Music from London

Source: Wikipedia. Pages: 46. Chapters: Drum and bass, Live Aid, Dubstep, History of drum and bass, The Blockheads, Grime, Live 8 concert, London, Street piano, Rachel Stamp, I Can Take You to the Sun, Metropolis Mastering, Doctors of Madness, Savage Messiah, Speed Limit 140 BPM+, The Yeah You's, Ancient Society of College Youths, The Doll, Post-dubstep, Olli Wisdom, Razorcuts, Steve Spiro, Ragstock, Pin Me Down, Hunterland. Excerpt: Drum and bass (also written as "drum 'n' bass" and commonly abbreviated to D&B or DnB) is a type of electronic dance music which emerged in the mid 1990s. The genre is characterized by fast breakbeats (typically between 160-190 bpm, occasional variation is noted in older compositions), with heavy bass and sub-bass lines. Drum and bass began as an offshoot of the United Kingdom rave scene of the very early 1990s. Over the first decade of its existence, the incorporation of elements from various musical genres led to many permutations in its overall style. In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to a new electronic music style called Rave music, which, much like hip-hop, combined sampled syncopated beats or breakbeats, other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. But rave music tended to feature stronger bass sounds and a faster tempo than that of most hip-hop or house music, recorded from 127 to over 140 beats per minute (BPM). This subgenre was known as "hardcore" rave but from as early as 1992, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno" and later just "jungle", which became recognised as a separate musical genre popular at raves and on pirate radio in Britain. An interview with London DJ/Producer C.K. 1990-2006, revealed the following paragraph, "One thing to note as a DJ is that the music was increasing in tempo (beats per minute), imagination and sophistication on a weekly/monthly basis and that the beats prior to Jungle often resembled Ultramagnetic Mc's "Chorus Line" (HipHop) sped up on a Technics turntable (record player) from 33rpm to 45rpm (for example, The Scientist's "The Bee" (1990))." He continues, "Lenny D Ice's record "We Are I.E" in 1991, however, did not sound like music