DUBSTEP- breaking news, gossip, slander, lies etc
- Thread starter boomnoise
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one of my nasty mental habits over the past year is drawing parallels in between early jungle and whats going on in the scene now. i'm sort of forced to in social situations, because most people i know over here listen to dbstp and cursorily dismiss it as jungles slower more meditative cousin...
have to admit...after i heard initially heard request line, and figured out how young skream was, the first comparison that came to mind was andy c/valley of the shadows...only because if i remember right andy c was really young when he made that tune.
the comparison ends there fortunately.
have to admit...after i heard initially heard request line, and figured out how young skream was, the first comparison that came to mind was andy c/valley of the shadows...only because if i remember right andy c was really young when he made that tune.
the comparison ends there fortunately.
Poet for Hire
Well-known member
"intelligent grime"
Can someone please design an icon for spewing?
Can someone please design an icon for spewing?
Gabba Flamenco Crossover
High Sierra Skullfuck
ukbass said:
Ha, yeah. Seriously, I'm a bit worried about dubstep becoming the new minimal techno: ie. music made by producers for other producers, while the audience gets bored and goes elsewhere.
Loefah and Skream should use their profile to get in on some pop/r&b remixes and then generally turn them inside out and echo the crap out of them. That would be a nice reworking of the jamacain dub aesthetic as well as getting them genuine mainstream exposure.
Gabba Flamenco Crossover said:
minimal techno is massive
all over europe, parties all the time in germany.
some in london but just for the select
all they listen to in hardwax is dubstep
this is my European bredrin,
i'm officially not british now.
britain is worse than ever.
i bet germans look better on the dancefloor, Swedish and the Swiss, the Italians, and the Austrians, they all look good on the dancefloor.
We look like john bull in old punch images.
the undisputed truth
Banned
I'm more worried about how new people to dubstep think it evolved directly from jungle where as it came straight out of dirty garage...
...and that new producers are jumping all over the dub aspect while rinsing a halftime beat without knowing how to make broken, staggered, stutttery steppy beats which is what the STEP in dubstep is, consequently the steppy stuff is slowly getting shunted aside in favour of straight beats
we're thinking we can actually tell the difference between producers who have a garage background and who has a d'n'b based on the style of beat they program...
...but we think a lot of shit thats prolly just not true
...and that new producers are jumping all over the dub aspect while rinsing a halftime beat without knowing how to make broken, staggered, stutttery steppy beats which is what the STEP in dubstep is, consequently the steppy stuff is slowly getting shunted aside in favour of straight beats
we're thinking we can actually tell the difference between producers who have a garage background and who has a d'n'b based on the style of beat they program...
...but we think a lot of shit thats prolly just not true
the undisputed truth
Banned
Well ripley
cos I want the garage heads to get their props and cos every man and his dog with some cracked software and a bit of production nowse is gonna start ripping off the "now" sound without ever knowing where it came from and thinking it came from d'n'b...
...all they'll be doing is recreating a formula and cloning someone elses sound making the music somehow impotent and unoriginal. Sound familiar ???
I remember early jungle and still love the amen break but couldn't listen to 3 straight hrs of it...
...even now I'm starting to hear mixes and can't distinguish someones sound from someone elses even if one of them was an original pioneer
hopefully when you hear one of our trax you can tell it's us cos I'd like to think we're still different enough to be distinctive but not so different as to be off on our own and in that respect it probably has helped us and will continue to, being removed/isolated from the epicentre of the dubstep re-evolution...
...you gotta know your roots to be able to see where the branches lead
cos I want the garage heads to get their props and cos every man and his dog with some cracked software and a bit of production nowse is gonna start ripping off the "now" sound without ever knowing where it came from and thinking it came from d'n'b...
...all they'll be doing is recreating a formula and cloning someone elses sound making the music somehow impotent and unoriginal. Sound familiar ???
I remember early jungle and still love the amen break but couldn't listen to 3 straight hrs of it...
...even now I'm starting to hear mixes and can't distinguish someones sound from someone elses even if one of them was an original pioneer
hopefully when you hear one of our trax you can tell it's us cos I'd like to think we're still different enough to be distinctive but not so different as to be off on our own and in that respect it probably has helped us and will continue to, being removed/isolated from the epicentre of the dubstep re-evolution...
...you gotta know your roots to be able to see where the branches lead
3underscore
Well-known member
HellSD
I think the only reason people are referencing D&B is that, through the dubplate method the scene is organically developing, there are a lot of comparisons. (an aside, not to yrself) People have their problems with it being organic growth (and it can be a bit annoying), but for what is a small group of people it is the best way they can go about things, and it is getting folk interested.
As for who gets "props", it doesn't really matter. Leave that for some thesis, or for blissblogger when he writes about it in ten years time. Giving props is such a overly knowing thing to do - I don't tip my hat to Robert Johnson every time I here someone pick out a blues riff, I just listen to what they are doing. Yes, Garage and a whole lot of things were involved in its development, but it is dubstep, and it is now. As for who did what in the continuum of time, it really is something for the pseuds.
Maybe I am on the wrong forum to say that, mind.
I think the only reason people are referencing D&B is that, through the dubplate method the scene is organically developing, there are a lot of comparisons. (an aside, not to yrself) People have their problems with it being organic growth (and it can be a bit annoying), but for what is a small group of people it is the best way they can go about things, and it is getting folk interested.
