from JR’s Surf & Ski.

Beyond these major one-off events, the regular, weekly pulse of the city’s nightlife was maintained by a diverse array of dedicated club nights.

3.0 A Week in Adelaide’s Clubs and Venues

The city’s diverse clubs and venues formed the backbone of the weekly music scene, offering a consistent calendar of events for every taste. A significant development in early February was the relaunch of Le Rox, a beloved venue poised to reclaim its spot at the forefront of Adelaide’s club culture.

3.1 The Relaunch of Le Rox

The reopening of Le Rox is a joint venture between Righteous Entertainment and Larger than Life Promotions. The collaboration has resulted in significant upgrades to the venue, including renovated toilets, a fresh new look, and substantial investment in the “latest technology, the best sound system and the latest entertainment.”

The club’s musical direction has been carefully curated across its different spaces. The main room features the talents of DJs Anna and HMC, while The Tunnel offers a different atmosphere under the guidance of DJ Dr. Ph.D. A special event on Saturday, 6th February, saw HMC playing alongside The Carrot Squad, signaling the venue’s commitment to high-quality, unique programming.

3.2 Weekly Club Guide

The week of Thursday, 4th February through Wednesday, 11th February offered a packed schedule of club nights across the city.

• Thursdays:
  • The Ann: DJs Atro, Gizmo, and Work.
  • DJs in the Attic: Jolt and DJ Baltz.
  • Britannia: DJ Dangerous.
  • Heaven: The weekly “RAGE N RAVE” with Dis Groove Terminator, Huge ‘n’ Raw, DJ Ingrham, and Steve Hooper.
• Fridays:
  • Le Rox: “Contagious” with DJs Steve Pap and Devious Dave D.
  • Heaven: “The Edge” with DJs Gary James and Opie.
  • Astors at the Astor: “Rubber” with DJ Nigel.
  • Cargo: “Chill” with DJ Cool Groove Terminator, MC Makeup, and Chris Annabel.
  • Special Event (Friday, February 12th): The Pulse-DMC DJ Competition heat at Le Rox, featuring competitors Chris Cross, DJ KC, E-Zee-G, PMA, Gravity, and X-citement.
• Saturdays:
  • Astors at the Astor: “Soul Kitchen” with live bands and DJs.
  • Le Rox: “The Arena” with DJs Julius, Dr Ph.D, and Nigel.
  • Cargo: The Carrot Squad live with DJs Brendon, HMC and Chris Scott.
  • McManis’s Salisbury: DJs Andrew and Kelvin.
• Sundays:
  • The Ann: “Hi-Lax” with DJ Mark.
  • Bounce: “Sunday Service” with DJs Devious D, Lori, SPL, E-cstatic, and guests.
  • Boogie Wonderland: Featuring Dis Groove Terminator and Nigel.
• Weekdays (Mon-Wed):
  • Monday: “Industry Night” at Astors at the Astor with DJ Mark I.
  • Tuesday: The Core’s boat cruise.
  • Wednesday: A full slate of events at Astors, Le Rox, Bliss, Cargo, Club Liasons, and Lennox.

This vibrant local scene was constantly absorbing news and developments from the wider world of music, which shaped local tastes and trends.

4.0 Music News: Local and International

The following news items reflect the global music trends influencing the Adelaide scene, from major developments in US hip hop to groundbreaking releases in UK ambient techno.

4.1 Hip Hop Developments

The international hip hop scene was active with several key updates:

• NWA and MC Ren: While NWA may be no more, MC Ren is reportedly working solo and remains a member of Ruthless Records.
• Tupac: In an MTV interview, it was reported that Tupac’s bodyguard, Maurice Maalouf, was involved in an LA shooting incident where two off-duty cops got shot.
• Heavy D & Chubb Rock: Heavy D has taken on a new movie role, while Chubb Rock was recently in Cleveland for a 300 pound weight-loss-a-thon.
• Public Enemy: The iconic group is actively campaigning to make Martin Luther King’s birthday a national holiday and has been giving politicians a hard time on MTV news.

A new artist named Me Phi Me is also making waves with a unique sound that blends rap with folk and acoustic roots. He has pushed back against simple comparisons, stating: “They’re a-sayin’ I’m like Jon Secad O’Mitchell O’Lou Reed… just because I play guitar and they do. I’m contemporary but I’m basing my sound in the late 60s.” Me Phi Me’s critically-acclaimed debut LP is out now.

