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"You know it’s sad in the 20th century, in the 1990’s artists still haft to go the
same bullshit routes other artists had to go through to get acceptance. If it wasn’t for
the few little cities, if it wasn’t for the small little ghetto guys trying to make
music,
it never would happened.
Some of these guys will never make a dime,
some of them will die poor and alone..
but in the process they are the true renegades
and true rebels walk alone
anyway."



And now a word from our sponsor..
"Vibe" is UK garage’s biggest buzzword but "vibe" isn’t just one of
those nebulous buzzwords, like "street" or "real", used to evoke
blackness rather it is what everyone is looking for from music, that palpable force-field
of tribal energy generated by the perfect convergence of music, drugs, technology, and
popular desire. "Vibe" works through evolution rather than revolution: producers
simultaneously giving the people what they want and slyly seducing them into wanting
things they’ve never had, DJs pulling off the same trick through sheer sleight of mix, all
the while carefully avoiding a lapse into disparate (vibe-less) eclecticism.
"Vibe" only really occurs when music is a component in a subcultural engine, a
urban folkway with its own privileged sites and rites. Its musical methodology may be
postmodern, but 2-step garage has no truck with techno notions of the post-geographical or
transcending the local--hence the recurrent variations on the old hardcore themes
"just 4 U London" and "London sum’ting dis". Like jungle, 2-step is
heard at its utmost through a big sound-system, by a body surrounded by other bodies of
(the massive). Which is why 2-step, like most hardcore dance styles, can sometimes sound
flat when heard as an isolated 12 inch, outside the DJ’s mix, without MC chat or the
participatory clamor of the audience