DUBSTEP- breaking news, gossip, slander, lies etc

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elgato

I just dont know
Parson said:
dnb and trance are the two primary genres where you'll find people into "deep" tunes who are looking to get lost in the music

really not liking the stereotype

ASC and Blame are just as dnb as Noisia and Evol Intent
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but the generalisations primarily refer to the uk dnb scene (and in particular the type of dnb heads who i think are turning their gaze to dubstep). because the audience here are the ones who at the moment have most influence on the current central producers.

here, leftfield dnb is practically an even smaller scene here than dubstep! its a specialist interest, wheras thrashy or mainstream dnb (shy fx, jenna g, bingo etc) is massive business here, and they have massive, massive raves.

i said it was a generalisation, and as such it obviously doesnt apply to everyone, i personally absolutely love (some) drum and bass, and know that some of it is as deep as electronic music comes, but if we're looking at broad trends then i think theyre acceptable and carry some analytical weight when we ask why the music is changing so much, in the direction its changing
 
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Parson

Guest
fair enough

everything is so small here that we are used to taking what we can get. going the ravey route with the sound is something i have no personal interest in though
 
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elgato

I just dont know
thats the thing i guess. mainstream dnb here is just a massive massive thing.

i didnt mean to offend anyone from that background, i forget that people wont know that im also well into a fair bit of dnb, im sorry
 
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Parson

Guest
there needs to be a an atmo dnb revival

and i'd like to see it happen with a funked out half step that makes you wanna grind yr hips
 
nomos

nomos

Administrator
Is that mos dan? Very well done.

Logan quoted by Dan said:
"It's because you don't have the language barrier. Dubstep's exploding widely - firstly abroad, and secondly outside of a certain cultural demographic. You can just turn up and feel bass - anyone can feel bass. If [a grime MC] is spitting bars about their everyday life, you have a cultural barrier there."
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I think Logan's point is spot on, unfortunately. As London-centric as Dubstep may be in some respects, it's proving fluid enough to seep all over the place. I don't know what that says for vocals in dubstep, which I hope to see a lot more of, especially via cross-pollination with grime.
 
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boomnoise

♫
nomos said:
Is that mos dan? Very well done.

I think Logan's point is spot on, unfortunately. As London-centric as Dubstep may be in some respects, it's proving fluid enough to seep all over the place. I don't know what that says for vocals in dubstep, which I hope to see a lot more of, especially via cross-pollination with grime.
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Yeah it's Mos Dan. The boy done good.

As for more Dubstep vocals i'm not worried. Looking at the exisiting crop, including the grime ones, they work on their own; they're very digestible and don't really present any access barriers. JME on tapped and Flow Dan on Jah War in particular are good examples of this.

I too want more vocals but i think they will follow a more mainstream dance music style rather than focussing on grime mcs.

I think grime's vocal barrier comes from, in essence, the agressive onslaught of mcing style and content and of course its london-centricity. Dubstep vocal tracks could easily filter this out, taking the best of the genre, rendering it more digestible to an international audience.
 
U

UFO over easy

online mahjong
Paul Hotflush said:
Dubstep definitely does not need vocals.
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Doesn't need them sure.. dubstep doesn't necessarily need drums or pads either, but they can still sound good.

Dub Pressure was heavy last night - really refreshing. Hijak's tunes are absolutely ridiculous.. he's making the kind of tunes I wish Skream was still making.
 
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gek-opel

entered apprentice
Nice to see a hasty retort- but one point (which ive made elsewhere and will reiterate)
---Trip Hop will be one of the few 90s scenes to be positively redeemed in the next ten years, obviously not all of it, and the uber-generic downtempo chillout chin stroking nonsense least of all, but the cream of it is easily up there with the best music of the decade.
 
T

the undisputed truth

Banned
gek-opel said:
Anyone see this....? http://blogs.guardian.co.uk/music/2006/12/grime_scene.html
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from an outsider to "the scene" looking in from the other side of the world I'm inclined to echo that guys opinion...DUBSTEP NEEDS TO UP IT'S GAME AGAIN

Burial's, Skream's and K9's albums weren't all that and i'll be surprised if they stand the test of time. Distance and Pinch will be another good indicator...

