The origin of the word jungle is one of discussion. Rebel MC is often noted for having popularised the term, and in Simon Reynolds' book Energy Flash, MC Navigator is quoted as attributing the word to him.[5] Others such as MC Five-O attribute it to MC Moose,[6][pageneeded] whilst Rob Playford (of Moving Shadow) attributes it to MC Mad P (of Top Buzz).[7] Some thought of this term as empowering, an assertion of the blackness of the music and its subculture, inverting the racist history of the term "jungle music".[8][bettersourceneeded]
Origins
The breakbeat hardcore scene of the early 1990s was beginning to fragment by 1992/1993, with different influences becoming less common together in tracks. The piano and uplifting vocal style that was prevalent in breakbeat hardcore started to lay down the foundations of 4-beat/happy hardcore, whilst tracks with dark-themed samples and industrial-style stabs had emerged from late 1992 and named darkcore. Reggae samples and reggae-influenced tracks had been a feature of many breakbeat hardcore tracks since 1990, particularly from producers such as Shut Up and Dance,[9] however Ibiza Records,[10] and the Rebel MC were arguably the first to bring the sound system influence solidly into releases. The track "We Are I.E." by Lennie De-Ice is often credited as being the track that laid down the foundations for jungle with its ragga bassline.[11]
The infiltration of hardcore B-boys into the rave scene was catalyst for "the messy birth-pangs of Britain's very own equivalent to US hip hop: jungle."[12] The UK B-boy's removal from American racial tensions made hip-hop's sample and beat-making more attractive than the "protest side of rap," and spurred on their interest in the rave scene.[12] Alongside their 'sampladelic' taste, raving B-boys' use of MDMA fueled the more hyper sound that was passed down to jungle, even after the drug was left for marijuana.
During 1992 and 1993, the phrases "jungle techno" and "hardcore jungle" proliferated to describe that shift of the music from breakbeat hardcore to jungle. The sound was championed at clubs such as AWOL,[13] Roast, and Telepathy, by DJs such as DJ Ron, DJ Hype, DJ Randall, Mickey Finn, DJ Rap, and Kenny Ken, record labels Moving Shadow, V Recordings, Suburban Base, and Renk,[14] and on pirate radio stations such as Kool FM (regarded as being the most instrumental station in the development of jungle) but also Don FM, Rush, and Rude FM.
Techniques and styles could be traced to such a vast group of influencers, each adding their own little elements. According to Simon Reynolds, jungle was "Britain's very own equivalent to US hip-hop. That said, you could equally make the case that jungle is a raved-up, digitised offshoot of Jamaican reggae. Musically, jungle's spatialised production, bass quake pressure and battery of extreme sonic effects, make it a sort of postmodern dub music on steroids."[15] This is an example of the effects of the sonic diaspora and the wide influence musical genres have; Jungle is where these different Black Atlantic genres converge.[15] Reynolds noted the audience of the genre evolved alongside the music itself; going from a "sweaty, shirtless white teenager, grinning and gurning" to a "head nodding, stylishly dressed black twenty something with hooded-eyes, holding a spliff in one hand and a bottle of champagne in the other".[15] Jungle also served as "a site for a battle between contesting notions of blackness".[8]
Jungle reached the peak of its popularity in 1994/1995. At this stage, the genre was achieving a number of UK top 40 hits, most notably "Incredible" by M-Beat featuring General Levy, and spawned a series of CD compilations such as Jungle Mania and Jungle Hits. Controversy raged over the success of "Incredible" when Levy reportedly made comments in the media that he was "running jungle at the moment". Although Levy always argued that his comments were misinterpreted, this did not fail to stop a boycott of the single amongst a group of DJs that were dubbed as the "Jungle Committee".[16][17] Labels such as Ibiza, 3rd Party and Kemet were prolific in their releases.[18]
Having previously been confined to pirate radio, legal stations woke up to jungle from 1994. London's Kiss 100 launched its Givin' It Up show in early 1994 and featured DJs on rotation including Kenny Ken Jumpin Jack Frost, DJ Randall, DJ Rap, and Mickey Finn. A year later, the UK's nationwide broadcaster BBC Radio 1 finally gave jungle a platform on its One in the Jungle weekly show.[19]
Major labels such as Sony and BMG were signing deals with artists including A Guy Called Gerald, Kemet, and DJ Ron. Of these, Roni Size and 4hero would achieve wider commercial success as drum and bass artists, but continued to release more underground jungle tracks — the latter adopting the alias Tom & Jerry to continue to release rare groove sampling dancefloor-oriented jungle. The underground classic "Burial" by Leviticus would see a major release on FFRR Records.
