Eventually, tracks like Flux Pavilion’s Bass Cannon (2011), Excision’s X Rated (2012) and Skrillex’s Scary Monsters And Nice Sprites (2010) would be pejoratively termed ‘brostep’. In retrospect, the variety of sounds that got called dubstep in the mid-to-late ’00s is oddly diverse: from the crystalline digital funk of Joker’s Purple City (2009) to the lolloping skank of Digital Mystikz’s Anti-War Dub (2006) the precise minimalism of Skream’s Midnight Request Line (2005) the disorientating melodic patterns of Benga & Coki’s Night (2006) and the retro-futurist chiptune swagger of Zomby’s One Foot Ahead Of The Other (2009).īut the downfall of dubstep as the hype genre of the early 21st century was probably on the cards from 2009, when tracks like Rusko’s Cockney Thug marked a trend for ever-filthier bass sounds, big drops and more aggressive production.īy the early 2010s, producers were almost trying to outdo each other with dirty sounds. Aphex Twin’s Rephlex Records had released two (somewhat misleadingly titled) Grime compilations that included dubstep tracks, while Radio 1 DJ Mary Anne Hobbs’ show Dubstep Warz brought the sound to her large audience.
Dubstep quickly spread from its London roots, with strong scenes in cities such as Bristol and Leeds, then globally.
0 kommentar(er)
