Lenny De Ice, Rest In Peace
The man behind pivotal tune 'We Are I.E.' has passed
Welcome back to Music Is The Answer the hardly regular newsletter from myself, Marcus Barnes. Life feels like it’s getting back on track at the moment. The last couple of months have filled me with the energy of years gone by, combined with the habits and outlook of my “newer self”. It’s been a positive turnaround and I’m pleased to say that the momentum continues up to now.
I’ve got some great stuff lined up for the newsletter over the coming weeks, interviews and features etc… to get your teeth into. I want to channel my magazine/reporting experience into making this newsletter a little more meaty, while still keeping it on the personal archive tip as well. So keep your eyes open, for the newsletter could appear in your inbox at any given time!
Sad news broke over the last 24 hours about the passing of Lenny De Ice, a man who helped design the architecture for jungle music. So I’ve written an obituary for him. You’ll also find a couple of album recommendations, a review of new(ish) music venue Soul Mama, a spotlight on garage specialist DJ Redlock and some other bits and pieces I thought I’d share…
You know the drill by now, please share if you feel called to - comments, discussions and debates are very much appreciated too!
RIP Lenny De Ice
Lenworth Green, AKA Lenny De Ice, passed away yesterday aged 57. Sending love to all his family and friends. According to a video posted on Facebook by friend Ian Degale (AKA Maddness from KMA), Lennie had been battling cancer for a while. The two worked together as Madd-Ice, as well as being close friends for years.
What to say about ‘We Are I.E.’, Lenny De Ice’s seminal cut from 1991 (and made in 1989, no less)? Some call it the original jungle tune, certainly it was hugely influential in establishing a sound that was uniquely British; merging rave and reggae in a way that catapulted it into the consciousness of DJs and ravers across the UK. Groundbreaking in its composition and energy, chaotic in places, with that hefty bassline, amen breaks over 4x4 beats, the spinback samples, sporadic gunshot effects - the kind typically heard on soundtapes from Jamaica - and the now-iconic ‘Let me hear you scream’ sample setting it all off. The tune has it all and, even today, it will still mash up the dance. Big time.
‘We Are I.E.’ is widely acknowledged as a benchmark tune. One that, in Grooverider’s words, changed the game. It has been noted, by many of those who were there when it first appeared, that the tune inspired a lot of other producers to try to make something similar. Fabio and Grooverider played the tune at Rage, a spot that was intrinsic to the development of what became jungle. A lot of music around that time was edging into new territory, artists were experimenting, threading their own influences into the styles that were coalescing; breaks, b-sides, dub mixes, Belgian new beat and the pioneerin stuff R&S were putting out, Detroit techno… We all know this part of UK electronic music history by now. It gets a little oversimplified through historic narrative, as there was pockets of stuff happening all over the country in a similar vein but, essentially, a combination of influences lead to the emergence of what we now know as jungle.
Labels like Shut Up And Dance, Reinforced and Ibiza Records were among those contributing to the formation of the emergent sound. ‘We Are I.E.’ came along with its thunderous b-line and played a key role in solidifying one new branch of the sprawling tree of British electronic music. It’s versatility is evident in the amount of DJs who were playing it, across the board, throughout the early nineties and beyond - you can hear it (at 4mins 50) in this early garage set by Dominic Spreadlove at Gass Club in 1995, for example.
East Londoner Lenny didn’t do a lot of press, but he spoke to Paul Terzulli and Eddie Otchere, who wrote DnB history book Who Say Reload [Velocity Press] in 2021. In an extract from the book, shared by The Social, he describes his early influences, and details the whole story behind the making of ‘We Are I.E.’, including the moment it was debuted by the late, great DJ Randall at an event called Living Dream in Leyton.
“He (Randall) had dubplates of the whole EP, which no one had heard before. I remember his set and while I was standing by watching what was happening, he told me he was going to drop my tune. We Are I.E. came on, and there must have been at least six thousand people in there but I could only see the first couple of thousand and it looked like they were dancing to it, but slowly. I wasn’t sure if they understood it or if they liked it and wondered if John had picked the wrong track. Then Randall said he was going to play it again at the end of his set. When he played it the second time, I could see more movement than before. They were familiar with it and liked it. The people at the front were having it and as I walked further back, the crowd was into it.”
