"There’s a clear line of influence from Kingston Jamaica straight to, for example, the Four Aces club in Dalston which housed the legendary hardcore night Club Labyrinth... a sprawling venue, formerly a West Indian drinking club which had featured appearances from reggae acts like Desmond Dekker, Jimmy Cliff and Dennis Brown. The rewind was already at home at the Four Aces, and it quickly became part of the hardcore ravers scene there. Lots of rave and hardcore DJs had West Indian backgrounds, so incorporating rewinds into their rave DJ sets was a logical progression."
"just a couple of miles down the road from Labyrinth was the legendary Telepathy raves in Stratford, co-promoted by Bret Telepathy [who explained]: “We…come from West Indian backgrounds. We grew up here. The Reggae flavours we incorporated, things like the MC because that what we were used to. Things that are industry standard now like rewinds – we created that at Marshgate Lane. We said, “Tell ‘em “Stop the tune. Rewind it.” (Brian Belle Fortune All Crews, 2004)."
the absence of these demographic links and migration of rituals explains why it never caught on in e.g. hard banging techno, house, or trance. but as the piece also explains it wouldn't have fit the vibe:
"DJs like Sasha and Digweed were celebrated for long drawn-out transitions between tunes, ravers at seminal London tech house nights Wiggle and Heart & Soul would whoop with joy as the hi-hat on a new tune was bought in, cheering the mix as well as the tune. Trance DJs might mix a pair of key-matched tunes together for minutes on end; this was not a DJing environment in which ripping the record back to the beginning was appropriate. House and techno tracks had long intros and subtle builds, they didn’t tend to have a well-known intro that would immediately send a crowd into paroxysms of joy and wild abandon"