[All info compiled by EMP]
Since 1986 and within various roles and capacities, Alex Romane has worked with:
• Daddy Freddy [4 times world's fastest rapper + creator of Raggamuffin Hip Hop]
• Lorna Harris [Goldie/Metalheadz]
• Decoder [kosheen]
• Evil Evan [20 Seconds To Comply - Silver Bullet]
• Gilbert Gabriel [Dream Academy]
• Reggae Revolution
• Vivian Jones
• Sylvia Tella
• Prince Malachi
• The Jellyfish
• Alex Newman
• DJ Reason
• Nathan Robinson
Alex has also worked with sound engineers and producers such as:
• Howard Boulevard [producer to PJ Harvey and Alex's mentor]
• Arthur Anderson [Rolling Stones]
• Chris Hardcastle [ABC Studios/Monitor Music]
Since 1986, Alex Romane has worked with Electro Hip Hop, Folk, Thrash Metal, House, Techno, Acid, Hardcore, Punk Rock fusions [when engineering and producing for Punk Rock and Thrash Metal bands on the live scene in London], Jungle, Drum and Bass, Reggae and Dub Reggae. During 1989/90, he also worked intermittently at Chrysalis Records in London as a trainee music producer under Stuart Slater's publishing department where the focus was on Acid and Acid Jazz with producer Evil Evan [20 Seconds to Comply - Silver Bullet].
The inter-play between layering processed drums with acoustic rhythms, synthesis, and sound engineering were Alex's passions and not wanting to be famous, he turned-down a publishing and recording contract with Chrysalis [who wanted him to front and promote his own music] and instead set out to establish himself within the industry as a freelance dance music producer and drum and synth programmer, writing and producing for others.
During 1990/91, Alex was sampling various drum loops, drum sounds and then James Brown and Schooly-D drum rhythms into a friend's borrowed Boss DSD-2 Delay Sampler guitar pedal so as to provide a Breakbeat feel to back-up his Alesis drum machine in his Acid, House and Hardcore music.
The Breakbeat genre itself was created by early 1970's New York Funk and Soul DJs who started to mix the drum break parts of records back-to-back and, the Breakbeat genre may also be the world's first musical genre created without using any instruments. Today's Jungle/Drum and Bass intelligentsia believe that UK producers sampling these break beats into complex samplers [like the Akai S3000] led to the creation of Jungle and Drum and Bass but, this is incorrect and we believe that the truth of Jungle/Drum and bass history can only come from those who can prove their direct involvement with Progressive Hardcore and the creation of Jungle/Drum and Bass music as a genre.
As far as we believe, Lennie De Ice and Alex Romane were the only producers who re-triggered, dissected, edited and rearranged Breakbeat drum samples [the essence of Jungle/Drum and Bass music] prior to 1991 and in Lennie's WE ARE i.e. [released in 1991], the Breakbeat drum sample [from The Winston's Amen, Brother] is re-triggered [twice in each bar] externally and isn't sliced or dissected by using the sampler's 'complex' editing tools. Other than Lennie, no one else released any tracks containing re-triggered and dissected break beats before mid-1991 and although Alex's first Jungle/Drum and Bass releases weren't available until after he was signed-up in 1992, he has been regularly dissecting and editing drum samples in his productions since 1987.
In 1991, Alex started adding his dissected Breakbeat samples to his Progressive Hardcore [as part of an experiment to create a new genre] and shared demos with various A&R departments, record company executives, managers and producers. At around the same time, WE ARE i.e. was hitting the clubs and going country-wide. Akai S3000 samplers weren't even available until 1993 and so obviously, they had no impact upon the creation of Jungle/Drum and Bass music but, Jungle/Drum and Bass music did though have an impact upon Akai samplers - with many producers who already had an S1000 or an S1100 suddenly using them to sample break beats [mid-1991] but, replaying them re-triggered, dissected, edited, rearranged and, faster.
We do not believe that WE ARE i.e. being released around the same time that Alex was sending out demos was a coincidence [WE ARE i.e. was produced in 1987 so could have been released any time before 1991] but, we do believe that Lennie's decision to release it at that time was made regardless of anything to do with Alex or his music and, we believe that Jungle/Drum and Bass established itself so fast due to a combination of the timing of Lennie's decision to release WE ARE i.e. to the public and, the timing of Alex's decision to try to launch his new genre in the background.
In 1987 and in WE ARE i.e. Lennie re-triggered a break beat sample [while Alex was still just dissecting and editing drum samples and break beats] and, we can only assume that Lennie had not heard the potential for a new genre when he did this and so didn't rush to release it along with any follow-up tracks. On the other hand, Alex actually set-out to try and create a new genre in 1990 and, he describes the moment in 1991 when his two existing elements of a faster speed and irregular bass drum rhythms finally started to meld with a third element of re-triggered and dissected Breakbeat samples [new to everyone except for Lennie]. He also describes seeing multiple different arrangements and configurations for re-triggering itself and, that this new music was going to be massive [for examples of highly original reconfigurations, Alex suggests checking-out Rob Playford's work with Goldie from around the mid-1990's, anything from Ronnie Size and Reprazent from around 1997 and, any Jungle/Drum and Bass from Kosheen from around the early 2000's].
We also don't believe that the speed of Jungle/Drum and Bass and its change to the style of the bass drum rhythm [moving away from flat-beat to irregular] are coincidental either because while WE ARE i.e. has a regular flat beat bass drum rhythm and is only 136 BPM, Alex consciously chose in 1990 to increase the speed and to diversify the bass drum rhythm away from flat-beat [which was standard in most House and Hardcore tracks] as building blocks for a potential new genre.
