With electronic music (including dnb), the early pioneers were exploring new ground in terms of sound and equipment and (in some instances) wrote the manual for how genres and tracks should be shaped. Whilst there were cross over singles and albums, overall the sound was very underground. Accessing the music could only be found on pirate radio (although Radio 1 and Kiss FM did showcase a few 2 hour slots for underground genres each week); at raves; on tape packs; and at record shops. Given the early days were hugely progressive and the scenes drew in avid listeners/followers, this gave birth to target audiences which producers and event organisers could pinpoint and quantify demand in terms of physical units and tickets sold. As a result, electronic genres thrived creatively and also provided some much needed return/income for producers. Whilst the internet has widened the appeal of electronic music, it has reduced earning power for producers, has given rise to a global army of bedroom producers & has created mass consumerism. These factors combined with today's mantra of instance returns, feedback & sales (to name but a few), has meant many old and new artists alike spend less time on their craft because the financial reward for their efforts is minimal (for the majority) and the mass market (overall) is not that interested. Chuck the lure of a crossover hit (which invariably panders to a watered down/commercial formula), and the need for most artists to tour into the mix, one can understand why producers water down or regress their sound; after all, they have to earn a living somehow. With all forms of art, there will always be an underground scene and this is where one can find diamonds in the rough. The trick is knowing where to look, which invariably requires one to sift through a lot of garbage; but just like crate digging, when one stumbles upon a gem, that feeling (imho) pays for all the hard work and some more. Therefore, for all those that say dnb or any other electronic genre is tired, look elsewhere, investigate and seek out original music, because it really is out there.
Pretty much. If all the people who moaned about Dillinja and Origin Unknown not sounding the way they did in the 90's bought Ricky Force records instead the world would be a better place.
+Executive Steve init, they went very new skool dnb. Which in my opinion is shit but there are many artists still making more breakbeat driven vibes away from that side of dnb
Exactly, older artists get shitty and lose their edge, new ones replace them, it's the natural cycle of life. Rupture and Foundation X and Narratives and Samurai pushing it forward into the new school and still keeping it interesting for the older heads.
Suppose the older artists get bored of making the same stuff. Then again some of the older artists are taking this new vibe in their stride releasing new amen tear outs n that. I'm loving all this new stuff, there's loads of new labels to dig into just like the old days. Going down to the rupture night next month!! Can't wait
+TheUKGDani There is a wide spectrum of DNB out there - but have to shift through lots of duds to find the gems. I agree, some stand out labels and nights pushing the scene forward at the moment and a great time to be listening to cutting edge DNB.
I dunno man, I can remember loads of great tunes from 2004; there's still great tunes around today too, there's nothing that will beat tunes like this being heard when the sound was still 100% fresh and the boundaries of what was musically and technically possible hadn't been reached yet though.
@@marcp3788 Hmmm, I dunno about that either. I remember 98-01 being pretty dry, and 2003 was the year loads of big established names started churning out horrible muck, but 03 to 07 was pretty great to me: Exit, Bassbin, Soul:R, Commercial Suicide, Violence, Outsider, Paradox Music, Secret Operations, Warm Communications, Scientific Wax and Intasound nearly all started releasing within a few months of each other in 2003, and that was the kind of thing I was buying. Hospital, Headz and Hardware were still going strong, Dropping Science and Certificate 18 were winding up, but there was amazing fresh shit in the record shop every weekend. Granted the people who'd made all the biggest tunes between 95 and 04 were all long past it and were releasing cheesy shit but you can only stay at the top.for so long anyway.
Well I was only 7 years old when this tune came out, but even so I can clearly feel the quallity of these "older" tunes. People do not make them like this these days, just a simple comparison, when you ask people about any track that was banging back in lets say 2004 most of the people cant tell you any track from that year they say stuff like "ah man it was so long ago, cant remember any etc" its not about time its about the lack of quallity in those tunes, thats why they cant remember them...
