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  • EADD Moderators: Pissed_and_messed | Shinji Ikari

A thought and attempt for debate on the rise of dubstep...

JB said:
Big apple records was one of my go to shops along with swag records and wax records run by the promoters of future dance for dnb and other stuff.

Three influential record stores within a 5 minuets walk.
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You lucky bass-tard ;) Big Apple was a big turning point in the progression of the sound, shame it's not still kicking.

The "deeper sound" is still going. I'm all for the occassional loud and lively, but it's sadly tainted the sound.
The term "Dubstep" really doesn't apply anymore, I'm sure it was coined by some magazine...

Anyway, music - That's all it's about to me. S'why I didn't stick to pure half-step bassyness on my album. Wanted some less convensional stuff in there and some DnB and Funky Electro and Trip Hop.
One shouldn't pocket themselves into a genre, it does naught but limits creativity.

And yes, Coki and Mala are still going strong :) Feeling Mala's deeper vibes personally but each to their own ay? ;)
 
I wouldn't classify Skrillex in the same genre as the dubstep which emerged into the main stream a few years back, far from it. I also think Skrillex is quite fun (as I do Bieber) - potatoe potato.
 
SamhainGrim said:
The internet has at least cut out that particular business element to some extent.
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pffft!


C60's and mix tapes. no biznizz was ever required, or intended, sir


since the technological Darwinians have made them superflous in terms of distributing relevant new music of the day, to the hungry few, C60's and 'mix tapes' in general as a concept and tool have still continued to evolve in their own way, and quite honestly are still the stuff of cupids arrow, revenge, mirth, sadness & majesty to anyone with a pulse and a passion for humans, wanting to tell another their thoughts and feelings ... even tho it's switched toCD format

the 1 [which actually came in 3 CD's] I got a few years back, managed to have me crying in a lovely heap of < 3's & yumminess by track 5, cd1.

so, thar! x
 
fanofyou said:
deffo! still a lot of post dub stuff getting made that I really like though, pangea pearsoun sound etc. hessle audio and hotflush are quality labels.
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Hessle audio label is "where its at", you see the hessle t shirts they did, sold out before i could get one.
 
Loefah's Swamp 81, Hessle, Hotflush, Hyperdub are all still putting out interesting and varied stuff. Quite a lot of it isn't really "dubstep" though - e.g. Scuba's new stuff, Blawan etc...
 
Marmalade said:
pffft!


C60's and mix tapes. no biznizz was ever required, or intended, sir


since the technological Darwinians have made them superflous in terms of distributing relevant new music of the day, to the hungry few, C60's and 'mix tapes' in general as a concept and tool have still continued to evolve in their own way, and quite honestly are still the stuff of cupids arrow, revenge, mirth, sadness & majesty to anyone with a pulse and a passion for humans, wanting to tell another their thoughts and feelings ... even tho it's switched toCD format

the 1 [which actually came in 3 CD's] I got a few years back, managed to have me crying in a lovely heap of < 3's & yumminess by track 5, cd1.

so, thar! x
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That made me smile and remember the days of mix tapes, tape trading and scouring record fairs for dodgy bootlegs. :)

Don't know they're born... etc. etc. etc.
 
James Blake said:
The things that drew me to dubstep in the first place weren't necessarily the kind of testosterone-driven environments that you got from say, late jungle or some of the drum 'n' bass stuff that was happening after that. I think the dubstep that has come over to the US, and certain producers — who I can't even be bothered naming — have definitely hit upon a sort of frat-boy market where there's this macho-ism being reflected in the sounds and the way the music makes you feel. And to me, that is a million miles away from where dubstep started. It's a million miles away from the ethos of it. It's been influenced so much by electro and rave, into who can make the dirtiest, filthiest bass sound, almost like a pissing competition, and that's not really necessary. And I just think that largely that is not going to appeal to women. I find that whole side of things to be pretty frustrating, because that is a direct misrepresentation of the sound as far as I'm concerned....
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This
 
Wise words from Blake there. If I could have the energy to ramble I'd have rambled something like that.
And yep! That track's lovely :)
 
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Personallly I associate ketamine much more with techno than dubstep. Always seemed to go better with 4/4 music than breakbeats imo.
 
I've gotta agree with this aswell. Personally I don't find meph good for dubstep what so ever, but because of BL I knew about it and had tried it months before the 'mainstream' got ahold of it, and anyone and everyone started slowly taking it. In that time period I slowly started noticing the increase in popularity of the music, before meph the dubstep nights in my local area would literally just be me and a group of mates, you'd know all the faces there, they'd basically be all people you know and could guarantee that you'd be friends with 90% of the people there because we were the ones setting up the nights and getting support from friends.

As meph became more and more popular, more and more people started turning up. Until it got to the stage were there was multiple events being run each week, and every single venue was absolutely packed. This surely can't be coincidence, there's gotta be some correlation between the use of meph and dubstep becoming popular?
 
specialspack said:
Lots of interesting ideas in this thread, however, I don't think that dubstep owes much if anything to mephedrone.

It's success lies in the fact that it presents dance music with a rock aesthetic - rather than producing the the drawn out, constant pre-climatic tension of "traditional" dance music (house and techno) it relies on almost constant repetition of build up and breakdown. Like various previous sub genres (big beat - fat boy slim etc) - it's dance music for people who don't actually like dance music. They don't want to get drugged out for hours and listen to 4 hour slowly built sets. It's essentially for drunk students who want to headbang to wobbles.

This has obviously been helped by Annie Mac et al's championing, and has reached an extreme point in the US where you see dubstep shows attended by a huge amount of ex-emo kids - don't forget Skrillex was in a screamo band prior to his re-invention - this provides a cultural hanging on point for one subculture to join up with another.

Watching mainstream dubstep is like watching a rock show now - you can see how well it went down at Reading festival this year, kids headbanging to music that dynamically fits the same kind of soundsytem for big rock bands, loads of bass and treble without much mids.

Did mephedrone create a resurgence in dance music? I think that resurgence was already underway. One of the notable facts about mephedrone was that EVERYONE was doing it - it wasn't a drug linked to a particular culture in the way LSD or ecstasy was.
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Pretty much on the mark.
 
I've noticed everybody I've ever spoken to listened to dubstep "years before it was big".

Infact it's such a large number it makes me wonder how it wasn't big years before it was big.......
 
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