Jungelist

Technoid

half tempo 160

footwork jungle

Listened to a lot of punk and ska lately. A roller with a 2-step skankin keyboard sound riding on some well known clashes.

London Bass Calling (Dub)

Starting out as a half stepper this track moves on into a rave feeling while coming with broken beats galore. Featuring the antifascist Inglourious Basterds speech – what could possibly go wrong?

100 Nazi Scalps [DL]

Dedicated to Marcus Intalex (14 July 1971 – 28 May 2017) this 160 bpm halfstep dub track builds towards a sample from an Interview with Intalex, where he explains it is easier to start writing a track with a beat rather than a sound.

Further, 'Humble Beats and Sound' includes a delayed "humble" sample from the Upsetters prod. by Lee Scratch Perry: "Calling the meek and the humble - welcome to Blackboard Jungle! So don't you fumble, just be humble!" I hope it's agreeable that this sample appears not necessarily as appropriation but as dedication.

Intalex was influental to me not just through his tracks, but especially through his series of radio shows

Humble Beats and Sound

Building on a drum sample from Lyn Collins' 'Think' (produced by no other than James Brown), a warm base introduces this summer spirited  dubwise Drum'n Bass track. It comes with an unexpected sample from the notorious Milli Vanilli, decently chopped and contextualized through a dubby atmosphere.

Yes You Know [DL]

Oh yes, Camina Drummer in The Expanse, one of the best TV science fiction momements of the last years... Building on a much loved conga/cowbell sample, which I first heard in Shy FX' jungelistic track "Bambaata", sampled from the intro of Sugar Hill Gangs "Rappers Delight".

Beltalowda [DL]

You dont even there [DL]

"If in your office, you as an intellectual worker were was supplied with a computer display backed up by a computer that was alife for you all day" – Sample taken from Douglas Engelbarts 1968 presentation of the principles of interactive computing which later led to systems such as the Palo Alto, MacOs and Windows.
Can't say where the beat is from, was within an old collection and is named 'kick_the_conga.wav'. So what happens in that track is that the main synth and the 'Get up' Sample move around a quarter note every few bars, so that they slowly traverse through the rhythmic structure of the track.

All Day [DL]

Exploring the musical introverse this tracks resorts to heavy 808 kickdrums, to further quote and delay the iconic Amen-Break. These layers get support by base-line which waltzes in ready to provide some decent low end frequencies. Above all floats a sample provided by a more than famous synth-wave band of the 1980s.

Blasphemous [DL]

Building an the Think! drum loop, additional cowbell and congas create a rolling track that features melancholic melodic elements involving lot's of delay on a marimba and a piano. Needs a decent bass sound system to fully enjoy. The title refers to Donna Haraway's book.

Staying With The Trouble [DL]

Dedicated to Kjetil Sagstad aka K aka Polar who made tracks on another level. I remember especially the album  '37°C And Falling'.

Polar Nights [DL]

Around a hypnotic shekere shaker sample this track explores the depths of acoustic space through multiple echos and delays. Sometimes the snare is dry, sometimes it gets delay and delayed, adding to the lagging behind hypnotics. Inbetween, a robotic vocoder voice interveens, countered by subbass that is only audible on a decent sound system or headphones.

We Got Your Data

Dedicated to all baristas. Smutty rave synths combined with a beat, sampled from Deepblue's 2001 release on 31 records 'Immersion'. Deepblue who went on to create the jungle anthem Helicopter Tune sampled this from a 1990 hip hop track by Tuff Crew, who again sampled it from – wait for it - Lyn Collins' 'Think'. At some point the track also has a deconstructed Amen break, and a very special sample referring to the track's title.

Coffee with cow milk

🔥 new track of the footwork drum'n bass variety at 160bpm with a lot of acid beeps, pleeps and echoes and of course bass

on Acid [DL]

A dry cowbell drives the hypnotic funk of this 140 bpm track, combined with sludgy synth stabs and an alarming beep sound that slowly rises in pitch. This broken beat is interrupted by a pad that creates space for Bell Hooks talking about controversies in a heated cultural and political environment: „I think that part of the danger for free speech in this society is the deep longing people have both in our personal and public lives to avoid conflict to avoid hurting someones feelings.“
Her Full interview is here: https://www.youtube.com/watch?v=g2bmnwehlpA

Bells and a Hook [DL]

Inspiration for this 160 bpm junglist Drum’n Bass track came once again from working with two versions of the Think sample. At the track’s center are two different bleep sounds and a lot of delay against a rumbling base line. 

Another entry point was a notorious grime sample from Wonder’s  ‚What‘ grime classic: the Eskimo Bagoo. That’s supposedly based on the Plugsound VST plugin preset called Bagoo. Further we hear an f-major tuned guitar skank, some delayed bleeps and of course a synth drop. 