"Vicious" was being listed in charts as a Metalheadz dub for the longest time, I reckon (never asked Goldie or Dillinja) that Promise and Vicious were meant to be on the same 12" and then Promise came out on Platinum Breakz 2 instead.
I always preferred the flipside of this (So damn Tuff). The drums that drop half way through are so brutal! Can't find it anywhere on youtube though...
@executivesteve lol. Bukem, Die, Zinc, Dillinja, Lemon D, Roni Size, Goldie, Phantasy do i really need to go on? The problem with the dnb today is all about trying to find crazy new ways to set yourself apart from everyone else (using sythns and effects) when all you need to do is having a sick drum beat and a dutty bassline. Which I was 10 years older so I could of been part of the real dnb scene!
@Ahatfulloftricks I think problem with dnb is that this type of music reached its limits and can't produce anything really fresh. listening to any "brand new" dnb song I can't stop myself from thinking that I heard this before.
well, if rules can evolve it means there are no rules ;) anyhow - nice old Dillinja set here: watch?v=vKXPTHjWI8w That's the dnb i grew up with, enjoy.
With electronic music (including dnb), the early pioneers were exploring new ground in terms of sound and equipment and (in some instances) wrote the manual for how genres and tracks should be shaped. Whilst there were cross over singles and albums, overall the sound was very underground. Accessing the music could only be found on pirate radio (although Radio 1 and Kiss FM did showcase a few 2 hour slots for underground genres each week); at raves; on tape packs; and at record shops. Given the early days were hugely progressive and the scenes drew in avid listeners/followers, this gave birth to target audiences which producers and event organisers could pinpoint and quantify demand in terms of physical units and tickets sold. As a result, electronic genres thrived creatively and also provided some much needed return/income for producers. Whilst the internet has widened the appeal of electronic music, it has reduced earning power for producers, has given rise to a global army of bedroom producers & has created mass consumerism. These factors combined with today's mantra of instance returns, feedback & sales (to name but a few), has meant many old and new artists alike spend less time on their craft because the financial reward for their efforts is minimal (for the majority) and the mass market (overall) is not that interested. Chuck the lure of a crossover hit (which invariably panders to a watered down/commercial formula), and the need for most artists to tour into the mix, one can understand why producers water down or regress their sound; after all, they have to earn a living somehow. With all forms of art, there will always be an underground scene and this is where one can find diamonds in the rough. The trick is knowing where to look, which invariably requires one to sift through a lot of garbage; but just like crate digging, when one stumbles upon a gem, that feeling (imho) pays for all the hard work and some more. Therefore, for all those that say dnb or any other electronic genre is tired, look elsewhere, investigate and seek out original music, because it really is out there.
Pretty much. If all the people who moaned about Dillinja and Origin Unknown not sounding the way they did in the 90's bought Ricky Force records instead the world would be a better place.
+Executive Steve init, they went very new skool dnb. Which in my opinion is shit but there are many artists still making more breakbeat driven vibes away from that side of dnb
Exactly, older artists get shitty and lose their edge, new ones replace them, it's the natural cycle of life. Rupture and Foundation X and Narratives and Samurai pushing it forward into the new school and still keeping it interesting for the older heads.
Suppose the older artists get bored of making the same stuff. Then again some of the older artists are taking this new vibe in their stride releasing new amen tear outs n that. I'm loving all this new stuff, there's loads of new labels to dig into just like the old days. Going down to the rupture night next month!! Can't wait
+TheUKGDani There is a wide spectrum of DNB out there - but have to shift through lots of duds to find the gems. I agree, some stand out labels and nights pushing the scene forward at the moment and a great time to be listening to cutting edge DNB.
The man s a true seer in my beloved D&B scene. BIG UP THE ONE AND ONLY DILLINJA 👊🏻👊🏻👊🏻👊🏻👊🏻👊🏻👊🏻
I dunno man, I can remember loads of great tunes from 2004; there's still great tunes around today too, there's nothing that will beat tunes like this being heard when the sound was still 100% fresh and the boundaries of what was musically and technically possible hadn't been reached yet though.
