Drum and bass 1

Drum and bass

Drum and bass
Stylistic origins Reggae, funk, breakbeat hardcore, jungle

Cultural origins mid 1990s; Bristol and London, United Kingdom

Typical instruments Synthesizer - Drum machine - Sequencer - Keyboard - Sampler -

Personal computer DAW

Mainstream popularity Mid 1990s - present.

Subgenres

Liquid funk - Hardstep - Intelligent drum and bass - Jump-Up - Neurofunk - Techstep - Techno-DNB - Darkcore - Industrial
drum'n'bass - Darkstep- Jazzstep - Drumfunk - Drumstep

Fusion genres

Jungle - Ragga jungle - Breakcore

Regional scenes

Sambass

Other topics

Drum and bass artists - Drum and bass record labels - History of drum and bass - Junglist

Drum and bass (commonly abbreviated to D&B or DnB, occasionally DaB) is a type of rave music which emerged
in the mid 1990s. The genre is characterized by fast breakbeats (typically between 160190 bpm, occasional
variation is noted in older compositions), with heavy bass, sub-bass lines, and occasional infra-bass lines. Drum and
bass began as an offshoot of the United Kingdom rave scene of the very early 1990s. Over the first decade of its
existence, the incorporation of elements from various musical genres led to many permutations in its overall style.

History
In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to a new
electronic music style called Rave music, which, much like hip-hop, combined sampled syncopated beats or
breakbeats, other samples from a wide range of different musical genres and, occasionally, samples of music,
dialogue and effects from films and television programmes. But rave music tended to feature stronger bass sounds
and a faster tempo than that of most hip-hop or house music, recorded from 130 to over 160 beats per minute. This
subgenre was known as "hardcore" rave but from as early as 1991, some musical tracks made up of these high-tempo
breakbeats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno" and later
just "jungle", which became recognised as a separate musical genre popular at raves and on pirate radio in Britain.
By 1994 jungle had begun to gain mainstream popularity and fans of the music (often referred to as junglists)
became a more recognisable part of British youth subculture. By this point the genre was incorporating and fusing
elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub
basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the
ecstasy-fuelled rave scene, Jungle also inherited some associations with violence and criminal activity, both from the
gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing
sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with
the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture
prevalent in London. Whether as a reaction to, or independently of this cultural schism, some jungle producers began
to move away from the ragga-influenced style and create what would become collectively labelled, for convenience,
as drum and bass.
Drum and bass 2

As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate
radio to commercial stations and gain widespread acceptance (circa 1995-1997). It also began to split into
recognizable subgenres such as jump-up and Hardstep. As a lighter and often jazz-influenced style of drum and bass
gained mainstream appeal, additional subgenres emerged including techstep (circa 1996-1997) which drew greater
influence from techno music and the soundscapes of science fiction and anime films.
The popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the
UK including big beat and hard house. But towards the turn of the millennium its popularity was deemed to have
dwindled as the UK garage style known as speed garage yielded several hit singles. Speed garage shared high
tempos and heavy basslines with drum and bass but otherwise followed the established conventions of house music,
with this and its freshness giving it an advantage commercially. Despite this, the emergence of further subgenres and
related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting
continual evolution of the genre. To this day drum and bass makes frequent appearances in mainstream media and
popular culture including in television, as well as being a major reference point for subsequent genres such as grime
and dubstep and successful artists including Tinie Tempah and Australia's Pendulum).[1]

Musicology of drum and bass

Opinions vary on what constitutes "real" drum and bass as it incorporates a
number of scenes and styles, from the highly electronic, industrial sounds
of techstep through to the use of conventional, acoustic instrumentation that
characterise the more jazz-influenced end of the spectrum. The sounds of
drum and bass are extremely varied due to the range of influences behind
the music. One of the more common and traditional elements is a
prominent snare drum falling on the second and fourth beats.

Drum and bass could at one time be defined as a strictly electronic musical
genre with the only 'live' element being the DJ's selection and mixing of
records during a set. 'Live' drum and bass using electric, electronic and
acoustic instruments played by musicians on stage would emerge in the
ensuing years of the genre's development.[3] [4] [5]
For the already mentioned reasons, the musicology of drum and bass is
difficult to precisely define; however, the following key characteristics may
be observed:

Importance of drum and bassline elements

The genre places great importance on the "bass line", a deep sub-bass
musical pattern which can be felt physically through powerful sound
systems due to the low-range frequencies favoured. There has been Goldie, one of the most recognizable Drum
[2]
considerable exploration of different timbres in the bass line region, and Bass artists.

particularly within techstep. The bass lines most notably originate from
sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a
double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher,
Roni Size and STS9. Sampled basslines are often taken from double bass recordings or from publicly available
loops.

In drum and bass productions, the bass lines are often subjected to many and varied sound effects, including standard
techniques such as dynamic compression, flanger, chorus, over-drive, equalization, etc. and drum and bass specific
techniques such as timestretched beats and the "Reese Bass", a distinctive synthesized bass sound comprising layered
Drum and bass 3

'clashing' sawtooth waves. The term is a result of producer's Kevin Saunderson's notable use of it in his work under
the Reese/Master Reese alias.
Of equal importance is the "808" kick drum, an artificially pitch-downed or elongated bass drum sound sampled
from Roland's classic TR-808 drum machine, and a sound which has been subject to an enormous amount of
experimentation over the years.[6]
The complex syncopation of the drum tracks' breakbeat, is another facet of production on which producers can spend
a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often
considered the most powerful) break in drum and bass.[7]
The Amen break was synonomous with early drum and bass productions but other samples have had a significant
impact, including the Apache, Funky Drummer, "Soul Pride" and "Scorpio" breaks.[8] [9]
Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching
between two breaks after each bar developed. Examples of this can be heard on mid-90s releases including J Majik's
"Your Sound" and Doc Scott's "Machines". A more recent commonly used break is the Tramen, which combines the
Amen break, a James Brown funk breakbeat ("Tighten Up" or "Samurai" break) and an Alex Reece drum and bass
breakbeat.[10]
The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and
often will form only a background to the other elements of the music. Syncopated breakbeats remain the most
distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber.[11]

Tempo
Drum and bass is usually between 160-190 BPM, in contrast to other breakbeat-based dance styles such as nu skool
breaks which maintain a slower pace at around 130-140 BPM. A general upward trend in tempo has been observed
during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in
1990/1991, speeding up to around 155-165 BPM by 1993. Since around 1996, drum and bass tempos have
predominantly stayed in the 170-180 range. Recently some producers have started to once again produce tracks with
slower tempos (i.e. in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.[12]
[13]

A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a
slower tempo (say 140 BPM), might not be drum and bass but a drum and bass-influenced breakbeat track.[14]
The speed of drum and bass is not however only characterised by that of the broken beat. Drum and bass has a
bassline, which will typically play at half the speed of the drums, bringing its speed down to that of, for instance, a
laid back hip-hop track. A listener or dancer can concentrate on this element rather than the faster drums.
An aggressively produced track with a complicated beat and synthesizer sounds may 'sound faster' than one with a
sampled double bass bassline, guitar riffs and simpler beat, however the second track may be in strict BPM terms
faster.
The faster a track is in BPM terms, the less complex its drum patterns can be because at higher step the elements
cease to be heard separately, turning them into a wall of sound. A faster drum and bass track will therefore generally
have a less complex drum pattern than a slower one. These rules do not apply to a production from single drums (i.e.,
drum machines, sequencers, sliced beats.)
Live performances of drum and bass music on electric and acoustic instruments will often entail a drop in relative
BPM (though not necessarily), unsurprising in light of the complexity of drum patterns and the high exertion
required of a drummer.
Drum and bass 4

Context

For the most part, drum and bass is a form of dance music designed to
be heard in clubs. It exhibits a full frequency response which can only
be appreciated on sound systems which can handle very low
frequencies. As befits its name, the bass element of the music is
particularly pronounced, with the comparatively sparse arrangements
of drum and bass tracks allowing room for basslines that are deeper
than most other forms of dance music. Consequently, drum and bass
parties are often advertised as featuring uncommonly loud and
bass-heavy sound systems.
Pendulum playing the Valve Sound System with There are however many albums specifically designed for personal
MC IC3 at the Tuesday Club, Sheffield 05/03/06
listening. The mix CD is a particularly popular form of release, with a
big name DJ/producer mixing live, or on a computer, a variety of
tracks for personal listening. Additionally, there are many albums containing unmixed tracks, suited for home or car
listening.[15]
Many mixing points begin or end with the "drop". The drop is the point in a
track where a switch of rhythm or bassline occurs and usually follows a
recognizable build section and "breakdown". Sometimes the drop is used to
switch between tracks, layering components of different tracks, though as
the two records may be simply ambient breakdowns at this point, though
some DJs prefer to combine breakbeats, a more difficult exercise. Some
drops are so popular that the DJ will "rewind" or "reload" by spinning the
record back and restarting it at the build. "The drop" is often a key point
from the point of view of the dancefloor, since the drumbreaks often fade
out to leave an ambient intro playing. When the beats re-commence they
are often more complex and accompanied by a heavier bassline,
encouraging the crowd to dance. The name of a genre of drum and bass,
"jump up" initially referred to the urge for those seated to dance at this
point.

