JUNGLE

The 1990s saw countless genres and sub-genres of electronic dance music evolve, each one subtly different from the others, and each one with its own audience. Arguably the most innovative and extreme, however, was jungle.

For novices to the techno music scene, the distinction between jungle—the origins of the term are obscure—and other 1990s electronic dance styles may be hard to decipher. Generally, however, jungle is identified by its use of speeded-up hip-hop beats, irregular rhythms, and frenetic pace. Very much a British phenomenon, jungle evolved in the early 1990s when DJs began to mix breakbeats (snatches of rap rhythms) and ragga (an extreme hybrid of hiphop and reggae) in with the hardcore house tracks that formed the basis of their sets. Gradually these DJs began to record their own songs, and a new music was born.

Initially jungle was very much an underground movement. The music mainly flourished in the illegal “raves” (parties in unlicensed venues) of London and, to a lesser extent, Bristol, and was largely ignored by both the mainstream music press and radio. However, the music found plenty of champions in the illegal “pirate” radio stations that were springing up in the inner cities. With this support, jungle quickly built up a sizeable and loyal following.

MOVING INTO THE MAINSTREAM

Jungle was growing so rapidly that it was inevitable that the music would cross over and achieve mainstream success. This happened in September 1994, when General Levy and M-Beat scored a U.K. Top 30 hit with their single “Incredible.” This was rapidly followed by the record that would cement the jungle sound in the popular consciousness. “Inner City Life,” by Metalheadz, not only proved to be a Top 10 hit, it also made a star out of Goldie, the photogenic DJ behind the project.

Goldie quickly became the public face of jungle, and could soon be found staring down from the covers of countless youth-oriented magazines. As jungle grew in popularity it also started to diversify. Moving away from jungle’s aggressive, hard-edged sound, performers such as LTJ Bukem and Blame began to produce gentler and more atmospheric music, taking inspiration from various jazz sources. With this new style of jungle came a new name— “drum ‘n’ bass”—and a new audience. Jungle was now no longer purely the preserve of the inner-city working classes. Suddenly, jungle could be found everywhere, and was just as likely to provide the backdrop to an upmarket fashion show as to be found blasting out from an illegal “rave.” Some of jungle’s original fans were alienated by the fact that their music had been hijacked, and yet another subgenre sprang up to cater for them: “hardstep,” a fast and uncompromising form of the music that tried to take jungle back to its roots.

Not surprisingly, artists from other genres began to experiment with jungle rhythms. The most successful group to do so was guitar band Everything But The Girl, who rejuvenated their career with the surprise hit “Waiting” (1995). Less well received were David BOWIE’s dabblings in the genre: his album Earth ling (1997) was ridiculed by both the critics and the public.

Meanwhile, real jungle artists were also having commercial success. The genre’s most visible triumph came when Bristol DJ and producer Roni Size won the prestigious 1997 Mercury Music Prize for his album New Forms. The award, for the best new album of the year from any musical area, cemented jungle’s new-found status. Jungle was now very much part of the mainstream.

Nick Grish