All posts by Deadly Buda

More Than Meets the Eye: Nocturnal Wonderland 20 Year Anniversary

by Joel "Deadly Buda" Bevacqua

Insomniac’s Nocturnal Wonderland celebrated its twentieth year over the 2015 Labor-Day weekend. It was a sight to behold, but when the eye candy wore off, I realized there was more to this rave than met the eye. Each day had its own distinct musical character pulsing through the visuals. Day one was “New School.” Day two was “Pop.” Day three was “Old School.” The contrast of the three days raised interesting questions about the future of rave culture and its history.

The main stage, named “Labyrinth,” was amazing, knock-out, eye-candy—seriously more jaw-dropping than a Disney World amusement. It had sort-of a chess and playing card theme (not sure why actually, but it worked)—fireworks, water features, lasers, massive hi-def screens, crazy fresh opticals.

The smaller stages were paid just as much attention, if not budget. Each stage was unique and generated a sense of place so strong that I literally forgot what my apartment looked like over the weekend. This temporary place in the desert had become my home. On day three I entered early with the set-up crew, and marveled at the festival site before the crowd entered. The breathtaking view made me feel like a little kid in his own fantasy playground. I bounded down the grass covered hill from the “Queen’s Ground” stage, past the Sunken Garden and Temple of Om, to the Labyrinth, making airplane sounds all the way. Some of the workers thought I was going bananas but I just had to do it since I had the opportunity! It occurred to me then that “fun” really is the same at any age—that appreciation of existence itself so often evident in those younger than us, no matter the age!

Da Tweekaz at Nocturnal Wonderland 20 Year Anniversary at Sunken Garden StageThe sound systems were crystal clear and banging as one has come to expect from Insomniac. Day One’s music was comprised of the newer underground variations of the quintessential rave styles such as hardstyle, happy hardcore, drum and bass and dubstep. If you were a new raver 100% dedicated to the scene, this was your night. Admittedly, they could have used a little more hardcore in the line-up, but nonetheless things were sonically interesting enough to keep you running from stage to stage. I found myself rocking out in the hardstyle-heavy Sunken Garden most of the night, with frantic trips to the Queen’s Garden for a dose of drum ‘n’ bass and dubstep.

Day two: Oh brother, day two… was a Saturday. This is the night for your new potential ravers and pop-radio listeners to hear and see David Guetta on a really, really, big video screen, rather than a smaller one at home. All the amazing visuals, banging systems and top-notch production for all three days comes at a cost, and I guess Saturday was the day to pay the piper. I totally understand its necessity. However, the stark contrast of crowd between day one and day two brought a lot of issues to the surface for me. I was attracted to the rave scene because I don’t identify with pop culture’s ever-increasing glorification of sex, money, and consumption. I’m more attracted to a lady with a Fresh Jive t-shirt and Phat pants, than one just wearing a thong. When people talk about cars, jewelry, or whatever material things, I force myself to pay attention. I want to be “into it” to know them better, but I just can’t get that excited about it. The music on day two, and the crowd, was like that for me. Lots of popular, obvious music (often the same songs), danced to by people who were unabashedly interested in those things. I want to relate, I try, but I really don't.

Nocturnal Wonderland 20 Year Anniversary Labyrinth Stage, Blasting VisualsI still had a good time bopping around the grounds though. I danced to some House music at the Temple of Om and examined the other features of the rave. I actually missed a very important feature that sounded fascinating: a 360 degree virtual reality recording of EDC 2015. Mostly, I spent time at the History 101 tent featuring DJ Demigod, Rap, and Meanstreak spinning classic rave tunes while pictures of old flyers, photo collages and records were projected on the tent. They even had a “ghost DJ from the past” playing on the decks between sets.

Day three was what Noc 20 was all about: History. Many of Insomniac’s DJs from “back in the day” played at the Upside Down Room to old schoolers and new schoolers delight. The way “History” was handled at the show was frankly the most clumsy—yet fascinating—aspect of the event. Like many an old school raver, I have a strange compulsion to convey some sort of “history” to a new generation. Obviously Insomniac does too. But I kept thinking, “WHY?” Does the new generation care? Are we “old folks” just trying to make ourselves feel better with a nostalgic white-wash of faded memories? Does anyone need a history of this music?

