The CORE: Issue 68 – February 17, 1993

In mid-February 1993, Adelaide’s music scene pulsed with a dynamic energy, defined by the burgeoning acid jazz movement and the raw power of its techno and hip hop clubs. The city eagerly awaited a landmark performance from genre pioneers Galliano, even as a new generation of local talent began to emerge from the vibrant underground.

Galliano: Pioneers of the Acid Jazz Movement

As foundational figures in the acid jazz genre, the London-based collective Galliano represented a significant cultural force. Their fusion of funk, soul, and spoken word poetry pushed the boundaries of contemporary music, creating a sound that was both intellectually stimulating and intensely danceable. For Adelaide’s burgeoning scene, their upcoming tour was more than just a gig; it was a landmark event, bringing the originators of a global movement directly to the city’s doorstep.

The Origins and Evolution of Galliano

Galliano’s journey began in 1988 when founder Rob Gallagher teamed up with influential DJ Gilles Peterson. Gallagher was already a presence in the English club scene, having previously worked on a project called Well Red in 1986. Galliano’s first single, a re-working of the Curtis Mayfield-inspired track “Frederick Lies Still,” immediately established their unique sound. After releasing several singles, the group signed with Peterson’s now-iconic Talkin’ Loud label. For their Adelaide performance, the group was touring as a full 10-piece ensemble, featuring Rob Gallagher alongside Valerie Etienne, Mick Talbot (formerly of The Style Council), Bro. Constantine, Crispin “The Pump” Taylor, Ernie “Bottom” McKone, Snafe, Uncle Big Man, and Papa Watu.

“The Glue in the Middle”: Defining the Acid Jazz Sound

In an interview, Rob Gallagher resisted narrow categorization, explaining that Galliano’s music is a broad fusion rather than a strict interpretation of jazz. He described the band’s core sound as the “glue in the middle” that binds together diverse influences from funk, soul, and hip hop. For Gallagher, the essence of their music is about genuine self-expression and reflecting one’s own environment, a philosophy he articulated clearly:

“You’ve just got to speak in your own voice and reflect your own culture.”

The Live Experience and Adelaide Performance

Galliano’s live shows were renowned for their energy, setting them apart from the DJ-centric events that dominated many clubs. By performing with a full band, they offered a dynamic, human-centric experience that emphasized live instrumentation and improvisation. Their much-anticipated Adelaide debut was scheduled with a full roster of local support, promising a comprehensive showcase of the acid jazz and funk sound.

• Event: Galliano with a 10 Piece Group – Live On Stage
• Date: Sunday, 21st February
• Time: 9pm ’til late
• Venue: The Synagogue
• Support Acts: Blooe, Alongsiders, and E-Zee-K, plus JJ’s Scott Pullen & Adelaide’s own X-citement & E-Zee-G
• Ticket Information: Tickets are available from Derringers, Central Station & Shades.

The arrival of an act like Galliano highlighted the vibrancy of the local landscape they were set to enter, a scene teeming with diverse club nights and events.

A Guide to Adelaide’s Vibrant February Club Scene

Adelaide’s club scene in February 1993 was a thriving network of venues catering to a wide spectrum of musical tastes. An analysis of the week’s listings reveals a city rich with options, from dedicated underground techno nights pushing the newest hard sounds to brand-new hip hop launches celebrating funk and soul. This diversity ensured that club-goers could find an experience tailored to their preferences any night of the week.

Techno and House Venues

For fans of harder, faster electronic music, several venues were key destinations:

• Powerhouse: This club launched a new Thursday night event, “The Serious Alternative,” dedicated to “Full Techno” with DJs Brendon and Ansell. In a move to attract new crowds, it offered free admission all night.
• Hell is Underground: A new night for “hard underground techno” was set to launch on Thursday, 18th February at the Rhino Room. Featuring DJs Neil and Chico, it promised a serious, no-frills experience.
• Astro’s at the Astor: Thursday nights at Astro’s were consistently busy, attracting a techno-orientated crowd with music from touring acts like Def FX.
• Disco: Located at 69 Light Square, this venue offered a variety of styles, including nights dedicated to “disco-TECH” and “groove terminator.”

Hip Hop, Funk, and Soul Nights

The smoother, funkier side of the dance floor was equally well-represented:

• Phunky Phresh Hip Hop Launches: A new Friday hip hop night debuted at The Ark, featuring tracks from popular acts like Arrested Development and planning future launches for local crews such as Casualties of War.
• Zuluz: This venue at 151 Melbourne Street introduced two new nights. “Back in Dave” on Thursdays and an early session on Fridays called “Back to Basics” focused on acid jazz, soul, and funk.
• Ranel’s Bongo Massive: A recurring fixture on Friday nights at The Ark, this event served up a different flavor of dance music for the city’s clubbers.

Major Upcoming Events

Beyond the weekly club schedule, several large-scale, one-off events were on the horizon, signaling a healthy and ambitious promotions scene.

• Garden of Eden ’93: Scheduled for Saturday, 27th February, this was a major production featuring an 80 sq.m lighting rig and a 100 sq.m dancefloor. The DJ lineup included X-citement, CTB, Jarrod S, HSR, and The Key, with tickets priced at $79 and sales closing on February 20th.
• The Second Coming: An upcoming event announced for Saturday, 6th March at the “Synagogue.”
• Frank De Wulf: The renowned Belgian techno artist was scheduled to perform at The Ark on Saturday, 6th March.
• Cargo Club: This club was hosting a special “Re-birth of the cool” weekend on Friday, 26th and Saturday, 27th February.

This bustling club scene provided the essential training ground for the emerging artists and DJs who were shaping its future.

