Jinglist Massive Lion Christmas Hoodie

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Take one bassline created from the sound of rotating helicopter blades, another that shifts deep rolling funk and dancehall. Add it to a break built from Blowfly’s filthy ‘Sesame Street’ that occasional erupts into a snare roll that echoes the helicopter blades. Add horn stabs, gunshots, discordant strings and a jittering Afro sequence and you’re left with a tune that oozes tension and drips with suspense. A huge anthem in 1993, its metronomic flow had all of the detailed production that would mark out drum & bass in this era. It also offered a different vision to the ragga fused jump-up jungle sound that was dominating things at the time.

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 WinstonsZinc, 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. Goldie receiving a gold record plaque at the Blue Note, Hoxton Square, London. Photograph: Eddie Otchere 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.

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. Even for electronic artists less directly linked to the genre, the influence of OG Jungle on this decade’s hitmakers cannot be underestimated. Shy One is a DJ and producer known for eclectic and diverse sets, but she tells me that “being from a raving family”, she recognises the “honour” of sharing a stage with”legendary pioneers of electronic music like Goldie and A Guy Called Gerald”. Speaking to Notion recently, electronic duo Chase & Status describe a career defining moment, “accidentally stumbling” on “one of the many pirate radio stations blasting out Hardcore Jungle” and being inspired to buy an album at random. The record in question, ‘Grooverider – Hardstep Collection 1’. Alongside Fabio, DJ Grooverider is on the bill for Outlook festival this year, as well as Hospitality in the Woods.Ahead of that, however, Leke will be taking over Fabric’s Room 2 on February 28 to celebrate the 20 th anniversary of Junglist Movement and his main brand Aerosoul. Just like the movement he’s been immersed as an integral figure in since day one (he was a founding member of Mixrace, an experimental rave/rap act who went on to be signed by Moving Shadow) the line-up covers all bass bases with a line-up of Aerosoul and Jungle Movement endorsed artists: Makoto, Kenny Ken, DJ Ron, Bailey, Zero T, AI, Seba and MCs Verse, Moose and 2Shy. 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?

Conquering Lion was better known as Michael West, aka Rebel MC who’d had chart success with the commercial sound of hip-house. This ragga breakbeat mash-up couldn’t have been further from the mainstream. Like Remarc’s ‘RIP’ this tune samples Saxon Sound and King Addies’ ‘Saxon Vs. Addies Soundclash’ in Bermuda, 1994, but to much darker effect. For West, junglism was far more than a scene, he viewed it as an expression of militancy and subsequently used his profile to raise awareness of the socio-political drive inherent in the music. ‘Code Red’ was a high-octane warning of Junglism’s oppositional fury.This tune famously caused a rift between Reece and Goldie when the latter refused to license the tune for use on Reece’s debut album on Island. Reece is one of those producers who should have been huge, but after his second album for Island was shelved he gradually retreated from drum & bass production. That unreleased album drew heavily on electro and was far superior to his debut. Sadly, it remains in the vaults While the genre was booming in the mainstream charts, the underground side, which had formed the foundations of the sound, kept experimenting with darker, grittier, and more menacing soundscapes and started testing these out in their DJ sets. The morphing continued and producers moved away from the ambient and textured soundscapes to a crispier and refined sound. We saw how much fun they were having and brought it into our own circles’ ... raving at AWOL in Ministry of Sound. Photograph: Eddie Otchere Since the release of ‘”We Are I.E.”, sounds kept blurring and artists started finding their own niche in Jungle. Some artists preferred softer, ambient, and textured melodies while some preferred darker and heavier sounds which could create maximum sonic impact. Jungle music also became a way of expression for London’s streetwise and marginalized youth. They saw Jungle as “England’s answer to hip-hop”, by merging the Jamaican reggae scene with then 4-to-the-floor basslines and erasing racial boundaries by advocating unification of people from different walk of life through its multiculturalism.

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. There’s a lot to celebrate. Since that first Junglist Movement design, Leke, who is also a DJ himself, has developed a range of brands under his Aerosoul tree: Hip Hop Movement, BabySoul and Aerosoul Africa are all designed and developed by him and all celebrate the cultures they pay homage to with the same level of authenticity and passion as his flagship brand… The same level of authenticity and passion he’s had since day one. 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. 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.Junglist Movement was the first design. But yeah, other ones I had did attract bad attention. In the rave era there was a lot of piss-taking stuff. That was part of the culture. So I did Roots with the Boots logo and Needafix for Weetabix and Natural Born Players for NBA. Boots and Weetabix weren’t happy. They threatened to throw me in jail! I was young and naïve at the time. They got heavy. That’s why I changed the name from Outrage Clothing. Green and Otchere decided on a simple narrative arc: a long weekend, Friday through to Monday morning, in the lives of four south Londoners – Meth, Q, Biggie and Craig – who they based on themselves and their mates. It’s often hard to tell them apart, their voices and personalities melting into a polyphonic mix, a scattershot and bantz-heavy flow of the kind that might be heard on a pirate station. They have minor run-ins with the police as they drive across town in Q’s mum’s Cortina, but this isn’t a protest or a journalistic novel; it’s more interested in inner space than in sociological space, the psychology of urban life as it’s modulated by beats and weed.