Why is drum and bass in england

As a result of using samples to create its music, drum and bass often incorporates influences from many other scenes and styles of music, with a major influence being the original Jamaican dub and reggae sound, and also jazz and funk. However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London.

By , some jungle producers began to move away from the original ragga-influenced style and create what would become collectively labelled as drum and bass. The popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. Drum and bass has since become a global culture, emerging from the underground rave and jungle scenes in the early s in the United Kingdom.

It remains the most popular in the UK although it has developed scenes around the world. As digital music became more popular, websites focusing on electronic music such as Beatport, began to sell drum and bass in digital formats such as mp3 downloads. It was a unique process; me and Sian connecting over acoustic stuff and me and Darren connected on the production.

Pieces of the jigsaw that fit nicely together. It created a chemistry. When Hide U started going off I felt they deserved a cover. They were a few years ahead of us. It was mad — two acts who came out of Bristol and went global, sat at the awards which was set up by Knowledge which was also Bristol. That was a real moment. The Black Eyed Peas were the warm-up act for us in Australia.

We toured with Coldplay when they started. We were bringing the music, our culture, to audiences on a major scale. Roni Size : As a person it never really changed me. So you start to pick and choose and you get to a point where only a few people can go to the awards ceremony or you can only get a certain number of tickets and so on.

We became a bit disconnected from the Bristol scene. The early s ushered in a new generation of Bristol acts. Krust : We were removed from things by this stage. So we brought in new blood. There was a new audience and Clipz was on the cutting edge of that.

It was good to be around that energy. Clipz : I linked with Full Cycle through Die. Krust was doing mad shit in the room next door. That was a proper time. Krust : Dope Dragon was [behind] the early jump up sound. Clipz was incredible. Tracks like Cocoa and Kung Fu tore us all to pieces. The Level was the spot. That place kicked off. Full Cycle and Drive By were both there — lock-ins till midday the next day in the basement!

For me that was a testing ground. Mako Utopia : I came to Bristol in and the scene was just incredible. They were run by Ritesh Patel who was also a programmer and went on to develop the Ticket Fairy system. Fierce played a major influence with that, too. He drummed it into me that if I was going to launch a label the music had to be the most important thing. Fierce was a mad linker and a fiery force to motivate people.

Break : Fierce was good mates with Die. I'd already played for Intrigue a few times before and knew the club scene was wicked, so it ticked a lot of boxes. The deeper, more liquid style of drum'n'bass. There were loads of great nights in the city but none that focused on that side of the music so we set up Intrigue in a tiny place called Bar Latino, a really cool basement club.

Then Run started at Native every Tuesday and turned everything up to the next level. TC was there, Xample and Lomax, Clipz.

It was a breeding ground and so competitive. Everyone was pushing to make something new and it helped to make the music move forward. Everyone was there, everyone wanted to play there and go to the after parties. It was a good time. Rob Cracknell The Blast : It was all just super optimistic. Then dubstep blew up which gave everything a boost…. He was living in this place with a few mates from the breakbeat culture scene.

Jakes and Tony Headhunter were living there. The records coming out of that house were just mental. Tech Itch, one of the best producers in drum'n'bass, was giving them production tips. It was like a crazy dubstep laboratory. Rob Cracknell The Blast : It was a really exciting time. Dubstep changed the dynamic. People were more open to mixed line-ups, people were experimenting a lot. Motion was really taking off with all different kinds of nights, including Hospitality and eventually Run, which we started hosting there around eight years ago.

Collective Action: The faces, parties and collectives shaping the modern scene. Gunfingers up at Bristol d'n'b night Collective. More so than ever as more people choose to move to the city because of the music. Both Full Cycle and Ruffneck Ting are back in operation, many of the old heads have returned to their laboratories and Stokes Croft appears to be home to more regular d'n'b events than is humanly possible to attend. Not only did they provide a platform for many DJs and MCs to establish themselves, but they were also the only stations broadcasting the music.

Another major benefit of the pirates in the early days was to provide essential information on the illegal raves happening that night. While arena parties such as Raindance, Helter Skelter and Dreamscape were instrumental in pushing the sound to thousands across the country, it was a number of weeklies in London that all caught a moment in time and pushed the genre into exciting new directions: Speed, Movement and the Metalheadz Sunday Sessions at Blue Note.

Dubplates and futurism. The latest thing. I want to be blinded by science. A competitive spirit between crews on labels such as Prototype, Metalheadz, No U-Turn, Virus, Moving Shadow, Full Cycle, Playaz, and Ram Records meant artists were constantly trying to push and manipulate machines to make more dramatic or groundbreaking sounds and arrangements.

And all these classics would no doubt be played out first on dubplate. The music of acid house combined regular beats alongside broken, syncopated, beats and strong basslines and fast tempos faster than house music tempos.

As time drew by, musical tracks containing only broken beats began to be known as "jungle" and began to constitute a separate and recognizable musical genre circa popular at raves and on pirate radio in urban Britain. These tracks often combined ragga vocal tracks, broken beats and basslines. By jungle began to gain mainstream popularity and junglists as fans of the music began calling themselves became a recognisable part of British youth subculture.

At this time jungle began to be associated with criminal activity and perhaps as a reaction or perhaps independently of this, producers began to draw away from the ragga style and create what they labelled drum and bass.