All Crews - Sweet Music
Book Chapters / Author Comments
The spectrum that is D&B has become strong in all its facets or has withered. Edits have been described as, "music designed to entertain the D&B Intelligentsia." It’s a problem if tunes don’t sell in quantities or fill clubs. Flight mused, "Perhaps it’s been taken as far as it can go in terms of complexity before it stops being music. But there’s always some on the margins of the scene." Clownstep with its tougher b-lines is criticised for its boring-one-drop-roll-out-no-interesting-surprises predictability. Not feelin' it.
At the other end of the spectrum… I tuned into Bailey’s show and "The Horror". Felt it too much. Texted in, ‘OMG meat ‘n’ cleaver biznizz!’ Just like Dylan’s notorious bloody Knowledge photo-shoot. Watched The Shining to calm down.
Jungle’s back - rough ‘n’ ready with rootsy reggae samples, its popularity has grown. Praise to Benny Page and Shy FX. The sound’s evolved. B-line’s are tougher. The mix-downs are finessed. That also goes for those classic remixed and re-released tunes. Raise a lighter to Utah Jazz’s "It’s A Big Up Thing" remix. We’ve welcomed productions featuring vocals, with a serious contribution from Jenna G’s album "For Lost Friends". Black Market’s Miss Pink asserts, "Vocals are good for business. They make tracks recognisable and able to cross over".
There’s a new sound out there. It's faster, bleepier and not so heavy on the b-line; like Pink Floyd's track "On The Run". It hasn't been named yet but it will be.
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Words: Bryan Belle-Fortune
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