#Dub Jungle n' Drum&Bass

[crazyrabbitrecordings]

(Crazy Rabbit Breaks,Beats, Dub Jungle n' Drum&Bass)

#SoundCloud #music #Crazy Rabbit Breaks #Beats #Dub Jungle n' Drum&Bass #Electronic #Drum & Bass #Neurofunk #Techstep

[iamlisteningto]

Om Unit’s Threads

#om unit #threads #civil music #music #electronic #uk bass #dubstep #jungle #halftime #rap #drum and bass #dub techno #wonky #footwork #dnb #drum n bass #club #dance #bandcamp #wish i discovered this when iw as 13 wouldve been obsessed for sure

[transgenderbasketballplayer]

Cool song by Brock Out Crew

#jungle #junglist #junglist movement #breaks #breakbeat #drum n bass #dnb #ragga jungle #dub #deejay #dj #electronic music #Youtube

[dspt-dnb]

Latest self-release, ready to be downloaded for free on Soundcloud via Hypeddit! Click on picture to listen/download.

#dnb #techstep #minimal #neurofunk #drum and bass #music #freedl #freedownload #hypeddit #dspt #riot #dub #rollers #drum #n #bass #ragga #reggae #jungle

[deez-nut-free-zone]

What's deep dubstep? recs?

ooooHoho FUCK yes. You have stepped into my wheelhouse, here we go:

To understand deep dub, you gotta understand the roots of dubstep. Dubbing a song was an art form invented in Jamaica in the 60s and 70s, where you would make a B side for a single by taking the vocal out, spacing the other tracks out with various effects boxes, and playing the mixing desk like its own instrument. It was the art of seeing how much you can remove and still have a great track

(if you recognize the beat but can't place it, it's the stalag riddim; the basis for Sister Nancy's hit single Bam Bam and many others)

In the late 90s in the UK, reggae influences in electronic music were strong. This is the peak of OG jungle, the origin of drum n bass. So lots of ppl were sampling reggae records, and the windrush generation had created a flourishing soundsystem party scene. Producers began to slow things down, and embraceing the halftime grooves, skanking, and subbass pressure from dub reggae. Mala, DMZ, Deep Medi Music, Benga, Skream, Caspa, Loefah, Code 9, all of these artists (even though some would go on to make more tear out, raging dubstep, it started like this) were making music for clubs with this laid-back, bassweight focused feel

Now, back at the time, they had tracks called 'tear out' dubstep, which is the style developed by the likes of Rusko, Coki, and Caspa (and later cribbed by Skrillex, Excision, and his ilk). These tracks were crazier, more midrange synth heavy, and more focused on heavy womps than subbass grooves. Here's a couple examples of early tear out:

In the 2010s, with the explosion of tear out sounds in Brostep and eventually Riddim, Deep Dubstep evolved as a conscious response to this saccharine maximalism. It brings back the focus on heavy subs to make soundsystems flex, spaced out effects experiments, and the minimalism from early Dub. It's groovy, it's trippy, it's dark, and it breathed new life into the culture of exclusive dubplates and vinyl only releases. It's beautiful. And only makes true sense on a heavyweight soundsystem

#theres a limit on song links in a post; deep dub artist and track reccs coming in a reblog

[c-40]

A-T-4 016 Papa Levi

Out of the Saxon DJs from the early eighties Papa Levi was a star even though he didn't achieve the mainstream success of Smiley Culture or Tippa Irie in the UK. He remained with Saxon and touring the world with them throughout the eighties spread Papa Levi's lyrical style and delivery over Jamaica and New York

I've read a few articles that say Papa Levi, whose real name is Phillip Williams, was the first of the Saxon posse to cut a record but I thought this was Maxi Priest and his original 1983 version of Strolling On, maybe it's because Maxi Priest was a singer rather than DJ this gets ignored? anyway Papa Levi (as Philip Levi) and his debut single Mi God Mi King was on the UK Reggae Charts in January 1984 and topping it by February

Below is a section form a 2005 blog post on Papa Levi by John Eden and I've added tracks at the appropriate points. One thing I'd like to add is Papa Levi's single Big Broad Massive n Hard is an example of black pride and confidence that you also hear in lovers rock

Maxi Priest and Paul “Barry Boom” Robinson produced Philip Levi’s “Mi God Mi King”; the first vinyl outing for a member of the troupe of Saxon MCs.