After the eye and ear-candy wore off and I got a good night’s sleep, things became clearer. Back-in-the-day, the original ravers thought they were the dawn of a new era, a new culture, a new attitude. A lot of crazy stuff happened over those decades and experience created wisdom. An older generation is struggling to convey its wisdom to a new generation that might not care—through no fault of their own. Subconsciously, this culture is planting the seeds for its survival and perpetuation. The rave culture is only now dealing with a generational shift, and it’s trying to figure out how.

It is important. To disseminate a history of creation (the history of art) as opposed to destruction (the history of war), is essential and must be attended to. On a practical, personal level, wouldn’t you want your daughter to know she will more likely get a boyfriend at a rave if she wears pants, than stares or worse if she wears a thong? But how do we convey such practical things without sounding prudish or preachy? The details and messages still need to be worked out and opinions will vary; but Insomniac took a great step forward in the transfer of wisdom with their 5 minute historical interlude on the main stage. It was a proper sensory overload that appealed to new and old school alike. Thousands of attendees were lucky enough to record it on their phones. Here is one of those recordings:

EDC Las Vegas 2015: An Old-Schooler’s Perspective

Let’s get it out of the way: Despite its multi-million dollar budget, Insomniac’s Electric Daisy Carnival Las Vegas 2015 was an old school rave. As a writer, you really want to criticize SOMETHING about the festival, so you can seem like you are giving a balanced portrayal. But really this rave lived up to its hype.

Tiesto DJing on the Kinetic Field stage at EDC Las Vegas 2015
Tiesto DJing on the Kinetic Field stage at EDC Las Vegas 2015

The scope and attention to detail is beyond what any aspiring rave promoter “back in the day” (including Insomniac I’ll wager) even dreamed of, seriously. I should know. I was one. I threw my first rave in 1991, owned one of America’s first techno record shops, have written for rave fanzines and magazines on and off for decades, produced music, and I’ve DJed all over this fine country. So with a certain amount of credibility I can say that EDCLV 2015 was so over-the-top, so lavish from a classical rave perspective, that my mind boggled.

Basscon Wasteland area at EDC Las Vegas 2015
Basscon Wasteland area at EDC Las Vegas 2015

Despite the 450,000 people at over $300 a ticket, one might still marvel at how this event broke even—another old school rave trait. Not content with their last success, Insomniac went even bigger. Many an old-school rave promoter lost their shirts that way, but it didn’t stop Insomniac. First off, the fireworks were more intense than I’ve seen at Disneyland. It was a non-stop finale from beginning to end. The various dance areas were visually artistic. The sound-systems were kickin’ and clear. The DJ and live-act talent had a major representative from nearly every EDM sub-genre. They could’ve had a little more hardcore in my opinion but at least EDC had some, unlike a lot of mainstream raves today.

Circuit Garden Arena at EDC Las Vegas 2015
Circuit Garden Arena at EDC Las Vegas 2015
Crowd at the Bassrush Basspod area.
Crowd at the Bassrush Basspod area.

Amusement rides were at the ready for festival goers. Street performances, if not done to absolute perfection, were done with so much heart their enthusiasm was contagious. And, THERE WERE CHILL-OUT AREAS. So many raves today have forgotten about the importance of the “ambient chill room” so you can escape the sonic maelstrom and relax. It was back in full effect at EDCLV 2015. There was something even for the snobby ravers, such as VIP areas. But those were few and far between and didn’t interfere with the vast majority’s good time. In fact, they were kinda hard to find.

Chill Out Area at EDC Las Vegas 2015
Chill Out Area at EDC Las Vegas 2015

Over the years some things have changed. The fashion is far removed from the baggie pants and hoodies of the 90’s. Basically it was a lot of bikinis and anime-inspired costuming. It was however, 91 degrees just about every night, so the dress was arguably appropriate. I didn’t hear or see anyone selling drugs, amazingly. Obviously at any big event drugs and alcohol will be present but Insomniac seems to be taking the most forward-thinking, advanced steps in crowd safety. We will have to wait until our society finally demystifies, legalizes and stops glamorizing so-called “recreational drugs” if we want to truly solve America’s drug problems.

Crowd at Kinetic Field
Crowd at Kinetic Field

Two important words: FREE WATER. That’s an improvement on the old days. Imagine being in a sweaty warehouse where the promoter turns off the water faucets so you have to buy bottled water. That happened all the time back-in-the-day. Those shady cat promoters charged $5 for a bottled water back in the early ‘90s!