4.2 Innovations in Electronic Music

In the world of electronic music, 21-year-old Cornish artist Richard James, better known as Aphex Twin, was a focal point of discussion. His album Selected Ambient Works 85-92 was gaining significant attention. Though known for his “hard ‘n’ fast techno,” the album highlighted his reputation for creating more ambient compositions. His new single “On” was also released, coupled to “Surfing On Sine Waves,” a track recorded under his Polygon Window moniker.

A more complete discography of his key works at the time includes:

Alias	Release
PCP	Analogue Bubblebath
Aphex Twin	Digeridoo
Aphex Twin	Xylem Tube
Aphex Twin	Analogue Bubblebath Vol 2
The Dice Man	Philosophy Of Sound And Machine
AFX	Analogue Bubblebath Vol 3
Polygon Window	Surfing On Sine Waves

Closer to home, Melbourne’s Vicious Vinyl label was enjoying international success. Their release “Second Level” hit number one on the influential DJ Magazine chart in the UK, while another track, “Dreams Of Heaven,” was also climbing the UK club charts.

These new sounds and releases were quickly absorbed, discussed, and evaluated by Adelaide’s critics and music fans, who were never shy about sharing their opinions.

5.0 Reviews and Community Feedback

This section serves as a gauge of the scene’s quality, combining formal reviews of new music and recent events with direct feedback from the community itself.

5.1 Live and Club Night Reviews

• Bliss at the Austral Hotel (Sunday 31st January): Reviewer “Gen Z” lauded the night as “exactly that! De-Bliss.” The eclectic set from DJs Cool Matt, MP Anon, and Dope E traversed funk, soul, and acid jazz, with the reviewer declaring that this style of music “is responsible for some of the most entertaining bands in town.”
• Disco-Tech (Wednesday 27th January): Writing as “HMC,” another reviewer found this club night to be a mixed bag. While the music and visuals were well-executed, the atmosphere was dampened by a lack of crowd energy and a “poseur” element, leading to a feeling that the night was more about being seen than about dancing.

5.2 Record Reviews

A selection of recent singles and EPs received the following critical assessments:

• Regulation – “Declaration Pt 3”: A “house pumpin’ nation” track with an anthemic feel. 3.5 stars.
• F.U.N.O. – “Funkathamucka”: Described as a “slinky disco-ish groover that just keeps on, keeping on.” 3.5 stars.
• Usura – “Open Your Mind”: A strong track featuring Italo piano with a Hi-NRG feel and “total recall” samples. 4 stars.
• The Hu Hu – “Aah”: A “furious noise track straight outta Belgium.” 1.5 stars.
• Brotherhood Of Structure – “Ep”: An excellent release “goin’ hard’n’ more acidy with every release.” 4.5 stars.
• Key Bird – “Come On”: A solid track built on “breaks’n’beats.” 3 stars.
• Movida – “Baby I Need Your Lovin’”: A modern dance remake of a classic, noted as being slightly slow in tempo. No rating.
• Be Pin He – “Black Sunshine”: A “well-played’ard reggae soul.” 4 stars.
• Single Gun Theory – “I Am What I See”: An “Arabica groove that keeps on building but only seems to let go at the end.” No rating.

5.3 Correspondence from the Scene

Letters to the editor provided a direct voice for the readership, reflecting their experiences and thoughts on the state of the scene.

• Adam, writing as “The System AD,” praised a fantastic night at The Cauldron, describing it as one of the most memorable experiences of his life. He extended thanks to the DJs—Ben, Kim, Mishy, David, and Michael—and the promoters, expressing great optimism and reminding the community: “Remember the future in dance and dance events in Adelaide is in all of our hands.”
• In a more philosophical contribution, “Ajax & Technohexadron” posed a metaphorical question to the community using Smarties candy as an analogy for the scene’s participants. They mused, “Why is it that all the true Smarties go first, then the posers and so on, until the only ones left are the posers? …Don’t you know they are all the same on the inside, like posers?” The letter humorously questioned how the scene could achieve harmony if its different types of people—the genuine “Smarties” and the imitative “posers”—couldn’t coexist.