Προβολή πηγαίου κώδικα για τη σελίδα Drum and bass

{{ΜουσικόΕίδος|όνομα=Drum and bass
|χρώμα=orange
|bgcolor=black
|καταγωγή= [[Oldschool jungle]], [[techno]], [[breakbeat hardcore]], [[darkcore]], [[industrial]], [[ηλεκτρονικό rock]], [[electronica]], [[μουσική house]] [[breakbeat]]
|τόπος γέννησης= Αρχές/μέσα δεκαετίας 1990· [[Μπρίστολ]] και [[Λονδίνο]], [[Ηνωμένο Βασίλειο]]
|όργανα= [[synthsizer]], [[drum machine]], [[ντραμς]], [[πλήκτρα]], [[sampler]], [[υπολογιστής]], [[digital audio workstation]]
|είδη= Darkstep, hardstep, atmospheric, drumfunk, funkstep, jazzstep, dancefloor, jump up, drumstep, liquid funk, neurofunk, techstep, intelligent jungle/drum and bass, sambass
|συναφή είδη= [[Breakcore]], [[digital hardcore]], [[raggacore]], [[Power noise|technoid]]
|παράγωγα είδη = [[Dubstep]]}}
Η '''ντραμ εντ μπέις''' (αγγλικά: '''drum and bass'''· γνωστή και ως '''drum 'n' bass''', '''drum & bass''' ή, συντομογραφημένα, '''D&Β''', '''DnB''' και''' D'n'B''') είναι είδος ηλεκτρονικής μουσικής που αναδείχτηκε στη Βρετανία από τη [[Ρέιβ|ρέιβ σκηνή]] στις αρχές της δεκαετίας του 1990.{{sfnp|Quinn|2002|p=1|ps=: «From its emergence in the English hardcore rave scene of 1991-2, the music that came to be known as drum’n’bass evolved at such a pace that by the late 1990s it stood as one of the most energetic and influential of the post-house musics».}} Η μουσική drum and bass στο σύνολό της χαρακτηρίζεται από γρήγορους ρυθμικούς χτύπους (κατ’ εξοχήν 160-180 [[Tempo|χτύπους ανά λεπτό]]),{{sfnp|Hockman|2012|p=1|ps=: «Hardcore began around 1990, and was the first of the HJDB (hardcore, jungle, drum and bass) genres to fully embrace the use of breakbeats. Tracks soon left the 120–130 beats per minute (BPM) house and techno standard and steadily became faster (upwards of 180 BPM), with longer, more intricate drum patterns».}}{{sfnp|Christodoulou|2013|p=195|ps=: «Drum ‘n’ bass is an electronic dance music genre with tempos typically between 160 BPM to 180 BPM».}} με ισχυρά μπάσα και υπο-μπάσα.<ref name=":0">{{Cite web|url=https://www.allmusic.com/subgenre/jungle-drumnbass-ma0000002557|title=Jungle/Drum'n'Bass Music Genre Overview|website=AllMusic|publisher=|language=αγγλικά|accessdate= 2018-12-09|quote=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.}}</ref><ref name=":11">{{cite book|author1=Peter Childs |author2=Michael Storry |year=1999 |chapter=Ambient music |title=Encyclopaedia of Contemporary British Culture |url=https://archive.org/details/encyclopediaofco0000unse_l1e7 |series=Encyclopedias of Contemporary Culture |others=Λήμμα από τον Simon Bottom |location=Ηνωμένο Βασίλειο |publisher=Routledge |page= [https://archive.org/details/encyclopediaofco0000unse_l1e7/page/289 289] |isbn= 0415147263 |quote=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> Αποτελεί τον άμεσο διάδοχο της jungle μουσικής,{{sfnp|Hall|2018|p=121|ps=: «From 1993, the term ‘drum ‘n’ bass’ started to be used to describe a new direction for the musical style, which was a move that would come to be seen by some as divisive in terms of race and class. The new style became fully established during 1994 as some producers tried to distance themselves from jungle’s increasingly negative associations by constructing complex drum and bass driven tracks rather than using lyrics and samples».}} με την οποία θεωρούνται κατ' άλλους απλώς συγγενή{{sfnp|Rabb|2001|p=13|ps=: «Even though these styles are similar, they do have their differences. The difference between jungle and drum 'n' bass is fairly simple. Jungle is more random and syncopated using sixteenth notes within the groove. Drum 'n' bass grooves are much simpler grooves and usually slightly slower in tempo».}}{{sfnp|Waugh|2000|p=3, 11|ps=: «Is it Jungle or is it Drum & Bass? The two terms are often used interchangeably although Drum & Bass is generally regarded as an offshoot of Jungle».}} και κατ' άλλους συνώνυμα{{sfnp|Waugh|2000|p=3, 11|ps=: «A relative newcomer to the global scene, drum 'n' bass is also sometimes called jungle music. Although views differ on precise terminology, they both refer essentially to the same kind of music».}}{{sfnp|Jones|2006|p=33|ps=: «Even though these styles are similar, they do have their differences. The difference between jungle and drum 'n' bass is fairly simple. Jungle is more random and syncopated using sixteenth notes within the groove. Drum 'n' bass grooves are much simpler grooves and usually slightly slower in tempo».}}{{sfnp|Christodoulou|2013|p=206|ps=: «By 1993, the genre name ‘drum ‘n’ bass’, which initially emerged as an alternative name for Jamaican instrumental dub tracks in the 1970s, was increasingly used alongside ‘jungle’ to describe records that placed particular emphasis on the drum ‘n’ bass elements».}}<ref name=":11" /> είδη.

Ο ήχος της drum and bass, εξαιτίας του ευρέος φάσματος συχνοτήτων που χρησιμοποιείται για την παραγωγή του, απαιτεί ιδιαίτερα ισχυρό ηχοσύστημα για την πλήρη αναπαραγωγή του.{{sfnp|Jones|2006|p=33|ps=: «With such attention paid to the drums and the bass, a bit of innovation in drum programming and a decent sound system to fully appreciate the bass are essential».}} Το [[μπάσο (ήχος)|μπάσο]] μαζί με τα [[ντραμς]] αποτελούν τα κυριότερα στοιχεία του είδους. Κατά την παραγωγή drum and bass κομματιών, η δομή τους διαμορφώνεται έτσι από τους καλλιτέχνες, ώστε η μουσική να επικεντρώνεται κατά πολύ περισσότερο σε αυτά τα δύο μουσικά στοιχεία σε σύγκριση με άλλα [[Ηλεκτρονική μουσική|ηλεκτρονικά χορευτικά είδη μουσικής]].{{sfnp|Christodoulou|2013|p=206|ps=: «By 1993, the genre name ‘drum ‘n’ bass’, which initially emerged as an alternative name for Jamaican instrumental dub tracks in the 1970s, was increasingly used alongside ‘jungle’ to describe records that placed particular emphasis on the drum ‘n’ bass elements».}}

== Ιστορία ==

=== Η περίοδος της breakbeat hardcore ===
Η ιστορική ρίζα της drum and bass (ακόμα γνωστής μόνο ως jungle) εντοπίζεται στη Βρετανία στα τέλη της δεκαετίας του 1980 και στις αρχές του 1990, όταν στη ρέιβ σκηνή έχει πλέον πλήρως ωριμάσει ο ήχος της [[breakbeat hardcore]],{{sfnp|Hall|2018|p=113|ps=: «Jungle as a new style of EDM emerged on the dance floors of London’s breakbeat hardcore clubs in the early 1990s [...] At the end of the 1980s, when hardcore rave started to adopt breakbeat rhythms that would later form and important part of the jungle and drum 'n' bass sound...».}} ως παράγωγο της [[acid house]] και της [[techno]]. Η [[hardcore]] ήταν η απάντηση της νέας γενιάς στη rave μουσική των 1980s που ήταν προσκολλημένη σε εύπεπτες, συμβατικές μελωδίες:{{sfnp|Sharp|2000|p=134|ps=: «Older fans, graduates of acid house clubs [...] were happy to abandon rave's Balearic inclusiveness, to regroup in small cliques of like-minded afficionados and make their choice from the classical four-to-the-floor poise of Chicago House or the processed neo-disco of New York garage. But this movement left ravers in suburban outposts and pirate radio DJs in London's unfashionable enclaves with a thirst for speed and rhythm that the new dance establishment could not satisfy. Out of this thirst, hardcore was born».}} έστρεψε την προσοχή της στο μπάσο και τα συγκεκομμένα breakbeats{{efn|Το breakbeat στην ηλεκτρονική μουσική είναι η χρήση ενός break ως επαναλαμβανόμενου δείγματος (looped sample, drum loop) με αποτέλεσμα τη θεμελίωσή του ως ρυθμικής βάσης του κομματιού. Break, ειδικότερα, είναι το κρουστό τμήμα ενός κομματιού που συγκόπτει ένα από τα beats, "σπάζοντας" το 4/4 μοτίβο και δημιουργώντας το εφέ του stop-time.{{sfnp|Waugh|2000|p=10|ps=: «Breakbeats are characterized by not relying on a four-to-the-floor beat and, at the least, the third beat is often syncopated. Drum patterns are constructed from sample loops and/or a TR-909 kick».}} Στις αρχές της δεκαετίας του 1990, πολλοί παραγωγοί techno και house είχαν ενσωματώσει breakbeats στα κομμάτια τους, είτε επειδή ήθελαν να δημιουργήσουν την αίσθηση της πολυρυθμικότητας, είτε απλώς επειδή ήταν ευκολότερο να επεξεργαστούν ένα drum loop ως sample από το να χρησιμοποιήσουν κάποιο drum machine.{{sfnp|Reynolds|2012|p=240|ps=: «In the early nineties, many house and techno producers had started to use breakbeats in tracks, either to add extra polyrhythmic 'feel' or simply because it was easier to loop and speed up a segment of 'real' drums than to program a drum machine».}}}}, υιοθετώντας ένα πολύ υψηλότερο [[tempo]] σε σύγκριση με εκείνο της καθιερωμένης [[house]] και [[techno]] μουσικής.{{sfnp|Sharp|2000|p=135|ps=: «Producers and DJs were driven by an urge to make the drums more percussive and the bass more physical than they had ever been before. [...] Roland TR-909-generated house music running in 4/4 time at a stately 126 bpm was never going to deliver a heavy enough sound. There was only one alternative: The renegade hardcore pioneers began to experiment with the possibilities inherent in the breakbeat».}} Ήδη τα πρώτα σημάδια μεταβολής διακρίνονται το 1990 με τα proto-jungle κομμάτια των Shut Up and Dance (PJ και Smiley) να χρησιμοποιούν  breakbeats και hip hop κομμάτια ανεβασμένα σε tempo, ωσάν σημερινή jungle σε αργή ταχύτητα.{{sfnp|Sharp|2000|p=135-136|ps=: «As early as 1990, proto-jungle pioneers Shut Up And Dance (a.k.a. PJ and Smiley) were using breakbeats to inject a bit of urgency into dance music. Coming out of northeast London, SUAD saw themselves as making twenty-first century hip-hop rather than house music - working with the same armory of breaks and samples, but speeding up the beats from hip-hop's standard 80-90 bpm to 126 or 130 bpm. SUAD's sound was a kind of slow-motion jungle before the fact».}} Σύντομα το «αιρετικό» αυτό μουσικό ρεύμα αποστασιοποιήθηκε από την υπόλοιπη σκηνή, αναζητώντας ένα σκληρότερο, ταχύτερο και πιο επιθετικό ήχο,{{sfnp|Hockman|2014|p=33|ps=: «Coupled with the effects of ecstasy, the music at raves began to get faster and more aggressive. Bowes (Justice) remembers that (Justice) remembers that “people wanted to take an E [ecstasy] and dance and the breakbeat is perfect for that. The breakbeat started for many to become the backbone [of the music] and they started to get faster and rougher” (Bowes 2013)».}} με αποτέλεσμα πολλοί παραγωγοί να οδηγηθούν σε μουσικούς πειραματισμούς: στα τέλη του 1991, με επιρροές από τη hip hop,{{sfnp|Quinn|2002|p=1-3|ps=: «Characterised by ferociously complex digitised drum patterns and synthetically treated booming basslines, it bore the traces of UK hip hop [...] The initial development of the jungle sound was framed as a response to the dominance in the UK of American hip hop styles».}}{{sfnp|Christodoulou|2011|p=49|ps=: «Along with bass, the use of looped break-beats —a creative practice drum ‘n’ bass shares with US hip hop music—suggests the music’s intimacy with urban space. A number of commentators have shown that hip hop has drawn part of its appeal from mysterious urban topographies enunciated by hip hop or “rap” lyrics. Drum ‘n’ bass similarly draws on the uncanniness of city life...».}}{{sfnp|Sharp|2000|p=153|ps=: «Searching for its own hip-hop, Britain initially settled on the merger of house, rare groove, disco, and hip-hop fomented by Soul II Soul. [...] As British hardcore started to develop out of Hip-House and Belgian Techno in the early nineties, Shut Up and Dance stole beats from Suzanne Vega and Def Jam records, while 4 Hero's "Mr. Kirk's Nightmare" took a snippet from the Isley Brothers' b-boy classic "Get Into Something"».}}{{sfnp|Christodoulou|2013|p=210|ps=: «According to DJ Chef, from East London pirate radio station Kool FM, this preference for breakbeats was shaped by a fondness for hip-hop, held by multiethnic rave audiences in London: "More people who went to hardcore raves in places like Hackney and Tottenham were brought up on hip-hop, so the tunes that got the biggest reactions were the ones with the breaks in them. In the end, you got certain DJs who would just play the breakbeat tracks, and forget the house stuff completely. That didn't go down well at certain raves, but the London crowds wanted more of it. (DJ Chef, 2008)».}} εμφανίζονται οι πρώτες απόπειρες εισαγωγής πολυρυθμικών στοιχείων στη μουσική, υιοθετώντας πολύπλοκα breaks που, αν και εξακολουθούσαν να είναι σε ρυθμό 4/4,{{sfnp|Christodoulou|2013|p=201-202|ps=: «While the 4/4 beat of house and techno is often described as being based on a relentless ‘four-to-the-floor’ rhythm, hip-hop breakbeats are deconstructed, syncopated 4/4 rhythms, sampled from soul and funk recordings of the 1960s and 1970s».}}{{sfnp|Waugh|2000|p=3|ps=: «In Dance, a breakbeat is simply a rhythm which is not in the four-to-the-floor mould, that's all».}} ήταν τελείως ασύμβατα με το καθιερωμένο μοτίβο four-on-the-floor της house και της techno.{{sfnp|Hesmondhalgh|Melville|2002|p=99-102|ps=: «There are important influences, connections and continuities between U.S. hip-hop and jungle. Jungle is a musical genre dominated by DJs and producers (rather than live performers), whose formal techniques [...] borrow heavily from models established by U.S. hip-hop practitioners. Also, jungle, rather than using the repetitive kick drum that characterizes house music, borrows hip-hop's reliance on breakbeats [...] Jungle also shares a number of themes and attitudes with hip-hop, particularly with gangsta rap [...] The influence of hip-hop is discernible at every level of jungle: lexicological, technological, and textual. [...] Changes of tempo, pitch, and style, as well as importations from hip-hop and reggae and house, coexist in jungle in an unstable and continually evolving mix. So although jungle has an enormous range of subgenres [...], all jungle shares common ground with hip-hop. Even where the overt influence is minimal, the basic materials and production practices (breakbeats and bass lines, samplers, drum machines, microphones and sequencing program) are the same».}}{{sfnp|Reynolds|2012|p=241-245|ps=: «In the early nineties, many house and techno producers had started to use breakbeats in tracks, either to add extra polyrhythmic 'feel' or simply because it was easier to loop and speed up a segment of 'real' drums than to program a drum machine [...] But the breakbeat mess-thetic alienated as many as it seduced. While jungle, like most pop music, is in 4/4 time, it lacks the stomping, metronomic four-to-the-floor kick-drum that runs through techno, house and disco. [...] But it was more than just the disappearance of the four-to-the-floor kick that alienated ravers. Jungle's dense percussive web destabilizes the beat, traditionally the steady pulse of pop music. Breakbeats make the music feel treacherous. The in-built safety factor in most machine-made dance music, the predictability that allows the listener to trance out, was replaced by a palpable danger. Jungle makes you step in a different way, wary and en garde. It was this edginess that drove many ravers out of the hardcore scene and back to the house. [...] Although it started as a breakbeat-fuelled offshoot of techno, 'hardkore jungle had devolved by late 1992 into a speedfreak cousin of oldskool hip hop. 'Ardkore was the messy birth-pangs of Britain's very own equivalent to (as opposed to imitation of) US hip hop: jungle».}}{{sfnp|Noys|1995|p=321|ps=: «What then is 'Jungle'? Jungle is a Techno hip-hop, taking the rolling breakbeats of hip-hop and speeding them up to 150 beats per minute (b.p.m.). The result is a distinctive clattering sound of drum and bass which cannot be mistaken for other forms of House and Techno. It forms a harsh and metallic, yet also danceable, groove that does not pound with the distinctive bass drum kick of most House/Techno».}}{{sfnp|Collin|Godfrey|2009|p=283|ps=: «Between 1992 and 1994, there was a remarkable acceleration in its musical development. It was one of those strange flashpoints in pop culture, a genre taking flight and completely reinventing itself. Utilising the entire sonic spectrum, jungle redefined the parameters of dance music at a metabolic level to create an immersive womb of sound. Drums and bass became the lead instruments, complex webs of percussion rather than the stark four-to-the-floor pulse of house. [...] jungle producers were refining breakbeats into a polyrhythmic blend of influences from house, hardcore, reggae, hip hop, soul, ambient music and techno».}} Επρόκειτο για μια αλλαγή εντελώς ριζοσπαστική που ουσιαστικά διχοτόμησε τη ρέιβ σκηνή σε δύο κατηγορίες: τη house και την techno σκηνή από τη μία (μην ακολουθώντας τη νέα τάση των breakbeats), και την breakbeat hardcore από την άλλη.{{sfnp|Christodoulou|2013|p=210|ps=: «According to DJ Chef, from East London pirate radio station Kool FM, this preference for breakbeats was shaped by a fondness for hip-hop, held by multiethnic rave audiences in London: "More people who went to hardcore raves in places like Hackney and Tottenham were brought up on hip-hop, so the tunes that got the biggest reactions were the ones with the breaks in them. In the end, you got certain DJs who would just play the breakbeat tracks, and forget the house stuff completely. That didn't go down well at certain raves, but the London crowds wanted more of it. (DJ Chef, 2008)».}}

