basically early 3D. probably lightwave 3D because it came free with video toaster which was newtek's production suite. it's the (slightly later) visual production equivalent of OctaMed for the amiga.I think I associate that 'look' in jungle art with 96 onwards with reinforced leading the charge, certainly a big deal going into the techstep era.
Yeah Bukem was all over this stuff.Those two source direct tunes are incredible. The b side to Snake Style is a good amen tear out that was on Bukem?s 95 essential mix. The second hour of that mix is as good as Bukem gets imo. Just before he went mega boring and only played stuff off his label. Still had a bit of variation to it. His mix in 96 was already pretty dull.
Ah now.Also it?s got Conrad on it with as studio mic and a lil bit of echo and he sounds good!
love itJacob's Optical Stairway - Solar Feeling
You could call it yacht jungle, but thats not quite right, this dives into the depths rather than gliding above them. [/url]
Though Gerald was always a bit of an outsider to the jungle scene for various prosaic reasons, it was his idiosyncratic use of breakbeats that really sets him apart in my mind. There's complexity here but it doesn't come from deftly sculpted interlocking beat science, more a kind of tribal, drum circle composition where breaks are layered on top of each other, accentuating different hits and slowly filling in the gaps, building to a dense shuffling groove that flows like a flood of molasses. A really curious approach, the only other thing that comes close to it in Jungle is the Bristol sound.A drowsy, dislocated bass pulses under twining drums, synthed pizzicatos flit by like strange fauna, and everything's permeated by a humid gauze of brushes. The drums rattle like bones, and the mood might be arid if it wasn't for Quaye's vocals coming down on the song and quenching it like a shower. I didn't know who Quaye was, didn't know that 'Sun Is Shining' was a lilting reggae standard, but what I did know was that this was at once among the freshest things I'd ever heard and the most timeless. There's a hint of the jazz singer in Quaye's voice here, a brassiness, and there's something like jazz in the music too, something unpredictable, tense and thick. But while his contemporaries took hold of the politest bits of fusion, Gerald - by all accounts a difficult and shabbily treated musician - latched onto a more turbulent tradition, the jazz-funk-electronica of Pangaea-era Miles Davis or Sextant-era Herbie Hancock, and the music he made boiled like theirs had. Combine that with Quaye's love-drunk lullaby and you have a certain blueprint for wonder.