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Welcome to the fourth part of my UK Bass history guide. I intend this to be a rough guide to the history of the current UK dance music scene. An attempt to educate and show people what came before. It's not meant to be a completely 100% accurate in-depth report of the sound and scene at the time, but is hopefully good enough that people will be able to understand and form the links in what has turned out to be a 20+ year old musical scene.   Timescale: Late 1992-Late 1993 Key Labels: Reinforced Records, Moving Shadow, Suburban Base, Basement Records, Formation Records, Dee Jay Recordings, Lucky Spin Records, RAM Records Last time in the guide we looked at the Hardcore Rave sound, both the overground and underground styles of that particular scene. Now though we continue further down that evolutionary river, now we enter the Jungle. A brief word here though, this type of sound has had several names over the years. Some were contemporary while others have been added later. Jungle Tekno, Hardcore Jungle, Jungle, Darkside Jungle, Darkcore. Many many names, all meaning the same thing really. But for this part when I say Darkside Jungle I just mean the type of Jungle that was made from roughly late 1992, to the end of 1993. If I use the term 'Jungle' on it's own in this part, this is what I mean. Again like in the rest of my guide don't get too hung up on the dates, they're more rough guidelines than rules and not meant to be some kind of 100% canon thing. So Darkside Jungle. As the Rave scene got bigger and bigger, the original core of the dance scene was either driven away, or abandoned it entirely. This could be said to generally consist of the more working class and streetwise type of folk, which also included a significant number from Britain's black community. Forced out of the mainstream these people developed their own sound, initially as a response to the mainstream (as can be seen in Part 2 of this guide). Darkside Jungle is just a further mutation of that Underground sound. More rougher, more dark sounding, Jungle was hated both in the clubs and the all-important music press when it first appeared. However the true heads kept it going, kept progressing the sound until eventually come the mid-point of the 90s the sound had so much force behind it it would explode globally and the pioneers reaped the commercial and critical success they had worked so hard to gain. But that was in the future. In late 92/early 93 the Jungle sound still had a lot of the Hardcore embedded in it's core sound, with things like fast energetic vocals and piano lines not uncommon. But juxtaposed with the sweet highs, the Darkside tracks could often harbour a type of musical bi-polar disorder, showing great big sudden swaps in mood as the upbeat piano would quickly switch to say a synthline that wouldn't be foreign to some kind of apocalypic wasteland, with booming low level sub-basslines and some sort of Ragga chanting over the top of it. All this just further reinforced that this was the music of the street. This was the future. This wasn't sugary, jumping in a muddy field off your tits in some raggedy anne clothes. This was do or die morning after, knife wielding, strung out hardcore street dance music, so full of character and attitude. That's why I love this sound. Jungle would never progress as fast as it did during 93, and never again would it harbour such ferocity and ingenuity in it's pursuit of the groove. But why take my word for it? It's time to get off the boat and explore that Jungle for yourself. Be careful though, you may not come back quite the same as when you left. Tube-Tape Playlist Link Kaotic Chemistry "Illegal Subs" (Moving Shadow, 1992) Kaotic Chemistry was just another name for Moving Shadow act 2 Bad Mice (remember them?). Here though, in this tune, they show a more extreme example of the rough, Ragga influenced music they were making as 2 Bad Mice. Pounding, tribal-esque breakbeats just sound like an futuristic army marching band as they form the central core battering ram of the track, constantly hammering away only for them to be rewound back, giving brief respite before they march forward again. Even the siren that blazes away shows a marked difference to the sirens of the mainstream sound. There they sound like just like some Italian football match, supporters chanting away together in support of their team. Here though, it just sounds like the sound of war. You half expect to see Hannibal crossing the Alps everytime that siren booms out. Nasty Habits "Here Come The Drumz" (Reinforced Records, 1992) Well as if the title of the tune didn't explain it all. I can only describe this as what happens when carpet bombing meets some kind of War Of The Worlds phaser-equipped alien invasion. With barely a intro, barely a brief warning that shouts "here comes the drums" comes in the earthquaking, rolling breakbeat that is like a infinite in size flight of Lancaster bombers while over it is just a constant high-pitched, laser like sound, like after the bombers come the UFOs that just burn and obliterate anything still alive, leaving the place barren. Dark, demonic synthetic choirs Oohs and Aahs as you're pitched headfirst down the rabbit hole, the only place left to go to escape the bombardment above. Truly welcome to the darkside. This sound will evolve underground, in the darkness. Like a Morlock, just biding it's time for the suckers in the light to come and open that cave door. Mega City 2 "Dark Child" (Extra Terrestrial Recordings, 1992) Definitely a more upbeat member of the Darkside circle here. Well I use the term upbeat loosely here. A more energetic, galloping break shines a bit more of a lighter vibe on the tune. Of course the rest is pretty much sheer darkness. A massive Reggae-ish bassline plods away in the background, spraying out it's low frequencies while an evil sound flute glides on top like some kind of bizarre Japanese samurai ritual. Things should take a turn for the lighter when the high, circus-like synth comes in but instead of happy fun times it just sounds like some demonic nightmare clown that's come into your dreams to kill you. Now I love all the Mega City 2 stuff, but it's to my eternal shame I don't actually own any of their actual 12"s. I have their stuff on compilations, I have stuff on mixtapes, but no actual singles or EPs. Shameful, but even I put my foot down at the £50-100 some of these tracks are trading for. DJ Mayhem "Cold Acid" (Basement Records, 1992) A really slick tune that, to me, really doesn't seem like a track made in 92. Very thin and frosty sounding with a squelchy, acidic stab that gives the impression that when this was played the dance floor was empty. Completely empty bar one hardcore follower who even in the dead of winter kept the faith and came out, when all others backed off because of just the sheer evilness that this track harbours. Cybernetic Empire "Ozone Storm" (Paradise Records, 1993) A Dave Charlesworth original. Truly a real Hardcore and Jungle pioneer that doesn't get anywhere near the recognition he deserves if you ask me. As much as people give a lot of credit to the likes of Moving Shadow and Sub-Base, Charlesworth and his After Dark Recordings label (of which Paradise was one of several sub-labels) really helped move the sound from the happy, mid-range of Rave to the darker, Jamaican influenced Jungle sound. Here is probably one of my most favourite tracks he put out. A fantastic number that shows how this early Jungle sound still could seem quite familiar to the more mainstream listener. In between warping, buzzing synths and rolling drums, and the dark, slowed down 'bridges' (for lack of a better word), lies a kind of lead line that if lightened up just a fraction probably could fit into a Happy Hardcore tune. Keeping just enough upbeatness and euphoria in order to not completely fall into the darkness. Two Dark Troopers "Darkcore" (Basement Records, 1993) Really when you name a track 'Darkcore' there's not much to say. An aboslute mental track that has just a rampaging tornado of a pad that just sits in the middle of the track sucking everything up into it. Ultra high scratchin' action with a screaming female vocals attempts to cut through the maelstrom of drums and pads every now and then but barely succeeds as the tune slows down to sub-sonic speeds in a nod to it's Hip-Hop progenitors, but that state of reverie doesn't last long as the hoover is quickly switched back on to continue the wipe out. Foul Play Productions "Finest Illusion" (Section 5, 1993) Welcome to my ringtone for the past 6 years! An utterly, utterly fantastic tune. Probably ranks as one of my favourites of all time. Just a perfect mix of Hardcore Rave and Jungle. Surpremely energetic yet it's a dark energy. High pitched vocals (that would eventually have to be stripped off it due to legal concerns) chipmunk over a massive bassline and one of the most loving jump up building synth lines I've ever heard in my life. It's just... oh man what can I say, just listen to it for God's sake! Tango "Future Followers" (Formation Records, 1993) Tango (and occasional production partner Ratty) is probably one of the Darkside producers. Not to say he didn't continue on doing the Jungle/D&B thing, but definitely the string of singles and EPs he had out in 92/93 on Formation is definitely what he's best known for and what he best did. Here is all his style and skill in one ultra refined package. A rough, yet simply cut breakbeat provides a solid foundation for haunting, Gothic cathedral-esque choirs and forward looking, metallic synth sequence that groans out Hardcore ecstasy in order to keep the track flowing, without turning it into a real dour and inward looking thing like many would so easily come to do. DJ Hype "Weird Energy (Hell's Bells Remix)" (Suburban Base, 1993) Definitely my favourite mix of this track by DJ Hype, who if you were paying attention you'll remember from Part 1 of this guide, where he was the button pusher for those tracks by The Scientist. After splitting from that Hype hooked up with Sub-Base records and began pushing his own dark, Hip-Hop influenced jump-up sound. Definitely not an introspective back stroking track, this mix of Weird Energy may start off with some spacey bells but it quickly powers forward as a real hardcore dancefloor track. It even features a kind of middle break with scratching and cutting like you found in old Hip-Hop tunes(Hype originally was a Hip-Hop DJ remember) which just gives the tune a real Hype-r energy about it. International Rude Boyz "Paragone (Remix)" (Formation Records, 1993) Formation bringing the darkness again! This time in superior remixed form! International Rude Boyz were Formation owner DJ SS and future Neutrofunk Drum & Bass master Matrix. It's that intro that gets me everytime. That Ooh/Aah synth sound leads into an ultra thin, yet ultra sharp scratchy sound. Perfection. Not that the original is bad or even all that different, just this remix just adds that little bitta something special to the mix. Again though like all good early Jungle tunes it still keeps a little bit of Hardcore in it's pocket, with a quite frankly