Category: Classic Rock

2000 And One* Aka Dylan Hermelijn - The Panner / Sunday (Vinyl)

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In one form or another, breakbeats have been with us for the best part of five years. As such, itseemsa good moment to gather a selection ofthe more underground creative talents who have kept the jungle flame alive to debate some of the questions raised by its rapid emergence into the wider public consciousness.

Questions regarding the role ofthe media, the current interest of major record labels and, perhaps most significantly, the perceived division between so-called "intelligent" jungle and the original sound. And what ofthe future? Where isjungle heading? ONE of the main talking points in the jungle scene at the moment seems to the role ofthe media. Have the press and the broadcasting services been covering the scene properly over the last year or so?

Kool FM representative: "A while ago, the media portrayed the scene in a very negative light, but now they're trying to do it a little bit better because they realise the money potential in it.

They didn't realise how big it was until recently. But to us, it's not such a new thing. I know for a fact that some ofthe DJs we work with feel they've been playing jungle even before it was even called by that name. Chris: "No, I don'tthinkyou should. And now they want to interview everyjungle person out there. It was just sensationalised bollocks. Jay: "Basically that it was dark and dingy, and the atmosphere wasn't any good.

And they'll queue to the end ofthe road. I thinkshe finished by saying, 'We got out as quickly as we could because people were sweating near us'. We're still going to be there. That's why we have illegal radio stations. Even when there seemed to be a media blackout, we were still selling large quantities of records.

It's a self-contained scene. Maybe with the albums, but in general we're selling practically thesameamountas wedid when we had no media coverage whatsoever.

It's like a little black market, really, it's got nothing at all to do with the rest ofthe music business. We're good businessmen. Dan: "People have tried to buy acts on my label, people have tried to buy the label itself, but I'm just not interested at the moment. You have to be true to yourself and true to your scene.

Does it matter if it makes the charts? Brockie: "At the moment, the youth in this country relate to jungle. That makes it popular, doesn't it? The reason for this is that the records are now going to sell through high street stores, whereas before they were only selling through specialist dance stores.

Does that make it pop? The same amount of people have gone out and bought it. It's all just down to the way the charts are compiled. You make your tune that way because you wantto. All of usaround thistableare in the music business, but who knows what's Number One at the moment? I haven't got a clue. I couldn't name you one single record intheTop 10 right now.

Kool FM : "All thatstuff about how jungle has got anger. I don't know where that comes from. Street music, reggae, soul, it's got energy, forsure, but not anger. Does this name actually mean anything? Navigator: "Look, I say this on the radio, 'Do not categorise'. It's all one scene. Who makes these names up? Can anyone tell me? I mean, if that's intelligent, what do I play? It's rubbish.

From Day One, music is music and people have gone out to listen to it and enjoy themselves. They pay money to go into a club and listen to what they want to hear. At the end ofthe day, the producer sits in his studio and says, 'This is the way I see underground dance music right now'. It sounds good, he puts it on a piece of plastic, it gets played by the DJ, plugged by the MC or whatever, people like it and they go out and go mad to it.

End of story. That's what it's about. It's a vibe. People latch onto it and they blow it up into something big. An MC might be running along with the rhythm and it has kind of a military step to it, so the man says, 'Hardcore drum 'n' bass, hardstep riddim track! Are all of these meaningless, too? Dan: "They're marketing tools.

That is the timelessthing. Dan: "It is. But I I don'tthinkitisas fragmented as that suggests. In general, all of this music gets played. Ifyougotoa Jungle Fever rave, a Telepathy rave or a World Dance rave, you'll hear a cross- section all of this music. You can't break it up and say that intelligent has nothing to do with the ragga side of jungle or the drum 'n' bass side.

At the end of the day, it has. Like when jungle first came about, I saw these articles about how jungle is like techno with crack and guns. What sort of reporting is that?

