Junglists belong to what is seen as a predominantly UK-based drum and bass subculture. As a subculture, however, it is not nearly as distinct as goth or punk to the untrained eye, where members can often distinguish each other by their mannerisms and fashion without hearing their choice of music. Many of those who identify as Junglists adopt a mix of rasta, rudebwoy and B-Boy fashions since jungle, drum and bass and hip hop have close ties as subcultures. Neither of them were particularly interested in literary fiction (“a term I despise,” says Green today); the word-length was 50,000 (about 48,000 longer than anything either of them had ever written before); Green was now up country studying film at Northumbria University. Otchere says he’d never even read a full-length novel up to that point, preferring instead the wordplay and poetry of the sleeve notes on Sun Ra LPs. Yes! We’re taking over room two at Fabric with Makoto, Kenny Ken, DJ Ron, Bailey, Zero T, AI, Seba with MCs Verse, Moose and 2Shy. We’ve got the jungle and drum & bass. A celebration of everything. The full spectrum of the music and the full spectrum of what I’ve been about. We’re going to shut down London that night. It’s brilliant – it’s time to celebrate the full culture. I lost every booking I’d ever worked for. When the police came to my house they said, ‘so, you’re the DJ everyone hates’. I had no idea the guy had been stabbed but people didn’t believe me,” she told me in 1996. Nonetheless, ‘Mr. Kirk’s Nightmare’ is a pivotal tune in the development of the darkcore scene.

There’s a lot to celebrate. Since that first Junglist Movement design, Leke, who is also a DJ himself, has developed a range of brands under his Aerosoul tree: Hip Hop Movement, BabySoul and Aerosoul Africa are all designed and developed by him and all celebrate the cultures they pay homage to with the same level of authenticity and passion as his flagship brand… The same level of authenticity and passion he’s had since day one.Take one bassline created from the sound of rotating helicopter blades, another that shifts deep rolling funk and dancehall. Add it to a break built from Blowfly’s filthy ‘Sesame Street’ that occasional erupts into a snare roll that echoes the helicopter blades. Add horn stabs, gunshots, discordant strings and a jittering Afro sequence and you’re left with a tune that oozes tension and drips with suspense. A huge anthem in 1993, its metronomic flow had all of the detailed production that would mark out drum & bass in this era. It also offered a different vision to the ragga fused jump-up jungle sound that was dominating things at the time. This tune famously caused a rift between Reece and Goldie when the latter refused to license the tune for use on Reece’s debut album on Island. Reece is one of those producers who should have been huge, but after his second album for Island was shelved he gradually retreated from drum & bass production. That unreleased album drew heavily on electro and was far superior to his debut. Sadly, it remains in the vaults Junglist Movement was the first design. But yeah, other ones I had did attract bad attention. In the rave era there was a lot of piss-taking stuff. That was part of the culture. So I did Roots with the Boots logo and Needafix for Weetabix and Natural Born Players for NBA. Boots and Weetabix weren’t happy. They threatened to throw me in jail! I was young and naïve at the time. They got heavy. That’s why I changed the name from Outrage Clothing. Ahead of that, however, Leke will be taking over Fabric’s Room 2 on February 28 to celebrate the 20 th anniversary of Junglist Movement and his main brand Aerosoul. Just like the movement he’s been immersed as an integral figure in since day one (he was a founding member of Mixrace, an experimental rave/rap act who went on to be signed by Moving Shadow) the line-up covers all bass bases with a line-up of Aerosoul and Jungle Movement endorsed artists: Makoto, Kenny Ken, DJ Ron, Bailey, Zero T, AI, Seba and MCs Verse, Moose and 2Shy. Goldie receiving a gold record plaque at the Blue Note, Hoxton Square, London. Photograph: Eddie Otchere

In more recent times he’s designed unique drops with Hospital Records for last year’s Hospitality In The Park, he’s collaborated with the exercise phenomenon that is Flight Klub and has partnered with Human Traffic Live with a new collection exclusive to the forthcoming Lost Weekend event at Printworks in May. Definitely. I was raving a lot. I got my flat in London when I was 18 and the whole crew was 20 deep by then. Dev and Dave were doing beats all day, I was studying at London College Of Fashion. Then at night we’d be raving either in London or in Essex. It was an inspiring mix. The Versace, Moschino champagne vibe in London then ravers in countryside with baggy stuff, bright colours, all that. I was loving elements of both and wanted to bring the two together because I didn’t see anything for the culture. Something that represents who you are, that all our boys would resonate with and want to wear. Tek 9 was an occasional solo project from 4Hero’s Dego McFarlane that fused ragga with hip hop to create an instantly recognisable drum&bass sound. His remake of Code 071’s ‘A London Sumtin’ brought the ragga b-line to the fore. Stretching the ‘Feelin’ It’ break from one of rave’s favoured sample sources, the Ultramagnetic MCs’ Critical Beatdown, Tek 9’s remix twists the original’s hardcore thrust into a twisting darkcore meets proto-jungle horror movie. Terminator’ was the first time that the timestretching technique had been used on the breaks, an effect that allowed you to alter tempo of a sample without changing the pitch. The effect was like an experiment with the temporal flow of music, as sonic futures became historical loops. Time itself simultaneously collapsing in and building out. ‘Terminator’ proved to be a key signpost in the emergence of the cyber driven ideologies of drum & bass tech, while also providing a jaw-dropping dancefloor moment. Although there's only a tenuous link between grime and jungle sonically, their histories share a heritage that explains at least some of the fanatical reception of Levy in grime's circle of veterans. Most pertinently, both genres are heavily influenced by hip hop; Jungle's breaks are essentially hip hop beats sped up and augmented by additional, micro-engineered drums and grime was the UKs reaction to a US lineage which was beginning to decline. Aside from that, both jungle and grime are inherently British, taking US influence and reshaping them into something completely idiosyncratic; urban music that UK youth can take ownership of without any sour taste of plagiarism lingering in their mouth. They represent two of the last truly innovative, organically home grown exports that we have; our very own musical fish and chips, without the grease and salty regret.

