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. 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 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.

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. 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.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. 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. 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.

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. Aligned with artists such as Degs, DJ Die, General Levy and Colette Warren, no brand is as entrenched in the foundations of this music and culture quite like Junglist Movement and no other aspect of the culture tells a story quite so personal as fashion. 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. 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. 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.

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Long Piano rolls, bouncy basslines, breakbeats, and a lush blanket of vocals defined the Hardcore sound in the late 80s and early 90s. The Breakbeat Hardcore scene did see a steady revival in mid 2000s, but in the early 1990s, the genre slowly started fragmenting into several sub-genres like Dark-core and Happy Hardcore which paved a way for darker moods and melodies to make doorway in the UK Rave 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. 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.

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 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.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.

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. 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.

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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. 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. 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. 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.