Another shot of the Basscon Wasteland stage
Another shot of the Basscon Wasteland stage

Corporate sponsorship. Yes, 7-Up had their own stage but 7-Up’s logo wasn’t plastered everywhere you looked. Practically every promoter back in the day would have loved corporate sponsorship and pursued it. So, I’m not crying “sell-out” by any means. Camel and Marlboro used to sponsor MayDay, Love Parade, all kinds of stuff. At least we didn’t have to rave around jittery chain-smokers this time around. An improvement, in my opinion.

Another Chill-Out area at EDCLV 2015
Another Chill-Out area at EDCLV 2015

So this might shock you—but I’ll lay it on the line. If you raved “back-in-the-day” I’m happy to say you would have found a lot to like at EDCLV this year. The same spirit and energy you might have remembered from your rave-days is present and noticeable in this new generation, and Insomniac obviously took great care to make that happen and even improve on it.

Monday Morning at EDCLV 2015
Monday Morning at EDCLV 2015

Deadly Buda’s Seppuku’s Birthday Bash DJ Mix

Seppuku's Birthday Bash! by Dj Deadly Buda on Mixcloud

Deadly Buda's February 27, 2015 set at Seppuku's birthday bash at the Hookah Lounge in Santa Barbara, CA. Some new and old tracks. Features a new track by Terry Dux, and some old school Deadly Buda and DJ Scud tracks. The beginning of the set is cut off.

Track List, Artist - Title - Time

DJ Deadly Buda & Seppuku – Wolf Love – 0:00
Skandal (aka slave maker) – Kill Him – 01:13
Detest – Human Enemy – 03:45
Terry Dux and Decontrol – Brutal Redux – 06:37
Meanstreak – Dirty Biz – 10:30
Noize Punishment – Riotbringer (Forbidden Society RMX) – 15:19
Atomic Clock – Acid 1998 – 18:53
Invader – Hallucinator - Extinction – Annihilation – 22:50
DJ Scud and DJ Deadly Buda – Don of Dons – 27:10
DJ Deadly Buda – 12 O’Clock Suck – 30:27
DJ Waily – Kullii – 32:18
Johnny Sideways – Systema – 35:40
Hiden Virren Vinguttajat - Suohonvingutus 1 – 40:30
DJ Deadly Buda – Lotus Dakinis and the Pink Shooting Stars – 46:29
Dread Mechanic – Rise of the Machine – 52:23
DJ Deadly Buda – Speaker Creature – 56:21

Deadly Buda Track Reviews March 3, 2015

Last January I got booked to play Techno Belligerent’s “Jason Takes Los Angeles” party in downtown LA. Once again I sent the call out to producers everywhere to clue me in on their latest and greatest so I could come out the box slaying. Well I got a lot of stuff that came in. It took a while to go through it all but I did. There were a lot of great tracks that unfortunately I couldn’t play, just because of the time I had for the set (about 50 minutes). So I didn’t get to play everything, but listed below is the stuff that made it into the set. At bottom I list some other stuff that was interesting as well, but didn’t quite fit in that night. Immediately below is the actual mix from the event.

Deadly Buda - Jason Takes Los Angeles February 13, 2015 Set by Dj Deadly Buda on Mixcloud

Skandal (aka slave maker) - Kill Him –

Ripping hardcore crossbreed from Belgium. For those of you struggling to keep up with the dizzying new array of hardcore sub-genres, “Crossbreed” is like a combination of 4-to-the-floor hardcore techno, and drum and bass rhythms. This track has a nice lead and really gets the crowd pumped when you play it. It’s about 175 BPM. I don’t have a direct link to the track, so get in touch with Geoffrey Raes on Facebook and he can tell you where to get the track.

TechDiff – Eat Drink Fuck

Tight ripping breakcore from the legendary Peace Off Label. This track is taken from the Brothers in Blood 02 release. Already available digitally, this might be available on vinyl by the time you read this review. Clocking in at about 233 BPM, the beats are hyper chopped-up but still danceable and fun. A real crowd-pleaser.