Μέχρι τα μέσα του 1992, η "jungle techno"{{efn|Για την πληρέστερη κατανόηση του πώς προέκυψε αυτός ο βραχύβιος νεολογισμός, χρήσιμη ειναι η παρατήρηση του Benjamin Noys, ο οποίος λαμβάνοντας υπόψη το μουσικό συγκερασμό από τον οποίο γεννήθηκε η jungle (breakbeats της hip-hop, ανεβασμένο tempo της techno), τη βαφτίζει κατ' ουσίαν με τον όρο "techno hip-hop".{{sfnp|Noys|1995|p=321-323|ps=: «If Hardcore Dance speeded up Techno then Jungle took this speed and transformed it through applying it to hip-hop breakbeats. This is why I call it a Techno Hip-hop. [...] Therefore, Jungle takes from hip-hop its rolling breakbeats and much of its subcultural styling, while from Techno or House it takes the focus on music as a producer of pleasure in relation to drugs (although not necessarily requiring the addition of drugs».}} Άλλωστε, ο πρωτοφανής μουσικός πειραματισμός που διέπνεε το κλίμα εκείνη την περίοδο είναι ενδεικτικός από το ότι σε πολύ σύντομο χρονικό διάστημα έκαναν την εμφάνισή τους υβρίδια και παραλλαγές μεταξύ των ειδών σε τέτοιο βαθμό που καθιστούσαν μάταιο μερικές φορές το διαχωρισμό τους. Ταυτόχρονα όμως, οι νεολογισμοί και οι υβριδικοί όροι συχνά υποδήλωναν την τάση ενός παρακλαδιού της σκηνής να ανεξαρτητοποιηθεί.{{sfnp|Reynolds|2012|p=531|ps=: «The first major split was between house and techno, the latter indicating a harder, harsher sound, more overtly futuristic and instrumental rather than songful. Then as the music mutated and splintered further, talking of all these new flavours as subcategories of houseor techno made less and less sense. Hence hardcore, jungle, trance, gabba. Usually the split-off was preceded by an intermediary phase – I remember people talking of ‘jungle house’ or ‘jungle techno’, ‘gabba house’. Then the new genre breaks off as an independent entity».}}}} είχε ήδη αντικαταστήσει στο λεξιλόγιο των ravers τον όρο ''«''hardcore''»'' ως ένδειξη της μεταστροφής της μουσικής στα breakbeats,{{sfnp|Christodoulou|2013|p=205|ps=: «In the later months of 1991, ‘jungle techno’ could be heard on the dancefloor alongside ‘hardcore’ at Rage to indicate the fast breakbeat-based techno, which formed the basis for the club’s music policy. By mid-1992, jungle techno superseded the hardcore tag as the name given to the breakbeat techno music that was mainly produced by rave DJs and producers from London, many of whom, such as Brixton-based Kenny Ken, included elements from genres associated with Jamaican soundsystem culture, specifically dub, dancehall (ragga) and reggae».}} αλλά και λόγω της ολοένα αυξανόμενης επιρροής της μουσικής από την [[raggamuffin]]{{efn|Η raggamuffin ή ragga, αποτελεί παράγωγο της reggae και ήταν ιδιαίτερα δημοφιλής στην έγχρωμη νεολαία της Βρετανίας από το 1987 έως το 1990. Προερχόμενη από την [[Τζαμάικα]], χρησιμοποίησε την τεχνολογία για να γίνει μια πιο γρήγορη εκδοχή της reggae. Οι στίχοι της όμως, είχαν συχνά ομοφοβικό, βίαιο και σεξιστικό περιεχόμενο.{{sfnp|Belle-Fortune|2011|p=16-17|ps=: «Ragga, itself a spin-off of Reggae, was particularly popular amongst young black British kids from '87 to '90. Originally from Jamaica, Ragga was younger, brasher and faster than Reggae. But its lyrics were also more homophobic, violent and sexist».}} Γι' αυτό το λόγο ο Simon Reynolds κάνει λόγο για το "[[gangsta rap]]" της Βρετανίας.{{sfnp|Reynolds|2011|p=145-146|ps=: «Recently, junglist techno has developed something akin to a cult of the criminal. A vaguely nefarious aura hangs around the newer pirate stations like Don FM, Index and Lightning. Listen to the MC’s coded patter, and you might assume illicit transactions are being conducted. MCs send out shouts to ‘all the wrong ’uns’ and ‘liberty-takers’; sometimes, you hear requests being played for blokes banged up in Pentonville. Although it’s still mostly instrumental, the criminal-minded vibe is seeping into the music, with a spate of tracks with ‘bad boy’ themes. A big source is ragga, reggae’s equivalent to gangsta rap, with its brash insolence and ‘rude boy’ postures. Junglist is desperate music for desperate times, which is why its two themes are oblivion and crime. British youth want to get out of ‘it’ (dead-end reality), either by taking drugs or by selling them. The sad fact is that for many kids, the only way they can afford to participate in rave culture at all is to become dealers. And so junglist has become the soundtrack of Britain’s underclass».}}}}, συνδυάζοντας breaks με μπασογραμμές της reggae.{{sfnp|Collin|Godfrey|2009|p=275-276|ps=: «It was at this point, some time in 1992, that the term 'jungle' began to be employed to describe what the hardcore sound was now becoming: a kind of ragamuffin techno. The first record to use the name was a white label called 'Jungle Techno' on the Ibiza label. [...] Ibiza was run by soul veteran Paul Chambers [...] Like Chambers' records, jungle was incorporating samples from Jamaican imports, ragamuffin invective and gunshot valleys, while techno's deep sub-bassline was taking on a reggae flavour. 'The term "jungle techno" described it perfectly because it was a mixture of European and sound system traditions', says Kemistry».}}{{sfnp|Belle-Fortune|2007|p=15|ps=: «At Ibiza Records, Paul was tired of the foreign sounds running the British Dance scene. “Being a Londoner, I’d had enough of that sort of sound, the wrong direction, bringing us somewhere we didn’t know where we were going... That’s when Ibiza Records started.” Paul fused the bleeps and the breaks with Reggae B-lines. “The sound elements worked. The Reggae influence worked».}} Ακριβώς αυτά τα στοιχεία προσέλκυσαν μαζικά την έγχρωμη νεολαία της Βρετανίας, η οποία (αδυνατώντας να ενστερνιστεί την κουλτούρα της house και της techno, μιας σκηνής κυριαρχούμενης κατ' εξοχήν από τη λευκή νεολαία) αναζητούσε μεν έναν ήχο συγγενή με τη hip hop και τη ragga, αλλά ταυτόχρονα επιζητούσε μια βρετανική σκηνή αντάξια να ανταγωνιστεί την αμερικάνικη hip hop.{{sfnp|Belle-Fortune|2007|p=15|ps=: «At Ibiza Records, Paul was tired of the foreign sounds running the British Dance scene. “Being a Londoner, I’d had enough of that sort of sound, the wrong direction, bringing us somewhere we didn’t know where we were going... That’s when Ibiza Records started.” Paul fused the bleeps and the breaks with Reggae B-lines. “The sound elements worked. The Reggae influence worked».}}{{sfnp|Collin|Godfrey|2009|p=276-277|ps=: «'As jungle got bigger and it became a black thing, it just drew all the raggas', says Chambers. 'They were hearing their favourite artists like Buju Banton and Ninja Man in it and it drew them in, so you had this new breed of crowd. Everyone was amazed by it. And no Es – pure weed smoking. [...] If it had an ID tag, it would just say "UK" on it'. [...] jungle spoke to a black British identity. Jungle raves began to attract a black inner-city crowd who might have been interested in hip hop or ragga, but would never have considered going to a house club. ‘When it first came over here, a lot of people thought house music was poof music, white people’s music, and a lot of black people wouldn’t go to raves’, explains jungle DJ Kenny Ken. In turn, they helped mould the environment to accommodate their own needs. ‘As more black people started going to the raves’, says DJ Ron, ‘the black influence showed up in the music’».}}{{sfnp|Belle-Fortune|2007|p=30-31|ps=: «“As Navigator says in his lyric, 'The Jamaican man big up the Reggae. The American man big up the Hip Hop. It’s about time the British man big up the Jungle' ” -MC 5ive’O, Junglism, Zone UK, 1995 [...] It was important that Jungle / Drum & Bass was made here, it was our own. Rather than trying to get your head around another language, different names and unfamiliar geography, it was all here. That’s why they’ve been able to keep hold of it and keep the music true».}} Ως εκ τούτου, η jungle έχει  χαρακτηριστεί ως «η πρώτη βρετανική μουσική των μαύρων» ή «ακριβέστερα, πολυπολιτισμική μουσική»,{{sfnp|Collin|Godfrey|2009|p=283|ps=: «In pop terms, jungle was a historic sound: the first truly British black music – or, to be more accurate, multi-cultural music».}}{{efn|Άστοχος θεωρείται εν τούτοις ο χαρακτηρισμός της jungle ως μιας πρώτης σημαντικής και αμιγώς εγχώριας μουσικής των μαύρων της Βρετανίας, καθώς αμελείται έτσι η ιστορική ρίζα της στην ευρωπαϊκή hardcore (πέρα από τη hip hop και τη reggae), όπως επίσης και ότι μεγάλη μερίδα του κοινού και των παραγωγών ήταν λευκοί.{{sfnp|Reynolds|2012|p=247-248|ps=: «The question of jungle’s musical ‘colour’ bedevils outside commentators and scene insiders alike. Jungle is often hailed as the first significant and truly indigenous Black British music. This notion obscures the fact that alongside hip hop and reggae, the third crucial constituent of jungle is whiter-than-white: the brutal bombast of the Euro-hardcore sound spawned in Belgium and Brooklyn. But even if you concede jungle’s musical ‘blackness’ as self-evident, this only makes it all the more striking that from Day One more than 50 per cent of the leading DJs and producers have been white. Some of the ‘blackest’ sounding, most hip-hop-and-ragga-influenced tracks come from pasty-faced producers like Andy C, Aphrodite, Dead Dred, and DJ Hype. An example of the havoc this can wreak even with scene insiders’ preconceptions is the story of Goldie’s first exposure to Doc Scott’s music. ‘I thought “this guy has got to be a nigger.” When I found out it was a white guy with blue eyes it freaked me out.’ Yet on other occasions, Goldie – himself half English and half-Jamaican – has described Scott, his ally and mentor, as a true ‘nigga’.».}}}} καθώς και «η απάντηση της Βρετανίας στην αμερικάνικη hip hop»{{sfnp|Quinn|2002|p=1-3|ps=: «Characterised by ferociously complex digitised drum patterns and synthetically treated booming basslines, it bore the traces of UK hip hop [...] The initial development of the jungle sound was framed as a response to the dominance in the UK of American hip hop styles».}}<ref>{{cite book|author1=Peter Childs |author2=Michael Storry |year=1999 |chapter=Jungle |language=αγγλικά |title=Encyclopaedia of Contemporary British Culture |url=https://archive.org/details/encyclopediaofco0000unse_l1e7 |series= Encyclopedias of Contemporary Culture |others=Λήμμα από τον Stuart Borthwick |location=Ηνωμένο Βασίλειο |publisher=Routledge |page= [https://archive.org/details/encyclopediaofco0000unse_l1e7/page/289 289] |isbn=0415147263 |quote=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> ή ακόμα και «το hip hop της Βρετανίας».{{sfnp|Noys|1995|p=323|ps=: «Jungle [...] is a musical integration. Its emergence could be partly due to the failure of British hip-hop to produce convincing music in comparison with the work coming from the USA. British hip-hop acts continue to be noticeably imitative or inferior to American acts. Therefore, it is possible to argue that Jungle is British hip-hop».}}