Jungle/Drum and Bass history write-ups compiled by outsiders who were late to the game and who use retrospective revision can only be inaccurate. To the intelligentsia and non-musicians, musical genres will always appear to evolve but, these people are simply not aware that there is [by default] a progressive front within every genre [whether it be Folk, Rock, Reggae or Hardcore etc] and the intentional and very obvious jump in BPM was one of the three defining elements of Jungle/Drum and Bass music [only nature evolves - anything else is a creation].
A key aspect and commonly-noted constant within much of Alex's music [of any genre] is that of tribalism and we believe that the BBC and intelligentsia never hearing and commenting about this element within Jungle/Drum and Bass when its presence is so obvious is further testament to their lack of knowledge regarding Jungle/Drum and Bass music but, with the BBC [and therefore many others] regurgitating that Jungle/Drum and Bass was an evolution [and therefore that one day somewhere in a magic studio, some break beats decided all by themselves to sample and dissect themselves against off-beat bass drum rhythms and bass lines and to jump to around 10 BMP faster than anything else], the truth becomes oppressed before it is even disclosed.
The intelligentsia also apportion to evolution the creation of Breakbeat [DJ Kool Herc], Hip Hop [Africa Bambata], Jack [Steve Silk Hurley], LRRRT/Trance [Li'l Louise] and Raggamuffin Hip Hop [Daddy Freddy] as well as Jungle/Drum and Bass [Lennie De Ice and Alex Romane].
Unfortunately, it seems that many people still believe that while being the government's mouthpiece, the BBC is somehow also a bastion of honesty and integrity?
The main reasons as for why no one has been able to establish the true roots of Jungle/Drum and Bass and for why establishing this has been a contentious issue, is because Alex Romane didn't publish the following information until late 2013 and, because Jungle/Drum and Bass did not evolve naturally from any current genre. It was instead, the result of a conscious effort during 1990/91 to create a new urban dance genre and although Alex was on his own during the moment when he first dissected the James Brown drum loop, artists who he worked with on the new music [particularly Alex Newman] during 1990/91 and others across London who weren't directly involved in any productions but who heard the music during 1991 have been ignored.
The reason as for why Alex chose to disclose his involvement with the creation of Jungle/Drum and Bass music in 2013 is because in 2013, Alex had his first chance to produce an album since Delirious [while signed-up] and as with other artists, Alex's history is now relevant and, the new album is intended to be used to raise awareness of the UK's potential for direct democracy [which Alex feels is an urgent issue]. This was the single initial reason for his disclosure in 2013 regarding his Jungle/Drum and Bass history and for producing and releasing a new album in 2014 in his name.
Firstly, every sound engineer and producer already knows that samplers are simply digital memory banks and are not responsible for the character of rhythms or their complexities [these aspects are managed by sequencers] and during 1990/91, Jungle/Drum and Bass [known at the time as Progressive Hardcore] was happening in London without Akai samplers. Akai samplers have been around since 1985 and were not affordable for the average underground producer so, it is obvious that it took far more than just a sampler [of any kind] to create Jungle/Drum and Bass music.
The Delirious album was produced during 1991/92 using only an EMU sampler, an Alesis HR16 drum machine and an Alesis MMT8 sequencer. No Akai samplers were used and, the reason for why there wasn't a follow-up album or for why no further units were distributed was because while the first run of the album was selling [92/93], the associated record company and studio collapsed. By this time, Alex had also sold or lost most of his own studio and so without a record company and after moving away from the Bristol area in 1994, Alex had to start from scratch and so was hiring recording studios in Birmingham up until 1998.
Alex says; "During this time and up until sometime after 94, it was guys like Darren from Kosheen who kept me going by giving me access to their private studios. I met Darren via my family years before he established Kosheen and we were sharing advanced ideas on engineering, psycho acoustics and track structure within minutes but after 96 and while living in Birmingham, I lost touch with most people who I had worked with and with no studio or record company, I had to start from scratch and so was working outside of music again - mostly in IT sales, marketing and project development.
It wasn't until around 1999 that I had a studio again but about 6 months into production of a new Drum and Bass album - some of it featuring MC Robbie D, something happened in my personal life and outside of music that absolutely devastated me. I became deeply affected and extremely ill and it is this event that led me into political activism. I made a choice to not turn away and to fight those behind what had happened and so anything to do with music production was suddenly not part of my life and I was instead launching three concurrent court cases - one of which involved successfully over-turning a police conspiracy. In response to what happened and also to an unrelated incident in early 2001 where an internet child protection strategy I was developing was blocked by the state for "political reasons" until the FBI picked-up on it and ran it in 2002, I established a political movement and authored a book which is published by the British Library. The government has a non-disclosure order in-place preventing me from disclosing the full details of what happened in 1999 and so without direct democracy - democracy meaning rule of the people, the police enforce the laws of the UK Parliament - not the laws of the UK people, and UK armed forces fight for Queen & Government - not Queen & Country."
Alex Romane Interview; Why we need Direct Democracy
Alex Romane interview; International Law supports Direct Democracy
Secondly, WE ARE i.e. by Lennie De Ice [mentioned for years by the BBC and others as being the first ever Jungle/Drum and Bass track] does consist of a dissected sample of The Winston's Amen, Brother break beat but as mentioned previously, it has a flat-beat bass drum rhythm and runs at 136 bmp and, it is only by using retrospective revision that people wrongly assume that this track is even a Jungle/Drum and Bass track in the first place. Lennie himself confirms that he produced the track in 1987 but didn't release it until 1991 and even now, he denies that it is a Jungle/Drum and Bass track or even a proto-Jungle track, stating instead that it is a hybrid Acid track.