That’s an overly technical description for a rollin’ skankin' DnB track with a smutty stab drop, enjoy.

Thanks to Marc and Booga for their helpful comments.

Excavations in a field of ruins

Excavations in a field of ruins [DL]

Intentionally Slow. Vinyl-only mix
A travel into Drum’n Bass of the late 1990s and Mid-2000’s. 

The file sat somewhere on my laptop, recorded a while ago. Starts out with a really dirty Dillinja track, not just due to the worn-out vinyl, but also because the production itself features a compressed bass, just constantly above the 'Threshold', hence the track title and distortion. 
It is followed by a Klute track from whom we’ll never know who the 'Angry Woman' in his life was who inspired the title of the track, and then an early Teebee track with lots of attention to detail, ingenious breaks and a cold nordic depth. Ob boy, what happened to Teebee. 
Next is one of the major constructed abstract tracks of its era, the inevitable Krust, setting the 'Soul in Motion'. This track builds slowly with an intro of 2:30 mins and a total length of 10 mins. It provides enough sonic space for great mix and blend techniques and is sadly not played very often anymore. 
Incoming Lemon D’s 'Rockers II Rockers' is strong on the breakbeat side again, with a prominent crash cymbal, that drives and ultimately rocks the dancefloor. 
Totally forgot what the next track is, maybe some C.I.A. or Breakbeat Science? Can’t find the record. However the follow-up track does not need much introduction, it is Krusts‘ 'Warhead', a stomping roller to test every sound system.
It is not complicated and constructed, but straight into the stomach in its simplicity and provides a contrastive layer for the incoming next track by Digital, who didn’t just meet the 'Deadline', but has outdone himself with this anthem. An aggressive synth-stab runs against a pair of congas and a crash cymbal, not to forget a stupid simple bass, and that’s it, one of the ten most iconic drum’n bass tracks. 
Can’t top it? Meet Photek’s aka Special Forces‘ 'Bleep Tune'. Simple, repetitive and with a high value breakbeat running for an alarming sine-wave bleep. 
This bleep is answered by Klutes‘ four-tone bleep signal of 'Unwind Yourself', a straight forward dancefloor filler on its own. 
After such a high roller, a beautifully sung 'Run Away' by Fox produced by Marcus Intalex and Calibre provides some soulful bliss into the melancholic realm. One of the best drum’n bass songs with vocals ever, it sends a deeply humanistic message about life: „Gonna face my daemons, never walk away“. 
What better way to get out of that on a high note with the less dark and somewhat liquid Intalex amen tune 'Temperance', the title nodding towards a club night  at Manchester’s Hacienda that started in the mid-1980s.

Cybotron/Dillinja Threshold (Prototype, 1997)
Klute – Angry Woman (Certificate 18, 2000)
Teebee – Daywalker (Subtitles, 2000)
DJ Krust – Soul In Motion (Full Cycle, 1997)
Lemond D –Rockers II Rockers (Test Blue, 1998)
???
DJ Krust – Warhead (V Recordings, 1997)
Digital – Deadline (31 Records, 2000)
Special Forces – Bleep Tune (Photek Productions, 1999)
Klute – Unwind Yourself (Metalheadz, 2002)
Intalex & Calibre feat. Fox – Run away (Signature 2014)
Marcus Intalex – Temperance (Soul:r, 2004)

Intentionally Slow (2000's DnB vinyl mix)

Delayed [DL]

A warm, melancholic bell-melodic track that borrows from twostep and features a superwarm, round, full bass.

Relation [download]

A 140bpm electrobeat track with eclectic sounds dipping into the genres of electro, breakbeat and bass. Inbetween a Chicago House organ appears to give way for an iconic sample nodding to Lee "Scratch" Perry's Blackboard Jungle Dub.

junglejunglejungle [download]

To round this pile of percussivity off, the track works with a Mark Fisher sample where he talks about Burial's influence on UK bass music: "It's a bit like walking into a building, a derelict building, and remembering what that building once looked like". The track is nothing like Burial though, but more like Fisher, hopefully. It is rough around the edges and builds on the Apache beat, originally from The Incredible Bongo Band, with some Amen break added in. Overall, the track plays a lot on the percussive side with a signature wood clang all over the bongos, for a massive bass setting in only late in the track.

Derelict Building [DL]

An experimental progression of rythms and some dubby elements, blending in and out at 160bpm. Close to the end new sounds emerge as if these were two songs in one.

progression [DL]

A dreamy drum'n bass track that opens with spacey and echoey synth sounds only to burst into some heavy bass business. The voice sample is taken from Atlanta the tv series, hence the title.

atlanta

‘Lübschütz’ pays homage to dubby echoes and a lot of reverb space in its very own version of a 160 bpm cross-genre track. A massive bass communicates the main message until deconstructed junglist elements push the track into the footwork-jungle direction. The track could be relaxed and laid back at home, but on a proper sound system its massive bass means business.

