Analysis of information sources in references of the Wikipedia article "Drum and bass" in Greek language version.
But why did the rave scene suddenly go dark? DJ SS, the leading hardcore DJ and man behind Formation Records, explains it was initially a reaction to the scene, a going back to basics: "Most of the DJs thought that the scene was getting too commercial. They wanted to deepen the music. [...] the idea was that the true raver would stick with it and the commercial people – the fakers – would fade out of it"
Jungle is the most rhythmically complex of all forms of techno, relying on extremely fast polyrhythms and breakbeats. Usually, it's entirely instrumental -- it is among the hardest of all hardcore techno, often consisting of nothing but fast drum machines and deep bass.
Bukem's production style was a continuing anachronism on the rave/breakbeat scene; early Good Looking tracks like "Demons Theme," "Atlantis," and "Music" provided a soulful, melodic alternative to the prevailing hardcore tracks then in vogue
Jungle is a form of dance music characterized by the use of high-speed (usually around 160 beats per minute), highly syncopated drums and simple looped bass lines [...] Jungle (sometimes also known as ‘drum ’n’ bass’)...».
<ref> • όνομα " FOOTNOTEWaugh20003, 11 " ορίζεται πολλές φορές με διαφορετικό περιεχόμενο Waugh, Ian (2000). Quick Guide to Dance Music (στα Αγγλικά). Ηνωμένο Βασίλειο: PC Publishing. ISBN 1870775694.<ref> • όνομα " FOOTNOTEJones200633 " ορίζεται πολλές φορές με διαφορετικό περιεχόμενο Jones, Hollin (2006). «Drum 'n' bass: A brief history of drum 'n' bass». Music Projects with Propellerhead Reason: Grooves, Beats and Styles from Trip Hop to Techno (στα Αγγλικά). Ηνωμένο Βασίλειο: Merton. ISBN 1870775147.<ref> • όνομα " FOOTNOTESharp2000134 " ορίζεται πολλές φορές με διαφορετικό περιεχόμενο Sharp, Chris (2000). «Jungle: Modern States Of Mind». Στο: Shapiro, Peter, επιμ. Modulations: A History of Electronic Music: Throbbing Words on Sound (στα Αγγλικά). Ηνωμένο Βασίλειο: Caipirinha. ISBN 189102406X.Sometimes called the British answer to hip hop, jungle was primarily associated with urban, predominantly black youth from its beginnings around 1992–3, until artists such as Goldie and Alex Reece achieved wider success in 1995. This led to some artists, including Reece and Photek, signing to major labels, with jungle subsequently moving towards mainstream acceptance.
<ref> • όνομα " FOOTNOTEReynolds2012188-202 " ορίζεται πολλές φορές με διαφορετικό περιεχόμενο Reynolds, Simon (2012) [1998]. Energy Flash: A Journey Through Rave Music and Dance Culture (στα Αγγλικά). Ηνωμένο Βασίλειο: Soft Skull Press. ISBN 1593764774.<ref> • όνομα " FOOTNOTEReynolds2012336 " ορίζεται πολλές φορές με διαφορετικό περιεχόμενο Reynolds, Simon (2012) [1998]. Energy Flash: A Journey Through Rave Music and Dance Culture (στα Αγγλικά). Ηνωμένο Βασίλειο: Soft Skull Press. ISBN 1593764774.One sub-genre that has developed within ambient music is ambient dub [...] Following on from this development has been the rise of a hybrid genre entitled ambient jungle. Ambient jungle takes on board the frenetic percussion of jungle, but avoids its aggressiveness through the creative use of strings, ‘pads’ and natural sounds. Artists working within this field include T-Power, LTJ Bukem, Alex Reece and Jacob’s Optical Stairway.
<ref> • όνομα " FOOTNOTEReynolds2012337 " ορίζεται πολλές φορές με διαφορετικό περιεχόμενο Reynolds, Simon (2012) [1998]. Energy Flash: A Journey Through Rave Music and Dance Culture (στα Αγγλικά). Ηνωμένο Βασίλειο: Soft Skull Press. ISBN 1593764774.Any form of House Music, which is where we come from, was an engineer's, producer's music in the first place there were never acts or artists involved in it. It’s these backroom people that are doing all the tracks. Which is not very different from the commercial scene nowadays, where they need people to front it, because otherwise they could not sit in the studio week in week out[νεκρός σύνδεσμος]
Any form of House Music, which is where we come from, was an engineer's, producer's music in the first place there were never acts or artists involved in it. It’s these backroom people that are doing all the tracks. Which is not very different from the commercial scene nowadays, where they need people to front it, because otherwise they could not sit in the studio week in week out[νεκρός σύνδεσμος]
He [General Levy] suggests that the Committee had to kill ‘Incredible’ to make way for their own material to come through, and rightly questions the dubious term ‘intelligent jungle’ — “so what was the other jungle, stupid jungle?” He believes that the controversy didn’t do anything for the scene. “It was a mess. They destroyed the scene, they destroyed the karma. Jungle was happy music, know what I mean?” he says. “Having a good time, bringing people together, and they brought politics into it”
LTJ Bukem – Demons Theme [Good Looking Records]: The track that started a genre; as Hardcore started to split between the happier and darker vibes LTJ Bukem took it in a totally different direction. Originally written in 1991, Demons Theme sounded out of place amongst its contemporaries and kick started the whole ‘intelligent’ movement of the 90’s spearheaded by Bukem’s Good Looking organisation. Rolling amens, sub bass with soothing deep strings and vocals backed with tribal percussion. This style did not catch on until late 1993 when it was being cloned by half the scene which is just testament to how ahead of its time it really was.
The big problem with ‘intelligent’ drum 'n' bass was its name. Used mostly by journalists to separate it from the rougher edged sound of jungle, it had an air of exclusivity that many in the scene found distasteful. “It came off very elitist and pretentious,” says DJ Flight [...] In her mind, the creation of the ‘intelligent’ subgenre was to do with rebranding – and it had a troubling subtext. “It looked like styles were being played off against each other during the mid-’90s boom, when drum 'n' bass became really trendy with various magazines,” she continues. “People began differentiating between jungle and drum 'n' bass. Jungle was seen as rough with too much trouble kicking off, and a bit cheesy; d'n'b was ‘mature’, for a more refined listener. There was probably a fair bit of underlying racism, too.” The polarisation in both the music and national press between jungle, which was portrayed as a mostly black and working-class scene, and ‘intelligent’ drum 'n' bass, supposedly a preserve of white middle-class hipsters, had more than a hint of prejudice. It was also an inaccurate picture of jungle’s multicultural and inclusive fanbase, and the artists and DJs involved with the ‘intelligent’ sound, who were also ethnically mixed and deeply imbedded in the wider scene.
The subgenre name stuck, but has been criticised by artists, journalists and List users themselves ever since. Many have argued that the supposed complexity of IDM made it no more “intelligent” than any other form of dance music