Jinglist Massive Lion Christmas Hoodie

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Green and Otchere decided on a simple narrative arc: a long weekend, Friday through to Monday morning, in the lives of four south Londoners – Meth, Q, Biggie and Craig – who they based on themselves and their mates. It’s often hard to tell them apart, their voices and personalities melting into a polyphonic mix, a scattershot and bantz-heavy flow of the kind that might be heard on a pirate station. They have minor run-ins with the police as they drive across town in Q’s mum’s Cortina, but this isn’t a protest or a journalistic novel; it’s more interested in inner space than in sociological space, the psychology of urban life as it’s modulated by beats and weed. Goldie receiving a gold record plaque at the Blue Note, Hoxton Square, London. Photograph: Eddie Otchere Absolutely. I don’t cut any corners with my products and brands, I go on in on it. So when I work with someone I’m creating a connection and relationship between our brands. It’s very tight, it’s a family. From the hip hop side I’ve been working with guys like Rodney P, Omar, Skitz and Ty. From the jungle side I started with Kenny Ken, Moose, Ron. They’ve been with me ever since. I’ve never rinsed it, I’ve kept it as a family which keeps on growing.

Green had been a hip-hop and happy hardcore fan. Increasingly he was getting into jungle. He viewed the club nights he attended as extensions of the house parties of his youth: front rooms cleared of all furniture, huge sound systems, alcohol served in plastic cups, dim lighting, lots of motion. He found jungle intimate and immersive – a sometimes demonised music to which young kids, in darkened spaces the size of chill-out zones, were still figuring out how to dance. It was a music that was impossibly accelerationist. Its rhythms thrillingly alien. Its darkness radiant. No other logo represents this music and culture quite as ubiquitously or timelessly as that of the Junglist Movement brand. I lost every booking I’d ever worked for. When the police came to my house they said, ‘so, you’re the DJ everyone hates’. I had no idea the guy had been stabbed but people didn’t believe me,” she told me in 1996. Nonetheless, ‘Mr. Kirk’s Nightmare’ is a pivotal tune in the development of the darkcore scene. Another of the ‘should have beens’ from the drum & bass scene, Peshay was taken out of action by an illness that left him bed-bound for almost two years. Miles From Home, his debut album for Island Blue arrived too late have the impact he so richly deserved. One listen to ‘Psychosis’ is enough to reveal his production talent. Like ‘Pulp Fiction’, this was a defining tune for Metalheadz with its anxious cries, shrill noises, and jittering drum rolls that build towards the introduction of the Plastic Jam break that dominates from a minute in. The tune instantly evokes memories of a smoky basement in mid-1990s Hoxton. Whenever we are talking about the evolution of Drum & Bass, there is one common reference that you will most certainly stumble upon, that it was oddly referred to as the b*astard child of Dance Music. From its emergence in the English rave scene in the early 90’s, Drum & Bass has evolved and stood as one of the most energetic and influential genres in electronic music.Junglist Movement was the first design. But yeah, other ones I had did attract bad attention. In the rave era there was a lot of piss-taking stuff. That was part of the culture. So I did Roots with the Boots logo and Needafix for Weetabix and Natural Born Players for NBA. Boots and Weetabix weren’t happy. They threatened to throw me in jail! I was young and naïve at the time. They got heavy. That’s why I changed the name from Outrage Clothing. Influences from the breakbeat hardcore styles were chopped up and glued together to create an accelerated, rolling, syncopated rhythm; and with the Hardcore scene giving way to their euphoric style of music for darker and industrial samples with faster and heavily edited drum programming in turn gave birth to Jungle. Lennie De-Ice’s ragga-tinged release ‘”We Are I.E.” in 1991 was the earliest prototype of Jungle music and it also laid the foundations for the genre for years to come.