Track released on bandcamp, go get it.

Lübschütz

Lübschütz

This track is an exploration of the remnants of traditional polyrhythms in electronic genres and the secret sonic empire that once built these sounds.
Loosely influenced by the sounds of Brazilian bass funk, this secondary or even tertiary reflection is stripped down to a bass, bass drum and a high-pitched sinus beep at 160bpm.
What remains besides footwork and jungelist references is a strong emphasis on the 1 count, where both bass drum and bass sound rest. Now on Bandcamp.

A rollercoaster between high-energetic scuttle drums, lowest bass and moments of relaxation and dub. 

Quite High

This dub version has stripped down the vocals of the original track, which is available at https://francis-leipzig.bandcamp.com/track/warsaw It is dedicated to DJ Junction who just plainly asked for it. Download here and dont forget to like and repost.

The track builds a breakbeat on a deconstructed Apache drum loop, originally introduced by the Incredible Bongo band in 1973, but here sampled from Wax Doctors’ 1993 jungle track Heat.

These cut-up, and reorganized crisp, surgically engineered yet funky drums get contrasted with hints of the Think! break recalling jungle references while individual sounds of the LSDXOXO variety add spatial depth through ultra-long reverbs.

A back-seated synthesizer-stab buildup leads into the drop. Now Francis’ track pitches two elements against each other. The upper part of the auditive spectrum is inhabited by a sassy high-pitched rave voice sample. A Bristol inspired pummeling, vibrating sub-bass waltzes underneath aiming at filling the lower spectrum while distorting slightly in the mid-range.

Warsaw vibes like a proper mid-1990s drum and bass track, but at 160 bpm and with half-step breakbeat the artist made certain it became something else.

credits
released January 24, 2025
mastering: LXC
graphic design: Devious Design Division

Warsaw (Junction Dub)

When I began to write this track the idea was to create a DJ tool, something that could sit inside a mix, would make people groove along and provide enough space for the former track to blend out and the new track to blend in. I think I completely failed with the DJ tool approach, there isn't a hint of toolishness in here. 

So we got this "history returns" voice sample becoming a rhythmic unit against the broken hectic deconstructed Apache drum loop and a smudge yet very present bass. I don't even know what genre this is, so I just added some tags of the music that I like. But yes, we are at 160 bpm.

The track is part of my monthly track challenge, and even though it is not totally finished I had to put it online, because.

History returns [Download]

The central hook "I stay awake until the first glimmer of the sun" is a homage to how the day breaks after a night awake.

Through both beats and melody, this track oscillates between a punchy breakbeat and a translucent flute, garnered with a forward pushing bass.

At 160 bpm with sped-up drum samples from old Funk records the track can’t deny it’s jungelist roots but this is just a trace towards a musical past of the 1990s.

The Saint-Erme title refers to a small town in France hosting the Performing Arts Forum.
credits
released March 16, 2025
mastering: LXC
graphic design: Devious Design Division
thanks to u know who u are 

Saint Erme

This cover version of Portishead’s trip-hop icon ‘Wandering Star’ revisits the song from a post-dub perspective, meticulously rebuilding its structure and instruments, while for obvious reasons abstaining from Beth Gibbons' magical voice. Particular care was taken of the reverbs and delays added to the drums, using a historical replica of the Grampian 636 spring reverb present in numerous dub productions. While the track remains minimalistic, concentrating on the snare and the auditive space its reverb and slight variations create, it finishes with the rewarding Hammond organ motive chords.

Nothing in this triphop homage is sampled, all instruments are played anew, except the iconic harmonica sample, which was taken from the same source as Portishead did, Eric Burdon’s 1970 soul classic ‘Magic Mountain’. De La Soul also used the same sample in their super-funny ‘Potholes in my Lawn’.  You may call it a nostalgic approach, and maybe rightfully so, but increasingly it also becomes a heritage issue, exploring personal musical roots within the bass genre.

Wandering Star (dub)

A classic, minimal electro track as if it was 1991. Oh wait, I added some base.

databody

A halfstep track that eventually drops some amen. It stomps at the beginning with a chopped vocal sample by … to break loose late in the track, with heavy rave stabs.

deep skankin

160 bpm slow (Drum'n) Bass movement. Monthly track challenge: Each month a new track. #Leipzig #Bass #160. Making the music I like to hear.


Former DJ gigs at Conne Island, Ilses Erika, IFZ, Distillery, Kassablanca and more

francis

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