DJ support (that is playing a track) in a club atmosphere or on radio is

Goldie with Mc LowQui
critical in track success, even if the track producer is well known.[16] To
this end, DJs will receive dubplates a long time before a general release of a
track, sometimes many months before, in order to spark interest in it as well as benefit the DJ (exclusive and early
access to tracks is a hallmark of DJ success, i.e. the case of Andy C). Sometimes a DJ will receive versions of tracks
that are not planned for general release, these are so-called VIP mixes.

DJs are often accompanied by one or more MCs, drawing on the genre's roots in hip hop and reggae/ragga.[17]
The role of MCs in the music cannot be overestimated but they do not generally receive the same level of
recognition as producer/DJs. There are relatively few well-known drum and bass MCs, MC GQ, Dynamite MC, MC
Fats, MC Conrad, Shabba D, Skibadee, Eksman, Bassman, MC Stamina, MC Fun, Harry Shotta MC DUB 2, MC
MECHA and Stevie Hyper D (deceased) as examples.[18]
Drum and bass 5

Subgenres
Recently, smaller scenes within the drum and bass community have developed and the scene as a whole has become
much more fractured into specific sub-genres. The generally accepted and major sub-genres of drum and bass
include:
Dancefloor (often referred to tracks that combine Jump-Up and Liquid funk.)
Darkstep (or "Darkside" or "Dark", the return of the old skool sound of Drum and bass made with new technology
- Equinox, Breakage ext)
Drill and Bass (characterized by extremely complex and detailed drum programming)
Halfstep (or drumstep is half beat drum and bass. The term drumstep in particular is often confused with
Dubstep.)
Drumfunk (or "Choppage", "Edits" - atmospheric drum and bass with heavy emphasis on break-styled drum
loops, occasionally broken up by drumless atmospheric passages)
Hardstep
Intelligent (or "Atmospheric" or "Ambient")
Jazzstep (or "Jazz and Bass")
Jump-Up
Liquid funk (or simply "Liquid")
Sambass (or "Brazilian Drum and Bass")
Techstep (or "Tech")
Techno-DNB (or "Techno Drum and Bass")
Neurofunk (or "Neuro" is the progression from Techstep)
The following are to a lesser and great degree, arguable subgenres, they would generally be described as separate
genres by their proponents:
Breakcore (arguably a different genre, not a subgenre, with many differences)
Darkcore (both a precursor and a descendant of drum and bass since modern darkcore productions share much
with darkstep
Raggacore (arguably a different genre, not a subgenre, with many differences)
Ragga jungle (arguably a different genre, not a subgenre - a modern sound which shares most if not all
characteristics with early jungle music - difficult to differentiate - perhaps through frequent mention of H.I.M.
Haile Selassie and other Rastafarian themes)[12]
As with all attempts to classify and categorize music, the above should not be treated as definitive. Many producers
release albums and tracks which touch into many of the above styles and there are significant arguments as to the
classification of tracks as well as the basic defining characteristics of subgenres. The list of arguable subgenres in
particular should not be treated as definitive.
The modern distinctive ragga jungle style (arguably subgenre or even separate genre) is a direct throwback to the
1994-1995 style of drum and bass production. However, many modern drum and bass mainstream productions
contain ragga, dancehall and reggae elements, they are just not as dominant as previously.
Clownstep is not as it commonly misconceived to be, a derisory term for varieties of drum and bass not appreciated
by certain listeners. "Clownstep" - is a term which was popularised by Dylan to jokingly describe how "Swing-beat"
tunes like Bodyrock by Andy C made him think of clowns.[19]
Drum and bass 6

Jungle vs. Drum and Bass

Presently the difference between jungle (or oldschool jungle) and Drum and Bass is a common debate within the
"junglist" community. There is no universally accepted semantic distinction between the terms "jungle" and "Drum
and Bass". Some associate "jungle" with older black sounding material from the first half of the 1990s (sometimes
referred to as "jungle techno"), and see Drum and Bass as essentially succeeding Jungle. Others use Jungle as a
shorthand for ragga jungle, a specific sub-genre within the broader realm of Drum and Bass. In the U.S., the
combined term "jungle drum and bass" (JDB or JDNB) has some popularity, but is not widespread elsewhere.
Proponents of a distinction between jungle and drum and bass usually argue (slightly incorrectly) that:
Drum and Bass has an integrated percussion and bass structure while jungle has a distinct bass line separated from
the percussion.
The relatively simple drum break beats of modern Drum and Bass (generally a two-step beat) are less complex
than the 'chopped' 'Amen' breakbeats of jungle[20]
The usage of ragga and reggae vocals differentiates Drum and Bass from Jungle, but then again not all jungle has
ragga/reggae vocals, some have other samples and some have no vocals.
The truth is more complicated than this, however. An often mistaken view of the difference between jungle and
drum and bass, is that of making a distinction between two-step beat drum and bass and amen breakbeat drum and
bass. This is really a distinction between tech-step drum and bass and the new style of drum & bass which occurred
especially late-1994 and 1995. Drum and Bass really first referred to the increased attention to breakbeat editing.
Perhaps the first track to explicitly use the term "drum and bass" to refer to itself as a different style was released in
1993.[21] The producer The Invisible Man described it:
"A well edited Amen Break alongside an 808 sub kick and some simple atmospherics just sounded so amazing all on
its own, thus the speech sample "strictly drum and bass". A whole new world of possibilities was opening up for the
drum programming... It wasn't long before the amen break was being used by practically every producer within the
scene, and as time progressed the Belgian style techno stabs and noises disappeared (thankfully!) and the edits and
studio trickery got more and more complex. People were at last beginning to call the music Drum and Bass instead
of hardcore. This Amen formula certainly helped cement the sound for many of the tracks I went on to produce for
Gwange, Q-Project and Spinback on Legend Records. After a while, tracks using the Amen break virtually had a
genre all of their own. Foul Play, Peshay, Bukem and DJ Crystal among others were all solid amen addicts back then
too." [22]
Since the term jungle was so closely related to the reggae influenced sound, DJs and producers who did not
incorporate reggae elements began to adopt the term "drum and bass" to differentiate themselves and their musical
styles. This reflected a change in the musical style which incorporated increased drum break editing. Sometimes this
was referred to as "intelligence", though this later came to refer to the more relaxed style of drum and bass associated
with producers such as LTJ Bukem.
Towards late 1994 and especially in 1995 there was a definite distinction between the reggae and ragga sounding
jungle and the tracks with heavily edited breaks, such as the artists Remarc and The Dream Team on Suburban Bass
Records. Ironically, one compilation which brought the term to the wider awareness of those outside the scene,
'Drum & Bass Selection vol 1' (1994), featured a large amount of ragga influenced tracks, and the first big track to
use the term in its title (Remarc's 'Drum & Bass Wize', 1994) was also ragga-influenced.[23]
The Dream Team consisted of Bizzy B and Pugwash; Bizzy B did however have a history of complex breakbeat
tracks released before any real notion of a change in genre name. The genre change coincided with an increase of the
use of the Reese bassline (Reese Project, Kevin Saunderson), as first featured on "Just Want Another Chance" by
Kevin Saunderson (also famous for the group Inner City) released in 1988. Mid-1995 saw the coincidentally named
Alex Reece's "Pulp Fiction" which featured a distorted Reese bassline with a two-step break, slightly slower in
tempo, which has been credited as an influence in the new tech-step style which would emerge from Emotif and No
U-Turn Records.
Drum and bass 7