=== Η περίοδος της darkcore/darkside ===
Προς τα τέλη του 1992, η εγγενής αντιδραστικότητα της breakbeat hardcore μετουσιώθηκε εν πολλοίς σε μία δυστοπική αντίληψη της αστικής ζωής, αποκύημα κατά τον Simon Reynolds ενός λανθάνοντα νιχιλισμού που υποδαύλιζε την εκφυλισμένη κουλτούρα των ναρκωτικών της ρέιβ σκηνής.{{sfnp|Reynolds|2012|p=188-202|ps=: «From my double vantage point as fan and critic, participant and observer, darkside was a pivotal and revelatory moment: the life-affirming, celebratory aspects of rave were turned inside out, the smiley-face torn off to reveal the true nihilism of any drug-based culture. Amidst all the positivity and idealism, that nihilism was always lurking, waiting to be hatched. [...] What I remember most of all is the number of ravers whose smiles had been replaced by sour, cheated expressions - they hadn't come up on their E's, probably they'd over-indulged so heavily the past few years that the old buzz just couldn't be recovered. [...] Dark-core reflected the complicated pharmacological reality of the rave scene in 1992 and 1993; a chaos of amateur, untutored neurochemistry and unreliable medicine combined to form an unbeatable recipe for psychic malaise».}} Τόσο θεματικά (χρησιμοποιώντας συχνά samples{{efn|Στη μουσική, ο όρος sampling σημαίνει την επαναχρησιμοποίηση τμήματος ή δείγματος (sample) ενός άλλου κομματιού. Τεχνικά, το sampling είναι η διαδικασία κατά την οποία ένα συνεχές αναλογικό ηχητικό σήμα μετατρέπεται σε ψηφιακή μορφή (sample), και ως εκ τούτου μπορεί να αξιοποιηθεί δημιουργικά από έναν μουσικό παραγωγό.{{sfnp|Christodoulou|2013|p=201|ps=: «Technically, sampling is a process in which a continuous analogue audio signal is converted into digital information (samples), which can then be creatively manipulated by a music producer».}}}} από ταινίες τρόμου) όσο και ηχητικά (απορρίπτοντας παντελώς τις εύπεπτες μελωδίες και προάγοντας αλλόκοτα ηχοτοπία), γεννιέται σύντομα ένα νέο στιλ, η λεγόμενη [[darkcore]] ή [[darkside]].{{sfnp|Reynolds|2012|p=188-202|ps=: «There seems to be a moment, intrinsic to any drug culture, when the scene crosses over into 'the dark side'. [...] What makes British hardcore unique is the way the same shift from utopian to dystopian was reflected in the music. By late 1992, the happy rave tunes of 1990 - 91 were being eclipsed by a style called 'dark side' or 'dark-core'; hardcore became haunted by a collective apprehension that 'we've gone too far'. Thematically and sonically, darkside tracks mirrored the long-terms costs of sustained Ecstasy, marijuana and amphetamine use: side-effects such as depression, paranoia, dissociation, audio-hallucinations and creepy sensation of the uncanny. The titles and sampled soundbites of this era immediately indicate that something is awry in the house of hardcore. There was imagery of brain damage [...] and disorientation [...] There were tracks about death [...] Another major darkside trope was the idea of drug intensities as a minister power source, a malign forcefield in which the raver is suspended and entrapped».}}{{sfnp|Hockman|2014|p=55|ps=: «Darkside musicians created a stark version of Hardcore that removed the lighter elements associated with prior commercial success (e.g., high-pitched vocals, Rave-style pianos) in favour of “darker-themed” samples, often taken from horror films».}}{{sfnp|Collin|Godfrey|2009|p=274-275|ps=: «On the hardcore rave scene, the winter period linking 1992 to 1993 was dark. Nights closing in, pills deteriorating in quality, and music changing to fit the crepuscular mood. As Ravescene described it: ‘The strong summer sunshine bleached the scene to a pale reflection of its former glory, and then the nights of autumn ’92 became darker and so did the music.’ This period in hardcore – which the DJs also called ‘dark’ – was typified by horror movie samples, evil noises, queasy sound effects and metallic breakbeats, mirroring the ravers’ collective mental state».}} Η απότομη αυτή αλλαγή συνίστατο αφενός στην ανάγκη αντιπαράθεσης της σκηνής προς τη δημοφιλή εμπορική μουσική, και αφετέρου στην προσπάθεια συσπείρωσης ενός «γνήσιου» κοινού, πρόθυμου να ακολουθήσει τη σκηνή προς αυτή την κατεύθυνση.{{sfnp|Noys|1995|p=325|ps=: «In the same way Jungle contrasts the rolling drum and bass with a darkness that reflects a reality which is materially and culturally impoverished, whether
that be urban or suburban, and also a reaction to the 'happy' culture of rave. Jungle has been criticised for destroying this happy 'vibe' on the dance scene. Yet there is also a 'happy hardcore' in which the drum and bass takes on the textures of garage house, a form of house indebted more directly to soul and often using female vocals. [...] The sweetness [...] is set off against the darkly clattering breakbeats. Jungle has crafted its own particular sound which does not fit in with the norms of either the dance scene or those of 'pop'».}}<ref>{{Cite web|url=https://88to98.co.uk/2014/04/08/mixmag-april-1994-is-jungle-too-ruff/|title=Is Jungle Too Ruff?|last=Headon|first=Jane|date=Απρίλιος 1994|website=Mixmag|publisher=|language=αγγλικά|quote=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"}}</ref>{{sfnp|Sharp|2000|p=134|ps=: «Between 1992 and 1994, breakbeats were outcasts [...] clinging to breakbeats through that time was a gesture of defiance, a statement of intent and an invigorating and obnoxious "fuck you" to the mainstream house crowd to boot. [...] At the time, the dominant force was the dark sound typified by Dollis Hills's Reinforced label. The music mirrored the degeneration of the rave dream, celebratory ecstasy rushes rendered queasy and menacing by overload and adulteration. [...] the hardcore-as-horror-movie vibe managed to articulate moods and sensations that remained vioiceless. At the very least, it was a way of working the poison of the rave comedown out of the music-generating system – and at best it was an utterly compelling affirmation of hardcore's identification with the new urban underclass of post-Thatcherite Britain».}} Στον αντίποδα, το 1993, μερίδα του κοινού (κυρίως λευκοί έφηβοι) επέμεινε στις εύπεπτες μελωδίες και, νοσταλγώντας την ευφορία του 1991, δημιούργησε ως αντίδραση τη δική της ξεχωριστή σκηνή, εκείνη της [[happy hardcore]], ή αλλιώς, [[4 beat]],{{sfnp|Collin|Godfrey|2009|p=281-282|ps=: «It wasn’t long before the scene cleaved in two, leaving the predominantly white ravers with their pills, their white gloves, face masks and lightsticks, and a music full of cheery piano riffs, preposterous samples and vocal shrills – named, almost in defiance, happy hardcore – which bathed in nostalgia for the euphoria of 1991 and shamelessly celebrated the pure state of Ecstasy; weekender hedonism taken to the borders of oblivion. ‘The mainly 16–22 crowd revel in their altered state,’ one observer at a happy hardcore party noted. ‘They show off their rictus grins, massive pupils and empathic over-friendliness as badges of pride.’ Happy hardcore and its predominantly teenage devotees would remain as unfashionable as hardcore itself had once been».}} η οποία αρχικά διατήρησε τα breakbeats, συνδυάζοντάς τα με το καθιερωμένο four-on-the-floor μοτίβο, ωστόσο μέχρι το 1996 τα απέβαλε και συγχωνεύτηκε με την techno.{{sfnp|Reynolds|2012|p=265-269|ps=: «The difference between happy hardcore and happy gabba is slight: basically, the English tracks have sped-up breakbeats running alongside the stomping four-to-the-floor kick-drum, at at 170 b.p.m., they're slightly slower than happy-gabba. But the genealogy of happy hardcore is quite different: the scene began as an offshoot of jungle. Back in 1993, when hardcore plunged into the 'darkside', a breakaway faction of DJ - producers [...] continued to make celebratory, upful tunes based around hectic breakbeats. By the end of 1994, happy hardcore had coalesced into a scene that operated in parallel with its estranged cousin, jungle, but had its own network of labels, its own hierarchy of DJs, its own circuit of clubs. [...] With the English producers restoring the pounding four-beat kick-drum and playing down the breakbeat, by 1996 the stage was set for happy-core's merger with Scottish 'bouncy techno' and Dutch fun-core, to form a single rave-will-never-die sound: in effect, the reintegration of the original pan-European hardcore of 1991, only much faster».}} Έτσι, η breakbeat hardcore διασπάστηκε ουσιαστικά από τη μία στη σκηνή της happy hardcore, επηρεασμένη από τη house και την techno, και από την άλλη στη σκηνή της darkcore/jungle techno, άμεσο προκάτοχο της jungle, υιοθετώντας στοιχεία κυρίως της hip hop και της reggae και επικεντρώνοντας την προσοχή της στο μπάσο.{{sfnp|Hockman|2014|p=53|ps=: «It was at this point that the Hardcore scene divided: Tracks such as Charly and Sesame's Treet became predecessors of the Happy Hardcore genre (also known as 4 Beat and Happy Tunes), typified by a lighter and excessively jovial mood. [...] The other style, which was described as Jungle Techno, and ultimately Jungle, embodied the darker and more bass-heavy sound and infused Hip Hop influences».}}

=== Η περίοδος της ragga jungle και της intelligent drum and bass ===
Μέχρι το φθινόπωρο του 1993, αποβάλλοντας την πεσιμιστική τους αύρα, οι πρωτοπόροι της darkcore είχαν αρχίσει να βαδίζουν προς άλλα μουσικά μονοπάτια: πρώτα ο ξεφαντωτικός ήχος της [[ragga jungle]] και στη συνέχεια η ατμοσφαιρική μουσική της drum and bass.{{sfnp|Reynolds|2012|p=201-202|ps=: «By the autumn of 1993, the pioneers of dark-core were moving on. 4 Hero began their journey back towards the light. [...] Darkside paved the way for both the strands of breakbeat music that displaced it: the roisterous, ruffneck menace of jungle, and the densely-textured, ambient-tinged sound of drum and bass. [...] Dark-core led directly to the artcore explosion of album artists like Goldie. At the same time, darkside's baleful minimalism was a prequel to jungle's gangsta militancy».}}