He missed the tune blowing up in the raves due to a jail term, but heard it while he was on the wing - including a play on Kiss FM by another legend who’s no longer with us, Colin Faver. ‘We Are I.E.’ was originally signed by the late John Aymer, one of the trio of brothers connected to the influential De Underground record shop in Newham, east London. He played a load of his music to John and the 15th tune was ‘We Are I.E.’, which John picked out and decided to release. He played to a few people and it went over people’s heads a little, as most groundbreaking tunes often do.
It’s hard to imagine hearing something like this for the first time, being so accustomed to that hybrid of breakbeats, ragga basslines and so on, as we are now - although, ‘We Are I.E.’ still has something about it that’s just unique and spellbinding. When I got into jungle myself, the ragga/dancehall influence was one of the main things that really captured my imagination. I’d already been listening to ragga and sound tapes prior to jungle, so that connection was one of the main catalysts behind my love for the music from 1994 onwards.
Lennie’s connection to the shop and its core family of DJs was essential to the making of the tune. Uncle 22, who was part of the shop’s crew taught Lennie how to use Cubase, which he used to produce it. This also led to Randall having it on dubplate, as Randall was part of the inner circle at De Underground. The story behind ‘We Are I.E.’ really highlights how critical record shops have been in the development of music culture.
Lennie launched his own label Do Or Die Records, which had seven releases throughout 1994, focused on the ragga style of jungle. Mostly comprised his own productions and collaborations with other artists, that strong Caribbean influence is prevalent through the majority of his releases on Do Or Die. Lennie continued to make music until the early 2000s.
A broad range of luminaries have been paying their respects online, including Jumpin’ Jack Frost, who posted: “Rest in peace, Lennie De Ice, a true pioneer and innovator in the jungle music scene. Lennies groundbreaking work, including the iconic track We Are E, transformed the genre and left an indelible mark on the music community. Lennie’s creativity, passion, and vision inspired a generation of artists and fans alike. His contributions not only shaped the sound of jungle music but also helped build the foundation of a movement that continues to thrive today. To those who knew him, Lennie was more than a talented artist—he was a kind soul, a collaborator, and a friend. His energy and presence will be deeply missed by everyone whose lives he touched. As we mourn this loss, let us also celebrate Lennies legacy by remembering the music and joy he brought to so many. Our thoughts are with his family, friends, and the global community that his work inspired.”
A-Sides: “Sad news coming in this evening about the passing away of Lennie De Ice. Another one gone way too soon. I remember on 22nd June 1991 we all rolled out to Living Dream at The Eastaway Sports Centre in Leyton with Randall McNeil armed with a song called WE Are I.E. Llittle did we know the huge impact that this song was about to have on the dance music industry. We knew it was something big but this was a game changing moment that I will never forget. On that night your legacy was set. Sending love and condolences out to your family and close friends. Rest In Peace Lennie De Ice.”
DJ Ron: “The last time we spoke, we laughed and joked about the years gone by and all that time your spirit was high even with everything you knew about your illness. You are a true definition of a hero and with your undisputed legacy as a pioneer of this music scene, your name will live on forever and ever while many stand on the shoulders of you and the other greats before you. Thank you my Brother for everything you did for us all. Rest Easy until we meet again. Your friend always | Ron.”
Grooverider: “Sorry to hear of the passing of Lennie d ice .. producer of one if not the seminal anthem of jungle music .. thankyou legend r.i.p”
Bryan Gee: “Another legend as left us … Sad news hearing Lennie d ice passed away …. You’ll always be remembered as the person that gave us jungle … and we’re so thankful for that. RIP my Brother.”
Maddness KMA: “Lennie De Ice - My dearest friend and confidant, we've shared countless experiences over the years, from our wedding where you served as my best man to our numerous adventures as MaddIce. I will always cherish the memories of our road trips, bookings, and DJ sets. Our recent reunion, filled with joyful tears and reminiscing, reaffirmed our enduring bond. Distance has never diminished our brotherhood; we are, and always will be, family. I miss you deeply and will forever hold you in my heart. Rest in peace, my brother. Don't forget those snares. #LennyDeIce the one and only legend, risen in power this morning. Fly high.”
DJ Spoony: “A pioneer, trailblazer but more importantly, what a guy. Len, love always. Thank you for all the love from day dot brother. We will miss you. No doubt. X How about creating a tune that would inspire the most definitive of sounds from the UK. #Legendary.”