futuristic, uplifting pad to keep things looking up. Boogie Times Tribe "The Dark Stranger" (Suburban Base, 1993) I definitely think sometimes I can be a bit harsh on Sub-Base. The fact they occasionally stepped too far on complete cheese side of the Hardcore spectrum is probably what does it. But the majority of their catalogue is actually really solid, as this track proves. Now I think the remixes are probably more well known than this original mix, but this is the one I really like. I think it's just so dense, it throws at you the drum line, the bass, a pad or two, vocals not to mention the sheer eerie laughing. All of it just attacks you at once, trying to pull you under. Just when you think you're a goner it pulls back up for the middle, letting your head above the water just for a moment before you feel that tuck on your leg again and your head slips beneath the black waves. DJ Crystal "The Dark Crystal" (Force Ten Records, 1993) DJ Crystal really is a wonder. Probably no more than a dozen singles passed from his hands during the early/mid-90s (and most if not all of them engineered by Pete Parsons) and all of them are just fantastic. Breakbeats driven at hyperdrive speeds are snapped at the heels by a massive, deep, all engulfing bassline that is like if your speakers have thrown a brick at your head. A fantastic twinkling synth line really does give it that Star Trek feel. To boldly go where no man has gone before. Both dark and dangerous but there's that hope, that feeling that no matter what we are moving forward into something else entirely. Bay B Kane "Dark Zone" (White House Records, 1993) You have no idea how close this entry was going to be Bay B Kane's classic anthem 'Hello Darkness', but you know, I like to try to shake things up a bit. This is off what's probably one of my favourite Bay B Kane releases, his Guardians Of Ruff EP. Classic Bay B Kane it's not a massive jump-up track but is a true low-level burner. Just a massive tar-like pool of Darkside goodness. Low rolling basses sweep infinitely underneath slowly building pads while the lead synth line plunks out of the darkness occasionally like the fin of a shark, warning you of the danger that surrounds you. Q-Project "Champion Sound" (Legend Records, 1993) Roll up, roll up! You've heard the remixes now hear the original for the first time in your life! The first Legend release has long since been overshadowed by it's many, many remixes. But I really like this original mix. Engineered by The Invisible Man (like most Legend titles) it achieves a great balance of ruff and the smooth. Ragga enough to get the street posses up and dancing, it has this really nice, simple but oh so smooth that just powers you on through the night. Plus it has that awesome farting synth line. Johnny Jungle "Johnny" (Face Records, 1993) Again this is another track I think is overshadowed by the remixes of it that came out on Dee Jay and Sub-Base. I think this Face release is the only place you can find the original. And how great it is. That opening sample is a class act, "help me Johnny!" Really sets the tone for the whole track. Between that and the twisted, warping synth it really sends this track into the dark zone, creating a really creepy and paranoid atmosphere that few tracks are able to ever create. 4 Hero "Journey From The Light" (Reinforced Records, 1993) Do I go on about 4Hero and Reinforced Records a lot? Yes I do, and why loving not. Just listen to this track man! A bleep that sounds like it's from one of those heart monitors keeps the real pace in this track, almost like the kick in a house track. It stays the same but around it the entire track just shuffles around, swapping in completely different pieces of completely different puzzles that still somehow miraculously fit. From light, plucking strings with a soaring female vocal, to massive sub-bass with a burping synth on top, to pitchshifting drums. It's got everything in it including the kitchen sink and yet is still able to make it into just a phenomenal track that uses all these disjointed elements better than anyone had done before, or has done since. Apollo Two "Atlantis (I Need You)" (Good Looking Records, 1993) Ah LTJ Bukem doing what he does best - lifting wholesole from other records. See you young 'uns who try to do the whole remix/sampling thing and pass it off as your own on Youtube, no one cares if you can actually make a loving classic song. What you're doing right now in your cracked version of Fruity Loops, isn't a classic song so put it down and listen to this. Pointing the way to the so called 'Intelligent' or 'Ambient' Jungle future, this track is just immense. A ball of complete hyper energy as soon as you hear that first sample come in. Guaranteed to get everyone up on the dancefloor this track really takes you on a journey. I've always thought it's real secret is those mid-range congas and female vocal samples that help fill up that middle frequency, giving your ear and subsequently your body something to really bite it's teeth into. Now I know this was a bit of an obvious track, but it ran neck and neck with my other favourite early Bukem tune which is Enchanted, the flip of Music. It and this tracks vague nautical theme really do it for me somehow. Maybe being in a traditional ship building city? Mind you I can barely swim or put my head under the water without completely spazzing the gently caress out so who knows? Cool Hand Flex "Mars" (In Touch Records, 1993) Probably the second greatest tune Flex ever wrote (those of you who read my deleted tracks posting will know what my favourite is). Cool Hand Flex is one of the many classic Jungle producers that has been kind of forgotten about a wee bit and it makes me sad. Pretty much nothing but an amazing, ultra intense drum workout with the added bonus of some real oppressive buzzing synths that cut in now and then just to work you over some more in case the drums missed a spot. An uplifting middle section picks you up, dusts you down just in time for some sub-bass action to lay into you. Fantastic. Cloud 9 "You Got Me Burnin' Up (Original Mix)" (Moving Shadow, 1993) Let's be honest most people nowadays probably now this because of Skream's appropriation/tribute of it, but it was a massive Jungle anthem in 1993. Moving Shadow seemed to be on a role in 93 with seemingly every release a massive hit. From the moment you hear that Twilight Zone/alarm synth intro you know you're in for something good. Again it keeps that bit of Hardcore energy, having a lot of uplifting moments in between pockets of heaviness. The "House is a feeling" to me really sums up Jungle. It respected where it came from and attempted to keep hold of that positive energy and drive it had from the turn of the decade, while also making sure it developed and progressed it's sound. Sadly as history shows that idea would quickly fade away as more and more people jumped onto the bandwagon, and those heads in the know left for greener pastures, while the others who kept the course with Jungle would come out the other end very, very different and with an entire new name and sound - Drum & Bass. Origin Unknown "Valley Of The Shadows" (RAM Records, 1993) Wow another massive anthem. I must be slipping. But really who can blame me? That glacial synth just hooks you so bad, and to borrow from the tune itself, really escalates you down that long dark tunnel. From then on it's just drum and bass. The good kind! The Invisible Man "The Beginning" (Timeless Recordings, 1993) Ah now we're cooking. Like I said before The Invisible Man engineered a lot (all?) of the Legend Records releases and like so many great engineers before or since was kind enough to grace us with some fantastic tunes of his own. Most releases appeared on the Timeless label(that exists to this day though is a shadow of it's former self - if I do say so myself). For this time we bring back the pure darkness. Evil sounding synths and screaming open the track putting you in the right frame of mind before the opening battle cry of "strictly drum and bass" is yelled, well sampled. And strictly drum and bass it is. The drums pound away before subtly shifting pitch and a dark pad sweeps in sucking you up and really making you want to take the place of the sample and scream. While I wouldn't say Trance with a capital T, it definitely has a very trance feeling, really enveloping you in the tune and pushing you forward with it, dropping in and taking out extra elements every now and then that just perfectly fit the feel of the track and don't allow it to ever wander of it's pumping, breakneck beat. FBD Project "The Core" (Bang-In-Tunes, 1993) FBD Project (also known as Neil Trix) is another artist I feel is kind of forgotten about nowadays. This particular track is an early example of his sound. Spacey bleeps and pads buzz around the track like a rocket, sweeping in from the left, the right, above, below, everywhere. Like seeing a wormhole in some sci-fi movie. Nothing but a swirling, dark vortex with the occasional dot of light that streaks by you like a shooting star in the night sky. Orca "Underwater Science" (Lucky Spin, 1993) Again continuing with the nautical theme. A lot of Jungle either seems to delve into the deep dark sea, or shoot upwards into the great wide beyond. Orca obviously if you can't tell by the artist name or track title does the former. Really a truly great Jungle producer that outside his big hit - 4am - I feel people don't really know much about. At least I don't see many people pulling out his many EPs released on the likes of Lucky Spin. This particular track is a classic example. It's just such an oppressive, dark track that tries to drag you down, deep down into the blue black depths. It even has one sound that wails out like a Siren, trying to lure you onto the rocks. But where others would fail with such a heavy track, Orca succeeds known a Siren's voice only works if it's seductive and sweet, so this track keeps things where it should be and that is danceable. Metalheads "Saint Angel" (Synthetic Hardcore Phonography, 1993) Really the most impressive thing about Metalheads/Rufige Kru/Goldie is just how far and how fast he learnt and evolved. Coming from his first track, the rough yet obviously promising Krisp Biscuit, so this in just about 18 months or less. I guess that's what happens when you get people like the Reinforced crew and Moving Shadow's Rob Playford to engineer for you. Truly skilled and talented engineers. Like they say it's the company you keep. Here we have Goldie taking the formula 4 Hero created but directing it towards a darker, more heavier place than where 4 Hero would eventually take it. Electrical sounding synths crackle out in the tune, the current discharging on top of the shifting breakbeat. But the vocal stabs give it a real air of humanity about it, something the many copyists who would come in after the likes of this and others like it came out, wouldn't understand this need for humanity, this need for life and energy and euphoria and crucially leave it out of their own productions. And there we have it, Darkside Jungle! The first dark and confident steps of a genre and sound that while technically continuing