"Pulp Fiction was (and still is) a seriously badass tune, it was highly original at the time, and of course it will remain
in the classic oldskool bag for many years to come. It was also the track that spawned hundreds of immitators of its
"2-Step" style which unfortunately also lasted for many years to come.... hmmm... oh, and because the 2-step groove
generally sounds slower, DnB then began to speed up way beyond 160bpm... say no more."[22]
This has also led to the confusion of equating the "tech-step" sub-genre with drum and bass, as distinct from jungle,
but "drum and bass" as a style and as a name for the whole genre already existed in 1995 before the release of Dj
Trace's remix of T-Power's "Mutant Jazz" which appeared on S.O.U.R. Recordings in 1995 (co-produced by Ed
Rush and Nico). Also note that Trace (artist), Ed Rush and Nico already had a history of producing jungle/drum &
bass and hardcore in a variety of styles.[24] [25] [26]
Another explanation for the name change is that the scene was running into problems because of violence blamed on
the ragga part of the music, the media was full of stories condemning jungle and the violence it brought, so it was
this bad media hype that resulted in the name change, which coincided with, and was made possible by the
progression of the genre's sound.
Confusion is increased by the term "jump up" which initially referred to tracks with a had a change in style at the
drop, encouraging people to dance. Initially these new drum and bass style tracks had breakbeat-heavy drops, but
producers of around the same time were creating tracks with hip-hop style basslines at the drop. This would become
a new sub-genre Jump-Up, though many of the early jump-up tracks incorporated edited amens at the drop.
Influential artists include DJ Zinc, DJ Hype, Dillinja and Aphrodite (artist) amongst many others. The Dream Team
would also produce jump-up tracks, usually under the name Dynamic Duo on Joker Records, in a style with
similarities and differences to their Suburban Bass releases. Notice also the early use of the term "jump up jungle"
rather than "jump up drum and bass". The pigeon-holes for genres changed so quickly that jump-up was quickly also
called drum and bass even as a sub-genre.
Opponents of a distinction would argue that there are many modern drum & bass productions with separated
basslines, complex breakbeats and ragga vocals. This comes, however, from a mistaken distinction between tech step
and drum and bass as outlined above, probably from interest in the music after mid-1995 when there was the creation
of a variety of new styles or sub-genres, including Roni Size's more jazz-influenced drum and bass, tech step and
jump-up.
Probably the widest held viewpoint is that the terms are simply synonymous and interchangeable: Drum and Bass is
jungle, and jungle is Drum and Bass.
"At the end of the day I am an ambassador for Drum and Bass the world over and have been playing for 16 years
under the name Hype... To most of you out there Drum and Bass will be an important part of your lives, but for me
Drum and Bass/Jungle is my life and always has been... We all have a part to play and believe me when I say I am
no fucking bandwagon jumper, just a hard working Hackney man doing this thing called Drum and Bass/Jungle." DJ
Hype[27]

Promotion
Drum and Bass is widely promoted throughout the world using different methods such as: video sharing services
(YouTube, Dailymotion), blogs, radio and television, the latter being the most uncommon method.

Influences on drum and bass

Drum and bass music, born in samplers, has been and is heavily influenced by other music genres, though this
influence has perhaps been lessened in the shift from jungle to drum and bass and the intelligent drum and bass and
techstep revolution.[28] [29] [30] [31] [32] It still remains a fusion music style.[33]
Miles Davis has been named as one the most important influences,[34] and blues artists like Leadbelly, Robert
Johnson, Charlie Patton, Muddy Waters & B.B King have also been cited by producers as inspirations.
Drum and bass 8

As a musical style built around a funk or syncopated rock & roll beat, Al Green, Marvin Gaye, Ella Fitzgerald,
Gladys Knight & the Pips, Temptations, Jackson 5, Billie Holiday, Aretha Franklin, Otis Redding, Smokey
Robinson, Diana Ross, the Supremes, the Commodores, George Clinton, Ray Charles, Jerry Lee Lewis, Herbie
Hancock, James Brown and even Michael Jackson, are funky influences on the music.[12] [35] [36] [37] [38] [39]
A very obvious and strong influence on jungle and drum and bass is the original dub and reggae sound out of
Jamaica, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots
Radics, Bob Marley and Buju Banton heavily influencing the music.[40] [41] This influence has lessened with time
but is still evident with many tracks containing ragga vocals.
Early hip-hop is an extremely important influence on drum and bass,[42] [43] with the genres sharing the same broken
beat. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of
lyrics. Grandmaster Flash, Afrika Bambaata, De La Soul, 2 Live Crew, Jungle Brothers, Kool Keith, Run DMC,
Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr Dre, Mos Def, Beastie Boys and the Pharcyde are
very often directly sampled, regardless of their general influence.[13]
Even modern avant-garde composers such as Henryk Gorecki have influenced drum and bass.[44]
Many tracks belonging to other genres are 'remixed' into drum and bass versions. The quality of these remixes varies
from the simple and primitive adding of broken beats to a vocal track or to complete reworkings that may exceed the
original in quality and effort put into them. Original artists will often ask for drum and bass remixes of their tracks to
be made in order to spark further interest in their tracks (e.g. Aphrodite's remix of Jungle Brothers' "Jungle Brother").
On the other hand, some tracks are illegally remixed and released on white label (technically bootleg), often to
acclaim. For example, DJ Zinc's remix of The Fugees' "Ready or Not", also known as "Fugee Or Not", was
eventually released with the Fugees' permission after talk of legal action, though coincidentally the Fugees' version
infringed Enya's copyright to an earlier song.[13] [45] White labels along with dubplates play an important part in
drum and bass musical culture.
One of the most influential tracks in drum and bass history was Amen Brother by The Winstons, containing a drum
solo which went on to be known as the "Amen break", which after being extensively used in early hip hop music,
went on to become the basis for the rhythms used in drum and bass.

Direct influence
In mentioning drum and bass influences, special mention needs to be given to a few scenes and individuals.
The first is the US rank scene which emerged in the 1980s, the most famous artist being NYC's Frankie Bones whose
infamous 'Bones Breaks' series from the late '80s onwards helped push the house-tempoed breakbeat sound
(especially in the UK) and can be said to be a direct precursor to the UK breakbeat/hardcore scene.
The second is Kevin Saunderson, who released a series of bass-heavy, minimal techno cuts as Reese/The Reese
Project in the late '80s which were hugely influential in drum and bass terms. One of his more infamous basslines
was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline.
He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House
in 1991/1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on
Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play
it pitched up (increased speed) as far as their Technics record decks would go.[12]
The third precursor worth mentioning here is the Miami, USA Booty Bass/Miami Bass scene, first popularised by 2
Live Crew in the mid to late '80s. There are clear sonic parallels with drum and bass here in the use of uptempo
synths and drum machines in producing bass-heavy party music.
Both the New York breakbeat and the Miami Bass scenes were strongly influenced by the 'freestyle' sound of New
York, Chicago and Miami in the 1980s which incorporated electro, disco and Latin flavours, and which was in turn a
key influence on the UK's acid house/hardcore/rave scene.[46] [47] [48]
Drum and bass 9