Mindcontroller – Go! **Preview**

Blasting OG Hardcore from Mindcontroller with all the classic elements. Thundering kick, screaming hoovers, stabby stabs, cool samples, and even some high hats. Somewhere around 172 BPM, one of the things I like about this track is that it has some hi-hats and cymbals in it, and a snare that just doesn’t make a guest appearance. This track is a well-constructed song that doesn’t simplify itself to the point of ridiculousness just so that it sounds louder after being mastered.

Pink Abduction Ray - Roguelike

Periodically slicing through the Darkmatter Sound System is a shocking pink ray beam. Why? We don’t know. But this traction beam has a dope sound as evidenced by this track, “Roguelike.” 160 BPMs of quirky, in your face… hmmm techno? It’s honestly hard to classify a track like this now days, as there are elements of breakcore, hardcore, tekno, techno and acid. The classicist in me wants to label this techno or “tekno” as I could hear P.A.R.’s tracks going over big at teknivals. Check it out for yourself and see what you think.

Twin Braids - Baseck (featuring Joy Through Noise)

Baseck of Darkmatter Sound System and Joy Through Noise teamed up to create a new project called Twin Braids and this is one of their first tracks. Innovative, melodic 200 BPM hardcore techno made with all outboard analog instruments. This is one of those tracks you just sort of let play because there is so much cool stuff going on you just let the crowd get into it. The ending really picks up so be ready to mix in something high energy to follow it up. This track appears on the compilation PHOTON COLLISIONS (Curated By Somatic Responses) by Various Humans . There are plenty of other great tracks on this compilation so you might as well download the whole thing.

S L A C K E R Y O U T H 2 – Hinoi Team Night of Gabba

A fun 175 BPM Anime-inspired breakcore track that really is 350 BPM. The sample says “Nights on Fire” and quite frankly I’m not sure what the heck it is about, but it really picks the crowd up and is a lot of fun.

Mismasta – The T3rrorBass

200 BPM Frenchcore with some classic well-known samples. This well constructed track covers all the basics of hardcore, bringing to mind old Chosen Few tracks from the Mokum Label. A real nice kicking mix.

Monad – Influenced Bruv

Mad effects-laden breakcore from the Legs Akimbo Label. This 200 BPM break explosion is dense with synths and sweeps washing over a wall of bass.

DJ Filth – Revenge, Serve Cold

This 202 BPM Hardcore track has a nice hoover-groove to it and some cinema samples to jazz it up.

Ambivalence – Gyroscope + Ambivalence. =

A nice 170 BPM breakcore collaboration of Gyroscope and Ambivalence. And something about a chicken… see for yourself at the link above.

DJ Freak – 4 to the Floor 4 To The Floor (available on Amazon)

I ended my set at Jason Takes Los Angeles with this old classic from DJ Freak. Though released more than a decade ago, this track devastated the crowd. Mass distortion, super hard kicks, and if you think the tracks now are mastered loud, you ain’t heard this. 250 BPMs of super classic hardcore that rocks to this day and probably forever. It’s on iTunes too,

Johnny Sideways – Tales From the Darkside (Johnny Sideways RMX)

Johnny Sideways updates the classic Tango and Ratty hardcore drum and bass track. Clocking in at 175 BPM, it really pumps up the kick drum and gives it that rolling hardcore feel that Johnny Sideways is known for.

Paralysed Monch - D.I.E (Paralysed Monch Rmx)

Paralysed Monch does his take on the classic eRRe & Hardlogik vs. Syrinx track. Ball-busting Frenchcore that sounds more like pumped up breakcore or crossbreed to me. 177 BPM and cut loud. Watch your levels!

Deadly Buda & Seppuku – Wolf Love

I know it’s cheesy to review your own track, but no one else has it, and I did open my set with it that night. Right now it’s still unreleased while we finish mastering the track, but when it’s done you all are gonna like it. Super hard 4 to the floor Kicks and Synths and a touch of breaks and cool samples to jazz it up. It answers the question, “Where am I going?” Stay tuned for more info. I will post it on my Soundcloud page when it is ready.

Here are some of the other tracks that were sent in:

BAD MiND - If This Ain't Hell -

Unnatural Selection & Cik - Day Of Judgement

Cik & Cee-li - Salute (Cap Remix) - INNERCORE - NEW ISR COMPILATION OUT NOW!