to this day in the form of Drum & Bass, I feel this sound and the attitude it had largely worked it's way down the Hardcore Continuum instead, landing and energising the likes of Garage, Grime and Dubstep. Next time on the UK Bass History Guide we explore deeper into the Jungle. Additional & Recommended Listening: Luckily despite the Darkside sound being a more niche market, it was still very popular and there are a lot of contemporary compilations that were released to document it. First up React records put out two volumes called The Dark Side. The first called The Dark Side : Hardcore Drum & Bass Style while the second called The Dark Side II: Jungle & Technology. Both while not exactly rare, can get a bit pricey for the CD editions. Next we have the usual fallbacks of Jumpin & Pumpin's Jungle Tekno series. In this case I suggest the first 2 volumes. While Kickin Records Hard Leaders series you want the 3rd volume. Also I'm going to recommend something blind here. Moonshine music in the States put out several compilations called Speed Limit 140bpm+. Now these aren't common around here so I've not heard them, but looking at the track lists there are some good picks in the 2nd, 3rd and 4th volumes. In terms of label comps, well Moving Shadow and Sub-Base collaborated to put out a compilation called The Joint which I highly recommend, it features the best of both labels(there is a second volume but that's for next time). I'd also recommend another joint release of theres - a 2CD set called A History Of Hardcore, simply fantastic pair of discs that go a little further in timescale than what we're dealing with right now, but highly recommended nonetheless. Formation had out a label comp in 93 called A New Breed Of Ravers. Again highly recommended. And finally the real find, Reinforced's Definition Of Hardcore album. All Reinforced, all classics. Simple. In terms of record prices, well here's where things can get pricey. Some tracks can be had cheap for just a few pound. Others meanwhile can hover around the £10-15-20 pound marks. Stuff like most(but not all) of the Mega City 2 catalogue and Finest Illusion, well let's just say if you manage to pick up for less than £50 I'd be impressed. 28 Gun Bad Boy fucked around with this message at 02:23 on Jul 4, 2016 |
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Jul 12, 2011 01:24
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Ras Het posted:Haha, Kavén was a pretty solid keeper in his top form, third choice for Finland for a while, and goalkeeping is the only area where we've consistently produced top European level players. I think he's still technically active, but his club went bankrupt last year and I'm not sure if he's signed anywhere else yet. Valakari was always wank for the national team though. Valakari was with us for a good 4-5 years but never once scored a single goal. Fantastic on the ball though, great passing skills. Don't know why we ever let him go. To be fair to Kaven he probably was better than Stevie Woods who had a habit of letting the ball go in the net, and we did end up signing Andy Goram around the same time to that never helped him. UK Bass (Dubstep, Grime, Garage, UK Funky, and obscure Finnish and Scottish football teams) Shitpost Gaze posted:Another amazing installment! You are a knowledge monster. Thanks man, you posting that Fact mix in the D&B thread was good timing actually as it fits perfectly in with this.
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Jul 12, 2011 02:15
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infinity2005 posted:No Renegade Snares? Never fear! That's being saved for next time as since it was a very late 93 tune I think it's a great bridging point between that 93 sound, and the later stuff especially the Foul Play mix which is what's going in. I actually was going to put in Mainline, but then I remembered it was the 95 mix off The Deepest Cut that I really love.
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Jul 12, 2011 13:33
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Anae posted:Oh god, this please. Never fear guys, it's all planned. We're going all the way up to the present(roughly) with these guides so you'll just need to meditate for wee bit as we'll get round to it eventually. Sooner rather than later for garage. There's going to be at least 1 more Jungle entry, then from there we follow the musical current and get into the garage ting. Whether it'll be one entry or maybe 2, seperating the original 4x4 UK thing/Speed garage, from the later 2-Step stuff I'm not quite sure yet, we'll see.
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Jul 12, 2011 20:25
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You now there is that other thread going on (you know what one I mean) it reminded me I managed to catch Karnage's Rinse set on Sunday there, with the last hour or so pure grime. loving cracking set that ya'll should get on. Download it off the Rinse podcast site. Worth it just for the lyric "On the iPad/Watching porn" Anyway it really reminded me that the more aggressive, jump-up stuff the Dubstep guys do is just blown away with what those grime boys do. Buzzsaws and wobbles and machine gun tones, man they just kill it. Spitting over it all just gels it together so loving well. The wild noise stuff is kept contained all up in a concentrated blast rather than just swinging limply in the dark trying to show how tough it is. You want aggressive rather than just white boi tight jean fitted cap wannabe-aggro posturing? You need to get on that, show you how it should be done.
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Jul 13, 2011 14:01
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Again thanks everyone for the kind words. I don't know about an eBook or anything like that. It's not really like it's some fancy thing or anything. It's just a little thing I do that I hope brings some enjoyment and knowledge to this thread and forum. Anyway for some actual content that I meant to post yesterday. Blackdown talks to Roska about his forthcoming Rinse mix CD. I'm really looking forward to it, especially now I know it's got that "In The Deep" track by T. Williams. XLR8R even gave out the fantastic Zander Hardy remix as a free download. It was one of my favourite records of last year (can you believe it was almost a full year ago already?), as is all the stuff Deep Teknologi puts out. Deep, dark 'n' funky.
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Jul 13, 2011 18:37
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beeps-a-palooza posted:im playing out in dc this week and want to bring out some future bass/2stepish tunes. What about the recent SBTRKT album and that Hessle Audio thing, 116 & Rising (or did you pick that up already? I can't remember), some things on both those that's bound to set even the most Frat brothers and mosher-full of parties alight, which is what I'm going to guess this 'Adam Morgans' club is like?(bear in mind I base my American university/college/school/life experiences solely on a lifetime of watching movies like Animal House, PCU and Revenge Of The Nerds. )
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Jul 15, 2011 00:43
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zegadeth posted:Anyone else pumped that finally the Wheel+Deal album is dropping? It's the Lemon D track that's interesting me. A Drum & Bass producer actually making what sounds like some good Dubstep/garage? World is a changing. Of course given the fact I've only heard brief samples it could actually be utter shite. N-Type is really great though, fantastic and ultra funny guy. I remember sitting behind him and Hatcha in the bus ride back from Dubcamp, all of us tired, half asleep and hungover as gently caress. Cue N-Type looking out the window and seeing one of them big highland cows. For the life of me I've been sat here for the past 5 minutes trying to remember what he said, but he had the entire bus completely in stitches at his amazement at this cow and what he said about it. Not to mention the obvious hilarity when we saw a shop in Dumfries called "Polski Smak". It just writes itself. Real Edit: Remembering Dubcamp brought back memories of the aftermath thread on DSF. As well as making me remember the hot tub that was there, as well as the slightly uh... bigger girl who was in there most of the night with more than one boy. Some poster off DSF posted:Quote of the night on her part, Me "Will you let me go up your arse, me mate's got first dabs on your minge" "Nah, I'll just suck you off.. it's still hurting from the other night" Ah memories! Jeseuss posted:What do you guys think of Disclosure? Too James Blake-esque? I think so sadly. There's a few tracks on his Soundcloud that aren't half bad, but looking at his actual releases, none of the ones I like have been released. And what has been released, oh man, 7 inches on hip indie labels doesn't exactly help stop James Blake comparisons at all. It's pretty much perfectly packaged in an attempt to land a major deal like JB. Cynical? Me? Never? Fake edit: Actually I lie, the song Carnival I like was an A-side - oops! Well I still hold my ground, honestly 7 inches. Why a 7"? think the reggae boys even use that much anymore. It's not for the dance crowd anyway, it's for the folks who don't mind paying £5.99 for a 7". Not that I mind 7s, but it's a message you send though, right? Actually I'll float this out now, these kind of faux-garage beats are kind of getting a bit much for me now that they seem to be everywhere(not neccessary meaning this Disclosure stuff mind you, but trawl through Soundcloud, through some of the 'Future garage' or 'Post-Dubstep' stuff and you'll find what I mean). I say faux-garage as you can kinda tell that's what it's supposed to be because of how the drumbeat has been done, but it's like it's made by people who don't actually know anything about garage, or haven't really ever listened to it. Like they only know garage filtered through a Burial album. It's skippy and stuttery, but like Duke Ellington said it don't mean a thing if it ain't got that swing. And I'm not seeing enough swing in it all. The swing brings the sex and the energy, and I don't know, I don't really get much of either from these kind of tunes, whatever they're calling them nowadays. 28 Gun Bad Boy fucked around with this message at 01:24 on Jul 17, 2011 |
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Jul 17, 2011 00:52
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Conduit for Sale! posted:Does Skream have anything more like Tortured Soul or Midnight Request Line? I like his self-titled album alright, but those first two tracks are killers and pretty dissimilar from the rest of the album. You might want to try the stuff on his first two Skreamism double packs. Might be what you're after, though I guess a lot of the stuff on them is similar to whats on the album.
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Jul 17, 2011 04:28
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Mike_V posted:Haha, Jammer is going in on Skepta without saying it overtly on JJ's show. Sounds like Wiley maybe? He released Chill Out Zone for free.
