The late, great Tony Wilson of Factory Records fame reckoned contemporary music revolutions occurred every 13 years: the Beatles’ first album was released in 1963; after which in 1976, punk kicked off; then 13 years later, in 1989, dance music came up smiling. Aside from the fact Wilson’s theory ran aground shortly after—otherwise, 2002 should have been something amazing; well, better than Britney Spears’ Crossroads—I would argue any attention paid to dance music would best be spent on 1991.
For those 12 glorious apex months, dance music’s potential to amaze seemed boundless. In part because, after Acid’s Big Bang and the outward formation of what was fast becoming a dance universe all to itself, so many bright new worlds of possibility began to sparkle, ripe for exploration. In 1991, the dance music scene was so much to do with that the brilliance of The New: the thrill of fresh and exciting styles, new and instant possibilities realised. No doubt because it was an underground scene—totally self-sufficient, and unhindered by the big-wheels-turn-slowly scheduling processes of the mainstream music industry. What was a thought on a Monday, was a tune on a Tuesday, pressed, circulated, played out and well on the way to being a must-hear by Friday. The majority of all this only made possible by the creative application of sampling and sequencers and the lax (but soon to contract) state of general copyright law.