3p - A World Without You (work in progress)

Akuma (Official) Bessie feat. DJ Virus & Jules (Original Mix)

C-POLOCK - Jason Returns & Minimal Horror Techno Begins (Original Mix)

Shyft Vs. K.H.D. - The Projekt

Hawawa - Over the Roof


CATDOG – This guy has a lot of cool breakcore tracks and you can check them out on his soundcloud

TimShopp - AHHHHH

Breakforce One - Virgin By Choice

DJ Pano

Dark Angel

Martin Poison

Mr. Looter - Did I Do That

Blue Buddha Side B – Classic Deadly Buda mixtape

Blue Buddha Side B by Dj Deadly Buda on Mixcloud

Released in the early 90's by Turbo Zen Records. Side B of this classic Deadly Buda mix tape starts off with a Cramps bootleg and then drifts into some amazing early acid and techno from DJAX Upbeats, Dance Ecstacy 2001, Rephlex, Mike Dredd, Adam and Eve and more.

0 Track Artists Album/EP Label
1 Five Years Ahead Of My Time Cramps, The Sometimes Good Guys Don't Wear White Not On Label
2 The Antdance DJ Aardvärck 2nd Groove 2 The Same Nation Djax-Up-Beats
7 Swamp DJ Aardvärck 2nd Groove 2 The Same Nation Djax-Up-Beats
9 Definitely A Head Doer Kosmik Kommando, The Universal Indicator Blue Rephlex
10 303 Nation Strobe Jams II Dance Ecstasy 2001
11 Untitled Universal Indicator Universal Indicator Red Rephlex
12 Repitcher Unknown Structure Untitled Adam & Eve Records
13 Untitled Universal Indicator Universal Indicator Red Rephlex
14 Time Mode Zekt Untitled Adam & Eve Records
15 Here Comes The Drumz Nasty Habits As Nasty As I Wanna Be Reinforced Records
17 Untitled Universal Indicator Universal Indicator Red Rephlex

Blue Buddha Side A – Classic Deadly Buda mixtape

Blue Buddha Side A by Dj Deadly Buda on Mixcloud

Classic DJ Deadly Buda mixtape (side A) from the early to mid 90's. Lots of classic early acid-techno like 303 Nation, Adam X, experimental mixing and interesting tracks. Like many of the early rave tapes, has a sprinkling of "non-rave" music mixed in for flavor. A early rave classic.

Tracklist (incomplete)

0 Track Artist EP/LP Label
2 This Is A Trip Interrupt This Is A Trip A & X Records
5 Adam X vs. Audio Sex Adam X vs. Audio Sex Direct Drive
6 Small Room E-Noize Small Room EP Crash Records (Germany)
8 Jack Trippin' Adam X Adam X vs. Audio Sex Direct Drive
11 Technoville 303 Nation Strobe Jams I Dance Ecstasy 2001 
12 Metroplex 303 Nation Strobe Jams II Dance Ecstasy 2001 
13 Attacker! 303 Nation Strobe Jams I Dance Ecstasy 2001 
14 Parmesan Reverb Motherfuckers Route 666 Race Age
15 It's Gonna Be Alright Sextant Sextant 2 Fax +49-69/450464
17 toyz n kidz
19 Space Ghetto (Phreaky Phuture Mix) N-Trance Solenoid EP Rising High Records


Algorhythm 2 Rave Halloween-Somewhere in Pittsburgh

Here's a re-print of a fanzine article about Algorythm 2, my favorite part is, "Then there was this gorgeous (even better than the -skinny brunette at the copy place) girl with black or brown curly short hair. She had a shirt that was black with a star on it. She was SO beautiful and so into it and so together. If you know her, PLEASE lead her to me and the ‘zine cause she Just rules beyond compare. Plus, she has the’ cutest little nose." Total early 90's rave scene -Deadly Buda

Ephedrine - an early rave fanzine from about 1993.Technobeat

by Nitro ’93

Ephedrine Fanzine Issue 1, (published approximately 1993)

In the beginning, this rave was really - on the down side. The music was great, don’t get me wrong. I don’t know who the early dj’s were, but they were good. What sucked was the absense of people that were really into the whole thing. Usually that’s okay because the drugs that these drones come for cause a really cool scene, as well as converting non-ravers into the digiboy that I’ve managed to become over the years. But, there-weren’t even any drugs there which made these people rather angry and there were even some stupid jock assholes keeping with their Jock image by trying to start fights.