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Jul 17, 2011 22:18
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So Donaeo has a new single out on Strictly Rhythm. Well old song, new single. I guess everything does go round in a circle. Current scene leader releasing a new record on formerly giant original scene leading record label, who's formerly ultra popular, scene leading sound was the original starting point for the UK garage scene that developed into some other scenes that has lead to the current scene?  It's good though! The original off his Party Hard album was one of the best tracks off that LP, and I can never say no to a Kenny Dope remix. Now if only they'd do the right thing and put it out on a 12". Hey gently caress it, stick all 7 cuts on the one plate I still wouldn't complain. Anything to get more UK house stuff out on wax. 28 Gun Bad Boy fucked around with this message at 22:11 on Jul 19, 2011 |
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Jul 19, 2011 22:05
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GET MONEY posted:Chill Out Zone's hardly a grime album but it's still got some enjoyable production on it. If Wiley produced the whole thing himself too I'm impressed. Yeah it was the only other recent free album I could think of off the top of my head. JimmyJazz posted:Was just giving Untold's Gonna Work Out Fine EP another listen, what massive production. And a couple years later still seems exactly relevant to what's going on today. I saw him have this 'U-251' demo up on soundcloud for a minute but other than that nothing from the new year, I wonder what he's cooking up? Dreadnought seems like a really unfortunate turn to have taken I was gonna say maybe he's just busy with the label, but looking at Hemlock's past release schedule it's not exactly crowded, with about a release per quarter. In that case I'd imagine he'll probably be focusing on the Dreadnought thing for a while, so that means you (and to be honest me) will probably be disappointed over the next wee bit.
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Jul 20, 2011 14:13
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thepopstalinist posted:Didn't he have a single out on Hotflush recently or something? Some other label. He had a couple tracks on Hotflush's latest compilation that came out a few months back. Maybe that's what you're thinking of?
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Jul 20, 2011 16:18
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a milk crime posted:https://bleep.com/index.php?page=release_details&releaseid=31129 Well the mystery is always better than the fact I guess. Though a bit sad to see the return of 180 gram vinyl, still at least they aren't asking anymore for it so I can't really complain. Oh and since this came out a week or two ago - just in case you forgot about it - the latest Seiji is out and rocking it hard, while Roska's Rinse mix CD is out so I actually get to see the final tracklist and it's looking real good. For some reason I thought it had Forward Motion on it, but sadly not. Ah well, nothing can be perfect.
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Jul 21, 2011 17:33
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Mike_V posted:Is anyone else annoyed by Jamie George. He ruins whatever Roska track he decides to go on for me. Hahaha, he does sometimes remind me of like, I don't know, a male Kate Nash or someone. It sounds stupid I know, but something along those lines.
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Jul 21, 2011 19:15
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JamesKPolk posted:Just listening to it now... wow. The title track alone is worth the price. Funky/Jungle/Juke vibes Defo, title track is what makes it. I've always actually preferred the LuckyMe guys to Numbers actually now that I think of it. And that Breton remix track just goes to show my theory is correct. 808s make everything better. And let's not forget the newest Photek. I know a lot of people have been going on about the Pinch mix on this one. I still say all of Photek's recent work has been some of his best ever, right up there with his Solaris stuff (which up until recently I always thought was the pinnacle of what he'd done)
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Jul 23, 2011 00:40
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Mike_V posted:Finally got around to listening to Roska's Rinse mix and it's good. But wow, that Marco Del Horno track is great! Can't believe I hadn't heard it before: http://www.youtube.com/watch?v=j1To-rsztCg Have you heard the track he did with Swerve and P-Money a while back? Ho! Riddim. Really good but on a different vibe to the house stuff. beeps-a-palooza posted:why the gently caress cant i find any decent future bass on beatport. their genres are so limited :/, they should at the very least have a 2step section or something Honestly man you'd be better off at Bleep or Juno for this kind of stuff.
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Jul 23, 2011 02:47
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Ras Het posted:I like Jamie George a lot actually, he's not the best vocalist but he's got a good symbiosis with Roska, and since the latter's tunes are rarely all that exciting sans vocals, he's doing good work IMO. I don't mind him generally, just sometimes that kinda accent he's got when he's doing his thing can be a bit much. Like I said it's a bit like Kate Nash or something. Like, "I'm a lahndoner don't cha know!" http://www.youtube.com/watch?v=D5tqzm-o76Q "What a whan-dah-full day". Not that I can comment complain about anyones accent mind.
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Jul 23, 2011 16:46
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Mike_V posted:Two name things: Yeah like thepopstalinist said, Ramadanman has been using the Pearson Sound alias almost exclusively for a while now. I actually think I read somewhere he wants to use the PS name full time, but he's having problems since the Ramadanman name is already so popular. I think he wanted his Fabric mix to be purely a Pearson Sound title. I don't think he's too happy anymore with the name. To be fair it is a bit gash, and I think he was still pretty young when he came up with it and a bit embarassed by it. Like being in a band in your youth and coming up with a terrible name that sounds cool when you're 15, but when your 25, all you want is to not make it sound like you're a bunch of 15 year olds.
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Jul 24, 2011 13:53
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Ras Het posted:A lot of producers do stuff like that tbf, just check out the differences in sound between Sasu Ripatti's various aliases: there's a clear logic behind them, Ramadanman could do something like that. Oh totally. It's always fun when, unexpectantly, you find out some artist you really like is just an alias of someone else. Sometimes it's done for stylistic reasons, sometimes just not to overburden the market with a glut of material. I really wish Kromestar had done that. I sadly lost interest in him when, at one time a few years ago, he seemed to have just tons of new releases each week, on labels like Southside and Fantastic etc. Just way too much, like a massive sugar overdose, you just got full and had to push stuff away after a while which is a shame as I bet a lot of it was good. Should've split stuff up and used his Iron Soul alias some more, maybe a couple of others. Mind you I say that, he still had a bunch of stuff out as Iron Soul/Droid as well. Oh and I found the Ramadanman/Pearson Sound interview I was talking about. It was a interview in Fact mag. Ramadanman/Pearson Sound posted:“Well the change to Pearson… it’s not like with Redlight, when he went from Clipz to Redlight, and totally changed his sound [from drum’n’bass], I’m not doing that. My process is more gradual, that’s why the CD has two names, that’s why bookings right now are as both names, but eventually they’ll be just Pearson. Plus I haven’t done that many tunes as Pearson still, so I want to get more out there… I figure that’s the best way to do it.” So sounds like it'll end up just being Pearson Sound on the label in the near future.
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Jul 24, 2011 20:35
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GET MONEY posted:Liking this Disclosure EP a lot. The A is a light joint that drops a sweet bassline and turns into some wicked purpley synths with a stuttering vocal sample, while the AA is like a really good James Blake track (remember when he made those?). Actually we were just talking about this a page or two ago. I quite liked the A side, but I thought the B-side was just a bit of a James Blake knock-off. Though I was also casting doubts on the use of 7 inches, and if it's just a way to appeal to the record buying indie crowd or get some big label attention. Should've been stuck on a 12"  or a 10 for ultra cool bonus points.
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Jul 25, 2011 18:46
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Maguro posted:I'm not sure what their financial situation is but usually 7 inches are way cheaper to produce. I seriously doubt they are doing it just to appeal to some "indie" crowd. Oh sure they're cheaper to produce. Though actually nowhere near as cheap as they used to be, even just a few years ago. I think they've actually gone up a lot more compared to how much pressing on 12 has gone up. drat peak oil and war in the middle east! And here I used to think when vinyl got more popular and more people were pressing stuff up, it'd get cheaper! But here's the thing, technically that type of music belongs in the modern dance genre, call it UK Bass or whatever have, and it's the 12 inches that rules in the scene and is what the DJs want. I rarely see a 7 inch pressed much at all, obviously I mean, barring the usual suspects like the indie/punk/guitar etc circles, and the soul and funk crowd(god bless the Italians and their love of Brazilian funk on 7s). So relatively unknown artist doing stuff in the style of famous artist who's managed to find a lot of appeal in the non-dance segment of music lovers, releases 7 inches on primarily indie labels. To me you go, okay, is this really aimed at the scene, and is it really an attempt to contribute positively to the health and well being of it? Or is it just an attempt of someone to climb up the back and get at something else? Again I am very cynical and grouchy in general. I'm like one of those two old puppets in The Muppet Show.
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Jul 25, 2011 23:15
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Ras Het posted:Mz Bratt & Dot Rotten on a kinda hip hoppy thing, the raps are middling but I like the beat: I've been liking this, propa summer vybez ting. And Mz Bratt  Edit: JamesKPolk posted:Hahahaha (from the uploader comments) Haha drat, I wish I had read the comments on that one. Oh and Bax is out on Numbers sometime very soon. 28 Gun Bad Boy fucked around with this message at 03:07 on Jul 26, 2011 |
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Jul 26, 2011 03:01
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Mike_V posted:N-Type is releasing some 2 CD/double vinyl dubstep teng with one of the discs being unreleased dubplates from some nice artists and the other one being something I forgot since I first heard the ad on Rinse today. Is that his Wheel & Deal Dubstep Vol 1 thing? With one of the
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Jul 26, 2011 04:29
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Maguro posted:Future Bass. He's even on the fantastic "Future Bass" comp that Soul Jazz put out. Yep, you could call it Future Bass(though the word 'Future' can be a loaded term sometimes). UK Bass. Bass. Probably more leaning on the Dubstep side of the family tree, if I was to be truthful that's probably how I'd describe him. But then there is other elements in his tracks. See this is why sometimes it's easier to lump it together as one 'family' name, when you start to get artists who kind of take influence from a lot of genres that have cropped up over the past decade or so, and they can't really be too easily fitted into one particular category. Anyway I do recommend the compilation Maguro mentioned though, Future Bass on Soul Jazz Records. To be entirely truthful I can find the older Randomer stuff a bit too 'glitchy' I guess is the word I'm looking for, for my taste. I remember something he had out on Med School I think it was that I thought was just terrible, but he redeemed himself with a really nice single on Tru Thoughts. I did think the single he had out on Soul Jazz was actually better than the track on the Future Bass comp.