==== Η περίοδος της ragga jungle ====
Στο προηγούμενο διάστημα, όσο η hardcore βρισκόταν σε διαδικασία αναζήτησης του μουσικού της προσανατολισμού και εν μέσω έντονης κοινωνικής αντιπαράθεσης, ο τύπος αντιμετώπιζε μάλλον απαξιωτικά τη μουσική της, στρέφοντας το ενδιαφέρον του στην ήδη καταξιωμένη ηλεκτρονική μουσική, την οποία αντιπροσώπευαν τότε οι ταυτόχρονα αναδυόμενες [[progressive house]] και [[intelligent techno]].{{sfnp|Sharp|2000|p=134-135|ps=: «During hardcore's dark ages, which lasted from the collapse of the rave adventure until jungle's charge overground in the summer of 1994, the British media had a simple, serene policy towards the music. They ignored it. Those august publications reverentially referred to as "taste-makers" by marketing types saw hardcore as a scrofulous parasite clinging to the margins of acceptability, a moody, psychotic blare consumed by zitty suburban adolescents and Ecstasy casualties with ill-mannered car stereos. They trained their spotlights instead on the tasteful, manicured pulse of "progressive house" and the smooth, metallic sheen of "intelligent techno," implying by omission that hardcore - or "'ardkore," as it was pronounced by matey initiates - was neither progressive nor intelligent».}} Η κυκλοφορία της μουσικής βασιζόταν αποκλειστικά σε ανεξάρτητες δισκογραφικές εταιρίες και πειρατικούς ραδιοφωνικούς σταθμούς.{{sfnp|Collin|Godfrey|2009|p=282|ps=: «The initial response to jungle from the music industry was reminiscent of its early dismissiveness towards hip hop and house. Like rap in the seventies, it was left to develop, grow roots and forge a coherent ideology relatively free from commercial pressure to deliver record sales and chart hits. Marginalised, jungle’s media were autonomous by necessity: independent record labels and pirate radio. [...] The music had no other voice; it was consigned to illegality».}} Το καλοκαίρι του 1994 αυτό έμελλε να αλλάξει:{{sfnp|Collin|Godfrey|2009|p=284-285|ps=: «Jungle was another example of how black youth subcultures are initially feared and demonised before ultimately being packaged and commercially exploited by the white mainstream – a process repeated constantly throughout pop history. In 1994, as with hip hop a decade before, there was an explosion of interest in the music, beginning in the youth press, spreading to the record companies and then to national radio and television. This reversal was viewed with scepticism within the jungle fraternity, which had developed a close-knit, mutually supportive structure based on its exclusion from the youth culture industry. ‘When we needed help, nobody wanted to give it to us,’ growled Grooverider. At one point a circle of leading DJs even set up a ‘Jungle Committee’ in a desperate attempt to defend their domain against interlopers and musical heretics».}} η jungle απέκτησε μεγάλη δημοσιότητα όταν ο τύπος, η βρετανική μουσική βιομηχανία και οι νόμιμοι ραδιοφωνικοί σταθμοί ηλεκτρονικής μουσικής (όπως το Kiss FM) προώθησαν το hit 'Incredible' του σταρ της ragga MC General Levy με παραγωγό τον M Beat,{{sfnp|Belle-Fortune|2007|p=17-19|ps=: «In ’94 Incredible by producers M Beat with British Ragga star General Levy broke into the national charts. On the one hand, it took the industry to a new level attracting a huge number of followers. On the other, it may have helped to fuel a split in a once-united Jungle scene».}} φτάνοντας μέχρι και το νούμερο 8 στα τσαρτς,<ref>{{Cite web|url=https://www.officialcharts.com/artist/5643/m-beat-ft-general-levy/|title=M-BEAT FEAT. GENERAL LEVY|website=Official Charts Company|accessdate= 2019-06-15}}</ref> καθώς και, λίγους μήνες αργότερα, το εξίσου πετυχημένο<ref>{{Cite web|url=https://www.officialcharts.com/artist/30756/uk-apachi-with-shy-fx/|title=U.K. APACHI WITH SHY FX|website=Official Charts Company|accessdate= 2019-06-16}}</ref> 'Original Nuttah' των Shy FX και UK Apache.{{sfnp|Sharp|2000|p=142-143|ps=: «The new breed of jungle fans had no interest in the producers who had kept the faith with hardcore [...] They just loved the tracks that gave them the best buzz, and the one track that they loved above all the others that summer was "Incredible" [...] "Original Nuttah" by Shy FX and UK Apache followed it into the charts a few months later. These records [...] announced to the world that jungle was massive. And when the media smells a mass movement - and a potential new audience of consumers - it leaps on board. Within a few months, hardcore dance music was thoroughly rehabilitated, the subject of broadsheet profiles and style press guides, a fully accredited cultural phenomenon. Not long after that, jungle was advertising breakfast cereal».}} Η ξαφνική επιτυχία οφειλόταν στο αίσθημα κορεσμού που δημιουργήθηκε στο κοινό από τον «σκοτεινό» ήχο της hardcore· έτσι η συνακόλουθη ανάγκη του κοινού να ξεσπάσει βρήκε έρεισμα στο φρενήρη συνδυασμό της ragga με την jungle,{{sfnp|Belle-Fortune|2007|p=16-17|ps=: «In 1993 - 94 it became 'trendy' to use Ragga samples. Though it must be noted that during the height of the Ragga period, not every tune played on radio or in raves was Ragga-dominated. [...] The Ragga infusion was extremely entertaining [...] Press coverage also acts as promotion and it was all part of the excitement of the times. [...] Companies outside Jungle's core like Reggae label Greensleeves junglised tunes in its back catalogues [...] Street Tuff Records [...] acknowledged on the Ragga in the Jungle sleeve notes that, as a music business concern, they were responding to a huge demand».}}{{sfnp|Sharp|2000|p=142-143|ps=: «The new breed of jungle fans had no interest in the producers who had kept the faith with hardcore [...] They just loved the tracks that gave them the best buzz, and the one track that they loved above all the others that summer was "Incredible" [...] "Original Nuttah" by Shy FX and UK Apache followed it into the charts a few months later. These records [...] announced to the world that jungle was massive. And when the media smells a mass movement - and a potential new audience of consumers - it leaps on board. Within a few months, hardcore dance music was thoroughly rehabilitated, the subject of broadsheet profiles and style press guides, a fully accredited cultural phenomenon. Not long after that, jungle was advertising breakfast cereal».}} ενός είδους που δίνει έμφαση στα φωνητικά των MC και στα [[Ρέγκε|reggae]] samples παρά στον ορχηστρικό τομέα.{{sfnp|Hockman|2014|p=58|ps=: «An important distinction between Ragga Jungle and Jungle is the emphasis on the vocals of an MC, which are either present in the context of a full song or samples of vocal phrases. Ragga itself is a genre of Jamaican-influenced music originating in the UK during the 1970s. Ragga’s heritage is rooted in soundsystem culture and has a large amount of overlap with Dancehall, and is focused on the lyrical expertise and style of a MC as a frontman. Popular Ragga musicians include Buju Banton, Bounty Killer, Mad Cobra, Ninjaman, and Yellowman».}} Ωστόσο, στα μάτια πολλών μελών της σκηνής, η εικόνα που έδωσε ο τύπος στο φαινόμενο της jungle στόχευσε στο θυμικό της βρετανικής κοινής γνώμης, εντείνοντας την πιο εμφανή και έξαλλη πλευρά του κοινού που συνδεόταν με τη ragga και την επαναστατικότητα της έγχρωμης νεολαίας,{{sfnp|Reynolds|2012|p=336|ps=: «In the summer of 1994, the music press, the British record industry and legal dance radio stations like Kiss FM finally woke up to jungle. Initially, the focus was exclusively on the most visible side of the scene, ruffneck ragga-jungle, and coverage was often sensationalistic, alluding to unsubstantiated rumours of crack abuse».}} προάγοντας ρατσιστικά στερεότυπα και αγνοώντας το πολυπολιτισμικό υπόβαθρο της σκηνής.{{sfnp|Belle-Fortune|2007|p=162|ps=: «Ragga girls, Junglists, rude girls, glamour crews and women with xtra, xtra attitude. (Roger Tredre in The Observer, reporting on a Channel 4’s proposed production by Julian Henriques). Though Ragga gyals are a colourful element in Jungle, they are only part of the whole Jungle massive. Tredre’s focus promoted a stereotype. [...] When the mainstream press first took notice of the scene, they found a handle that was too easy to grab. The word Jungle became a metaphor feeding a cliché painting a picture. Articles in The Guardian and The Face complete with photos made you feel that Jungle was solely a black thing. It was as if they didn’t want to emphasise the truly multicultural makeup of the scene».}} Κατηγορίες υπήρξαν επίσης πως ο [[Κίτρινος Τύπος|κίτρινος τύπος]] έφτασε στο σημείο να προσάπτει στη σκηνή εγκληματικά στοιχεία που στηρίζονταν σε αναπόδεικτες φήμες.{{sfnp|Belle-Fortune|2007|p=161-162|ps=: «They have had to fight against the distortions caused by journalists, specifically those of the music press. The media was blamed for trumpeting Drum & Bass, whilst stereotyping Jungle. “The bad press has got better since the early days. In ’92, Rush and us was getting blamed for supplying half the drugs in London. All those false rumours. I was watching an old video, “Pirate radio supplying cover for drugs parties” – complete nonsense. I think they’ve come away from that now. People might think, “Oh they’re trouble.” But there’s nothing that bad.” - Mikey, De Underground».}}

Πάντως το ότι σημειώθηκε αύξηση της βίας και των ναρκωτικών στα νυχτερινά κέντρα διασκέδασης όπου παιζόταν jungle δεν είναι αναληθές.{{sfnp|Belle-Fortune|2007|p=95-96|ps=: «Initially, it was go out and rave in any space you could find. Everyone was in it together. [...] It had all been so special with ravers feeling they were members of a community. Then it went mainstream. When the CJA (Criminal Justice Act) pushed the Rave scene indoors, it became increasingly institutionalised. There was also rumoured to be a lot of shit E around – Not to mention crack and coke. Clubbing became more exclusive and the scene more fractured. The mood also became darker. During 1993 - 94, as the Ragga crowds flooded into Jungle, problems of race and [https://quotesjin.com/attitude-quotes/ Attitude] became more of an issue when the Dance Hall mood barged in. New music but with the old club rules. “Don’t step on my trainers. What da fuck do you think you are doing? Don’t talk to me. Don’t look at me. Are you chatting to my bloke? Is he chatting to you?” The too-cool-to-move brigade made a come back. The press also turned its focus on the scene around the same time. Troubles in the dance weren’t something the Jungle family wanted to discuss in public and they were slow to deal with it. Punters, black and white, shied away from certain venues or events, feeling they were more trouble than they were worth. A million miles from the fields, sporadic fights broke out. They tended to be a territorial thing, just as much present in the after-hours violence of a small town on a Saturday night, as it was on the dancefloor. Grooverider remembers that there’s always been punch-ups at raves. But these problems seemed to be more severe».}} Η εξέλιξη αυτή οφείλεται στους εξής παράγοντες: πρώτον, την εποχή αυτή το [[Ηνωμένο Βασίλειο]] βρίσκεται σε μια περίοδο οικονομικής και πολιτικής ατασθαλίας (μετα-[[Μάργκαρετ Θάτσερ|Θάτσερ]] εποχή) με την ανεργία και το αποδομημένο σύστημα κοινωνικής πρόνοιας να έχει άμεσο αντίκτυπο στη μικροαστή νεολαία·{{sfnp|Reynolds|2012|p=249-250|ps=: «Jungle's ghettocentric vibe reflected the state of the nation in 1993. The recession had hit Britain hard, and inner-city youth faced unemployment and a welfare system that had been systematically dismantled by the Conservative government during its fourteen years of one-party tyranny. "American" problems like guns and crack were taking root. Desperate music for desperate times, jungle's two preoccupations were oblivion and crime. Inner-city kids wanted to get out of "it" (dead-end post-Thatcherite reality), either by taking drugs or by selling them. All this made the emergence of "gangsta rave" - seemingly a contradiction in terms - a logical upshot of systemic failure».}}{{sfnp|Hall|2018|p=117|ps=: «Many of the early jungle/drum ‘n’ bass producers lived in areas of London that has been affected by de-industrialisation since the 1980s. In the early 1990s, conditions worsened due to the deepest recession in the UK since the Second World War».}} δεύτερον, μετά τα γεγονότα του [[Castlemorton Common Festival]],{{efn|Το Castlemorton Common Festival ήταν ένα [[ελεύθερο ρέιβ φεστιβάλ]] που διεξήχθη στο [[Γουόρστερσαϊρ]] της Αγγλίας από τις 22 μέχρι τις 29 Μαίου 1994 με προσέλευση 20.000-40.000 κόσμο.<ref>{{Cite web|url=https://www.theguardian.com/music/2011/jun/15/castlemorton-triggers-rave-crackdown|title=Castlemorton triggers the rave crackdown|last=Lynskey|first=Dorian|date= 2011-06-15|website=The Guardian|accessdate= 2019-06-22}}</ref> Η εκτεταμένη κάλυψή του από τον τύπο αποτέλεσε την αφορμή για το νέο Νόμο περί Ποινικής Δικαιοσύνης και Δημόσιας Τάξης.<ref>{{Cite web|url=https://www.bbc.com/news/uk-england-hereford-worcester-39960232|title=Castlemorton Common: The rave that changed the law|last=Chester|first=Jerry|date= 2017-05-28|website=BBC News|accessdate= 2019-06-22}}</ref> Καθώς ο νόμος ήταν έντονα παρεμβατικός, έχει ασκηθεί δριμεία κριτική στον τρόπο που χειρίστηκαν ο τύπος και η κυβέρνηση το θέμα.{{sfnp|Reynolds|2012|p=139-140|ps=: «During the next five days of its existence, Castlemorton inspires questions in Parliament, makes the front page of every newspaper, and incites nationwide panic about the possibility that the next destination on the crusty itinerary is your very own neighbourhood. Tabloids like the Sun stoke public fear and resentment of ‘the scum army’ of dole-scrounging soap-dodgers having fun on your tax money. In the quality newspapers, commentators line up to fulminate against the malodorous anarcho-mystics. Novelist Anthony Burgess (mis)informs his Evening Standard readers that New Age travellers like to listen to New Age music, and decries the outdoor rave phenomenon as ‘the megacrowd, reducing the individual intelligence to that of an amoeba . . . dehumanization purchased in the name of freedom.’ [...] And the Conservative government begins to hatch the ultimate death-blow to the free party scene: the Criminal Justice and Public Order Act».}}}} το 1994 θεσπίστηκε από το [[Κοινοβούλιο του Ηνωμένου Βασιλείου]] ο [[Νόμος περί Ποινικής Δικαιοσύνης και Δημόσιας Τάξης]]<ref>{{Cite web|url=https://www.legislation.gov.uk/ukpga/1994/33/contents/enacted|title=Criminal Justice and Public Order Act 1994 |website=legislation.gov.uk |accessdate= 2019-06-22}}</ref> που προέβλεπε ιδιαίτερα αυστηρά μέτρα, και ιδίως τη δυνατότητα των αστυνομικών οργάνων να παρεμποδίζουν τη διεξαγωγή των ρέιβς σε εξωτερικούς χώρους,{{sfnp|Gilbert|Pearson|1999|p=150|ps=: «The 1994 Criminal Justice and Public Order Act was a wide-ranging, composite piece of legislation, which covered many areas of the law. But a large part of it was explicitly aimed at suppressing the activities of certain strands of alternative culture. The main targets of this draconian piece of legislation were squatting, direct action protest involving the occupation of land, hunt sabotage and outdoor free parties. In particular, it aimed to stop the unlicensed dance parties which had become a feature of weekend life for many people in both rural and urban areas».}} στρέφοντας ως εκ τούτου σημαντική μερίδα του κόσμου προς τους εσωτερικούς χώρους·<ref name=":6" /> τρίτον, η διαρκής μετατόπιση του ύφους της μουσικής προς το «σκοτεινό» αποτέλεσε πρόσφορο έδαφος για την κοινωνικά ανταγωνιστική κουλτούρα της [[dancehall]] που χαρακτήριζε το κυρίαρχο στη σκηνή ragga κοινό<ref name=":6" /> —το στοιχείο αυτό είχε δημιουργήσει από πριν αμηχανία στους λευκούς που είδαν τα κλαμπ να κατακλύζονται από την έγχρωμη νεολαία·{{sfnp|Belle-Fortune|2007|p=120|ps=: «It’s not so much the trouble in terms of violence. Trouble can also be subtle. Sometimes it’s just a feeling. People are left trying to check the attitude, suss out the vibes and watch the body language. Without a psychological metal detector, people are left with their intuition. One of the unfortunate realities of our multicultural society is that racial power relationships still exist. On the whole white people have the upper hand, but the dance is ruled by predominantly black music. In raves on their home turf, black people, usually black males, are the only ones free to be the bad bwoys. White guys come in peace to dance, especially if they’re in the minority. The majority of black guys also come in peace to rave but if some have got the front, they can exploit the bad-bwoy-in-the-dance niche. However, people should be very careful to avoid simplistic conclusions about racial generalisations. Depending on the circumstances, anyone can flex with Attitude. It’s up to the raving collective to educate, ease and squeeze out the bad bwoy niche».}} τέταρτον, η απουσία της αστυνομίας και η έλλειψη μέτρων ασφαλείας άφηνε το πεδίο ελεύθερο στις συμμορίες και στους εμπόρους ναρκωτικών που αναζητούσαν εύκολα θύματα.{{sfnp|Collin|Godfrey|2009|p=280|ps=: «‘A lot of criminals and dealers got involved in the scene because it was easy pickings,’ remembers Kemistry unhappily. ‘They could go in there, mug a few punters, get their drugs and their money and people couldn’t do much about it because they were off their face. By the end of the evening they could have a pocketful of drugs and loads of money and get away with it. It did attract a lot of undesirables because it was such an easy vibe, they didn’t have major searches for weapons then, nobody had heard of bringing a weapon to a rave. It was a shame because it did have a nasty effect on the scene and of course that brought bad press – the press loved it because they could say: “I told you so”’».}}<ref name=":6" /> Πολύς κόσμος (ιδιαίτερα γυναίκες) απομακρύνθηκε από τη σκηνή ως συνέπεια των παραπάνω.{{sfnp|Collin|Godfrey|2009|p=286|ps=: «Just as drum and bass reached its commercial peak, some of its urban followers – particularly women – were becoming increasingly disaffected with its hardcore mentality, and started to return to more uplifting party music based on the original house template».}}