Billy Bunter: “RIP Lennie De Ice. The visionary who created the ground breaking classic - We Are IE. Lennie kicked the door down, and showed the world what drums and bass was all about in the early 90s, and carved a uniquely homegrown style for producers to follow for decades, and decades and decades! His legacy will live forever!!!”
dBridge: “He was a huge part of my early musical journey. After my first release as The Sewage Monsters, Gary (GMC Blood) and I formed the Dubb Hustlers. We didn’t have our own setup, but Gary was well-connected and had the gift of the gab, which got us invited to Lennie’s studio. Lennie was part of the Armshouse Crew back then and I remember they used to host the Drum and Bass stage at Notting Hill Carnival in the early ’90s. He released our first Dubb Hustlers record and introduced me to other labels I would later release music on. I essentially did my apprenticeship at the Armshouse studio, jumping the train to Leytonstone most days to learn my craft. I was the quiet, dreadlocked kid in the corner, watching all the people I’d go raving to come in and out of the flat. I’m pretty sure Lennie was the first person to take me to Music House too. Spending time with him, Helen, and Zeus was an important part of my journey, and I owe a lot to Lennie and the world he introduced me to. The influence of We Are I.E. cannot be overstated on UK dance music. It’s foundational and will always hold a special place for me. Thank you, Lennie, for helping me along this path and love to all his friends and family."
MC Navigator: “Upful & Powerful • Home to Glory Lenworth aka Lennie De Ice • such a humble and talented brother • I know him & @uncle_22 from they were going to school in Walthamstow before the fame • Uncle 22 (Desmond) showed us how to produce on Cubase etc • he introduced me to @coolhandflexuk & Randall in 1989/90 they were all good youts who showed me love & respect because I was already smashing the sound system circuit with Uncle 22 bigger brothers Ribs Executive & Roy Ranking the teacher from the 80s • my condolences to all family & friends • May your soul rest in peace Lennie and your musical legacy live forever • fly high king • honourable respect.”
Mark XTC: “RIP Lennie De Ice. The man that made “We are I.E” a tune that changed the game, so sad to be writing this about another pioneer in the music industry, not only was We Are I.E a fantastic tune, it was a song that paved the way of thousands of producers who blended a heavy 808 sub with an amen break!! Thank you Lenny. Fly high.”
Bizzy B: “Guys, sad news. I just heard that a dear friend of mine, a true innovator of the jungle scene, Lenny De Ice, has passed away. Such sad news, guys. Lenny is a man who learned his craft from day one. Made the famous track, groundbreaking track, ‘I. E.’ - one of the biggest ever, first time “breaking into the clothes shops up West End” track that I heard. Let's hope he gets the total respect and credit he deserves for his music. Because for me, one of my total brethrens, we met in Trip City, 1989. Absolute legend. Absolute legend in the game, man. R. I. P. Condolences to all friends and family. Peace out.”
Here’s a clip of Lennie playing at The History Of Hardcore, with Bizzy B, in 2019
Threshold: “Taken me a bit to process, Lennie De Ice i don't think anyone can really say how much your an enormous cornerstone in this scene of hardcore, jungle and drum and bass what you did paved the way for me and many others to walk, since i started buying music you was one of the very few who really encouraged me in my journey in music. Thank you, the......... ORIGINAL DAY ONE JUNGLIST. ''WE AR IE!!!'' ARMSHOUSE BIZZNIZZZ!!!”
Futurebound: "2024 can do one Lennie De Ice ‘We R E’ one of the tracks that paved the way for us all to do this thing. Hearing this for the 1st time when Fabio dropped it 6am at Weekend World in 91, limbs everywhere when the Amen dropped. A memory to last forever. Thankyou Lennie De Ice.”
Trawling through the posts and comments about Lennie I found online, it’s clear he was a good natured, humble guy who helped others on their way, too. Even before he passed, you could find thousands of positive comments from people sharing their experiences of hearing ‘We Are I.E.’, their respect for Lennie’s legacy and their memories of a hugely progressive time for music.
“It took me a long time to make but I did it exactly how it was supposed to be done and it resonated with people. I felt like we were a musical family on a mission, an example of the future. It still gets played in old school raves and on the UK Garage circuit, but I never had an ego about how big the record was as the people around me kept me grounded. To be considered one of the pioneers for the template of jungle is an honour,” he said in Who Says Reload.
The reverberations of that seminal tune are still being felt today. For me, it’s a perfect representation of the UK’s multicultural rave culture - Jamaica’s soundsystems, sound clashes and the tapes that poliferated those clashes worldwide, the low end frequencies spliced with hip hop breaks, house beats and straight up rave - distilled into just under six minutes of pure contagious energy. His impact on electronic music is vast and almost impossible to quantify. Timeless and unparalleled.
RIP Lennie.
