Recording
Bacteria
Ed Rush & Optical
- Released
- 1998
- Label
- Virus
- On one list
- Drum and Bass
- Updated
- 2026-08-28
Analysis
11 sections, the first drop of 2 at 1:30, 22% of the way in, 19% of it spent climbing.
- Tempo
- 172.2 BPM
- the pulse reads at half this too — counted the way the genre counts it
- Dynamic range
- 11.3 dB
- wide open — the quiet parts are genuinely quiet
- Length
- 6:48
- measured from the YouTube master
The record, end to end
Click the track to jump · ← → move between sections
- 0:00Aintro0
- 0:24Abuildbar 9
- 0:46Bliftbar 17
- 1:10Bbreakdownbar 26
- 1:28Cpeakbar 32
- 1:50Cpeakbar 40
- 3:36Dbuildbar 78
- 4:09Cliftbar 90
- 4:33Cbuildbar 99
- 4:55Cpeakbar 106
- 6:25Aoutrobar 139
Drops at 1:30 (bar 33), 4:08 (bar 89). A drop is a moment, not a stretch — marked on the track above rather than shaded across it.
0:00 · A · intro
opens the record below its own average energy · instrumental · one of 3 stretches of the same music (A)
- Lasts
- 0:24
- Energy
- 0
- Brightness
- 58
- Density
- 36
- drums
- bass
- vocals
- other
energy and brightness climbing without a break · instrumental · one of 3 stretches of the same music (A)
- Lasts
- 0:22
- Energy
- 1
- Brightness
- 94
- Density
- 49
- drums
- bass
- vocals
- other
a short rise that does not resolve — a fill or a transition, not a build · instrumental · one of 2 stretches of the same music (B)
- Lasts
- 0:24
- Energy
- 47
- Brightness
- 89
- Density
- 82
- drums
- bass
- vocals
- other
energy falling away mid-record, percussion thinning · instrumental · one of 2 stretches of the same music (B)
- Lasts
- 0:19
- Energy
- 28
- Brightness
- 84
- Density
- 62
- drums
- bass
- vocals
- other
sits at the top of this record's range · instrumental · one of 5 stretches of the same music (C)
- Lasts
- 0:22
- Energy
- 90
- Brightness
- 65
- Density
- 98
- drums
- bass
- vocals
- other
sits at the top of this record's range · instrumental · one of 5 stretches of the same music (C)
- Lasts
- 1:46
- Energy
- 90
- Brightness
- 100
- Density
- 51
- drums
- bass
- vocals
- other
energy and brightness climbing without a break · instrumental
- Lasts
- 0:34
- Energy
- 54
- Brightness
- 0
- Density
- 0
- drums
- bass
- vocals
- other
a short rise that does not resolve — a fill or a transition, not a build · instrumental · one of 5 stretches of the same music (C)
- Lasts
- 0:24
- Energy
- 88
- Brightness
- 52
- Density
- 100
- drums
- bass
- vocals
- other
energy and brightness climbing without a break · instrumental · one of 5 stretches of the same music (C)
- Lasts
- 0:21
- Energy
- 87
- Brightness
- 86
- Density
- 55
- drums
- bass
- vocals
- other
sits at the top of this record's range · instrumental · one of 5 stretches of the same music (C)
- Lasts
- 1:31
- Energy
- 100
- Brightness
- 80
- Density
- 56
- drums
- bass
- vocals
- other
the closing fall · instrumental · one of 3 stretches of the same music (A)
- Lasts
- 0:22
- Energy
- 39
- Brightness
- 57
- Density
- 22
- drums
- bass
- vocals
- other
Brightness and density are scored against this record's own sections, not against music in general — they say how its parts differ from each other, and nothing about how it compares to anything else.
- drums
- the drum kit, separated from the mix
- bass
- the bass part, separated from the mix
- vocals
- the voice, separated from the mix
- other
- everything else — synths, guitars, keys, strings
Separated into parts by a source-separation model, so each lane is the instrument it names.
- intro
- opens the record below its own average energy
- build
- energy and brightness climbing without a break
- lift
- a short rise that does not resolve — a fill or a transition, not a build
- breakdown
- energy falling away mid-record, percussion thinning
- peak
- sits at the top of this record's range
- outro
- the closing fall
Against Drum and Bass
Drops where Drum and Bass usually drops — 22% of the way in.
11 sections here; 9 is typical.
Drawn from the 13 records on our Drum and Bass list we have measured. The line over the energy curve above is that median.
Measured from the YouTube master on . Section labels describe how the energy of the recording moves, not its musical form — a machine can see loudness climb and jump, it cannot hear a chorus arrive. Anything we were not confident enough to state is left out rather than shown with a caveat.
Ranked No. 11 in Drum and Bass
Techstep at its most malevolent. Distorted, mechanical and airless — this is the sound that pushed the genre out of jazz clubs and into something genuinely frightening.