2004 was the end of the golden era
@@marcp3788 Hmmm, I dunno about that either. I remember 98-01 being pretty dry, and 2003 was the year loads of big established names started churning out horrible muck, but 03 to 07 was pretty great to me: Exit, Bassbin, Soul:R, Commercial Suicide, Violence, Outsider, Paradox Music, Secret Operations, Warm Communications, Scientific Wax and Intasound nearly all started releasing within a few months of each other in 2003, and that was the kind of thing I was buying. Hospital, Headz and Hardware were still going strong, Dropping Science and Certificate 18 were winding up, but there was amazing fresh shit in the record shop every weekend.
Granted the people who'd made all the biggest tunes between 95 and 04 were all long past it and were releasing cheesy shit but you can only stay at the top.for so long anyway.
one of the best releases for me in drum'n'bass!
Well I was only 7 years old when this tune came out, but even so I can clearly feel the quallity of these "older" tunes. People do not make them like this these days, just a simple comparison, when you ask people about any track that was banging back in lets say 2004 most of the people cant tell you any track from that year they say stuff like "ah man it was so long ago, cant remember any etc" its not about time its about the lack of quallity in those tunes, thats why they cant remember them...
Always remembered these type rollers from dillinja & lemon d @ the end of that era
What a great tune!
Moody AF hard beats and that monster Foghorn Bass at 3:54 yes it’s vicious
I agree with this, that's the reason I stick to the oldschool, always!
OH WOW!!
Never thought I’d ever hear this again Mr. Beam! Top draw memories!! 🔊✨💯🧨🗿
Love this so much, a personal favorite of mine.
Ruff Metal :-)
Such a different vibe in the raves back then.. Awesome times!
Some hardstep shit
I've never heard this before. Two things:
1. WOW!
2. Sounds like "Promise" was done right around this time, too, perhaps?
"Vicious" was being listed in charts as a Metalheadz dub for the longest time, I reckon (never asked Goldie or Dillinja) that Promise and Vicious were meant to be on the same 12" and then Promise came out on Platinum Breakz 2 instead.
Just Vicious
i can honestly say that this is viciously vicious
Big up Mickey! keep finding the good stuff on your channel man, much respect brother
the point of defining genres is to define their boundaries. dnb reached it's limits and breaking the boundaries is breaking the dnb itself.
massive rinze out !
good style :)
I always preferred the flipside of this (So damn Tuff). The drums that drop half way through are so brutal! Can't find it anywhere on youtube though...
@executivesteve lol. Bukem, Die, Zinc, Dillinja, Lemon D, Roni Size, Goldie, Phantasy do i really need to go on? The problem with the dnb today is all about trying to find crazy new ways to set yourself apart from everyone else (using sythns and effects) when all you need to do is having a sick drum beat and a dutty bassline. Which I was 10 years older so I could of been part of the real dnb scene!
uf,jungllleeeeee
Heh.. the URL for this song has "Sex" in it. Couldn't agree more, RUclips.
future riodims...stagga,powa,killa....bastaaarrrd !!! Darko n BiLz
Second view, second comment, and third one to say that this is Vicious!!
☢️🌋🌋🌋☢️
Vi is for vicious
One hundredth and seventy second view, 4th comment, and 4th to say that this is Vicious!
First view, First comment, and second one to say that this is Vicious!!
@Ahatfulloftricks I think problem with dnb is that this type of music reached its limits and can't produce anything really fresh. listening to any "brand new" dnb song I can't stop myself from thinking that I heard this before.
#HardStepMode
rough one.
its so skippity and true jungle perfect
well, if rules can evolve it means there are no rules ;) anyhow - nice old Dillinja set here: watch?v=vKXPTHjWI8w That's the dnb i grew up with, enjoy.
Bit nasty, but not vicious & as gorgeous as ever.❤
Just Vicious