Album Recommendations
Raz & Afla - Echoes of Resistance [Wah Wah 45s]
I worked on the press release for Raz & Afla’s first LP, so I know a fair bit about how they got together and I was excited to learn they were working on a second album. Raz sent me a physical copy a few weeks ago and I said I’d be more happy to recommend it in my newsletter. Both men had a long history with music before they joined forces and, like a lot of double acts, there’s some kind of mystical magic at work when they team up.
Echoes Of Resistance sees the duo pushing further into their exploration of the interplay between electronic beats and programming, alongside Afla’s virtuoso approach to percussion and his heartfelt vocals. This exchange of cultural references and sonic influences results in music that defies classification. Yeah, I can hear the African influence loud and clear, but is it afrohouse? No. It’s a real meeting of minds and musical personalities, and it’s so so vibey.
What it is, is what I love most —> music that hasn’t been bound by a tight framework. Together Raz and Afla get playful and creative, channeling their combined experience into a variety of tunes that reflect their personal outlook; from straight up dancey and euphoric cuts like ‘Baby Moo’ and ‘Voodoo Zeezee’ to expressing their political and social views with ‘What’s Going On?’ or ‘On Da Phone’ - one of my faves. The drum programming is especially exciting for me on this one. In fact, the drums across the whole LP really do it for me, as well as the funk influences, and the deep, groovy basslines. I’ve been cutting up the rug in my lounge to this one. Big up Raz & Afla!
Buy the album on Bandcamp here.
Uf0 by Uf0 [Fourier Transform]
Fourier Transform is a quality little label run by my pal, Wil and his mates, JC and Jon Mace. I’m very biased here, I know, but I’m a big fan. Wil has actually been an influence on my musical outlook. Way back in the early 2000s, he shared a few of his mixes with me, which I still listen to up to today. His mix of progressive house and classic techno on those CDs played a part in opening me up to listening to other styles of electronic music outside of drum’n’bass. I really cherish those mixes, they connect me back to a transitional time in my life - when I moved to Manchester and lived on my own for the first time in my life.
This album-length release from Spanish artist Uf0 has been pressed onto beautiful lilac marbled vinyl. Before I get into the music, I wanted to highlight the beauty of an independent like this one. Each release comes with an info sheet, created by Wil himself. This one has a “How-To” guide for making a crop circle - and it’s totally authentic. In fact, I followed the very same instructions myself (in person), when I made a crop circle for a feature I wrote for FRONT Magazine in 2003. Another release has a comedic guide for record buying obsessives who want to keep their purchases a secret from their spouse. Love it.
Across nine tracks Uf0 delves into electro realms, spacious and expansive interstellar atmospheres, haunting melodies, gorgeous pad work and emotive breakbeat-driven cuts. The kind of album you can put on after a long day at work, put your feet up and drift away into the cosmos. Among my personal faves are ‘Enzo’, which is a driving, techno cut shrouded in wonderful musicality. ‘God Moving Arp’ is just beautiful, I’ve had that one on repeat. Last track ‘Talitha Modmatrix’ utilises amen breaks for its dynamism, with a strong sense of optimism in its upbeat melodies. Great stuff from the label, and the first I’ve heard of Uf0, who I’m very impressed with. I can’t wait to hear what they drop next…
Buy the album on Bandcamp here.
Warm & Nourishing Vibes at Soul Mama
This past weekend I braved the storm to venture over to Stratford for a visit to Soul Mama, a new live music venue and restaurant, launched by YolanDa Brown and Adetokunbo “T” Oyelola. Located in the Hilton Gantry Hotel, it’s a swish, yet warm and welcoming spot, that broke the record for the largest Kickstarter-funded restaurant in the world. 541 backers pledged a staggering £248,148 to help bring the project to life, which is amazing.
I was invited to the launch back in September, but couldn’t make it, so I was offered a couple of free spots for any forthcoming act on their listings. It was such a privilege to be able to choose from so many great acts. I ended up choosing the House Gospel Choir, who I’ve been following for quite a while. I took my cousin Sharifa Maria, and my daughter.
Bit of a mish getting there from Reading, with pretty much every train cancelled, but we made it in the end. The food was lovely, just my kind of thing - heavy Caribbean influence, with patties and barbeque wings to start and a creamy chicken curry as a main, not forgetting a mouthwateringly tasty carrot cake for dessert. I’d go back just for another slice of that. The afternoon slot (2 - 4.30pm) was sold out, with a lot of “older” groups (i.e. my age!) and some younger peeps, too.
