Tim And Ted Jinglist Massive Lion Christmas Jumper

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Terminator’ was the first time that the timestretching technique had been used on the breaks, an effect that allowed you to alter tempo of a sample without changing the pitch. The effect was like an experiment with the temporal flow of music, as sonic futures became historical loops. Time itself simultaneously collapsing in and building out. ‘Terminator’ proved to be a key signpost in the emergence of the cyber driven ideologies of drum & bass tech, while also providing a jaw-dropping dancefloor moment. That’s what rave was about. I learnt from it, though. If I can get that attention then what I’m doing is having an effect and I should take it seriously. So I redefined my brand as Aerosoul because – as you mentioned with the graffiti – that’s what everything was founded on for me. I bought the two together. It was everything that represented me; hip hop culture, graffiti, wordplay, the music, fashion.

Zinc, Hype and Pascal’s ridiculous hip-hop/jungle fusion that starts with samples from LL Cool J and Method Man, builds through lysergic squelches, dubbed up half-time jazz beats and Sleng Teng meets bleep bass before erupting, in a flurry of gunshots into the double-time Amen breaks and wobbly bass of the main verse. This s one of those tunes that demands physical reaction and – despite it’s age and lo-fi production – still sounds immense today. Perfect example. He’s family. I’ve been sponsoring him since he was 17 years old. Before Intrgue or any of that. I heard a tune of his on Defunked and went to Bristol for a meeting. Now Intrigue is the longest running night in Bristol. That’s a good example of us spotting someone who’s still going to be smashing and influential 10, 20 years later. In more recent times he’s designed unique drops with Hospital Records for last year’s Hospitality In The Park, he’s collaborated with the exercise phenomenon that is Flight Klub and has partnered with Human Traffic Live with a new collection exclusive to the forthcoming Lost Weekend event at Printworks in May.

Credits

Definitely. I was raving a lot. I got my flat in London when I was 18 and the whole crew was 20 deep by then. Dev and Dave were doing beats all day, I was studying at London College Of Fashion. Then at night we’d be raving either in London or in Essex. It was an inspiring mix. The Versace, Moschino champagne vibe in London then ravers in countryside with baggy stuff, bright colours, all that. I was loving elements of both and wanted to bring the two together because I didn’t see anything for the culture. Something that represents who you are, that all our boys would resonate with and want to wear. Another of the ‘should have beens’ from the drum & bass scene, Peshay was taken out of action by an illness that left him bed-bound for almost two years. Miles From Home, his debut album for Island Blue arrived too late have the impact he so richly deserved. One listen to ‘Psychosis’ is enough to reveal his production talent. Like ‘Pulp Fiction’, this was a defining tune for Metalheadz with its anxious cries, shrill noises, and jittering drum rolls that build towards the introduction of the Plastic Jam break that dominates from a minute in. The tune instantly evokes memories of a smoky basement in mid-1990s Hoxton. But for a genre so influential, where did it all start? While tangibly it all started in the early 90’s, the intangible development of the birth of Drum & Bass started in the 70s. For a long time, Dum & Bass borrowed its influences from a number of genres and the biggest influence came from the birth of the most-used sample in Drum & Bass and now in modern-day music, the Amen Break. The birth of Amen Break came after the release of ‘Amen, Brother’ by American funk and soul music group, The Winstons which featured the Amen Break drum solo, and eventually, this drum solo changed the future of Jungle/Drum & Bass and electronic music in general. The Winstons I hear you. On the flip of that, when you do work with people this is much more than sending an artist a bunch of merch, right?

You just did a collab with Hospital for Hospitality In The Park, too. Do you have any other big collabs you can reveal for 2020? The term itself is connected with the origin of the name jungle. During the time of junglists, they were sometimes referred to as "rude bwoii", a slang term originally used by Jamaicans (as rude boy), meaning "gangsta" or "badbwoy" ("bad boy"). The term refers to an inner city area of West Kingston, Jamaica, called Jungle (the subject of the Bob Marley song "Concrete Jungle", from the Wailers album Catch a Fire). Absolutely. That’s another foundation. Aersosoul is inspired by typography. The book Subway Art had a big influence on me. I grew up in boarding school from the age of about 7 till I was 16. I was pretty much by myself, very independent, people around me from different cultural upbringings. We were doing graffiti, skateboarding, breakdancing, BMX. We’d take our lino down to the Madison Jones club in Bournemouth and battle these guys who ended up being the massive crew Second To None. We’d bury them every time! Hip hop culture during the 80s was huge, so I spent my years soaking it all up. Then when I met Dev it all fell into place.