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Jul 26, 2011 22:48
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Gamest Mook posted:Got het's permission to post this... here's a big 2step mix from 2001. The second disc with Pay As U Go MCing is really really good, lots of deep dark garage cuts on there. Ah UKG in the middle of summer. The perfect combo. Blazin' sun and blazin' beats, what more do you want in life? Anyone who ain't already jumped on dis ting is pure waste. e: Double gently caress offs for the first man who comes in with the "but... but MCs ruin the music!". You know they're out there. 28 Gun Bad Boy fucked around with this message at 20:20 on Jul 27, 2011 |
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Jul 27, 2011 20:16
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infinity2005 posted:http://itunes.apple.com/gb/album/future-dubstep/id445061320 Not using either iTunes or Spotify (because that's just how I roll baby), and judging just from the song titles/artists names it looks like it follows in the spirit of the all mighty Beechwood Records. Sadly departed king of all knock off compilation albums. Only without the 2-3 actual real 'brand name' producers work to make it look legit. I can only imagine the sheer atrocity that is that Ghost Town remix.
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Jul 28, 2011 02:35
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Bellend Sebastian posted:If it's the DJG one, it's actually p good. I really want to believe it is, but I really doubt it is the DJG one sadly. So did anyone waste their hard earned £3.49 on that album yet then? I like to delude myself that we're all just jaded fools laughing at it, and in reality it's really good. At less than 10p a song surely it must be great! I don't even think Irn-Bru bars go for that no more. Who said great quality costs!
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Jul 28, 2011 14:57
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a milk crime posted:Agreed, now, that UKG set that you posted (Gamest Mook) - sick as hell. Also, MC's. Yes. My fav thing. Just think of it as a new single that costs £5, and the shipping is only £2. Or just add more singles to justify the cost, as it may be a (fairly) flat shipping fee. Sorted either way! M-Dubs were sadly kind of forgotten about 5-6 years ago. If you knew their tunes then you were probably a bit of a head, but most people didn't have a clue. But their tunes were just a bit more ahead of their time when they came out I guess - though still popular when they first came out - a bit more slicker sounding that would kind of coincidently still sound fresh 5+ years later, so when Kode9 started to play out one of their tunes 3-4 years back naturally everyone started going on about them and how great they always were. I remember someone joked once how Kode9 playing them out would mean the prices would rise. I see it worked, stuff now costs £2 instead of £1! Oh and the next part of the guide has been tracklisted. That was hard enough as I've stretched things timewise a little so had a lot of ground and material to cover. It'll take a while though to do the write ups I'm afraid(after I take a few days just to cool off, if I hear one more breakbeat my head will explode) so ya'll just gonnae need tae sit tight.
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Jul 29, 2011 03:11
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HatchetDown posted:I just about poo poo myself the first time I heard the Jimmy Mack Remix since that was probably one of my favorite songs growing up. Is this one of those situations where it's just a bootleg and if it ever gets released it'll be maybe a short stack of white labels? And just as a heads up, Damu also has an EP out next week on Blackdown's Keysound Recordings. My only problem with Damu is I always mistakenly read the name as Domu. Oh Domu why did you have to quit making music! Why didn't you just stick it out for a few more years and maybe you could've ridden the current wave up.
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Jul 30, 2011 18:50
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isomerc posted:Am I alone in thinking that The Others have fallen off since "Africa?" A long time to fall then, given Africa was one of their first singles. I'd actually agree but me being me, I'd take it one step further. I've never liked The Others so they never even came up in order to fall, as far as I was concerned, there's was one of the first Dubstep singles I actually went,"No I don't like this. I'm not buying it". Up until then it was a case of just buy everything in site as the scene was small enough crap wasn't really making it past the filter. Actually to rehash old war stories I've told here a thousand times, it was their single on Boka that I passed by. It appeared the same time as this single by Nightwalker(not the D&B artist), which is the one I picked up. A real pick what wire you wanted to cut moment. I stand by my choice, even though Nightwalker was never heard from again and The Others have gotten pretty big. Story of my life really. Oh ignore the lovely video graphics in that yt video.
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Aug 1, 2011 18:26
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isomerc posted:I love the minimal vibe of "Africa." The small percussive samples are what do it for me, I think. So what've they done (or not done) recently to make them go off the boil for you? My problem with them first time round is they seemed to be the first of like the straight up Skream/Caspa/Rusko copyists, not really bringing either anything new to the plate, or improving the formula they were working in, and judging from the bits and pieces of what I hear from them nowadays, it's sadly pretty similar. I was always surprised Dub Police signed them up as up until then DP was a really strong, quality label and you knew you were only going to pick up class if you bought something with their name on it. Copying Skream/Caspa/Rusko/Loefah was the thing in 2006. At least then unlike now you didn't really have Youtube (to the extent it is now that is) and back then garage was a strictly 12" only thing so few made it past that fantastic bit of quality control. It's amazing what people won't release if they have to put a grand of their own money on it. Mind you, with The Others, I could be missing things as obviously I don't follow them too closely, but I do doubt it. If you don't have an initial liking you tend to just kinda ignore them unless they do something that really surprises you.
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Aug 1, 2011 20:16
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So despite being out a week already I finally got the Roska mix CD. All I can say if you've not picked it up, pick it up right now. Fantastic mix full of fantastic tracks, what more do you want? Actually slightly relevant to the above conversation regarding me not paying attention to artists if their first couple of works is shite. Redlight. The Roska CD has a couple of his tracks on it and everytime I hear them I'm still amazed that he was once Clipz. I don't understand how you can go from being that poo poo, to actually half decent. I'm struggling to remember the last person to do that. Don't get me wrong I don't think it's as good as what everyone says, but it's not half bad, not half bad at all. A drat sight better than what he was up to before in any case.
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Aug 2, 2011 19:31
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Mike_V posted:I just want to re-iterate how enjoyable the Wheel and Deal comp. is. Really hammers the point home how much I love appropriately used movie samples in dubstep tracks. Largin up N-Type big time on this effort. Like you said, creatively used movie samples are great and you can trust N-Type not to put absolute poo poo into a set, mixtape, compilation or whatever. But too many of those poorly done jump-up wobbly tunes just follow the same pattern of using a big minute long chunk of movie dialogue as the intro > straight into wobbles. Pretty blah. In other news, I'm currently typing up the next part of my guide. In between listening to tracks though I've got some pumping UK Garage playing, you know bit of a palet cleanser kind of thing going on. Not a good move on my part, especially when I whack this tune on the turntable, and I end up leaping up from my seat and pretty much ending up like this. Thank Christ no-one can see me. But sign of a great tune I guess. Can you get a guy up and swinging to it at 2pm on a Thursday, with nothing but a cup of tea and a roll and sausage in him? It's what all producers should be aiming for as far as I'm concerned.
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Aug 4, 2011 14:11
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So out next week on Numbers is their re-issue of DJ Pierre's Mystery Girl. Classic piece of house, with the original on one side and on the flip is an excellent Seiji rework. Numbers doing it again, really one of the best labels out there at the moment if you ask me.
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Aug 5, 2011 14:45
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infinity2005 posted:Not much of a week for releases is it? Very slow compared to last week. It's August, someone told me years and years ago August was the worst time for new releases. No idea why though, wasn't smart enough to ask then. Late summer blues? Back to school slump? Lazy continentals taking their holidays for the whole month? On the plus side part 5 of the UK Bass guide will drop very, very soon so that should (hopefully) give you something to talk about.