The tune originally came out on a Bad Breed 7″ in 1984 and stormed up the reggae charts, hitting the number one spot in February. The reason for its success was that it was the first bit of vinyl to capture the “fast chat” style which had dominated Saxon and other soundsystems for the previous year, if not longer.

When the Bad Breed pressing sold out, the tune was repressed on Level Vibes as a 12″. In fact this was a Maxi Priest/ Papa Levi double header, with Maxi taking the first cut on each side, Levi following with a deejay version and then the dub finishing up. 

I can’t begin to describe how well all this works – Maxi’s “Sensi” is one of the best UK roots tunes I’ve heard with its proper raw production (cruelly polished up on his 1st LP) – following it with “Mi God Mi King” doubles the impact – Levi’s ability to cram more words into a line mean that it actually feels like the riddim is pitched up. It isn’t. His break-out into double speed vocals half way through the track provide the kind of intensity also seen in jungle with its beats going twice the speed of the bassline.

Mi God Mi King

The flipside of the 12″, with Maxi’s “Love in the Ghetto” coupled with Levi’s “Mi Deh Ina Mi Yard” is perhaps even better. Maxi haunting vocals making an appearance in the background of Levi’s ominous chat about the Brixton riots… Veteran reggae journalist Penny Reel remembers the demand for the song at the time meaning that all the available record presses in London were running full pelt, 24 hours a day to satisfy demand. Indeed “Mi God Mi King” was so successful that it was snapped up by Sly & Robbie in JA, who released it on their own Taxi label. Levi then made history once again when the tune became the first by a UK deejay to reach number one in the JA charts. Imagine the feelings of elation that must have unleashed in the reggae community in the UK and London, who had looked to Jamaica for inspiration since the very beginning…

Mi Deh Ina Mi Yard

Riding the crest of a wave, Levi then became the first Saxon MC to sign a deal with a major label in the form of Island Records. Island are mainly associated with "album-ised" 70s JA roots like Marley and Burning Spear (as well as worthies like LKJ) but it also seems that they had their fingers on the pulse of homegrown talent.

Certainly Levi’s releases on Island are every bit as good as those on indies and the talent is definitely all there in the form of producer Paul “Groucho” Smykle, Paul Robinson continuing with drum duties and George Oban on bass & keyboards. Oban deserves a special “Uncarved gold medal” for going the distance with Aswad, UK fast chat, On-U Sound and even the Red Crayola.

[There's a bit on Papa Levi's first Island release Bonnie & Clyde I'm skipping and going straight into the UK classic...]

Big ‘n’ Broad followed shortly afterwards and was a return to more familiar soundsystem rhymes and attitude. The tune is about Levi’s lyrical dexterity and his career as an MC with Saxon Studio International. I’m assuming a good few people have already heard this because it’s on the Lyric Maker mix, but the 12″ also includes an extended instrumental section which we left out. A classic, anyway.

Big Broad Massive n Hard

#1984 #papa levi #dancehall #reggae #london #england #uk

[field--guide]

Scarien

Lauryn and I feel like a couple of snails in the July heat as we walk the five minutes from our soon-to-be-old apartment over to Darrien’s place. He opens the front door covered head to toe in skate merch: a black Palace tee with pink font, and HUF Worldwide flip-flops with pink sweatpants, and gives us both a big hug. We feel instantly welcomed—a quality that makes this speaker geek from Virginia a natural leader in Denver’s underground. At Dem Deya Sound System gatherings, attendees often approach him to chat while he’s taking breaks from fine-tuning the party, and he’s proud to hold space for them. In keeping with the sound system tradition he operates from, community doesn’t merely come first, it’s the message.