When acid house first hit, there was all this stuff about how girls got killed taking this and that. Right the way th ro u g h , ce rta i n sectio ns of the med i a h a ve bee n hanging over thescene like vultures waiting to pick off of the dead bones. I don't even play those records. What's wrong with these days? With the attention being placed on ragga, the musical aspects were lost. Now everything is on a more even keel and integrated into the whole scene.

But even if jungle is moving in separate ways, all facets of it can run concurrently. I don't think there's any conflict, though. You can't get away from that. Before it was all about one breakbeat sound. But some of us have tried to mutate our own sound, so now there's hardstep, ragga, jungle, happy hardcore.

The majority are still making the harder jungle sound and that's still what's selling the most. We get a lot of older people, 2m mill! Speed is special. It might be one thing for one man and something different for another.

If they want to try something new, they don't have to go upstairs and clear it with the board. It's hands-on. You can turn round a track on this scene in a day. We'reall from different backgrounds and it's the fusion of everything coming together which makesjungle what it is. If anyone tells you you should stop taking influences from this or that, then it's all over for them because we're still going to be taking our influences from whatever our background is.

If someone tells you they just wantto ambient it out with strings, they're making a different kind of music. Take it wider, sample anything you want and try anything you want. If it works, rewind it and go again. If, on the other hand, the technology which is available now can assist a group in producing a good show, something which is worth watching, thatshould be encouraged. It's all there. Half the people on this scene don't want to be pop stars. It's not what they're about.

We don't need this frontman and band image that the majors love so much. But bearing in mind the obvious connections with hip hop, what are the chances of it taking off in America? Brockie: "In certain parts it has already started. Ellis D came back from there the other day and told me they were selling loads of tapes. They were going like mad. Dan: "When we had a rave label, it was very white, middle class, suburban college kids. This time around it's taken on a different perspective, to the extent that even the LA gangs have adopted it.

Which is more where it's coming from over here, like a street- level thing. Brockie: "Darren Jay and me were in Berlin recently. We did six hours. They're into it. They're into it hard.

I went down to Sao Paulo and these kids on the street knew us, they were like, 'Yeah, yeah, Suburban Base! We were chatting to them and they knew the stations and the rave events -and this was fucking Brazil! You just don't imagine it.

Goldie has just taken a band to perform live at Glastonbury. Is live jungle a new step forward? He brings hissamplersand stuff onstage and does it all live.

London is way ahead, but is having problems at the moment with the ragga side of jungle. A lot of the DJs on my books who were stuck playing that real ragga sound became thejungledonson the London scene, but they don't want to play those clubs now because they're changing.

The scene has always been about people partying. There's always been a black and white mix, too. Everyone knew that jungle was something made by black and white kids working alongside each other. It's like you have to know how to ride the waves. Look at the scene. It started on an acid house tip and then it progressed to hardcore and now it's gone to jungle and drum 'n' bass. I think the British scene is the focusof the world right now.

It's all here. Handsareshaken all round as the participants go their separate ways. It seems that, whatever the apparent diversity of the labels, from intelligent to hardstep to jungle, collectively the strength is still very much there.

Forget the rain forests. Forget the old "Girl From Ipanema" chestnut. And please, forget that bloody Carnival. Think instead of a massive city, a megalopolis of 1 6 million people, littered with zooming freeways, ugly industrial sites and one of the biggest concentrations of high-rise buildings in the world. There's no architectural harmony or urban planning whatsoever.

If you manage to visualise such a messy, end-of- thc-millenium monster, you might be able to understand why Sao Paulo currently has the hottest dance scene in South America. To prove the point, Laurent Gamier, who recently enjoyed a three-night stint in the city, said that "the two best places I've ever played are Sao Paulo and Tokyo".

He'd just delivered an awesome set at Hell's Club, which finished at the civilised hour of noon. The kids on the packed dancefloor had screamed their heads off.

