Ravescene Magazeen #8 (Feb ’92) keeps the Safe as House pulse strong with packed rave listings for Dreamscape 2, Seduction, Virtual Reality, and more — plus charts, flyers, and ads from the heart of the UK underground. Pure early-’92 energy.
Published 14th February 1992 (approx)
Pages 8 (A5 B&W)
Strapline SAFE AS HOUSE
ADVERTS
Unity Records, 47 Beak Street, London W1R
Orange at the Rocket – Every Saturday @ 166-220 Holloway Road, London N7
Richard’s Parties – Sat 22nd February @ Scruples, Marine Parade, Great Yarmouth
Virtual Reality “The Industrial Revolution” – Saturday 7th March @ Nathan Way, Plumstead, London SE28
Labrynth / 2000 AD Productions @ 12 Dalston Lane, London E8
Ravescene Magazeen #7 (Jan ’92) turns up the volume with “Sounds” — a deep dive into rave sound systems and the art of noise with insights from Major Jump. Plus charts, flyers, and listings for Dreamscape, Rezerection, Fantazia, and more. Safe as House and loud as ever.
Published 31st January 1992 (approx)
Pages 8 (A5 B&W)
Strapline SAFE AS HOUSE
FEATURED ARTICLE – SOUNDS
The sound at a rave is all important. In an ideal world it would be crystal clear, painless and unrestricted – an integral part of a choreographed symphony of lights, music and atmosphere. In reality sound is a very complex and subjective animal so to understand the basics we asked MAJOR JUMP to explain some of the technicalities and terminology.
Firstly K. The total K relates not to the loudness of the speakers, but to the power drawn by the amps and the ratio of power to sound depends on the efficiency of the system. This can be imagined as two one bar electric fires which both use the same amount of electricity per hour, but one gives out more heat than the other, due to better design. Depending on the venue and any restrictions, a rave for 2000 people will usually required a 30K system.
Sound Quality. This depends on the company installing the system and the sound engineer knowing his job on the night. They have to arrange and supply the equipment needed for each venue taking into account the size, shape, accoustics, electrical power supply, number of people and the promoters personal sound preference! They also have to contend with DJ’s who compete with each other, all trying to be the loudest, but any system, if pushed to its limits, distorts. To avoid this particular problem, Major Jump take all their mixers apart and rebuild them incorporating restrictors, so that the sound levels can be judged correctly by the engineer.
A good sound system should not cause pain. Particular frequencies hit the ears in certain ways. Too heavy bass causes aching and too much top end leads to loss of hearing. Exaggerated frequencies lead to distortion.
Noise Pollution. Concern over excessive sound pressure levels is a common reason for the refusal of licences. Many venues now have sound restrictors in place, as it was not unheard of for an event to be heard over 6 miles away, but it 1s usually not the music, but the voices, M.C’s, horns and whistles that cause the disturbance. It is therefore vitally important for any promoter to work closely with their chosen sound company, in order to achieve not only the best sound possible but also to reduce noise to minimum levels of disturbance. Major Jump have now prepared a ‘Noise Spillage Report’ which goes some way towards addressing this problem.
Special Effects. 3-d sound is similar to a chorus reverb and the sound is shifted from left to right. It is also known as Binorial pyschoaccoustics, and is usually badly used at raves, but is a good effect with a hi-fi in the living room at home. There is no such thing as quadrophonic sound from a record as DJ’s only have a stereo signal, left to right, but it is possible with live music.
Flyers. When comparing raves look out for the quality sound systems – JBL, Martin F2, Turbo and also look to see that the sound companies are credited – it makes a difference!