Jungle music, as a scene, was unable to decide whether it wanted to be recognised in the mainstream or if it wanted to avoid misrepresentation.[15] This manifested in the cooperation of jungle artists and small record labels. Small record labels worked to provide more autonomy to the music artists in return for their business and jungle music was proliferated by pirate stations in underground networks and clubs. Whilst the media would in part feed off jungle music success, it also perpetuated negative stereotypes about the scene as being violent. The seminal 1994 documentaryA London Some 'Ting Dis, chronicled the growing jungle scene and interviewed producers, DJs, and ravers to counter this perception.[20][21]
1996 and 1997 saw a less reggae-influenced sound and a darker, grittier, and more sinister soundscape. Hip-hop and jazz-influenced tracks dominated the clubs in this period.[8]Dillinja, Roni Size, Die, Hype, Zinc, Alex Reece and Krust were instrumental in the transition of the jungle sound to drum and bass. By the end of 1998, the genre's sound had changed forms significantly from the sound heard earlier in the decade.
Popular subgenres
Ragga jungle
Ragga jungle is a fusion genre that combines jungle with a heavy reggae influence. It would become a major subgenre during 1994 and 1995, with popular tracks such as "Incredible" by M-Beat featuring General Levy, "Original Nuttah" by UK Apachi and Shy FX, "Sound Murderer / RIP" by Remarc, "Limb by Limb" by Hitman featuring Cutty Ranks, and "Code Red / Champion DJ" by Conquering Lion.[22]
Jump-up
In 1995, jump-up would also become a popular subgenre that came out of hardstep, with influences of various kinds of sound experiments, most importantly the bass line. Popular tracks of this subgenre include "Dred Bass" by Dead Dred, "Super Sharp Shooter" by DJ Zinc, "This Style" by Shy FX, "R.I.P" (DJ Hype Remix) by Remarc and DJ Zinc's remix of the Fugees' "Ready or Not". The genre would later regain popularity in the early 2000s with new productions by artists such as Shimon & Andy C, Bad Company, DJ Hazard and Pendulum.[23]
Sociocultural context
The post-ThatcheriteUnited Kingdom of the early 1990s had left many young people, particularly London's lower-class urban youth, disenfranchised and disillusioned with a seemingly crumbling societal structure. Jungle reflected these feelings, as it was a notably more dark, less euphoric style of music than many of the other styles popular at raves. The music was much more popular with black British youths than other rave styles, such as techno, even though it was heavily influenced by these other rave styles, including those from the United States.[15] Jungle was also seen as "England's answer to hip-hop", aimed at breaking down racial boundaries and promoting unification through its multiculturalism by drawing from different cultures and attracting mixed crowds at raves.[8] Jungle's rhythm-as-melody style overturned the dominance of melody-over-rhythm in the hierarchy of Western music, adding to its radical nature.[15]
Moreover, the greater accessibility to sampling technology allowed young people to create music in their homes by incorporating their own sampling and experiences, rather than needing a grand recording studio.[24]
Characterised by the breakbeats and multi-tiered rhythms, Jungle drew support not only from British b-boys who got swept up into the rave scene, but also from reggae, dancehall, electro and rap fans alike. Simon Reynolds described it as causing fear and "for many ravers, too funky to dance"[15] yet the club scene enjoyed every second.
The term "jungle" is often used as a synonym for drum and bass, particularly in the United States. More commonly, jungle is viewed as the originating point for drum and bass, with the progressive changes brought by artists in the late 1990s serving as the point of diversion (some examples being Trace & Ed Rush, LTJ Bukem, Photek, Total Science, Goldie and Optical). During this time, a false dichotomy was established between drum and bass and jungle, with the former for white ravers and the latter for black ravers.[29] The sub-genre of drum and bass developed to be quicker, more industrial, less danceable yet was seen as more 'accessible and commercial' than jungle, as cited in an article by The Observer in 1996.[30] In Black Music in Britain in the 21st Century, written by Julia Toppin in 2023, she explains, "the process of modifying jungle's name can be viewed as an 'act of resignifying the otherness' to disassociate it from black people and the racist media narratives containing race, drugs, and violence with jungle music and the scene."[31] The jungle scene had always been portrayed in a negative light due to its affiliation with the rave scene and especially because of the black people associated with the music.[32] The security and drug incidents at jungle events typically seemed to attract more police attention than other EDM genres, though the same trouble would happen in any other raves attended by predominately white audiences. With the emergence of drum and bass, the previous biases against jungle intensified while drum and bass's popularity grew rapidly in mainstream media. In her article, Toppin highlights the sonic marginalization that occurred during the late 1990s, with black jungle ravers declined entry at night clubs and DJs being shadow-banned from playing jungle at venues.[33] This would lead to jungle's return to the underground at the end of the decade.