Samples
Drum and bass tracks often contain many direct samples from other tracks, some examples are listed below:[49]
Afrika Bambaataa's eponymous "Planet Rock" - the beat is sampled in Hypnotist's "Pioneers Of The Warped
Groove" (Rising High)
Beastie Boys's highly influential "The New Style" - the word "drop" is sampled in Lemon D's "Break It Up"
(Reinforced)
Cypress Hill's searing "I Wanna Get High" - the horn loop beat is sampled in Shy FX Feat. UK Apache's
"Original Nuttah" (Sound Of Underground Recordings)
De La Soul's "The Game Show" - the vocal "now, here's what we'll do" is sampled in DJ Krust's "Guess" (V)
Rankin Joe's "Step it Pon da Rastaman Scene" (taken from the Easy Star All-Stars' Dub Side of the Moon) - the
vocal line is sampled in the DJ Fresh and Pendulum collaboration "Babylon Rising" (Breakbeat Kaos)
Stevie Nicks' "Edge of Seventeen" is heavily sampled in High Contrast's "Days Go By" (The Contrast)
Michael Jackson's "I Can't Help It" is sampled in Shy FX's "Plastic Soul" (BINGO)
Guns N' Roses' "Welcome to the Jungle" is sampled in Chase & Status' "Smash TV"
Drum and bass also samples other media, including film and television:
Apocalypse Now - The phrase "And for my sins they gave me one" is sampled in Hyper On Experience's "Ouiji
Awakening" (Moving Shadow)
Blade Runner - The phrase "The angels fell" is sampled in Dillinja's "The Angels Fell" (Metalheadz)
Willy Wonka & the Chocolate Factory - The song sung by Willy Wonka during the boat scene is sampled in
Pendulum's "Through The Loop"
Jeff Wayne's Musical Version of The War of the Worlds - "And I wandered through the weird and lurid landscape
of another planet" Is used by Pendulum in "Another Planet" and "What's that flare? See it? A green flare, coming
from Mars, kind of a green mist behind it. It's getting closer. You see it, Bermuda?" is sampled by Logistics in
"Thunderchild" (NHS96)
Spider-Man 2 - The phrase spoken by Alfred Molina's character as he turned into Doctor Octopus "Ladies and
Gentlemen... fasten your seat-belts!" is used in Pendulum & The Freestylers' song "Fasten Your Seatbelt"
Goodfellas - The introduction narration "One day the kids from the neighborhood carried my mother's groceries
all the way home. You know why? It was outta respect. ." is sampled in Shy Fx Feat. UK Apachi's "Original
Nuttah" (Sound Of Underground Recordings)
Robocop - The phrase "You're gonna be a bad muthafucker" in A Guy Called Gerald's "Cyber Jazz"
The Krays (film) - The phrase by the twins in the violent snooker hall scene "and you go back and tell um no one
fucks with us" is sampled by R33CE.COM featuring Buju Banton the murderer smash hit released by Jet Star.
Scarface - The phrase "All I have in this world are my balls and my word... and I don't break 'em for no-one" in
DJ Hype's "True Playaz Anthem" (Parousia)
Anchorman - Noisia - Cannonball - Intro to the song is directly copied from the film, with the 'cannonball' shout
being the first drop.

Influenced by drum and bass

Jungle/drum and bass has and continues to influence many other musical genres, thanks to its variety,
experimentation and producer (borderline obsessive) professionalism.
Speed garage and 2step in the UK were born at the height of the popularity of jungle, copying the bass-lines, fast
tempo (though much slowed down), ragga vocals (with frequent MC accompaniment) and production techniques.
They may be referred to as descendants of drum and bass and at one time drove drum and bass into relative
obscurity.[12] [13] [50] [51] Grime and dubstep, their descendants, have driven these genres underground whilst drum
and bass has survived and evolved. Dubstep combines sounds of 2step with the deep basslines and the reggae vibe of
early jungle.
Drum and bass 10

Born at the end of the millennium, breakcore shares many of the elements of drum and bass and to the uninitiated,
tracks from the extreme end of drum and bass, may sound identical to breakcore thanks to speed, complexity, impact
and maximum sonic density combined with musical experimentation. Raggacore resembles a faster version of the
ragga influenced jungle music of the 1990s, similar to breakcore but with more friendly dancehall beats (dancehall
itself being a very important influence on drum and bass).[52] Darkcore a direct influence on drum and bass, is itself
heavily influenced by drum and bass, especially darkstep. There is considerable crossover from the extreme edges of
drum and bass, breakcore, darkcore and raggacore with fluid boundaries.
Despite never gaining the mainstream popularity of speed garage and 2step, drum and bass' impact in musical terms
has been very significant and the genre has influenced many other genres like jazz, metal, hiphop, big beat, house
music, trip hop, ambient music, techno, hardcore and pop, with artists such as Bill Laswell, Slipknot, Incubus,
Pitchshifter, Refused, Linkin Park, The Roots, Tabla Beat Science, Talvin Singh, Nitin Sawhney, MIDIval Punditz,
Jedi Mind Tricks, Timbaland, Missy Elliott, Pharell, Fat Boy Slim, Lamb, Underworld, The Streets, The Freestylers,
Nine Inch Nails and David Bowie (the last two both using elements of Goldie's "Timeless") and others quoting drum
and bass and using drum and bass techniques and elements. This is only the tip of the iceberg in terms of impact and
influence. The USA has adopted the sound with a genre called Ghettotech which have synth and basslines similar to
drum & bass.[12] [53] [54] [55] [56]

Drum and bass globally

Despite its roots in the UK, which can still be treated as the "home" of drum and bass, the style has firmly
established itself around the world. There are strong scenes in other English-speaking countries including Australia,
Canada, New Zealand, South Africa and the United States.[57] It is popular throughout continental Europe, and in
South America. So Paulo is sometimes called the drum and bass Ibiza. Brazilian drum and bass is sometimes
referred to as "sambass", with its specific style and sound. In Venezuela and Mexico, artists have created their own
forms of drum and bass combining it with experimental musical forms. Asia also has a drum and bass scene in
countries and cities like Indonesia, Hong Kong, Japan, Malaysia, Shanghai and Singapore. Established international
drum and bass producers and DJ's include names such as, Roni Size (England), B-Complex (Slovakia), DJ Marky
(Brazil), D.Kay (Austria), Noisia (Netherlands), Netsky (Belgium), Hive (United States), Dieselboy (United States),
Shapeshifter (New Zealand), Black Sun Empire (Netherlands), Counterstrike (South Africa), XRS (Brazil), Teebee
(Norway), Evol Intent (United States), Makoto (Japan), Mutated Forms (Estonia), Concord Dawn (New Zealand),
Camo & Krooked (Austria) and Muffler and Physics (Finland).

Appearances in the mainstream

"I'll keep you in safety, forever protect you. I'll hide you away from, the world you rejected. I'll hide
you, Ill hide you." - Kosheen "Hide U" (Moksha) 1999
"Shotter, hitter, serial killer! Go a your funeral and all drink out your liquor, when you are bury, we a
stand next to vicar. Fling on some dirt and make you bury little quicker, shouldn't test the youth dem in
the Tommy Hilfiger." - Pendulum & MC Spyda & Tenor Fly "Tarantula" (Breakbeat Kaos) 2005
Certain drum and bass releases have found mainstream popularity in their own right, almost always material
prominently featuring vocals.
Perhaps the earliest example was Goldie's Timeless album of 1995, along with Reprazent's Mercury Music
Prize-winning New Forms in 1997, 4hero's Mercury nominated Two Pages in 1998, and Pendulum's Hold Your
Colour in 2005 (the biggest selling Drum And Bass album of all time.) Tracks such as Shy FX and T-Power's "Shake
UR Body" gained a UK Top 40 Chart placing in 2005.[58]
Video game tracks, particularly Rockstar Games' Grand Theft Auto series have contained drum and bass tracks. The
MSX/MSX 98 radio station by DJ Timecode in Grand Theft Auto III and Grand Theft Auto: Liberty City Stories,
Drum and bass 11

played drum and bass exclusively.

The genre has some popularity in soundtracks, for instance Hive's "Ultrasonic Sound" was used in the Matrix's
soundtrack and the E-Z Rollers' song "Walk This Land" appeared in the film "Lock, Stock and Two Smoking
Barrels". Ganja Kru's "Super Sharp Shooter" is heard in the 2006 film Johnny Was.
The Channel 4 show Skins uses the genre in some episodes. Notably in Series 1 - Episode 3 (Jal) Shy-Fx and UK
Apachi - Original Nutta is played in Fazers club.
Drum and bass often makes an appearance as background music, especially in Top Gear and television commercials
thanks to its aggressive and energetic beats. Cartoon Network's Toonami programming block also employs it for
television spots and show intros,like the relaunch of SCI FI Channel (1997) segue music by Jungle Sky label.
However, due to the relative obscurity of the genre, most listeners would not recognize the music as drum and bass.

