Jungle Music: A studio session with Schematic

We sit down in the Lacquer Channel Mastering studio. “Well, what do you want to hear?” says Dan Dubois, also known as Toronto DnB producer Schematic (or by his House alter ego, Danny Woods).

I look around. We’re sitting in a room with paneled fabric walls.  In front of us is a mastering console - a deck full of knobs, used to process two channels of a stereo mix – the technological equivalent of gibberish to me.  A studio monitoring sound system is facing us....I think I’m about to be blown away.

Marky and S.P.Y.’s “Mystic Sunset” flows loudly from the speakers. The bass slightly shakes the floor as the sound waves hit your chest.This is the way drum & bass is meant to be heard.

After vibing on a variety of beats dark and light, liquid and grimy, we get talking about making music while Dan masters a few tracks.

“I think some people underestimate the importance of mastering," says Dubois. "The subtleties can definitely make or break a tune.” As a trained, freelance sound engineer, he has a keen (and biased) ear. But, I quickly see his point.

As he tweaks “Attack” – one of Schematic's newest and heaviest tracks - I can definitely hear the difference between the end product and the version he began with. Not only does it sound louder, but the bass was fuller and the vocal sample was much more balanced. The fine-tuning of a track is something the listener (including me) usually takes for granted.

To explain why hiring a good engineer is essential, Dan demonstrates that if the high hats in a tune are too loud, then they’ll distract you from enjoying the other parts of the composition. As much as I love bass, I wouldn’t want it to overpower the subtle add-ins or beautiful breaks, so I’m happy someone keeps all of this in mind during the post-production process.

After being schooled on the manipulation of sound, I ask him a few questions about his own sound:

How would you describe your sound?

"In general terms I guess my sound is on the smoother side of things. People tell me I have a sound, but I couldn't try to reproduce whatever it may be; it just happens." 

What puts you in the mood to make music?

"A good night's sleep and a hot mug of black coffee. I know a lot of drum & bass producers work really well when they've had a bad day or are angry about something, and they're able to let it out through their music. I'm sort of the opposite, I work best when I'm in a good mood and my head is clear otherwise I end up sitting around looking at pictures of cats or something."

Where do you get your inspiration while making andmastering tunes?

“For mastering, each track gets what that particular track needs. The inspiration is already in the track, from the artist. You can hear where it wants to be and it's my job to take it there."

“And as far as producing goes, Break is a god among men when it comes to technical DnB. How does he get his bass to sound like that??”

What about your favourite label?

“There isn’t really one label in particular, tunes are tunes.” he admits. “I’ve been really impressed with RAM lately, though. Obviously [newly signed, Toronto producer] Rene LaVice has been killing it for ages, and it's great to see him finally get the recognition. For the past few years though RAM has been on fire, pretty much every single release is top notch."

Why do you produce both House and Drum and Bass? Do youprefer any style in particular?

"Just for variety. It's easy to get too caught up in one genre and you end up making tracks that sound the same as what is already out there. I enjoy listening to other genres, so why not produce other genres too? I switch things up depending on my mood.” 

Give me a shameless plug.  

"Free Me is the big one, that'll be out on Blu Saphir Recordings in May with a great remix by FoxRox and Jay Rome on the B-side. I've also just signed an EP to All Street Recordings that will be out around the same time. Be sure to follow the Schematic & Danny Woods artist pages on Facebook, there will be more news and new, exciting stuff soon."

Enjoy this set of tunes mixed for the jsaltzz drum & bass podcast last month (click here to download):

Jsaltzz Podcast #2 (March 2012) by Jsaltzz on Mixcloud

Do we save Dubstep from Skrillex?

After reading Vulture’s article about why America loves Skrillex a few weeks back, I got to thinking about the dichotomy of Dubstep and ‘Brostep’.

I have to admit, I’m not really a huge fan of either genre. But Skrillex, in particular, turns me off... The fact is, MANY people love Skrillex and I’m not one to hate on a group of electronic music lovers just because I’m not on their vibe.

For some reason, Skrillex is so loved by America that he won 3 awards at this year’s Grammys!

There's no denying that this was a major achievement for electronic dance music, but my question is: Is this good for the overall Dubstep scene?

The marketer in me says yes

One could argue that artists like Rusko and Skrillex have opened the ears of the industry. The big 5 [music labels] have embraced the bass-heavy beats. This might change the face of future pop sounds...if it hasn’t already.

Forget the industry, if consumers embrace Dubstep with open arms, maybe the new fans will seek out U.K. (or other underground) sounds. Lesser known producers might actually make some money for a change! 

On the other hand...

This may not happen...the American Dubstep market may become oversaturated with the screechy, unstructured noises that overlay the ‘wob wob waas’, and the genre’s true diversity could be lost to the underground.

If you didn’t already know, a similar thing happened in the early ‘90s to Jungle Music.

