Dubstep
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Stylistic origins |
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Dubstep is a genre of
Dubstep is generally characterised by the use of
A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards. In 2004, the last year of his show, his listeners voted Distance, Digital Mystikz, and Plastician in their top 50 for the year.[5] Dubstep started to enter mainstream British popular culture when it spread beyond small local scenes in late 2005 and early 2006; many websites devoted to the genre appeared on the Internet and aided the growth of the scene, such as dubstepforum, the download site Barefiles and blogs such as gutterbreakz.[6] Simultaneously, the genre was receiving extensive coverage in music magazines such as The Wire and online publications such as Pitchfork, with a regular feature entitled The Month In: Grime/Dubstep. Interest in dubstep grew significantly after BBC Radio 1 DJ Mary Anne Hobbs started championing the genre, beginning with a show devoted to it (entitled "Dubstep Warz") in January 2006.[7][8][9]
Towards the end of the 2000s and into the early 2010s, the genre started to become more commercially successful in the UK, with more singles and remixes entering the music charts. Music journalists and critics also noticed a dubstep influence in several pop artists' work. Around this time, producers also began to fuse elements of the original dubstep sound with other influences, creating fusion genres including
Characteristics
The music website AllMusic has described dubstep's overall sound as "tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals."[11] According to Simon Reynolds, dubstep's constituents originally came from "different points in the 1989—99 UK lineage: bleep 'n' bass, jungle, techstep, Photek-style neurofunk, speed garage, [and] 2 step."[2] Reynolds comments that the traces of pre-existing styles "worked through their intrinsic sonic effects but also as signifiers, tokenings-back addressed to those who know".[2]
Dubstep's early roots are in the more experimental releases of UK garage producers, seeking to incorporate elements of
Rhythm
Dubstep
In an Invisible Jukebox interview with The Wire, Kode9 commented on a MRK1 track, observing that listeners "have internalized the double-time rhythm" and the "track is so empty it makes [the listener] nervous, and you almost fill in the double time yourself, physically, to compensate".[18]
Wobble bass
One characteristic of certain strands of dubstep is the wobble
Structure, bass drops, rewinds, and MCs
Originally, dubstep releases had some
Many early dubstep tracks incorporate one or more "bass drops", a characteristic inherited from drum and bass. Typically, the percussion will pause, often reducing the track to silence, and then resume with more intensity, accompanied by a dominant sub-bass (often passing portamento through an entire octave or more, as in the audio example). It is very common for the bass to drop at or very close to 55 seconds into the song, because 55 seconds is just over 32 measures at the common tempo of 140 bpm. However, this (or the existence of a bass drop in general) is by no means a completely rigid characteristic, rather a trope; a large portion of seminal tunes from producers like Kode9 and Horsepower Productions have more experimental song structures which do not rely on a drop for a dynamic peak – and in some instances do not feature a bass drop at all.
Rewinds (or reloads)[21] are another technique used by dubstep DJs. If a song seems to be especially popular, the DJ will "spin back" the record by hand without lifting the stylus, and play the track in question again. Rewinds are also an important live element in many of dubstep's precursors; the technique originates in dub reggae soundsystems, is widely employed by pirate radio stations and is also used at UK garage and jungle nights.[22]
Taking direct cues from
Notable mainstays in the live experience of the sound are MC Sgt Pokes and MC Crazy D from London, and
History
1999–2002: Origins
The early sounds of proto-dubstep originally came out of productions during 1999–2000 by producers such as Oris Jay,[17] El-B,[12] Steve Gurley[12] and Zed Bias.[30][31] Ammunition Promotions, who run the influential club night Forward>> and have managed many proto-dubstep record labels (including Tempa, Soulja, Road, Vehicle, Shelflife, Texture, Lifestyle and Bingo),[8][17] began to use the term "dubstep" to describe this style of music in around 2002. The term's use in a 2002 XLR8R cover story (featuring Horsepower Productions on the cover) contributed to it becoming established as the name of the genre.[30][32]
Forward>> was originally held at the Velvet Rooms in London's Soho and later moved to Plastic People in Shoreditch, east London.[15] Founded in 2001, Forward>> was critical to the development of dubstep, providing the first venue devoted to the sound and an environment in which dubstep producers could premier new music.[33] Around this time, Forward>> was also incubating several other strains of dark garage hybrids, so much so that in the early days of the club the coming together of these strains was referred to as the "Forward>> sound".[34] An online flyer from around this time encapsulated the Forward>> sound as "b-lines to make your chest cavity shudder."[35]
Forward>> also ran a radio show on east London pirate station
Another crucial element in the early development of dubstep was the Big Apple Records record shop in Croydon.[8] Key artists such as Hatcha and later Skream worked in the shop (which initially sold early UK Hardcore / Rave, Techno and House and later, garage and drum and bass, but evolved with the emerging dubstep scene in the area),[12] while Digital Mystikz were frequent visitors. El-B, Zed Bias, Horsepower Productions, Plastician, N Type, Walsh and a young Loefah regularly visited the shop as well.[8] The shop and its record label have since closed.[30]
2002–2005: Evolution
All throughout 2003, DJ Hatcha pioneered a new direction for dubstep on Rinse FM and through his sets at Forward>>.[8][31] Playing sets cut to 10" one-off reggae-style dubplates, he drew exclusively from a pool of new South London producers—first Benga and Skream,[31] then also Digital Mystikz and Loefah—to begin a dark, clipped and minimal new direction in dubstep.[37]
At the end of 2003, running independently from the pioneering FWD night, an event called Filthy Dub, co promoted by
After releasing
In 2004,
2005–2008: Growth
In the summer of 2005, Forward>> brought grime DJs to the fore of the line up.
