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6 days ago
- Entertainment
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The Return of Ryn Weaver: ‘I've Waited So Long Now – I'm Ready to Do the Damn Thing'
'I look back at that time, and it was so romantic,' Ryn Weaver tells Billboard, 'and I was so young, and so brave, and so scared, and kind of staying high so I didn't have to come down.' Weaver needs every adjective she can find to describe the personal and professional whirlwind that she experienced a decade ago. In June 2014, the singer-songwriter born Aryn Wüthrich made her debut with 'OctaHate,' a sleek, lightly swaying synth-pop gem with effervescent verses and a hammered-down hook; she uploaded the track onto Soundcloud, and it rapidly took off with pre-TikTok social media shares and critical approval. More from Billboard Don Was Remembers Brian Wilson's 'Mystical' Genius: 'He Explored Creative Territory Where No Musicians Had Gone Before' How LadyLand, the Scrappy Festival That Could, Is Shaping Queer Culture & Live Music In NYC Shooter Jennings Reveals Three Albums of Unreleased Waylon Jennings Songs Are On the Way Pop Twitter noted the song's pedigree — not only did 'OctaHate' boast a co-writing credit from a then-red-hot Charli XCX with Weaver, but Benny Blanco, Passion Pit leader Michael Angelakos and Norwegian polymath Cashmere Cat all helped pen and produce the song. But more immediate were 21-year-old Weaver's dynamic voice and theatrical delivery, adding dramatic heft to each of the song's finely crafted melodies. Combined with the news that 'OctaHate' preceded a debut album that Blanco and Angelakos would co-helm, and that Blanco would release through his Interscope imprint Friends Keep Secrets, Weaver appeared to have the skills and industry buy-in to become an alt-pop star. Weaver's debut, 2015's The Fool, brimmed with promise and personality, debuting at No. 30 on the Billboard 200 and prompting a headlining tour and festival dates over the following year. None of the follow-up singles built upon the commercial success of 'OctaHate,' though, and a follow-up album never materialized. 'It was also very sad, and very heartbreaking,' Weaver says today, 'and I was very lost, even though I was just charging into the night.' In the years since, Weaver's name would pop up as a co-writer on songs like 2019's 'Dream Glow' by BTS and Charli XCX, and 2021's 'Just For Me' by SAINT JHN and SZA; 'Pierre,' the anthemic fan favorite from The Fool, has also been a perennial TikTok favorite, inspiring multiple trends beginning in 2021 and racking up even more U.S. on-demand streams at this point than 'OctaHate' (111.7 million to 63.4 million, according to Luminate). Yet Weaver, whose wit and sincerity once made her a must-follow on Twitter and Instagram, mostly vanished from social media, and years passed between updates on in-the-works music. On Monday (June 16) — the 10-year anniversary of The Fool — that wait finally ended. 'Odin St' may be Weaver's first official single in a decade, created with a darker tone (courtesy of co-producers Benjamin Greenspan and Constantine Anastasakis) and a more mature perspective. But longtime fans will recognize the idiosyncratic wordplay, loping syllables and ornate hooks that bend toward a major chorus, all as magnetic today as when Weaver barreled into view a decade ago. Now 32 and without a label — she's no longer working with Blanco but describes their parting as amicable, and says that she still keeps in touch with Angelakos — Weaver says that 'Odin St' will lead into the sophomore act that she always knew she had inside of her, but which required time to germinate. 'I went through a very singular, and yet kind of clichéd, experience,' Weaver explains of her early stardom, 'where I didn't feel like I could fully communicate it yet. It was, like, above my pay grade, the language to discuss what was going on. I needed some space from certain experiences to actually be able to write from a place of clarity.' Ahead of the release of 'Odin St,' Weaver discussed where she's been, and where she finally hopes to go next. (Ed. note: this interview has been condensed and edited for clarity.) Where did 'Odin St' come from? Chronologically, the song is where The Fool ended. [The album's final song, 'New Constellations'] ends, 'You can run, if you want to.' I think it's pretty clear that I left my label — I asked to be released — and so I moved to L.A., across the country, and my manager picked out a place for me to stay. It was on Odin Street in Los Angeles, and I didn't know the lore of Odin at that time, but it was this safe haven, bunker, Grey Gardens situation. I hid there, I guess, and waited for some dust to settle. And then later, thinking about the lore of Odin, I just love that he's the god of wisdom, and he represents people who are willing to give up everything on their journey for their acquisition of wisdom. I felt like that was such a poem in and of itself — being on Odin Street, and knowing that was my journey, but it's a very long journey to actually acquiring wisdom. It was also the inverse — I was making the first step, but in reality, I was partying, and hiding, and I was with someone I shouldn't have been with. And so it was kind of this house down the road from wisdom. When did you start piecing the actual song together? I think I started an idea for it like three years later, and then I scrapped that. And then I went in with [producer-songwriter] Active Child, and we started something – but it was almost too joyful in a way, too romantic. I started the verse there, and then we didn't see each other through COVID. And then I was writing with a guy named Constantine, whose artist project is Blonder, and we were writing for a young artist that my friend was managing, in the desert. We got on very well, and we got back home and were talking about working together. He has this very interesting dark guitar tone. We hung out all night, and I think it was 7:00 AM when we started writing it. Funny enough, the song is in the key that it's in because of my throat — I was like, 'It's 7:00 AM, this is where I can sing this song.' And we even tried to change it a couple times, but key characteristics are so important. We lifted it a half [key], and then it sounded like a jingle. I was like, 'We're keeping it where it is, because it's dark, and it's gritty.' 