Συνολικά, η κυριαρχία της ragga στην jungle (εξού και η ονομασία ragga jungle που αποδόθηκε σε αυτό το στιλ) βοήθησε μεν στη διεύρυνση του κοινού και στη δημοσιότητα της σκηνής, από την άλλη όμως προκάλεσε δυσφορία σε εκείνους που επιθυμούσαν άλλη αισθητική στη μουσική τους.{{sfnp|Belle-Fortune|2007|p=17-19|ps=: «The Ragga infusion was extremely entertaining, which may have contributed to Jungle’s problems, as it was around this time that the media began to turn its attention to the scene. People already within the scene became more than a little confused by their portrayal, not recognizing themselves in the media screenplay. [...] Jungle producers busy using Ragga samples had actually begun to work with the music's stars. The collaborations had reached a point where Jungle threatened to become a poor Ragga hybrid, run by Jamaicans [...] For the original ravers, the Ragga beat caused problematic undercurrents. The Reggae samples of love, peace, togetherness and Jah were replaced by sounds promoting Bad Bwoys who were Wicked in Bed, on their way to Burn the House Down. It was divisive and alienating. Many of the English audience, whatever their colour, couldn’t understand the lyrics. Some people who could understand the words weren’t down with sexist or violent lyrics. To be fair, Ragga isn’t only about sex and violence. But those elements were there. Andre, a Metalheadz punter, described how having liked Ragga, he could see that the same lyrical problems which had driven him from Ragga, were now infecting Jungle. As DJ Storm said “The Ragga thing was talking about things we didn’t actually do.” [...] People had welcomed the Ragga / Reggae influence and the new crowd and influx of talent which it brought, but were sick of the Ragga / Reggae ethics. Deeper underground, some of those genre’s shadier characters had also begun to move into Jungle».}} Για παράδειγμα, ο Rob Playford θεωρούσε ότι η δημοσιότητα της ragga jungle οφειλόταν στη μετατόπιση της προσοχής από τον παραγωγό προς τον φρόντμαν (δηλαδή τον MC), καθιστώντας τη μουσική όμοια με κάθε άλλο είδος εμπορικής μουσικής, μη σεβομένη τις πραγματικές της ρίζες (δηλαδή στη house και την techno, όπου το επίκεντρο ήταν πάντοτε το beat).{{sfnp|Reynolds|2012|p=336|ps=: «The major labels are pushing ragga-jungle ’cos it’s dance music with a frontperson, which is easier to sell. Whereas real drum and bass is engineer’s music, all the action is behind the scenes. That’s why it’ll never become chart-pop. Where it will become more widely accepted is as experimental album-based music. It’ll be the next century’s equivalent to seventies progressive rock. None of that guitars and drums bizness! -Rob Playford, boss of Moving Shadow, late 1994».}}<ref>{{Cite web|url=https://de-bug.de/mag/rob-playford-engl/|title=Rob Playford Interview|last=Bunz|first=Mercedes|last2=Koehler|first2=Oliver|date=2000-01-26|website=Debug|language=αγγλικά|accessdate=2019-07-16|quote=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|last3=Kösch|first3=Sascha}}{{Dead link|date=Ιουλίου 2021 }}</ref> Η εκ των έσω αντίδραση έγινε πιο έντονη όταν ο General Levy, ένας MC που προερχόταν από διαφορετική μουσική σκηνή, μετά την επιτυχία του 'Incredible' δήλωσε σε συνέντευξη του μουσικού περιοδικού The Face ότι αυτός «τρέχει την jungle».<ref name=":7" /><ref name=":8">{{Cite web|url=https://djmag.com/content/exclusive-general-levys-incredible-journey|title=EXCLUSIVE: GENERAL LEVY'S 'INCREDIBLE' JOURNEY|last=Whitehurst|first=Andrew|date= 2015-01-19|website=DJ MAG|accessdate= 2019-06-26}}</ref> Αυτό είχε ως συνέπεια την αγανάκτηση πολλών μελών της σκηνής, θεωρώντας ότι η στάση του Levy ήταν προσβλητική και υποτιμητική προς τους παλαιότερους.{{sfnp|Belle-Fortune|2007|p=19|ps=: «General Levy tried to grab the crown of the faceless movement. Signing an autograph in ’94 “Maximum Big up, From De Oriogional (sic) Junglist – General Levy”. Though he later apologized in a letter to The Face, his initial attitude caused great offense to the real hard workers of the scene who weren’t too happy. {{!}} There was nothing wrong with the tune [Incredible]. The tune was a bad tune. It represented for real. What was wrong was the fucked-up way they went about doing it. ‘Levy’s King of the Jungle ... Him run tings.’ – He didn’t know the real players.” -MC 5ive’Ο {{!}} “When that thing blew up, it blew up for the wrong reasons. General Levy came in and gave Jungle to the wrong people. It wasn’t the people who initiated or instigated it. It was people who didn’t have a clue what Jungle was ... Obviously some of the DJs were playing Incredible. And before you knew it, it blew up as the face of Jungle.” -Sarah, Groove Connection».}} Συστάθηκε μάλιστα προς το τέλος του 1994 μια προσωρινή επιτροπή μεταξύ των πιο καταξιωμένων καλλιτεχνών και προωθητών, σε μια προσπάθεια επαναφοράς της σκηνής στις ρίζες της. Αποφασίστηκε, έτσι, ο πλήρης αποκλεισμός του 'Incredible' και άλλων ragga jungle κομματιών από τις μουσικές επιλογές των DJs, καθώς και το μποϊκοτάζ κατά οποιωνδήποτε εξακολουθούσαν να στηρίζουν τον Levy.{{sfnp|Reynolds|2012|p=253|ps=: «A month later, and the pirate MCs were dissing The Face for printing General Levy’s boast that ‘I’m runnin’ jungle’. [...] In response to Levy’s bragging, a cabal of top junglists banded together as The Committee with the intention of ensuring that jungle was covered ‘correctly’. The first step taken by the Committee (aka the Council) was a boycott on ‘Incredible’, which rapidly escalated into further boycotts against DJs who carried on playing the track, promoters who booked Levy to perform PAs, DJs who continued to play for those promoters, and so on, ad absurdum. Legend has it that a posse was also sent out to corner Levy in a nightclub, where some kind of retribution was exacted. True or not, an abject apology from the General soon materialized in the Letters Page of The Face. And guess what? He blamed the media, claiming his quotes had been taken out of context. For one brief moment, while the media spotlight focused on the scene and the record companies began to wave chequebooks, every junglist was united in hatred and resentment of General Levy».}}{{sfnp|Belle-Fortune|2007|p=19|ps=: «Politically, there were moves to restore the direction and ownership of Jungle. DJ’s refused to play Incredible and in late ’94, Rebel MC was amongst those who called a meeting of Jungle’s founding crews including: producers, artists and promoters. Under the banner of unity, there was an attempt to tighten the control of Jungle by its family. One of the objectives of the foundation meetings was to remove General Levy’s influence».}}{{sfnp|Sharp|2000|p=143|ps=: «This turn of affairs provoked consternation within the scene, especially as it looked unnervingly as if the main movers behind the sound's genesis weren't going to be paid. A committee was briefly formed to protect what the participants saw as the integrity of the music. Edicts were issued that prohibited certain records from being played, and some events and promoters were boycotted».}}<ref name=":10" /> Σύντομα επακολούθησε μια επιστολή απολογίας του Levy στο The Face, υποστηρίζοντας ότι ο δημοσιογράφος παρερμήνευσε τα λεγόμενά του.<ref name=":8" /><ref>{{Cite web|url=http://dilate.choonz.com/index.php?id=238|title=Him only smoke cigarettes and strictly shag...|date=2006-03-28 |website=dilate.choonz|archiveurl=https://archive.today/20120709224902/http://dilate.choonz.com/index.php?id=238|archivedate= 2012-07-09 |accessdate= 2019-06-26}}</ref>{{efn|Έκτοτε η παρεξήγηση έχει ατονίσει και το 'Incredible' παίζεται μέχρι και σήμερα.<ref>{{Cite web|url=https://www.vice.com/en_uk/article/4x8wzm/the-jungles-still-massive-why-is-general-levys-incredible-so-popular-20-years-on|title=The Jungle's Still Massive: Why is General Levy's "Incredible" So Popular 20 Years On?|last=Willis|first=Sam|date= 2015-09-29 |website=Vice|accessdate= 2019-06-26}}</ref> }}

==== Η περίοδος της intelligent drum and bass ====
Στις αρχές του 1995 παρατηρείται μια εντυπωσιακή στροφή από τα ξέφρενα φωνητικά της ragga προς τα ορχηστρικά, μπρέικμπιτ-βασιζόμενα ατμοσφαιρικά κομμάτια.{{sfnp|Belle-Fortune|2007|p=20|ps=: «In early ’95, there was a conscious decision by the DJs, not to play anything Ragga-oriented or with a full vocal. [...] “However much I can say I totally loved the energy of that Jungle sound, we knew we had to keep moving forwards otherwise the thing would stagnate.” -Sarah, Groove Connection [...] And Roast, Telepathy and a host of others, featured mostly Raggaless Jungle».}} Η intelligent drum and bass, όπως ονομάστηκε, ήταν η απάντηση της σκηνής στη ragga jungle, κατ' ακριβολογία όμως επρόκειτο περισσότερο για ξαφνική ανάδειξη ενός στιλ που είχε σφυρηλατηθεί στην αφάνεια αρκετά χρόνια νωρίτερα από τον πρωτοπόρο LTJ Bukem και τη δισκογραφική του εταιρία Good Looking,<ref>{{Cite web|url=https://drumtrip.co.uk/news/what-is-jungle-the-history-1992-to-1996/|title=What is Jungle? – The History 1992 to 1996|last=|first=|date= 2011-10-11|website=Drumtrip|publisher=|language=αγγλικά|accessdate= 2019-06-26|quote=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.}}</ref><ref>{{Cite web|url=https://www.allmusic.com/artist/ltj-bukem-mn0000777405/biography|title=LTJ Bukem Biography|last=Bush|first=John|website=AllMusic|language=αγγλικά|accessdate= 2019-06-28|quote=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}}</ref> ως ambient jungle·{{sfnp|Reynolds|2012|p=336-337|ps=: «LTJ Bukem invented oceanic jungle. ‘Atlantis’ was jungle’s equivalent of Hendrix’s ‘1983, A Merman I Should Turn To Be’: over a susurrating sea of beats and bongos float scintillating motes and spangle-trails, and the languorous ‘mmmm’s’ and soul-caressing sighs of a ‘quiet storm’ diva. If ‘Atlantis’ imagined utopia as a subaqua paradise, ‘Music’ – a near nine minute dream-drift of nebulous texture-swirls, Milky Way synth-clusters and orgasmic exhalations – was cosmic. Radically uneventful, ‘Music’ and ‘Atlantis’ were heretically at odds with the staccato freneticism of ’ardkore. Bukem had shown it was possible to speed up the breakbeats until the body was bypassed altogether, thereby transforming hardcore into relaxing music. Rhythm itself became a soothing stream of ambience, a fluid medium in which you immerse yourself».}} ένα είδος-υβρίδιο (μεταξύ jungle και [[ambient]]) με επιρροές από την [[τζαζ]], τη [[σόουλ]] και τη [[φανκ]], το οποίο αξιοποιεί τα φρενήρη κρουστά της jungle αλλά ταυτόχρονα αποβάλλει την επιθετικότητά τους με αρμονικές ακολουθίες παραγόμενες από [[συνθεσάιζερ]]ς.<ref>{{Cite book|title=Encyclopaedia of Contemporary British Culture|url=https://archive.org/details/encyclopediaofco0000unse_l1e7|first=Peter|last=Childs|first2=Michael|last2=Storry|publisher=Routledge|isbn=0415147263|year=1999|chapter=Ambient music|others=Λήμμα από τον Stuart Borthwick|series=Encyclopedias of Contemporary Culture|location=Ηνωμένο Βασίλειο|page=[https://archive.org/details/encyclopediaofco0000unse_l1e7/page/22 22]|language=αγγλικά|quote=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>{{sfnp|Hockman|2014|p=26|ps=: «As the popularity of Ragga Jungle waned, Ambient Jungle became the next popular subgenre (C. Collins 2013). Ambient Jungle had its start during the era of Darkside, when musicians such as LTJ Bukem fused elements of Detroit Techno (e.g., subtractive synthesizer leads and sustained sounds) with sped-up breakbeats. Also termed Intelligent or Atmospheric, Ambient Jungle was a less aggressive, often Jazz- or Funk-infused form of Jungle, which often incorporated instrumentation from these genres (including flutes and Rhodes piano) in a style idiomatic of Fusion genres. The related genre of Jazz Step moved even further in this direction, often incorporating elements typically heard in Jazz recordings, such as drum fills and upright bass. This was the first form of music in this continuum to become known as Drum & Bass, which was differentiated from earlier Jungle by its simpler rhythms, and increased focus on production techniques».}} Από τεχνική άποψη, ο ήχος του είδους αυτού βασίστηκε στην έλευση του [[Akai S1000]] sampler στα μικρά στούντιο, καθώς προσέφερε νέες τεχνολογικές δυνατότητες σε επίπεδο παραγωγής· χαρακτηριστικά, το [[audio time stretching]] —μια τεχνική που επιτρέπει στους παραγωγούς να παρεμβαίνουν στην ταχύτητα ενός sample χωρίς να επηρεάζεται το [[pitch]] του— βοήθησε στο να χρησιμοποιούνται φωνητικά σε υψηλότερη ταχύτητα χωρίς να παραμορφώνεται ο ήχος, συμβάλλοντας στη μελωδικότητα των κομματιών και συνακόλουθα προσεγγίζοντας τη συμβατική μουσική.{{sfnp|Sharp|2000|p=139-140|ps=: «The Akai S1000 sampler was first produced in 1989 but took a few years to become a standard item in the budget producer's armory. The S1000 was also impressively futureproof [...] A chunky gray box with a small LCD screen, a fully-upgraded S1000 offered trimming, looping, crossfading and splicing facilities, all in 16-bit, cd-quality sound. It also incorporated a new device called time-stretching, which allowed the tempo of a sample to be increased without the pitch going up as well. It's not too much of exaggeration to assert that drum and bass could not have come into being without this box and its successors. [...] Goldie clearly understood the opportunities opening out for the music».}}{{sfnp|Reynolds|2012|p=337|ps=: «‘Angel’ by Metalheads (aka Goldie) sounded another death knell for darkside. Fusing Diane Charlemagne’s live, jazzy vocal with 150 b.p.m. breaks, eerie samples from Byrne and Eno’s My Life In the Bush Of Ghosts, a bedlam of sampled horns, and Beltram-style terror-riffs, ‘Angel’ was an astonishing soundclash of tenderness and terrorism; the song showed that hardcore could become more conventionally ‘musical’ without losing its edge. Timestretching – a process that allows a sample to be sped up or slowed down to fit any tempo of beat, without changing its pitch – allowed producers to make the vocal element of their track sound ‘normal’, as opposed to the helium-shrill, chipmunk voices in early hardcore».}} Πάντως, παρότι αρχικά προσανατολισμένη ως άκουσμα για το σπίτι,{{sfnp|Reynolds|2012|p=337|ps=: «As with Warp’s electronic listening music initiative in 1992, ambient jungle was partly the result of an emerging generation gap within breakbeat. While younger producers still oriented their music towards DJs and dancers, the older hardcore artists were now starting to make music that worked better at home than on the dancefloor, as album tracks rather than material for the DJ’s relentless cut ’n’ mix. As the ‘intelligent’ drum and bass style took shape, its purveyors increasingly defined themselves against the populist fare that ruled the dancefloor at the big raves and clubs: on one hand, the ‘cheesy’ E-lation of ‘happy hardcore’, on the other, the rowdy, rude-boy menace of ragga-jungle. Goldie dismissed the ‘booyacka’ ragga tracks as unimaginative and unoriginal, immature music for immature people. Late in 1994, LTJ Bukem founded Speed, a club with an explicit ‘no ragga’ policy. And in 1994, the intelligent contingent had a point. Compared with the increasingly formulaic dancehall-influenced tracks, the new ‘artcore’ was a breath of fresh air».}} η ambient jungle βρήκε στέγη από τον Οκτώβριο του 1994 στη βραδιά Speed που φιλοξενούσαν στο Mars Bar του [[Λονδίνο]]υ οι LTJ Bukem και Fabio σε συνεργασία με τις Kemistry και Storm, προσφέροντας μια ήρεμη ατμόσφαιρα ως εναλλακτική στην κυριαρχία των ragga jungle ρέιβς.{{sfnp|Belle-Fortune|2007|p=99|ps=: «Based in the West End’s Mars club, Speed offered small, casual, safe mid-week clubbing where the music was mellow in comparison with the hyper vibes of the traditional Jungle rave arena. On the first night, there were only five or six people inside the Mars Club. DJ Zoe and a friend Anne remember being the first on the dancefloor. At the time it was unusual to have a Jungle dance in the West End. But it was a welcome addition to London’s club scene for those who did want a different sort of Jungle. In due course, the club was filled to capacity. Though Goldie and Trenton still went to the Laserdrome, Speed was the place where they could chill out. DJ / producer LTJ Bukem & MC Conrad made their names there and producers Source Direct and Photek found somewhere to hear their tunes played».}}{{sfnp|Hockman|2014|p=65|ps=: «Founded in 1994 by DJs Kemistry and Storm (Valerie Olukemi Olusanya and Jane Conneely) (Stewart 2013), the Speed club night at Mars Bar was popularized under the mantle of LTJ Bukem and Fabio through the aid of Sarah Sandy from Groove Connection and Leo Roche. The night offered an alternative to the popular Ragga Jungle form of Jungle that was prevalent in 1994. Lindo (Alpha Omega) remembers “[Fabio and LTJ Bukem] didn’t really take to the ragga/jump up side of things and started their own club promoting their take on Jungle and that really helped shape another strand of Jungle that’s just as important as anything before or after that time” (Lindo 2013). Speed’s success was not overnight. As Williamson (LTJ Bukem) remembers, “Only 20 people showed up but we kept doing it for a few months. Then one night we just had a queue around the block and it was like that for a few years” (Mayers 2012)».}} Στην ιστορική συνέχεια του όλου φάσματος jungle/hardcore, η ambient jungle, όπως αυτή εξελίχθηκε σε αυτό το χρονικό διάστημα, υιοθετώντας απλούστερους ρυθμούς και δίνοντας έμφαση στις τεχνικές παραγωγής, σηματοδοτεί για πρώτη φορά τη χρήση του ονόματος «drum and bass».{{sfnp|Hockman|2014|p=26|ps=: «As the popularity of Ragga Jungle waned, Ambient Jungle became the next popular subgenre (C. Collins 2013). Ambient Jungle had its start during the era of Darkside, when musicians such as LTJ Bukem fused elements of Detroit Techno (e.g., subtractive synthesizer leads and sustained sounds) with sped-up breakbeats. Also termed Intelligent or Atmospheric, Ambient Jungle was a less aggressive, often Jazz- or Funk-infused form of Jungle, which often incorporated instrumentation from these genres (including flutes and Rhodes piano) in a style idiomatic of Fusion genres. The related genre of Jazz Step moved even further in this direction, often incorporating elements typically heard in Jazz recordings, such as drum fills and upright bass. This was the first form of music in this continuum to become known as Drum & Bass, which was differentiated from earlier Jungle by its simpler rhythms, and increased focus on production techniques».}}

