Typical Musical Style
It is usually characterized by basslines that have a filter shaping LFO on them which gives the bass a ‘wobble’ sound accompanied by uptempo drum loops.
Most frequently in modern Jump-Up, an element of highly energetic ‘stabs’ are often heard. Jump-Up is closely related to the more popular 1996–1997 era of jungle-drum and bass, known for its 'warmth’ through beat and melody syncopation and simpler heavy basslines (as opposed to the lighter, more distorted basslines of the precise-sounding techier styles of Neurofunk & Techstep coming out around this time).
Examples include DJ Zinc's "Super Sharp Shooter" or his remix of the Fugees’ "Ready Or Not" (known at the time as "Fugees or Not"), which also samples Redman on the original version of his first collaboration with Method Man, "How High". Extensive use of hip hop samples was common in jump-up in the late 1990s.
Before 1997, Jump Up was not really established as a sub genre in Drum and Bass. Jump Up was made popular by Bristol's Full Cycle crew, with tracks such as "Warhead" by DJ Krust, and "Trouble" by Scorpio (Roni Size & Die).
Additionally, Jump Up is a clean beat not similar to the popular amen and Apache drum loops. Jump up is easy to distinguish from other jungle and D'n'B styles due to its simplicity, with 3-tier basslines (high, mid, low) that provide the thick and clean basslines so commonly associated with Jump Up, and Simple KickXXXSnareXXXXXKickXSnareXXX Pattern (sometimes referred to as a "step break"). Drum rolls are often long and composed mostly of kicks and often have some effect like flange thrown over them.
On a social level within the drum'n'bass community, it is also very popular in certain clubs and raves such as Fabric in London, Lakota in Bristol and Custard Factory in Birmingham.
Read more about this topic: Jump-up (drum And Bass)
Famous quotes containing the words typical, musical and/or style:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“There was something refreshingly and wildly musical to my ears in the very name of the white man’s canoe, reminding me of Charlevoix and Canadian Voyageurs. The batteau is a sort of mongrel between the canoe and the boat, a fur-trader’s boat.”
—Henry David Thoreau (1817–1862)
“All my stories are webs of style and none seems at first blush to contain much kinetic matter.... For me “style” is matter.”
—Vladimir Nabokov (1899–1977)