If any track from 1991 was ever to be the first Jungle/Drum and Bass track to be produced, then the Jungle/Drum and Bass tracks that Alex Romane was producing and sharing in London during 1990/91 must have happened in another dimension. The first ever Jungle/Drum and Bass tracks were never signed-up or published and Alex still has possession of some of the first Jungle/Drum and Bass ideas and tracks from 1990/91 and although Alex did send material to various major labels, nothing [even including the Delirious album] was signed-up or published by any record company until 1992. During 2014, Alex will be releasing some of the Jungle/Drum and Bass ideas that he produced during 1990/91 and, he believes that the reason for why nothing he did during 1990/91 was signed was because his first Jungle/Drum and Bass tracks were literally just drum parts and bass lines only [due to limited sequencing/multi-tracking ability].
Released in May 2014, the dissected break beat used in Always With You is an exact duplicate [speeded-up] of a cassette recording made in 1991 using the sampler pedal.
He says; "I thought that if they could get what I was doing and give me studio time to produce full tracks then something could happen but the mainstream didn't take to Jungle/Drum and Bass until after the underground scene had established itself nationally. The major labels, radio networks and the BBC were the last to get involved in the scene yet what they say now is taken as fact. I sent stuff out, worked with others in both London and Bristol and according to some of my friends who partied abroad, DJs playing across Europe were sampling bits of my stuff into their records. I used to have meetings across London with various major A&R departments who would share my music with their colleagues and directors but according to the mainstream, my music had no influence and it's all just coincidence. Through my activism and since working independently with David Cameron and others in 2009 on social, environmental and child welfare issues and then publicly campaigning against him since 2010 through the PA, mainstream media black-outs and propaganda regarding anything I do in music and politics have been a fact of life.
For personal reasons, the last thing I needed was to have myself publicised as an individual in any regards - hence the formation of Urban Sunrise in 2008 and the PA in 2010. I'm still dealing with issues on various levels that relate to what happened in 1999 and I'm far from being in the best place for any public activity but, I truly believe that if the UK people choose to let those psychopathic, paedophile-protecting, child abusing, self-serving Rothschild subordinates who occupy Parliament continue with their past voting patterns for just another 5 years, that humans will be extinct by 2035-2040 because the decisions that Parliament will make in 2015 alone will have irreversible consequences for the entire world - especially with regards to the natural environment and war.
If I didn't believe this, I wouldn't be rushing to promote direct democracy by fronting a new album and still wouldn't be disclosing my links with Jungle/Drum and Bass history and everyone could carry on living happily ever after in Cameron and the BBC's world of bullshit. It amazes me that after working with him and, with my history of political activism which includes working directly with the Palestinians - a risk to any Westerner's media career, that some people don't see why Cameron and the BBC need to deny my influence and therefore my existence."
Independent article: Warner Bros, AoL, Fox, Sony running anti-Palestine agenda
"This doesn't affect just me either but currently, most musicians aren't politically motivated so they don't see or don't care that the entire independent music scene is under threat in the UK. The nation's independent local radio stations have now all sold themselves to global corporate media organisations who use centralised play lists so, the only way that local artists can get any exposure is through on-line mechanisms, radio pluggers, or the BBC's Introducing service. Generally, unknown artists can't afford web marketing agencies and radio PR so they end-up submitting to the BBC but, the BBC is wholly subservient to Cameron and the combined effects of all of this amounts to a gatekeeper system that see's only politically conformist artists becoming mainstream.
If I'm wrong about 2015 then no harm done but it's not something I'm prepared to gamble on or to leave to politicians and unlike other cultures, not being politically and socially considerate means that most people in the UK don't realise how the UK Parliament has influence in over 90% of the world's countries either politically, militarily or culturally and therefore, that they alone can change the world. They don't know that the US war machine is fuelled by BP and therefore that the US and UK can go to war together even without a UK Parliamentary vote to support it and, with no understanding of NATO politics, they believe that Russia invaded Ukraine just because the BBC said so and, despite it never publishing a single image of a single Russian troop in Ukraine. This is extremely dangerous because it confirms that the UK people are now so brainwashed that they are prepared to take what the BBC and others say in words alone as fact, without seeing or even demanding to see any evidence - it's Cameron's dream scenario and it will serve him well in the run-up to the general election in 2015.
Brits who watch global news channels and who know a bit of geography are fully aware that Ukraine was not invaded by Russia and that East Crimea - a semi-autonomous, Russian-cultured state with its own UN-sanctioned parliament and elected members, was experiencing persecution and social cleansing from the Western-backed armed minority coup 'government' based in Kiev. They also know that the previously elected Ukraine government made a last-minute u-turn in its decision to join the EU and was suddenly looking towards Russia and that this was unacceptable to the West and, that this was why the US hatched a plan involving EU 'leaders' to topple the elected Ukraine government."
PA direct democracy video: US officials caught planning Ukraine armed coup
"In absolute desperation and only after being abandoned by the West, East Crimeans invited Russia in so as to defend it against the illegal minority armed coup 'government' installed by the West in Kiev, and its militias. As this happened, the people of East Crimea held a vote for self-determination and voted to become part of Russia and in utter hypocrisy, it is this independent vote for self-determination that Cameron says is illegal and refuses to recognise - while supporting the armed minority coup government in Kiev. Put simply; Russia was invited in to Crimea but after Iraq, Afghanistan and Libya, I guess that Cameron and Obama don't understand what an invite is? Also during this time, Venice voted to become independent from Rome but the ever so 'faithful' BBC said fuck-all about it!