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Drum & Bass is a genre that spans across three decades of rich musical history. Since its inception in the early 90s, the genre has kept shapeshifting its styles into different eras of music and it has now consolidated itself as a genre that is influencing electronic music in big ways. For a genre so rich in its history, it’s only fair that we narrate its evolution in the way it deserves to be; and through our ‘Evolution of Drum & Bass’ series, we aim to take you on a ride right from where it all began to its place in electronic music in modern-day electronic music. The Amen Break was drummed on ‘Amen, Brother’ by the late Gregory .C. Coleman which was the B-side of The Winstons’ 1970 single ‘Colour Him Father’. We saw how much fun they were having and brought it into our own circles’ ... raving at AWOL in Ministry of Sound. Photograph: Eddie Otchere

The essence of Metalheadz Sunday Sessions at the Blue Note, this tune melted warm sub-bass, soulful female vocals and a repeated horn refrain from Coolio’s ‘Can-O-Corn’ over stripped down, Detroit-flavoured breaks. It was the tune that really introduced 2-step into the scene, a beat that subsequently dominated the highly technical neurofunk sound as well as UK garage. Long Piano rolls, bouncy basslines, breakbeats, and a lush blanket of vocals defined the Hardcore sound in the late 80s and early 90s. The Breakbeat Hardcore scene did see a steady revival in mid 2000s, but in the early 1990s, the genre slowly started fragmenting into several sub-genres like Dark-core and Happy Hardcore which paved a way for darker moods and melodies to make doorway in the UK Rave scene. Absolutely. That’s another foundation. Aersosoul is inspired by typography. The book Subway Art had a big influence on me. I grew up in boarding school from the age of about 7 till I was 16. I was pretty much by myself, very independent, people around me from different cultural upbringings. We were doing graffiti, skateboarding, breakdancing, BMX. We’d take our lino down to the Madison Jones club in Bournemouth and battle these guys who ended up being the massive crew Second To None. We’d bury them every time! Hip hop culture during the 80s was huge, so I spent my years soaking it all up. Then when I met Dev it all fell into place. Yeah. They hit the right note with the right people. DJ Ron was one of the first who really helped me take the brand to where it needed to be. He was my mentor and very soon we had a lot of people representing the movement and clothing. It wasn’t long after that when I got the script for Human Traffic. The director had seen some of my samples, he was interested, the film went off and that was what really pushed the brand and design. I hear you. On the flip of that, when you do work with people this is much more than sending an artist a bunch of merch, right?Zinc, Hype and Pascal’s ridiculous hip-hop/jungle fusion that starts with samples from LL Cool J and Method Man, builds through lysergic squelches, dubbed up half-time jazz beats and Sleng Teng meets bleep bass before erupting, in a flurry of gunshots into the double-time Amen breaks and wobbly bass of the main verse. This s one of those tunes that demands physical reaction and – despite it’s age and lo-fi production – still sounds immense today. Since the release of ‘”We Are I.E.”, sounds kept blurring and artists started finding their own niche in Jungle. Some artists preferred softer, ambient, and textured melodies while some preferred darker and heavier sounds which could create maximum sonic impact. Jungle music also became a way of expression for London’s streetwise and marginalized youth. They saw Jungle as “England’s answer to hip-hop”, by merging the Jamaican reggae scene with then 4-to-the-floor basslines and erasing racial boundaries by advocating unification of people from different walk of life through its multiculturalism.

Perfect example. He’s family. I’ve been sponsoring him since he was 17 years old. Before Intrgue or any of that. I heard a tune of his on Defunked and went to Bristol for a meeting. Now Intrigue is the longest running night in Bristol. That’s a good example of us spotting someone who’s still going to be smashing and influential 10, 20 years later. While the genre was booming in the mainstream charts, the underground side, which had formed the foundations of the sound, kept experimenting with darker, grittier, and more menacing soundscapes and started testing these out in their DJ sets. The morphing continued and producers moved away from the ambient and textured soundscapes to a crispier and refined sound. Influences from the breakbeat hardcore styles were chopped up and glued together to create an accelerated, rolling, syncopated rhythm; and with the Hardcore scene giving way to their euphoric style of music for darker and industrial samples with faster and heavily edited drum programming in turn gave birth to Jungle. Lennie De-Ice’s ragga-tinged release ‘”We Are I.E.” in 1991 was the earliest prototype of Jungle music and it also laid the foundations for the genre for years to come. It’s a really interesting event which also marks 20 years of the film. It’s happening in Printworks, it’s a four day event with different DJs, acts and all kinds of things like pop up shops, scenes from the film set up like Koop’s shop and different areas dedicated to the movie. So I’m involved in that and doing the merch for it.Yeah it has to be. Fashion is very personal isn’t it? So I started creating more products around the Aerosoul brand. And when I was doing that Human Traffic came out and that took things up again. Fashion is also a very broad church. It’s meant you’ve worked with people from so many industries. Film, sports, not just music…