Dubstep
FairiesWearBoots
Well-known member
he knows that, he's thinking about his budget for K/Coke/MDMA/high-class prostitutes and Tunnocks Teacakes
benjybars
village elder.
Dr Awesome
Techsteppin'
Rock and Roll, House, Drum and Bass, Heavy* Metal...
Are they really that significant? I don't think the name has much to do with it at all personally.
*Or one of the thousands of sub genres
Tentative Andy
I'm in the Meal Deal
Eh, I'll reply properly tomorrow when I'm fully sober, but I warn you already that my replies are liable to get all pseudo-philosophical and wander off from whatever point I was trying to originally make...
You and bandshell are both making valid points btw.
Fundamental
Well-known member
I think the What D'You Call It argument is more pertinent than ever at the moment. I think it is interesting that Kode 9 sees what is going on right now as a transitional period, like he mentioned in the Blackdown interview, as do others.
I think maybe it might be the end of genre in some senses. I understand that is an overt statement to make, and I'm sure there will always be genre and those who want to categorize it all, but I'm not sure we are gonna get anything as solid as dubstep ever again. The dissemination of the product with the way the music scene on the web is set up now doesn't seem to want to allow it.
You don't have the geographical territories like Croydon or Bow/Hackney to keep it baking. The top DJs all don't batter the same top 10 songs like they did in grime/garage etc. It is all centred around micro-scenes, collectives and clubnights but nothing all encompassing. (Rub-A-Dub/Numbers, Night Slugs, Hyperdub, 'Future Garage). There is so little room for 'anthems' to develop like they did. The way the US scene works is another story.
All that is solid has finally melted into air. (Oh by the way... this is a bloody good thing.)
I think maybe it might be the end of genre in some senses. I understand that is an overt statement to make, and I'm sure there will always be genre and those who want to categorize it all, but I'm not sure we are gonna get anything as solid as dubstep ever again. The dissemination of the product with the way the music scene on the web is set up now doesn't seem to want to allow it.
You don't have the geographical territories like Croydon or Bow/Hackney to keep it baking. The top DJs all don't batter the same top 10 songs like they did in grime/garage etc. It is all centred around micro-scenes, collectives and clubnights but nothing all encompassing. (Rub-A-Dub/Numbers, Night Slugs, Hyperdub, 'Future Garage). There is so little room for 'anthems' to develop like they did. The way the US scene works is another story.
All that is solid has finally melted into air. (Oh by the way... this is a bloody good thing.)
For what it's worth, "IDM" was the invention of listeners, not artists or journalists.
Dr Awesome
Techsteppin'
One would presume that Grime and Garage kinda missed the whole Net 2.0 explosion which Dubstep caught oh so well.
With more online access diversification, proliferation and mutation were always going to occur at a faster rate, indeed you could probably accurately catagorise dubstep's popularity as before/after Dubstep Warz.
That said, I have a sneaking suspicion that there's always been a degree of recoil to labeling these little permutations too much, the ghost of sub-genres past must have flown the young Dubstep up to the proverbial window.
I've known of attitudes of "lets not label it" floating around at gigs and forums for as long as I can remember, although that all changed when massively overdriven midrange flange sounds became popular.
Dr Awesome
Techsteppin'
The singularity (Rusko and Shackleton doing a track at 155 and calling it future Juke).
Completely agree with this - no need to fall in with scene etiquette if you're making music alone in your bedroom. It's all there for you anyway - a way to make music, a way to get it out and an audience to get it out to.
Hugely important development for music, IMO. Leads to purer sound, less contaminated by expectation/the need to work in groups/for groups. You can hear that loneliness and privacy in a lot of the new music anyway, even in stuff as diverse as Untold and the XX, James Blake, Washed Out, Oneohtrix Point Never, Joe etc
They're linked by something deeper than the sound. It's the approach that counts.
Corpsey
bandz ahoy
he knows that, he's thinking about his budget for K/Coke/MDMA/high-class prostitutes and Tunnocks Teacakes
I'd ask 'do you know me?' but evidently the question doesn't need asking.
Yes it's free entry but unfortunately trains/coaches/drinks/prostitutes still cost money.
Thanks alex for the offer, btw. Please cut her up into pieces and mail me her 20% at a time over the next month.
Sure, but it's still a conceit. A term like IDM still aims to say far more about the artist/listener/journalist than it does the actual music. In this case, very bluntly.
yes this is probably a better way to see music - laterally rather than bound by bpms and bass.