Have to say, the House Gospel Choir were absolutely brilliant. There’s always such a magical quality to hearing dance music tunes performed live, as I have many times with various orchestral performances over the years I’ve been writing about music. In this case, it was the human voice that amplified the impact of hits like Ultra Nate’s ‘Free’, ‘Battle’ by Wookie or Livin’ Joy’s ‘Dreamer’. The vibes were high, the main host was very charismatic and it wasn’t long before most of the ravers in the house got out of their seats and had a little boogie and singalong - including my bubba. I hardly took any pics or videos as I was either eating or simply enjoying hanging out with my peeps and soaking up the music.
We had such a lovely time, and the venue itself, is very impressive - stylish, high-spec with a down-to-earth vibe to it. Recommended.
Check out their listings. They have loads of great performers coming up over the next few months. Thanks to all the team!
Spotlight: DJ Redlock
So, I fucking LOVE garage - I’m listening to an old pirate radio set by Lennie De Ice’s close pal Maddness as I type, actually. Over the past month, it’s the genre that I’ve listened to most without a doubt. I keep going down garage rabbit holes - listening to mixes, trying to ID tunes and track them down, then adding them to my Want List on Discogs and desperately trying not to buy them. I also screen record clips on my phone and post/gush about the tunes on my Instagram Stories. It’s a borderline obsession…
God bless the algorithm because it was due to a recommendation that I came across DJ Redlock on YouTube. He regularly posts these “Authentic Old Skool Garage Bangers” hour-long mixes, and every single one is on rotation in my lounge right now. His record collection represents the depth and diversity of garage; from the jazzier side, to the reggae influenced cuts, darkside, stuff that appeared at the cusp of grime and dubstep, forgotten or lesser-known bits that I only heard once or twice on pirate radio, through to some of the tunes that have become more prominent in the annals of garage history.
Some deep cuts get played in his sets and it makes such a change to hear those tunes that you just don’t really hear much elsewhere. As someone who is still getting the hang of playing vinyl, I also greatly admire how smoothly he rides the pitch, mixing without touching the platter (only to cue up the tracks) every time. And his hosting style on the mic is pure pirate radio, so a lot of nostalgia comes through in these mixes from the way he handles the mic, too. You can tell he was immersed in the music, raves and radio culture in the mid-90s and I’ve been enjoying all 38 (so far) of his uploads. Redlock also shares the names of most of the tunes he plays and, if he doesn’t and someone asks for an ID in the comments, he will always oblige. He also shares an download link for each mix, what a gent.
So, if you’re into garage, go and check him out. His channel doesn’t have many subscribers yet, and his uploads are also quite low on views. Given the quality and scope of what he’s doing, I’m sure he’s going to blow up soon enough.
The Snowman x David Bowie: Charity Christmas Jumper
Had to shout out this jumper, purely on the persistance of the PR who emailed me about it. I won’t say how many times she followed up, but I commended her when I eventually replied! Bless PRs, us journalists really don’t make their jobs easy do we?!
It pays homage to the jumper he wore in the intro to classic Christmas animation The Snowman (an adaptation of the book by Raymond Briggs). I remember crying as a kid when the snowman melts at the end. I still try to watch every Christmas, it’s such a tradition.
Anyway, you may not remember this, but David Bowie featured in the intro to the animation when it was screened in the States. (From Wikipedia): “In the sequence, Bowie was filmed in the attic of 'his' childhood home and discovering, in a drawer, a scarf closely resembling the one given to James towards the end of the film; he then proceeds to narrate over the opening with his own small variation of Briggs' monologue (from the British screening).”
The jumper has been produced by social enterprise notjust, who make a variety of jumpers including the infamous Gregg’s one you may have seen out and about. They’ve raised over £100,000 for charities including Save the Children, Kicking Off, Mind, The Trussell Trust and many more. 50% of the proceeds from this jumper go to St Barnabas Hospices (Sussex) Ltd (trading as Chestnut Tree House Children’s Hospice), a charity of which Raymond Briggs was a friend and patron.
You can buy the jumper, and other items from The Snowman x Bowie collection, here.
Right, That’s The Lot!
Apart from one last tune, of course. Now, THIS… I want this for Christmas and it doesn’t cost much on Discogs. I’ve listened to this a ridiculous amount of times over the last couple of weeks. Absolute T-U-N-E!! Big up the mighty Joey Musaphia.
Hello thank you for this fab article on Lennie De Ice! I have started a wikipedia article here:https://en.wikipedia.org/wiki/Lennie_De_Ice