Re-emergent jungle scene
Congo Natty, Jungle Revolution album tour, 2013
A thriving underground movement producing and developing tracks in the style of the 1990s and some original (though mostly mainstream drum and bass) jungle producers have noticed this new enthusiasm for the original sound. Shy FX, for example, launched the Digital Soundboy label in 2005 to put out more jungle.
The early to mid-2000s saw a jungle revival in the emerging drum-funk subgenre, with labels such as Scientific Wax, Bassbin Records and Paradox Music pushing for a more breaks orientated sound. Technicality and Bassbin events in London were spearheading this return to more traditional elements of jungle music.
The UK is still the spiritual home and nucleus of jungle to this day. An event called Rupture gained popularity between 2007 and the present for hosting and promoting more traditional styled jungle/drum & bass music and artists. The event and subsequent label have promoted new producers such as Forest Drive West, Tim Reaper, Dead Man's Chest and Sully, and the scene is very much thriving. As well as old heads and artists coming out of retirement, modern jungle is enjoyed by the younger generations who missed jungle the first time around.[34][35]
One of the scene's originators, Congo Natty, continued to release jungle music throughout the 2000s, culminating in the 2013 album Jungle Revolution.[36]
In 2018, Chase & Status capitalised on the current trend of jungle with their album RTRN II JUNGLE. The album was not however jungle in its pure form, and catered more towards pop music fans.[37]
Related Research Articles
Drum and bass is a genre of electronic dance music characterised by fast breakbeats with heavy bass and sub-bass lines, samples, and synthesizers. The genre grew out of the UK's jungle scene in the 1990s.
Breakbeat hardcore is a music genre that spawned from the UK rave scene during the early 1990s. It combines four-on-the-floor rhythms with breakbeats usually sampled from hip hop. In addition to the inclusion of breakbeats, the genre also features shuffled drum machine patterns, hoover, and other noises originating from new beat and Belgian techno, sounds from acid house and bleep techno, and often upbeat house piano riffs and vocals.
A rave is a dance party at a warehouse, club, or other public or private venue, typically featuring performances by DJs playing electronic dance music. The style is most associated with the early 1990s dance music scene when DJs played at illegal events in musical styles dominated by electronic dance music from a wide range of sub-genres, including drum and bass, dubstep, trap, break, happy hardcore, trance, techno, hardcore, house, and alternative dance. Occasionally live musicians have been known to perform at raves, in addition to other types of performance artists such as go-go dancers and fire dancers. The music is amplified with a large, powerful sound reinforcement system, typically with large subwoofers to produce a deep bass sound. The music is often accompanied by laser light shows, projected coloured images, visual effects and fog machines.
Breakbeat is a broad type of electronic music that tends to use drum breaks sampled from early recordings of funk, jazz, and R&B. Breakbeats have been used in styles such as Florida breaks, hip hop, jungle, drum and bass, big beat, breakbeat hardcore, and UK garage styles.
Happy hardcore, also known as 4-beat or happycore, is a subgenre of hardcore dance music or "hard dance". It emerged both from the UK breakbeat hardcore rave scene, and Belgian, German and Dutch hardcore techno scenes in the early 1990s. The thing that makes happy hardcore stand apart from Gabber, is that happy hardcore tends to have breakbeats running alongside the 4/4 kick drum.
Breakcore is a style and microgenre of electronic dance music that emerged from jungle, hardcore, and drum and bass in the mid-to-late 1990s. It is characterized by very complex and intricate breakbeats and a wide palette of sampling sources played at high tempos.
Hardcore is a genre of electronic dance music that originated in the Netherlands, Belgium, and Germany in the early 1990s. It is distinguished by faster tempos and a distorted sawtooth kick, the intensity of the kicks and the synthesized bass, the rhythm and the atmosphere of the themes, the usage of saturation and experimentation close to that of industrial dance music. It would spawn subgenres such as gabber.