Even for electronic artists less directly linked to the genre, the influence of OG Jungle on this decade’s hitmakers cannot be underestimated. Shy One is a DJ and producer known for eclectic and diverse sets, but she tells me that “being from a raving family”, she recognises the “honour” of sharing a stage with”legendary pioneers of electronic music like Goldie and A Guy Called Gerald”. Speaking to Notion recently, electronic duo Chase & Status describe a career defining moment, “accidentally stumbling” on “one of the many pirate radio stations blasting out Hardcore Jungle” and being inspired to buy an album at random. The record in question, ‘Grooverider – Hardstep Collection 1’. Alongside Fabio, DJ Grooverider is on the bill for Outlook festival this year, as well as Hospitality in the Woods. Tek 9 was an occasional solo project from 4Hero’s Dego McFarlane that fused ragga with hip hop to create an instantly recognisable drum&bass sound. His remake of Code 071’s ‘A London Sumtin’ brought the ragga b-line to the fore. Stretching the ‘Feelin’ It’ break from one of rave’s favoured sample sources, the Ultramagnetic MCs’ Critical Beatdown, Tek 9’s remix twists the original’s hardcore thrust into a twisting darkcore meets proto-jungle horror movie. Yeah. They hit the right note with the right people. DJ Ron was one of the first who really helped me take the brand to where it needed to be. He was my mentor and very soon we had a lot of people representing the movement and clothing. It wasn’t long after that when I got the script for Human Traffic. The director had seen some of my samples, he was interested, the film went off and that was what really pushed the brand and design.The term itself is connected with the origin of the name jungle. During the time of junglists, they were sometimes referred to as "rude bwoii", a slang term originally used by Jamaicans (as rude boy), meaning "gangsta" or "badbwoy" ("bad boy"). The term refers to an inner city area of West Kingston, Jamaica, called Jungle (the subject of the Bob Marley song "Concrete Jungle", from the Wailers album Catch a Fire). Fashion is also a very broad church. It’s meant you’ve worked with people from so many industries. Film, sports, not just music… Terminator’ was the first time that the timestretching technique had been used on the breaks, an effect that allowed you to alter tempo of a sample without changing the pitch. The effect was like an experiment with the temporal flow of music, as sonic futures became historical loops. Time itself simultaneously collapsing in and building out. ‘Terminator’ proved to be a key signpost in the emergence of the cyber driven ideologies of drum & bass tech, while also providing a jaw-dropping dancefloor moment.

In more recent times he’s designed unique drops with Hospital Records for last year’s Hospitality In The Park, he’s collaborated with the exercise phenomenon that is Flight Klub and has partnered with Human Traffic Live with a new collection exclusive to the forthcoming Lost Weekend event at Printworks in May. I hear you. On the flip of that, when you do work with people this is much more than sending an artist a bunch of merch, right? While the genre was booming in the mainstream charts, the underground side, which had formed the foundations of the sound, kept experimenting with darker, grittier, and more menacing soundscapes and started testing these out in their DJ sets. The morphing continued and producers moved away from the ambient and textured soundscapes to a crispier and refined sound. Absolutely. That’s another foundation. Aersosoul is inspired by typography. The book Subway Art had a big influence on me. I grew up in boarding school from the age of about 7 till I was 16. I was pretty much by myself, very independent, people around me from different cultural upbringings. We were doing graffiti, skateboarding, breakdancing, BMX. We’d take our lino down to the Madison Jones club in Bournemouth and battle these guys who ended up being the massive crew Second To None. We’d bury them every time! Hip hop culture during the 80s was huge, so I spent my years soaking it all up. Then when I met Dev it all fell into place.

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Aligned with artists such as Degs, DJ Die, General Levy and Colette Warren, no brand is as entrenched in the foundations of this music and culture quite like Junglist Movement and no other aspect of the culture tells a story quite so personal as fashion. I want to push Aerosoul Africa. That’s part of who I am and my identity. I want to focus more on that as a brand. Afrobeat is huge and Africa’s rich culture needs to be celebrated with products everyone would be proud to wear. I’m working with a really inspiring artist from Tanzania and it’s a big focus for me. Beyond that I’m just making sure I’m making the best products and designs I can and bringing everything together. Aerosoul, Junglist Movement, Hip Hop Movement, Babysoul, Soulero Sista and Aersosoul Africa. Each one is its own brand but all under the main Aerosoul umbrella. We’ve had some great attention recently so it’s about capitalising on that and bringing everything together in-house. Take one bassline created from the sound of rotating helicopter blades, another that shifts deep rolling funk and dancehall. Add it to a break built from Blowfly’s filthy ‘Sesame Street’ that occasional erupts into a snare roll that echoes the helicopter blades. Add horn stabs, gunshots, discordant strings and a jittering Afro sequence and you’re left with a tune that oozes tension and drips with suspense. A huge anthem in 1993, its metronomic flow had all of the detailed production that would mark out drum & bass in this era. It also offered a different vision to the ragga fused jump-up jungle sound that was dominating things at the time. The Amen Break was drummed on ‘Amen, Brother’ by the late Gregory .C. Coleman which was the B-side of The Winstons’ 1970 single ‘Colour Him Father’.