"Reggae is just so hard, depending on what area you're doing it at. Like, if you're playing towards a Caribbean crowd, or playing towards a bunch of Roots peoples, Rastas, or just playing for people who like the word ‘dub,’ which is a completely different world almost...”

Darrien guides us to his studio apartment couch and apologizes for the temperature, then steps away to grab some cans of lemon sparkling water. I notice the various Lego car builds displayed on his desk next to a few pieces of MIDI gear—looks like he doesn’t just build speakers. After taking a few sips to cool down and chatting about the futuristic car on his TV (he's been playing Final Fantasy XV), we jump into the interview. He wants to talk about genre variety; for him, it’s a prerequisite for getting people tuned in to what he’s actually doing out here. He’s a natural storyteller and shrewd conversationalist, speaking candidly about the mission while maintaining a low key demeanor and cracking plenty of jokes. Lauryn and I quickly start to feel like a couple of buddies just kicking back and catching up.

Darrien is grateful for Denver’s “built-in” electronic music scene, and feels strongly about platforming original sound system styles. But he’s also blazing his own trail—pun intended! Traditionally, sound systems don’t showcase the non-reggae styles that Dem Deya does, at least not with such regularity. But Darrien understands that dubstep, drum n’ bass, jungle, hip-hop, and even garage aren’t just logical entry points for many of Denver's scenesters—they’re a solid foundation for a sound system community. And it doesn’t hurt that he’s got outstanding taste in these styles. “There's already a community here,” he says, “and we got to throw some of these [non-dub/non-reggae] events to get some of these people to understand that this is the role of the sound system.” This part of the mission is front-of-mind for Dem Deya. It’s been simmering on their proverbial cooktop for a time, and putting in the work to get people there has been an easy choice. But the work itself is not easy—it’s almost like threading a needle. On one side, the inherent pressure of genre ‘purity’ from the cultural giants whose shoulders they stand on. And on the other, a whitewashed bass music scene generally not prone to dub and reggae unless it’s worked into 140 BPM dubstep. Darrien doesn’t harp on cultural appropriation during our interview—his work isn’t concerned with drawing lines in the sand, in fact, just the opposite. But the context in which he’s operating is important to understanding the immensity of what he’s doing in Colorado. Darrien is an educator through and through, passionate about increasing awareness of true sound system culture and the roles it can play in society. He talks at length about sound system’s inherently political nature, referencing systems in Jamaica being stolen or destroyed by the government, and Rastafarians being tortured and killed by police on Bad Friday. The message of sound system, at its core, is “unity, community, peace, love, respect, and self-liberation," says Darrien. He’s dedicated his life to spreading this message in the states, where just a handful of traditional sound systems operate.

Darrien (left) with his grandfather and little brother, circa 1999

Before Darrien became entwined with sound system, family and community sparked his love for music. When he was just seven or eight years old, his dad let him pick out some CDs from a massive home collection. He opted for “Toxicity” by System of a Down, and “Enter the Wu-Tang (36 Chambers)” by Wu-Tang Clan. “[My dad] was like, ‘Yo, pick anything you want, I think you’re old enough. Here’s a Walkman CD player. This is how it works. Don't scratch it, don't drop it.’ That's when I kind of started seeing the value of it all, but, over time, y’know?” He thoughtfully observes how songs and albums used to carry so much power, and points out that in order to really make an impact on people these days, you have to throw an entire event.

As a teen, Darrien was particularly inspired by the music he heard in skate videos. His takeaway as a youngster was that it “was easy to understand,” because it “all came from an area of self-expression,” whether the style was heavy metal, hip-hop, country, or even folk. In high school, one of his skateboarding buddies turned him on to “FabricLive.37” by Caspa & Rusko. Along with artists like Pretty Lights and an introductory festival experience at Identity, this formed the “surface level” of his foray into electronic music. But joining the Air Force at age 18 to serve as an airplane technician was what truly pulled him in deep, into contact with the UK’s diverse electronic music scene.

