Most coverage of jungle music is some combination of nostalgia, second-hand memory, or commentary on the broader electronic music scene that has long since treated jungle as a subgenre rather than a culture with its own history, ethics, and ongoing practice. We are not in the business of any of those, and the assumption behind this place is that the reader would rather be correctly informed than briefly flattered.

This is a small, independent publication. We are not a label, a content farm, a vendor blog, or a research group with a quarterly target. We are a small number of people who think this material is worth writing about carefully, and we are doing it for as long as it stays fun and solvent.

What we cover

The shape of the publication follows the work, in roughly this order of attention.

The artists, producers, and labels who made the sound and who are still making it. The records, from the 1992 hardcore acceleration through the 1994 watershed and into the present revival. The samples — the breaks, the vocals, the stabs — and the records that used them. The flyers, the venues, the pirate radio stations, the warehouses. The regional scenes: the UK, the US, the European network, the long-running Japanese scene, and anywhere else the sound has travelled.

Jungle is not a subgenre of drum and bass. Drum and bass is what jungle became in the late 1990s press shorthand. Jungle is its own lineage, its own archive, its own ongoing practice, and we treat it as such.

What we will not do

Publish unattributed claims as fact, especially when the source has a financial interest in the answer. Recycle press releases as editorial. Use absolute language where the data will not carry it. Run sponsored content, affiliate links, or hidden advertising of any kind. Fabricate event dates, releases, or quotes. Credit the Amen Break to a producer who did not use it. Write about Jungle as if it were a phase that ended in 1996.

If any of that ever changes, the article will say so. So far it has not.

Editorial standards

Every factual claim is sourced. Major statistics, catalogue numbers, label histories, and event details link back to primary sources where possible: vendor documentation, label discographies, court filings, the artists’ own statements, or the public record.

Where a primary source is not available, we say so. Where the historical record is contested, we say that too. We are not in the business of smoothing over the rough parts to make a more readable story.

For interviews, the byline is the responsibility of the interviewer, and every quote has been signed off by the subject. We do not use AI to generate interview content or to put words into the mouth of an artist, producer, or label head. Ever.

Correction policy

If a factual error slips through, we correct it on the article itself, with a dated note explaining what changed and why. We do not silently edit. We do not delete articles because they turned out to be inconvenient for a label, an artist, or anyone else with an opinion.

Send a correction to corrections@junglesound.org. Include the URL, the claim, and a source for the correction. We respond within two business days.

Get in touch

See the Contact page for the full list of who to email with what. We read every message and respond to most of them.