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. Dubstep is a genre of that originated in, England. It emerged in the late 1990s as a development within a lineage of related styles such as, and. In the United Kingdom the origins of the genre can be traced back to the growth of the party scene in the early 1980s. The music generally features sparse, drum and percussion with that contain prominent frequencies.
The earliest dubstep releases date back to 1998, and were usually featured as of single releases. These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate elements of and into 2-step. In 2001, this and other strains of dark garage music began to be showcased and promoted at London's night club Plastic People, at the 'Forward' night (sometimes stylised as FWD), which went on to be considerably influential to the development of dubstep. The term 'dubstep' in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and. A very early supporter of the sound was DJ, who started playing it from 2003 onwards. In 2004, the last year of his show, his listeners voted, and in their top 50 for the year. Dubstep started to enter mainstream when it spread beyond small local scenes in late 2005 and early 2006; many websites devoted to the genre appeared on the and aided the growth of the scene, such as dubstepforum, the download site Barefiles and blogs such as gutterbreakz.
Simultaneously, the genre was receiving extensive coverage in music magazines such as and online publications such as, with a regular feature entitled The Month In: Grime/Dubstep. Interest in dubstep grew significantly after BBC Radio 1 DJ started championing the genre, beginning with a show devoted to it (entitled 'Dubstep Warz') in January 2006. 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, the slower and more experimental post-dubstep, and the harsher and influenced brostep, the latter of which greatly contributed to dubstep's rising mainstream popularity in the United States. Excerpt from 'Naked' by, demonstrating an early bass drop. Problems playing this file?
The music website has described Dubstep's overall sound as 'tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals.' According to, Dubstep's constituents originally came from 'different points in the 1989—99 UK lineage: bleep 'n' bass, jungle, -style, and 2 step.' 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'. Dubstep's early roots are in the more experimental releases of UK garage producers, seeking to incorporate elements of into the -based sound. These experiments often ended up on the B-side of a or commercial garage release. Dubstep is generally. Similar to a vocal hybrid – – the genre's feel is commonly dark; tracks frequently use a and can feature harmonies such as the within a.
Other distinguishing features often found are the use of, a propulsive, sparse rhythm, and an almost omnipresent sub-bass. Some dubstep artists have also incorporated a variety of outside influences, from dub-influenced such as to classical music. Rhythm Dubstep rhythms are usually, and often or incorporating. The tempo is nearly always in the range of 138–142, with a clap or snare usually inserted every third beat in a bar. In its early stages, dubstep was often more percussive, with more influences from 2‑step drum patterns. A lot of producers were also experimenting with tribal drum samples, such as early release 'Truly Dread' and Mala's 'Anti-War Dub'. In an Invisible Jukebox interview with The Wire, commented on a 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'.
Wobble bass One characteristic of certain strands of dubstep is the wobble bass, often referred to as the 'wub', where an extended bass note is manipulated rhythmically. This style of bass is typically produced by using a to manipulate certain parameters of a synthesiser such as,. The resulting sound is a that is punctuated by rhythmic variations in volume, filter cutoff, or distortion.
This style of bass is a driving factor in some variations of dubstep, particularly at the more club-friendly end of the spectrum. Structure, bass drops, rewinds, and MCs Originally, dubstep releases had some similarities to other genres like and UK garage. Typically this would comprise an, a main section (often incorporating a ), a, a second main section similar to the first (often with another drop), and an. 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 through an entire 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 and 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) 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, is widely employed by pirate radio stations and is also used at UK garage and jungle nights. Taking direct cues from 's lyrically sparse mic styles in the vein of reggae pioneers like, the MC's role in dubstep's live experience is critically important to its impact.
Notable mainstays in the live experience of the sound are MC Sgt Pokes and MC Crazy D from London, and from Trinidad. Production in a studio environment seems to lend itself to more experimentation.
Kode9 has collaborated extensively with, who MCs in a style. 's experiments with the genre are almost exclusively collaborations with MCs such as Warrior Queen, and. Has also featured Warrior Queen and grime artist on his debut album,., who was one of the first DJ's to mix the sound of grime and dubstep together, has worked with notable grime setup as well as renowned Grime MC's such as Wiley, and Lethal Bizzle. He has also released tracks with a dubstep foundation and grime verses over the beats. Dubstep artist and label co-owner has moved toward productions which fall outside the usual dubstep tempo, and sometimes entirely lack most of the common tropes of the genre. Culture Throughout the history of dubstep since it was in the underground it has served as a dominant sonic and social force in the establishment of a sub cultural identity.