'Odin St' has been rumored to come out for a few years now. Why was now the right time? For my fans, I love the idea of putting something out on the 10-year for The Fool. We never did a re-pressing — we did one pressing, and people constantly ask me, 'Can I get a record?' I don't have any! But this song is literally where I left you, and it's a darker color palette. I like that it's lower — I wasn't really encouraged to sing in a lower register on the first record. So this is also kind of a break-free moment, of I can do whatever I want. And I also just think it's a foray into a darker new chapter, while still being light enough. How close was this moment to happening in the past? Were there starts and stops? There were so many starts and stops. There have been three separate times I was getting ready, and there were different songs, too. There was one that I was like, 'I feel like that's the wrong story to start with.' I would get close, and then pull back. I've had to get to a point of regaining a lot of self-trust, because working with super-producers and then leaving — you have a splash like that, and then you're coming back, and there's this feeling like, 'This is different.' So I think I was scared. I was never lying to anyone. I always thought I would release something, but then the logistics of it come into play. It costs money. I don't want to give away my power and immediately sign somewhere. Maintaining autonomy was also important to me. I think, at this moment in time, I am able to do that. Was co-writing for other artists, or serving as a guest vocalist, ever a lane you considered? I've written for other people — I wrote for SAINt JHN and SZA, and I did something for BTS. I've had a lot of random, lucky cuts. If you take this much time off — I'm not connected in the industry through family, I don't have a giant trust fund or anything. I felt like the universe was protecting me, being like, 'Here's this Head and the Heart song, you can keep going.' That was also a really nice way to pull back and de-center myself, especially while I was pulling back the arrow and deciding what this new chapter would look like. I turned down a couple really big features at the time, but I think it was because I wanted to establish myself as an artist with my voice. The music industry has changed, but at the time, I felt there was a bit of a trap in being a features artist. I really wanted for my first big feature for everyone to be like, 'Oh, damn, they're working together!,' not, 'Who the f–k is that?' I was pretty stubborn about wanting to continue to develop my own voice to where it feels like, that is a worthy collaboration, instead of being thrown onto something. I was maybe a little cagey, but I stand by that decision. Around the release of , you were all over social media and constantly online. And then you took a step back for a long time. Well at the time, I wasn't releasing — I don't know how many selfies or how much content the world really needs. But also, I started seeing someone who's wonderful, and who doesn't have social media. And I was like, 'Wow, I want to do that for a minute.' It was like, what am I trying to get here? Am I going to post a snippet? Am I going to react or bandwagon? I was like, 'They don't need me right now. Open up the stage for the people they need right now.' I've been onstage my whole life, since I was four, and was a bit of an overachiever in that sense. I was performing professionally at events, and singing for sports games, and then I was the lead in plays, and I was in bands, and then I got into [NYU], and then I dropped out of school, and then I met Benny, and everything was just like, good, good, good, good. And I didn't understand myself outside of the context of other people, and my value was heavily tied to my ability to entertain or perform. I think the time off has been really transformative, in the sense that you really do have to find what your intrinsic value is. That was a very painful process. And this is the longest I've not been onstage in my life, but it was so crucial to my general development. So I think you have a couple of little ego deaths in there, where you don't need to fight for attention. So what were your areas of interest while you were detached? Did you pick up new hobbies? I traveled a bit. I've gone on weird hiking road trips. I got a sewing machine. I got back into painting. I hung out with my friends and my family a lot. I was a good cat mom. I go dancing, I exercise, I swim in the sea. I was living my life! I do have to acknowledge screens — it's a very depressing truth that we all binge more than we want to, and we all are on our phones more than we want to be, and I'm trying not to do that, but sometimes my nights are that. I was a bartender for a second. I've been in therapy. I'm doing what anybody else is doing. Did you ever consider leaving music altogether? I did, but I didn't. You can talk yourself in and out of everything — I was like, 'Maybe I'll go to school and study semiotics! I'll go write a book!' Or I was like, 'Maybe the industry is too toxic!' I was in a very different industry, pre-MeToo, and women were pitted against each other in different ways. There was a little bit of seeing how the sausage was made, and being there, the industry felt strange. More for the drama of it, I was like, 'Maybe I'll leave.' And I had enough reasons to, and most people would have. But I think I always had that thing that was like, 'It'll be next year.' It was more prolonging the [return], and never like I was actually going to pivot. When you did check in with the rest of the world, how meaningful was it to read fan messages asking about a comeback or hoping you were working on new music? Super meaningful, and also heartbreaking. You take this much time off, some of it is trying to find your next perfect-match collaborator. You'll do some of the speed dating, and someone will want to do 'OctaHate 2.0,' when you're trying to transform. So sometimes I'd get those messages, and especially when I felt so far away from releasing, I was like, 'I want to be there too. I'm figuring it out.' But it also kept me going, knowing that I had such a strong fan base and people that really love me. I also kept in touch with so many of them. I had isolated for a long time, and became sort of hermetic. I like that side of myself, but I also need people. It's like in the Peter Pan play, where Tinker Bell starts dying and needs everyone in the audience to say, 'I do believe in fairies, I do, I do,' to survive. When you're out of the public eye, and you don't know how necessary what you have to say is at all — having people being like, 'We believe, we care, we'll listen,' that matters. How does it feel to be on the precipice of releasing new music? I feel really calm, in a way. I think I was so frantic with 'OctaHate' — it was one of those releases where it was like, 'We're just gonna put this out today!' 'Oh, we are?' It was horrifying. I threw up that day. I was like, 'Oh God, this is happening.' But I've waited so long now that I feel ready to go. We have a couple more songs coming down the pipeline, and then I think we're going to do an announcement for… other stuff. But as of now, I just want to focus on this. I'm also actively in EMDR, which is really cool. I'm really preparing myself to come back to the industry from every angle, and feel really like secure and stable coming back. So it's like, a nice summer, getting me ready to to do the damn thing. Are you thinking about playing shows? Oh, yeah. I mean, that's kind of my favorite part of it. I love writing, but being onstage in that communal heartbeat thing — where someone can be attached to the work for a completely different reason [than someone else], but everyone's singing it at each other — it's just this electricity. I remember before I first went on tour, I was doing radio promo and all this stuff that made me feel disconnected from what I was doing. And as soon as I went on tour, I was like, 'Oh my God, this is it — I'm a road dog, I am a sailor.' I grew up doing theater, show after show, and it's always