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Aug 6, 2011 05:20
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Welcome to the fifth part of my UK Bass history guide. I intend this to be a rough guide to the history of the current UK dance music scene. An attempt to educate and show people what came before. It's not meant to be a completely 100% accurate in-depth report of the sound and scene at the time, but is hopefully good enough that people will be able to understand and form the links in what has turned out to be a 20+ year old musical scene.  Timescale: 1994-1997 Key Labels: Moving Shadow, Suburban Base, Basement Records, Formation Records, Dee Jay Recordings, Lucky Spin Records, Ram Records, Good Looking, Metalheadz, Front Line Records, Ganja Records, No U Turn, Last time in the guide we looked at the burgeoning Jungle scene of 1993. Today we delve deeper into the Jungle and look at the state of Jungle from 1994 onwards. By late 1993 Jungle had begun to make it's mark on the musical landscape, becoming more accepted and listened to by the mainstream who barely a year before had written off Jungle as a musical scene. Just a note here regarding the timescale we'll be looking at today. Primarily we'll be dealing with the state of Jungle during 1994 and 1995, with a few brief incursions into 1996/97 just to show you the major developments in the scene during those years. Now this is due to the fact that by 1996, Jungle had began to morph into what's now known as Drum & Bass. This resulted in a change of musical style and sound - with the music becoming ever more technical and/or abrasive - as well as a shift in the audience from the primarily urban, working class that had created and dominated the scene from the Hardcore Rave days, to a more middle-class suburban fanbase. Many of the core producers and DJs of Jungle, as well as the audience who increasingly felt disinterested and disheartened at how the Jungle sound was developing, switched allegiances to the more dancefloor friendly Garage scene, which had been slowly bubbling up since 1994, and had often been played in the side room during Jungle dances. Certainly you could say by the end of 1995 the UK Garage scene was the sound that was reinvigorating the UK dance music scene. The one pushing it forward towards the future. The one with the most women in it. But many of the Jungle tracks being made in 96/97 and even 98 would be an influence or inspiration to many producers several years down the line, so I felt it necessary to include some tunes from those years. Come 1994 the musical unity that held Jungle together during the post-Hardcore days began to break up, with the music and the audience increasingly splitting up into two factions. The more Ragga influenced or Jump-Up/Hardstep style with it's big basslines and pounding drums party on one side, and a more musically and technologically 'progressive' side sometimes known as Ambient or 'Intelligent'. In some ways eerily similar to what happened to the Hardcore Rave scene, where the scene split between a more darker and instrospective sound, and a lighter(comparatively) and more energetic sound. This schism would play out once again in the later UK Garage days, as well as in Dubstep. One thing these two sounds did have in common was their near universal disposal of the sense of dark euphoria, of the lingering paranoid hopes and frantic drug fueled energy that infused the Darkside sound of 93. The remnants of the Hardcore Rave days were almost gone as the fuel that fired that sound was slowly exhausted. A faint aura is all that would be left in just a scant few classic tunes during this period. Also important to note is during the later period featured here we start to see the fall of what was called Jungle, and the rise of what is now known as Drum & Bass. Come the mid-90s Jungle had a fairly bad reputation with the public and (most importantly) in the music press. Accusations of violence during raves, and a general association with black British working-class youth just didn't work for the conservative mainstream who at the time were praising the likes of Oasis as the saviours of music. So in order to whitewash (pardon the pun) itself and make it more presentable, the scene slowly started to call itself Drum & Bass - a term used since the early days of the scene, though not in this context. The press would pick up on this and eventually come the new millenium, few people in the UK would still call Jungle, Jungle. Like with Daewoo cars being rebadged Chevrolet, a new label had been affixed to the sound in an attempt to smarten up the music and the scene and make it 'respectable'. Maybe you could say the death of Jungle truly happened when Roni Size & Reprazent's 'New Forms' album won the very middle-class, very Indie/rock and roll orientated Mercury Music Award. The flood gates were opened then, it was cool to like Jungle Drum & Bass. When the 14 year old wearing a Suede t-shirt from down the bottom of the street knows about it, you know poo poo's done. But like always, it's best for you to listen yourself at the development of the scene. To decide for yourself what you like or dislike, as well as what you believe. It's time to listen to some more Jungle. Tube-Tape Playlist Link Omni Trio "Renegade Snares (Foul Play Remix)" (Moving Shadow, 1993) Probably the quintessential Jungle track that features on every compilation album and Jungle/D&B mixtape ever. And really I'm not all that original so I'll stick it in here as well. Omni Trio was Robert Haigh who before falling in with the Rave/Jungle lot made minimalist piano music ala Erik Satie. Which would explain why the piano would feature so prominent in pretty much every tune of his. Here Haigh's rolling, euphoric piano lines would glide over his ever wonderfully programmed breakbeat that rattle out like a machine gun blasts before warping and pitching that when combined with the bubbling, building pads make it sound like you're in the middle of a war zone in heaven. When the war finally ends and you return home at 4am, Renegade Snares has left you with an incurable case of heavenly shell shock. This Foul Play remix easily equals the original, though in truth it's hard to pick which is best. As far as I'm concerned though, Omni Trio's best work would feature on his 1996 LP The Haunted Science. Most everything after that sadly takes a bit of a nose dive, even his next LP which was released just a year later pales in comparison. DJ Mayhem "Inesse" (Face Records, 1993) Sadly I feel this original mix is overshadowed by the later Ray Keith remix that seems to feature more often in mixes and CDs. But for me, it's the original that is the best. You can really feel the progression from earlier Mayhem tunes like Cold Acid (featured in the last guide). You can see how the Jungle scene as a whole has progressed and changed. Instead of squelching, acid, uplifting beats we're now given to long, atmospheric slabs of sound mixed in with haunting vocals that come out of the dense sonic mist that is the track. The drums are no longer a fairly standard, straightforward breakbeat, instead more often we experience the drums pitch shifting and stretching, adding greatly to the general bewilderment and ambience of the track. Everything is awash in fog and the details are foggy, not really able to truly 'feel' the track and react purely by instinct, instead your mind really needs to click onto the beat first before your body can truly let go. This is the start of the more Ambient or 'Intelligent' sound of Jungle. Deep Blue "The Helicopter Tune (Rufige Kru Remix)" (Moving Shadow, 1994) Again The Helicopter Tune is one of those classic Jungle tunes you'll find in every budget priced Jungle compilation CD. Sadly the remixes (of which there are two 10"s I believe) are not heard anywhere near as often. Actually this Rufige Kru remix is not only my favourite remix, but if you ask me even beats the original. It turns the original - which after all these years can get a bit plodding if you ask me - into a much more energetic and frantic thing. Not that this remix is all that far from the original, but like many good remixes you know from the moment you hear the radio talk sample in the intro you know you're going to be in for something good. A-Zone "Calling All The People" (White House, 1994) A-Zone was Aphrodite, who you may remember was one half of mega popular Hardcore act Urban Shakedown. Here he returns with a new name and a new sound. To me this is one of the first early Ragga/Jump-Up style of tunes. Fairly simplistic (but I mean in a good way!), you have a Reggae-ish, very booming bassline plonking away under quite a 'straight ahead', powerful drumbeat. Spacey Ragga chanting gives way for yet more Reggae/Dub sirens that wail and pulse out. Unlike the previous few examples it's just such an energetic tune. No need to really think, just relax and let go and before you know it you'll be out there in the middle of the dancefloor skankin' away like a mad man. M-Beat "Shuffle" (Renk Records, 1994) You have to feel sorry for M-Beat. They put out a number of sheer blinding tunes during the course of the early 90s, but unlucky for them I think their legacy has been diminished by their involvement with General Levy's tune Incredible. A tune that caused a lot of anger in the Jungle scene when it came out due to some comments Levy apparently made regarding his stature in the Jungle scene. Pure politics in that matter. But getting away from the evil of politricks we have Shuffle. One of their best ever tunes in my opinion. Just a real nice mix between the Ragga side of things, and the more 'musical' and ambient side of Jungle. Switching indiscriminately between a Ragga sample with the relevant drum and bass beat, to a more uplifting, euphoric spacey vibe. Potential Bad Boy "Brok Wild" (Ibiza Records, 1994) 1994 was definitely Chris Mack's year with a string of releases on pioneering Jungle label Ibiza. Here we have a classic slab of early Ragga Jungle. Ragga vocal samples and Dub Reggae bleeps mix happily over the intricate and dense pads and drums. Neither side over powers the other, both existing in pure harmony which is why I really love this tune. Spirits From An Urban Jungle "Prologue To Freedom" (White House, 1994) Here we have an early track from future Moving Shadows faves E-Z Rollers. A classic Jungle piece, that really sheds the euphoria of the Hardcore days, and instead replaces it with a sense of wonder and dare I say it, hope? Like the title suggests it sounds like it's the first track to a journey to the stars. An arpeggiated synth note loops round and round from the start, giving a real Star Trek vibe if you ask me, while rising choir voices chase the rolling drums out past the atmosphere of the Earth and into the big, black beyond. Flytronix "Shadowlandz" (White House) Flytronix probably has more fame due to the fact it was he who created a lot of the artwork for the famous Moving Shadow label, giving it - at the time - real unique visual identity. Something entirely different the the more graffiti style that labels such as Sub-Base had. Instead you had a more modern, technological look. And his music reflected his visuals. A dense, dark, technologic nightmare. Ignoring the fact it has Predator 2 samples scattered through out (which as we all know increases a tracks quality by at least 15%) the entire tune is just one dense, urban, concrete monstrosity. Spacey, echoing bleeps bounce around the track like an echo in a dark lonely alleyway while pads sizzle away like the buzzing of a dodgy sodium street lamp. Even when the tune switches to a slightly more upbeat sound in the second half, it still gives off a real sense of claustrophobia and entrapment. A Guy Called Gerald "Darker