DISTINCT FM – Launched originally in March 2011. Back again in 2015! A few lads with vast experience in radio and the DJ/club scenes, going as far back as the 90’s where jungle was born, had felt that the West midlands lacks a good quality underground radio station, which is well overdue.
Especially when the club scene is on the ball in the midlands with some very nice promotions such as Raveology / Music Hertz / Break Thru and the list goes on.
So now we are here the mighty Distinct FM, broadcasting 24 hours a day 365 days a year on the fm dial 99.7fm and also across the world via www.distinctfm.com
We hope to give you a much deserved pleasurable listening experience in all asepcts of the DnB/house genres.
So spread the love, & Keep it Distinct 😉
Here is a run down of the genres of music we specialise in here at Distinct FM:
Drum n’ Bass
Drum and bass music (drum n bass, DnB) is an electronic music style. Drum and bass, originally an offshoot of the United Kingdom breakbeat hardcore and rave scene, came into existence when people mixed reggae basslines with sped-up hip hop breakbeats and influences from techno. Pioneers such as raggamuffin DJGeneral Levy and other DJs quickly became the stars of Drum and bass, then still called jungle. Producers such as Goldie and 4 Hero transformed the current art and turned drum and bass in more instrumental direction, spawning sub-genres like techstep and moving the genre closer to techno. Some of the more popular and defining artists include Shy FX, Ed Rush & Optical, LTJ Bukem, Goldie, and Roni Size.
Based almost entirely in England, Drum’n’Bass (then called ‘jungle’ ) emerged in the early ’90s. It is one of the most rhythmically complex of all forms of dance music, relying on extremely fast polyrhythms and breakbeats . Usually, it’s entirely instrumental — consisting of nothing but fast drum machines and deep bass.
As its name implies, jungle does have more overt reggae, dub, and R&B influences than most hardcore — and that is why some critics claimed that the music was the sound of black techno musicians and DJs reclaiming it from the white musicians and DJs who dominated the hardcore scene. Nevertheless, jungle never slows down to develop a groove — it just speeds along. Like most dance music genres, jungle is primarily a ‘twelve inch’ genre designed for a small, dedicated audience, although the crossover success of Goldie and his 1995 debut Timeless suggested a broader appeal.
Sonar is renowned first and foremost for its championing of cutting edge house, techno and electronica, but for its 2007 edition the Barcelona festival welcomes a new kid to the block: its name is dubstep, and it’s represented by a showcase on Friday 15th June, curated by BBC Radio 1 DJ Mary Anne Hobbs. Hobbs first became aware of dubstep’s existence when DJ Pinch introduced her to the productions of his fellow Bristolian Vex’D in early 2005, prompting her to visit DMZ, a fledgling clubnight at Brixton’s 3rd Base
Dubstep was a word which meant little to those outside its close-knit, London-based scene of like-minded DJs and producers, and a community of obsessives and enthusiasts trading music and information over the internet at dubstepforum.com. The term “dubstep” was coined by Ammunition PR, the people behind London’s FWD>> night and Tempa Records to describe the “dark garage” sound of Horsepower Productions and their preoccupation with their music’s bass power. These days, Skream, dubstep’s poster-boy, is sceptical of applying the same term to a scene which become so dynamic and diverse. “To be completely honest, it’s become just another name used by people who can’t understand a new style of music,” Skream told RA.Indeed, dubstep (like jungle, or techno, or even rock) seems like a reductive tag for a music which has so many untrackable strains and variations. Skream’s ravey, jungle-influenced ‘Lightning’ is called dubstep; Pinch’s reflective, almost devotional ‘Qwaali’ is called dubstep; Shackleton’s thunderous, Eastern percussion-fuelled exotica is dubstep; Burial’s distressed garage sound is dubstep.
Techno was the first real successor to house, a bit harder and faster, running at 140-150 beats per minute, with a greater accent on the rhythm, as opposed to the smoother more soulful sound of house. The Shamen, who’d first emerged during the acid house scene, embraced the sound, initially with the In Gorbachev We Trust album, but finding a peak on the Move Any Mountain single in 1991.
Hardcore was a more jagged, aggressive outgrowth of house music, taking rhythmic cues not only from house music, but also from both hip-hop and Jamaican raga. It was fast, disturbing, but at heart still eminently danceable. Before they became famous later, the Prodigy in their early days released one of the hardcore classics with Experience, a single that resounded round many raves.
A little slower than techno, as its name implies, trance was made up of repetitive melodic phrases, with strongly repetitive beats. The idea over the lengthy tracks was to send the dancers into a trance with. Although the KLF released what might be the first trance track with 3am Eternal in the late 1980s, it was Dance2Trance who began to define the genre.