It was one serious party. It hasn't always been that way, though. Three years ago, Darren Emerson played at a club full of clean-cut rich boys and boring models. Only 1 0 people danced. SO why has the situation in Sao Paulo changed so dramatically? In a nutshell, good music has grown on people and altered their lives. Thanks to the stubborness and faith of local DJs like Renato Lopes and Man Mau, who kicked off the new vibe in a sleazy joint called Sra Krawitz just over two years ago, the city's crowds started to favour more Pucker muckers underground sounds than the mish- mash of pop, disco and commercial house which used to be the staple diet of the clubs.

That old cliche about DJs musically "educating" their crowds is totally valid for Sao Paulo. Consequently, a new attitude emerged. Posing was out. Dancing 'til you dropped was in. It was the end of the "What were they wearing? The rest complained that the beats were too repetitive and stayed at home.

The real turning point came around a year ago, when E and acid arrived in Brazil. Before this, people rarely took pills or trips because they were too expensive. And virtually impossible to get hold of anyway. If you wanted to cane it, it was a choice between cocaine and alcohol. Despite still being pretty much everywhere, both of these now have second-best status. With the prices of E and acid steadily dropping, anybody wanting to get off their nut is opting for psychedelics every time. There's also the fact that more and more foreign DJs are now coming across to Sao Paulo to play.

Carl Cox and Sven Vath are both rumoured to be flying over later in the year. MOST people associate the Brazilian party spirit with Rio De Janeiro, but although this city is definitely worth a visit, chances are you won't want to stay there too long. Apart from a fairly good monthly gathering called Val Demente, the clubs are crap.

And Rio is sinking into a state of total paranoia around its rampant crime rate. Quite simply, Sao Paulo is the heart and brains of Brazil. Sao Paulo also has the added bonus of offering easy access to whatever tourist spots you fancy. Make sure you investigate the breathtaking northern coastline of Sao Paulo State, the Litoral Norte, but avoid the tacky Caraguatatuba resort at all costs.

Thursday and Saturday nights are hosted by Renato Lopes, a real underground legend who usually opens with trip hop and slow grooves, but soon moves the bpms upwards. On Fridays and Sundays, Luis Pareto takes the crowd on a journey through the deepest tribal and the bounciest house, with some tough techno near the end of his sets.

The club recently featured Tony Humphries behind the decks and Gamier made his Brazilian debut there. The venue is basically one large room with a stage, and the fog machines and strobes are always pushed into overdrive.

Just being there makes you think you're high. It's also the least gay environment of all Sao Paulo's clubs. The cruisers, drag queens and rent boys seen in droves elsewhere in the city generally avoid this place, mainly because the punters' only intention is to be havin' it big time.

Then there are the yuppie types queueing to get into Columbia's upper section. Don't worry, though - the doors are different. Finally, there's the Hell's bunch, a mix of up-for-it clubbers and colourful weirdos. Strangely enough, they all coexist peacefully.

No phone BARS Columbia has never been busted, despite the presence of a police station right next door. Hell's is ruled by Man Mau, one of the most talkcd-about spinners in Brazil right now, but still an amiable and down-to-earth bloke. Mau Mau is the DJ responsible for spreading the techno gospel around Sao Paulo and, boy, does he bang it hard.

Peaeefrog, Sabrettes, Tresor and D- Jax are his favourite labels and Drexciya never fails to bring the house down. He alternates his sets at the club with visting guests and up-and-eoming local talent, like Guilherme M and Alfred.

Luis Pareto sometimes plays there, too. The charming Cha Cha Cha is another club worthy of a visit. It opens every day except Sundays, and even though the early weekdays aren't terribly busy, they are perfect for those in the mood for a less frenzied party. Some of the Tuesday nights at Columbia's upper section can also be entertaining, but these usually tend to be fashion-linked events so make sure there's a decent DJ playing before heading out.