Record labels
See also: Category:Drum and bass record labels
Drum and Bass as a whole is dominated by a small group of "hardcore" record labels. These are run mainly by some
of the scene's most prominent DJproducers, such as Roni Size's Full Cycle Records, London Elektricity's Hospital
Records, Andy C's Ram, Goldie's Metalheadz , Dj Fresh's Breakbeat Kaos and DJ Hype, Pascal and DJ Zinc's True
Playaz.
In the Southwestern United states, in Los Angeles, From 2000 to Present, Nitrous Oxide Entertainment A small but
very important record label to Drum And Bass, has been bridging the Gap Between Mainstream music through One
of their Jungle Tools DJ Break albums Being Used in A Slipknot song "EyeLess" (Or it could be the opening few
bars to the 1996 song on "Back 2 Basics" called "Ease Yourself", by "The Collective"). The break is the basic amen
but is used to start and mixed in with Heavy Metal N2o Was also known for their Heavy Ragga/Dub influence on the
LA Underground Scene.artists on the label include; DJ STARSCREAM, B-BOY 3000,CRYLIC, GENERAL
MALICE,DJ 3D,DJ SHIRO,HED PE,DIALEKT. All Well Known in the Los Angeles Scene, B-boy 3000 Crylic and
N8 Released The DJ Break albums "JUNGLE TOOLS 1,2,3,4 & 3.5 (a Single 45'" almost essential to D&B
Historians.[59] [60] See Also [61]
The major international music labels such as Sony Music, Universal have shown very little interest in the drum and
bass scene though there has been a few signings, most recently Pendulum's In Silico LP to Warner. Roni Size's Full
Cycle Records, which played a big,or if not the biggest part in the creation of Drum and Bass,with their dark,
baseline sounds. V.Recordings was also a massive part of the development of Drum and Bass. With Roni Size, Krust
and Dj Die producing different, great tracks which were considered to be the first Mainstream Drum and Bass tracks.
In recent times Andy C's label Ram Records (UK) is pushing the boundaries of drum and bass further into the
mainstream. Artists like Chase & Status as well as Pendulum are already hovering in the mainstream and singles like
"DJ Marky and XRS - LK" have in the past topped the UK charts.
Drum and bass 12

Accessing drum and bass

Purchasing
Drum and bass is mostly sold in 12-inch vinyl single format. With the emergence of drum and bass into mainstream
music markets, more and more albums, compilations and DJ mixes are being sold on CDs. Still, purchasing drum
and bass music can involve searching for new releases in specialized record shops or using one of the many online
vinyl, CD and MP3 retailers.
Drum and bass can also be purchased in the form of "tape packs", which are a collection of recordings recorded at a
selected rave or party. Each tape contains the set by one DJ at that particular rave/party including the MCs.
Most tape packs contain 8 tapes with sets from different DJs. More recently tape packs have become available on
CD as tape cassettes are being phased out and recordable CD media is more available, although the CD packs still
retain their traditional name of "tape packs". Most of these packs contain 6 CDs.

Distributors (Wholesale)
The bulk of drum and bass vinyl records and CDs are distributed globally and regionally by a relatively small
number of companies such as SRD (Southern Record Distributors), ST Holdings, & Nu Urban.[62]

"Live" Drum and Bass

Many music groups and musicians (such as
Roni Size's Reprazent, Jojo Mayer's Nerve,
Pendulum, Shapeshifter, E-Z Rollers, STS9,
KJ Sawka London Elektricity, Chase &
Status, Johnny Rabb's BioDiesel, The Disco
Biscuits, Lake Trout ....) have taken drum
and bass to "live" performances, which
features an acoustic drum kit, synthesizers,
bass (upright or electric), and other
instruments. Samplers have also been taken
live by playing samples on drum pads or
synthesizers, assigning samples to a specific
drum pad or key. MCs are frequently
Aphrodite at 2009 Moscow action of the Pirate Station: Immortal. World's largest
featured in live performances. Some acts drum and bass festival.
such as Fragment use a lineup of a guitarist,
bassist, at least one keyboardist, and an acoustic drummer, even if none of these instruments are present in the actual
song, simply to give it a "thicker live sound". DJ FU and the Jungle Drummer also feature predominatly in modern
day live d'n'b. Their show features them battling live on stage in a DJ v drummer scnario. With Jungle Drummer
drumming at speeds up to 180 bpm. Other acts to take note of on the 'live' drum and bass scene include Pendulum
and Chase & Status, both of whom perform their tracks live. This has given both of these bands a way to access the
mainstream, giving drum and bass a more commercial edge. Some bands have even taken the term somewhat
literally, such as Lightning Bolt, White Mice, and Comparative Anatomy (band).
Drum and bass 13

Media presence
Radio
The two highest profile radio stations playing drum and bass shows are The Drum and Bass Show with Fabio and
Grooverider on BBC Radio 1, simulcast in the US and Canada on Sirius XM, and DJ Hype on Kiss 100 in London.
The BBC's "urban" station BBC 1Xtra also features the genre heavily, with DJs Bailey and Crissy Criss as its
advocates. The network also organises a week-long tour of the UK each year called Xtra Bass. London pirate radio
stations have been instrumental in the development of Drum and Bass, with stations such as Kool FM (which
continues to broadcast today having done so since 1991), Don FM (the only Drum and Bass pirate to have gained a
temporary legal license), Rude FM, Origin FM and Eruption amongst the most influential.
Since 1999, drum and bass continues to be featured 24/7 on www.bassdrive.com and www.bassdrive.co.uk with live
DJ's from around the world. With a roster that includes A-sides, Ash-a-Tack, Stunna, Jamie Smith, Flaco, Fusion,
DFunk, Will Miles, Overfiend, Reflect, Spinn, Operon, big bud, Komatic, Carl Matthes, Mixmaster Doc, Random
Movement, Calculon, Dan Marshall, Andy Sim, Paul SG, and many more added each year along with new upcoming
internet radio stations like www.NoiseMonster.fm [63] and www.KrisisDNB.com.
In North America, XM Satellite, 89.5 CIUT (Toronto), Album 88.5 (Atlanta) and C89.5fm (Seattle) have shows
showcasing drum and bass. Seattle also has a long standing electronica show known as Expansions on 90.3 FM
KEXP. The rotating DJ's include Kid Hops, whose shows are made up mostly of drum and bass. In Columbus, Ohio
WCBE 90.5 has a two hour electronic only showcase, "All Mixed Up," Saturday nights at 10pm. At the same time
WUFM 88.7 plays its "Electronic Playground." Also, Tulsa, Oklahoma's rock station, 104.5 The Edge, has a two
hour show starting at 10:00PM Saturday nights called Edge Essential Mix mixed by DJ Demko showcasing
electronic and drum and bass style. While the aforemention shows in Ohio rarely play drum and bass the latter plays
the genre with some frequency. In Tucson, Arizona 91.3 FM KXCI has a two hour electronic show known as
"Digital Empire", Friday nights at 10pm (MST). Resident DJ Trinidad showcases various styles of electronica, with
the main focus being drum and bass, jungle, & dubstep. Founded in 2002, Digital Empire features weekly guest DJs
and producers, as well as an extensive online playlist and live webstream at KXCI's website [64].
In New Zealand, Aeon hosts a 4 hour Drum & Bass show called System Bypass on 105.4 BOPFM (Tauranga) every
Sunday night from 7:00pm to 11:00pm, featuring some of New Zealand's, and the world's, latest Dnb tunes. Aeon
also hosts a Dubstep show every Thursday on BOPFM.
In Australia, Spikey Tee plays an hour long Drum and Bass show, every Saturday night at 2am on 97.7 fm Sbs Radio
Alchemy(Sydney)
In the Philippines, 103.5 Max FM has "The Bass Hour" every Saturday at midnight that caters to nothing but bass
music.
In France, the American University of Paris has a two-hour Drum and Bass program called "Jungle B Eyrie" hosted
every Wednesday at 6pm +1GMT.
In Belgium, the national radio station "Studio Brussel" has a weekly show called "Jungle Fever" the radio show is
hosted by Murdock, one of the famous Drum n Bass dj's in Belgium.
In Estonia, Radio 2 has two shows, which play DnB - "Tramm ja Buss" (hosted by dj/producer S.I.N & the legend in
Estonian D'n'B sceen Raul Saaremets)[65] and "Tjuun In" (hosted by Qba, To-Sha and L.Eazy)[66] .
Drum and bass 14

Magazines
The best known drum and bass publication was Kmag magazine(formerly called Knowledge Magazine) before it
went completely online in August 2009. Other publications include the longest running drum and bass magazine
worldwide ATM Magazine, and Austrian-based Resident. Toronto-based Rinse Magazine, dedicated to the North
American drum and bass scene, and established in 2002 by publisher John Tan, ran for 28 issues, ending in 2007.
The editor was Richard Yuzon.

