‘This Is Belgium’: the Radio Soulwax guide to late 80s Belgian New Beat


  
The perfect follow-up to The Beat Club’s “Acid Train” video I posted a few days ago, “This Is Belgium” sees that country’s top dance music export, Radio Soulwax, compiling an audio/visual history of its New Beat scene from the late 80s.

Not only are these videos great to listen to, they’re also very informative, charting the cultural and social history of a localized scene whose influence has since spread far and wide (and which is not to be confused with the original American use of the phrase “New Beat”, which meant an off-shoot of New Wave, it seems).

A regional dance music curio similar in a way to Italy’s Cosmic disco scene, New Beat djs took popular tracks of the time and slowed them down, usually playing 45rpm records at 33rpm, pitched up to +8 on the turntable. Like Cosmic, the wrong speed aspect gave New Beat an otherworldly edge: something is up with these records but it can be difficult to pinpoint what that is, if you don’t know they’re actually being played wrong.

Kicks become thuds, claps become clanks, and every vocal seems wretched from the bowels of hell. Visually New Beat may be plastered in smiley faces, but musically it’s threatening, it’s a lil’ bit scary. Slowing down acid and techno records made the sounds heavier and the atmosphere darker, and it also chimed with the emerging industrial/EBM scene of the time. This dark, powerful aesthetic would be seminal in defining the techno that came from Northern Europe in the 1990s.

From Wikipedia:

The New Beat sound originated in Belgium in the late 1980s, especially in 1987 and 1988.

The Belgian New Beat was an underground danceable music style, well known at clubs and discos in Europe. It is a local crossover of EBM, Acid and mid 80s underground House music. The 80s Dark Wave also became an aesthetic influence (especially Depeche Mode’s videos from 1985–1989). At the time, EBM was popular in German speaking countries and The Netherlands, Acid / Acid Trance was popular in the UK, and House Music (in a 80s Eurodisco French twist) was popular in France. Belgium created this unique music sound, with huge underground success all over Europe.

Legend has it that the Belgian New Beat genre was invented in the nightclub Boccaccio in Destelbergen near Ghent when DJ Marc Grouls played a 45rpm EBM record at 33rpm, with the pitch control set to +8. The track in question was Flesh by A Split-Second.

In addition to A Split-Second, the genre was also heavily influenced by other Industrial and EBM acts such as Front 242 and The Neon Judgement, as well as New Wave, and Dark Wave acts such as the likes of Fad Gadget, Gary Numan and Anne Clark.

Part one of this two hour Soulwax trip comes complete with commentary/text that tells the story of this short lived but influential dance fad (very informative and worthy of your eyes) while part two features what is presumably some Belgians reliving the New Beat dance crazes of their youth (which involve a lot of hoping around from foot to foot) while rocking some awesome retro shell suits. Enjoy: 

Radio Soulwax ‘This Is Belgium Pt 1’
 

 
Radio Soulwax ‘This Is Belgium Pt 2’
 

 

Written by Niall O'Conghaile | Discussion
Anti-Acid House propaganda from British tabloids, late 80s
04.12.2013
11:59 am

Topics:
Amusing
Drugs
Hysteria
Music

Tags:
Acid House
Propaganda


 
These anti-Acid House headlines are giving me a case of the giggles. The majority of the newspaper clippings—circa late 80s—are from British tabloids The Sun and Daily Express. I don’t think they were very effective. 

All clippings were collected by Flickr user KRS-Dan.
 

 

 
More after the jump…
 

Written by Tara McGinley | Discussion
Rhythm Device: perhaps not the ‘Acid Rock’ you were expecting


Some ravers, yesterday
 
“Acid Rock’ by Rhythm Device is actually from Belgium in 1989, and not California in the late 60s, as the name might conjure up.

Hence the uber-silly video of leather-clad danse-boyz rocking out in a cheap looking discotheque.

The bass riff in this New Beat classic is naggingly familiar, it reminds me of the KLF a bit, but I am guessing it’s all nicked off some Chicago acid original anyway. That hasn’t stopped “Acid Rock” from being sampled by Nine Inch Nails, no less, on their late 80s hit “Down In It”.

Rhythm Device was the nom-de-techno of producer Frank De Wulfe, who followed up “Acid Rock” with the “Dream Trance” / “Higher Destiny” 12”. Although Discogs helpfully informs us that, even though they had different names:

These tracks are actually four different mixes of “Acid Rock”.

What a surprise.

Anyway, it’s all about the video. A perfect guide in how to look devastatingly butch and astoundingly gay at the same time, it’s all sold by the singers unwavering seriousness:
 

 

Written by Niall O'Conghaile | Discussion
‘The Chemical Generation’ - Boy George’s documentary on British Rave Culture

image
 
Will George O’Dowd still be Boy George when he hits his half-century later this year? Man George doesn’t have the same hook to it - sounding like something a porn star would use; and we can never think of him as Middle-Aged George, even though that’s closer to the truth. For the wonderfully soulful-voiced O’Dowd has been a fixture of pop culture for thirty years, and he is now as lovable a character as the Queen Mum was to London cab drivers. Add to this his back catalog of hits and a shelf-full of notable tales - from his own fair share of ups and downs as internationally successful pop star, actor, writer, ex-druggie, ex-convict and DJ - and you’ll see why Boy George is a modern pop culture hero.

In 2000, George presented The Chemical Generation a fascinating documentary examining “the Acid House, rave and club culture revolution and also the generations favourite chemical - ecstasy.” This gem was first broadcast in the UK on Channel 4, on the 27 May 2000, and it is:

...the story of British club and drug culture from the early days of acid house. The documentary includes interviews with promoters, bouncers, drug dealers and the clubbers themselves, shot in clubs and bars around London and club footage from across the country. Interviewees include (DJs) Danny Rampling, Judge Jules, Nicky Holloway, Pete Tong, Lisa Loud, Mike Pickering, Dave Haslan, along with Ken Tappenden (former Divisional Commander of Kent Police) and writer (Trainspotting) Irvine Welsh.

The background to rave in the UK goes something like this:

In 1987 four working class males, Paul Oakenfold, Danny Rampling, Nicky Holloway and Johnny Walker found themselves in clubs across Ibiza, listening to the music which was to make them legends in the dance scene and transform the face of youth subculture in Britain. Not only did they discover the musical genre of Acid House, played by legendary house DJ’s Alredo Fiorillio and Jose Padilla in clubs such as Amnesia and Pacha, they were also crucially introduced to the drug MDMA, more commonly known as ecstasy. Johnny Walker describes the experience:
“It was almost like a religious experience; a combination of taking ecstasy and going to a warm, open-air club full of beautiful people - you’re on holiday, you feel great and you’re suddenly being exposed to entirely different music to what you were used to in London. This strange mixture was completely fresh and new to us, and very inspiring”

The Chemical Generation covers their story and more, and giving an excellent history of Rave Culture, its drugs, its stars, and its music.
 

 
Bonus clip, Boy George sings ‘The Crying Game’, after the jump…
 

Written by Paul Gallagher | Discussion