In the 1970 and early 80s St Pauls was pulsing with the reggae played at Jamaican style blues dances in people’s houses. His family lived on Bristol’s Shaftesbury Avenue which marked out one edge of the legendary/notorious St Pauls district. His other brother became a respected DJ too, but in hip hop, soul, R&B and funk (“not only that, but he was a dancer, active in ice skating and roller skating, anything that had movement and a soulful flow to it”), while his sister not only sung with passion and talent in the local church but introduced him to the very English sounds of her Beatles and Kinks records.Īnd the music wasn’t just at home. His parents were both Jamaican by birth and, as he says, “came with some of their culture – food culture, festival, carnival culture,” and one of his brothers continued this by joining Bristol’s burgeoning reggae soundsytem culture. It’s maybe easy to forget given his relative absence from the limelight in the past decade or so, but Roni is one of the people who distilled the very essence of British music, and is responsible for the way our nation sounds to this day.Īs far back as he can remember, the boy originally known as Ryan Williams was absorbing diverse sounds, by virtue of being the youngest kid in a busy and very musical household. And each time, that new creation has reflected his heritage, his surroundings and the precise moment in which he’s operating. From Bristol youthclub parties, through the white heat of rave and the foundational moments of jungle and drum’n’bass, to transforming underground electronic music into something that could be played by a live band on the biggest arena and festival stages, he has at each stage created completely afresh not just a sound or style but an entire methodology of how music can be made. Album DescriptionRoni Size’s whole life has been about building something new from whatever was around him. See More Your browser does not support the audio element. But only if you admit that an album of this dimension would never have existed unless jungle was first brutally sentenced to death.
Except instead of fighting for "civil disobedience," they seem intent in shooting down every head-nodding, spec-wearing disaster their chosen genre has created. Reprazent sounds like a band trying to make jungle's sonic equivalent to the mutinous Xtrmntr.
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Undoubtedly, hardcore jungleists will scoff at such a high-profile, sometimes flashy presentation of drum'n'bass ethics, but this is an album full of such militant energy that it deserves to be seen as one of the strongest saving graces of jungle in years. Remember that rush you felt when you first heard your first drum'n'bass track? So do Reprazent, and they build the album to such a pitch that one can only assume that this is what it sounds like when a genre reclaims its importance. As in "Out of the Game," the wrath of this album is not so much political, not so much in creating heavy soundscapes, it's conveyed more in a harder, live-sounding blast of back to basics hip-hop roots. Not that this is an embarrassment of darkcore efforts.
"In and Out" with its accelerated heartbeat, "Ghetto Celebrity" with its raucous Method Man cameo, "In the Tune of the Sound" with Rahzel's stellar beat-boxing: The jumpy uppercuts of rhymes and pounding polyrhythms seem to reach the very limits of jungle's schizophrenia. The level of punk fury and torrential modernization is high all throughout this record. And Reprazent, at least, are saying they've had enough.
Indeed, with drum'n'bass in such pseudo-intellectual dire straits (helped put there, ironically enough, by Reprazent's own New Forms), it was a fine time for an album like In the Mode to have its say. They should've known that The Man likes to assimilate. What once began as an infuriated call to arms to take back a piece of dance culture that they once helped create, the British black underground saw such an extraordinary and deeply innovative new genre saturating the clubs, being name checked in every "credible" pop band's interview, and then quickly shuffled off into Nike ads. Michael Bolton covering "(Sittin' on) the Dock of the Bay." Yet few things were more cause for alarm than the self-destruction of jungle.
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