Junglist Rave Techno WAV
A bonkers, 90s-inspired pile-up, Junglist Rave Techno really does what it says on the tin, taking in everything from old-skool rave and breaks to various colours of drum 'n' bass and proto-UK garage. Tempos range from 127-150bpm, and at the heart of it are 25 mini construction kits (oddly called 'drum loops'), riotously varied in their genre coverage but visually cohesive. The accompanying basses, pads, turntable FX, synths (including TB-303 riffs) and percussion loops are equally compelling, and their one-shots and sampler patches seal the deal.
Junglist Rave Techno WAV
A genre-mashing, speaker-freaking, crowd-slaying collection of loops and samples oozing with underground rave nostalgia. Inspired by artists such as Shed/Head High, Special Request and KiNK, this diverse collection is a trip through 90s rave culture that pulls in seminal electronic movements including acid house, rave, jungle, D&B, house and techno.Drum Loops > Spanning deep, broken dub techno grooves, floor-pounding techno workouts and furious re-sequenced breakbeats - supercharge your tracks with these killer drum tools presented in a range of tempos between 127 and 150bpm. All beats come with a full mix plus all the usual stems for maximum creative control.Bass Loops > The filthiest of low-end inspiration: dark hoovers, monstrous mono-runs, heavyweight analogue riffs, FM face-melters and more. All loops are key-labeled and presented at either 127, 130 or 132bpm. Offered with MIDI versions for added flexibility.Synth Loops > Authentic 90s inspiration from across the electronic spectrum: classic rave chords, dubby techno progressions, monolith hoover leads, euphoric piano riffs, trippy percussive synths and more. Key-labeled as standard and served at either 127 or 130bpm. MIDI versions also supplied.TB-303 Loops > Essential selection of acid-jacked loops direct from the seminal Roland TB-303. Dirty, distorted, jacked and jumping: 25 lethal loops key-labeled and offered with MIDI versions. Served at 127 or 132bpm.Pad Loops > Thick, lush analogue pads dripping with 90s rave nostalgia. From the come up to the come down, these sounds will sooth the soul. Key-labeled and offered with MIDI throughout.Percussion Loops > Gritty, grooving, raw and relentless: a slew of energetic percussion tools bursting with raw, lo-fi aesthetic. Hats, percussion, shakers, filtered grooves and more waiting to be utilised. Presented at either 127, 130, 132, 135, 140 or 150bpm.Drum Hits > Stunning selection of highly-processed drum hits that fuse vintage drum machines, live recordings and digital synthesis with expert transient shaping. Folders include kicks, claps, hats, percussion and 3 custom-mapped drum kits to load into Ableton Drum Rack, Battery 4, EXS24 or Kong.Backspins > Vinyl and tape spins, stops and starts - pure throwback to the 90s warehouse scene!Product breakdown:> 308 x Wav loops> 308 x Apple Loops> 308 x Rex2 files> 101 x Wav one-shots> 94 x MIDI files> 3 x custom drum kits for Ableton Drum Rack, Battery 4, EXS24 or Kong.
Jungle is a genre of dance music that developed out of the UK rave scene and sound system culture in the 1990s. Emerging from breakbeat hardcore, the style is characterised by rapid breakbeats, heavily syncopated percussive loops, samples, and synthesised effects, combined with the deep basslines, melodies, and vocal samples found in dub, reggae and dancehall, as well as hip hop and funk. Many producers frequently sampled the "Amen break" or other breakbeats from funk and jazz recordings. Jungle was a direct precursor to the drum and bass genre which emerged in the mid-1990s.
During 1992 and 1993, the phrases "jungle techno" and "hardcore jungle" proliferated to describe that shift of the music from breakbeat hardcore to jungle. The sound was championed at clubs such as A.W.O.L., Roast, and Telepathy, by DJs such as DJ Ron, DJ Hype, Mickey Finn, DJ Rap, DJ Dextrous, and Kenny Ken, record labels Moving Shadow, V Recordings, Suburban Base, and Renk, and on pirate radio stations such as Kool FM (regarded as being the most instrumental station in the development of jungle) but also Don FM, Rush, and Rude FM.
Techniques and styles could be traced to such a vast group of influencers, each adding their own little elements. According to Simon Reynolds, jungle was like: "Britain's very own equivalent to US hip-hop. That said, you could equally make the case that jungle is a raved-up, digitised offshoot of Jamaican reggae. Musically, Jungle's spatialised production, bass quake pressure and battery of extreme sonic effects, make it a sort of postmodern dub music on steroids." This is an example of the effects of the sonic diaspora and the wide influence musical genres have; Jungle is where these different Black Atlantic genres converge. Reynolds noted the audience of the genre evolved alongside the music itself; going from a "sweaty, shirtless white teenager, grinning and gurning" to a "head nodding, stylishly dressed black twenty something with hooded-eyes, holding a spliff in one hand and a bottle of champagne in the other." Jungle also served as "a site for a battle between contesting notions of blackness".
Jungle music, as a scene, was unable to decide whether it wanted to be recognised in the mainstream or if it wanted to avoid misrepresentation. This manifested in the cooperation of jungle artists and small record labels. Small record labels worked to provide more autonomy to the music artists in return for their business and jungle music was proliferated by pirate stations in underground networks and clubs. Whilst the media would in part feed off jungle music success, it also perpetuated negative stereotypes about the scene as being violent. The seminal 1994 documentary A London Some 'Ting Dis, chronicled the growing jungle scene and interviewed producers, DJs, and ravers to counter this perception.
Moreover, the greater accessibility to sampling technology allowed young people to inform music with their own sampling and experiences. Sampling technology was much more inexpensive and accessible allowing young people to work on their music in their homes rather than needing a grand recording studio. Gangsta Jungle reflects how young people were able to inform their own music. Gangsta Jungle reflects the reality of violence young Black Britons were facing. Gangsta Jungle served as an escape and as a revolutionary symbol for young Black Britains coming of age story.
Characterised by the breakbeats and multi-tiered rhythms, Jungle drew support from British b-boys who got swept up into the rave scene, but also from reggae, dancehall, electro and rap fans alike. Reynolds described it as causing fear and "for many ravers, too funky to dance" yet the club scene enjoyed every second.