...mostly everyone especially at that other forum do tend to go no like the last release was the best release since the one before that and take that as a sign of improvement but personally I've not been feeling much of DMZ or K9 and loefah has been cloned so many times it's getting harder to tell the real from the replicant

true, I agree that the next interesting stuff to come will be from outside the UK and in a sense it is with the statesiders but even then that is outside of the "scene" were the scene to be defined by the FWD and DMZ nights...

...and woe betide the latin influence if bruno's stuff has it, cos it's the death knell
 
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gek-opel

entered apprentice
The skream and kode9 albums weren't all that, I would agree with you on that. Burial I think is another story, not quite as revelatory as some would have you imagine (or rather, not necessarily so) but the beats alone are enough to make it one of my favourite releases this year, though it is a bit inconsistent (quality wise). Dubstepforum is fairly uncritical, true enough, but a good source of info for new releases and the like at least. I think you need to ignore "the scene" and just think about what bits of dubstep you like, and incorporate them into your own work. Too much thinking about "the scene" is just going to create paranoia and resentment. All the big players had the advantage of there not having been a dubstep scene, or not in the same way as there is today (ie- it was more like the smoking ruins of UK-G rather than anything properly defined).
 
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mms

sometimes
gek-opel said:
The skream and kode9 albums weren't all that, I would agree with you on that. Burial I think is another story, not quite as revelatory as some would have you imagine (or rather, not necessarily so) but the beats alone are enough to make it one of my favourite releases this year, though it is a bit inconsistent (quality wise).
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well i liked the kode9 alot, but there you go. the point is to dismiss a genre that goes off live and exists in the heat of a club thru dubplates in a very diy style, on the first three artist albums it's produced is a little shallow to say the least, and missing the point a great deal. the point about any music in the state dubstep is , is it's a slipery bastard, and best to go to a club or shut up.

i'm with you on trip hop gek, you can't judge music by whether it was always cool or not black or not, alot of naff stuff there but a great deal of good stuff, especially when it challenged the status quo of the charts.

yes looking back burial coulda done with some editing, track lengths etc but as an opener its quite an album, and as a debut album on a one man run independent i imagine it has done really rather well, which is a total result.
 
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mms

sometimes
gek-opel said:
Agreed MMS (though actually add in Vex'd and Boxcutter to yr list, they got in first, weirdly...)
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very true, on planet mu, who've got quite used by almost default to releasing strange dark music on full length, it's strange how those labels absorbed and did ok with the album format and others haven't take someone like venetian snares, well brutal music but released on (alot of ) albums, maybe it's a legacy thing, from mid 90s idm and ambient culture.
 
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Blackdown

nexKeysound
"the first three artist albums it's produced" ... ? Dubstep didn't start with these three LPs, people in this debate shouldnt keep forgetting Horsepower's In Fine Style. Not to mention HP's second LP (not as strong I know) and Zed Bias' two LPs.
 
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mms

sometimes
Blackdown said:
"the first three artist albums it's produced" ... ? Dubstep didn't start with these three LPs, people in this debate shouldnt keep forgetting Horsepower's In Fine Style. Not to mention HP's second LP (not as strong I know) and Zed Bias' two LPs.
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yep you're right, both of them got quite a bit of props from the press too. i did own them as well, in fine style has since gone missing.

still burial made it into the observers music monthly top bits with this very very odd take

'18. Burial, Burial
Where was dance music in 2006, as the clubs surrendered to happy house? The mysterious Burial off ered one way forward, with this fi rst, mournful dubstep masterpiece.'


happy house?
 
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Diggedy Derek

Stray Dog
I really wanted to feel the Kode 9 album, and love the start of it- the starkness of it, and the song-like structures. I had a feeling it might take on a kind of prince like feel, detached yet still funky. But I don't think the tracks are distinct enough, there's not enough variation in tempo. And the vocals, like Prince Far I, are actually a little stagnant after the initial wow factor.

A great attempt, but I always end up half-ignoring it.
 
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gek-opel

entered apprentice
The whole shanty/shonky jarring feel is what he was going for (my projected impression, obv) but asides from the classic tracks released earlier, it didn't quite do it for me. I'd been listening to some Mark Stewart stuff around the time it came out, and "Memories..." just isn't fucked up enough, its too sonically tidy! However, I promise not to slag it off again, as Kode 9 is a top DJ, theorist, label boss etc etc, don't be a hata etc etc...
 
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