When Kosovo wanted independence from Serbia, NATO bombed Serbia to bits and killed over 500 civilians and Kosovo didn't even hold a vote for self-determination so, when Obama talks of the Kosovan vote for independence, that Rockefeller-serving hypocrite demonstrates that he is completely uneducated about the facts of modern European history and, doesn't even question his speech writers.
Fundamentally, all Western arguments against Russia regarding its invited intervention in Crimea completely dismiss the West-backed illegal armed minority coup over-throw of the formerly majority-elected Ukrainian government - an international crime that the UN also seems only to happy to ignore and, the crime that started this conflict in the first place.
The people of self-titled 'Great' Britain believe that the biggest threat to their way of life is immigration when it's actually environmental catastrophe, war, over-population and then terrorism and motivated by spite, they have freely chosen to play the Conservative's old game of hating anyone who claims JSA, ESA and Income Support, even though these people combined only cost 14% of the welfare budget - leaving voting pensioners to have 48% without any means-testing. It's blatant social cleansing happening in the UK and through ATOS, Cameron has so-far murdered approx. 20,000 vulnerable UK citizens who were claiming Incapacity Benefit. The sheeple think that 41% of the entire welfare budget goes on JSA while the true figure is only 3% and, they think that 27% of the welfare budget is claimed fraudulently while the government's own figure is only 0.7% and by the way, Amazon and the others actually only pay 0.1% tax - not 1%. The sick joke is that tax payers who attack the vulnerable are funding criminal banks, Cameron's Syrian FSA child rape fatwa and, India's forced child sterilisation programme - even though every UK tax payer has had the legal right since 1215 to withhold tax payments if they feel the government is abusing their money. Want to talk about British 'values'? There you go.
Through that supporter of brutal oil-rich, weapons-buying dictatorships and since 2012, the UK tax payer has been funding the FSA, Al'Qaeda and ISIS in Syria while MI6 has been training them to fight - creating a domestic head fuck for MI5 and, being that Al'Qaeda and ISIS now openly threaten the UK, the UK people will reap from their political ignorance and from Cameron and MI6's betrayal because along with Obama, EU 'leaders' and the religious 'leaders', their actions are the root cause of all religious-oriented terrorism. Re-shaping Western foreign policy while showing the extremists who kill "for the sake of God" how God does not require for them to kill is the solution but while the UK people insist upon shirking their political and social responsibilities - instead choosing to leave these to a corrupt minority, people all over the world will continue to suffer and, the people of the world have more in common with each other than with their own 'leaders' but with these freely-elected psychopaths in the way, the world's people can not unite."
PA direct democracy video: BBC's own footage proves BBC faked Syria WMD attack
PA direct democracy video: BBC's pro-Cameron Syrian propaganda campaign
"While the UK government secretly cultivates Opium, a multi-purpose plant that produces food, fibre and medicine that can halt HIV, cancer and Alzheimer's and, that can also end deforestation and save the world has been outlawed as a 'drug' and while the UK debates the 'morals' of using one of God's most amazing gifts, the Chinese are rushing to patent as many varieties as they can and if the UK people ever awaken from their BBC, Coronation Street, celbrity sex and alcohol-induced comas, it will be too late to benefit without breaking international patent laws and entering into a trade war with China - which we can't afford and will therefore lose. Through human-assisted extinction brought-on by environmental abuse, we're losing 50,000 species of animal and plant every year while destroying the equivalent of 7 football pitches of forest every minute of every day - we've already destroyed or degraded 80% of the world's rainforests and decisions taken by so-called 'representatives' and religious 'leaders' over the last 40 years have increased the rate of damage - not prevented it. The religions, Thatcher, Blair and Monsanto-loving Cameron have betrayed the people left, right and centre and pathetically, the people continue the cycle of freely giving these traitors their power and then protesting about it after, which is exactly what Cameron wants. To betray non-representative governments so as to protect the people is to be a patriot and in law, this is exactly why the UK tax payer has the legal right to withhold tax payments at any time.
While conforming protesters and 'no clue what to do' pro-revolutionaries get busy inciting others into fighting the police and changing nothing, a newly-discovered methane-oriented extinction level event that Cameron and the BBC mention nothing about is already underway. Due to the on-going mainstream media black-outs since 2010 coupled with refusals from celeb friends and contacts to endorse the PA for fear of damaging their BBC exposure, I now have no other way of trying to break through other than with a new album because the only other option at this stage is to quit and I'll be dead before I ever choose to quit fighting Cameron, Blair, those bastards in the US Senate, and the manipulative shadow governments that they've sold themselves to. With an extinction rate of 50,000 species per year and when all food and medicine derives from animals and plants, it is obvious that humans will not survive even if climate change wasn't occurring. If we continue with our current attitude and behaviour, this planet will soon be rid of the ONLY species that is destroying it and, it is no coincidence that humans are the ONLY social group species on this planet not to use direct democracy. Denied by the religions who lie about the nature of God, direct democracy is God's way of doing politics and as with everything else within nature such as Eco Capitalism, it works."
PA direct democracy video: Methane release will bring human extinction
"I hate politics but since the late 1980's, I've been very concerned about how all of the world's political systems are intentionally destroying any notion of democracy - especially when it's just for the sake of finance. Since the event in 1999, the combination of government non-disclosure orders regarding various political actions I've taken and press blocks regarding anything else has meant that I've been fighting in the background and in isolation. I've had George Galloway shouting at me in the street to "Stay out of politics!" and I've been similarly threatened by other elected MPs too and in 2011, President Obama used the US State Department to openly intimidate me directly through one of my Twitter blogs. It is obvious that true and direct democracy is a massive threat to the global elite and their personal attacks against me and their media blackouts against the PA and EMP just confirm this."