ADVERTS
Nanette Gregory – Listen to the facts about Ecstacy (Factfone)
Orange at the Rocket – Every Saturday @ 166-220 Holloway Road, London N7
Full Force Dance Agency, Tailors Health Club, Bedford Square, Woolwich
Kik and Live Wire present The Living Dream @ Funcoast World, Skegness
Dreamscape – Friday 14th February @ Zodiac Dance Studio, Sedgewick Street, London E8
Empower present The Buzz Club – Friday 14th February @ New Tudor Rose, 68 The Green, Southall
Dance International Limited / Brave New World – Feb 1992 in Kent
Labrynth / 2000 AD Productions @ 12 Dalston Lane, London E8
Direct Force Promotions
Pulse – Saturday 15th, 22nd and 29th February @ Nathan Way, Plumstead, London SE28
Direct Force Promotions
RAVE LISTINGS
Rezerection Saturday 8th February. Edinburgh Trade & Exhibition Centre
Living Dream March 6th – 8th. Funcoast World, Skegness
Distortion Friday 14th February. Swallows Leisure Centre, Central Avenue, Sittingbourne
Ravescene Magazeen #3 (Nov ’91) keeps the Safe as House vibe alive with packed rave listings including Dreamscape, Total Recall, Raindance, and Seduction. A true time capsule of late-’91 rave culture — flyers, ads, and pure underground energy.
Published 22nd November 1991 (approx)
Pages 4 (A5 B&W)
Strapline SAFE AS HOUSE
ADVERTS
Alpha Centuri – Saturday 14th December @ 218 Bow Road, London E3
Kickin Records ‘Champion Sound – The Best Of Kickin Volume 1’ released 2.12.91
Club Labrynth Christmas rota
Destiny Frequency Overload – Every Friday @ Wonderland Arena
Evolution & Volatile State presents Total Recall – Saturday 7th December @ Wonderland Arena
Inner Power Dance Studio
Destiny Frequency Overload – Every Friday @ Wonderland Arena
RAVE LISTINGS
Rush (GB Promotions) Sat 30th November. Abbot Street, London E8
Trance Dance (SOS Promotions) Saturday 7th December. Southern Lights Film Studio, London N1
Let The People Dance (Mastermind) Friday 6th December. Zodiac Dance Studio, London E9
Total Recall (EVS) Saturday 7th December. Wonderland Arena, Clapton, London E5
Ravescene Magazeen #2 (Nov ’91) features Satin Storm frontman Travis on the making of “Call in the Hardcore” and life on the rave circuit. Packed with event listings like Raindance, Dance ’91, and Play It Again — pure 1991 rave energy, Safe as House!
Published 8th November 1991 (approx)
Pages 4 (A5 B&W)
Strapline SAFE AS HOUSE
FEATURED ARTICLE – Satin Storm
Its impossible to go to a club or a rave without hearing Satin Storm’s latest release. “Call In the Hardcore”. Ravescene being one step ahead managed to corner main man Travis to find out a little about the Storms secret of success.
R.S. How did it all start?
Travis: “I came from a very dance orientated background, I used to model and choreograph for fashion shows all over the world. I started making the music, then I got myself a little recording studio and from that came Satin Storm”.
Satin Storm was the eponymous title of the 1st E.P. There are now 3, the latest has “Calling the Hardcore” and “See the Light”, currently running at No. 2 in the Pulse F.M. chart.
Travis: “On the ravescene you should give the punters something really special, visually and musically. As to the response we get, the audience, they seem to be quite happy with what we give them.
R.S. Do you think it will cross over?
Travis: “Yeh I do, I’m having fun at the moment, I like the 1dea of doing everything myself, we’re not earning mega amounts of money and its nice to be underground but I suppose one has to have a goal and becoming popular is one of them. I think I’ll be picked up soon”.
R.S. You’re doing P.As practically everywhere. Which ones do you rate?
Travis: “Any club or rave that is organised well. Security should be tops, the way they’re checked should be thorough, but be fair to the punters. From the P.As to the D.Js everything should be for the punter. My favourites are Rage, Fun City, Wild Wild West there’s so many good raves but a lot of bad ones as well”.