“I didn't want my parents to pay for my college; I wanted to see some new shit. [So I joined the Air Force] and I was like, send me wherever. So they obviously sent me to the rave capital of the world.” [laughs]

Darrien was keen to check out London’s musical underground. First, through free parties in the midlands, then Outlook festival, and eventually, weekly visits to raves and sound system events in the city.

“Next thing you know, three years passed by and me and Ky [co-founder Kyler Coates] were going to parties every week, just buying tickets left and right. … We would drive an hour to our friend Rosa’s house in London who we met at this festival Outlook. Shout out Rosa, man. Her spot would just be poppin’ every single weekend. So it was never a question of 'if', we just had to hit her up and let her know, and then we would have our own space to sleep. Afterwards, we could just drive an hour back to town.”

This kind of exposure to underground music culture instilled excitement in the pair, and their eventual involvement with local sound system culture inspired a deep sense of purpose. They proceeded to buy a short speaker stack from a high schooler in town who built custom boxes, and planned a move back to the states to spread that purpose. Initially, choosing Denver as a home base was for little reason other than weed’s legality there.

“I don't really have to explain much about the reasons I would leave the military, but it was clearly not the fucking vibe, y’know? So we decided, alright, well, let’s go here [to Denver]. See what we can do [with our own] sound system, and yeah, it's worked out, it's become like nothing I could ever really imagine. This was something where we were just trying to dedicate ourselves to this message."

And dedicate themselves, they have. Dem Deya have developed a strong presence in Denver’s sprawling music scene in just a couple of years, going on to fly out staple reggae & dub artists while platforming the local DJ community, getting the sound system to a place where, in Darrien’s words, “all two thousand of the Instagram followers are trying to buy tickets to go see Joe Schmo play, because they just know the stack is coming out, and they know they’re accepted there.” But this run hasn’t been without its challenges. Darrien isn’t shy about the pushback they’ve received from certain parts of the scene in Denver. Unfortunately, as is the case in many other cities, clubs and greedy promoters have been a particular source of frustration. He pulls no punches discussing industry commodification and monopolization, illustrating how sound system has a unique ability to disrupt that chain.

“Man, it really gets goofy sometimes. I remember the first event when we brought our sound system here. At this point, it’s a half stack. We've got a bunch of dub records, and we’re literally just looking for a space to bring it in and press play on it. And this dude was trying to charge us $600. I'm like, bro, what is.....what do you mean? And this person is an industry person and they’re like ‘Oh, I know about dub and reggae sound.’ They see the potential of charging at the door, you know, such and such. We're like cowboys with speakers, to where it does expose a lot of the fluff. What does he want $600 for? And then, it's like, y’know, tell him to go fuck himself!”

We erupt in laughter for the hundredth time that day. If Darrien hadn’t gotten into curating events and building speaker boxes, he would have made a splash in stand-up. He goes on:

“People always talkin’ ‘bout, ‘oh, this is for the community, I'm throwing this event for the community, but I'm charging $40 at 3am.’ It's like, uhhhh....that's not community! … If you want to rent some speakers and throw an event to make 30% on the dollar, then you can go ahead and do that. There's no foul play in that. … Just don’t call yourself an underground entity. ... With sound system, there's accountability. That's the best way to put it. There's accountability, and a responsibility behind it. It’s a gift just to be able to do this.”

‘Exposing the fluff’ hits the nail on the head, but Darrien doesn’t stop there. He talks about clubs in Denver turning local promoters’ communities into a product, then turning around and buying artist bookings right out from under them. He references the recent Deadbeats controversy, where the label marketed an anonymous 'underground' artist using messaging about the 'roots of the culture,' only for it to come out later that the artist was a side-project of a mainstream bass music producer. Darrien is “not bound by the music industry to be quiet about” or “turn a blind eye” to the “funny business” he perceives in how it operates and sustains itself. But absolutely none of his opinions come off as moaning or complaining. They’re principled, passionate accounts of his lived experience as a promoter, which serve to counterpoint and help define the role of the sound system to an outsider. When it comes right down to it, the message and the method are what matter most to him and Dem Deya.

“We know what we gotta do. We know what's important to us. So we just gotta do that."