PA direct democracy comment: The war between finance and democracy
Although produced in 1992, Empathy [from the Delirious album] is typical of the Progressive Hardcore drum styles that Alex Romane was producing during 1991 and Delirious actually does contain Punk Rock and Hip Hop-influenced drum parts that were produced in 1990 using the Alesis.
"I started playing around with instruments and composing poems and verses when I was eight and I'd been experimenting with engineering and bass since I was around twelve and it started while attending a church meeting with my mother. I noticed the PA system that was being used for the bands who performed on the stage and it consisted of an H&H six channel mixer with a built-in coil reverb unit and power amplifier and two fuck-off big H&H speakers that had to be transported by their own trailer.
The first time I approached it I could see all the cables leading from the instruments and into the mixer and then out to the speakers and I just sat there with the sound engineer watching everything he was doing. As soon as the meeting finished, I told my mother that I wanted to do the sound engineering for the meetings and after a few weeks of learning and of assisting, the mixer arrived at my home so that I could have a play with it and use it in between meetings. By this time, my mother - who played piano and guitar, was in a relationship with the bass player from the church band and he would let me use his Fender Precision bass.
By around thirteen years old, I had a bedroom studio that consisted of the bass guitar running through various pedal effects units and then into the mixer which was then slaving my hi-fi where I could record on its built-in cassette deck while monitoring everything through the hi-fi speakers - a very tasty pair of B&Os. The soon-after addition of a Tascam four track real-to-real recorder enabled me to multi-track bass recordings and for the next couple of years I just explored, experimented and learned but, it wasn't until I was fifteen that I could afford my first keyboard, synth and sampler - all separate devices, and I got the Alesis about a year after.
The hi-fi's built-in cassette deck had an instant and silent pause button and I developed a technique where I could create extended versions of my records by slamming the pause button down in beat. They became known by my friends as 'Alex's pause-button remixes' and until I left home, they were regularly asking me to create ten minute versions of their favourite records!"
It is also wrongly assumed by some non-black people that the aggression expressed by the drum rhythm styles in Jungle/Drum and Bass music relates to oppressed aggression within the black community in the UK and therefore that Jungle/Drum and Bass must have been created by black producers but, this is nothing more than pure racism and generalisation of the black cultures on the part of non-blacks who again, were not involved during 1990/91. Whilst the orientation of Electro Hip Hop, House, Hardcore and many other related genres does stem from the black cultures, the aggression in Jungle/Drum and Bass music comes from the influence of Punk Rock music and, Alex Romane is of mixed-Mediterranean race.
This means that despite the music of black origins being half of the influence in the creation of Jungle/Drum and Bass music [via Breakbeat, Hip Hop and Hardcore], Jungle/Drum and Bass music is itself not a music of either black or white origin. It is a music of British origin influenced by music of both black [Breakbeat, Hip Hop and Hardcore] and white [Punk Rock] origins but, it is not a sub-genre or fusion form [initially, there were no Hip Hop or Punk Rock elements within Jungle/Drum and Bass music] and, it is also an art form and an expression and so is a creation - not an invention [which Pete Waterman never realised]. All of this is just one more reason for why the true origins of Jungle/Drum and Bass has been repressed by the mainstream media and intelligentsia.
As mentioned previously, Jungle/Drum and Bass did not evolve naturally from any current genre and neither is it a fusion form or sub-genre. If Jungle/Drum and Bass had evolved from either Hardcore or Raggamuffin Hip Hop [as some believe], the occurrence of Jungle/Drum and Bass would have changed the direction of both of these timelines and the timeline that hosts the Happy Hardcore sub-genre [for example] probably wouldn't exist because, Jungle/Drum and Bass did not go on to evolve into Happy Hardcore. Also, if Jungle/Drum and Bass had evolved from Hardcore or Raggamuffin Hip Hop, all of the existing sub-genres of Jungle/Drum and Bass [such as Dub Step] would be known as forms of either Hardcore or Raggamuffin, and not forms of Jungle/Drum and Bass.
As well as providing the influence for the aggression regarding drum rhythms, the influence from Punk Rock music is also why it is no coincidence that when musicians add distorted guitars, wind instruments, organs and other non-electronic instruments to Drum and Bass drum rhythms, the music will then sound like a Pop/Big Band/Cabaret sub-genre of Punk Rock and, acts such as Rudimental and Chase and Status come very close to this and, it is also no coincidence that Pete Waterman is behind much of this highly commercial form of pseudo-Drum and Bass. At the same time, eliminating the Cabaret aspects simply leaves electronic Punk Rock.
Why do you think it is that Kerrang! Radio [a strictly Rock and Punk Rock network] plays music from Pendulum [a Drum and Bass band]? Why do you think it is that various Thrash Metal bands are now claiming to have invented Jungle/Drum and Bass and even Deb Step?
Finally, during 1990/91, no other artists anywhere produced tracks consisting of dissected break beats running faster than 140 BPM with irregular [not flat-beat] bass drum rhythms and, it is the presence of these three specific components that initially defined Jungle/Drum and Bass music. In not recognising this, the intelligentsia's delusion regarding Jungle/Drum and Bass being an evolution and not a creation becomes more obvious and, it is no coincidence that Alex co-wrote and co-produced the first ever Jungle/Drum and Bass album. If others were also working on Jungle/Drum and Bass during or before 1990, they've had over 20 years to prove it and you would already know of the truth of Jungle/Drum and Bass history. At this time, Alex was actually saying to friends and other producers that in his opinion, the opportunity to create a new genre had never been so blatant.
