How Jungle Music Defined London for Teenagers in the 90s

It’s a late 20th-century coming-of-age story as old as time: riding through the roads in an old Fiesta, pressed up against each other while trying to skin up, arguing over whose tunes to put on. For so many, those car journeys, those bonds, are the defining days of their formative years, the blissful purgatory between adolescence and adulthood. Nothing to worry about, nothing to do., who used the pseudonyms Two Fingas and James T Kirk respectively.

Eddie Otchere: I think it was that industrial sound, something that’s a bit more closer to our urban experience and slightly more techie, more twitchy. I didn’t go to a church where they had really nice music. I just heard sirens and Concorde flying over my head and it felt like it mirrored that industrial experience.

Andrew wrote the bulk of it, I wrote in intersected pieces, that sort of drifted off and allowed space in it. My ultimate influence at that point would have been the poetry of Sun Ra. That’s the thing that drove me to write. EO: I still hear jungle in so much post-jungle music – it’s in dubstep, garage, proper drum and bass. It’s a lovely thing to hear when it pours out of the studios, because you remember the relationships we had – the radio stations, the dubplates, the cutting houses, following certain DJs on certain nights, just to hear the new sounds live in that future. If I find the right stream, I can tap into something new that's coming from a different group of kids today.

EO: I was going through the contact sheets of the Aaliyah shoot the first time we met Aaliyah – Andrew was writing the story and I was doing the shoot because we were both like “fuck yeah it’s Aaliyah innit”. We did it and it’s lovely, there’s a beautiful portrait of Andrew and Aaliyah together – Andrew’s pulling a silly face and Aaliyah is just amazing.

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