Tim And Ted Jinglist Massive Lion Christmas Jumper

£9.9
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Tim And Ted Jinglist Massive Lion Christmas Jumper

Tim And Ted Jinglist Massive Lion Christmas Jumper

RRP: £99
Price: £9.9
£9.9 FREE Shipping

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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. Green had been a hip-hop and happy hardcore fan. Increasingly he was getting into jungle. He viewed the club nights he attended as extensions of the house parties of his youth: front rooms cleared of all furniture, huge sound systems, alcohol served in plastic cups, dim lighting, lots of motion. He found jungle intimate and immersive – a sometimes demonised music to which young kids, in darkened spaces the size of chill-out zones, were still figuring out how to dance. It was a music that was impossibly accelerationist. Its rhythms thrillingly alien. Its darkness radiant. Conquering Lion was better known as Michael West, aka Rebel MC who’d had chart success with the commercial sound of hip-house. This ragga breakbeat mash-up couldn’t have been further from the mainstream. Like Remarc’s ‘RIP’ this tune samples Saxon Sound and King Addies’ ‘Saxon Vs. Addies Soundclash’ in Bermuda, 1994, but to much darker effect. For West, junglism was far more than a scene, he viewed it as an expression of militancy and subsequently used his profile to raise awareness of the socio-political drive inherent in the music. ‘Code Red’ was a high-octane warning of Junglism’s oppositional fury. No other logo represents this music and culture quite as ubiquitously or timelessly as that of the Junglist Movement brand.

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.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. Goldie receiving a gold record plaque at the Blue Note, Hoxton Square, London. Photograph: Eddie Otchere 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. 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.

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.But for a genre so influential, where did it all start? While tangibly it all started in the early 90’s, the intangible development of the birth of Drum & Bass started in the 70s. For a long time, Dum & Bass borrowed its influences from a number of genres and the biggest influence came from the birth of the most-used sample in Drum & Bass and now in modern-day music, the Amen Break. The birth of Amen Break came after the release of ‘Amen, Brother’ by American funk and soul music group, The Winstons which featured the Amen Break drum solo, and eventually, this drum solo changed the future of Jungle/Drum & Bass and electronic music in general. The Winstons 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 Absolutely. I don’t cut any corners with my products and brands, I go on in on it. So when I work with someone I’m creating a connection and relationship between our brands. It’s very tight, it’s a family. From the hip hop side I’ve been working with guys like Rodney P, Omar, Skitz and Ty. From the jungle side I started with Kenny Ken, Moose, Ron. They’ve been with me ever since. I’ve never rinsed it, I’ve kept it as a family which keeps on growing. You just did a collab with Hospital for Hospitality In The Park, too. Do you have any other big collabs you can reveal for 2020?



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