During this period, friends of his [incidentally, some with Akai samplers] who also sampled drum parts into their House and Hardcore productions ALL maintained a policy of replaying whole drum samples without any dissection, editing or rearranging and while Alex used to accuse them of ripping-off and being lazy, they would tease him for being "too stiff" [about copyright infringement and for maintaining his policy of dissecting, editing and rearranging drum samples]. By late 1991 and now with some friends and even members of his family starting to ridicule his music, he never mentioned his links with the roots of Jungle/Drum and Bass music and even when working on the Delirious album, all Alex said to Nathan was that if they produced a Progressive Hardcore/Jungle cross-over album right then, that it would be the first of its kind.
When those close to Alex made connections between him and the roots of Jungle/Drum and Bass music, he would simply state that he was one of the guys involved in developing it in the beginning. He Says; "I did consider throughout all of these years that others could have been working along similar lines and that I just never knew about them. I never had any guarantees that this wasn't the case and it's only possible now and by using the web, to see that no one was producing similar material during 1990/91. I knew even before experimenting with Progressive Hardcore what it feels like to see others claim your music as their own and I didn't want to risk doing this to someone else and, I also had no specific reason or desire to be disclosing my full history with Jungle/Drum and Bass music until now. Despite what I did being intentional, I've never myself claimed to have created Jungle/Drum and Bass music because I never thought about it in this context or as something I needed to claim. Jungle/Drum and Bass has always been a part of me - how do you claim something that's already yours and why would I even be thinking like this if I didn't want to be famous?"
While still at school, one of Alex's younger sisters came to him asking if she could use a piece of his unpublished music in her music class. After performing the piece, the music teacher told her that she knew that it wasn't her music and when Alex's sister protested [reiterating that it was 'in fact' written by her], the teacher told her that she knew that it wasn't written by her because she herself had written it! Alex didn't even attend the same school as his sister and had never even met this so-called 'teacher' and had never given her any music and, the argument only ended when his sister eventually confessed and was honest about where this piece had actually come from, threatening to tell Alex about her attempt to steal his already-copyrighted music.
At his own school and only after completing his GCSE Music course, was Alex then told that his exam result would be marked-down by a whole grade - simply because he was using electronic equipment. The implications of this meant that Alex would no longer be able to study music anywhere at any level and so he protested on the grounds of discrimination and after hearing just a few seconds of just one of his pieces of his music during an appeal hearing at his new college [incidentally, the same piece of music that his sister's music 'teacher' tried to steal and, Alex's first ever fully-completed composition], the college confirmed that he could choose any course on the curriculum and so instead of studying A-Level Music, he chose Psycho Acoustic Music Production.
Alex is used to others trying to claim his work as their own and used to others trying to hold him back and so he perceives the attitude form the BBC [for example] and others in the industry who are aware of him to be just more of the same and, knowing that the intelligentsia and BBC etc. were omitting anything about Alex Romane [which to their own detriment, entails denying the existence of the world's first ever Jungle/Drum and Bass album] in their Jungle/Drum and Bass history write-ups meant that Alex knew that their conclusions would be inaccurate and contradictory. With this in mind, Alex decided that if he was ever to disclose his history with Jungle/Drum and Bass music, that he would wait until this had happened so that he could fill-in the missing gaps and correct the contradictions, guess-work, lies and 'coincidences' about the roots of Jungle/Drum and Bass music and, it is no coincidence that no other Jungle/Drum and Bass pioneer has ever claimed to have created the Jungle/Drum and Bass genre.
We believe that all of this information does confirm that Alex Romane did create the Jungle/Drum and Bass genre while experimenting with Progressive Hardcore and as such, we have always been very interested to hear from anyone regarding the existence of any track produced by another artist during 1990/91 that contains the three fundamental components that initially defined Jungle/Drum and Bass music:
1. Dissected break beat
2. Irregular [not flat-beat] bass drum rhythm
3. 140+ BPM
In a UK industry now largely ran by the pro-government BBC working along-side pro-government corporates, banks and major labels and, with their de-politicalisation of Hip Hop music [via Hip Pop acts such as Jay-Z and Kanye West] and their watering-down of Drum and Bass music [via the BBC, Pete Waterman and other mainstream producers], the mainstream media can't afford to disclose the truth about Jungle/Drum and Bass history - especially when it would now mean inadvertently promoting direct democracy.
PA direct democracy media: UK-relevant news that the BBC kept from you
It is is no coincidence that the families who own the retail banks, gold bullion banks, Hollywood, Bollywood, the oil cartels and all of the remaining major record companies [the Rothschilds and the Rockefellers] also own Jay-Z, Beyoncé, Kanye West, Rihanna, Miley Cyrus, Taylor Swift and others. Jay-Z even named his record company after the Rockefellers and Beyoncé openly confirms that her hand gestures on stage are symbols of respect to the Rockefeller family so, if you ever questioned why America's richest and most influential black Hip Pop stars stay silent while their fans live in poverty and, while an ethnic male is murdered on US streets every 28 hours by the police who work for their white neo-conservative Rothschild and Rockefeller bosses, now you know.
To those who see a bit deeper, the agenda of these families is becoming so obvious that they now require some of their puppets [such as Kanye West] to falsely portray that they are actually against them and their political aims [New Slaves], which in itself confirms all of the above and, thanks to Cameron and Obama [who was given to black America by these families so as to subdue them in preparation for harsh social policy implementation], America and Europe's poorest people are now subsidising Rothschild and Rockefeller banks for their 'losses' in the form of austerity measures [another form of wealth redistribution that sees money moving from the poorest to the richest] and, all of this corruption continues while the masses buy into Hip Pop acts such as Jay-Z and Kanye West and, while using their existing freedom to empower a corrupt minority to run our so-called 'democracies'.