Companies, etc.

Whenever we are talking about the evolution of Drum & Bass, there is one common reference that you will most certainly stumble upon, that it was oddly referred to as the b*astard child of Dance Music. From its emergence in the English rave scene in the early 90’s, Drum & Bass has evolved and stood as one of the most energetic and influential genres in electronic music. Yeah. They hit the right note with the right people. DJ Ron was one of the first who really helped me take the brand to where it needed to be. He was my mentor and very soon we had a lot of people representing the movement and clothing. It wasn’t long after that when I got the script for Human Traffic. The director had seen some of my samples, he was interested, the film went off and that was what really pushed the brand and design. Tek 9 was an occasional solo project from 4Hero’s Dego McFarlane that fused ragga with hip hop to create an instantly recognisable drum&bass sound. His remake of Code 071’s ‘A London Sumtin’ brought the ragga b-line to the fore. Stretching the ‘Feelin’ It’ break from one of rave’s favoured sample sources, the Ultramagnetic MCs’ Critical Beatdown, Tek 9’s remix twists the original’s hardcore thrust into a twisting darkcore meets proto-jungle horror movie. Influences from the breakbeat hardcore styles were chopped up and glued together to create an accelerated, rolling, syncopated rhythm; and with the Hardcore scene giving way to their euphoric style of music for darker and industrial samples with faster and heavily edited drum programming in turn gave birth to Jungle. Lennie De-Ice’s ragga-tinged release ‘”We Are I.E.” in 1991 was the earliest prototype of Jungle music and it also laid the foundations for the genre for years to come. Although there's only a tenuous link between grime and jungle sonically, their histories share a heritage that explains at least some of the fanatical reception of Levy in grime's circle of veterans. Most pertinently, both genres are heavily influenced by hip hop; Jungle's breaks are essentially hip hop beats sped up and augmented by additional, micro-engineered drums and grime was the UKs reaction to a US lineage which was beginning to decline. Aside from that, both jungle and grime are inherently British, taking US influence and reshaping them into something completely idiosyncratic; urban music that UK youth can take ownership of without any sour taste of plagiarism lingering in their mouth. They represent two of the last truly innovative, organically home grown exports that we have; our very own musical fish and chips, without the grease and salty regret.

Neither of them were particularly interested in literary fiction (“a term I despise,” says Green today); the word-length was 50,000 (about 48,000 longer than anything either of them had ever written before); Green was now up country studying film at Northumbria University. Otchere says he’d never even read a full-length novel up to that point, preferring instead the wordplay and poetry of the sleeve notes on Sun Ra LPs. Junglists belong to what is seen as a predominantly UK-based drum and bass subculture. As a subculture, however, it is not nearly as distinct as goth or punk to the untrained eye, where members can often distinguish each other by their mannerisms and fashion without hearing their choice of music. Many of those who identify as Junglists adopt a mix of rasta, rudebwoy and B-Boy fashions since jungle, drum and bass and hip hop have close ties as subcultures. Yes! We’re taking over room two at Fabric with Makoto, Kenny Ken, DJ Ron, Bailey, Zero T, AI, Seba with MCs Verse, Moose and 2Shy. We’ve got the jungle and drum & bass. A celebration of everything. The full spectrum of the music and the full spectrum of what I’ve been about. We’re going to shut down London that night. It’s brilliant – it’s time to celebrate the full culture.

Barcode and Other Identifiers

I lost every booking I’d ever worked for. When the police came to my house they said, ‘so, you’re the DJ everyone hates’. I had no idea the guy had been stabbed but people didn’t believe me,” she told me in 1996. Nonetheless, ‘Mr. Kirk’s Nightmare’ is a pivotal tune in the development of the darkcore scene. The Amen Break was drummed on ‘Amen, Brother’ by the late Gregory .C. Coleman which was the B-side of The Winstons’ 1970 single ‘Colour Him Father’. Drum & Bass is a genre that spans across three decades of rich musical history. Since its inception in the early 90s, the genre has kept shapeshifting its styles into different eras of music and it has now consolidated itself as a genre that is influencing electronic music in big ways. For a genre so rich in its history, it’s only fair that we narrate its evolution in the way it deserves to be; and through our ‘Evolution of Drum & Bass’ series, we aim to take you on a ride right from where it all began to its place in electronic music in modern-day electronic music.