Literature
A History of Rock Music, 1951-2000 by Piero Scaruffi (ISBN 978-0595295654), nonfiction in HTML form [67]
All Crews: Journeys Through Jungle / Drum and Bass Culture by Brian Belle-Fortune (ISBN 0-9548897-0-3),
nonfiction
"Roots 'n Future" in Energy Flash by Simon Reynolds, Picador (ISBN 0-330-35056-0), nonfiction (British
edition)
Generation Ecstasy : Into the World of Techno and Rave Culture by Simon Reynolds, Routledge. (ISBN
0415923735), nonfiction (American edition)
Rumble in the Jungle: The Invisible History of Drum and Bass by Steven Quinn, in: Transformations, No 3
(2002), nonfiction (ISSN 1444-377) PDF file [68]
State of Bass: Jungle - The Story So Far by Martin James, Boxtree (ISBN 0-7522-2323-2), nonfiction
The Rough Guide to Drum 'n' Bass by Peter Shapiro and Alexix Maryon (ISBN 1-85828-433-3), nonfiction
King Rat by China Miville (ISBN 0-330-37098-7), fiction

Online
Drum and bass has a very strong, important and vocal online presence with many dedicated portals, forums,
communities and internet radio stations - the internet has to much degree superseded the role of pirate radio stations
in spreading and popularising the genre, as the stations have switched to newer genres.[69] Internet sites are a source
of the latest mixes (professional or amateur) and tracks by unsigned producers Drum and Bass for unsigned artists
[70]
. The dominant and most popular websites are Dogs On Acid and Drum and Bass Arena.[71]

Dancing
A style of rave dance named 'X-Outing' developed in Eastern Europe during the late 2000s. The street dance
involves quick step-like movements, whereby the dancer hops between their heels and toes in a rapid motion, from
leg to leg. The dancer would also often rock forwards and back on their heels and toes with one of their legs in front.
The core 'stepping' move is usually called the 'X-Step' by many dancers. Involving many different flavors of body
movements, the dance is also danced to breakcore and certain other types of freetekno and rave music. Many
X-Outing dancers upload videos of themselves performing the dance to the popular video-hosting website
'YouTube'. X-Outing dancers often participate in underground social competitions of the dance amongst other
dancers on the streets of moscow. Tecktonik is also often danced to the music.
Drum and bass 15

See also
History of drum and bass
Junglist
List of jungle and drum'n'bass artists
List of jungle and dnb emcees
Category:Drum and bass record labels
List of electronic music genres
Oldschool jungle
Drum and Bass Arena
Dogs On Acid
Noise Monster [63]

References
As a musical genre that has recently emerged, drum and bass music has not been the subject of much academic or
printed study. As such, reference materials are generally primary (particularly interviews with music producers, DJs,
record label owners and listeners) and online.
"The early development of drumnbass had occurred in a seeming journalistic vacuum due to its
perceived affiliation with the critically-dismissed sounds of rave. Once it had achieved the traditional
markers of success, its emergence was rewritten into the pages of musical history." - Steven Quinn,
Rumble In the Jungle, the Invisible History of Drum 'n' Bass
[1] For references, see History of drum and bass article.
[2] ""Rolling Stones review of Saturnzreturn of February 8, 1998"" (http:/ / www. rollingstone. com/ artists/ goldie/ albums/ album/ 149885/
review/ 5941399/ saturnzreturn). . Retrieved January 26, 2007.
[3] New Dawn - City Clubs Take Back The Night article, Village Voice, February 27, 2001
[4] ""Knowledge Magazine Article mentioning rise of live drum and bass in 2004"" (http:/ / www. knowledgemag. co. uk/ features.
asp?SectionID=1031& uid=& MagID=1059& ReviewID=1696& PageNumber=1). . Retrieved October 18, 2006.
[5] ""Knowledge Magazine Article on live drum and bass bands"" (http:/ / www. knowledgemag. co. uk/ features. asp?ReviewID=1655&
PageNumber=1& SectionID=1031). . Retrieved October 18, 2006.
[6] ""TR-808"" (http:/ / www. synthmuseum. com/ roland/ roltr80801. html). . Retrieved December 24, 2006.
[7] ""Amen Break video on youtube.com"" (http:/ / www. youtube. com/ watch?v=5SaFTm2bcac). . Retrieved September 6, 2006.
[8] ""Forever And Ever Amen article on knowledgemag.co.uk"" (http:/ / www. knowledgemag. co. uk/ features. asp?SectionID=1031& uid=&
MagID=1062& ReviewID=1684& PageNumber=1). . Retrieved September 6, 2006.
[9] ""junglebreaks.co.uk"" (http:/ / www. junglebreaks. co. uk/ breaks. html). . Retrieved August 15, 2010.
[10] ""Dom & Roland interview by Ben Willmott at knowledgemag.co.uk"" (http:/ / www. knowledgemag. co. uk/ features.
asp?ReviewID=1610& PageNumber=1& SectionID=1031). . Retrieved September 6, 2006.
[11] ""Life in The Fast Lane: An Overview of Drum and Bass by George Broyer at drumbum.com"" (http:/ / store. drumbum. com/ drums/
drum-n-bass-drum-and-bass. htm). . Retrieved September 6, 2006.
[12] ""Red Bull Academy Interview Fabio - The Root To The Shoot Part 2"" (http:/ / www. redbullmusicacademy. com/ TUTORS. 9. 0.
html?act_session=290). . Retrieved September 4, 2007.
[13] ""Red Bull Academy Interview Zinc - Hardware Bingo"" (http:/ / www. redbullmusicacademy. com/ TUTORS. 9. 0. html?act_session=242).
. Retrieved September 4, 2007.
[14] ""Remix Mag Interview with Rob Playford, drum and bass pioneer at remixmag.com"" (http:/ / remixmag. com/ mag/
remix_drumnbasspioneer_rob_playford/ ). . Retrieved October 5, 2006.
[15] The Good Life, No Such Thing As Society article, The Independent, July 23, 2003
[16] ""How To Release a Record pt2 at knowledgemag.co.uk"" (http:/ / www. knowledgemag. co. uk/ features. asp?ReviewID=1170&
PageNumber=1& SectionID=1031). . Retrieved September 6, 2006.
[17] ""Goldie in Shanghai on youtube.com"" (http:/ / www. youtube. com/ watch?v=oD2OTWHppzs). . Retrieved September 6, 2006.
[18] ""MC Evolution feature on knowledgemag.co.uk"" (http:/ / www. knowledgemag. co. uk/ features. asp?SectionID=1031& uid=&
MagID=1063& ReviewID=1680& PageNumber=1& arcMagID=1062). . Retrieved September 6, 2006.
[19] ""Dogs On Acid note on origin of phrase"" (http:/ / www. dogsonacid. com/ showthread. php?mode=article& threadid=171640). . Retrieved
October 3, 2006.
[20] ""The Many Faces of Drum 'n' Bass by Rob Bliss"" (http:/ / www. drumandbass. tripod. com/ dnb. htm). . Retrieved June 29, 2007.
Drum and bass 16