In ’93 – ’94 Ragga vocals had virtually taken over the mainstream Jungle scene. The quick rapping complimented the repetitive beats and rave goers loved the vibe. It was all good until the violent, derogatory ‘Rude Boy’ mentality of  ‘90s Ragga infiltrated rave culture.  This attracted the media’s attention and the scene was thrust into a misconstrued, negative light.

In ’94 General Levy’s Incredible blew up (with other Ragga Jungle tunes to follow).

“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, taken from All Crews (p.19)

To keep Jungle from becoming a ‘Ragga hybrid’, a group of influential Jungle DJs decidedly stopped playing any tracks featuring Ragga vocals. This movement shifted Jungle into the Drum & Bass era we know today.

People are already talking

I recently heard an interview with High Contrast on Fabio’s show last Sunday. They discussed the different sounds of the Dubstep genre on both sides of the pond. High Contrast commented on how Americans have shaped the sound to make it their own:

“It feels as though in the U.K. people are looking beyond Dubstep [there’s been a lot of talk on] post Dubstep or future Garage, but in America, they’ve really embraced it and have made it their own...it’s nice to see such a strong electronic scene over there.” – High Contrast with Fabio, BBC Radio 1

Interestingly enough, Fabio talked about a re-naming of the new American flavour and how the original founders of Dubstep, like Mala, tend to shy away from being associated with artists like Skrillex. He also noted that oftentimes, they’ll stay true to their own style and try to direct the sound in their own way... or they’ll move onto a another genre altogether. 

Sounds familiar. Will history repeat itself? We’ll have to wait and see. Although Drum and Bass fell off the pop charts after the Ragga influx, the genre evolved into many different flavours which included Reggae inspired tunes. Maybe the same will happen with Dubstep?

One thing can be said about the musicians who dare to be different though: their fans love to love them, and everyone else tends to hate them.  

I leave you with one of my favourite Dubstep mixes. It's true to the genre and features many different sounds at a 140 bpm tempo. Enjoy!

Die Antwoord releases the Ten$Ion...

I've never been easily bothered by offensive lyrics. Music is music. In my opinion, art shouldn't have boundaries...and boy, it's clear that the members of Die Antwoord would agree with me. That’s why I like them.

Offensive or not, you can't deny that their tracks are catchy as hell! 

Their second album, Ten$Ion dropped today worldwide. It was a digital release so the vinyl lovers will have to wait 7 more days until this hot shit is in their hands. 

I had the pleasure of buying (and listening to) the long-awaited LP this evening. 

Ten$Ion is by no means $O$ (the groups' first album), but it is still hella good...especially for those into the ravey/club sounds from the last album featured on tracks like Wat Kyk Jy and Beat Boy. It’s just as offensive and captivating as the previous, but with a completely unique feel.

Although different than it’s predecessor, Ten$Ion still features the Die Antwoord essence we all know and love. Ninja's quick, aggressive rapping and Yolandi's cartoonish vocals are staples of the band, and both elements are clearly here to stay.

Why I love it:
- They kept their Die Antwoord sound
  but are clearly evolving musically.
- Playful lines referencing pop
  songs of old
- Afrikaan
- The strange “Uncle Jimmy” skit
- The Zefside Zol interlude.

What it’s missing:
- I wish this album was longer…but
  what you get is good.
- More dialects (this album is  
  definitely more Americanized
  than the last.
- A dnb track (What? there is
  dubstep on this album. Give the
  junglists some love!)


Check out this four minute preview for a ride on the ZEF side:  

Promoting the Underground: Skulls, Spaceships and Playmobil

“Look what you’ve created, all these kids are wearing your logo on your tee-shirt and they’re turning out to your party with it. [That really made me think] something is definitely happening.” 

----

Last week Hospital Records released a mini documentary entitled Skulls, Spaceships and Playmobil. The doc is an account of the development of the Hospital brand and skims over a behind-the-scenes look of the planning that goes into releasing an album and planning a Hospitality event.

From a promotional stand point, this video is a brilliant use of the community building they credit their success to. The video promotes a sense of pride, loyalty and fondness not only for the music, but for the brand too. See for yourself:

The drum and bass scene has always been about the culture and community associated with the music, but there’s something different about this video. It creates an epic global atmosphere to surround DnB. It revels in the endurance of this underground music. It alludes to the fact that it’s been a long time coming, but our music is infiltrating pop culture worldwide.

I’m not here to comment on whether or not this kind of promotional tool is necessary to sell their forthcoming 15 years album (in my opinion, that album will sell itself – have you SEEN the tracklist??).  But, I did want to take the time to appreciate the success they've gained through the use of unconventional promotional methods. Hospital knows who their audience is and they’ve created an active community for them to participate in.