The sound's first North American ambassador, Baltimore DJ Joe Nice helped kickstart its spread into the continent.[15] Regular Dubstep club nights started appearing in cities like New York,[53] San Francisco,[32] Seattle, Montreal, Houston, and Denver,[54] while Mary Anne Hobbs curated a Dubstep showcase at 2007's Sónar festival in Barcelona.[17] Non-British artists have also won praise within the larger Dubstep community.[17] The dynamic dubstep scene in Japan is growing quickly despite its cultural and geographical distance from the West. Such DJ/producers as Goth-Trad, Hyaku-mado, Ena and Doppelganger are major figures in the Tokyo scene.[55] Joe Nice has played at DMZ,[56] while the fifth instalment of Tempa's "Dubstep Allstars" mix series (released in 2007) included tracks by Finnish producer Tes La Rok and Americans JuJu and Matty G.[57]
Techno artists and DJs began assimilating dubstep into their sets and productions.
The summer of 2007 saw dubstep's musical palette expand further, with
Much like drum and bass before it, dubstep started to become incorporated into other media. In 2007, Benga, Skream, and other dubstep producers provided the soundtrack to much of the second series of
In the summer of 2008,
Silkie and Quest, along with Kromestar and Heny G would all come through the Anti-Social Entertainment crew, with a show on Rinse FM and later Flex FM.[72]
As the genre has spread to become an international rather than UK-centric scene, it has also seen a number of women making headway into the scene in a variety of ways. Alongside Soulja of Ammunition Promotions and Mary Anne Hobbs, an influx of female producers, writers, photographers and DJs all have broken through in the up-til-then male orientated scene. With key 12" releases on Hyperdub, Immigrant and Hotflush Recordings, producers Vaccine, Subeena and Ikonika have introduced a palette of new sounds and influences to the genre, such as double-time bass drums, 8-bit video game samples, hand percussion and lushly arranged strings.[73] Mary Anne Hobbs commented that, unlike "Grime and drum 'n' bass raves, the mood at dubstep nights is less aggressive, or more meditative, leading to a larger female attendance at events than with the genre's precursors. You see the female-to-male ratio constantly going up – it's got the potential to be 40:60".[73]
2009–2014: Mainstream popularity
The influence of dubstep on more commercial or popular genres can be identified as far back as 2007, with artists such as Britney Spears using dubstep sounds; critics observed a dubstep influence in the song "Freakshow", from the 2007 album Blackout, which Tom Ewing described as "built around the 'wobbler' effect that's a genre standby."[74][75] Benga and Coki's single "Night" still continued to be a popular track on the UK dance chart more than a year after its release in late 2007, still ranking in the top five at the start of April 2008 on Pete Tong's BBC Radio 1 dance chart list.[76]
However, the year 2009 saw the dubstep sound gaining further worldwide recognition, often through the assimilation of elements of the sound into other genres, in a manner similar to drum and bass before it. At the start of the year, UK electronic duo
In April 2009, UKF Dubstep, a YouTube channel brand was founded by Luke Hood which introduced Dubstep to many young generations internationally at the time. UKF Dubstep has exploded in popularity as the music genre has hit the mainstream. In November 2010 the channel had 100,000 subscribers, and as of November 2019 has over one million.[83] "UKF features established and up and coming producers from around the world, featuring artists from Flux Pavilion / Knife Party to Friction / Hybrid Minds. We're sent a huge amount of music so it's our job to pick the best to upload on the channel for our audience to listen to. In just over 3 years our channels now have more than 2m subscribers and 4 channels – UKF Dubstep, Drum & Bass, Music and Mixes. The audience is getting more and more International and younger." Luke said on the interview with SoSoActive.[84]
In a move foreshadowed by endorsements of the sound from R&B, hip-hop and recently, mainstream figures such as
Throughout 2010, the presence of dubstep in the pop charts was notable, with "
2011: Post-dubstep
In early 2011, the term "post-dubstep" (sometimes known as "