History 1999–2002: origins. The Big Apple Records shop, in,. The early sounds of proto-dubstep originally came out of productions during 1999–2000 by producers such as Oris Jay, Steve Gurley and. Ammunition Promotions, who run the influential club night Forward and have managed many proto-dubstep record labels (including, Soulja, Road, Vehicle, Shelflife, Texture, Lifestyle and Bingo), began to use the term 'dubstep' to describe this style of music in around 2002.
The term's use in a 2002 cover story (featuring on the cover) contributed to it becoming established as the name of the genre. Forward was originally held at the Velvet Rooms in London's and later moved to Plastic People in, east London. 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. 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'. An online flyer from around this time encapsulated the Forward sound as 'b-lines to make your chest cavity shudder.' Forward also ran a radio show on east London pirate station, hosted. The original Forward line ups included, Youngsta, Kode 9, Zed Bias, Oris Jay, Slaughter Mob, Jay Da Flex, and others, plus regular guests.
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The line up of residents has changed over the years to include Youngsta, Hatcha, Geeneus, and, with Crazy D as MC/host. Producers including D1, Skream and make regular appearances. Mala of, one of the pioneers of dubstep music. Another crucial element in the early development of dubstep was the Big Apple Records record shop in. 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), while Digital Mystikz were frequent visitors.
El-B, Zed Bias, Plastician, N Type, Walsh and a young Loefah regularly visited the shop as well. The shop and its record label have since closed. 2002–05: evolution. Dubstep producer, one of the most widely known names on the scene since the beginning of the Dubstep movement.
All throughout 2003, DJ Hatcha pioneered a new direction for dubstep on Rinse FM and through his sets at Forward. Playing sets cut to 10' one-off reggae-style, he drew exclusively from a pool of new South London producers—first and Skream, then also Digital Mystikz and Loefah—to begin a dark, clipped and minimal new direction in dubstep. At the end of 2003, running independently from the pioneering FWD night, an event called Filthy Dub, co promoted by, and partner David Carlisle started happening regularly. It was there that Skream, Benga, N Type, Walsh, Chef, Loefah, and Cyrus made their debuts as DJs. South London collective Digital Mystikz (Mala and Coki), along with labelmates and collaborators Loefah and MC Sgt Pokes soon came into their own, bringing sound system thinking, values, and appreciation of bass weight to the dubstep scene. Digital Mystikz brought an expanded palette of sounds and influences to the genre, most prominently reggae and dub, as well as orchestral melodies. After releasing on Big Apple, they founded DMZ Records, which has released fourteen 12's to date.
They also began their night DMZ, held every two months in, a part of London already strongly associated with reggae. DMZ has showcased new dubstep artists such as Skream, Kode 9, Benga, DJ Youngsta, Hijak, and Vex'd. DMZ's first anniversary event (at the Mass venue, a converted church) saw fans attending from places as far away as, the United States, and Australia, leading to a queue of 600 people at the event. This forced the club to move from its regular 400-capacity space to Mass' main room, an event cited as a pivotal moment in dubstep's history. In 2004, ' label, released two compilations that included dubstep tracks – the (perhaps misnamed) Grime and Grime 2. The first featured Plasticman, Mark One and Slaughter Mob, with Kode 9, Loefah, and Digital Mystikz appearing on the second.
These compilations helped to raise awareness of dubstep at a time when the grime sound was drawing more attention, and Digital Mystikz and Loefah's presence on the second release contributed to the success of their DMZ club night. Soon afterwards, the commented on 'a whole new sound', at a time when both genres were becoming popular, stating that 'grime' and 'dubstep' were two names for the same style, which was also known as 'sublow', '8-bar', and 'eskibeat'. 2005–08: growth.
Dubstep Section at Black Market Records, London. In the summer of 2005, Forward brought grime DJs to the fore of the line up. Building on the success of Skream's grimey anthem 'Midnight Request Line', the hype around the DMZ night and support from online forums (notably dubstepforum.com) and media, the scene gained prominence after former Radio 1 DJ Mary Anne Hobbs gathered top figures from the scene for one show, entitled 'Dubstep Warz', (later releasing the ). The show created a new global audience for the scene, after years of exclusively UK underground buzz. 's self-titled album appearing in many critics' 'Best of.'