different. And getting to interact with people, hanging with them after the show — I had people coming on the bus and doing shots with me, and it was just so fun and free. I will be a better girl this time! I mean, you can only pull that off at 22. But, yeah, that's the best part of it, to me. What do you expect to feel when you return to the stage and start performing songs from ? I mean, hopefully no one is the same person as they were a decade ago. I want to say something in defense of The Fool, though. I feel there was a while where I couldn't listen to it — almost like, 'What was that? Oh, my God.' There's a lot of things that I was embarrassed about when I was younger, like doing theater and this and that. But to me, they're like, these beautiful baby pictures. And I was just so brave and young, and there was no thought about anything, other than 'I only have this many days to write an album, so I'm gonna do it.' And it was high-pressure, high-stakes. I was living a very exciting life. And I just have so much love for that album. I'm sure we'll reimagine some of the instrumentation, but for some of them, we won't. It's a chapter that literally gave me the ability to be talking to you right now, and gave me the ability to have fans and have opportunities. I re-listen to it now, and not to toot our horn, but with Benny and Michael and me, it was a sound that's got legs, and it feels timeless. The songs are strange, but still big. And I feel like that is the way I write. I do feel like these two albums are going to be companion pieces — the first one is very bold and bright, and there's a lot of darkness in what I wrote, even if the energy isn't. And the newer stuff is a bit of a photo negative. Different colors, but it's not like I'm not a romantic, theatrical, intense person still. I've just matured. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Glasgow Times
18-06-2025
- Entertainment
- Glasgow Times
American musician coming to King Tuts Wah Wah Hut in Glasgow
Corbin, formerly known as Spooky Black, will be performing at King Tut's Wah Wah Hut on Tuesday, October 7. The concert comes as part of his Clown On Stage Tour, which will include stops in Amsterdam, Berlin, London and Dublin. READ NEXT: 'Glasgow is great': Fleetwood Mac tribute act to rock city show this summer The show follows the release of the star's latest album, Crisis Kid, which dropped in April 2025. The singer first broke into the industry after releasing tunes on Soundcloud and has gone on to attract some of the biggest names in music, featuring on songs with Chief Keef, Trippie Redd, Skrillex, and The Kid Laroi. READ NEXT: Popular singer-songwriter coming to Glasgow as part of UK tour Tickets for the Glasgow show will go live at 10am on June 20. Gigs In Scotland's pre-sale will go live on June 19 at 10am. To purchase tickets or sign-in for pre-sale, visit
Scotsman
05-06-2025
- Entertainment
- Scotsman
Rave tapes: The most valuable cassettes from the 1990s rave scene
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Voicemail recordings and lo-fi dubbing - a look back to the world of the '90s rave tape. Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Long before Spotify and Soundcloud, cassette tape trading was how many discovered new music. With it came a flood of releases from some of the biggest dance promoters of the '90s - but in a very underground way. Benjamin Jackson looks back at the era of the rave tape, some of the bigger names in the scene and if any of them are worth anything in 2025. Before streaming playlists and instant downloads, how did a generation get their hands on the freshest, most electrifying sounds? Cast your mind back to the late '80s and '90s in the UK, when rave culture exploded, driven not by major labels, but by a humble, clunky format: the rave tape . These weren't just mere recordings. Advertisement Hide Ad Advertisement Hide Ad Instead, they were the lifeline of an underground movement, passed hand-to-hand like sacred scrolls. If you've ever wondered how the acid house revolution spread from secret warehouses to car journeys across the M25 , this is your rewind button. Ahead of both Creamfields 2025 and Tomorrowland taking place this year, let's go back in time to an era where raves were illegal , 'the man' didn't like people having fun, and going to a show sometimes involved calling a mobile and learning where to go by voicemail… … and of course, the cassette tapes and clamshells that frequented glove compartments and cassette decks at the time. Dance music in the early 90s - what led to the start of releasing tapes? Before Spotify or YouTube, ravers would head to independent record stores or buy live tapes of the shows through mail order services - many of which where DIY operations. | Getty Images/Discogs Necessity – basically. The era of rave tapes truly flourished in the late 1980s and throughout the 1990s, a period often referred to as the ' Golden Age of Rave '. It was a time when dance music was exploding across the UK, moving from acid house's underground origins into diverse genres like hardcore, jungle, drum & bass, and happy hardcore . Advertisement Hide Ad Advertisement Hide Ad The entire rave scene was built on a DIY foundation. Promoters and fans took matters into their own hands, bootlegging sets, photocopying covers, and setting up informal distribution networks, bypassing traditional music industry structures entirely. Some old-school ravers will tell you tales of phoning a mobile number to hear a voicemail message giving directions to the rave. Others will recount just randomly being in an area, only to spot fellow revellers marching to a hidden location where an illegal rave was set to be – sometimes traveling the stretch of the M25 corridor to do so. So naturally, with the nature of raves being somewhat of a 'stain on the moral decency of the United Kingdom' at the time, the commercial aspect wasn't something at the forefront – yet. That would be nearly a decade later when Clubland blew up. Before widespread high-speed internet and digital downloads, and the likes of Alice Deejay, Fragma , Ministry of Sound , and Cream became staples in the UK singles and album charts, there was no easy way to distribute new music or capture live sets. Cassette tapes were the most accessible and affordable medium. Advertisement Hide Ad Advertisement Hide Ad So instead, in true DIY fashion, promoters would release their own tapes; lovingly put together in either the now iconic clamshells (which would sometimes hold seven to eight tapes featuring an entire night of music), or as one-shot single cassette tapes dedicated to a particular DJ who performed for the promoter's club night. There were two methods fans could get their hands on the music: one was by virtue of dubplates – unique tracks and mixes that would be pressed onto vinyl as one-offs – or the much cheaper option of dubbing a number of cassette tapes off one master recording. As it stood, tapes were one of the few affordable ways to record these often legendary, one-off events and share them with those who couldn't attend or wanted to relive the experience. They have since become vital historical documents of the culture. Tapes also allowed these fresh, cutting-edge sounds to quickly spread