#old skool dnb

[palmsandsunglasses]

Matrix (classic set) @ Bladerunnaz 20th Birthday

szombatra

[rayjuss]

First guest mix of the year, back in my jungle bag for an hour.

Track - Title - Artist 1 - Forever - Haste 2 - Rollidge - DJ SS 3 - Spiritual Aura - Engineers Without Fears 4 - Champion Sound - Q-Project 5 - Roll On - Andy C 6 - Hearing Is Believing - MA2 7 - Worries In The Dance - New Blood 8 - Helicopter - Deep Blue 9 - R-Type - Jo 10 - Dark Stranger (Origin Unknwn Mix) - Boogie Times Tribe 11 - Calling The People - A-ZONE 12 - It's The Way (Shadow VIP) - DJ Taktix 13 - BABYLON - Splash 14 - The License - DJ Krome & Mr. Time 15 - Lighter - Sound Of The Future 16 - Plenty Lovin - Di Tego 17 - Friday - Capone 18 - RIP - Remarc 19 - Trip To The Moon PT 1 - Acen

[freaklauncher]

went to my first ever rave (birmingham garage scene is elite)

got a number

spent way too much money on alcohol

danced with strangers

[error-genral95]

old skool jungle image collage i made 😏

#dnb

#dnb jungle

#old skool jungle

[palmsandsunglasses]

szerencsésnek mondhatom magam, hogy esélyem sincs ilyen helyzetbe kerülni.

gyertek holnap old skool dnb-re :)

Monday you can fall apart.. Tuesday Wednesday..fall apart..Oh Thursday.. fall apart..it’s Friday.. fall apart

[tovarishch-dyke]

Hello there breakcore glitchcore listener and producer with a vast collection of acab and social justice movements memorabilia, would you kindly be able to properly distinguish jungle, dnb, and breakcore to me? While we’re here can you also explain why you exclude 80-90s sound system and junglist groups from your “old skool” playlists? Also why do you get so nervous around Caribbean MCs?

[palmsandsunglasses]

Blu Mar Ten - From the Vaults Vol 14 - 1997 - SoundCloud

Listen to Blu Mar Ten - From the Vaults Vol 14 - 1997 by Blu Mar Ten on #SoundCloud

[seasonaldepressionmp3]

Chemistry and Storm - 1995 ( Better known as Kemistry and Storm )

[randomvarious]

Today’s compilation:

Electric Kingdom: Episode One 1999 Nu Skool Breaks / Breakbeat / Electro

Allow me to start this post off with this one extended thought that was rattling around in my head as I was listening to this comp: literally no one knows what they're talking about when it comes to defining the terms breakbeat, breakbeat hardcore, and breaks, and that includes yours truly. You go on different websites that consider themselves to be authorities on the definitions of electronic music genres and they all happen to differ from each other. As it turns out, the consensus is that there really is no consensus and it's something that happens to be really annoying and frustrating.

And websites like Discogs contradict themselves internally, too. Like, they define breakbeat as a specific type of jungle-adjacent rave music that was popular between 1990 and 1993, but then you look at Discogs' top releases for that style and a lot of them don't match the website's own definition of breakbeat at all.

So, I've come up with a way to delineate all of this. And I know I'm just someone on tumblr whose case to be made only ends up adding even more to all of the convolution, but I think I have a logically foolproof method for categorizing all of this stuff. But it takes some pained explaining, so strap in.

Let's start with where most of the confusion is probably derived from in the first place: the musical term, "break," which is also referred to as a "breakbeat" or a "drum break." The break is the foundational element of a song that unites all of these styles of music that I'm about to try and describe to you all. It's a sampled piece of music, usually from a 60s or 70s funk, soul, jazz, or R&B record, that acts as the rhythmic base for the entirety of a track or at least a significant portion of it. In this context, a "break" and a "breakbeat" mean pretty much the same exact thing, but a "drum break" is a more specific type of break, in that it consists of either only drums or mostly drums. Some of the most famous drum breaks are the "Amen" break, the "Funky Drummer" break, and the "Apache" break.

The genres of breakbeat, breakbeat hardcore, and breaks all use a break in their music. But here's how I see these three genres differing from each other:

Breakbeat is the umbrella term for any form of electronic dance music that uses a break as a foundational rhythmic element. But it differs from jungle and drum n bass in that the break in a breakbeat song isn't necessarily the focal point of the production. Jungle and dnb like to tinker around with, combine, and layer drum breaks as their main draw, but breakbeat isn't so much concerned with that.