In addition, quite a few of the big, tacky discos have now opened side rooms for underground sounds. Often you'll hear tribal next to techno next to quasi-gabba next to acid and even jungle which, by the way, is making big in-roads in Sao Paulo's working class areas. Alternatively, try the back room at Toco, a huge venue in the poor suburbs of the eastern part of the city. Their main resident is Marky Mark no relation and his biggest dream is to get Orbital to perform at the club.

AS well as the regular venues, visitors should keep their ears open for one- off parties hosted by the likes of Insanidad and Naga Naja. The former's most recent event featured seven excellent DJs and attracted a diverse crowd who partied hard until the early morning. The Insanidad crew have since drifted apart for various reasons, but have promised to be back in town by next summer, which officially starts in December.

The organisers, a group of Brazilians and British, have since shifted their operations to Sao Paulo and recently held a full-on bash on a small ranch near the sleepy town of Atibaia, a famed pensioners' retreat on the outskirts of the city.

The police showed up as the party peaked and the volume had to be turned down for a while, but the cops had left by the time dawn broke. As the sun started to filter through the trees, the volume wasjerked up again.

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"It wasn't so long ago that Dylan [Hermelijn, AKA And One] and I still considered moving to Berlin. At the time, it felt like the only people who understood our music were living elsewhere." Ironically, the Dutch are usually the last to catch on when a Dutch musician is successful. "I'm glad we decided to stay though," she says.

9 Replies to “2000 And One* Aka Dylan Hermelijn - The Panner / Sunday (Vinyl)”

  1. AND ONE (aka Dylan Hermelijn) has been on the forefront of electronic dance music since the late eighties. His pioneering vision across more than two decades of music genres now ranks him as one of the most versatile, in-demand international artists, commanding weekly performances on the house, techno and tech-house global club and festival circuits.
  2. Shop Official Dylan Merch, Vinyl Records, Shirts and More. % Authentic Merchandise & Vinyl.
  3. and One and One (Daylan Hermelijn) Alex Costa Anton Pieete halfcelltitegodfeperarinlelasag.xyzinfo D Julz Dave Ellesmere Dave Ellesmere & Polder (Intacto On Stage Part 1) David Labeij Glimpse GTMK aka Monika Kruse & Gregor Tresher Innersphere Innersphere aka Shinedoe Intacto Records And Womb Fundraiser Itamar Sagi jerome Julien Chaptal Nicole Moudaber Niereich.
  4. Apr 02,  · Ripped from vinyl from my personal collection. Always Remember To Respect And Honour Your Mother Part One (Euphoric Mix Edit) And One Aka Dylan Hermelijn - Sunday - .
  5. Nov 02,  · I have a copy of Love and Theft on vinyl that I picked up around release date and I paid $ (the sticker is still on the shrinkwrap - even though it is opened). My copy of Modern Times cost me $ (IIRC) shipped from the Sony Online Music store (and it .
  6. Dylan is one of the best things I've seen this year. Hands down. Tense, frightening, and yet somehow funny at the same time, it's a film I highly recommend to anybody. Also, the actors are pretty darn awesome. Also, the writing and direction are superb. Also, it's only ten minutes. So watch it.
  7. And One* Aka Dylan Hermelijn And One* Aka Dylan Hermelijn - The Panner / Sunday 2 バージョン Intacto Records.
  8. AND ONE. Als der Film erschien, war Dylan Hermelijn noch nicht einmal geboren, aber das AND ONE sollte auch sein Thema werden, und die Musik, und das Zusammenstellen.
  9. Dec 24,  · And One-The Panner Sunday-(INTAC)-WEB And One-The Return Of-(PURE27)-WEB AKA AKA-Zwei Himmelhunde Auf Dem Weg Zur Hlle-(SVTD)-WEB Dylan Hermelijn-Defined Shapes EP-(REMOTE)-WEB Dylan Warren And Luke Shipstad-You And I-(SILK)-WEB

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