[21] ""The Invisible Man Discography"" (http:/ / www. discogs. com/ artist/ Invisible+ Man,+ The). . Retrieved June 29, 2007.
[22] ""The Invisible Man - Top Ten Selection"" (http:/ / hardcorewillneverdie. com/ invisible10. html). . Retrieved August 2, 2010.
[23] ""Various - Drum & Bass Selection 1"" (http:/ / www. discogs. com/ Various-Drum-Bass-Selection-1/ master/ 5215). . Retrieved Aug 2,
2010.
[24] ""Trace Discography"" (http:/ / www. discogs. com/ artist/ DJ+ Trace?anv=Trace). . Retrieved August 3, 2010.
[25] "Ed Rush Discography"" (http:/ / www. discogs. com/ artist/ Ed+ Rush). . Retrieved August 3, 2010.
[26] "Nico Discography"" (http:/ / www. discogs. com/ artist/ Nico+ (4)). . Retrieved August 3, 2010.
[27] ""DJ Hype statement on realplayaz.co.uk forum"" (http:/ / www. realplayaz. co. uk/ forum/ showthread. php?t=13411). . Retrieved
September 6, 2006.
[28] ""NOOKIE by Noah Horton on weeklydig.com"" (http:/ / www. weeklydig. com/ music/ articles/ nookie). . Retrieved September 6, 2006.
[29] ""Nigel Berman article on Goldie for the Insight, 2002"" (http:/ / www. nigelberman. co. uk/ feature1_nov2002. htm). . Retrieved September
6, 2006.
[30] ""LTJ Bukem feature on knowledgemag.co.uk"" (http:/ / www. knowledgemag. co. uk/ features. asp?ReviewID=1343& PageNumber=1&
SectionID=1031). . Retrieved September 6, 2006.
[31] ""History of drum & bass on London News"" (http:/ / www. 020. com/ webs/ 02006/ london/ showArticle_london. cfm?id=384). . Retrieved
January 18, 2007.
[32] ""Klute feature on knowledgemag.co.uk"" (http:/ / www. knowledgemag. co. uk/ features. asp?ReviewID=1691& PageNumber=1&
SectionID=1031). . Retrieved September 6, 2006.
[33] ""The History of Rock Music: 1990-1999 Drum'n'bass"" (http:/ / www. scaruffi. com/ history/ cpt519. html). . Retrieved January 18, 2007.
[34] ""Ill Logic & Raf interview at breakbeat.co.uk";" (http:/ / www. breakbeat. co. uk/ features/ Illlogic& raf. html). . Retrieved September 6,
2006.
[35] ""Liquid V Show Us The Bigger Picture article at breakbeat.co.uk"" (http:/ / www. breakbeat. co. uk/ news/ default. asp?newsID=1382). .
Retrieved September 6, 2006.
[36] ""Mike Bolton interview on rwdmag.com"" (http:/ / www. rwdmag. com/ articles/ fullstory. php?& sid=& id=367). . Retrieved September 6,
2006.
[37] ""Being Everything But The Girl article, Salon Magazine, September 28, 1998"" (http:/ / www. salon. com/ ent/ music/ int/ 1999/ 09/ 28/
everything/ print. html). . Retrieved January 26, 2007.
[38] ""Bailey profile on bbc.co.uk"" (http:/ / www. bbc. co. uk/ 1xtra/ bailey/ profile/ ). . Retrieved September 6, 2006.
[39] ""Makoto interview at 404audio.com"" (http:/ / www. 404audio. com/ ?q=interviews& more=1& p=315). . Retrieved September 6, 2006.
[40] ""NJCSativa Records interview by Dhanu Le Noury at planetdnb.com"" (http:/ / www. planetdnb. com/ dnb_interviews921. php). .
Retrieved September 6, 2006.
[41] ""A Guy Called Gerald's Silent Drum & Bass Protest by Benedetta Skrufff at tranzfusion.net"" (http:/ / www. tranzfusion. net/ articles/
shownews. asp?newsid=4873). . Retrieved September 6, 2006.
[42] ""Photek interview at native-instruments.com"" (http:/ / www. native-instruments. com/ index. php?id=photek2_us). . Retrieved September
6, 2006.
[43] ""MC XYZ interview at planetdnb.com"" (http:/ / www. planetdnb. com/ dnb_interviews1196. php). . Retrieved September 6, 2006.
[44] ""Goldie feature by Matthew Collin at techno.de"" (http:/ / www. techno. de/ mixmag/ 97. 09/ Goldie. a. html). . Retrieved September 6,
2006.
[45] ""Discogs.com entry on Ready Or Not remixes"" (http:/ / www. discogs. com/ release/ 219368). . Retrieved April 9, 2007.
[46] ""Frankie Bones"" (http:/ / www. discogs. com/ artist/ Frankie+ Bones). . Retrieved April 29, 2007.
[47] ""History of Freestyle Music"" (http:/ / music. hyperreal. org/ library/ history_of_freestyle. html). . Retrieved April 29, 2007.
[48] ""Renegade Soundwave - The Phantom"" (http:/ / www. discogs. com/ release/ 136990). . Retrieved April 29, 2007.
[49] ""Drum 'n' Bass Sample List at wanadoo.nl"" (http:/ / home. wanadoo. nl/ jari/ dnb_samples. html). . Retrieved September 6, 2006.
[50] ""Adult Hardcore written by Simon Reynolds (originally published in The Wire) on garagemusic.co.uk"" (http:/ / www. garagemusic. co.
uk/ 2step. html). . Retrieved September 6, 2006.
[51] 2-Steps closer to America, a new dance mausic crosses the Atlantic to the beat of MJ Cole, Artful Dodge and others article, Boston Globe,
July 6, 2001
[52] ""Raggacore article on lfodemon.com"" (http:/ / www. lfodemon. com/ raggacorearticle/ index. htm). . Retrieved September 6, 2006.
[53] ""A Guy Called Gerald feature at knowledgemag.co.uk"" (http:/ / www. knowledgemag. co. uk/ features. asp?ReviewID=1278&
PageNumber=1& SectionID=1031). . Retrieved September 6, 2006.
[54] ""Remix Mag Interview with Rob Playford, drum and bass pioneer at remixmag.com"" (http:/ / remixmag. com/ mag/
remix_drumnbasspioneer_rob_playford/ ). . Retrieved October 5, 2006.
[55] ""Popular Musicology On Line Article "Big Tings Ah Gwan": Junglist Music Takes Centre Stage, An Introduction to Jungle Music And An
Enquiry Into Its Impact On The London Jazz Scene"" (http:/ / www. popular-musicology-online. com/ issues/ 02/ missingham. html). .
Retrieved September 4, 2007.
[56] ""Pitchshifter biography"" (http:/ / www. allmusic. com/ cg/ amg. dll?p=amg& sql=11:3pfrxqe5ld6e~T1). . Retrieved May 16, 2009.
[57] Drum N' Bass Keeps The Beat article, Boston Globe, February 6, 2003
[58] The Pop Life article, New York Times, September 17, 1997
[59] www.Digitalbombing.com
Drum and bass 17

[60] http:/ / www. n2orecords. com/

[61] http:/ / www. digitalbombing. com/ blog/
[62] ""Distribution feature at knowledgemag.co.uk"" (http:/ / www. knowledgemag. co. uk/ features. asp?ReviewID=1574& PageNumber=1&
SectionID=1031). . Retrieved September 6, 2006.
[63] http:/ / www. noisemonster. fm
[64] http:/ / www. kxci. org
[65] "Tramm ja buss" description (http:/ / r2. err. ee/ saated?saade=22) Raadio 2 (Estonian)
[66] "Tjuun In" description (http:/ / r2. err. ee/ saated?saade=42) Raadio 2 (Estonian)
[67] http:/ / www. scaruffi. com/ history/ index. html
[68] http:/ / transformations. cqu. edu. au/ journal/ issue_03/ pdf/ quinn. pdf
[69] ""Jungle And The Web feature at knowledgemag.co.uk"" (http:/ / www. knowledgemag. co. uk/ features. asp?ReviewID=1683&
PageNumber=1& SectionID=1031). . Retrieved September 6, 2006.
[70] http:/ / www. dubplates. co. uk
[71] "BBC - Radio 1 - Fabio & Grooverider" (http:/ / www. bbc. co. uk/ radio1/ fabioandgrooverider/ ). BBC. . Retrieved November 4, 2007.
Both listed in the 'Fabio and Grooverider's links' section.

External links
History of drum & bass (http://www.bbc.co.uk/1xtra/events/xtrabass06/interact/timeline.shtml?id=1), a
BBC timeline on the history of drum & bass with track listings, quotes and samples
Article Sources and Contributors 18

