Drum and bass music (drum n bass, DnB) is an electronic music style. Drum and bass, originally an offshoot of the United Kingdom breakbeat hardcore and rave scene, came into existence when people mixed reggae basslines with sped-up hip hop breakbeats and influences from techno . Pioneers such as raggamuffin DJ General Levy and other DJs quickly became the stars of Drum and bass, then still called jungle . Producers such as Goldie and 4 Hero transformed the current art and turned drum and bass in more instrumental direction, spawning sub-genres like techstep and moving the genre closer to techno. Some of the more popular and defining artists include Shy FX, Ed Rush & Optical, LTJ Bukem, Goldie, and Roni Size.
Jungle music, ORIGINS:
Based almost entirely in England, Drum’n’Bass (then called ‘jungle’ ) emerged in the early ’90s. It is one of the most rhythmically complex of all forms of dance music, relying on extremely fast polyrhythms and breakbeats . Usually, it’s entirely instrumental — consisting of nothing but fast drum machines and deep bass.
As its name implies, jungle does have more overt reggae, dub, and R&B influences than most hardcore — and that is why some critics claimed that the music was the sound of black techno musicians and DJs reclaiming it from the white musicians and DJs who dominated the hardcore scene. Nevertheless, jungle never slows down to develop a groove — it just speeds along. Like most dance music genres, jungle is primarily a ‘twelve inch’ genre designed for a small, dedicated audience, although the crossover success of Goldie and his 1995 debut Timeless suggested a broader appeal.
Dozens of respected artists started fusing breakbeats with influences lifted from jazz , film music, ambient, and trip-hop. — allmusic.com
Originally published on February 4, 2005
Socially and culturally aware, this DJ is the harbinger of change, writes Ashley Crawford.
He travels to Trinidad and Istanbul, Paris and Jakarta, Moscow and New Orleans. He hangs out with Yoko Ono, Merce Cunningham, Sonic Youth and Wu-Tang Clan. He tosses off cultural references from James Joyce to Gertrude Stein, Jean Baudrillard to Mikhail Bakhtin, and he writes for a range of journals and magazines from Artforum to The Village Voice.
He is in Australia to promote his new book, Rhythm Science (published by the prestigious MIT Press) – a meditation on the “flow of patterns in sound and culture”, and he has just screened Rebirth of a Nation, his re-mix of D. W. Griffith’s 1915 film classic, Birth of a Nation, at the Sydney Festival.
To mark the occasion of what would be John Cage’s 95th birthday, WNYC has put together an amazing collection of audio and video from their archives. Video of seminal performances, interviews with the artist, as well as a few oddities including his appearance on the 1960s show ‘I’ve Got a Secret’ are posted along with writings by the composer. Cage collaborators including Joan LaBarbara, Meredith Monk, and Merce Cunningham also share their stories and insights into Cage as both a collaborator and friend. The festival airs on WNYC2 from September 5th at 12PM until 12:33PM September 6th, with video, audio, and textual documents available on their website.
Note: Below are a couple of comments on Nine Inch Nails’ current project, which consists of inviting fans and music enthusiasts to mashup one of NIN’s new songs “Survivalism” to their hearts’ content. This project is welcomed and reminiscent of the pioneering project A Bush of Ghosts by Brian Eno and David Bowie. Also see: http://bushofghosts.wmg.com
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“Nine Inch Nails Invites Mashups,” by Jonathan at Ampheteme.org
Trent Reznor’s inviting you to mash-it-up. He invites you to go absolutely nuts with his latest creation, the tracks that come together to make the song “Survivalismâ€. Feel free to interpret the tracks any way you wish he says, and add your own. And he’s asking you (because of his partnership with Apple I presume) to use Garageband. I don’t mind. Garageband 3’s one pretty damn cool piece of work. At any rate, I’m a big NIN fan and I’m happy to see him once again inviting remix interpretation. Pick up all the details at yearzero.nin.com.
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“A mashup on Garageband takes music experiences to a new level,” by Stephen Abbott
Published on 3-26-07
Trent Reznor of Nine Inch Nails is pushing the boundaries of a music experience to new levels. According to an article in Digital Music News, Reznor is making a single from the upcoming album, Year Zero, available for “remix interpretation”. The interesting twist to this is that it is being done in a sort of collaboration with the latest release of Garageband 3, part of Apple’s iLife suite.
Garageband users can adjust a number of tracks that make up “Survivalism,” and add their own elements as well. Once created, the tracks can be shared, ripped and distributed at will. According to an Apple representative, other songs from the album are also on the way.
The ability to share and distribute the personal remixes is huge. Perhaps ability is the wrong word – the encouragement to distribute these remixes is incredible. The artist is giving open permission to use his work. There could be literally thousands of interesting and unique interpretations of NIN’s musical talent. Of course, there are going to be many more versions that suck, but those will fade away soon enough.
I’ve been a longtime fan of musician and artist Sebastian Meissner who releases beautiful and often unsettling ambient music under the moniker Klimek on Kompakt. I began a dialog with Sebastian when I tipped him off that I had used a Klimek track to score my Kamera Obscura project, and as we chatted back and forth I realized he was the creative force behind a number of other projects that have showed up on my radar over the years.