Within breakbeat then are a bunch of subgenres, the two most prominent of which are breakbeat hardcore and big beat. I would classify breakbeat hardcore as being that early 90s jungle-adjacent rave music that Discogs simply just wants to call breakbeat instead. Big beat, on the other hand, is a form of breakbeat that broke through to the mainstream in the late 90s and early aughts with acts like Fatboy Slim and the Chemical Brothers. It sounds poppier than traditional breakbeat and it uses a lot more rock samples, too.

Another confusing thing here is that The Prodigy are both one of the biggest and greatest breakbeat hardcore and big beat acts of all time. The way you differentiate them though is between their early work, like their Experience album, which is breakbeat hardcore, and their later material, like The Fat of the Land, which is big beat.

And that leaves us with one genre left to define, which is breaks. Discogs defines breaks as all forms of break-driven electronic music that isn’t jungle or drum n bass and also doesn't meet their definition of breakbeat, which again, is that early 90s jungle-adjacent rave stuff. Contrarily, Rate Your Music considers breaks to be a word that's merely interchangeable with breakbeat.

But I see breaks as a whole other thing entirely, which is a style of music that actually falls under the hip hop umbrella. To me, breaks is a style of music that gained popularity between the mid-90s and early aughts that simply cuts and pastes and splices together numerous breaks and samples in order to create one, continuous track. And it doesn't really use much in the way of synthesizers or drum machines; it's just a well-put-together string of old samples. And I don't mean The Avalanches, who use literally thousands of samples in their records; I mean those hip hop-minded breakdance-types of DJs and producers who were trying to find a way to make the cardboard-mat-mentality of the 70s and 80s relevant again. A lot of people already call this kind of music breaks, but they tend not to differentiate it from big beat or breakbeat, and it's really different from both of those things. You can find breaks songs  in things like Fatboy Slim's own DJ mixes from the late 90s and early aughts, for example, as he alternates between breaks and big beat tunes, and you can also find them in a fantastic compilation called Revenge of the B-Boy.

*deep breath*

Now, here's where all of what I just carefully laid out gets fucking torpedoed, and it's because of one guy named Rennie Pilgrem. Rennie Pilgrem is a British dude who heralded in a new type of breakbeat in the late 90s. This style fuses drum breaks with elements of electro, it tends to be more technical and minimal, and it's much less loud than other forms of historically popular breakbeat. And what'd Pilgrem decide to call his new subgenre? Fucking nu skool breaks, of course. And because he coined this style of music that he happened to pioneer himself, the name is universally accepted. This motherfucker. I was trying to make this all less complicated and he made it even more complicated. Whatever. Nu skool breaks is breakbeat and it's not related to breaks. There, problem solved.

***

Electric Kingdom: Episode One is a compilation that encapsulates what was then a new frontier of nu skool breaks in 1999 rather well. It's not really my cup of tea, but some tracks on it are pretty cool, and it has a 4.3 rating on Discogs, meaning nu skool breaks heads like it a lot. The opener comes from Rennie Pilgrem himself and it kind of sounds like the intro music from if that street racing video game series, Midnight Club, came out a few years earlier for N64 and PlayStation. I tend to dig the heavier, darker-sounding kind of stuff with the super fuzzy basslines though, like the back-to-back pairing of "Rocweiller" by Sons of Mecha and "Electro Bitch" by Thomas Krome. Not so much a fan of the lighter fare on here.

Highlights:

Rennie Pilgrem & The Thursday Choir - "Some Place Funky (Back To The Future Mix)" Sons Of Mecha [VR Boy & DJ Erb] - "Rocweiller" Thomas Krome - "Electro Bitch"

[askfucktoyfelix]

Have you been to many raves - is yes, what sort?

ohh ya ive been 2 a ton of raves. idk how many. i been raving since liek 2008. 13 years? mostly seattle undergrond type shows i gues, i been to events w 100 ppl and i been to events w 100,000 ppl  ¯\_(ツ)_/¯ i like hard dance, esp old skool rave breaks, hhc, and jump up dnb. also like breakbeat hardcore n liquid dnb and disco house n stuff like that. 

[5at0]

(basslinesmith)

OLD SCHOOL!