across the country, influencing other DJs and producers. Advertisement Hide Ad Advertisement Hide Ad Could they be picked up at HMV or Fopp at the time? Not really – though when the likes of Hixxy released commercial CDs of Bonkers , most of the time mainstream stores like HMV or Fopp were more geared towards chart music and major label releases. Instead, it was more of an underground operation to release these tapes – again, going back to the DIY ethos of the genre. The most common place to buy tapes was directly at the events, often from stalls set up by the promoters themselves or by independent sellers. Key independent record stores, particularly in major cities like London, Manchester, Birmingham, and Bristol, that catered specifically to dance music, imports, and underground genres, were vital hubs. There were also rave fanzines like Eternity or Dream Magazine that would feature adverts for mail-order tape lists. You'd send cash through the post and receive your tapes back. Advertisement Hide Ad Advertisement Hide Ad For the unscrupulous, though – they'd just dub the tapes and palm them off to friends, which admittedly wasn't ideal. Not because of piracy, but because generations of dubbing these tapes led to a loss of sound quality… which wasn't ideal when the fidelity of the recordings wasn't perfect in the first place. Who were some of the 'main players' releasing tapes at the time? Dreamscape Arguably one of the most iconic and largest promoters in the UK, Dreamscape truly defined the 'super-rave' era. Based primarily in the South East (often in vast venues around Milton Keynes and Bletchley), Dreamscape's multi-arena raves were legendary for their immense scale, intricate production, immersive themes, and consistently stellar lineups. Their events were grand, almost magical spectacles that drew tens of thousands of attendees. Their tape packs, often professionally compiled with distinct, instantly recognisable artwork, meticulously documented every set from their massive events. These collections crucially captured the evolution of rave music from the breakneck intensity of hardcore into the complex rhythms of jungle and drum & bass. Vibealite A huge name in the Midlands rave scene, particularly known for its high-energy hardcore and happy hardcore events. From its core in Nottinghamshire, drawing crowds from across the region including Mansfield and Birmingham, Vibealite forged a distinct identity rooted in fast, anthemic beats and uplifting vocals. Their events were known for their electric atmosphere and dedicated crowds, fostering a strong sense of community. Advertisement Hide Ad Advertisement Hide Ad Vibealite tapes capture the raw intensity of these all-night parties, making them essential for fans of the unique and influential Midlands sound that propelled many DJs to prominence. Fantazia Another enormous promoter, Fantazia carved out its place as a cornerstone of the UK rave scene by hosting truly colossal events across the country, including in the Midlands. Known for pioneering huge, immersive experiences that often included elaborate stage designs and theatrics, Fantazia consistently drew immense crowds. While perhaps less exclusive to the tape-only market than some, their events were meticulously recorded, and Fantazia tapes became hugely popular and widely distributed. These tape packs captured the vibrant atmosphere and diverse sounds of their sprawling parties, offering fans a crucial piece of the energy they experienced live. Fantazia's visually distinctive branding also helped solidify its place as a definitive brand of the early 90s rave explosion. Advertisement Hide Ad Advertisement Hide Ad Helter Skelter, Universe, Slammin' Vinyl These were other major promoters from the M25/South East circuit, representing the pinnacle of the super-rave era. Moving beyond the initial, often illicit, warehouse parties, these giants of the scene regularly hosted colossal, licensed events in vast venues around the M25 corridor and across the South East. They offered multiple arenas catering to a diverse range of dance music genres, from blistering hardcore and intricate jungle to euphoric trance and progressive house. Their tape packs were legendary for their sheer scale, often comprising multi-tape sets that meticulously documented entire nights, showcasing sets from every key DJ and arena. Bonkers While Bonkers did initially host a series of high-energy happy hardcore club nights and events, its most significant and lasting impact was undoubtedly as a hugely successful compilation album series and brand. Emerging in the mid-1990s, Bonkers became the definitive commercial face of Happy Hardcore, a genre characterised by its rapid tempos, uplifting melodies, and often vocal-driven tracks. Curated and mixed by influential DJs like Hixxy and Sharkey, the Bonkers CD compilations achieved phenomenal sales, reaching millions of listeners far beyond the traditional rave circuit. This marked a pivotal moment, transitioning the genre from its underground, tape-distributed roots into mainstream retail outlets. Advertisement Hide Ad Advertisement Hide Ad Bonkers not only brought Happy Hardcore to a much wider audience but also cemented the commercial viability of dance music compilations, making it a household name for a generation. Who were some DJs who featured on the tapes that went on to do bigger things? Many DJs became legends through their sets on these tapes, building huge reputations that propelled them to international stardom or cemented their enduring influence: Carl Cox While he transcended any single genre to become a global techno superstar, Carl Cox was a powerful and unforgettable force in the early rave scene. Known for his legendary three-deck wizardry and incredible, infectious energy behind the decks, his early rave sets on tape showcased his versatility and sheer charisma. Whether dropping hardcore, techno, or house, Cox's sets were renowned for their driving rhythms and an almost spiritual connection with the crowd. His ability to deliver pure exhilaration through his mixing made his tape sets highly sought after, solidifying his reputation as a true master of the craft even before his worldwide fame. Advertisement Hide Ad Advertisement Hide Ad Hixxy Hixxy truly became synonymous with the Bonkers brand, not just as a DJ but as a pivotal figure who helped define the sound of Happy Hardcore. His energetic mixing style, characterized by rapid-fire transitions and an uncanny ability to select the most anthemic tracks, was central to the genre's massive success. Beyond his DJ sets, Hixxy was also a prolific producer, crafting many of the genre's defining tunes. He was instrumental in shaping the accessible, uplifting sound that turned happy hardcore into a mainstream phenomenon, reaching millions through the Bonkers compilations and making him one of the most recognised and beloved names in the genre. Slipmatt (Matthew Nelson) A true pioneer and hugely popular DJ from the hardcore/jungle scene, Slipmatt was a ubiquitous presence on rave tapes throughout the 90s. As a resident at many major raves, including Vibealite and Dreamscape, his high-energy, versatile sets (moving from hardcore into early jungle and then happy hardcore) were constantly in