The self-assurance is palpable. And you can feel it when the crew conjures a vibe at an event, keeping their focus on the sound and attendees. Their events transform into more relaxed, community-oriented experiences, where being there becomes more important than being seen. The deejay is still viewed as a guide, artist, and essential piece of the puzzle, but they’re part of the experience, rather than being the experience itself. The attention economy is replaced by groups of people, coming together to form a whole and enjoy good music on good speakers. This space is easy to exist in: intensely creative and expressive, but still low key and uniquely intent on togetherness. Being sober at their Dubamine event felt like second nature to me, rather than some sort of quest, despite the party atmosphere and weed smoke lingering in the air. Speaker stack in the back, people at the front, and Subjet spinning vinyl, gracefully moving from dub tunes into dubstep over time to an enthusiastic crowd.

Dem Deya parties are refreshing, but Darrien isn’t one to toot his own horn about that. He’s humble through and through, refusing to take full credit for events, and when he does perform at something he’s helped curate, he prefers to play early so he can “put the homies on.” This collaborative spirit is embodied in the name of the sound system (often mispronounced ‘dem daiya’ – no vegan cheese here, just tunes!), which he stumbled upon during an acid trip with co-founder Kyler:

“We're like, man, what the fuck we gon’ call this thing, and so, like any couple homies looking for creative inspiration would do, we dropped some acid.......and come up with the name in the first ten minutes! [laughs] But the name Dem Deya is just a play on words: Dem Deya, like, dem over deya, ‘them over there.’ If you’re from the culture in which all of this is talking about, it's easy, it's not even a name. It's almost stupid, kind of silly. But then when you look at it on paper and you're not from that at all, and you say the name Dem Deya, it just sounds like a thing. … I can’t do this by myself—it’s just no longer ‘dem.’ Then it’s just him deya, right? And that’s fucking wack.” His solo deejay gigs, he explains, in addition to the ‘too many styles’ events, are important to him, but ultimately, secondary—done in order to spread awareness about the sound system’s primary offering. “No one's gonna really listen to Darrien Williamson. But people will listen to Scarien, the DJ. … Getting it to that level [where people will listen to you] takes that sort of celebrity-ism, that status, y’know? Otherwise, people don't want to hear what we got to say—they wanna hear Rick Ross say it!” Perhaps this wasn’t clear to him when he moved to Denver, but through trial-and-error, he’s come to understand how to effectively spread this message and get people to show up to events focused on reggae, dub, and dancehall. In fact, Dem Deya recently collaborated to bring international dub heavyweights O.B.F. Sound System and Iration Steppas to the Aztlan Theater in Denver.

Dem Deya Sound System + Zion Souljahz Sound + Headway HiFi present O.B.F. Sound System & Iration Steppas

Listening to Darrien talk about this milestone event is just about the cutest thing ever. His old soul is completely wrapped up in the joy and validation that came from bringing together all the different people from his journey in music, for an event of this scale, and having it be received so well in the Mile High City. This was a full circle, leveling up moment for him and the crew. Since that show back in March, they’ve sustained the momentum, increasing the resonance of Caribbean and UK sound system culture for people in the West through productions, bookings, and collabs.

“This is what we've been working towards, being able to create the space for people to listen when the music speaks. … Doing all this music stuff within a genuine light and having a peace of mind to do it is one of the biggest..it's the most important thing. Because independence within the music industry is important, independence in your own life is important. I feel like sound system reflects and touches on all these things and that's why I've dedicated my..I guess, life to it, at this point. Because it just does so much for people.”

It’s enough to demonstrate this level of wisdom at such a young age, but to have such dedication to this calling, and to so patiently usher people from overlapping scenes into the rich culture of sound system makes Darrien one of a kind. His ethos of serving the sound system—not the self—is his north star, but it doesn’t just guide his way. It shines a light that allows others to see what he sees in the music, and the people that congregate around it: a great power for good that comes with a great responsibility. [Published October 22nd, 2023]

[twistedsoulmusic]

Jay Glass Dubs fearlessly taps into the relentless energy and intricate rhythms of jungle and drum n bass to create a truly extraordinary sonic experience. Through his innovative approach, he ventures into uncharted terrains, transcending the boundaries of traditional genres. The EP is a meticulously crafted masterpiece that showcases JGD’s unwavering dedication to pushing the limits of modern electronic music.

