There is no universally accepted semantic distinction between the terms "jungle" and "drum and bass". Some associate "jungle" with older material from the first half of the s sometimes referred to as "jungle techno" , and see drum and bass as essentially succeeding jungle. Others use jungle as a shorthand for ragga jungle, a specific subgenre within the broader realm of drum and bass. Probably the widest held viewpoint within the scene in London is that the terms are simply synonymous and interchangeable: drum and bass is jungle, and jungle is drum and bass.
As a lighter sound of drum and bass began to win over the musical mainstream, many Producers continued to work on the other end of the spectrum, resulting in a series of releases which highlighted a dark, techy sound which drew more influence from Techno and the soundscapes of science fiction and films. It is commonly referred to as techstep, which in turn gave birth to the neurofunk subgenre. Techstep focused intensely on studio production and applied new techniques of sound generation and processing to older Jungle approaches.
Self-consciously underground, and lacking the accessible influences of much other drum and bass, techstep is deeply atmospheric, often characterized by sinister or science-fiction themes including samples from cult films , cold and complex percussion, and dark, distorted basslines. The sound also marked a period when drum and bass became more insular and began to draw inspiration from itself rather than other musical genres. The sampler at this time became less important with home computer equipment and generated beats and sounds becoming capable of creating an entire drum and bass track from scratch.
As the s drew to a close, drum and bass withdrew from mainstream popularity and concentrated on the new more ominous sounds which were popular in clubs, rather than on mainstream radio. Techstep came to dominate the drum and bass genre, with artists like Konflict and Bad Company amongst the most visible.
As time went on, techstep became more minimal, and increasingly dark in tone, and the funky, commercial appeal represented by Roni Size back in waned. A characteristic of this was the increasing disproportion of male to female club goers and a generally more aggressive and dark atmosphere at clubs. The withdrawal of drum and bass from the mainstream was not only a result of its growing fascination with its own progressively darker sound, but also resulted from the explosive birth and growing popularity of UK garage 2 step and 4x4 garage, aka speed garage , a musical genre heavily influenced by jungle, with similar beats, vocal and basslines but slower speeds and more friendly or at least radio-friendly beats.
It was the new drum and bass. It was the biggest kick in the teeth for us ever They had all the girls, it was where all the girls from the jungle scene had gone. Drum and bass was at its worst. Many felt that drum and bass music had weathered the ignorance, then support, and then hostility, of the mainstream media which had declared that "drum and bass is dead" in the late 90s , and that the revival of chart success indicated that the style was more than a passing fashion.
In turn, UK garage, after a brief period of extreme popularity, has found itself pushed to the underground and mostly superseded by grime. Drum and bass' survival reflects the tenacity of its original producers and artists who continued and continue to produce drum and bass, as well as the vitality of the new generation of producers, such as London Elektricity and Step In , Fabio began championing a form he called " liquid funk ".
This was characterised by influences from disco and house , and widespread use of vocals. Although slow to catch on at first, the style grew massively in popularity around , and by it was established as one of the biggest-selling subgenres in drum and bass, with labels like Hospital Records , State of the Art Recordings and Soul: R and artists including High Contrast , Calibre , Solid State , Nu:Tone , London Elektricity and Logistics among its main proponents.
Alex Reece and LTJ Bukem were amongst the first producers to experiment fully with deep smooth drum and bass, and as such could be considered the forerunners of liquid funk. The decade also saw the revival of jump-up. Referred to as "nu jump up", or pejoratively as clownstep, this kept the sense of fun and the simplistic, bouncing basslines from the first generation of jump up, but with tougher and more edgey production values, including increased sound compression.
This modern period has also seen the development of the style known as "dubwise", which returns drum and bass to its reggae-influenced roots and combines them with modern production techniques which had advanced immeasurably since the early days of jungle.
Although the dub-influenced sound was not new, having long been championed by artists like Digital and Spirit, — saw a significant increase in its popularity and visibility. Similarly, whilst there had long been a niche dedicated almost entirely to detailed drum programming and manipulation, championed by the likes of Paradox , the first half of this decade saw a revival and expansion in the subgenre known variously as drumfunk , "edits", or "choppage".
The new millennium also saw a fresh wave of live drum and bass bands. The likes of Reprazent and Red Snapper had performed live drum and bass during the s, but the re-creation of London Elektricity as a live band focussed renewed interest on the idea, with acts like The Bays, Keiretsu, Southampton based Gojira, Step 13 , Deadsilence Syndicate, and U.
V Ray feat. In addition the popular Breakbeat Kaos label has begun to focus more and more on bringing a live sound into drum and bass, both in the records they release and in the live band music played on live acoustic instruments, including guitar night the previously signed group Pendulum have hosted in London e.
October at the Fabric club. The Therapy Sessions franchise quickly expanded worldwide with greater repercussion on Eastern Europe with an attendance of more than This subgenre is identified primarily by its overall minimalistic song structure as well as its use of intricate percussion, deep sub-bass and subdued melodies.
The first release focused on the core of Laswell and Submerged once again, with contributions from Toshinori Kondo and Guy Licata.
The second release under the Method of Defiance moniker was a compilation style project focusing on drum 'n' bass. The concept of the group has once again morphed into a full band concept. The group now consisted of Laswell, Guy Licata, Dr.
Israel, Toshinori Kondo and Bernie Worrell. Metro Times. Accessed on February 7, Archived from the original on Jay Dee Interview [ permanent dead link ]. Accessed April 8, Retrieved July 20, Vibe Interview. Interviewed by Civil Writes. New York Times. Sound of Boston. Dilla album, 'Rebirth of Detroit,' scheduled for Memorial Day release". February 18, Watson February 26, Retrieved March 8, TV Ad Music. The Loop Detroit. LA Weekly. Maureen Yancey". Smithsonian Magazine. Retrieved July 31, Retrieved May 4, Retrieved 20 March Image Entertainment.
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