demand on tape. He was known for his seamless mixing and ability to whip a crowd into a frenzy. Beyond his DJing, he was also a key producer and part of the chart-topping group SL2 ('On a Ragga Tip'). Slipmatt's consistent presence and enduring popularity ensured his influence spanned decades, shaping the sound for generations. Advertisement Hide Ad Advertisement Hide Ad Grooverider & Fabio These two visionary DJs were absolutely pivotal in shaping the sound of jungle and drum & bass, particularly from their base in London. Their legendary 'Rage' club night at Heaven became a crucible for the new sound, transitioning from hardcore breaks into the darker, more intricate rhythms of what would become jungle. Their recorded sets from 'Rage' and other key events were essential listening on tape, establishing them as tastemakers and long-standing figureheads of the genre. Known for their sophisticated track selection, deep basslines, and seamless, extended mixes, Grooverider and Fabio cultivated a more mature and refined sound that laid the groundwork for modern drum & bass. Andy C Starting incredibly young in the early 90s rave scene, Andy C rapidly became one of the most influential and technically gifted DJs in drum & bass. Nicknamed "The Executioner" for his precise and relentless mixing skills, his early rave sets on tape quickly cemented his reputation as a prodigy. Beyond his electrifying DJ performances, he went on to build the hugely successful Ram Records label, which became one of the most respected and innovative imprints in drum & bass. Andy C's relentless touring, technical prowess, and consistent innovation have ensured he remains a top-tier artist and a true legend of the genre. Advertisement Hide Ad Advertisement Hide Ad Sasha & John Digweed While their later careers leaned more towards progressive house and trance, Sasha & John Digweed were titans of the electronic music world who built significant parts of their early careers playing at major UK raves. Their famously long, intricate, and journey-like sets (often lasting for hours) were perfectly suited to the tape format, allowing listeners to immerse themselves in their evolving soundscapes. Their tapes from major events like Universe and Renaissance were widely circulated and highly sought after, showcasing their pioneering mixing techniques and track selections that laid the foundation for the progressive sound that would captivate a global audience. What are some of the more valuable rave tapes from the era? Dreamscape X (Get Smashed) ESP Promotions series of Dreamscape tapes were one of the hottest collections in the scene - with a copy of Get Smashed worth more in 2025 that the RRP would imply. | Discogs/ESP Promotions Capturing the essence of a pivotal year in rave, the Dreamscape X (Get Smashed) tape pack from 1994 is a true collector's treasure. Released directly by the iconic Dreamscape promoters, this monumental set comprises 8 mixed cassettes, offering a comprehensive audio journey through one of their legendary events. For enthusiasts, owning this pack is akin to possessing a direct sonic portal back to the heart of a bygone rave, making its highest recorded sale of £49.99 on Discogs a testament to its enduring historical and nostalgic value. Advertisement Hide Ad Advertisement Hide Ad Fantazia - The Showcase Embodying the raw, grassroots spirit of early 90s rave, the Fantazia - The Showcase cassette from 1992 is a fascinating and valuable piece of history. Released as a Limited Edition, Unofficial Release directly by the colossal Fantazia promoter, this single mixed cassette perfectly illustrates the DIY nature of the scene. It captured a moment from a legendary rave, often distributed informally, outside of official channels. This blend of influential promoter, early release date, and its "unofficial" yet "limited" status makes it a highly desirable item for collectors seeking authentic artefacts from the formative years of UK rave. Its highest recorded sale of £49.99 on Discogs reflects its significant rarity and historical weight. Slammin' Vinyl & Dream FM A powerful collaboration captured on tape, the Slammin' Vinyl & Dream FM 8x cassette pack from 1996 is a vivid testament to the vibrant intersection of rave promotion and pirate radio. Released as an Unofficial Release direct from Slammin' Vinyl (a major name in the UK rave circuit), this substantial pack documents crucial mixed sets, likely featuring DJs broadcasting on the iconic Dream FM, a pivotal pirate radio station that was instrumental in spreading rave culture across the airwaves. This collection perfectly embodies the raw, decentralised nature of the scene, showcasing how both promoters and underground radio stations fuelled the tape trade. Its highest recorded sale of £35.00 on Discogs shows its significance as a historical artefact from the heart of the mid-90s rave scene. Advertisement Hide Ad Advertisement Hide Ad Thunderdome XII MC2 (Caught In The Web Of Death) While the UK rave scene forged its own unique identity, the phenomenon of high-energy, underground music documented on tape was very much an international one. The Thunderdome XII MC2 (Caught In The Web Of Death) cassette compilation from 1996 stands as an iconic example from the Netherlands, the undisputed heartland of European hardcore. Released by Arcade, this compilation captures the raw, uncompromising sound that defined the Thunderdome brand, a massive global force in hard dance - reaching a highest recorded sale of £63.07 on Discogs. Where can I listen to some of the tapes online? Thankfully, the digital age has provided an invaluable archive for the rave tape scene, allowing both nostalgic ravers and new enthusiasts to dive into these classic sets. What was once a physical, underground currency is now widely accessible, preserving a vital piece of dance music history. Advertisement Hide Ad Advertisement Hide Ad YouTube is often the first port of call. Numerous dedicated channels serve as unofficial archives, uploading entire tape packs, individual DJ sets, and full event recordings. Searching for specific promoters (e.g., Dreamscape tapes, Vibealite sets, Fantazia full event) or DJs with old skool rave set yield a wealth of results. A popular platform for DJs, Mixcloud is also a treasure trove for archived rave sets. Many DJs themselves or dedicated fans have uploaded mixed sets, often curated with track-lists, allowing for seamless listening. It's a great place for longer, uninterrupted mixes. But more importantly, several passion projects and fan-run sites are dedicated to preserving and cataloguing old rave sets. These often have comprehensive collections, sometimes even organised by promoter, event, or DJ. You can check out Old Skool Rave Tapes , Rave Tapes or Hardcore Junglism (for jungle/drum & bass specifically), alongside various forums and online communities where members share and discuss rare recordings. Advertisement Hide Ad Advertisement Hide Ad What were your memories of the rave scene and going out clubbing during the late 80s and early 90s, and do you still own any of the clamshell releases talked about in the article? Share your memories by leaving a comment down below - or your recommendations what else new fans to the scene might enjoy.