Bred by Disney, puppeteered by Rockefellers - where is black America's voice now?
PA direct democracy video: Chuck D; "Political musicians are public enemy"
PA direct democracy video: Chuck D; "Major artists sold social ethics for cash"
PA direct democracy video: Professor Griff - Miley Cyrus and musical porn
Video: How and why the mainstream entertainment industry is sexualising children
PA direct democracy video: Jay-Z, Kanye West etc. betray you and democracy
In 1973, DJ Kool Herc was the first DJ to loop a break beat by running it from two records back-to-back and so therefore, Kool Herc created Breakbeat as a genre and, he was also the world's first Hip Hop DJ. Late 1970's Funk/Soul-Electro fusions [roots in early 1970's Electro and Techno initially created by Kraftwerk and Yellow in Europe] then led to the creation of the world's first definitive Hip Hop track Planet Rock [Africa Bambata - New York 1982].
In 1986, Coldcut had released Say Kids, what Time is It? which featured a James Brown break beat which later appeared again in Fresh 4's Wishing On A Star in 1989 and so in 1990, Alex also started to experiment with this particular James Brown drum rhythm along with rhythms from Schooly-D's Somewhere In The Land of No Rap album.
The James Brown break beat was originally recorded by Clyde Stubblefield in Funky Drummer  and was released as a single in 1970 but, it was not widely known until the release of James Brown's In The Jungle Groove album .
The pedal sampler had a memory of around one second so, only the first two to three beats of any bar of the James Brown break beat were able to be captured and replayed. To perform a full bar [four beats] of drum music, the sample would be repeatedly re-triggered. To eliminate the resulting rigid flat-beat feel of the re-triggered one bar sequence, Alex re-triggered the sample at irregular intervals throughout the bar and, mostly before the sample itself had ended. Doing this over the length of one or more bars provided a dissected and chopped feel to the Breakbeat rhythm and also intermittently threw the snare drum away from its original position on the regular 'up' beat.
With the same principals applied, another sample of the same James Brown break beat was taken but, starting from the second beat in the bar [the 'up' beat/snare hit] and the two samples were then layered, alternated and crafted together through multi-tracking. It very strictly was not [as many now say], a case of alternating the roles of the bass drum ['down' beat] and snare drum ['up' beat] strikes.
If Alex had access to bigger sampling devices, the need to re-trigger the sample would never have arisen and Alex feels that this, combined with consciously speeding-up Hardcore and replacing the flat-beat bass drum rhythm with irregular off-beat rhythms, is why no one else was doing it before 1990 and, it was also not common for underground dance music producers to be working with aggressive Punk Rock or Thrash Metal bands.
The typical underground home studio consisted of midi or combined midi-analogue equipment. Atari computers with 64 track sequencing software [Notator and Creator] were the norm and so for Acid heads working underground and from home, there was no need and more importantly, no will for re-triggering and dissecting samples and, there was no exposure to analogue guitar effects units or, exposure to the aggression of Punk Rock and Thrash Metal either for these programmers and producers and, owning a sampler of any type was still rare.
Generally, not being musicians, Acid heads were not interested in working with conventional forms and conventional musicians were not interested in working with highly processed music but, Alex was fortunate enough to be able to find conventional artists who were interested - hence Alex's relationship with Punk Rock, Thrash Metal, Reggae and Folk.
As there were no time-stretch facilities on the sampler pedal, the pitch control was increased so as to speed up the BPM of the sampled drum loop and this also naturally changed the tone of the drums making them sound a bit more 'techy'.
The Line-out signal taken from the sampler was then routed directly into additional Boss guitar Phaser PH1R and Chorus CE-2 pedal effects units to act as intermittent fill-ins at the end of 4 and 8 bar sequences so as to regularly refresh the feel without using additional sounds. Again, using these effects on whole drum parts was unheard of at the time but eventually, it became such an influence that whole track parts [not just the drums] across other genres soon started conforming to the use of these effects in this particular way also.
After routing the sample through the Phaser and Chorus units, a Boss guitar Overdrive OD3 pedal effect unit would then be used to industrialise the dry James Brown drum sounds into something bigger and more metallic. The Overdrive effect also provided an edge that was common in Punk Rock and Thrash Metal and so the aggressive drum styles that Alex loved working with at the time carried through.
Finally, the signal was then fed directly into a Boss RPS-10 Digital Pitch Shifter Delay [Echo] Modular effects unit. With the Feedback setting on medium and the Rate setting on maximum with a medium volume ratio output for the Delay effect, the sample was able to ricochet off into the distance when applied to the final quarter-beat [1/4th] or the final snare strike in any 1,2,4,8 or 16 bar sequences.
At the end of the effects daisy chain, the Pitch Shift effect from the RPS-10 enabled snares [particularly] to 'spring' up or down a pitched scale adding even more character if activated after the Delay.
The Alesis drum machine that Alex was using was at the time, the only drum machine in the world that used acoustic drum samples instead of processed/synthetic sounds. As the Alesis was specifically a Human Rhythm Machine, drum parts could be altered in ways that other drum machines couldn't do. For example; timings could be manipulated to mimic the looseness of a real human drummer and, the pitch of every instrument within the unit could be altered independently - even independent of other incidences of the same drum used within the same bars.
As the Alesis was designed specifically with psycho acoustics in mind and, as Alex had previously completed a diploma course in the study of the science of psycho acoustics whilst at college, it was natural that some heavy experimentation in drum music would ensue - even before introducing samples.