Lists for the year, notably The Wire's Best Album of 2006. The sound was also featured prominently in the for the 2006 sci-fi film, which included Digital Mystikz, Random Trio, Kode 9, and DJ Pinch. Ammunition also released the first retrospective compilation of the 2000–2004 era of dubstep called The Roots of Dubstep, co-compiled by Ammunition and Blackdown on the Label. The sound's first North American ambassador, Baltimore DJ Joe Nice helped kickstart its spread into the continent. Regular Dubstep club nights started appearing in cities like New York, San Francisco, Seattle, Montreal, Houston, and Denver, while Mary Anne Hobbs curated a Dubstep showcase at 2007's festival in Barcelona. Non-British artists have also won praise within the larger Dubstep community. The dynamic dubstep scene in Japan is growing quickly despite its cultural and geographical distance from the West.
Such DJ/producers as, Hyaku-mado, Ena and Doppelganger are major figures in the Tokyo scene. Joe Nice has played at DMZ, while the fifth instalment of 's 'Dubstep Allstars' mix series (released in 2007) included tracks by Finnish producer Tes La Rok and Americans JuJu and Matty G. Techno artists and DJs began assimilating dubstep into their sets and productions. Shackleton's 'Blood on My Hands' was remixed by producer (an act reciprocated when Villalobos included a Shackleton mix on his 'Vasco' EP) and included on a mix CD by resident Cassy. And 's 2006 song 'Metric' (from the album), 's 'Godspeed' (from the 2007's Happy Birthday! Album, among other tracks on that same album) and Roman Flugel's remix of 's 'Hammer of Thor' are other examples of dubstep-influenced techno. Berlin's Hard Wax record store (operated by influential dub techno artists Basic Channel) has also championed Shackleton's label, later broadening its focus to include other dubstep releases.
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The summer of 2007 saw dubstep's musical palette expand further, with and scoring a crossover hit (in a similar manner to Skream's 'Midnight Request Line') with the track 'Night', which gained widespread play from DJs in a diverse range of genres. DJ named it his record of 2007, and it was also a massive hit in the equally bassline-orientated, but decidedly more genre of, whilst Burial's late 2007 release (which was nominated for the 2008 in the UK) incorporated extensive use of heavily manipulated, mostly female, 'girl next door' vocal samples. Burial has spoken at length regarding his intent to reincorporate elements of musical precursors such as 2-step garage and house into his sound. 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, which aired on with a soundtrack CD later released on. A track by Skream also featured in the second series of the teen drama, which also aired on Channel 4 in early 2008.
In the summer of 2008, invited Cyrus, Starkey, Oneman, Silkie, Quest, Nomad, Kulture and MC Sgt Pokes to the 's studios for a show called Generation Bass. The show was the evolution from her seminal Radio 1 Dubstepwarz Show in 2006, and further documented another set of dubstep's producers.
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, Immigrant and Hotflush Recordings, producers, Subeena and have introduced a palette of new sounds and influences to the genre, such as double-time bass drums, hand percussion and lushly arranged strings. 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'.
2009–present: mainstream influence. Performing for crowds on 7 July 2011 at the 10th Anniversary Camp Bisco Music Festival in. The influence of dubstep on more commercial or popular genres can be identified as far back as 2007, with artists such as using dubstep sounds; critics observed a dubstep influence in the song 'Freakshow', from the 2007 album, which Tom Ewing described as 'built around the 'wobbler' effect that's a genre standby.'
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 's dance chart list. 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 put their single ' in the remix hands of. They then gave remix duties of ' to and then again with their single ' being remixed. The same year, London producer Silkie released an influential album, City Limits Vol.
1, on the Deep Medi label, using 1970s funk and soul reference points, a departure from the familiar strains of dub and UK garage. The sound also continued to interest the mainstream press with key articles in magazines like, and, which featured producer on its May 2009 cover. Put on the cover of its December 2009 issue. In April 2009, 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, now its sits at over one million.
'UKF features established and up and coming producers from around the world, featuring artists from / to / 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. In a move foreshadowed by endorsements of the sound from R&B, hip-hop and recently, mainstream figures such as, or 's Hank Shocklee, collaborated with dubstep producers, providing a vocal for their 'underground anthem', 'Eastern Jam'.