Scotsman
05-06-2025
- Entertainment
- Scotsman
Rave tapes: The most valuable cassettes from the 1990s rave scene
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Voicemail recordings and lo-fi dubbing - a look back to the world of the '90s rave tape. Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Long before Spotify and Soundcloud, cassette tape trading was how many discovered new music. With it came a flood of releases from some of the biggest dance promoters of the '90s - but in a very underground way. Benjamin Jackson looks back at the era of the rave tape, some of the bigger names in the scene and if any of them are worth anything in 2025. Before streaming playlists and instant downloads, how did a generation get their hands on the freshest, most electrifying sounds? Cast your mind back to the late '80s and '90s in the UK, when rave culture exploded, driven not by major labels, but by a humble, clunky format: the rave tape . These weren't just mere recordings. Advertisement Hide Ad Advertisement Hide Ad Instead, they were the lifeline of an underground movement, passed hand-to-hand like sacred scrolls. If you've ever wondered how the acid house revolution spread from secret warehouses to car journeys across the M25 , this is your rewind button. Ahead of both Creamfields 2025 and Tomorrowland taking place this year, let's go back in time to an era where raves were illegal , 'the man' didn't like people having fun, and going to a show sometimes involved calling a mobile and learning where to go by voicemail… … and of course, the cassette tapes and clamshells that frequented glove compartments and cassette decks at the time. Dance music in the early 90s - what led to the start of releasing tapes? Before Spotify or YouTube, ravers would head to independent record stores or buy live tapes of the shows through mail order services - many of which where DIY operations. | Getty Images/Discogs Necessity – basically. The era of rave tapes truly flourished in the late 1980s and throughout the 1990s, a period often referred to as the ' Golden Age of Rave '. It was a time when dance music was exploding across the UK, moving from acid house's underground origins into diverse genres like hardcore, jungle, drum & bass, and happy hardcore . Advertisement Hide Ad Advertisement Hide Ad The entire rave scene was built on a DIY foundation. Promoters and fans took matters into their own hands, bootlegging sets, photocopying covers, and setting up informal distribution networks, bypassing traditional music industry structures entirely. Some old-school ravers will tell you tales of phoning a mobile number to hear a voicemail message giving directions to the rave. Others will recount just randomly being in an area, only to spot fellow revellers marching to a hidden location where an illegal rave was set to be – sometimes traveling the stretch of the M25 corridor to do so. So naturally, with the nature of raves being somewhat of a 'stain on the moral decency of the United Kingdom' at the time, the commercial aspect wasn't something at the forefront – yet. That would be nearly a decade later when Clubland blew up. Before widespread high-speed internet and digital downloads, and the likes of Alice Deejay, Fragma , Ministry of Sound , and Cream became staples in the UK singles and album charts, there was no easy way to distribute new music or capture live sets. Cassette tapes were the most accessible and affordable medium. Advertisement Hide Ad Advertisement Hide Ad So instead, in true DIY fashion, promoters would release their own tapes; lovingly put together in either the now iconic clamshells (which would sometimes hold seven to eight tapes featuring an entire night of music), or as one-shot single cassette tapes dedicated to a particular DJ who performed for the promoter's club night. There were two methods fans could get their hands on the music: one was by virtue of dubplates – unique tracks and mixes that would be pressed onto vinyl as one-offs – or the much cheaper option of dubbing a number of cassette tapes off one master recording. As it stood, tapes were one of the few affordable ways to record these often legendary, one-off events and share them with those who couldn't attend or wanted to relive the experience. They have since become vital historical documents of the culture. Tapes also allowed these fresh, cutting-edge sounds to quickly spread across the country, influencing other DJs and producers. Advertisement Hide Ad Advertisement Hide Ad Could they be picked up at HMV or Fopp at the time? Not really – though when the likes of Hixxy released commercial CDs of Bonkers , most of the time mainstream stores like HMV or Fopp were more geared towards chart music and major label releases. Instead, it was more of an underground operation to release these tapes – again, going back to the DIY ethos of the genre. The most common place to buy tapes was directly at the events, often from stalls set up by the promoters themselves or by independent sellers. Key independent record stores, particularly in major cities like London, Manchester, Birmingham, and Bristol, that catered specifically to dance music, imports, and underground genres, were vital hubs. There were also rave fanzines like Eternity or Dream Magazine that would feature adverts for mail-order tape lists. You'd send cash through the post and receive your tapes back. Advertisement Hide Ad Advertisement Hide Ad For the unscrupulous, though – they'd just dub the tapes and palm them off to friends, which admittedly wasn't ideal. Not because of piracy, but because generations of dubbing these tapes led to a loss of sound quality… which wasn't ideal when the fidelity of the recordings wasn't perfect in the first place. Who were some of the 'main players' releasing tapes at the time? Dreamscape Arguably one of the most iconic and largest promoters in the UK, Dreamscape truly defined the 'super-rave' era. Based primarily in the South East (often in vast venues around Milton Keynes and Bletchley), Dreamscape's multi-arena raves were legendary for their immense scale, intricate production, immersive themes, and consistently stellar lineups. Their events were grand, almost magical spectacles that drew tens of thousands of attendees. Their tape packs, often professionally compiled with distinct, instantly recognisable artwork, meticulously documented every set from their massive events. These collections crucially captured the evolution of rave music from the breakneck intensity of hardcore into the complex rhythms of jungle and drum & bass. Vibealite A huge name in the Midlands rave scene, particularly known for its high-energy hardcore and happy hardcore events. From its core in Nottinghamshire, drawing crowds from across the region including Mansfield and Birmingham, Vibealite forged a distinct identity rooted in fast, anthemic beats and uplifting vocals. Their events were known for their electric atmosphere and dedicated crowds, fostering a strong sense of community. Advertisement Hide Ad Advertisement Hide Ad Vibealite tapes capture the raw intensity of these all-night parties, making them essential for fans of the unique and influential Midlands sound that propelled many DJs to prominence. Fantazia Another enormous promoter, Fantazia carved out its place as a cornerstone of the UK rave scene by hosting truly colossal events across the country, including in the Midlands. Known for pioneering huge, immersive experiences that often