Than I Should Be (Ladies Mix)" (Juice Box, 1994) Gerald Simpson was one of the few people off of whose back Jungle was initially built. Unlike the others though Gerald never really bowed to what was hip or cool at the time. Instead he plugged away at stuff, away up in his Manchester studio. Pumping out cool tracks like this on his own Juice Box label. Gerald let us taste the future far too little, but when he did it always quenched your thirst like nothing on Earth. Darker Than I Should Be remains one of my favourite tunes of all times. Way too dense Jungle with kicks that just sound like crackling electricity and sonar beeps and bloops that just make the track seem as wide and deep and black as the Atlantic. Jazzy trumpets just round off sheer bliss. This was later renamed as Alita's Dream and was the leading track off Gerald's 1995 album Black Secret Technology. It was reissued on CD a few years ago and I really highly suggest you pick it up. One of my favourite albums ever and maybe most importantly, it's a dance album that rises above the common dance album pitfalls and is a unique, exhilarating and transcending artefact in its own right. The Renegade "Terrorist" (Moving Shadow, 1994) Again here is another classic track that always seems to appear on any generic Jungle compilation CD. Terrorist was probably Ray Keith's real breakout track after spending a few years pumping out Hardcore on the Advance Recordings label. Nicking a piano line from song by Japan (seriously this is the problem with 'producers' today, they know gently caress all about music, leading them to make some really bland and boring tunes. Not enough samples from obscure British New Wave bands) as well as the bass off Kevin Saunderson's classic Just Want Another Chance (which was put out under his Reese alias, hence why that bassline would come to be called well... a Reese bass). Stick all that on top of an Amen and Bob's yer uncle you have yourself a Jungle classic. Studio II "Get Burn" (Redskin, 1994) Big booming bass and a nice pumping breakbeat is sometimes all you need. Of course just because that's all you need doesn't mean it's all you want. This track always gives off a kind of Indian or maybe Middle Eastern vibe to me. You've got some kind of flute or other wind instrument piping away like it's in the hands of a snake charmer, and he's just hypnotising you into losing control of yourself and getting you out on the dancefloor. It's a real great example of that Jungle/Ragga swing to it. That kind of bouncing beat that just makes you dance in such an instinctive way, skanking left to right to left, shoulders bopping like the deck of a ship in a storm, can of Red Stripe in hand. Interestingly Studio II would - like many Jungle artist - abandon the genre, instead following the sonic flow and moving into UK Garage, creating some of the best early UKG there is under the name Anthill Mob. Red Light "Coca Cola" (Red Light, 1994) Oh come on now, you didn't think UK breakbeat pioneers Shut Up & Dance had left the table now did you? You don't think they would have passed up the opportunity to meld their love of the breakbeat with their love of Dancehall do you? No, here is SUAD in the guise of their Ragga Jungle alias Red Light. Absolutely brilliant, tear out Jungle here. Guaranteed to light up the dancefloor. SUAD always seemed to follow the UK Bass flow, but at the same time they always seemed to approach the new in thing with only one foot in the water. Just a small dribble of releases under this alias, before going quiet, until a few years later during the Garage days they released a small selection of tunes in that style before going quiet again. It's a real shame as the quality of these tunes are immense and the world could've used more of them. Pascal "Hyperthermic" (Frontline, 1994) One of the few releases on Pascal's new (at the time) Frontline imprint which he started after he closed down his previous Face Records. Focusing on the developing harder jump-up scene, Pascal would quickly become a master at that style. Blending Hip-Hop vocals with massive basslines it was obviously going to be a crowd favourite. This track has always been one of my favourite Pascal tracks. Really living up to it's name it's a sub-zero, biting cold thriller of a tune that'll get you up and about, but it retains a real dark, sinister edge about it. 4 Hero "Universal Love" (Reinforced Records, 1994) Sometimes an artist just needs to keep on appearing on this guide, in the hope that you will actually take a real interest in them and really explore their body of work. 4 Hero is that artist for me. Really being the first to introduce Jazz, Funk and Soul elements into Jungle. But, unlike many who would come after, they would truly know how to use them. They wouldn't just stick a sax solo in the middle of a track in order to make it 'Jazzy' or 'Arty' or 'mature'. No hear they use it like it should be used. A means to really introduce some presence and physicality to the music. A bit humanity in a world dominated by machines. 4 Hero's adventure in Jungle would really end around this time, instead they would slow down the tempo some and incorporate even more jazz and soul elements into the mix, helping to create the genre that is known as Broken Beat. This particular track by the way is off their second album Parallel Universe. Probably one of the first (if not the first) Jungle albums ever released. I highly suggested you pick it up if you can, it will totally blow your mind. FBD Project "She's So" (FBD Project, 1994) A perfect example of the kind of haunting, ambient Jungle that was around come mid to late 1994. Pads and wind instruments float around like they're rogue balloons in the sky, floating around the infinite blue sky without a care in the world, simply ending up where the wind takes them, while vocals loom out of the track and echo around like they're just a whisper on the wind. Even the breakbeat seems almost ethereal, but with a tinge of evil about it. They stutter and swirl about the track, blowing back and forth, but they have that edge of unpredictability about them, like at any moment you expect them meet a cold bass pressure front and transform from the benign breeze into the most destructive of tornadoes. LTJ Bukem "Horizons" (Looking Good Records, 1995) I honestly don't know how Bukem managed to get away with it twice. First time round was Atlantis, and it's wholesale lifting of a Reel By Real track, now this time we have him doing the same with downtempo IDM-ish Guerilla Records recording artist Lemon Sol and their track Sunflash. Taking the body of the track and then grotesquely adding different elements onto it to create some kind of Frankenstein's Monster. Sure it's a nice track, with nice swirling aquatic pads and washes of crystalline synths that tinkle away on top of a, at times, fragile and razor thin sounding breakbeat. But this is where you could probably see things go wrong. Everything is maybe just a bit too squeaky clean, a bit too highbrow and futuristic. It's like some kind of Sci-Fi from the 60s/70s. Everything is just too neat, too clean, too new. You half expect to be wearing a one-piece silver jumpsuit ala Logan's Run while listening to this. A lot of people with a lot less talent would pick up on this sound and sadly run it into the ground. I also never got why Looking Good actually existed. What it put out was not really much different from parent label Good Looking Records, so was it really necessary? DJ Zinc "Super Sharp Shooter" (Ganja Records, 1995) The counterpart to stuff like Horizons was obviously tracks doing the exact opposite. While Horizons and the like were dense, slow motion and a real journey, people like DJ Zinc were really working more minimally when it came to making more dancefloor friendly jump-up music. Utilising simple elements (you've got your drums, your bass and a synth or two along with your usual Hip-Hop sampling) jump-up really worked well on the dancefloor to actually get people up off their arse and dancing. Well jumping around like mad men. Of course the same problems occurred in jump-up as with the more relaxed ambient 'deep' stuff. Too many copycat artists. The jump-up and Ragga side made it even more easier to copy however because it's less dense structure meant people thought it was easy and that they actually knew what they were doing. DJ Hype "Going Out For Da Loot" (Ganja Records, 1995) Of course you couldn't say the Ganja folk were copyists in anyway. Nearly all involved with the label were involved in Jungle in some way or form since day one. The Ganja stuff really showed how good the jump-up stuff could be when properly made. Clean and big sounding, tracks like this one really showed why the more aggressive, jump-up stuff caught the attention of a lot of people. Full of raw energy and passion. It's a really fun and catchy track (especially with those xylophone bits). Top Cat Meets DJ Rap "Ruffest Gun Ark" (Jungle Fashion Records, 1995) The Ragga Jungle thing was also in full swing come 94/95. Here we have British Ragga/Dancehall MC Top Cat's tune Ruffest Gun Ark given a rework by DJ Rap, who's probably more famous for tracks like this(or if you're a real fan of fairly poor 'mature' pop music, her short lived attempts at doing a Britney Spears impression). The real problem with the Ragga side was the sheer amount of terrible tunes that'd come out. With Jamaicans like Buju Banton simply sticking their vocals over a amen. What the gently caress he had to do with Jungle, or the UK scene no one knows. But occasionally you'd get some good tracks. Jungle Fashion was the Jungle offshoot of prominent 80s UK Reggae label Fashion who brought you such classic hits as Smiley Culture's Cockney Translation. So you don't mind them doing it so much as they actually played a part in the building of the UK scene. They actually contributed positively to the scene. And people like Top Cat, as well as being genuinely really good MC, also would come to stick with the UK Bass scene as well, his vocals ending up some several Garage tracks and more. It's funny how you never mind stuff as much when people seem to show a genuine interest and passion in what they do, and when they actually put something positive and worthwhile back into the music. Fashion Records by the way is still floating about in some ways, having initially grown out of the Dub Vendor store in London they still remain there, selling Reggae to the masses. Check it out if you want the best in UK Jamaican music. Dillinja "The Angels Fell" (Metalheadz, 1995) Surprisingly the first sign of the Metalheadz label I have in this guide. Metalheadz is Goldie's own personal label, started in 1994 and it seemed to take what Reinforced Records were doing, but it took it one step further(conveniently takinv with it several Reinforced artists) . It quickly became the hottest label in Jungle releasing a slew of releases by Goldie himself as well as Photek, Source Direct, Alex Reece and many, many more. One of the reasons for it's success - baring Goldie's new found mainstream fame - was probably because it actually had an identity and brand of it's own. It wasn't just another label, the brand was just as important and prominent as music itself. It was a label that you knew would be filled with unique, pioneering music. At least you could argue that for the first maybe 20-30 releases. After that things may have gotten a wee bit shaky. But Angels Fell was one of their first releases, and probably my favourite. Here Dillinja is still in his kind of 'experimental' phase, creating dense, futuristic melancholic soundscapes with drumbeats and basslines that become so disorientating and oppressive. They skitter and flash by you, partly like lightning in the dark, pouring sky, partly