As for who gets "props", it doesn't really matter. Leave that for some thesis, or for blissblogger when he writes about it in ten years time. Giving props is such a overly knowing thing to do - I don't tip my hat to Robert Johnson every time I here someone pick out a blues riff, I just listen to what they are doing. Yes, Garage and a whole lot of things were involved in its development, but it is dubstep, and it is now. As for who did what in the continuum of time, it really is something for the pseuds.
Maybe I am on the wrong forum to say that, mind.
the undisputed truth
Banned
3underscore said:
1)...or maybe they just don't know where it came from and the scenes growth is more because of the net as a scale free network than dubplates
2)...wouldn't it piss you off if everyone sounded like Eric Clapton without ever having heard RJ and then you heard some guy saying the blues started with Clapton. Wouldn't you want RJ to get his props and set the ignorami straight ???
3)...nah man just spit it out lest you choke on it
s'all good
Inca March
Down from Machu Picchu
name
dubstep needs name surgery. been backed into a corner. more step less dub.
dubstep needs name surgery. been backed into a corner. more step less dub.
HELL_SD said:
the problem sounds familiar, but I don't think it relates to whether a producer knows their history or not. How does knowing history of a genre make you want to imitate the "now sound" less?
If the now sound is what's doing well, some people want to catch on to that. I see that as a bad thing for creativity, sort of (although imitators can improve on the originals too), but I don't see much of a connection between whether someone thinks dnb or garage or peruvian flute music is the root of the sound, and whether they are trying to cash in on a current trend.
HELL_SD said:
see that sounds to me like a problem for historians who want an accurate picture of who did what when. And I understand about wanting people to get their props, but that also isn't really about the music itself, it's about history, or about individual credit. I get you on the idea that it's unfair to people who put a lot into a scene, but I still don't get you on how that leads to bad music.
to digress -- in some genres of music what you said about not being able to tell the difference would be considered a compliment to both the original and the imitator - because authorship is not the most important thing, participation in the culture is - I get that you think authorship is the most important thing, but I'm not convinced that's the same thing as 'good music' --
To return to this genre, if a tune is good, it's good. I do think a bit, when I hear a track that sounds like it was made in 1995, of whether I know a better tune from 1995 that I would play instead. But ultimately if it's a better tune than I play that one.
HELL_SD said:
If I like your trax, then I like them. If they sound different then they sound different. And I respect everyone's own choices for producing the way they do. If knowing the history informs how you make music, then great. I don't think every producer sets out to make something and has a goal of making sure it sounds different from other things, some producers just have personality that comes through in their music.
HELL_SD said:
I buy that in relation to politics, for sure. And I buy that more knowledge in general is better than less, for music or most things. But I don't see that as a requirement for music at all. People are creative or they are not.
Too much of a concern with the history of a genre to me sounds like a social concern, a concern with managing and controlling the boundaries of a genre, which isn't in itself that interesting to me, and I still think it doesn't necessarily relate to whether the music being made is any good.
the undisputed truth
Banned
nice one ripley...
to me good music is different music, not souding like clones of everyone else. To do that i think you have to appreciate who did what, when and not just whos doing it now and copy them.
The danger as i said is that we get a whole bunch of stuff that all sounds the same in which case it deosn't take long for them to lose their flavour only to be replaced by the next same sounding tune.
on a side note have you come across this ???
http://www.unc.edu/~mumukshu/gandhi/gandhi/hofstadter.htm
now imagine that program trying to make chopin or beethoven without beethoven or chopin ever having existed
you can fake personality and creativity and that personality need not even be your own, same for creativity
to me good music is different music, not souding like clones of everyone else. To do that i think you have to appreciate who did what, when and not just whos doing it now and copy them.
The danger as i said is that we get a whole bunch of stuff that all sounds the same in which case it deosn't take long for them to lose their flavour only to be replaced by the next same sounding tune.
on a side note have you come across this ???
http://www.unc.edu/~mumukshu/gandhi/gandhi/hofstadter.htm
now imagine that program trying to make chopin or beethoven without beethoven or chopin ever having existed
you can fake personality and creativity and that personality need not even be your own, same for creativity
the undisputed truth
Banned
and please don't bring culture into it...
...my culture is polynesian and we will infuse our music with it and spirituality when we see fit, but music culture ???
ripping off global sounds to infuse your trax with some exotic quality that has no bearing on you or your culture....pffft
more dishonesty and hardly being true to yourself. Participating in the culture is not important authorship is and retaining intellectual copyright of your creativity
I'm not talking about the copyright of the instrument used or even the source material but the acknowledgement of your creative authorship in re interpreting sounds and redefining musical boundaries while knowing where they came from and why you're doing it
without that you're just faking the funk
...my culture is polynesian and we will infuse our music with it and spirituality when we see fit, but music culture ???
ripping off global sounds to infuse your trax with some exotic quality that has no bearing on you or your culture....pffft
more dishonesty and hardly being true to yourself. Participating in the culture is not important authorship is and retaining intellectual copyright of your creativity
I'm not talking about the copyright of the instrument used or even the source material but the acknowledgement of your creative authorship in re interpreting sounds and redefining musical boundaries while knowing where they came from and why you're doing it
without that you're just faking the funk
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