Spotlight on New Talent: The Next Generation of DJs

Within the dance music ecosystem, DJ competitions serve as a crucial platform for discovering and nurturing new talent. Events like the DMC championships provide aspiring artists with a chance to showcase their technical skills, creativity, and ability to command a crowd, acting as a vital launchpad for professional careers.

Hob G Wins Under-18 DJ Championship

The 1992 Pulse-Onc Australian DJ Competition recently concluded, naming its under-18 champion. The winner was announced as Hob G (Jason Ashby), who impressed the judges with his skillful performance. He was followed by Cloistic funky tekno DJ Cike in second place and DJ Chaotik (Ben Pickard) in third. According to the judges’ commentary, Hob G’s victory was secured through his exceptional technical mixing, a good attitude, and a clear talent for creating an energetic atmosphere. The event was seen as a key indicator of the scene’s evolution, with Guest DJ Chris Cross from Sydney providing “relatively new non-commercial things,” offering a good indication of where dance music was heading for the future.

The DMC Connection and Future Prospects

This victory is a significant stepping stone for Hob G, as it qualifies him to represent South Australia in the prestigious, Australia-wide DMC (Disco Mix Club) championships in May. The DMC is one of the world’s most recognized DJ competitions, and success there can open doors to an international career. Those interested in learning more about the competition rules and structure were advised to contact Tony or Simon at Central Station Records in Darlinghurst, NSW.

The discovery of local talent like Hob G was just one part of a wider music industry landscape filled with new developments.

Industry Buzz: Videos, Reviews, and International News

The music scene in early 1993 was characterized by a constant flow of news that shaped the industry at local, national, and international levels. From Adelaide-based labels gaining recognition in the UK to new video productions and trends in the global hip hop and techno scenes, the industry was in a state of dynamic evolution.

Local and National Highlights

• Sound Unlimited’s “Mad Max” Video: The video for the single “One More From The City” was recently filmed. The production featured a notable crew, including acclaimed cinematographer Russell Boyd, producers The Rockmelons, director Tom Horton, and animator Cath Hills. The track itself was written by rapper Rosano Martinez.
• Juice Records’ UK Acclaim: Adelaide’s own Juice Records received a glowing review in the influential UK magazine Echoes. The review, written by Kris Needs, focused on a release by DJ HMC/Late Nite Tuff Guy, praising its sound as “fiercely-attacked pure techno.” Needs lauded the track’s fusion of “stripped acid beats” and a “mischievous frenzy of hypnotic industrial trance-mayhem,” showcasing the unique Adelaide sound to an international audience.

International Scene

• Underground Resistance Release: The Detroit techno label announced two new records: the “Aztec Mystic” track from DJ Rolando on U.R. and the “Liquid Metal Meltdown” record from Alan Oldham (T-1000) on its sub-label, Generator.
• Hip Hop Developments: In the US, California rapper Filthy Phil was arrested following a TV investigation. Meanwhile, a new promotion company, The Whole Nine Inc., was formed with the aim of strengthening the business infrastructure for underground hip hop artists.
• Deep Forest’s Debut: The French ambient-house duo Deep Forest emerged on the global scene with the release of their debut album, which blended electronic textures with world music samples.

This stream of industry activity was matched by a continuous output of new music, gigs, and films, all subject to critical assessment.

Critical Takes: The Latest in Music, Gigs, and Film

This section offers a critical evaluation of recent cultural offerings, providing a curated guide to the most notable new tracks, live performances, and films. From reviews of local releases to reports from the city’s sweatiest dance floors, these takes provide a snapshot of what was resonating with audiences in Adelaide.

Local Music Reviews

DJ James Ingram offered his verdict on several new tracks making waves:

• The Messenger (for the Remix) – You Look Convinced: A pleasant track described as a “nice number.” (★★★☆☆)
• Her Unravelling – She Sounds Like Her: The band’s second single is praised as a “good track.” (★★★★☆)
• Arrested Development – For The People: Hailed as a “must-have” and a worthy follow-up to their massive hit “Mr Wendal.” (★★★★★)
• 2 Unlimited – No Limit: Considered the best house track to come from the UK in a long time, celebrated for its “pure raw energy.” (★★★★★)

Live Gigs and Club Nights

Recent live events across the city received varied but generally positive feedback. Skunkhour delivered a funky go-go jazz set at the Astor, while the same venue’s Astro’s night drew a dedicated techno crowd for a performance by Def FX. The Invasion 1 night at Le Rox was noted for its good atmosphere, and the Bounce event at The Venue was reportedly packed and well-received. Finally, local band Sixty Foot Roto played a crisp and polished set at Boltz Cafe.

On the Silver Screen: Reel Time

A diverse slate of films was playing in local cinemas, offering audiences choices ranging from gritty westerns to psychological thrillers.

• Unforgiven: A western directed by and starring Clint Eastwood, the film deconstructs the myth of the heroic gunslinger. The cast also includes Gene Hackman, Morgan Freeman, Richard Harris, Saul Rubinek, Anna Thomson, and Francis Fisher.
• Candyman: Based on a story by Clive Barker, this horror film follows a graduate student (Virginia Madsen) as she investigates an urban legend about a hook-handed killer in Chicago. Written and directed by Bernard Rose, the film sees her become the target of the supernatural entity.
• Damage: Directed by Louis Malle, this drama stars Jeremy Irons as a man who engages in an obsessive, destructive affair with his son’s fiancée, played by Juliette Binoche.
• Until the End of the World: A sprawling sci-fi road movie from director Wim Wenders, also starring William Hurt and Sam Neill. Set in 1999, it follows Claire (Solveig Dommartin) across the globe as she pursues a man who possesses a device that can record dreams for his blind mother.