#dubtech #jungle #dnb #electronic #Spotify

[retailtrust]

Dubplate dj courtney

#DUBPLATE DJ COURTNEY FULL#

#DUBPLATE DJ COURTNEY SERIES#

#DUBPLATE DJ COURTNEY SERIES#

The series follows the plight of teenage grime MC Dionne ( Chanelle 'Shystie' Scott ), as she tries to achieve her dream of obtaining a major-label record deal to help provide for her grandmother. He'll be digging deep into his bag of plates to play some of the most sought after tracks from back in the day, many of which coined the language of drum ’n’ bass but were forgotten or written out of official histories of the scene, talking through his life in drum 'n' bass from behind the record shop counter and on the roster of one of the great labels. Dubplate Drama is a British television drama series, created, written and directed by Luke Hyams, first broadcast on Channel 4 on 11 November 2005. The good people at Wordplay Magazine have gone back and selected their top highlights from the weekend and were kind enough to include my dubplate soundclash with the don Skitz as one of their picks. Shouts to the entire fun soaked situation.

#DUBPLATE DJ COURTNEY FULL#

Jourgensen’s been responsible for more escapades in his life than the average human being, we know that, but even he reckons these two moments were a. Boom Bap Festival was a full on 3 day mega hype hype. Over two decades of trading, purchasing and blagging through his extensive contacts in the business, he's forged a collection of hundreds of dubplates that traces an alternative and untold history of jungle.īogush will be in the studio on 3 July, to talk through the collection and how it came together. Blowing up a tour bus and heckling Beyonce. DJ Vadim feat Courtney Melody & Taiwan MC Ruling Sound Song 2016 Reggae. Jah Seal Heart Of Forgiver (Tricky D Relick). Sumac Dub Radio Ney & Persan Setar Instrumental 2019 Electronic. Professor Skank feat Earl 16 Money Pressure Song 2014 Dub. Since these earliest days in the jungle scene, he's been collecting dubplates of many of the most exclusive (and often unreleased) drum ’n’ bass tracks around – an obsession that's continued right up to the present day. Jah9 & Dub Fx Steamers A Bubble Dubplate Song. In the early 1990s you'd find Bogush's name on 12"s from the Moving Shadow label, released under the name DJ Harmony. Now, we're happy to announce the show will go ahead next week, on 3 July, hosted by Derek Walmsley with special guest Lee Bogush. Courtney Melody: Dont Test (12 Inch) Sleng Teng: Chopper: Derek Wright: Culture: Capture Rasta: Sleng Teng: 1985: Music Track: Enos McLeod: Culture: Capture Rasta (12 Inch) Sleng Teng: 1986: Music Track: Alvin ‘GG’ Ranglin & Enos McLeod: Culture: We A Boss (Jammys Dubplate) Sleng Teng: Jammys: Lloyd ‘King Jammy’ James: Daddy Freddy. futurizm sample pack + vip dubplate by dj crystl, released 22 august 2022 1. Earlier this year a planned dubplates radio special of Adventures In Sound And Music ( The Wire's slot on Resonance FM) had to be postponed.

#Dubplate dj courtney

[crazyrabbitrecordings]

(Crazy Rabbit Breaks,Beats, Dub Jungle n' Drum&Bass)

#SoundCloud #music #Crazy Rabbit Breaks #Beats #Dub Jungle n' Drum&Bass #dnb #drum and bass #bass #Techstep

[iamlisteningto]

Om Unit + TM404′s In The Afterworld

#om unit #TM404 #acid test #in the afterworld #music #electronic #acid #dub #techno #dub techno #acid techno #acid dub #drum and bass #jungle #acid house #uk bass #ambient #dnb #d&b #drum n bass #club #dance #bandcamp

[yugodtaguchi]

