Recording
We Are I.E.
Lennie De Ice
Independently chosen for2 of our lists. Here is what each of them said.
- Released
- 1991
- On
- Breakbeat Hardcore and The Waxonia Desk — 160
- Updated
- 2026-08-29
Analysis
9 sections, the first drop at 0:07, 2% of the way in.
- Tempo
- 136 BPM
- holds throughout
- Key
- Eb minor
- estimated from the pitch content
- Dynamic range
- 5.9 dB
- moderate range, typical of a modern master
- Length
- 4:58
- measured from the YouTube master
The record, end to end
Click the track to jump · ← → move between sections
- 0:00Aintro0
- 0:27Asteadybar 16
- 0:56Bpeakbar 32
- 2:07Abuildbar 72
- 2:29Bsteadybar 84
- 2:43Abreakdownbar 92
- 2:57Bsteadybar 100
- 4:07Abreakdownbar 140
- 4:20Aoutrobar 147
Drop at 0:07 (bar 4). 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 6 stretches of the same music (A)
- Lasts
- 0:27
- Energy
- 13
- Brightness
- 29
- Density
- 0
- drums
- bass
- vocals
- other
holding a level — the groove, neither rising nor falling · instrumental · one of 6 stretches of the same music (A)
- Lasts
- 0:29
- Energy
- 85
- Brightness
- 61
- Density
- 100
- drums
- bass
- vocals
- other
sits at the top of this record's range · instrumental · one of 3 stretches of the same music (B)
- Lasts
- 1:11
- Energy
- 100
- Brightness
- 97
- Density
- 20
- drums
- bass
- vocals
- other
energy and brightness climbing without a break · instrumental · one of 6 stretches of the same music (A)
- Lasts
- 0:21
- Energy
- 64
- Brightness
- 0
- Density
- 72
- drums
- bass
- vocals
- other
holding a level — the groove, neither rising nor falling · instrumental · one of 3 stretches of the same music (B)
- Lasts
- 0:14
- Energy
- 79
- Brightness
- 96
- Density
- 12
- drums
- bass
- vocals
- other
energy falling away mid-record, percussion thinning · instrumental · one of 6 stretches of the same music (A)
- Lasts
- 0:14
- Energy
- 21
- Brightness
- 45
- Density
- 24
- drums
- bass
- vocals
- other
holding a level — the groove, neither rising nor falling · instrumental · one of 3 stretches of the same music (B)
- Lasts
- 1:10
- Energy
- 60
- Brightness
- 100
- Density
- 19
- drums
- bass
- vocals
- other
energy falling away mid-record, percussion thinning · instrumental · one of 6 stretches of the same music (A)
- Lasts
- 0:13
- Energy
- 11
- Brightness
- 43
- Density
- 36
- drums
- bass
- vocals
- other
the closing fall · instrumental · one of 6 stretches of the same music (A)
- Lasts
- 0:38
- Energy
- 0
- Brightness
- 51
- Density
- 56
- 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
- steady
- holding a level — the groove, neither rising nor falling
- peak
- sits at the top of this record's range
- build
- energy and brightness climbing without a break
- breakdown
- energy falling away mid-record, percussion thinning
- outro
- the closing fall
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. 1 in Breakbeat Hardcore
Routinely named as the first jungle record, made two years before anyone used the word. A reggae bassline under a hardcore break, and the entire future of British bass music in four minutes.
Picked by The Waxonia Desk — 160
Usually named as the first jungle record, two years before the word existed. Origin records are generally more use to writers than to DJs, and this one is the exception because it still works.