XTC

[discoattack]

Icicle ft Skittles - Everybody Riot EP (clips)  | Outlook Recordings

Introducing Outlook Recordings - a brand new record label, fresh from the team behind seminal sound system celebration, Outlook Festival, championing the sounds that have garnered the festival the reputation that it deserves. The first release on Outlook Recordings imprint embodies the sound of the festival, bringing in producer Icicle and Levelz affiliate Skittles to provide a killer d’n’b fuelled, bass-laced three track EP.

Kicking off with collab from inimitable duo, Icicle and Skittles, leading title track ‘EVERYBODY RIOT’ starts with a slow build up combined with a tempo changing flow. With Skittles rapping over sparse breaks, it’s a stone cold fusion of MCR energy, d’n’b breaks and jungle vibes. Icicle takes things things up a notch on the flip - B1’s ‘REMEMBER ME’ is a purely instrumental, slightly industrial, DnB weapon - with a second drop that’s well worth the wait. Rounding out the EP on a deeper, darker tip with B2 ’My HEART’S A LEMON’, the enigmatic, intriguing and eloquent production rises to majesty upon a melodic build-up which quickly descends into a hefty drop. Repping again for Manchester, Skittles spitting razor-sharp bars layers hi-octane, ice cold energy over old skool elements. Marking Outlook Recording’s first foray into releases, the EP traverses through dubstep, DnB and jungle in true Icicle form - a nod to hazy days and raucous nights in the holds of Fort Punta Christo.

‘EVERYBODY RIOT’ will be available on all digital platforms from 31st August 2018. Exclusive vinyl pre-order via Bandcamp now!

[futurejunglist]

Future Jungle Sessions #63 // 8K.NZ Radio // 10.04.2021

https://www.gwarden.net // https://linktr.ee/gwarden_nz 

LIVE on 8K.NZ ~ SAT 19:00 (NZST) // MON 00:00 // WED 05:00 // FRI 22:00

Streaming this week on 8K.NZ, the freshest in future beats from Cecil Hotel, Chalky, Frame, Kanine, Mirrorman, Monty, and Reubik, plus vocals from Ruth Royall, Sammie Hall, MC Foxy and Rihanna!

Kanine - One [UNLEASHED]

L Plus - Die Hard [Technique Recordings]

Jabba - Kontrast [Program]

Burr Oak - Teleporter [Blackout Music NL]

Mirrorman - Push [Guidance]

Nymfo - Stone Cold [C.I.A.]

Screamarts - Infiltrate [Dispatch Recordings]

Shy FX, Breakage - Michael Knight [Cul.ture]

Break - Unification [C.I.A.]

Flat T - Run Tingz [Liondub International]

Toby Ross - Let It Go [Deep In The Jungle Records]

Frame - Turntable [The Dreamers Recordings]

Shadre, Salvage - Vessel [Zombie Recordings UK]

Tokyo Drift - Teriyaki Boyz (Bish Bootleg) [Dub]

Fearful - Critical Mass [Lost Recordings]

Mirrorman - Ski Sunday [Guidance]

Sola, Sammie Hall - Can't Let Go [Grand Theft Audio Recordings]

Sovryn & AL/SO - Torment [Korsakov Music]

TSUKI - Closer [Crucast]

GLXY - New Soul [Shogun Audio]

Seba, Paradox - Swirl [Seba & Paradox]

Mr Joseph, Identified - No Pleasure Without Pain [Fizzy Beats]

Monty - Whatever You Need [1985 Music]

24kGoldn - Mood (Kleu Bootleg) [Dub]

CLB - Champion Rave [Dub]

Ly Da Buddah, Magugu - Man Down [Real Vibes]

Total Science, Jubei - Redemption [Metalheadz]

Monty, Visages - Polar Wind [1985 Music]

Winslow - Mad Flavours [Soulvent Records]

GEST - Huaxi [Shogun Audio]

Nectax - Parasite [Dub]

Ed Rush & Optical - Fixation [Virus Recordings]

Trex - Moment Of Truth [Critical Music]

Platinum Breaks, Bladerunner, Eden - Everything (Bladerunner Dirty Mix) [DnB Allstars Records]

North Base, PULS∆R - Them Old Skool Vibes [Nemesis Recordings Digital]

Forum - Don't Play [Subtitles Music (UK)]

Cecil Hotel - Rainbow Warrior [Program]

Frame - Don't Stop [The Dreamers Recordings]

BassDubbers - Zion Dub [Celsius Recordings]