Σύντομα, αρκετοί παραγωγοί θέλησαν να εξελίξουν τον ήχο της ambient jungle χρησιμοποιώντας αληθινά όργανα (όπως για παράδειγμα σαξόφωνα), επιζητώντας καλλιτεχνική αναγνώριση της μουσικής τους.{{sfnp|Pfleiderer|1999|p=30|ps=: «Betont wurde hier, wie auch bei den Entwicklungen eines Ambient Drum'n'Bass, Jazz Step, Soul Step, Art Core usw., die künstlerischmusikalische Seite von Jungle/Drum'n'Bass - im Gegensatz zur groben, aggressiven Stimmung des Ragga Jungle oder zum älteren Hardcore, der oft als chaotisch und "silly" (dumm/kindisch) angesehen wurde. Die Drum'n'Bass-Artists strebten nun nach künstlerischer Anerkennung, ihre Musik wurde weicher, eingängiger und durchhörbarer und wandelte sich mitunter von der überdrehten Rave-Musik zu einer Chill Out-Musik mit Samples aus Fusion Jazz und Ambient Music. Zugleich wurde der Begriff Jungle weitgehend durch die neutralere Bezeichnung Drum'n'Bass ersetzt».}} Έτσι, πράγματι, σε αυτό το χρονικό σημείο η jungle αποκτά αναγνωρισιμότητα στο μουσικό κόσμο, προωθείται η μελωδική της πλευρά και παύει να θεωρείται τμήμα της υποκόσμιας (underground) μουσικής. Είναι χαρακτηριστικό ότι το 1996 τα δημοφιλέστερα τζαζ περιοδικά στη Γερμανία, Jazzthetik και Jazzthing άρχισαν να προβάλλουν τακτικά drum and bass δίσκους.{{sfnp|Pfleiderer|1999|p=47|ps=: «Dass Drum'n'Bass tatsächlich relativ schnell als künstlerisch hochstehende Musik anerkannt wurde, lässt sich z.B. daran ablesen, dass Drum'n'Bass-CDs seit ca. 1996 regelmäßig in den beiden deutschen Jazz-Zeitschriften JAllTHETIK und JAllTHING rezensiert worden sind. In den JAZzTHING-Mitarbeitercharts des Jahres 1996 erreichte die Compilation "Platinum Breakz" von Goldies Metalheadz-Label einen beachtlichen Platz 8 der Gesamtwertung (vgl. JAllTHING Nr. 17, Februar/März 1997, S. 62)».}}

Το είδος αυτό εξερεύνησαν επίσης οι Goldie, Omni Trio, Foul Play και 4 Hero, ωστόσο η συγκυρία το έφερε να αποτελέσει σημαία ενός μουσικού ελιτισμού:{{sfnp|Reynolds|2012|p=336|ps=: «All this infuriated the self-consciously experimental contingent of the drum and bass community – labels such as Moving Shadow, Reinforced and Good Looking; artists like Goldie, Omni Trio, Foul Play, 4 Hero, LTJ Bukem. Together, these artists had forged a sound that I dubbed, with deliberate oxymoronic intentions, ‘ambient jungle’ (because of the way it combined frenetic beats with a soothing overlay of multitextured atmospherics), and ‘artcore’. Within the scene, vaguer and ultimately more problematic terms – ‘deep’ and ‘intelligent’ – emerged to designate the new style of drum and bass [...] Esotericism, elegance and élitism were now the watchwords».}} η εμφανής αντίθεση της ambient jungle με τη ragga jungle (ειδικά μετά το «φιλτράρισμα» του κοινού στην πρώτη) έγινε η αφορμή για πολλούς να εισαγάγουν όρους παραγκωνισμού, όπως το επίθετο «intelligent» και για ένα χρονικό διάστημα το όνομα «drum and bass»''.{{sfnp|Belle-Fortune|2007|p=99|ps=: «Leo opened Speed in October ’94  [...] No other clubs were playing what people now know as Drum & Bass. They also hoped to exclude the ‘dodgy’ crowd. [...] DJ / producer LTJ Bukem & MC Conrad made their names there and producers Source Direct and Photek found somewhere to hear their tunes played. It was a fertile environment in which Drum & Bass grew. Interested record companies and their A&R men soon went down to catch the new sounds. It was around this time the term ‘Intelligent’ was used to describe the less rugged style of music, with far reaching consequences for the rest of the scene».}}'' Συγκεκριμένα, ο όρος «intelligent», όπως στην περίπτωση της [[IDM]] με αντίστοιχη κριτική του ονόματός της,<ref>{{Cite web|url=https://www.vice.com/en_au/article/7xq4ga/idm-list-25-year-anniversary-warp-hyperreal-2018|title=The IDM List Gave Intelligent Dance Music Its Name and Geeky Legacy|last=Davies|first=Sam|date= 2018-08-02|website=Vice|publisher=|language=αγγλικά|accessdate= 2019-07-14 |quote=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}}</ref> κατηγορήθηκε από τους βετεράνους της jungle ότι έκανε διαχωρισμό μεταξύ δήθεν έξυπνης και ηλίθιας εκδοχής της μουσικής,<ref>{{Cite web|url=https://djmag.com/content/exclusive-general-levys-incredible-journey|title=EXCLUSIVE: GENERAL LEVY'S 'INCREDIBLE' JOURNEY|last=Whitehurst|first=Andrew|date= 2015-01-19 |website=DJ MAG|language=αγγλικά|accessdate= 2019-06-28|quote=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”}}</ref><ref>{{Cite journal|url=|title=Pascal and Frontline Records Profile|date=Ιούνιος 1995|journal=Atmosphere Magazine|quote=The thing I don’t like is when people start labelling the music as either Jungle, Hardstep, intelligent, especially when they say intelligent, cause certain people will do a track that has a string intro that goes on for about two years which then goes into a well known break with a bass that consists of two notes. It will continue like this for about another two years and people will call it intelligent. What is intelligent about that?|language=αγγλικά|page=10-11}}</ref>{{sfnp|Belle-Fortune|2007|p=20|ps=: «Producers making Jungle continued to borrow from a wide range of music. However, as Jazz, Ambient or Techno hooks were used by producers, the media and marketing men trumpeted it as a new direction in Jungle. [...] It created confusion in some quarters and within the confusion, there were glimpses of racism. During an Open Forum (Kool FM’s seasonal debate show), MC 5ive’Ο described a flyer he’d been given which boasted, “Intelligent beats for the Intelligent few”. It didn’t take much reading between the lines to understand its assumptions or implications».}} ενώ λίγο αργότερα αποκήρυξε τον όρο και ο ίδιος ο LTJ Bukem.<ref>{{Cite journal|url=|title=LTJ Bukem Stateside|last=Manion|first=S.|date=Μάιος 1996|journal=Atmosphere Magazine|quote=The sooner people stop using that word the better, if what I play is ‘intelligent’, then what is it that Hype plays? At the end of the day, I may play a different style of music but I’m not going to dis those guys that have been there with me since day one by saying mine is ‘Intelligent’, I’ll tell you why the media has labelled the music ‘Intelligent’, right, for x amount of years the media has been dissing this music and the whole jungle scene. Now it appears that over the last year or so the media has found something or perhaps a few
influential people have started to like this music and say, “hang on a minute this is good music.” So now the press have picked up on it and thought “oh shit! We better write about it but we haven’t got a name for it...so hang on...I’ll tell you what we’ll call it Intelligent” and if it makes it then it’s cool to be into. It’s like a journalistic embarrassment not realising about this music up until the last 12 months. Calling it intelligent kind of gets you out of it for missing it for so long. The term intelligent is very wrong|year=|issue=|page=20-21}}</ref> Κατά τον Simon Reynolds, ο όρος «intelligent» υποδήλωνε κατ' ουσίαν την εισαγωγή λιγότερο χορευτικών και περισσότερο ατμοσφαιρικών στοιχείων που ωθούσαν στον καθιστικό στοχασμό παρά τον έξαλλο σωματικό χορό του ακροατή, χωρίς απαραίτητα να αποτελούν πιο «έξυπνες» συνθέσεις σε σχέση με τη ragga jungle.{{sfnp|Reynolds|2012|p=346|ps=: «Often, the ‘maturity’ and ‘intelligence’ resides less in the music itself than the way it’s used (reverent, sedentary contemplation as opposed to sweaty, boisterous physicality). The majority of ‘intelligent jungle’ tracks were no smarter in their construction than the ruff ragga-jungle anthems. ‘Intelligence’ merely indicated a preference for certain sounds – bongos, complicated hi-hat patterns, floaty synth-washes, neo-Detroit string sounds – over others that were harsher, more obviously artificial and digitally processed».}} Από την άλλη, ο τύπος, τα μίντια και η μουσική βιομηχανία χρησιμοποίησαν το όνομα «drum and bass» επίσης ως διαχωριστικό όρο από την jungle, προκειμένου να προωθήσουν μουσική που έκριναν εμπορική και επομένως προσοδοφόρα.{{sfnp|Belle-Fortune|2007|p=21|ps=: «By early ’96 the prominence in the media of clubs like Speed and Metalheadz at the Blue Note and of producer / DJs like Bukem, promoted a new direction, with the sounds of the Drums and the Bass. Drum & Bass wasn’t any more real than Jungle but it became subtly important in marketing terms. Drum & Bass = Good, Jungle = Bad. That’s the way the name ‘Jungle’ in 1995 - 96 seemed to drop. One Nation and World Dance were among those rave organisations who changed the wording on their flyers in an attempt to discourage any anti-social customers. Others clung religiously to the name, refusing to abandon their music because it was Jungle. [...] MC 5ive’Ο compares the split in Jungle to Hip Hop and it’s “East Coast – West Coast bullshit, with people making Drum & Bass to accommodate the white man”. He also smells racism in the development of the Drum & Bass side of the industry and its new media focus. “Drum & Bass is a white bwoys’ bizniss. And it seems like they got certain coconuts involved ... Any music that comes to this planet, the white bwoys and record companies are in it and that’s the way it goes.” The essence of difference had been there before but before it didn’t seem to matter. It wasn’t so overt. And there were no big money record company contracts flying around. By the time Goldie had been signed by London Records, the differences really did matter».}}  Τελικά, ο τρόπος που χρησιμοποιήθηκαν οι δύο όροι υποδήλωνε τη λανθάνουσα φυλετική αντιπαράθεση της βρετανικής κοινωνίας: η jungle, στιγματισμένη από το αντικοινωνικό κοινό της περιθωριοποιήθηκε από τη βιομηχανία, ως η μουσική της [[Εργατική τάξη|εργατικής τάξης]] και των μαύρων, ενώ η drum and bass έμελλε να κυριαρχήσει ως η μουσική της μεσοαστικής λευκής τάξης.<ref>{{Cite web|url=https://www.redbull.com/gb-en/intelligent-drum-n-bass-divisive-but-still-an-influence|title=Intelligent drum 'n' bass: Why it's divisive but still an influence|last=Murphy|first=Ben|date= 2018-10-24|website=Red Bull|language=αγγλικά|accessdate= 2019-07-16 |quote=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.}}</ref>  

== Μουσικά χαρακτηριστικά ==
Η drum and bass ενσωματώνει μια τεράστια ποικιλία ήχων και στυλ από πολλές σκηνές, από τους βαθύτατα ηλεκτρονικούς, [[Μουσική industrial|industrial]] ήχους της techstep, μέχρι τη χρήση συμβατικών, κλασσικών οργάνων, κλίνοντας προς την [[jazz]] και τη [[funk]] μουσική. Οι ήχοι της drum and bass είναι εξαιρετικά ποικίλοι χάρη στις συνεχείς επιρροές των καλλιτεχνών.

