WLincoln Barrett Hen started making drum pieces in the late ’90s, he says, “People were making fun of me for being in on it. People were already saying the drum was dead. Going to the record store in Cardiff, catapult, you’d kind of get pee from by people who, I think, are in a state of trance.”
He laughs. In the interim, Barrett’s High Contrast, one of the world’s most respected drum’n’bass producers, is about to celebrate the 20th anniversary of his debut album, True Colors. Meanwhile, Dermanbass has steadfastly refused to die—in fact, she’s enjoying an unexpected moment in the sun, reviving the pop of 2022. “They’re the people who aren’t really part of the drum scene just coming in and doing the forests their own way, and it’s really in a separate lane. On Known Artists and What Drum Is Now” Barrett. “It’s amazing that it’s mainly led by young female artists as well.”
At its most extreme, the pop wave of drum lance has manifested itself in Australian producer Ludd’s elaborate reworking of ’80s Men, a new Top 5 single featuring first man in the business, Colin Hay, as journalist, author and presenter of the Drum Awards & BassArena, Dave Jenkins, notes neatly, “It caused all kinds of discussions.” He laughs, quoting drum’n’bass legend Shy FX: “If any self-respecting DJ plays, they should look themselves hard in the mirror and slap themselves twice.” At last count, the track has generated 102 million streams on Spotify alone.
Obviously less adjacent to fromageryThere are artists whose work is finding its way into Spotify’s Planet Rave playlist, which appears to be the fastest growing playlist on the platform among 18-24 year olds. Not everyone who deals with it deals with the drum. There are lately two-step garage producers, people indulging in trance, old-fashioned hardcore and even the occasional look of respected electronic artists including the Aphex Twin. Despite this, the sheer volume and great variety of performers associated with a 175bpm beat sounds amazing. There are independent teams indulging in drum’n’bass, not least Boreg, with the My Bloody Valentine-esque singles skating. There are artists nearby who weld very fast spacers of four kick drums to the floor. There’s PinkPantheress, a bedroom producer and chart star that Reason has done so much to break the open genre to its Generation Z fan base. There are emo genres with manga illustrations instead of artist portraits, plenty of Xs and Vs in their names and song titles that one would assume Tongue-in-cheek: xxtarlit has an online mix called Bad Goth Bitch Music To Cut/Worship Lucifer’s.
There’s Vierre Cloud, a 20-year-old Australian who went viral when a Fortnite player used one of his tracks as the closing music on his YouTube videos And Nia Archives, a Yorkshire-born half Jamaican singer/producer/dj Who claims inspiration from Roni Size, Remarc and Lemon D, and writes tracks dealing with mental health and physical dysphoria, she has been outspoken in her attempts to attract more women of color to the drum’n’bass scene and shows every sign of becoming a breakout star.
And there Goddard. , a fan of the drum features August “Hospital” and teenage Ram, who make groovy soundtracks that sound straight for the dance floor, but run along with pop singles; He hardly does anything beyond three minutes. “When I was studying at uni, one of the things we talked about was people’s attention during the digital revolution, and how it was being shortened,” he explains from his studio in Kettering, Northamptonshire. “Having to get people’s attention right away and keep it is really important. When you make things to publish on streaming services, you have to think: are people going to listen for five minutes? Probably not. It’s just the way we evolved.”
Almost all of them have a distinct pop feature: even artists with dark manga visuals and song titles tend to savor the subtle strains of Opus III’s It’s a Fine Day or Ellie Goulding’s Starry Eyed. Indeed, there seems to be an entire subgenre, playing somewhere between anpas drams and bedroom pop, which intersect with soft, wide-eyed female vocals: Mr. Valentin Yaz; Take the time of the van to pass; oOo’s Frou Frou-sampling Wedbecutetoget-her; Berry and Tommy Villiers ‘Spot Feathered Soft, Pechene’.
The last duo are a couple; They went on a date in Manchester and later began composing music together in a bedroom studio. Their ambitions were modest — Perry says she paid three TikTok creators to use the Soft Spot in their videos and solicited support from the Manchester Student Group online community — but they’ve gone viral: They’re currently 110,000 TikTok audio clips, featuring everything from screenshots Someone lays a wooden floor to guide you on how to get rid of menstrual cramps. Charli XCX announced that it was her favorite soundtrack (“It’s So Hard”) while PinkPantheress — whose use of drum’n’bass breaks was “too influential” on her voice — DMED the duo to tell them she liked the track. “I think people didn’t take any corner on the beats of the drums until recently,” Berry says. “It makes it more accessible if there is a pop song on top of it, these dreamy songs, because a lot of people are not just going to listen to instrumental music, they need a song and a song. And obviously the drum is sick.”
