yeah that 1.48 bit is stunning, whip percussion too...
The feeling of discovering a bug in a computer game that allows you to break through to an odd calming space where the physics don't work in the same way. Within the constraints and logic of a game, like the logic of a break beat, your sense of time and environment feels tightly controlled.. you're dealing with someone elses will and structure, and the release into something free form and artless can be all the more euphoric because of the strange accidental effects that bleed in. may not be the case, blanket statements, producers could have spent weeks on those 30 second breakdowns, but I quite like the idea of them being nearly afterthoughts with errors and oddity left there, a detour before we get back to the real stuff. that’s the impression I can get. again great jungle breakdowns are better ambient than any ambientThe exquisite bits in jungle are one of the portals to the infinite and so are the banging bits
I think that question of how much control there is over the samples is key to understanding why jungle after a certain point remained really good, potentially great, but lost some of its charm.
As you say in the earliest stuff there's a sense of working with uncontrollable materials. Accidents bleed in. The harmonics don't 'work'. (At this point I'd reach for the Aphex quote about jungle producers being better because they weren't professional musicians).
it’s partly about the sampling and time-fucking technology being a new mechanism, a prism for all those separate sounds to interact and refract through, so it’s eclecticism enabled *through* a new way of creating, listening, recording... which naturally encodes certain stylistic. elements that occur beyond artistic choice. in early stuff you almost hear the playful awe of cant believe I’m hearing and making at once