Greetings for all my people ARE YOU READY FOR THIS WEEKEND?? We have 2 days festival in Berlin 😎😎😎 We are looking forward to see your guys there with Bubbing you supper power sound system with dub & bass music 🔥🔥🔥 "What is dub & bass music?" This is the question to which we dedicate Dubbing You. It’s from this starting point that we embark on the new series of the BERLIN DUBCAFE at club GRETCHEN. What makes Dub a milestone in music history with a massive impact on the the world of contemporary Bass music? To find an answer to that question we have assembled a line up of live acts and DJs from around the world who have chosen Berlin as their home, to provide their unique interpretations of Dub and Bass music. On Saturday night we present BASS TING with a wide range of Afrobeat, Dub, Dancehall, Dubstep, Steppas, Jungle, 2Step and Drum´n Bass...and everything in between. With a holy trinity of Kiki Hitomi, DJ Nomi and Dubbing You resident Yugo Taguchi on the mic. On the 2nd floor (Box 2) there will be "Impulse Basskultur ft. Danny Scrilla" taking place with a massive line up! On Sunday we return with DUB TING and explore the origins of Dub music with a selection of Germany’s finest dub DJs including Arthur (Hardwax), Dressla (Jahtari) and King David (Hearticalfm.com) All presented on the new SUPERPOWER SOUNDSYSTEM “Don’t be late, run come to early feeling the vibes from SUPERPOWER speaker box” Tickets: 2.7. & 3.7. = 30 € + VVK Gebühr 2.7. = 23 € + VVK Gebühr 3.7. = 15 € + VVK Gebühr Check link for more details: https://www.facebook.com/events/1408387092959207 #dubbingyou #dubcafe #berlindubcafe #gretchen #superpower #waqwaqkingdom #dubwar #hardwax #catehops #crucialb #djnomi #jahtari #kikihitomi #kingdavid #uta #ossia #superpowersoundsystem (at Club GRETCHEN) https://www.instagram.com/p/CfYoniRMl6Y/?igshid=NGJjMDIxMWI=

#dubbingyou #dubcafe #berlindubcafe #gretchen #superpower #waqwaqkingdom #dubwar #hardwax #catehops #crucialb #djnomi #jahtari #kikihitomi #kingdavid #uta #ossia #superpowersoundsystem

[dankalbumart]

Big World Small World by Smith & Mighty Studio !K7 2000 Trip Hop / Drum n Bass / Jungle / Breakbeat / Dub / Experimental / Downtempo / Acid Jazz / Ambient Dub

#trip hop #drum n bass #drum and bass #drum & bass #jungle #jungle music #breakbeat #dub #dub music #experimental #experimental music #experimental electronic #downtempo #downtempo music #acid jazz #jazz #jazz music #ambient dub #dance #dance music #electronic #electronic music #music #2000s #2000s music #2000's #2000's music #2000s trip hop #2000's trip hop #2000s drum n bass

[da-ill-spot]

New Music: Le Swndle - British Slang Vol. 1

#Le Swndle #DNB #drum n bass #electronic #jungle #edm #SoundCloud #funk #soul #dub #dance music

[allmusic]

AllMusic Staff Pick: Various Artists Rupununi Safari: Steaming Jungle 1995 Jungle/Drum’n’Bass

Despite jungle's reggae roots and adventurous sonics, there's been surprisingly little crossover between jungle and dub over the years. This too-little-known collaboration between dub innovator Mad Professor and unknown junglists Douggie Digital and Juggler appeared in 1995, and remains one of the best albums of either genre that barely anyone has heard. Lee Perry makes a cameo, and the trio also released a jungle album with him around the same time, but this one is worth checking out first.

- Paul Simpson

#allmusic staff picks #jungle #drum n bass #Mad Professor #lee perry #douggie digital #juggler #dub

[crazyrabbitrecordings]

(Crazy Rabbit Breaks,Beats, Dub Jungle n' Drum&Bass)

#SoundCloud #music #Crazy Rabbit Breaks #Beats #Dub Jungle n' Drum&Bass #Rap #rapper #bass #Go