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14th August 1992 (approx)
Pages
12 (A5 B&W)
Strapline
STRICTLY UNDERGROUND
Robots and raving have become synonymous over the last year, vith the faceless space-age beings becoming characters in their own right. One of the best known must be Bill the Robot alias Cyberpunk on Techno stilts. He was the metallic monster on the Altern 8 video, did the splits on stilts on stage at Reincarnation, and was the enormous 14′ high robot at Raindance. You may have also seen him at Elevation, Telepathy and numerous other events up and down the country. Bill is a raving robot and has been for the last three years. He was working in a non-animal circus until he met a made lazer man and together they developed a lazer robot for Glastonbury.
As techno music has a year 2000 futuristic aspect, so robots and raving are ideal partners. Lots of ravers can dance robotically, but the Cyberpunk has made an art out of raving, roller skating and dancing on stilts. He takes a lot of care over his costumes and much thought has to go into the design and weight is a major consideration. It becomes even more complicated when mirrors are incorporated to deflect the lazer beams. Such shows have to be carefully choreographed with the lazer operator, and the overall effect can be stunning. Look out for him at major events over the summer, but give him plenty of space to get the full effect.





Published
19th June 1992 (approx)
Pages
8 (A5 B&W)
Strapline
RAT PACKED
Everson Allen has been there, seen it, done it and more to the point he’s still doing it and doing it his way. When he wanted to release ‘Rizla’ his record company told him that it wouldn’t get any airplay. Radio 1 returned the record saying that they wouldn’t promote drugs. A week later the record was No 1 in all the dance charts including the Radio 1 Nightline chart, and they had to ask for another copy. Amusingly, Pete Tong then played the uncensored side by mistake.
Ratpack goes back a long way. At the age of 12 Everson was DJing at school parties. “They called me a dreamer at school” he said, “now I can earn more in one night than a schoolteacher does in a month” But is money what it’s all about? “No way, I’ve done all nght, but I could have done better if I’d been greedy. Where I am night now, yes I do want to earn. My dream is to buy Centre Point and make it into the biggest studio block that you’ve ever seen in your life. I want to get the kids off the street to give them the chance to make music and if it runs as a tax loss then the Government can pay for it. There’s so much talent around from people who never get a chance. I grew up in Islington at a time when you never saw black people on the telly, and I grew up angry and fought back. House music changed that for me and has done for so many others. I can’t see that going away ‘cos the music’s healthy and changing all the time. Jazz, samba, industrial, reggae, all have a part in it. The music business should be run by the people who make the music, not Japanese men in business suits. In twenty years time it’ll be Ratpack v Sony!”
Hasn’t that been tried before, for instance in the days of Punk?
“No, no that was different. It wasn’t universal. Punks stick to their own. It didn’t cross class and race like house does. This music has had a good effect on society, it’s a positive force”.
What part does Ratpack play?
“Ratpack is now me, Lipmaster Mark and Robert. Mark is like my hands. I found him when he was 13 in a tower block. He was a skinny little white kid hanging around with black kids, but he was the one making the sounds. I kinda took him under my wing and eight years later our work together is instinctive. Everything I know about computers and programming I learn’t from him, but he still does all the complicated stuff. Over the years others have been part of Ratpack, like Steve Jackson, Matthew B, Frankie Valentine. Devious D is our best new apprentice. We teach them the Ratpack attitude, remember where you’re coming from and respect the ravers.
You’ve been to Japan, Holland and Belgium. You started Trip City and Cronin Road. You were resident at Labrynth and Telepathy. The new track is out soon. What’s next?
“I want to keep raving and performing for as long as I have a voice. I feel the music and it comes out in what I say. My voice never sounds the same, but you have to flow with music, rather than shout over it to make yourself heard. Some MC’s shouldn’t be allowed on the mic, ‘cos they just give you a headache. I rate Moose and J Jay does OK, their attitude shows through in what they do. I like to rave all over the country, all the people are so different. Everyones got an opinion of what hardcore is, it’s a personal thing. You can’t make rave music unless you rave yourself and keep in touch with what’s going on. I’ve had a lot of things that I’ve wanted to do for a while. ‘Rizla’ dates back to Telepathy and although the accident I was involved in just before Christmas delayed it, it’s done now. Who knows what’s next? JJ at Sub 2000 is helping us out and maybe New Years Eve, the year 2000 we might be raving on the moon!