Interestingly, these communities have surrounded DJs or nightclubs in the past. Radio shows or drum and bass nights would (and still) attract audiences, and that DJ or those promoters would we the tribe leader of their respective communities. In Hospital’s case, we see a massive brand take that role instead.

The Hospital podcast is an example
of the label's outstanding social media
that connects their community. 

But how did they do it?  I won’t write you an essay on it (yet), but I do think the accessibility of digital technology has given even the most obscure cultures the ability to globalize.  Social media gives subcultural communities a platform where members (including the record label) can communicate and connect. I really believe that it’s this major difference that separates jungle’s fleeting popularity in the 90s from today’s growing interest in the scene. I won’t even mention that the music is only getting better and better.

Thinking on Hospital’s uphill battle for community growth, I see familiarities in what I’ve learned about brand development in my studies. It’s a textbook example of how online community building can perpetuate the success of a brand, and that’s kinda cool.

Evolution of Sound: The amen break

 (Photo cred to DJArtworks)

I love Drum and Bass music. It speaks to my soul, my mind, my body. I find beauty and brilliance in electronic music. A producer’s creativity to explore different sounds, sample them and compose something out of nothing amazes me. A particular example of this, the first example of this, the most influential example of this is the Amen break.

In the beginning (1969) there was a sample.  The Winstons’  “Amen, Brother” had a 5.2 second rolling drum beat that spawned the creation of countless genres of music. From Rock to Hip Hop to Breakbeat to Acid House to Jungle/Drum and Bass, they’ve all sliced, diced, rearranged and made this sample their own.

Whenever I think of the Amen break sound, I always associate it with Jungle music. At the very best I knew the sample was extremely popular with the Hip Hop genre as well. But there are some genres I didn’t even consider it had an influence on. It seems as though it’s had its influence in every genre under the sun and this fascinates me…it’s really interesting to think about the evolution of sound. It really is a system of building blocks that progresses (or digresses in some people’s opinions) and morphs into different genres.

Surprising (and not so surprising) songs containing the Amen break: 

• Amy Winehouse - “You Know I’m No Good”  (Pop)
• Oasis – D’you Know What I mean?’ (Pock)
• Powerpuff Girls Theme Song (heehee)
• Public Enemy - “Fight the Power”  (Rap)
• Slipknot – “Eyeless” (Metal)
• LTJ Bukem – Demon’s Theme (Old School Jungle)

When I first started listening to jungle music, I set out to discover as much information I could about the genre. While rummaging through the DOA forums, I stumbled upon an article that commented on the pattern of the Amen break. It pointed out that the break had an eerily similar pattern to the Golden Ratio. This could be an explanation on why this sample is liked by so many. Or maybe it’s just a coincidence? All I know is that pop culture wouldn’t be the same without that 5.2 second loop.

**This blog post was inspired by a very interesting video I found on youtube entitled: Video explains the world’s most important 6-sec drum loop:

Jungle Music: A New Vibe

A friend of mine, Adam, and I were having a chat the other day about the changes we've heard in drum and bass music lately. Adam's a huge fan of the classics. You know, the best days of High Contrast, LTJ Bukem, Roni Size...the generation of producers who took DnB out of the bass-heavy rave culture of the early '00s by sampling funky, soulful, musical sounds.

We talked about the fresh energy in the music that seems to be lighting up the scene recently. A re-energization is happening. We're not the only ones who've noticed. I've read and heard many interviews with DnB veterans who are saying the same thing. Classic sounds and new energy are bringing some amazing music of all flavours into the scene's limelight. It's not just the new guys either, veterans, breakthroughs and unknowns alike are bringing impressive sounds to the table. Notables, not to mention some of my favourite artists right now, include:

Grafix & Fred V: Honestly, it seems like these two came out of nowhere! Until I realized that all the  had-to-have tracks on Netsky's essential mix were mostly FV & G tunes...no wonder they're blowing up! 

Wilkinson: I mean who doesn't like his tunes? He produces so many different flavours, there's something for everyone. I first heard this tune in 2010 on the Sick Music LP. It was one of the stand out tunes. I love the way he can pull samples into his tunes so seamlessly, that's real DnB right there. Wilkinson will likely establish himself as a veteran for this generation of bass heads. 

S.P.Y: Wow. WOW...wow... What a talented guy. Honestly, there are no words. Just listen...

Schematic: I'm planning on doing a post on Toronto drum and bass soon enough, but I wanted to introduce you to Schematic - if you didn't already know who he is. He's one talented mo-fo and he's had his tracks signed here and there. The latest one, Free Me was just picked up on Blu Saphir. There's no YouTube link to that one so here's one of my faves by him: 

There's so much more I want to share! There probably wouldn't even be enough room for it all, and you probably wouldn't have enough time to listen to it. That's why I started this blog...so I can give you a weekly dose of everything you can't miss! In the meantime, you gotta check out Lynx, Phace and Misanthrop & Harvest for some tasty dark flavours.