The music on Moving Shadow was certainly not being made anywhere else in the world, it sounded like nothing before, and what’s more it kept sounding like nothing before as it evolved again and again. In 1992, a university friend played me the then brand new LSD EP by Kaotic Chemistry and, eyes flashing with amphetamine urgency, told me, “This is the first British working class music genre of the modern age.” Of course you could argue this one out forever, but as he spelled out that rock, metal, ska, punk were all beholden to America or Jamaica I had to admit he had a point. All of which caused things to get very messy, very quickly. On one hand, the white heat and unbelievable pace of innovation, the opportunities for outsiders to be recognised as creating true art, the camaraderie and breaking down of social barriers – but also the derangement and sketchy dealings that came with music which by its very nature was tied up in excess and lawlessness. It captures the best and worst aspects of the rave, hardcore and jungle explosion. The story of Moving Shadow is a triumph, but also a tragedy.
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