Chalky, Steph Young - ECSTASY (feat. Steph Young) [Pray No Souls]

Sweetpea, Shady Novelle - Undercover [Spearhead Records]

Levela - Finally Free [LVL Music]

HLZ - Neon Underwater [Prestige Music Group]

Monty, Icicle - SVP [1985 Music]

Jolliffe, Natty D - State Of Nature [Drum Army]

Nu:Logic - New Technique (Stay-C Remix) [Hospital Records]

Phibes - Earthquake [Dub]

Rohaan - Purity [Oval Records]

Monrroe, Ruth Royall - Drowning [Shogun Audio]

Bladerunner - Lost In Sound [Hi Resolution]

Waeys, Duskee - Bold Courage [Critical Music]

Flo.Von - Tender [Celsius Recordings]

Genic - The Bug [Dispatch Recordings]

Stillz - The Music [Pick The Lock Records]

D*Minds, Mc Foxy - Ouch 21 [RUN]

Cecil Hotel - SUNSHINE VIP [Program]

Ha-Zb - Winter Mornings (Zero T Remix) [Boey Audio]

missledz - That Bloody Pookie [Rebel Music]

K Motionz - One Night Only [K Motionz Music]

Bensley - That Feeling [Pilot Records]

Reubik - Over You [Dub]

Aktive - Higher [Device]

Dutta, Rusko - No Time Wasted [Informal.]

Rihanna - Rude Boy (Biast Bootleg) [Dub]

Break - Keepin It Raw (Calyx & Teebee Remix) [Symmetry Recordings]

Monty - F4DE [1985 Music]

LSB, DRS - High As She (Break Remix) [Footnotes]

Total Science, S.P.Y, Marky - Soul Patrol (Marky & S.P.Y Super Jungle Remix) [C.I.A.]

[mattstrongldn]

When it comes to the biggest success story from the rich history of Drum and Bass it doesn’t come any bigger than Brit Award winners Chase and Status.

London founded Chase and Status are Saul Milton (Chase) and Will Kennard (Status) with Rage joining officially a little later (real name Patrick Williams, MC and live show frontman).

Making music on various labels over the years including Renegade Hardware, Bingo Beats, RAM Records and their own label MTA (More than a lot) Chase and Status have a staggering collection of tunes.

They have five critically acclaimed albums under their belts, with some singles from these albums reaching very high positions in the UK music charts and recently they were asked by London’s legendary Fabric to make a DJ mix for their super-popular Fabric Presents series. 

Chase and Status have worked with many talented people across their stunning back catalogue including Kano, Major Lazer, Pusha T, Giggs, Novelist, Tinie Tempah, Tempa T, Cutty Ranks, Craig David, Plan B, and Emeli Sandé to name but a few. When you get a call from Chase and Status asking to appear on one of their tunes, it seems no one turns them down. Too damn right.

Chase and Status have also made a ton of remixes and original productions for the likes of Rihanna, Snoop Dogg, Rita Ora, Tinchy Stryder, The Prodigy, Dizzee Rascal, Rage against the Machine and Kanye West.

And if all that wasn’t enough, when they take their live shows on the road, Chase and Status have a huge list of sold-out gigs from all over the world. I would argue that their music is for the main stage. Chase and Status can fill these with ease, quite often Chase and Status would appear on the line up as the headline act at many famous festivals. I saw them at London’s Love Box festival a couple of years ago, and it was everything I wanted it to be, a rowdy uplifting affair, a perfect ending to an amazing festival. Mosh pit at a rave anyone?

All of this impressive work cements Chase and Status's sound into the history books of electronic music, namely the U.K. born urban sound of Drum and Bass.

I am a massive fan of Chase and Status, unashamedly so. I know a lot of chin-stroking DnB enthusiasts might turn their noses up at Chase and Status, but I see that as jealously. When you dig into the tunes they have a massive pot of absolute gold and are not scared of experimenting which I fully support. Chase and Status can go from making Dub Step to Grime to Garage to Old Skool Rave to Rap to Jungle to Drum and Bass and back again on one album without breaking a sweat. Not an easy thing to do well I should imagine.

This playlist is to honour these London lads and their career so far. It showcases the very best of Chase and Status, and their passion for making music that you can feel in your mind, heart and chest.

Buckle up, press play and enjoy the ride, this is Chase and Fucking Status.

Salute!

everyone+everything_The Virtual Creative Festival