During 1989 and in his Electro Hip Hop, Acid and Hardcore music, Alex started to use these facilities and he would commonly re-pitch dry acoustic snare strikes within tracks. He continued to use this effect in his Progressive Hardcore more and more and snares soon started flying up and down the scale to act as intermittent fill-ins whilst a dissected break beat ran on top.
All of the effects units were set up to be used independently and 'on the fly', meaning that more personality could be expressed throughout the entire track length as opposed to just within sub sequences - therefore giving more personality to the entire track itself.
Alex was also studying the patterns in the current Hardcore scene and noticing that in London, the tempo of Hardcore was gradually increasing from around 130 BPM - particularly at events held by Orange Club [1990-91]. In a conscious attempt to create a new form of underground dance music, he used his new dissected aggressive drum rhythm style at 140 - 150 BPM with Hardcore, Techno and even Trance [known at the time as LRTTT music - Li'l Louis French Kiss being the originator in 1989] and continued to develop this music [as a form of Progressive Hardcore] with others.
He sent demo's of various Progressive Hardcore projects to a handful of the major labels and publishers in London throughout 1990/91 and worked on new projects with friends in London and the South West but, the new music was not received positively by the majors who at the time had a policy of not working with underground producers - despite John Peel playing related tracks by Alex on BBC Radio 1 at the time. The last A&R manager who Alex spoke with regarding his Progressive Hardcore actually said to him when explaining why he wasn't interested; "What is it?" and while Alex tried to explain how him questioning this demonstrated that it was at least something new, he instead chose to play it safe.
Alex never believed in holding a monopoly on ideas within the studio and generally shared his latest experiments, ideas and resources with others around him at any time. Whether sharing newly-created engineering techniques, advising upon psycho acoustics, or simply trying to secure recording and publishing deals for friends, he has always encouraged new developments in music directly and through others.
The hope was that by the time any tracks were released, they would naturally be in sync with a faster Hardcore movement but, with the addition of a new aggressive and dissected Breakbeat drum rhythm style and therefore, potentially have more success in launching a new music form.
Conventional string and piano pads and samples from the House scene and general synth and guitar parts were largely eliminated as they often made Progressive Hardcore sound tacky at higher speeds. This aspect later got together with fast-paced House and Techno-oriented flat-beat tracks and unfortunately, this gave birth to Happy Hardcore.
It was mid-1991 when the major labels started to realise that they would have to shift their outlook but, only because Pop tracks released by rival independents were now starting to feature aspects from the underground Acid, House and Hardcore scene.
Alex believes that this wouldn't have happened without The Prodigy's Charlie hitting the UK number 1 spot in August. Now, managers working with the major labels and the independents were starting to hire producers from the underground to make their pop productions more trendy and so the major's eventually sold-out to the underground - it was never the other way around.
Alex explains; "This is why those who maliciously accused acts such as The Prodigy and The Shaman of 'selling-out' got it completely wrong. If the masses outside of the underground scene also appreciated their music, then isn't that a massive achievement? How pretentious and elitist would it have been if The Prodigy had intentionally pulled units from shop shelves to stop them charting simply to satisfy the music intelligentsia and more importantly, what is so wrong with artists from any scene making as much money as they can if people are happy to pay for their music?
The intelligentsia will always to some extent, consist of non-musicians and failed DJs who sit around the edges judging the artists and conditioning the audiences and they are also regular inhabitants of A&R departments within both major and independent labels. They have nothing to do with music creation or with music as a language and everything to do with revenue generation and, the internet was their enemy until monetary decisions forced them to get friendly with it - especially the majors."
Since 1994, Alex was experimenting and learning about on-line PR mechanisms and by 1997 he was already working on viral marketing concepts and so it shocked him when he was threatened with legal action upon merely suggesting to one particular record company that they upload some tracks to the web for free so as to use piracy as a form of viral marketing and promotion.
In Alex's opinion, the whole argument about 'selling-out' is false because once an artist has made the decision to sell their music for monetary gain at any level - they have already sold out. He believes that we have all sold out from the day we are born because this is when we accept a life that revolves primarily around money-making [especially in the West]. Alex believes that an underground movement will always exist in any scene whilst there are musicians and producers who do not seek fame and, whilst musicians and producers are not recognised by promoters and labels [recognition from the wider public is not required in order for underground producers to maintain a viable career].
Up until the change in attitude of the major labels, the underground scene was dominated by regular Acid, House and Hardcore and Progressive Hardcore releases into a purely 12 inch, DJ-based market from forward-thinking independents [such as Profile Records in London - who were also largely responsible for doing the same in New York with Electro Hip Hop during the 1980's] and, it was after this shift that Alex soon started hearing his fast-paced, dissected Progressive Hardcore drum rhythm styles being re-branded and duplicated by others as Jungle. The addition of Reggae-oriented rhythm parts and Ragga vocals after 1991 fuelled various further developments followed by claims from within the Ragga scene that Jamaican toasters and rappers created this new music [some claims made even as late as 1994] so Alex decided to look for a fresh start away from London but, to continue to work with Progressive Hardcore/Jungle fusions, Electro Dub forms and Electro Hip Hop, but separately. Incidentally, it was during 1994 that prominent UK Jungle DJs [such as Fabio and Groove Rider] decided to rename Jungle in an attempt to filter-out the negative aspects of the Ragga scene - hence the term Drum and Bass.
Alex still has possession of some of the very first recordings he made during 1990/91 using the process described above to create the origins  of what would soon become known in London as Jungle music  and then later known as Drum and Bass music .