Another problem was the location. It was held in a dusty warehouse that was used as a paintball course and that paintball shit was everywhere which made it impossible to lean on anything when I got tired of dancing due to lack of drugs. Even the kick-ass smart drinks (at $4 a pop) and equally overpriced nitrous ballons (5 bucks!What the fuck?!?) had absolutely no evident effect on me. But then- DEADLY BUDA ‘came on and tore it up with the techno-insanity that causes cancer in laboratory rats. It was if the ecstacy were in the music and I didn’t ‘need any drugs cause he just rules. I couldn’t control my feet so I started skankin’ like I was at a Circle Jerks show in 1980 or something. Then there was this gorgeous (even better than the -skinny brunette at the copy place) girl with black or brown curly short hair. She had a shirt that was black with a star on it. She was SO beautiful and so into it and so together. If you know her, PLEASE lead her to me and the ‘zine cause she Just rules beyond compare. Plus, she has the’ cutest little nose.

TeChNobEaT by Nitro '93 articleOkay, enuff of that silliness back to the rave. BUDA was spinning some evil shit... and that great girl and everything ... Nothing” could go wrong. The time change made it 3am instead of four... the one and only LENNY DEE was going to pick up the-sounds next...THAT.. FUCKING GIRL ... then ... the cops raided the shit!!! What a mindfuck.

We then proceeded to a 24hr. diner around the corner and almost got kicked out for making noise. Two of my friends were on acid that they brought with them so they were sorta trippin’ and just fuckin’ things up even worse But, the good thing is that we met some people and turned them on to the zine and I should be hearing from them soon (HI Baby Jessica!). The worst part is, I’ll probably never meet the girl of my dreams again, and, here’s the kicker-on the way home from dropping everyone off I flipped my fucking car. Man. That truly sucks.-N193

Soul Pittsburgh Scene Report Mid-October 1993

"Soul" Scene Report by DJ Deadly Buda Mid October 1993SLURP! Newsletter

“Pittsburgh” Scene Report

(Mid-October 1993) (USA) by Deadly Buda

Beats breaking down. every split second Bass tumbling through the air - wash after wash of synth waves climbing, climbing. dancing in mid-air richocheted from wall to wall so hard YOU can almost see them - Your body, a crumbling whirling dervish of DNA, repeating as if your vertical hold is on the fritz disintegrating into black nothingness...

Thus, was “Soul”-Turbo-Zen’s year-end underground jam. “Soul” went without a hitch and lived up to it’s name. Incredible amounts of Hardcore... While many claim tribal intentions - Our real tribal is right in front of us. or a part of us - this is music made by the participants and ravers, THAT is what hardcore truly is.

Whirling noises that sound like hammers are nice, but not necessarily “Hardcore”. Music made for the NOW, with a vision to the future - that is hardcore. Experimenting, trying, thinking, pushing the envelope - Hardcore.

Here a peculiar thing: while I was playing Urban Primitivism’s ‘Fuck” mixing It with T-Bone Castro’s “Bitches”. Unbeknowenst to me, there was some guy with his shorts pulled down, standing in a puddle, playing with himself. while about a crowd of 80 people cheered him on from an adjacent hilltop. As the beat pumped harder and faster you can well imagine what started to happen - the crowd built with wide-eyed anticipation - finally in one dramatic gesture - he CAME! Thunderous applause sprang forth from the crowd! At which, he promptly passed out. Now, before I go any further let me say that TZ does not condone this sort of behavior and/or encourage it - and I mean this isn’t by any means a usual thing. In fact. the reason I am even mentioning it is because, rather than people getting upset, and beating this person up, which would happen at any other function in America, people rushed to his aid in order to revive him gently. There was a genuine concern for his well being. If it wasn’t for Hardcore ravers and people who care, - this situation could have been disastrous. Someone went to the edge, and was helped back.

I honestly was debating whether to write about this - I mean. what if the wrong person read this and used it as an excuse to fuck with our parties? For days I wrangled with it. It was funny, touching, but also something that could be used against TZ in the future. I wiped out the information on the disk and felt like a real wuss. Fortunately, that night I received a call from DJ ESP in Minneapolis. Our conversation was candid and touching. We didn’t even talk about said situation. What we did talk about was how linear the rave scene had gotten. Where had the spirit gone? New Age High School Dances are all well and good, but the hardcore mission is much more complex. If you are not honest, how can you be creative? How creative had the scene been lately?