Article Sources and Contributors

Drum and bass Source: http://en.wikipedia.org/w/index.php?oldid=384559780 Contributors: 05fallont, 131.152.29.xxx, 17Drew, 195.0.45.xxx, 1973bear, 1oddbins1, 24.165.18.xxx,
63.206.105.xxx, 8BlackDahlia8, AKismet, Accipio Mitis Frux, Accountready, Acdtrp, AcidSlayer, Acur8info, Adolphus79, AdultSwim, After Midnight, Ahoerstemeier, Aktsu,
AlecTrevelyan402, Alex h, AlexHajnal, AlexandertheP, Andre Engels, AndrewHowse, Anjum48, Annelid, Anonymous editor, Anrie Nord, Ansotronic, Anysnail, Arjayay, Arthureisele, Ary29,
Aryder779, Ascidian, Asillymollon, Asmadeus, Asphalt risin, Atduskgreg, Audacity, Avatar, B.Wind, BKHal2007, Badminton, Bakanov, Bakartkung, Balisani, Banpei, BarryNorton, Bbatsell,
Being blunt, Belovedfreak, Ben Ben, BenXO, Bewareircd, Beyondthislife, Blanchardb, Bllix, Bobo192, BodynSoul, Bogdangiusca, Bongwarrior, Bookofjude, Bradtcordeiro, Brock 009, Brz7,
Bubuka, Buddinsept, BuddyUPsmith, Bushing, Bustup180, C4st0rTr0y, C777, CBM, CRGreathouse, Can't sleep, clown will eat me, Capricorn42, Catapult, Catgut, Channelturbo, Chris Roy,
Chris88187, Cielomobile, Cleared as filed, Cmdrjameson, Code1193, Conversion script, Courcelles, Craptree, D0762, D6, DH85868993, DJ Easyrider, DJLean, DVD R W, Dancter,
Dangerousnerd, Dar-Ape, Darkspots, Davehi1, Daverocks, David.morton, Davidaird, De Bruvisso, Deadbath, Dekisugi, Delirium, Deville, Dgtljunglist, Digest, Discordia23, Discospinster,
Djm101, Djtachyon, Dnbsecrets, Dominic, Dori, Dr. Antonio Straughn, Dr.Frequency, Dreadkid08, Drewcifer3000, Drum guy, DubCrazy, Dumbodown, Dungodung, Dustek, ESkog, Eiskis, El
C, Elgato72, Elk Salmon, Ems9, EoGuy, Epolk, Ericphillipz23, Esanchez7587, EugeneZelenko, Everyking, Evil Monkey, Exhalent, Extraordinary Machine, Faemir, Fan-1967, Fandraltastic,
Fclass, Fidgett100, Filelakeshoe, Fluffski, Flutefreek, Fossiili, Frantik, Freespazz, Ftphokie, Funnyfarmofdoom, Fusedpirates, Future-dnb, Fuzzypeaches, GB fan, Gaius Cornelius, Galanoth7395,
Gardar Rurak, Geckodude, George Kosh, GigaTronicus, Gilliam, Glass Sword, Global Access, Gogo Dodo, Gorepriest, GraemeL, Graham87, Graue, Green Baron245, Grunners, Grymeline,
Gurch, Guy Hatton, Gwalla, Hadal, Haemo, Hamish2k, Hankwang, Happy Funtime, Helix84, Helloworldio, Hephaestos, Homestarmy, Hughcharlesparker, Hughtcool, I80and, INkubusse, In My
Black Tee, Inetd, Interiot, Iridescent, Ironholds, Ixfd64, J.delanoy, JDB, JHP, JLaTondre, Jacek Kendysz, Jannex, Jared Hunt, Jasonk1234, Java13690, Jayann, Jayflux, Jeff G., Jersyko,
Jezhotwells, Jfost, Jgjournalist, Jh51681, Jill Reinmuth, Jimjamjak, John Eden, Johndburger, Johnnymurray, Jonathan Williams, Jonik, Joost de Kleine, Joshsteiner, Jotsko, Joyraider, Joyrex,
Jumblist, Jumbuck, Jungleonvinyl, Junglist@large, Jvhertum, KConWiki, Kaiba, Kaini, Kaobear, Karih, Kelly Martin, Kenesis, Kevinmarkbroome, Kingchubbyj, Koavf, Kokirininja, Konman72,
Koyaanis Qatsi, Krash, Kridian, Kurt Jansson, Kuru, Kx1186, LFaraone, Lemanic, Leopoldkristjansson, Leszek Jaczuk, Lexor, Lightmouse, LilHelpa, Lkopeter, Lsv, Lucid Smog, Lugnuts,
Luismondragon, MAXIMUS, MCBlaise, MPerel, MachinaLabs, Machuka, Macintosh User, MagikGimp, Magister Mathematicae, Mahanga, Malchick79, Malcolm Farmer, Malcolmxl5, Mansour
Said, MapsMan, Marcika, Markaci, Markieman234, Maryishimotomorris, Mattbr, Matthew Auger, Matthew Yeager, Matveims, Mav, May Cause Dizziness, Mceder, Meco, Meehawl, MegX,
MeltBanana, Mercy, Mfv2, Michael Devore, Mike Dillon, Mild Bill Hiccup, MilkMiruku, Miltonpop84, Mitchipr, Mjb, Mkginger, Mkjell, Mohammedelbaradei, Monkey Tennis, Montchav, Mr
Tom, Mr little irish, Mr.Z-man.sock, MrMarmite, Mrhaste, Mrmrjames, Mushin, NW's Public Sock, NaBUru38, Name163, Naroza, Narsil, NawlinWiki, Nem846, Neon white, Netrat, Neurolysis,
Nick Cooper, Nickin, Nlu, Nohat, Noodle snacks, Nuancednb, NuclearFunk, Nuge, Nurg, Oklahoma86, Omicronpersei8, OnBeyondZebrax, Onco p53, OriginalJunglist, PJDEP, PS2pcGAMER,
Parakalo, Paranomia, Paul Donnelly, Paul Pogonyshev, Paul foord, Paulkrg, Pelmeen10, Pepperbar, Pete boon, Petr Kopa, Pit, PizzaMargherita, Pjrich, Plim84, Plopflopper, Poeloq, Pofik,
Pol098, Politepunk, Portillo, Powelldinho, Prasi90, Prodego, Psi36, Psychiks, Psychomelodic, Qahtani, Quequeque, Quinxorin, Qwertyqueerpie, R.123, Rainbowabc, Raveguideuk, Ravelinks,
Ravetapepacks, Rdcapasso, RedRose333, Redd Dragon, Remurmur, Renx81, Reotrospee, Resonant, Rettetast, Rex the first, RexNL, Rholton, Rich Farmbrough, Ricky81682, Ridernyc, RioVerde,
Rjanag, Rje, Roachgod, Robert Merkel, RobertG, Rodyak, Rokkaz, Rollers2008, Rossami, Rowan Moore, Ryan4, SJP, Sabrebd, Sam Hocevar, Sard112, Sardanaphalus, SchuminWeb,
Seaeagle04, Sfan00 IMG, Sgkay, Shacklewellboy, Shadowjams, ShelfSkewed, Shirt58, Shodanuk, Shono Dynasty, Simontreal, Sixty Hurtz, Skagedal, SkeptikalNL, Skier Dude, Sluzzelin,
Smartgenes, Songofsongsthecomicbook, SpackAtak, Sparklism, Special-T, SqueakBox, St8ofbass, StanSteps, Stardust8212, Startstop123, Stephenb, Stevekeiretsu, Stiel, Storkynoob,
Stuffisthings, Subash.chandran007, Sugar Bear, SuperJ9587, Susume-eat, Swerdnaneb, T1mmyb, TBH, THEN WHO WAS PHONE?, TUF-KAT, Tactik, Tanet, Taviso, Tazmaniacs, Template
namespace initialisation script, Tempmusic, Tenebrae, Terryc, Tetraedycal, TheCuriousGnome, TheSplane, Thechronic, Theelf29, Thefnatics, Themindset, Thingg, Thinking of England, Thiseye,
Tim1357, Tlotoxl, Toi, Tolsen718, Tommy2010, TommyDaniels, Tony Fox, Torqueing, True Steppa, Tucansam420, TwoThirdsMajority, Ugotamesij, Unyoyega, User163, Vanrock, Vaudaville,
Veinor, Ventolin, Visor, Vitrubiofunk, Vriullop, Welsh, Wickethewok, Wiki Wikardo, Wikideza, Wikipelli, Will Lakeman, Witeshade, Wknight94, Woohookitty, Wtmitchell, Wwagner,
Www.drumandbass.fr, Xiayu, Xkomczax, Xlogic, Xqminionpx, Yabbadab, Yamla, Yaneleksklus, Youandme, ZS, Zenbeats, Zepheus, Zerious, Zoicon5, Zundark, Zvonsully, 1662 anonymous
edits

Image Sources, Licenses and Contributors

Image:Goldie 2003.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Goldie_2003.jpg License: Public Domain Contributors: AnemoneProjectors, Ardfern, Frank C. Mller, High on
a tree, Libertad y Saber, Thuresson, Werckmeister, Yamavu
Image:Valvesoundsystem.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Valvesoundsystem.jpg License: Public Domain Contributors: Wikigod
Image:Goldiednbravewithmcchina.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Goldiednbravewithmcchina.jpg License: Creative Commons Attribution-Sharealike 2.5
Contributors: Dustek
File:Pirate station moscow 2009.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Pirate_station_moscow_2009.jpg License: Creative Commons Attribution 3.0 Contributors:
User:Elk Salmon

License
Creative Commons Attribution-Share Alike 3.0 Unported
http:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/