{"id":2799,"date":"1992-11-06T09:00:24","date_gmt":"1992-11-06T09:00:24","guid":{"rendered":"https:\/\/dankew.me\/?p=2799"},"modified":"2026-02-16T08:51:12","modified_gmt":"2026-02-16T08:51:12","slug":"issue-27a-ravescene","status":"publish","type":"post","link":"https:\/\/dankew.me\/index.php\/1992\/11\/06\/issue-27a-ravescene\/","title":{"rendered":"Issue 27A \u2013 Ravescene"},"content":{"rendered":"\n
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Published<\/strong>
6th November 1992 (approx)

Pages<\/strong>
8 (A5 B&W)

Strapline<\/strong>
KISS OFF<\/p>\n<\/div>\n<\/div>\n\n\n\n

FEATURED ARTICLE – Production House<\/h2>\n\n\n\n

Driving towards Production House headquarters, I wasn\u2019t quite sure what to expect, having been a successful record label for some years I imagined egos to be big and attitudes rife. How wrong I was.<\/p>\n\n\n\n

My first impression on arrival was how relaxed and friendly everybody was. The atmosphere there is like that of a close knit family (no trace of star-struck egotistical maniacs here!)<\/p>\n\n\n\n

Floyd Dice, better known as \u2018Dice\u2019 appears to be the backbone of The Production House Crew. Having been with them since the beginning I asked him about his involvement with the label.<\/p>\n\n\n\n

DICE: My main act is the House Crew, that is totally mine, as I engineer the studio and produce, but I am involved with most acts signed to the label, so I thought I would take one act for myself.<\/p>\n\n\n\n

As well as engineer and produce Dice actually writes and sings as well, quite an asset to the label and modest too (his name can be found credited on nearly all Production House\u2019s releases). Dice\u2019s latest track, currently tearing it up around the clubs is called \u2018Let Me Be Your Fantasy\u2019 and  although credited to Baby D, it was actually written and produced by Dice. \u2018Let Me Be Your Fantasy\u2019 is on a more mellow tip with a soulful feel to it.<\/p>\n\n\n\n

DICE: Rave is changing, it\u2019s becoming more vocally orientated, and these vocals are being sampled from old soul records. My strongest influence is soul music, hence the Baby D track, the vocals are soulful, and they have been put together over a hard drumbeat. Soul is still around, maybe in a slightly different form, like swing or mellow house, but it is still there.<\/p>\n\n\n\n

During the interview there is a constant buzz of activity going on around us. Acen pops in to say hello, DMS is running around, his face split into a huge grin, waving a cheque. Friendly banter flows between everyone, Acen offers to make me a cup of coffee. I asked Dice his opinion on the media.<\/p>\n\n\n\n

DICE: The trouble with having \u2018fame\u2019 1s you are open to criticism, the media can be very harsh and the public believe it. The media can destroy acts and people\u2019s egos. I hope the media doesn\u2019t do to rave what it did to the acid scene. It would be such a shame to kill off rave now, as itis such a big industry.<\/p>\n\n\n\n

The most astonishing thing about Production House is that they are self-distributed, no other label in the country can boast the success of this independent company. Off of their own back they sell their music on its pure class and having been around so long, only points to the fact that they are a rated amongst the top three dance labels in the country.<\/p>\n\n\n\n

By Tash<\/p>\n\n\n\n

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Desire 92 – The Fourth Birthday Party<\/figcaption><\/figure>\n\n\n\n
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LABEL PROFILE – Third PARTY RECORDS<\/h2>\n\n\n\n

Back from their first 2 EPs all licensed to separate compilations including one in Canada, Third Party look to be going somewhere fast. Building their experience through 14 releases on the renowned Ibiza label, their operation has been established to communicate the musical mastery of the Noise Factory. Since the label began, it has been no accident that with each new release they have sold more and more copies. So with all this in mind, I took the opportunity to ask Tel, Jim and Kevin why their music was so in demand.<\/p>\n\n\n\n

\u201cT could talk through our tracks like a story. Our records build up and have lots of different  things in them and then they breakdown so DJ\u2019s can mix into the next tune. I think it\u2019s also  because our EP\u2019s include a variety of styles so everyone is happy then\u201d<\/p>\n\n\n\n

How would you describe your music?<\/p>\n\n\n\n

\u201cOur music has always got a reggae element somewhere, it\u2019s hidden and you might not hear it at first, but if you listen closely it\u2019s there. However we\u2019ve come away from sampling reggae direct because everyone 1s doing that now. People are simply sampling the raggae stuff because they know this will get their record played. Nowadays you hear a whole reggae track with a fast break behind it and this a sign of people getting lazy \u2014 this ain\u2019t good for whats happening\u201d.<\/p>\n\n\n\n

Even though Noise Factory get distressed at the volume of poor quality material being released they do hope for the future of the breakbeat sound particularly on an international scale, \u201cThe breakbeat sound ain\u2019t so well in the rest of the world yet, but it\u2019s going to come through slowly. In LA, they\u2019re going mad for British material and Canada is now getting into it too. They say we are behind but really they are the ones that are behind\u201d.<\/p>\n\n\n\n

So what are your plans for the future?<\/p>\n\n\n\n

\u201cWe’re planning on using more live vocals than samples and including more melodies. We\u2019re looking to the future in this way because I seriously think this music is drying down\u201d.<\/p>\n\n\n\n

As a final question I asked Noise Factory what advice they would give to up and coming music makers out There?<\/p>\n\n\n\n

\u201cBe creative with your samples and make your samples mean something. Don’t follow, lead the way, stay one step ahead because there’s so much competition out there. Never pirate, do it so it makes sense.\u201d<\/p>\n\n\n\n

ADVERTS<\/h3>\n\n\n\n