Yo! Travis. Satin Storm are playing at a rave near you check check check check check them out.
ADVERTS
Orange at the Rocket – Every Saturday @ 166-220 Holloway Road, London N7
Power Sound & Light Productions
Inner Power Dance Studio, Wonderland Arena, London E5
Spaced Out, Unit 17 The Shopping Mall, 96 George Lane, London E18
Play It Again (Part 1) Saturday 23rd November @ Zodiac Dance Studio, Sedgewick St, Homerton
Spaced Out, Unit 17 The Shopping Mall, 96 George Lane, London E18
RAVE LISTINGS
Evolution Friday 15th November. The Hummingbird, Birmingham
Fantastic Ibiza Saturday 23rd November. Under The Arches, Goding Street, London SE11
Play It Again (Part 1) Saturday 23rd November. Zodiac Dance Studio, Sedgewick Street, London
The debut Ravescene Magazeen (Oct ’91) features DJ Loft Groover on breaking into the rave scene, plus classic event listings like Raindance and Showtime ’91. A raw snapshot of early UK rave culture — underground, defiant, and unforgettable.
Published 25th October 1991 (approx)
Pages 4 (A5 B&W)
Strapline PREACHING TO THE CONVERTED
FEATURED ARTICLE – LOFT GROOVER
Things are really moving now for Loft Groover, his name’s on every flyer and with a Saturday night residency at The Rocket, he’s had no choice but to give up his day job at Dancefloor Records. We interviewed him to try to find out why he’s only now getting the attention he deserves.
R.S. What led you into house music?
L.G. House itself, I listened to Jazz and Blues when I was a kid, because that’s what I heard at home, and then I got heavily into pop. I heard some house before it really started here, on tapes a friend in America sent me, but then one Tuesday night I tumed on the radio and Jazzy M was playing House — I just thought that this 1s what I’ve been waiting for. So I sold all my Jazz and Soul records and now I’ve got a loft room full of House records.
R.S. Is that where your name comes from?
L.G. No, I’ve always had it because since I was a kid cos I’ve always had a room at the top of the House. Even now my bedroom’s an attic room.
R.S. How did you get started as a D.J.?
L.G. I started by mixing some tapes to take on holiday with a friend called Dave, and then we were thrown in the deep end and given our first job in the West End with Danny Rampling and in those days he was The Man. Then I started doing Carwash with Fabio and Grooverider. They used to warm up for me. I used to get such a good response that I turned down the small gigs, waiting for the big ones. 18 months later I was still waiting. I got shocked into pushing myself forward more when I saw a video of Fabio and Grooverider and realised that they were top of the heap.
You have to push yourself in this business because there is a lot of bitchiness between D.J.s which makes it harder to get started. You have to keep improving too. The best buzz I get is when the people stop and can’t believe what they’re hearing. Anybody can play all the commercial House and keep them dancing all night. It’s a bit harder to blow their minds. Commercial house just isn’t my style. I could probably have got where I am now a lot quicker by sticking to the same tunes that everyone else plays but I feel that if 6 D.J.’s are playing in a night, then there should be 6 different types of House for the different stages of the night. Its taking the piss if you hear the same record 6 times at the same rave!
R.S. Where do you get your records from?
L.G. I buy most of my records in Southend and Reading. They keep a box for me of all the new stuff that comes into the country and I listen to it all every week. I go over to Belgium most weeks and pick up stuff there, but I’m more into Bntish and American now.
R.S. What do you see yourself doing in a years time?
L.G. Still playing, but spending more time in the studio. I’ve done 3 tracks. One just last week that’s going to press in a few days. I do it just for the fun of it!
Elevation and Volatile State presents Showtime 91 – Wonderland Arena, London E5
ADVERTS
Inner Power Dance Studio, Wonderland Arena, London E5
QBass “Dancin’ People” Suburban Base Records
Elevation and Volatile State presents Showtime 91 – Wonderland Arena, London E5