Sebastian is also behind or was involved in: Bizz Circuits, Autopoieses (with Ekkehard Ehlers) and Random Inc. In addition to the Klimek material that I find so mesmerizing, the Random Inc. record Walking In Jerusalem was one of my favourite albums of 2002, and Autopoieses’s locked-groove laden La Vie À Noir Transposed didn’t leave my crate for two years when I was still playing records.
You wax faux-nostalgic about the heyday of early robo-Kraut-rock, your early signed pressing of Radio-Activity is rivaled only by your original Neu! Super / Neuschnee 7-inch, and you got a belly laugh at that one scene about the record the nihilists once cut in The Big Lebowski. Kraftwerk fans, today is your lucky day. The original one-of-a-kind prototype vocoder Kraftwerk pictured on the rear cover art of and used to record “Ananas Symphonie” and “Kristallo” on their 1973 release Ralf & Florian. As of the time of this writing it’s already up to five grand, so if you want yourself an extremely expensive piece of history for electronics and electronic music, you’d better get a move on, schnell.
Note: the above text was a comment on the following post from Music Thing:
26.6.06 by Tom Whitwell
Lots of people say things like ‘RARE legendary’ in eBay auctions for DX7s and Casio VL-Tones, but eBay item #300001522431 doesn’t go for hype, just saying “prototype VOCODER of german 70´s Electronic Pioneers”. What’s on offer is Ralf & Florian’s vocoder, built to order by a local electronics company, and later used on the intro to ‘Autobahn’. No bids so far at $3,800, with ten days to go. (Thanks, Kaden)
UPDATE: It went for $12,500!
Based on extensive fieldwork in Tijuana, San Diego, Los Angeles, and Mexico City, this article explores the intersections of identity, modernity, desire, and marginality in the production, distribution, and transnational consumption of Nor-tec music. Tijuana musicians developed Nor-tec by combining sounds sampled from traditional music of the north of Mexico (conjunto norteno and banda) with compositional techniques borrowed from techno music. The resulting style reflects the current re-elaboration of tradition in relation to imaginary articulations of modernity that takes place in Tijuana’s youth border culture.
Note: The following is an announcement of Vague Terrain’s latest issue, in which I’m very happy to be a contributor. Make sure to also peruse their previous releases on Minimalism, Locative Media and Generative Art among others.
Announcement:
The latest edition of the Toronto based digital arts quarterly vagueterrain.net is now live. The issue, vague terrain 07: sample culture is a provocative exploration of contemporary sampling of sound, image and information. This body of work examines the remix as a critical practice while addressing broader issues of ownership and intellectual property.
Vague terrain 07: sample culture contains work from: brad collard, christian marc schmidt, defasten, des cailloux et du carbone, [dNASAb], eduardo navas, eskaei, freida abtan, jakob thiesen, jennifer a. machiorlatti, jeremy rotsztain, noah pred, ortiz, rebekah farrugia, and an interview with ezekiel honig conducted by evan saskin.
In July of 2003, Jeremy Brown, a.k.a. DJ Reset, took apart a song. Using digital software, Brown isolated instrumental elements of “Debra,†a song by Beck from his 1999 album “Midnite Vultures.†Brown, who is thirty-three and has studied with Max Roach, adjusted the tempo of “Debra†and added live drums and human beat-box noises that he recorded at his small but tidy house in Long Island City. Then he sifted through countless a-cappella vocals archived on several hard drives. Some a-cappellas are on commercially released singles, specifically intended for d.j. use, while others appear on the Internet, having been leaked by people working in the studio where the song was recorded, or sometimes even by the artist.
After auditioning almost a thousand vocals, Brown found that an a-cappella of “Frontin’,†a collaboration between the rapper Jay-Z and the producer Pharrell Williams, was approximately in the same key as “Debra.†The two songs are not close in style—“Debra†is a tongue-in-cheek take on seventies soul music, while “Frontin’ †is hard and shimmering computer music—but the vocalists are doing something similar. Brown exploited this commonality, and used his software to put the two singers exactly in tune.
CD coverThe rise of the mash-up and of easy, cheap sound-processing software means that remixes—especially hip-hop remixes—are all over the Web. There are dozens of homemade, online remixes of Jay-Z’s The Black Album alone. The concept has even migrated to literature, images, comic books, and beverages—Coca-Cola is now issuing an annual “remix” flavor of Sprite.
But as pop culture has merged with remix culture, the literal remixes of alternative pop that brought the idea to the public have gradually been vanishing from record stores. So, there’s something funereal about Depeche Mode’s new three-disc Remixes 81-04 (Mute/Reprise—there’s also a one-disc condensation). The British new wave group has been inactive for almost four years, and even if it hasn’t quite broken up, the dates on the new collection might as well be engraved on a tombstone: Depeche Mode were present at the beginning of the synth-pop remix era in the early ’80s and rode it to success a few years later, and now they’re eulogizing its end.