Η drum and bass θα μπορούσε να οριστεί κάποτε ως ένα απόλυτα ηλεκτρονικό είδος μουσικής, καθώς ο μόνος τρόπος που μπορούσε να εκτελεστεί ζωντανά ήταν το [[Disc jockey|DJing]], όμως ζωντανές συναυλίες του είδους πραγματοποιήθηκαν καθοδόν.

=== Τα ντραμς και τα μπάσα ===
Το είδος δίνει μεγάλη σημασία στο μπάσο (γνωστό ως “bass line”) το οποίο μπορεί να γίνει αισθητό μέσα από ισχυρά ηχοσυστήματα. Οι παραγωγοί, στην προσπάθειά τους να βρουν τον δικό τους χαρακτηριστικό ήχο, συνήθιζαν να εξερευνούν και να δοκιμάζουν διαφορετικά ηχοχρώματα όσον αφορά τα μπάσα που χρησιμοποιούσαν, ειδικά στην techstep, που ήταν κατ’ εξοχήν ένα είδος που προέκυψε από πειραματισμούς. Κατά την εξέλιξη του είδους, αρκετοί τύποι μπάσων άρχισαν να αποκτούν ιδιαίτερη φήμη, όπως για παράδειγμα το “Reese", το οποίο χρησιμοποιείται ακόμα και στις μέρες μας. Τα μπάσα των παραγωγών προέρχονταν κατά κύριο λόγο από samples ή [[Πλήκτρα|synthesizers]]. Τα [[Μπάσο|μουσικά όργανα μπάσα]], είτε αυτά ήταν ακουστικά, ηλεκτρικά ή κοντραμπάσα, χρησιμοποιούνταν από συγκροτήματα όπως τους [[Shapeshifter]], [[Squarepusher]], [[Roni Size]] και [[STS9]].

Από την άλλη πλευρά, η πολύπλοκη συγκοπή των ντραμς μοτίβων είναι μια άλλη πτυχή της παραγωγής, στο οποίο οι καλλιτέχνες μπορούν να αφιερώσουν πολλές ώρες μέχρι να φτάσουν στο επιθυμητό αποτέλεσμα. Το πιο κλασσικό παράδειγμα αποτελεί το [[Amen break]], το οποίο θεωρείται συνώνυμο των πρώτων κομματιών του είδους, ενώ επίσης είναι το πιο πολυχρησιμοποιημένο μοτίβο ντραμς. Αξίζει να αναφερθούν και άλλα breaks τα οποία είχαν ιδιαίτερη επίδραση στην drum and bass, όπως το Apache, Funky Drummer, “Soul Pride”, “Scorpio” και το “Think (About It)”.

Ωστόσο οι παραγωγοί δεν περιορίζονταν στη χρήση ενός μόνο break, αλλά αντίθετα συνήθιζαν να πειραματίζονται με δύο ή και τρία samples, συγχέοντάς τα, κυρίως κατά τη διάρκεια της δεκαετίας του 1990. Χαρακτηριστικό παράδειγμα αποτελεί το “Your Sound” του [[J Majik]].

Οι σχετικά γρήγοροι ρυθμοί στη μουσική drum and bass δίνουν τη δυνατότητα στον παραγωγό να δημιουργήσει ήχους που είναι ελκυστικοί σχεδόν σε κάθε γούστο και αποτελούν μόνο το παρασκήνιο σε σχέση με τα άλλα στοιχεία της μουσικής. Τα συγκεκομμένα breakbeats παραμένουν το πιο χαρακτηριστικό στοιχείο του είδους, καθώς χωρίς αυτά οποιοδήποτε χορευτικό κομμάτι σε tempo 120 χτύπων ανά λεπτό θα οριζόταν ως techno ή hardcore.

=== Ρυθμός ===
Η drum and bass κυμαίνεται στους 160-180 χτύπους ανά λεπτό, σε αντίθεση με άλλα [[breakbeat]]-βασιζόμενα στυλ χορευτικής μουσικής, όπως το [[nu school breaks]], το οποίο διατηρεί τους 130-140 χτύπους ανά λεπτό. Κατά την εξέλιξη της drum and bass έχει παρατηρηθεί μια γενικότερη τάση για επιτάχυνση του ρυθμού. Στα πρώτα βήματα του είδους, η drum and bass κυμαινόταν στους 130 χτύπους ανά λεπτό γύρω στο 1990-1991, αργότερα το 1993 επιταχύνεται στους 155-165 χτύπους ανά λεπτό, ενώ από το 1996 έως και σήμερα διατηρείται στους 170-180 χτύπους ανά λεπτό.

== Επιρροές ==
Στα αρχικά στάδια διαμόρφωσης του ήχου της jungle και της drum and bass πρωταγωνιστικό ρόλο έπαιξε η τζαμαϊκανής καταγωγής [[dub]] και [[ρέγκε|reggae]], χάρη στους [[King Rubby]], [[Peter Tosh]], [[Sly & Robbie]], [[Bill Laswell]], [[Lee Perry]], [[Mad Professor]], [[Roots Radics]], [[Bob Marley]] και [[Buju Banton]]. Η επιρροή αυτή είναι εν μέρει αισθητή και σήμερα, καθώς σε πολλά κομμάτια περιλαμβάνονται ragga στίχοι.

Ως ένα μουσικό είδος το οποίο βασίστηκε στη [[funk]] και σε συγκεκομμένα [[rock and roll]] ντραμς μοτίβα, ο [[James Brown]], [[Al Green]], [[Marvin Gaye]], [[Εlla Fitzgerald]], [[Gladys Knight & The Pips]], [[Billie Holiday]], [[Aretha Franklin]], [[Otis Redding]], [[The Supremes]], [[The Commodores]], [[Jerry Lee Lewis]] ή ακόμα και ο [[Michael Jackson]] είναι όλοι [[funk]] επιρροές στη μουσική. Ο πρωτοπόρος της [[jazz]] [[Miles Davis]] έχει αναφερθεί ως πιθανή επιρροή. Καλλιτέχνες της [[blues]], όπως ο [[Lead Belly]], [[Robert Johnson]], [[Charlie Patton]], [[Muddy Waters]] και [[B.B King]] έχουν επίσης επισημανθεί από παραγωγούς ως πηγές έμπνευσης. Παρ’ όλα αυτά, μία από τις πιο σημαντικές, αν όχι η σημαντικότερη επιρροή στο είδος αποτέλεσε το “Amen Brother” από τους [[The Winstons]], το οποίο περιέχει ένα [[ντραμ σολο]] που έκτοτε έγινε γνωστό ως το [[Amen break]]. To [[Amen break]], αφού χρησιμοποιήθηκε εκτεταμένα στη [[hip hop]], έμελλε να γίνει το μοντέλο για τους ρυθμούς που χρησιμοποιήθηκαν στην drum and bass.

Επιπρόσθετα, στα τέλη της δεκαετίας του 1980, ο [[Kevin Saunderson]] έκδωσε το Reese/The Reese Project, μια σειρά από μινιμαλιστικούς [[techno]] ήχους με ισχυρά μπάσα, οι οποίοι αποτέλεσαν τεράστια επιρροή στην drum and bass. Ένα από τα δημοφιλέστερα κομμάτια του (Reese – “Just Want Another Chance”, Incognito Records, 1988) χρησιμοποιήθηκε ως sample (το οποίο στη συνέχεια έγινε γνωστό ως το μπάσο "Reese") σε αναρίθμητες drum and bass παραγωγές. Ένας άλλος σημαντικός καλλιτέχνης είναι ο [[Carl Craig]], του οποίου το [[jazz]] ντραμς μοτίβο στο κομμάτι του “Bug in the Bassbin” επηρέασε επίσης τον επερχόμενο ήχο.

Στις αρχές της δεκαετίας του 1990, η εκτεταμένη χρήση breakbeat στη [[hip hop]] επηρέασε σε μεγάλο βαθμό την [[breakbeat hardcore]] και αργότερα την jungle και την drum and bass. Η drum and bass έχει αρκετά κοινά χαρακτηριστικά με τη [[hip hop]], αν και περιορίζεται στη χρήση στίχων με τη μορφή sample.

Γενικότερα η drum and bass έχει επηρεαστεί από άλλα μουσικά είδη, αν και τυχόν επιρροές που δεν προέρχονται από την ηλεκτρονική χορευτική μουσική σκηνή άρχισαν να περιορίζονται κατά τη μεταβατική περίοδο της jungle σε drum and bass. Καλλιτέχνες, προερχόμενοι από διάφορες μουσικές σκηνές, επηρεάστηκαν από ποικίλα είδη μουσικής και γι’ αυτόν τον λόγο αναπτύχθηκαν εντελώς διαφορετικά στυλ στην drum and bass. Ενδιαφέρον παρουσιάζουν ακόμα οι διαφορετικές ερμηνείες των παραγωγών για το είδος. Για παράδειγμα, ο [[Disc jockey|DJ]] των [[Pendulum]] [[El Hornet]] προέρχεται από την [[Punk rock|punk]] σκηνή, και δήλωσε ότι η drum and bass για αυτόν είναι η ηλεκτρονική εκδοχή της [[punk rock]]. Αντίθετα, ο συνεργάτης του [[MC Verse]] και άλλοι καλλιτέχνες που έχουν ρίζες στη hip hop βλέπουν την drum and bass με μια εντελώς διαφορετική οπτική γωνία.

=== Άλλα είδη που επηρεάστηκαν από την drum and bass ===
Στα μέσα της δεκαετίας του 1990, δύο παρόμοια και αλληλοεπηρεαζόμενα στυλ ηλεκτρονικής μουσικής, η [[breakcore]] και η [[digital hardcore]] γεννιόνταν έχοντας ρίζες κυρίως στην jungle. Στη συνέχεια, παρακλάδι της breakcore αποτέλεσε η [[raggacore]], η οποία, όντας επηρεασμένη από την ragga jungle, χαρακτηριζόταν από ragga στίχους και φιλικούς dancehall ρυθμούς. Ακόμη, η drum and bass υπήρξε άμεση επιρροή για την [[darkcore]], η οποία μάλιστα θεωρείται η πρόγονος της [[darkstep]]. Δεν είναι λίγες οι φορές που οι παραγωγοί διασταύρωναν όλα αυτά τα στυλ και κατέληγαν σε ήχους με ρευστά όρια.

Η drum and bass είχε επίσης έμμεσες επιρροές σε πολλά άλλα μουσικά είδη, όπως στη [[hip hop]], [[big beat]], [[dubstep]], [[Μουσική house|house]], [[trip hop]], [[ambient]], [[techno]], [[rock]] και [[Ποπ μουσική|pop]], με καλλιτέχνες όπως ο [[Bill Laswell]], [[Incubus]], [[Pitchshifter]], [[Linkin Park]], [[The Roots]], [[Talvin Singh]], [[MIDIval Punditz]], [[Missy Elliott]], [[The Freestylers]], [[Nine Inch Nails]] και [[David Bowie]] (εκ των οποίων οι δύο τελευταίοι έχουν χρησιμοποιήσει στοιχεία από το "Timeless" του [[Goldie]]) και άλλους που έχουν αναφέρει στο παρελθόν το είδος ως πηγή έμπνευσης. Τέλος, παρόμοια στοιχεία παρουσιάζει και το [[ghettotech]] των [[ΗΠΑ]].

== Ο ρόλος των MCs ==
Οι [[Master of ceremonies|MCs]] (αρχικά του Master of Ceremonies) ενσωματώθηκαν στην κουλτούρα του είδους στα μέσα της δεκαετίας του 1990, καθώς το κοινό ήταν βαθύτατα επηρεασμένο από τη reggae και τη [[ragga hip hop]] σκηνή. Αν και σήμερα -σε σύγκριση με τότε- η παρουσία τους στα κλαμπ έχει περιοριστεί κατά πολύ, αποτελούν ακόμα αναπόσπαστο κομμάτι της σκηνής, ειδικά στην [[Αγγλία]]. Οι [[Master of ceremonies|MCs]] τείνουν να μην αποκτούν τόσο μεγάλη φήμη όσο οι [[Disc jockey|DJs]], ενώ τελευταία αρκετά κλαμπ δεν δέχονται καθόλου την παρουσία τους. Ωστόσο, σήμερα υπάρχουν μερικοί αρκετά γνωστοί (στα πλαίσια της drum and bass σκηνής) [[Master of ceremonies|MCs]], όπως ο [[Stevie Hyper D]], [[MC GQ]], [[Dynamite MC]], [[MC Fats]], [[MC Conrad]], [[Shabba D]], [[Skibadee]], [[Bassman]], [[MC Stamina]], [[MC Fun]], [[Evil B]], [[Trigga]], [[Harry Shotta]], [[Fatman D]] και [[MC Infinity]].

Ρόλος των [[Master of ceremonies|MCs]] σε ζωντανές συναυλίες είναι να προσφέρουν με τον ρυθμό και τους στίχους τους όσο περισσότερο δυνατόν ενέργεια στη μουσική, ώστε το κοινό να χορεύει αδιάκοπα. Φωνάζουν στο κοινό και αλληλεπιδρούν διαρκώς με αυτό, ενώ ζητάνε συχνά την αναπαραγωγή του κομματιού που παίζει εκείνη τη στιγμή (γνωστό ως reload ή rewind). Επιπλέον, οι παλιότεροι [[Master of ceremonies|MCs]], δηλαδή εκείνοι που πρόλαβαν την επιρροή της [[ragga hip hop]] στην drum and bass, συχνά τραγουδάνε κλασσικούς reggae στίχους. Γενικότερα, κάθε MC αποκτάει το δικό του στυλ και μαθαίνει να ραπάρει σε ένα συγκεκριμένο στυλ της drum and bass, γι’ αυτό και διαφορετικοί [[Master of ceremonies|MCs]] καλούνται σε διαφορετικά κλαμπ. Για παράδειγμα, ο [[MC Coppa]] συνεργάζεται με παραγωγούς neurofunk, ενώ ο [[MC Eksman]] είναι γνωστός στην jump up σκηνή.

