叛徒陷阱是关于鼓和贝斯音乐的权威著作。通过对现场所有主要演员进行的原创采访，该片将丛林/鼓与贝斯的历史从早期的音响系统文化和狂欢音乐追溯到今天。
凭借超高速的快拍、扭曲的低音压力和广谱的声音，鼓与低音很快在青年文化中催生了一场全新的运动。最初是来自英国内陆城市的非法街头混响，在短短几年内发展成了一种赢得水星奖、位居榜首、征服世界的流派。它的基础制作人和DJ所产生的突破性魔法将声音科学推向了音乐世界的新水平，并以各种方式影响了所有其他电子音乐流派。
从新的冲击到全球性的现象，鼓与贝斯已经从对边缘化的不满转变为对建制的认可，然后再次出现。这是一个多元文化的胜利，是一个关于抵抗和韧性的故事，它吸收了一些先驱，比如戈尔迪、罗尼·斯泰尔、凯米斯特里和斯托姆、福特克、法比奥和格罗夫里德，以及更多叛逆的特立独行者，甚至一度是大卫·鲍伊。
通过对关键曲目的生动描述和场景发展的详细沿袭，《叛徒陷阱》追溯了这一流派的孕育过程，同时也考察了它的音乐曲折、全球传播和持久流行。最后，它提出了这样一个问题：一种在黑人音乐文化中有着如此重要基础的音乐类型，由如此多的黑人先驱者在其形成年代发展起来，肯定永远不会被“粉饰”。可以吗？
Renegade Snares: The Resistance And Resilience Of Drum & Bass
Renegade Snares is the definitive book on drum & bass music. Pieced together using original interviews conducted with all the scene’s main players, it traces the history of jungle/drum & bass from its early roots in sound system culture and rave music right through to the present day.
With its hyper-speed breakbeats, warping bass pressure, and vast spectrum of sounds, drum & bass quick spawned a whole new movement in youth culture. What began as an outlaw street reverberation from the inner cities of Britain developed into a Mercury-winning, chart-topping, world-conquering genre in just a few short years. The frontier-breaking sorcery that emanated from its foundational producers and DJs pushed new levels of sonic science into the music world, and it has influenced all other electronic music genres in assorted ways.
From the shock of the new to a global phenomenon, drum & bass has morphed from frowned-upon marginalisation to establishment approval—and back again. A multicultural triumph, it is a story of resistance and resilience that takes in pioneers such as Goldie, Roni Size, Kemistry & Storm, Photek, Fabio & Grooverider, and many more renegade mavericks—even, at one point, David Bowie.
With vivid descriptions of key tracks and a detailed lineage of the scene’s development, Renegade Snares traces the genre’s gestation while also examining its musical twists and turns, worldwide spread, and enduring popularity. And, ultimately, it asks: surely a genre of music with such a significant grounding in black music culture, developed by so many black pioneers in its formative years, could never be ‘whitewashed’ . . . could it?
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