The 2011 Britney Spears track ' was also responsible for promoting dubstep tropes within pop music. Rihanna's album released such content the very year dubstep saw a spike, containing three dubstep tracks. Such events propelled the genre into the biggest radio markets overnight, with considerable airplay. Other hip-hop artists like added their vocals to dubstep instrumental tracks for the mixtape project Mr Grustle & Tha Russian Dubstep LA Embrace The Renaissance Vol. In summer 2009, rapper and actress used Benga's 'E Trips'; adding her own verses over the beat to create a new tune called 'Me N My'; the first single on her album Flirt. The track was co-produced by Benga and hip hop producer. Throughout 2010, the presence of dubstep in the pop charts was notable, with ' by reaching number 10 in the UK singles chart.
This presented a turning point in the popularity of mainstream dubstep amongst UK listeners as it was placed on rotation on. ' by (produced by Benga) followed, debuting at number 5 in the UK singles chart, and stayed in the top 10 for five more weeks. Also in 2010, American producer achieved moderate commercial success in North America with a dubstep-influenced sound. By 2011 his EP had peaked at number three on the U.S. Dance/Electronic album charts. In February 2011, 's second album reached No. 2 in the UK album chart.
On 1 May 2011, 's third single ' from their album reached number 8 in the Official UK Singles Chart. And both had number one singles in 2011 with ' and '.
Strong baselines imported from dubstep continued in popular music with the song, which made number 1 on Billboard's U.S. Further development Post-dubstep.
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Performing at, June 2011 In early 2011, the term 'post-dubstep' (sometimes known as ) was used to describe urban music that was influenced by certain aspects of dubstep. Such music often references earlier dubstep productions as well as, and other forms of underground. Artists producing music described as post-dubstep have also incorporated elements of and early. The latter in particular is heavily sampled by three artists described as post-dubstep:, Fantastic Mr Fox and.
The tempo of music typically characterised as post-dubstep is approximately 130. The breadth of styles that have come to be associated with the term post-dubstep preclude it from being a specific musical genre. 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' The production duo Mount Kimbie is often associated with the origination of the term post-dubstep. English music producer released remixes which are considered post-dubstep, including (2011), a remix album. Brostep and American developments. Performing in 2012 In 2011, dubstep gained significant traction in the US market, by way of a post-dubstep style known as brostep, with the American producer becoming something of a ' for the scene.
In September 2011, a EDM special referred to brostep as a 'lurching and aggressive' variant of dubstep that has proven commercially successful in the United States. Unlike traditional dubstep production styles, which emphasise sub-bass content, brostep accentuates the middle and features 'robotic fluctuations and metal-esque aggression'. According to, as dubstep gained larger audiences and moved from smaller club-based venues to larger outdoor events, sub-sonic content was gradually replaced by distorted bass that function roughly in the same register as the electric guitar in.
The term brostep has been used by some as a slight pejorative descriptor for a style of popular dubstep. US and Canadian artists often drew inspiration from British brostep producers who tended to work less with sub-bass and more with mid-range sounds such as, and. Rusko himself claimed in an interview on 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.'
According to a BBC review of his 2012 album, 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. 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.' Other North American artists that were initially associated with the brostep sound were Canadian producers and. Their production style has been described by as 'a viciously harsh, yet brilliantly produced sound that appealed more to and fans than it did to lovers of UK garage'.
The brostep sound also attracted the attention of metal bands. Band 's 2011 album features several collaborations with electronic music producers, including Skrillex and Excision. The term metalstep has been used for a fusion of brostep and metal. Riddim-Dubstep on on Riddim-Dubstep started appearing on mainstream radars around 2015 but the scene has been around sometime before that. Subfiltronik, Bukez Finezt, P0gman, Badklaat, 50 Carrot, Dubloadz and Coffi. Riddim-Dubstep is a subgenre of dubstep that tends to be really repetitive and bouncy in nature. The name originally comes from the pronunciation of ', and can also be used to describe the instrumental backgrounds for a variety of genres outside of dubstep as well.
Riddim-Dubstep is characterized by a strong and, and is very layers. Riddim-Dubstep often uses some elements of, like, and, but is otherwise mostly focused on the. See also. References. 'Absorbed and transfigured elements of techno, drum'n' bass and dub'. ^ Reynolds, S.(2012), Energy Flash: A Journey Through Rave Music and Dance Culture, Perseus Books; Reprint edition (5 Jan 2012), pages 511–516, ( )., 21 February 1981,. IMO Records 12 January 2012 at the., London, 17 October 2011.
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An online magazine full of interviews, articles, photos from events and videos. A week dedicated to the movement by. Columns by Martin Clark on. Interviews with Mala, Loefah, Youngsta.