Όμως η συνεισφορά τους στη σκηνή δεν σταματάει εκεί. Δεν είναι λίγες οι φορές που [[Master of ceremonies|MCs]] καλούνται από καλλιτέχνες για να συνεργαστούν και να παράγουν ή να εκδώσουν από κοινού ένα κομμάτι. Επίσης, πολλοί [[Master of ceremonies|MCs]] (όπως και [[Disc jockey|DJs]]) καλούνται ως φιλοξενούμενοι ή κάνουν εμφανίσεις σε τακτά χρονικά διαστήματα σε ραδιοφωνικούς σταθμούς για να κάνουν το έργο τους ζωντανά. Τέτοιοι σταθμοί είναι το [[Rough Tempo]] και το [[Kool London]].

== Ζωντανές συναυλίες drum and bass ==
Πολλοί μουσικοί έχουν προσαρμόσει την drum and bass έτσι, ώστε να είναι δυνατή η ζωντανή εκτέλεσή της με όργανα όπως τα [[ντραμς]], [[συνθεσάιζερ]], [[πικάπ]], [[μπάσο]] και [[Κιθάρα|κιθάρες]]. Για να επιτεύξουν τη ζωντανή αναπαραγωγή των samples, χρησιμοποιούν σε αρκετές συναυλίες [[sampler]]s, ενώ συχνή είναι και η παρουσία των [[Master of ceremonies|MCs]]. Καλλιτέχνες που είναι γνωστοί για τις ζωντανές συναυλίες τους περιλαμβάνουν τους [[Pendulum]], [[Modestep]], [[La Phaze]], [[Netsky]], [[Chase & Status]], [[London Elektricity]], [[DJ Fresh]], [[Roni Size]], [[Salmonella Dub]] και [[Shapeshifter]].

== Υποκατηγορίες ==
Στα πλαίσια της κοινότητας της drum and bass μικρότερες σκηνές έχουν σχηματιστεί και το είδος στο σύνολό της έχει χωριστεί σε συγκεκριμένα υποείδη. Ειδικότερα:
* '''Techstep: '''Έκανε την εμφάνισή της στα τέλη της δεκαετίας του 1990, από παραγωγούς όπως τους [[Bad Company UK]], [[Konflict]], [[Ed Rush]], [[Optical]], [[Trace]], [[Fierce]], [[Nico]], [[Dom & Rolland]], [[Dillinja]], [[Ram Trilogy]], [[Moving Fusion]], και [[Decoder & Substance]]. Ήταν γνωστή για τους σκληρούς, μηχανικούς ήχους που χαρακτήριζαν τα ντραμς, τα επιθετικά και έντονα μπάσα, και τα φουτουριστικά της ηχοτοπία. Οι δύο σπουδαιότερες και καθοριστικές για το είδος δισκογραφικές εταιρείες ήταν η Renegade Hardware και η Virus Recordings του [[Ed Rush]] και του [[Optical]].
* '''Neurofunk ή neuro: '''Πρόκειται για την εξέλιξη της techstep, ενσωματώνοντας αυτή τη φορά στοιχεία από την [[jazz]] και τη [[funk]]. Καλλιτέχνες της neurofunk υπήρξαν οι [[Ed Rush]], [[Optical]], [[Matrix]], [[Cause 4 Concern]], [[TeeBee]], [[Black Sun Empire]], [[Calyx]], [[Hive]], [[Gridlok]], [[Noisia]], [[Phace]] & [[Misanthrop]], [[State of Mind]], [[The Upbeats]], και [[Spor]].
* '''Liquid funk ή liquid drum and bass: '''Αποτελεί ένα απο τα δημοφιλέστερα στυλ drum and bass. Χαρακτηρίζεται από αρμονικές και μελωδικές νότες, ενώ υπάρχει εκτεταμένη χρήση samples από τη [[funk]], [[jazz]], [[soul]], [[R&B]], [[disco]], [[Μουσική house|house]] και [[breakbeat]]. Πρωτοπόροι και καθοριστικοί για τον σχηματισμό και για την τελειοποίηση του ήχου υπήρξαν οι [[Calibre]], [[London Elektricity]], [[High Contrast]], [[Logistics]], [[Nu:Tone]], [[Danny Byrd]], [[Netsky]][[, Technimatic]], ενώ χαρακτηριστικές δισκογραφικές εταιρείες είναι η [[Hospital Records]], [[Fokuz Records]] και [[Liquid V]].
* '''Jump up: '''Εμφανιζόμενη στα μέσα της δεκαετίας του 1990, η jump up έχει τεράστια απήχηση στην [[Αγγλία]], αλλά και σε άλλες χώρες της Ευρώπης, όπως το [[Βέλγιο]]. Τα γεμάτα ενέργεια μπάσα και τα δυναμικά ντραμς, σε συνδυασμό με την παρουσία των [[Master of ceremonies|MCs]] ξεσηκώνουν το κοινό και το ωθούν να χορέψει έξαλλα στα raves. Επιπρόσθετα, χαρακτηρίζεται από έντονη χρήση samples, ιδίως διαλόγους από παλιές ταινίες. Πολύ σύντομα ξεχώρισε και δημιούργησε τη δική της σκηνή. Παραγωγοί jump up περιλαμβάνουν τους [[Original Sin]], [[Taxman]], [[Sub Zero]], [[Jaydan]], [[Majistrate]], [[Sensai]], [[Logan D]], [[Heist]], [[Twisted Individual]], [[Clipz]], [[Pleasure]], [[DJ Hazard|Hazard]], αλλά και πιο πρόσφατους, όπως τους [[Decimal Bass]], [[Konichi]] και [[Tyke]].
* '''Drumstep: '''Γνωστό ως το είδος που προήλθε από τον συνδυασμό της drum and bass και της [[dubstep]], η drumstep είναι ένα αρκετά νέο στυλ, στο οποίο ο ρυθμός είναι σε μισό χρόνο. Όλα τα υπόλοιπα στοιχεία είναι παρόμοια με εκείνα της καθιερωμένης μουσικής drum and bass.
* '''Ragga drum and bass: '''Οι καλλιτέχνες που ειδικεύτηκαν σε αυτό το είδος ήταν έντονα επηρεασμένοι από την αρχική ragga jungle, έχοντας ως πηγές έμπνευσης την [[ρέγκε|reggae]] και την [[dancehall]]. Μερικοί από τους διασημότερους παραγωγούς είναι οι [[Ed Solo]], [[Deekline]], [[Shy FX]], [[T Power]], [[Congo Natty]], [[Potential Bad Boy]], [[Marcus Visionary]], [[Serial Killaz]] και [[Benny Page]].
* '''Breakcore: '''Ένα στυλ ηλεκτρονικής μουσικής επηρεασμένο από την [[hardcore]], [[digital hardcore]], [[Μουσική industrial|industrial]] και jungle, χαρακτηριζόμενο από εκτεταμένη χρήση ντραμς, breaks και samples σε πολύ υψηλά tempos. Χαρακτηριστικοί καλλιτέχνες breakcore είναι ο [[The Panacea]] και οι [[Atari Teenage Riot]].

Άλλα, λιγότερο γνωστά (ή με λίγες έως ελάχιστες διαφορές με τα προαναφερθέντα) στυλ που αναπτύχθηκαν είναι η hardstep, darkstep, intelligent jungle/drum and bass, jazzstep, drumfunk, funkstep και sambass (ή brazilian drum and bass).

== Σημειώσεις ==
{{notelist}}

== Παραπομπές ==
<references />

== Βιβλιογραφία ==
'''Βιβλία'''
* {{Cite book |ref=harv |title=Join The Future - Bleep techno and the birth of british bass music|author-first=Matt|author-last=Anniss|publisher=Velocity Press|isbn=9781913231002|year=2019|location=Ηνωμένο Βασίλειο|language=αγγλικά}}
* {{cite book |ref=harv |author-first=Brian|author-last=Belle-Fortune |year=2007 |origyear=2004 |language=αγγλικά |title=All Crews: Journeys Through Jungle/Drum & Bass Culture |location=Ηνωμένο Βασίλειο |publisher=Vision Publishing Limited |isbn= 0954889703}}
* {{Cite book |ref=harv |title=DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music|author-first=Chris|author-last=Christodoulou|editor1-first=Bernardo|editor1-last=Attias|editor2-first=Anna|editor2-last=Gavanas|editor3-first=Hillegonda|editor3-last=Rietvelo |publisher=Bloomsbury Academic|isbn=9781623566906|year=2013|location=Ηνωμένο Βασίλειο|language=αγγλικά|}}
* {{cite book |ref=harv |author1-first=Mathew|author1-last=Collin |author2-first=John  |author2-last=Godfrey |year=2009 |origyear=1997 |language=αγγλικά |title=Altered State: The Story of Ecstasy Culture and Acid House |location=Ηνωμένο Βασίλειο |isbn=1846687136}}
* {{Cite book |ref=harv |title=Discographies: Dance, Music, Culture and the Politics of Sound|url=https://archive.org/details/discographiesdan0000gilb |author1-first=Jeremy|author1-last=Gilbert|author2-first=Ewan|author2-last=Pearson|publisher=Routledge|isbn=0415170338|year=1999|location=Ηνωμένο Βασίλειο|language=αγγλικά}}
* {{Cite book |ref=harv |title=Boys, Bass and Bother: Popular Dance and Identity in UK Drum ’n’ Bass Club Culture|author-first=Jo|author-last=Hall|publisher=Palgrave Macmillan|isbn=1137375108|year=2018|location=Ηνωμένο Βασίλειο|url=https://doi.org/10.1057/978-1-137-37511-7|language=αγγλικά}}
* {{Cite book |ref=harv |title=Global Noise: Rap and Hip Hop Outside the USA|author1-first=David|author1-last=Hesmondhalgh|author2-first=Caspar|author2-last=Melville|isbn=9780819565020|year=2002|chapter=Urban Breakbeat Culture - Repercussions of Hip-Hop in the United Kingdom|location=Ηνωμένο Βασίλειο|language=αγγλικά}}
* {{Cite book |ref=harv |title=Music Projects with Propellerhead Reason: Grooves, Beats and Styles from Trip Hop to Techno|url=https://archive.org/details/musicprojectswit0000holl |author-first=Hollin|author-last=Jones|publisher=Merton|isbn=1870775147|year=2006|chapter=Drum 'n' bass: A brief history of drum 'n' bass|location=Ηνωμένο Βασίλειο|language=αγγλικά|}}
* {{Cite book |ref=harv |title=State οf Bass: The Origins οf Jungle/Drum & Bass|author-first=Martin|author-last=James|publisher=Velocity Press|isbn=9781913231026|year=2020|location=Ηνωμένο Βασίλειο|language=αγγλικά}}
* {{cite book |ref=harv |author-first=Martin|author-last=Pfleiderer |year=1999 |chapter="Here Comes the Drumz": Zu Entwicklung und musikalischen Merkmalen von Drum 'n' Bass |editor-first=Helmut|editor-last=Rösing |language=γερμανικά |title=Erkenntniszuwachs durch Analyse - Populäre Musik auf dem Prüfstand |volume=24 |location=Κάρμπεν |publisher=Justus-Liebig-Universität Gießen}}
* {{Cite book |ref=harv |title=Jungle Drum 'n' Bass: A Guide to Applying Today's Electronic Music to the Drum Set|url=https://archive.org/details/jungledrumnbassg0000john |author-first=Johnny|author-last=Rabb|publisher=Alfred Music Publishing|isbn=0757990258|year=2001|chapter=Introduction: What Is Jungle/Drum 'n' Bass?|location=Ηνωμένες Πολιτείες της Αμερικής|language=αγγλικά}}
* {{cite book |ref=harv |author-first=Simon |author-last=Reynolds |year=2012 |origyear=1998 |language=αγγλικά |title=Energy Flash: A Journey Through Rave Music and Dance Culture |url=https://archive.org/details/energyflashjourn0000reyn |location=Ηνωμένο Βασίλειο |publisher=Soft Skull Press |isbn=1593764774}}
* {{Cite book |ref=harv |title=Modulations: A History of Electronic Music: Throbbing Words on Sound.|author-first=Chris|author-last=Sharp|publisher=Caipirinha|isbn=189102406X|year=2000|chapter=Jungle: Modern States Of Mind|editor-last=Shapiro|editor-first=Peter|location=Ηνωμένο Βασίλειο|language=αγγλικά|url=https://archive.org/details/modulationshisto00shap/}}
* {{Cite book |ref=harv |title=Quick Guide to Dance Music|url=https://archive.org/details/quickguidetodanc0000waug |author-first=Ian|author-last=Waugh|publisher=PC Publishing|isbn=1870775694|year=2000|location=Ηνωμένο Βασίλειο|language=αγγλικά}}

'''Επιστημονικά δημοσιεύματα'''
* {{Cite journal |ref=harv |url=https://dj.dancecult.net/index.php/dancecult/article/view/316|title=Rumble in the jungle: city, place, and uncanny bass|last=Christodoulou|first=Chris|year=2011|journal=Dancecult|accessdate=2019-05-01 |issue=1|volume=3|language=αγγλικά}}
* {{Cite journal |ref=harv |url=https://www.researchgate.net/publication/268365899_One_in_the_jungle_Downbeat_detection_in_hardcore_jungle_and_drum_and_bass|title=One in the Jungle: Downbeat Detection in Hardcore, Jungle, and Drum and Bass|last1=Hockman|first1=Jason|last2=Davies|first2=Matthew|last3=Fujinaga|first3=Ichiro|year=2012|journal=13th International Society for Music Information Retrieval Conference|accessdate= 2019-05-01 |language=αγγλικά|editor-first=Ichiro|editor-last=Fujinaga}}
* {{Cite journal |ref=harv |url=http://dx.doi.org/10.1017/S0261143000007765|title=Into the 'Jungle'|last=Noys|first=Benjamin|year=1995|journal=Popular Music|accessdate= 2019-05-01|doi=10.1017/S0261143000007765|publisher=Cambridge Press|volume=14|language=αγγλικά|issue=3}}
* {{Cite journal |ref=harv |url=http://www.transformationsjournal.org/wp-content/uploads/2017/01/Transformations03_Quinn.pdf|title=Rumble In The Jungle: The Invisible History of Drum’n’Bass|last=Quinn|first=Steven|year=2002|journal=Transformations|accessdate=2019-05-01 |pages= 1-3|issue=3 |department=Cultural Memory|language=αγγλικά}}

'''Έντυπα μουσικά περιοδικά'''

== Εξωτερικοί σύνδεσμοι ==
{{commonscat}}

[[Κατηγορία:Μουσικά είδη]]