like the cars and trains that flash by you as you walk down the grimey, downcast city street. Dillinja would quickly however become a bit more straightforward, creating some really hard dancefloor classics under his Capone alter ego. Goldie "Timeless" (FFRR, 1995) First of all I'm amazed that the full 20min version of this track is actually up on Youtube. This is probably Goldie's magnum opus. Almost orchestral in it's style, one long piece broken up into several different acts. One of which was cut out and released as a single, in the form of Inner City Life. I don't really have much to say about this song as it's really one you need to listen to yourself. Photek "UFO" (Photek Productions, 1995) Rupert Parkes had been about the Jungle scene for a few years in various guises, before this track came out. However it was under the Photek name he really devised his most potent brews. A skilled mixture of Jungle, Techno and Jazz. Very musical sounding with incredible complex and well produced drums that are very fluid, yet also packing an immense bass punch, Photek would obviously be an easy route for those with no real interest in dance or bass music to enter the scene. Sometimes a good thing, most times sadly not. But we can't hold that against him really. Would eventually turn his hand successfully at House come the year 2000, before disappearing for a while. But he's recently returned putting out some fabulous bass music. Intensity "Generations" (Basement Records, 1996) Intensity was one of the many, many alias of Source Direct. Sometimes thought of as just simply Photek copyists, in my mind Source Direct were a far better act. A bit younger than Photek, Source Direct simply made some real atmospheric, complex music that jumped between youthful anger and weeded out paranoia. Much like Photek they were an act that would have releases on Metalheadz and become one of that labels most famous names. Sadly unlike Photek, Source Direct never really seemed to deviate or develop much from their course. They went down with the Jungle ship in the late 90s. Though one half of SD - Phil Aslett - has cropped up again over the past few years making Drum & Bass and running his own Vampire Records imprint. Aphrodite "Style From The Darkside" (Aphrodite Recordings, 1996) By 1996 Aphrodite was probably one of the kings of the jump-up style of Jungle. Perfecting the formula of massive bassline, breakbeat and Hip-Hop sample. Here a massive Reese bassline mows down the low range frequencies with zero tolerance. Formulaic as gently caress sure, but fun as gently caress as well. However imagine a full 5-6 hours worth of nothing but this in a rave, in fact worse, poor knock-offs of this. Not a pair of tits on the dancefloor at all. Is it any wonder why the creative energy had by this time filtered over to the UK Garage scene? After all that's where the girls went to. And everyone knows that where the girls are, so are the boys (at least the ones who don't cream themselves over an amen beat that's been cut up more times than a Jack The Ripper victim). L-Double & Shy FX "The poo poo" (Flex Records, 1996) Who needs a real melody when you can just be hard as gently caress? That's what L-Double and Shy FX managed in this track. Ultra energetic hardsteppin' Jungle Drum & Bass. Nothing but one big plonking bassline over the Think break. It's no wonder tunes like this became so popular. No thinking, no contemplating involved. Just sheer body music. Trouble is, too much of it just leaves you hungry and week. It leaves you with no meat on your bones come the hard days. You can't really blame the likes of L-Double and Shy FX however. Both had long since proven themselves in the Jungle scene with tracks like this and this. But still, you can see where the future leads with tracks like this one - and it's not a pretty sight. Tech Itch "The Dreamer" (Moving Shadow, 1996) This is probably actually my favourite Tech Itch track, and it's probably one of the last decent releases Moving Shadow ever had. It'd be a real mistake to mix this in with the more ambient/artcore side of Jungle just because of it's vaguely ethereal string sections. No it's too clean, too spotless to be that. Everything is classic Tech Itch, slick and well produced with everything in it's place. It's bassline also sets it apart from the ambient side. It booms out and become the central part of the track, rather than something just swirling half unseen in the mists. It's almost like it's been jacked off a hardstep tune. This is where I say we can really see the rise of Drum & Bass. Gone is a lot of the Reggae influences and the rough and tumble euphoria of Hardcore/Darkside, in it's place is a clean, scientific 'futuristic' palette that would eventually progress into what would be called Tech Step. But we'll talk about that more in the next tune. Trace & Nico "Amtrak" (No U Turn, 1997) Nico, Ed Rush, Trace and the rest of the folk on the No U Turn label would pioneer Tech Step. Here we see a lot of the soul, spontaneity, fun and dare I say 'blackness' of Jungle being sucked out. Instead replaced with a long, labouriously worked, ultra clean and clinical track. Even the breakbeat has been worked endlessly on, at times sounding like it's been left straight out, replaced with a perfectly timed drum machine. This is the real factory floor music, endless worked on and smoothed out, creating something that just sounds cold and robotic. Now not that I mind this track, or the rest of the stuff off the album it's taken from (which would be No U Turn's Torque compilation) I actually quite like a lot of the Tech Step stuff(No U Turn also get massive bonus points for starting a sadly shortlived garage offshoot called Turn U On), but really this is the death rattle of Jungle and the birth of Drum & Bass. It's taken the exit off the Hardcore Continuum motorway and settled down to roost, rather than continue to really change, adapt and mutate to what it finds round the corner. Instead like all good production lines it has continued to tweak itself, make itself faster and more efficient. Tempos also sped up dramatically and it has now became separate, self-contained scene content to do it's own thing. Even the name itself, 'Drum & Bass' implies such a sterility and technicality. But that's a whole other problem that we're not going to go into right now. For next time we continue on our journey down the UK Bass continuum. Next rest stop is at the burgeoning UK Garage scene, where we will see what has happened when Jungle ex-pats meet with the US Garage House natives. Additional & Recommended Reading: Luckily this period of Jungle is very, very well documented. To start things off we once again rinse the old favourites. First you can finally finish off Jumpin' & Pumpin's Jungle Tekno series. We've got a massive 8 volumes here stretching from 92-95 so go nuts! Next up, Kickin Records Hard Leaders compilations. Straight up to Volume 7. Around 95 Kickin split up it's Jungle stuff into it's newly created Hardleaders label which featured acts like Capone. It put out a series of compilations but there's one from 96 called Suspect Package that I recommend. Also Labello/PWL put out 3 volumes of it's Jungle Massive series. Finally we also have Sub-Base sub-label Breakdown Records which put out a lot of comps, though I suggest the 5 volumes of their Drum & Bass Selection series. There's many, many more compilations though. Some very commercial (hello Telstar Jungle Mania series!) while many more are fairly rare, fairly underground releases, though I'm sure some folks won't mind posting some recommendations so keep an eye open in this thread in case they do. 28 Gun Bad Boy fucked around with this message at 02:24 on Jul 4, 2016 |
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Aug 6, 2011 17:01
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The perfect rioting theme. Sorry, I'll get me coat. But on the plus side, all this chaos has really inspired me to get the next part done. Don't ask me why exactly. Tracklisting is finalised and it's the biggest yet! Like the Capitalist pig dog I am, next years model is always bigger and better. By the end of all this the parts will probably have 60 tracks each with a bonus special pre-order 6 track extra(only availible in France and parts of Cornwall while stocks last). Anyway hopefully you can expect it sometimes over the next few days. Sooner rather than later in any case. In the meantime to lighten the mood a bit, we have Baby Blue's Play. Actually dropped a few weeks ago but I've not seen anyone talk about it. No idea if it's actually properly out yet as I've not seen it anywhere to buy. But the real deal is the Zed Bias remix of it, that's why I want to find it. It's been floating about for a few months now and it's a pure belter. Tiny sliver of audio here in this mix, about 8min 30s along. It's a gently caress load better than bloody Swagger Jagger anyway. No wonder we're rioting after that hit number 1. And all you LDN folk out there take care and don't let The Man get you down. Or the dick in the Kappa trackie jump you.
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Aug 9, 2011 15:40
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beeps-a-palooza posted:i'm super excited, i've been working on a breaksy/garage ep for several months, and soon it will make it's way to transition studios to be mastered. It's Transition so I wouldn't worry. They'll do just as good a job for a digital release as a vinyl, in fact I wouldn't be surprised if a lot of the digital released stuff from the UK goes through them. If anyone knows bass music it's them. Speaking of digital, I have fears that this PIAS warehouse fire will sadly bring the digital-only age a bit too close for my liking. I know that should be the last thing on my mind given the situation but all I'm thinking is "please have contents insurance, please have contents insurance". hamza posted:28GBB -- Latest edition is absolutely fantastic. This is exactly the period when I started getting into drum and bass. Thank you! And thank everyone else who's had kind words. I was a bit worried since I fast forwarded it a bit near the end just to kind of finish things off. So I was worried in case I skipped anything or if it made people lose the plot or whatever. But I wanted to over so I could get onto the garage stuff. Believe it or not I'm not actually that old(though long past being a teenager, and I do have way too many grey hairs to pass off as a teen - though at least it isn't baldness) so I wasn't there during the Jungle, but I've just been listening to and reading/thinking/talking about this kind of music for a long time, and Jungle was always like the nearest recent historical thing if you get what I mean, so I know a good amount about it. I got sucked in during the garage days so that I do know even more about. And luckily this is where we'll be visiting in the next part. That should please a few of you hopefully. 28 Gun Bad Boy fucked around with this message at 20:28 on Aug 9, 2011 |
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Aug 9, 2011 20:20
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Tactical Grace posted:Nocturnal Sunshine is Maya Jane Coles' doobstoop moniker. She's a house producer usually. I'm really getting into house at the minute. What's some good house? Well that's good to know. I really liked the stuff of that single she had out on 2020. As for House I've still been really digging the body of work that Hot Natured(Jamie Jones and Lee Foss) has built up over the past year or so. Both the Hot Natured and Hot Creations label. As well as what's out on Culprit as well.
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Aug 9, 2011 22:01
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