4hero are an electronic music group from Dollis Hill, London, comprising producers Mark "Marc Mac" Clair & Denis "Dego" McFarlane. 4hero are known for being pioneers of breakbeat hardcore, jungle/drum and bass, broken beat and nu jazz music.
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Bouncy techno is a hardcore dance music rave style that developed in the early 1990s from Scotland and Northern England. Described as an accessible gabber-like form, it was popularised by Scottish DJ and music producer Scott Brown under numerous aliases.
Free tekno, also known as tekno, freetekno and hardtek, is the music predominantly played at free parties in Europe. The spelling tekno is deliberately used to differentiate the musical style from techno. The music is fast and it can vary between 150 and 185 bpm and is characterised by a pounding repetitive kick drum. Nevertheless, bass drum distortion by clipping is used less often as in the related genre of mainstyle hardcore. Nowadays, some tekno producers also use drum sets that rather sound trancey, since many members of the tekno subculture as well as the psytrance subculture frequently attend the same raves and the two scenes are closely connected.
Darkcore is a music subgenre of breakbeat hardcore in the UK rave scene, that emerged from late 1992. It is recognised as being one of the direct precursors of the genre now known as drum and bass.
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Reggae Owes Me Money is the debut album by British duo the Ragga Twins, produced by hardcore duo Shut Up and Dance and released on the latter's record label of the same name in May 1991. After establishing themselves as dancehall artists from the Unity soundsystem in the 1980s, the Ragga Twins switched direction in the early 1990s, combining into a duo after signing to Shut Up & Dance's label. The production duo stirred the Ragga Twins' change in direction, fusing their previous reggae and dancehall style into the Shut Up & Dance rave dance music.
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"We Are I.E." is a song by British breakbeat hardcore producer Lennie De Ice. It was first recorded in 1989, but not released until 1991 when it appeared on a four-track EP from Reel 2 Reel Productions, one of a number of labels that originated from the De Underground record shop based in Forest Gate, East London. It is often credited as one of, if not the first, tracks to lay down the foundations for jungle music.
Belgian hardcore techno is an early style of hardcore techno that emerged from new beat as EBM and techno influences became more prevalent in this genre. This particular style has been described as an "apocalyptic, almost Wagnerian, bombastic techno", due to its use of dramatic orchestral stabs and menacing synth tones that set it apart from earlier forms of electronic dance music. It flourished in Belgium and influenced the sound of early hardcore from Netherlands, Germany, Italy, UK and North America during the early-1990s, as a part of the rave movement during that period.
↑ Reynolds, Simon (1998) [1998]. Energy flash: a journey through rave music and dance culture. Soft Skull Press. ISBN9781593764074. According to MC Navigator from Kool FM, 'jungle' comes from 'junglist', and was first heard in 1991 as a sample used by Rebel MC. "Rebel got this chant - all the junglists - from a yard-tape" referring to the sound-system mix-tapes imported from Jamaica. "When Rebel sampled that, the people cottoned on, and soon they started to call the music jungle.
↑ Belle-Fortune, Brian (2004). All Crews. Vision. He said it was 'hardcore-jungle-techno'. It was known for that for several months... just dropping of all the other words. We'd had hardcore and techno... but this was 'jungle'.
↑ Belle-Fortune, Brian (2004). All Crews. Vision. They didn't know what they were going to label this type of music. They didn't care. They were specialising in heavy reggae with breakbeats.
↑ Belle-Fortune, Brian (2004). All Crews. Vision. At Ibiza Records, Paul was tired of foreign sounds running the British dance scene. That's when Ibiza Records started. Paul fused the bleeps and breaks with reggae b-lines. The sound elements worked. The reggae influence worked.
↑ Bradley, Lloyd (2013). Sounds Like London: 100 Years of Black Music in the Capital. Serpent's Tail. What's acknowledged to be the earliest jungle tune, despite its lack of toasting, dates from 1989. Built on a ragga bassline, "We Are I.E." by young London Lennie De-Ice rules dancefloors.
1 2 Reynolds, Simon (1998). Sounds of Paranoia Trip-Hop, Tricky, and Pre-Millennium Tension, 1990-97 (1sted.). pp.237–254. ISBN9780203824962.
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