included elaborate stage designs and theatrics, Fantazia consistently drew immense crowds. While perhaps less exclusive to the tape-only market than some, their events were meticulously recorded, and Fantazia tapes became hugely popular and widely distributed. These tape packs captured the vibrant atmosphere and diverse sounds of their sprawling parties, offering fans a crucial piece of the energy they experienced live. Fantazia's visually distinctive branding also helped solidify its place as a definitive brand of the early 90s rave explosion. Advertisement Hide Ad Advertisement Hide Ad Helter Skelter, Universe, Slammin' Vinyl These were other major promoters from the M25/South East circuit, representing the pinnacle of the super-rave era. Moving beyond the initial, often illicit, warehouse parties, these giants of the scene regularly hosted colossal, licensed events in vast venues around the M25 corridor and across the South East. They offered multiple arenas catering to a diverse range of dance music genres, from blistering hardcore and intricate jungle to euphoric trance and progressive house. Their tape packs were legendary for their sheer scale, often comprising multi-tape sets that meticulously documented entire nights, showcasing sets from every key DJ and arena. Bonkers While Bonkers did initially host a series of high-energy happy hardcore club nights and events, its most significant and lasting impact was undoubtedly as a hugely successful compilation album series and brand. Emerging in the mid-1990s, Bonkers became the definitive commercial face of Happy Hardcore, a genre characterised by its rapid tempos, uplifting melodies, and often vocal-driven tracks. Curated and mixed by influential DJs like Hixxy and Sharkey, the Bonkers CD compilations achieved phenomenal sales, reaching millions of listeners far beyond the traditional rave circuit. This marked a pivotal moment, transitioning the genre from its underground, tape-distributed roots into mainstream retail outlets. Advertisement Hide Ad Advertisement Hide Ad Bonkers not only brought Happy Hardcore to a much wider audience but also cemented the commercial viability of dance music compilations, making it a household name for a generation. Who were some DJs who featured on the tapes that went on to do bigger things? Many DJs became legends through their sets on these tapes, building huge reputations that propelled them to international stardom or cemented their enduring influence: Carl Cox While he transcended any single genre to become a global techno superstar, Carl Cox was a powerful and unforgettable force in the early rave scene. Known for his legendary three-deck wizardry and incredible, infectious energy behind the decks, his early rave sets on tape showcased his versatility and sheer charisma. Whether dropping hardcore, techno, or house, Cox's sets were renowned for their driving rhythms and an almost spiritual connection with the crowd. His ability to deliver pure exhilaration through his mixing made his tape sets highly sought after, solidifying his reputation as a true master of the craft even before his worldwide fame. Advertisement Hide Ad Advertisement Hide Ad Hixxy Hixxy truly became synonymous with the Bonkers brand, not just as a DJ but as a pivotal figure who helped define the sound of Happy Hardcore. His energetic mixing style, characterized by rapid-fire transitions and an uncanny ability to select the most anthemic tracks, was central to the genre's massive success. Beyond his DJ sets, Hixxy was also a prolific producer, crafting many of the genre's defining tunes. He was instrumental in shaping the accessible, uplifting sound that turned happy hardcore into a mainstream phenomenon, reaching millions through the Bonkers compilations and making him one of the most recognised and beloved names in the genre. Slipmatt (Matthew Nelson) A true pioneer and hugely popular DJ from the hardcore/jungle scene, Slipmatt was a ubiquitous presence on rave tapes throughout the 90s. As a resident at many major raves, including Vibealite and Dreamscape, his high-energy, versatile sets (moving from hardcore into early jungle and then happy hardcore) were constantly in demand on tape. He was known for his seamless mixing and ability to whip a crowd into a frenzy. Beyond his DJing, he was also a key producer and part of the chart-topping group SL2 ('On a Ragga Tip'). Slipmatt's consistent presence and enduring popularity ensured his influence spanned decades, shaping the sound for generations. Advertisement Hide Ad Advertisement Hide Ad Grooverider & Fabio These two visionary DJs were absolutely pivotal in shaping the sound of jungle and drum & bass, particularly from their base in London. Their legendary 'Rage' club night at Heaven became a crucible for the new sound, transitioning from hardcore breaks into the darker, more intricate rhythms of what would become jungle. Their recorded sets from 'Rage' and other key events were essential listening on tape, establishing them as tastemakers and long-standing figureheads of the genre. Known for their sophisticated track selection, deep basslines, and seamless, extended mixes, Grooverider and Fabio cultivated a more mature and refined sound that laid the groundwork for modern drum & bass. Andy C Starting incredibly young in the early 90s rave scene, Andy C rapidly became one of the most influential and technically gifted DJs in drum & bass. Nicknamed "The Executioner" for his precise and relentless mixing skills, his early rave sets on tape quickly cemented his reputation as a prodigy. Beyond his electrifying DJ performances, he went on to build the hugely successful Ram Records label, which became one of the most respected and innovative imprints in drum & bass. Andy C's relentless touring, technical prowess, and consistent innovation have ensured he remains a top-tier artist and a true legend of the genre. Advertisement Hide Ad Advertisement Hide Ad Sasha & John Digweed While their later careers leaned more towards progressive house and trance, Sasha & John Digweed were titans of the electronic music world who built significant parts of their early careers playing at major UK raves. Their famously long, intricate, and journey-like sets (often lasting for hours) were perfectly suited to the tape format, allowing listeners to immerse themselves in their evolving soundscapes. Their tapes from major events like Universe and Renaissance were widely circulated and highly sought after, showcasing their pioneering mixing techniques and track selections that laid the foundation for the progressive sound that would captivate a global audience. What are some of the more valuable rave tapes from the era? Dreamscape X (Get Smashed) ESP Promotions series of Dreamscape tapes were one of the hottest collections in the scene - with a copy of Get Smashed worth more in 2025 that the RRP would imply. | Discogs/ESP Promotions Capturing the essence of a pivotal year in rave, the Dreamscape X (Get Smashed) tape pack from 1994 is a true collector's treasure. Released directly by the iconic Dreamscape promoters, this monumental set comprises 8 mixed cassettes, offering a comprehensive audio journey through one of their legendary events. For enthusiasts, owning this pack is akin to possessing a direct sonic portal back to the heart of a bygone rave, making its highest recorded sale of £49.99 on Discogs a testament to its enduring historical and nostalgic value. Advertisement Hide Ad