Non-metronomic beauty, though, makes me think Morton Feldman. Which makes me wonder if there are remixes floating around out there of performances of his percussion pieces…

nothing but drum n bass

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this one is via pandagon. (short essay: ‘Amen’ Loop in DnB)

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http://en.wikipedia.org/wiki/Polyrhythm

Nigerian percussion master Babatunde Olatunji exploded on the American music scene in 1959 with his album Drums of Passion, which was a collection of traditional Nigerian music for percussion and chanting. The album stayed on the charts for two years and had a profound impact on jazz and American popular music. Trained in the Yoruba sakara style of drumming, Olatunji would go on to teach, collaborate and record with numerous jazz and rock artists, including Airto Moreira, Carlos Santana and Mickey Hart of the Grateful Dead. He reached his greatest popularity during the height of the Black Arts Movement of the 1960s and ’70s.

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http://en.wikipedia.org/wiki/Drum_and_bass

The first is the US breakbeat scene which emerged in the 1980s, the most famous artist being NYC’s Frankie Bones whose infamous ‘Bones Breaks’ series from the late ’80s onwards helped push the house-tempoed breakbeat sound (especially in the UK) and can be said to be a direct precursor to the UK breakbeat/hardcore scene.[3]

The second is Kevin Saunderson, who released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late ’80s which were hugely influential in drum and bass terms. One of his more infamous basslines was indeed sampled on Renegade’s Terrorist and countless others since, being known simply as the ‘Reese’ bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991/1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig’s Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go. [12]

The third precursor worth mentioning here is the Miami, USA Booty Bass/Miami Bass scene, first popularised by 2 Live Crew in the mid to late ’80s. There are clear sonic parallels with drum and bass here in the use of uptempo synths and drum machines in producing bass-heavy party music.

Both the New York breakbeat and the Miami Bass scenes were strongly influenced by the ‘freestyle’ sound of New York, Chicago and Miami in the 1980s which incorporated electro, disco and Latin flavours, and which was in turn a key influence on the UK’s acid house/hardcore/rave scene.

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btw, the list above is a long ass one. (1:20 total. Most songs run over 7 minutes, with Matmos going for 18 mins, and LeClerc 12 mins. so may not be a lounge soundtrack.)