For those that claim that raves are dead, blah. blah, blah the joke’s an you. The mere fact that you are reading this right now is proof positive that the system has been set up, the virus is in order - If you think the lights and sounds are ruff at raves be prepared for the next innovation - truth. I didn’t help set up raves in my area just to have a bunch of back-stabbing dishonest bullshit float more freely - I set out to promote unity and caring for one another.

Black, white, yellow, straight, gay, male. female, house, techno. trance, tribal - these classifications are stupid and boring. Made up to divide us into little easily classified and manipulated groups. I will say what I see and feel and if it angers people, so be it, Maybe a little controversy about something other that who’s cool and who isn’t would do the scene some good The road to reconciliation within and re-acceptance of one another is going to be long and tough. All of us will be fucked over again in the process, but we must continue through it - change may be brutal - but unavailable if we do not dare to take the next step, what do we go back to? Look at how far we have come already. To throw it all away now is stupid!

It appears as if my soapbox here is straining from the weight of my convictions, soooo...... here is what else is happening in P-Burgh....

Turbo-Zen retail is in limbo right now as our lease ran out and I just don’t know if we could find a cheap enough space where we could just do about whatever we wanted to like before -having a normal old record store to support is not appealing to either me or Lisa. Now, if you think that is the end of TZ - HAI You must be some kind of weird owner of some bullshit club trying to peacefully lull yourself to sleep. TZ is now at double power! Despite a temporary lull in music service, we will be making it easier than ever for the local ravers to get music. Our weekly night will be called “Lizard Groove” and will start mid-Sept. Furthermore. we have already set up 3 events:: ALGORYTHM 1-2-3 on Oct. 9th (with Grandpa Techno. Scott Forbush) which is designed to bring us together with our sister city, Cleveland. Oct. 30th (The Halloween Coup! LENNY DEE, I mean what scarier DJ IS THERE?) and DEC. 4 - the most rock-shocking DJ possesion trance get-down of hardcore shamanic intensity - Adam X, myself. and DJ ESP. Woody McBride. This one you will not want to miss!

Three new rave crews have sprung up recently - all dope ministers of wicked vibes: Jolly Folk. ANA, and Little Good Vibe. Jolly Folk and ANA pulled out a real surprise last weekend “Simplicity” - while looking for a small space for about 100 people - they accidently found a massive skating rink. Most of Pittsburgh Hardcore was there along With the proprietors. They talked us into spinning some wicked polka tunes which I swear to God, got a really good response - Go Figure! If that isn’t Hardcore, I don’t know what is! Our little crew has now spawned 3 more that know the. score! Shouts Out to Lisa, Finger. Side 2. +FX. Terry Kicks, Stickman, Hannibal, Kay, Mariah, Controlled Weirdness, Automation, Bourbonese Qualk. Brooklyn. Cleveland. Cincinatti, Pawn, Drop Bass Network, the entire state of Wisconsin, Baltimore, Philly-Rock the House!

Pittsburgh Scene Report July 1993

BudaEPK_Page_327_Image_0001SLURP! Newsletter

Pittsburgh Scene Report

written by Deadly Buda of Turbo Zen

(July 1993) (USA)

I’m beginning to wonder about this word “scene”. When I hear the word “scene” in a social context (like, say, a large gathering of people) it brings to mind a bunch of people dressed alike and their mostly contrived patterns of social interaction. When I think about the word “scene” in a larger context, I think about visions- horizons, skylines, rivers, playgrounds, schools, highways, actions taking place within settings.

Pittsburgh is a fairly scenic place. three rivers, lots of cool bridges and highways, and hills so you can look all around you. The skyline is pleasant and there’ are many trees all over town. It is very inexpensive to live here and for the artistically inclined, lots of raw materials to work with. As far as raw rave potential goes, this town is sweet. Because the city is divided by many hills, each it’s own distinct community, the populace has an overall rural mentality House music was never big in Pittsburgh. Led Zeppelin is (and probably will be forever). Pink Floyd, Black Sabbath, Steve Miller, Lynrd Skynrd and AC/DC rule the airwaves, generally mystical dreamy rock stuff. Any dance music on the radio is of the sickest most commercial variety.