Advertisement Hide Ad Fantazia - The Showcase Embodying the raw, grassroots spirit of early 90s rave, the Fantazia - The Showcase cassette from 1992 is a fascinating and valuable piece of history. Released as a Limited Edition, Unofficial Release directly by the colossal Fantazia promoter, this single mixed cassette perfectly illustrates the DIY nature of the scene. It captured a moment from a legendary rave, often distributed informally, outside of official channels. This blend of influential promoter, early release date, and its "unofficial" yet "limited" status makes it a highly desirable item for collectors seeking authentic artefacts from the formative years of UK rave. Its highest recorded sale of £49.99 on Discogs reflects its significant rarity and historical weight. Slammin' Vinyl & Dream FM A powerful collaboration captured on tape, the Slammin' Vinyl & Dream FM 8x cassette pack from 1996 is a vivid testament to the vibrant intersection of rave promotion and pirate radio. Released as an Unofficial Release direct from Slammin' Vinyl (a major name in the UK rave circuit), this substantial pack documents crucial mixed sets, likely featuring DJs broadcasting on the iconic Dream FM, a pivotal pirate radio station that was instrumental in spreading rave culture across the airwaves. This collection perfectly embodies the raw, decentralised nature of the scene, showcasing how both promoters and underground radio stations fuelled the tape trade. Its highest recorded sale of £35.00 on Discogs shows its significance as a historical artefact from the heart of the mid-90s rave scene. Advertisement Hide Ad Advertisement Hide Ad Thunderdome XII MC2 (Caught In The Web Of Death) While the UK rave scene forged its own unique identity, the phenomenon of high-energy, underground music documented on tape was very much an international one. The Thunderdome XII MC2 (Caught In The Web Of Death) cassette compilation from 1996 stands as an iconic example from the Netherlands, the undisputed heartland of European hardcore. Released by Arcade, this compilation captures the raw, uncompromising sound that defined the Thunderdome brand, a massive global force in hard dance - reaching a highest recorded sale of £63.07 on Discogs. Where can I listen to some of the tapes online? Thankfully, the digital age has provided an invaluable archive for the rave tape scene, allowing both nostalgic ravers and new enthusiasts to dive into these classic sets. What was once a physical, underground currency is now widely accessible, preserving a vital piece of dance music history. Advertisement Hide Ad Advertisement Hide Ad YouTube is often the first port of call. Numerous dedicated channels serve as unofficial archives, uploading entire tape packs, individual DJ sets, and full event recordings. Searching for specific promoters (e.g., Dreamscape tapes, Vibealite sets, Fantazia full event) or DJs with old skool rave set yield a wealth of results. A popular platform for DJs, Mixcloud is also a treasure trove for archived rave sets. Many DJs themselves or dedicated fans have uploaded mixed sets, often curated with track-lists, allowing for seamless listening. It's a great place for longer, uninterrupted mixes. But more importantly, several passion projects and fan-run sites are dedicated to preserving and cataloguing old rave sets. These often have comprehensive collections, sometimes even organised by promoter, event, or DJ. You can check out Old Skool Rave Tapes , Rave Tapes or Hardcore Junglism (for jungle/drum & bass specifically), alongside various forums and online communities where members share and discuss rare recordings. Advertisement Hide Ad Advertisement Hide Ad
Yahoo
31-05-2025
- General
- Yahoo
Listen to the eerie sounds of Mars recorded by a NASA rover
A NASA rover ambling over the red desert planet for the past four years has been recording audio of Mars. In this alien world 156 million miles away in space, even the everyday whispers of wind and mechanical parts are exotic to human ears. Scientists say that's because the Martian atmosphere is about 1 percent as dense as Earth's, which alters the volume, speed, and characteristics of sound. How to describe what Perseverance has heard at Jezero crater? Well, it doesn't not sound like the eerie ambient noise of Stanley Kubrick's 2001: A Space Odyssey, but you can listen for yourself. Like an aspiring DJ or singer-songwriter, Perseverance has a Soundcloud account, where people can experience the latest Martian tracks. NASA shared this week some of the strange audio the rover has captured. You can find a sampling further down in this story. SEE ALSO: A NASA Mars rover looked up at a moody sky. What it saw wasn't a star. Credit: NASA / JPL-Caltech illustration When the rover touched down on Mars in 2021, it didn't just bring cameras, drills, and tubes for rock samples. It also carried two microphones — nothing special, just a couple of off-the-shelf devices anyone could buy online. The only modification NASA made was to attach little grids at the end of the mics to protect them from Martian dust. One of the microphones, mounted on the rover's head, is known as the SuperCam and has recorded most of the audio; another is attached to the body. What they've picked up is changing the way scientists think about the Red Planet. This is the first time humanity has ever been able to listen to the din of another world. "We've all seen these beautiful images that we get from Mars," said Nina Lanza, a Los Alamos National Laboratory scientist, in a NASA video, "but having sound to be able to add to those images, it makes me feel like I'm almost right there on the surface." NASA shared Martian audio in the above post on X. Researchers published the first study of acoustics on Mars in the journal Nature, based on Perseverance's recordings, in 2022. Apparently, the Red Planet is a much quieter place than originally thought, and not just because it's unpopulated. It's so silent, in fact, there was a time the rover team believed the mics had stopped working. But Perseverance just wasn't getting much material from its surroundings. That's largely due to Mars' low-atmospheric pressure, though the pressure can vary with the seasons. The team studying these sounds found that Mars' thin air, composed mostly of carbon dioxide, makes sound waves behave differently. On Earth, sound travels at roughly 767 mph. On Mars, deeper pitches move at about 537 mph, with higher ones traveling a bit faster, at 559 mph. The thin atmosphere also causes sound to drop off quickly. A sound that could be heard from 200 feet away on Earth falls silent after 30 feet on Mars. Higher-pitched tones have an even shorter range. The microphones mounted to Perseverance are off-the-shelf devices anyone could buy off the internet. Credit: NASA / JPL-Caltech "Sounds on Earth have very rich harmonics. You can hear multiple frequencies. It gets a really nice depth to the sound," said Justin Maki, a NASA scientist, in a video. "On Mars, the atmosphere attenuates a lot of those higher frequencies. So you tend to hear the lower frequencies, and it's a much more isolated sound, a little more muted than the sounds we hear on Earth." With this data, scientists have learned that some of their earlier models for how they thought sound should move on Mars missed the mark. "The Martian atmosphere can propagate sound a lot further than we thought it could," Lanza said. Translation: The Red Planet can literally carry a tune.
