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Drum and bass (comumente abreviado para DnB, D&B, Drum n Bass e Drum & Bass) é um gênero de música eletrônica que se originou na cena rave do Reino Unido tendo sido desensolvido a partir do breakbeat hardcore (e seus derivados do darkcore e hardcore jungle). O gênero se tornaria um dos mais populares da electronic dance music se subdividindo entre vários subgêneros.

Inicio no Reino Unido

O Drum and bass começou como uma mudança de paradigma no meio musical da cena britânica do breakbeat hardcore e das raves na metade dos anos 1990; e durante a primeira década e meia de sua existência, houve muitas permutações em seu estilo, incorporando elementos de dancehall, electro, funk, hip hop, house, jazz, pop. Esta cena existiu brevemente aproximadamente de 1989-1993, um período de polinização cruzada do som hardcore no Reino Unido. Esse som sobreviveu de várias formas em seus países de origem - principalmente Bélgica, Holanda e Alemanha - além de 1992, mas até então as cenas gerais nesses países haviam avançado para o trance, industrial techno ou gabba (com happy hardcore/hard house sendo o equivalente ao 'Belgian Techno'). Londres e Bristol são as duas cidades que estão mais associadas com o Drum and Bass.

O drum and bass (como o jungle) tem suas origens dentro da cena do breakbeat hardcore e acid house britânico. Os DJs de hardcore tocavam seus discos em rotação acelerada, o breakbeat hardcore enfatiza a batida four-on-the-floor comum na house music. Os discos de breakbeat hardcore tais como "Experience" (1992) do The Prodigy, 'Jungle Techno!' (1991) de Top Buzz, 'Anything' (1991) de A Guy Called Gerald, "£10 to get in" / "£20 to get in" (ambos de 1989) de Shut Up and Dance, "Spliffhead" (1990) & '18 Inch Speaker' (1991) do Ragga Twins, 'Wickedest Sound' (1990), 'Coming On Strong' (1990), 'Tribal Bass' (1991) & 'African' (1991) de Rebel MC, 'Aftermath' & 'In Two Minds' (1990) de Nightmares on Wax, "Sirens of Acre Lane" (1990) de Genaside II, "Ruffneck Biznizz" (1992) de DJ Dextrous, 'Be Free' (1992) de Noise Factory, 'Jungle Dett' (1992) de Demon Boyz e "Demon's Theme" (1992) de LTJ Bukem são geralmente creditados como entre os primeiros a ter um som drum and bass reconhecível.

Some hardcore tracks at the time were extremely light and upbeat; the most extreme examples of this were the so-called "toy-town" tracks such as Smart E's' "Sesame's Treat" which features the children's show "Sesame Street" theme song. A style of hardcore with light and upbeat sounds and a predominant kick drum, with less emphasis on breakbeats, would many years later be known as happy hardcore. These were particularly prominent in the summer of 1992 when hardcore crossed over commercially in the UK and its charts.

In response to these lighter tracks, some producers started focusing on darker, more aggressive sounds; this style became known as darkside hardcore, or Darkcore. Strange noises and effects, syncopated rhythms made from rearranged funk breaks and loud bass lines defined the genre. Examples of darkcore include Goldie's "Terminator" (1992), Doc Scott's "Here Come The Drumz", and Top Buzz's "Living In Darkness" (1992). These took their cue from the darker sounds of 'Belgian Techno', as found in tracks such as Beltram's "Mentasm" and "Energy Flash" (1991), as well as the dark breaks of 4 Hero's "Mr Kirks Nightmare" (1990) among others. These tracks were not widely called jungle or drum and bass by the mainstream media at their time of creation (although the terms "hardcore jungle" and "jungle techno" were in common use in the rave scene by then, with "drum & bass" appearing here and there on particular mixes of several vinyl releases), but they can nevertheless be found on later jungle and drum and bass compilations. The first major round-up of these tracks which was to use the term 'drum & bass' was probably "The Dark Side - Hardcore Drum & Bass Style": a compilation on React Records, released March 1993, which featured both "Here Comes The Drumz" and "Terminator".

This darker, more aggressive sound appealed to many in the dancehall and reggae communities. A shared emphasis on rhythm and bass, and the tempos were well suited to be mixed together. Soon many elements of dancehall reggae were being incorporated into the hardcore sound, and a precursor to what would become known as simply jungle was sometimes dubbed hardcore jungle. The Jamaican sound-system culture began to influence the emerging sound through the use of basslines and remixing techniques derived from dub and reggae music, alongside the fast breakbeats and samples derived from urban musics such as hip hop, funk, jazz, and r&b alongside many production techniques borrowed from early electronic music such as house, and techno.

As the yet unnamed genre evolved, the use of sampled funk breakbeats became increasingly complex. Most notable and widely spread is the Amen break taken from a b-side funk track "Amen, Brother" by the Winston Brothers (The Winstons). During this time producers began cutting apart loops and using the component drum sounds to create new rhythms. To match the complex drum lines, basslines which had less in common with the patterns of house and techno music than with the phrasings of dub and hip hop began to be used. As the beat-per-minute range rose above 165, the emerging drum and bass sound became incompatible for straightforward DJ mixing with house and techno, which typically range dozens of beats-per-minute less (making it impossible to play the tracks at the same speed on club equipment). This sonic identity became highly distinctive for both the depth of its bass and the increasingly complex, rapid-fire breakbeat percussion. Vastly different rhythmic patterns were distinctively being used, as well as new types of sampling, synthesis and effects processing techniques, resulting in a greater focus on the intricacies of sampling/synthesis production and rhythm. This notably included early use of the time stretching effect which was often used on percussion or vocal samples. As the influences of reggae and dub became more prominent, the sound of drum and bass began to take on an urban sound which was heavily influenced by ragga and dancehall music as well as hip hop, often incorporating the distinctive vocal styles of these musical genres. This reggae/dancehall influenced sound is most commonly associated with the term jungle.

Particular tracks from the 1992 - 1993 period that demonstrated some of the beat and sampling progression within drum and bass include: A Guy Called Gerald's "28 Gun Bad Boy", Bizzy B "Ecstacy is a Science" (1993) and Danny Breaks / Droppin Science "Droppin Science vol 1" (1993). This was an ongoing process however and can be demonstrated as a gradual progression over dozens of tracks in this period.

By late 1993, the drum and bass sound was particularly evident in the release "Unreleased Metal" (by Doc Scott and Goldie and which launched the Metalheadz label in 1994) and the "Internal Affairs EP" (by Goldie and 4hero.

Ligações externas

• "London Something Dis", a 1994 documentary on the history of drum & bass
• "Dub Echoes", a documentary about dub's influence on the birth of drum n bass, electronic music and hip hop
• "History of drum & bass", a BBC timeline on the history of drum & bass with track listings, quotes and samples