Here lies an interesting roadblock. The radio programmers monopolize their formats, never changing their rotations. When they do it is for BIG payola (provided by record companies, who have totally lost touch with what is happening musically) “The Electric Slide’ is still in heavy rotation for God’ sake! Because no one hears new songs, record stores can’t sell new music. Most “alternative” record stores in town are successful at selling what WAS alternative 5 years ago. Consequently, the “underground” is just discovering Industrial Music. The punks hate the hippies, the artists complain, shitty bands get booked, no one makes any money at what they want to do blah, blah, blah...

This makes the town a unique challenge for inspired airwave shakers - How do you get new dope sounds pumped out to people who are drummed into submission by the same stupid 100 songs almost 2 hours a day? Or, how do you get bombastically blasting bad-assest beats bounced in the ‘Burgh? It appears as if the strategy of playing “safe” trax like the mostly domestic commercial crud (like some labels I won’t name) because, ‘that’s what the crowd likes’ (says who? - a mistimed advertising campaign that cost thousands of dollars?) is a road to nowhere. Trying to explain this to people is - a road to nowhere also You are just required to constantly reassert the fact that the underground music will always move the crowd to more alarming degrees.

Much as 59 cent facsimiles of hamburgers are designed and produced to maximize profit, so are many facsimiles of something called techno-rave-house-tribal-trance. That is all many of these records do - maximize profit. It is truly disheartening to see d.j.s careers zapped into oblivion by playing this Shit. Another roadblock is that many of the people who say they are “ravers” in Pittsburgh (and many other places) are always attempting to imitate other people and other “scenes’. Rather than looking to harness their own energy and come face to face with their own potential, they subconsciously sabotage themselves by telling themselves the grass is greener elsewhere.

Turbo-Zen was accused of going “commercial” recently. Supposedly. there were too many big-hair chicks and jocks at our last event. Well, I guess this person thinks that intella-beams grow on trees, and that the only people who deserve to be unified in this unity movement are the ones just like him. This person was also espousing the values of “club” techno. Yes-music made for places that people get paid to pretend they are having fun to trick people out of their money Perhaps there is some kind of vitamin deficiency going on here. someone get a 9.000,000 liter recyclable bottle of choline shake shit! Ouick!

Our last rave “Hiqh-Voltage” was designed to bring together a totally mixed crowd, every prevalent style was integrated into a sonic 8 hour wave of ascending and descending BPM’s drawing on as much local talent as possible. Passing out flyers in places untouched by flyers before drawing a really diverse crowd, much of whom were exposed for the first time to the more extreme side of the music. Most people totally dug it! Noticeably absent were ‘the ‘scenesters” Who I guess were at home seperating themselves from the riff -raff. Rumor has it they were jamming to proressive house so that they could be more progressive than everybody else.

Everybody knows that homogenizing fat grooves and re-packaging them for people who truly emulate Crest and Tide advertising aesthetic is progressive. But alas, I’m getting testy here. “Zoom” and “Babylon” have opened and have techno or rave nights. I have to admit, Zoom plays some good trax but no one has been coming. Yet. Babylon plays awful music, and no one comes. People are coming to the Underground Raves.

The mixing styles of D.J.s like Side 2, Finger. +FX. Digital Jesus and myself have been getting wilder and more individual. Personal style on the turntables is tantamount. playing the grooves of the records as if some weird twisted ghost of an ancient blues musician has become trapped inside the mixer. For some reason Pittsburgh has always bred strange D.J.s like Porky Chadwick - this guy from the 50’s who still throws massive sock-hops today + soaks the labels off of his records so other local 50’s jocks can’t find out what he s playing! He’s still breaking “new’ tunes from the 50’s! Pittsburgh has always just secretly loved bizarre offshoots of musical movements and hoarded these vinyl treasures as it they were powerful magic spells.

So, all in all, Pittsburgh is going through interesting growing phases, and I truly think that something very special will blossom from this area. I want to encourage everybody, wherever they are to stay true to what they believe in. Do not listen to what other people say other people said. Cherish your deepest thoughts’ Schmegda-Magnus!

P.S. Does anyone out there know where I can get a copy of *P.S.K. What does it mean?”

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