The breadth of styles that have come to be associated with the term post-dubstep preclude it from being a specific musical genre. Pitchfork writer Martin Clark has suggested that "well-meaning attempts to loosely define the ground we're covering here are somewhat futile and almost certainly flawed. This is not one genre. However, given the links, interaction, and free-flowing ideas ... you can't dismiss all these acts as unrelated"[101] The production duo Mount Kimbie is often associated with the origination of the term post-dubstep.[107] English music producer Jamie xx released remixes which are considered post-dubstep, including We're New Here (2011), a Gil Scott-Heron remix album.[102]
2011: Brostep and American developments
In 2011, dubstep gained significant traction in the US market, by way of a post-dubstep style known as brostep, with the American producer
The term brostep has been used by some as a pejorative descriptor for a style of popular Americanised dubstep.[108] The producer known as Rusko himself claimed in an interview on BBC Radio 1Xtra that "brostep is sort of my fault, but now I've started to hate it in a way ... It's like someone screaming in your face ... you don't want that."[114] According to a BBC review of his 2012 album Songs, the record was a muddled attempt by Rusko to realign his music with a "Jamaican inheritance" and distance it from the "belching, aggressive, resolutely macho" dubstep produced by his contemporaries.[115]
Commenting on the success of American producers such as Skrillex, Skream stated: "I think it hurts a lot of people over here because it's a UK sound, but it's been someone with influences outside the original sound that has made it a lot bigger. The bad side of that is that a lot of people will just say 'dubstep equals Skrillex'. But in all honesty it genuinely doesn't bother me. I like the music he makes."[116] Other North American artists that were initially associated with the brostep sound were Canadian producers Datsik and Excision. Their production style has been described by Mixmag as "a viciously harsh, yet brilliantly produced sound that appealed more to Marilyn Manson and Nine Inch Nails fans than it did to lovers of UK garage".[117] The brostep sound also attracted the attention of metal bands. Nu metal band Korn's 2011 album The Path of Totality features several collaborations with electronic music producers, including Skrillex and Excision.[118] This style of dubstep is sometimes known as metalstep.
2012–2013: Riddim
In the early 2010s, UK artists began to play with a style of dubstep reminiscent of a resurgence or continuation of original British dubstep styles. This became known as
2014–present: Decline in mainstream popularity
Beginning in mid-2014, dubstep began to decline drastically in mainstream popularity, particularly in the United States, where many formerly successful dubstep artists became popular. Artists such as Skrillex, for instance, moved on to producing tracks for
2016–present: Colour bass
Around the early to mid 2010s, a niche development of dubstep began to emerge which combines the aggression and impact of brostep with the rich tonality and musicality of melodic dubstep,[132] drawing on the best elements of both sides and fusing tonality with mid-range bass sound design.[133][134] Artists like 501, Subscape, and Gemini have experimented upon this style of production in the earlier 2010s.[132] English dubstep producer Chime coined the term "colour bass" describing this style of dubstep due to its focus on vibrant, bright and colourful production, and founded the record label Rushdown in 2016 to promote it.[132][134] Despite the overall declining popularity of dubstep in mainstream culture, colour bass has been promoted by veteran electronic labels like Monstercat around the early 2020s,[132][135][136][137] with artists like Skybreak, Ace Aura, and Chime himself finding success in producing colour bass music.[138][139]
See also
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External links
- GetDarker An online magazine full of interviews, articles, photos from events and videos.
- 10 Years of ... Dubstep Archived 19 April 2012 at the Wayback Machine A week dedicated to the movement by Drowned in Sound
- The Month In: Grime/Dubstep Columns by Martin Clark on Pitchfork
- BBC Collective dubstep documentary filmed at DMZ 1st Birthday, 2005. Interviews with Mala, Loefah, Skream, Kode9, Youngsta ...