Tim And Ted Jinglist Massive Lion Christmas Jumper

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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. 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. Fashion is also a very broad church. It’s meant you’ve worked with people from so many industries. Film, sports, not just music…

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. It’s a really interesting event which also marks 20 years of the film. It’s happening in Printworks, it’s a four day event with different DJs, acts and all kinds of things like pop up shops, scenes from the film set up like Koop’s shop and different areas dedicated to the movie. So I’m involved in that and doing the merch for it. 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.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. I want to push Aerosoul Africa. That’s part of who I am and my identity. I want to focus more on that as a brand. Afrobeat is huge and Africa’s rich culture needs to be celebrated with products everyone would be proud to wear. I’m working with a really inspiring artist from Tanzania and it’s a big focus for me. Beyond that I’m just making sure I’m making the best products and designs I can and bringing everything together. Aerosoul, Junglist Movement, Hip Hop Movement, Babysoul, Soulero Sista and Aersosoul Africa. Each one is its own brand but all under the main Aerosoul umbrella. We’ve had some great attention recently so it’s about capitalising on that and bringing everything together in-house. 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.

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 Exactly. We push the music from a cultural point of view and play a big part in the movement. I do feel that gets overlooked a lot. I’ll give you an example; some very big artists have used my logo and own my brand in their content to get stripes, but not reached out to me and worked with me. That’s a culture vulture move. I might not be on the frontline but my work is out there and I’ve been here in the game for 20 years, just reach out to the originators and work with us positively.

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

It’s been a consistent mainstay on both dancefloors and raver wardrobes since the mid 90s when designer and founder Leke Adesoye printed his first run of T’s for his crew. His mission was simple; to create garments for the burgeoning jungle community. Founded in Leke’s years of hip hop culture, the clothes a nod for those who know and an alternative to the standard Versace/Moschino style in London or the bright hippie baggies in the raves at the time. The iconic Technics-inspired design hit the spot and its message has remained relevant and virulent ever since; pushing the jungle cause well beyond the confines of the genre. Fans of the brand range from Groove Armada to model Bee Philips via D Double E, Joel Dommett, Ed Sheeran and Ghostface Killah. And that’s before we even consider its presence on the cult clubbing movie Human Traffic.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? 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.

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. 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. 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. 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.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. 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. Green had been a hip-hop and happy hardcore fan. Increasingly he was getting into jungle. He viewed the club nights he attended as extensions of the house parties of his youth: front rooms cleared of all furniture, huge sound systems, alcohol served in plastic cups, dim lighting, lots of motion. He found jungle intimate and immersive – a sometimes demonised music to which young kids, in darkened spaces the size of chill-out zones, were still figuring out how to dance. It was a music that was impossibly accelerationist. Its rhythms thrillingly alien. Its darkness radiant.