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Spot on. I think Loefah's stuff is out of this world, as challenging and jawdropping as Mala's very different work. The lesson from Ed Rush and Optical era drum and bass (wormhole being such an incredible statement of minimal funk) is - DON'T THROW THE BABY OUT WITH THE BATHWATER.

It wasn't. Not bad at all, but not 3rd bass.

These days I'm much less interested in hearing mashed up breakbeat tricknology than I was 2 or 3 years ago...much rather hear interesting tunes with space and groove. Hearing people take off acid rain in 2006 is kind of boring. Sileni, Martsman, Graphic I like a lot. Some Paradox stuff, Macc...

I urge everyone to track down a copy of Knowledge for the Unsung Heroes mix.

Do you have a link for this? Edit: oh I think I found it through the link on uncarved.

Jo..yes, I'd agree. A singular force, a couple of 12"s then disapeared forever. Perfect. As for Engineers without Fears...you HAVE to weigh Pete Parsons at least equally with Rap in the artistic mix.

Also search for 'DMZ' on barefiles and you will get the recent radio 1 essential mix. As for other sets, I'd say that Mala/Loefah's two Breezeblock segments are the best place to get both sides of the DMZ sound, in quite high quality too. From there I'd suggest the recent Skream rinse fm show...

I don't think you are being elitist. I'm sure a lot of the dnb mob would throw their hands up in horror if they discovered the roots of dubstep are in the G word.

Sorry if I contributed to knocking this thread off course. I just found Hell_SD's remarks snide and not particularly constructive in the context of the thread. Which I think is typical. For the record I did not say Sheffield was a racist town.

1. fwd does not have a total absence of black people in the crowd, its a lot more mixed (in all sorts of ways) than the average drum and bass night in London these days 2. Sheffield is not London: (as far as I know) it has a strong black community as well as, in common with lots of Northern...

lol ;) @ 2stepfan glad you dug Mala...there was something increible about his set at fwd the other week, polyrhymic grace and a sense of balance in the beats and sounds on a serious sub bass foundation, it touched me.

DMZ isn't full of blokes. And the attitude is a thousand times better than anything I've experienced at a dnb night in the past 10 years.

Maybe its truly as simple as he doesn't have the gear or own, a midi keyboard. Not to get distracted here (cos the wherefores of his production aren't really the point) but some of the passages sound like he's pitched a sample around in soundforge, thats all. Don't need midi for that. But like...

I think you are on to something, but equally theres tonnes of stuff you can do in soundforge from the synthesis point of view, if you are clever. It has waveform generators. I do think, and can see from his sonics that he uses soundforge to sequence/layer. But theres definitely plug ins at...

No I understand - but I feel quite strongly that the Mark One album sounds a million times poorer than the heights I've experienced during a heavy Mala/Loefah or Youngsta set. I don't even think it is close to dubstep sonically, though I concede its in the ball park. I urge you to hear a Mala...

Just quickly - I don't think artist albums should (necessarily - Burial, Goldie nonwithstanding) be the locus on which you should form opinions of a music like dubstep or jungle for that matter..surely the locus should be the DJ set? Also I don't think the Mark One album is a particularly good...

Definitely - agreed.

Lots of people in dance/electronic anyway. Not sure about other people. http://www.myspace.com/derrickmay Have a browse through his friend's list. :)

Well - he'll be going by ear to some extent but using an audio editor as your primary build tool is not actually that freeform. Anyone who's spent time (usually something one does when you first get involved in electronic music) doing cut and paste style construction in sound forge or wavelab...

Coming back to this...I think its a fair point but isn't it interesting in itself that the physicality of dubstep is, even more so than its predecessors over the last 15 years, an inherent, vital compenent of a whole understanding of the music. It makes the site-specific nature of a dance even...