The question of why all of this is an interesting question. Obviously, some kind of nostalgia plays a role. Sometimes it seems like this is the used pink variety that includes an era you can’t remember: Planet Rive is full of 20 producers using graphics drawn from old PlayStation games or summoning tracks for things like planet1995; Producers seem fascinated with the way drum’n’bass was made in a pre-technological era (“Adam F circles, this is one of the best drum tracks ever,” says Villiers, “and I don’t know how it was made, but it certainly wasn’t on a Mac, man”). Sometimes it’s more direct and personal. “I grew up around vocal system culture, as half of my family is Jamaican, and I’ve always been drawn to that bass and drums and distorted bass,” Nia Archives told an interviewer this year, adding — and any native bush members might want to look away now. , lest they feel impossibly old – “My grandmother loves the woods.”
Jenkins notes that drum’n’bass enjoyed one of the few cross-pop moments in the middle of Zummer’s middle childhood. “DJ Fresh had his first ever No. 1 drums with Hot Now 10 years ago. Then you had Sigma and Matrix & Futurebound, artists who could see the potential to try songwriting and see if they could find drum’n’bass in the direction Mainstream Controversial back then there was kind of a shark jump when Sigma teamed up with Take That… But when you’re young and you get the first flavor of something, you can dig deeper and improve your tastes. I think he brought that rhythm And that kind of tempo into mainstream pop vocabulary and that’s what we’re enjoying right now.”
Perhaps there are other, more realistic reasons. Goddard. Thought it may have been connected to world events over the past couple of years, the in-your-face euphoria over the quick hits provided both an escape during lockdown and a perfect soundtrack when pent-up kids were let out. “I think when the lockdown happened, people loved it [DJ] Dom Whiting came in, he shoots videos of himself on his bike, he plays the drum by himself and then you see people coming out of their houses because they were low and this music makes them feel so happy. This really set the drum in public, for every kind of listener, because it was just such good energy. [Post-lockdown] Seems like a very exciting time for bass drum because there seems to be a lot of energy in the air.”
Meanwhile, Berry notes that pop artists may have been drawn to the genre because of the way music is being published in 2022. And no modern artist I’ve spoken to has emerged with the more traditional path of playing their music in a club—each of them has relied on their Social media for exposure. “You can get a lot of information out of the song in a shorter amount of time. It motivates you,” she says. “A verse in a house song will be longer than a verse in a drama song. On TikTok you have to make a very powerful feel in 15 seconds, and on drum’n’bass you can have a full chorus in 15 seconds, just because it’s faster. “
The means by which people access music may also explain the current wave of producers’ preference for one specific region of drum’n’bass history: In Planet Rave, you hear a lot of woodland-influenced, raw, reggae-influenced and friendly precursors audibly. The specimen, Barrett notes, “was seen as antique” in the late 1990s. “For a long time, the level of drum bass production was unreasonably high,” Jenkins says. “I think we find the opposite situation where a new generation has come in and they are like, ‘I don’t care to mingle, I listen to this through headphones’ – especially in the last couple of years, when they don’t even have to think about the club’s reactions at all. Those breaks are back. Rough, lively, and really woody in a big way. If you put incredibly good sub bass on a track, you’ll be completely lost to people watching TikTok on their phones.”
What will happen to all of these things in the future is a moot point. It could be a fad, it could produce permanent stars, it could establish itself as a permanent fixture in the pop scene. “Maybe there’s a degree of fickle jazz fanatic,” Barrett laughs. “I think if it’s going to have legs, it comes down to whether this new generation is not just thinking about what it was 20 years ago, but is using it today as a tool, to make something different.”
It doesn’t mean that its continued success or failure will affect the longevity of the drum itself, he says. “It’s on its own in terms of rhythm, it gives off energy that no other genre can give, so it looks great at festivals, at raves, outdoors… There will always be a market for it, because you don’t get it anywhere else. He’ll want People always have this energy boost.”