It's music that's a bit like porn: by reproducing only the most hysterically euphoric, high energy aspects of old skool jungle it's like a hardcore video with one cumshot scene after another. Even the more interesting stuff like Soundmurderer gets on my nerves after 15 minutes. You felt compelled to dance and at the same time you were like, "How is anybody supposed to dance to this?" Most breakcore leaves the funkiness out of the equation and ends up with a selfserving noise-fest of gabber-speed beat wankery. the interesting thing about jungle was that the rhythms were so weird and jerky, yet incredibly funky in a fucked up way. Too unfunky and bordering on wanky, what with showing off how hyper-fast and super complex you can make your breakbeats. breakcore/raggacore doesnt do it for me though. diesel boy surely is one of the biggest offenders alongside the likes of bad company or pendulum (probably the worst of the lot). Couldn't agree more about the tedium that is d'n'b post-98 (I'd actually argue that it slowly started to wane after 96).
Me happy! There's an awful lot of stuff in there that I don't know. Spark up the schism and get nice to this. The Singles and 12" collections include: Binghi Man, Boom Bye Bye/Lion Did Crown, Champion DJ, Gritty City/Sunshine, Lose Your Soul/Rebel Music, Ras Tena/Make A Joyful Noise, Seven Seas/Ghetto Life, Black Star Liner, and more. if you had to start somewhere I would do the fifth file below, Congo Natty vs tenor fly - 12 Years Of_Jungle. the earlier the better though, toward the millenium even this crew got a little lazy - but still sounds ace. I present all of it here for your boomin' selection.Ī bit of an overkill I know, with 4 12 inch collections and 4 albums, but you'd be hard pressed to find a single weak track in all this. but am I glad that I was able to score this pile of Congo Natty LPs and 12"s.
MC HAMMER DISCOGRAPHY RAPIDSHARE PASSWORD
and just as I thought, 3 days later it was over - they started using password protection.
MC HAMMER DISCOGRAPHY RAPIDSHARE FULL
and it follows that none of their very important and influential output is available in America - Amazon doesn't even know they exist.Ī while ago I stumbled upon a HUGE Russian FTP full of reggae and related material knowing that it wasn't going to last forever, I grabbed as much as I could, literally waking up in the middle of the night to pull more files. yet it sounds as fresh today as 10 years ago.Ĭongo Natty is a British posse who has always refused to play in the United States. Roughly 93 to 2001: listening to these tracks one can imagine how exciting this new sound was - the stop'n'go dynamics, the switching between beat patterns, the ragga MC's. I guess Drum'n'bass is pretty much dead, apart from the Break-Core movement where artists like Enduser and Soundmurderer are taking cues from the kinda shit I'm presenting here and adding IDM and industrial flavors. their new output should be avoided - much like Panacea, who made such brilliantly invigorating Terror-Steppin' Hate-Core as a fat kid, but now that he's a metro-sexual makes the cheesiest Euro-rave crap complete with migrane inducing diva vocals.
I draw the line at around the turn of the century - Tech Itch, Optical, Dom n Roland and all that Techstep was the last of the D'n'B that was worth anything. The likes of Diesel Boy and their boring repetitive BULLSHIT beats-for-pre-teen-Meth-abusers should be all put to sleep like rabid dogs. Switching gears a bit - first things first, let's get one thing straight: i would avoid anything past 1999 though, because even if "No Sell Out" is the name of one of his tunes, that is indeed what he did - to exactly the kind of boring repetitive lazy D'n'B sound i railed against below. Thanks to Marlon, the entire discography is now available.
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