Random dubstep-related thoughts


#21

:smile: man knows

remember their press releases though? Could’ve thought they were Aviici’s cousin or sth


#22

this is something I’ve come to realise over the years,
that dubstep is factionalised in London,
let alone England,
that crew allegiances have divided ds
on tenuously-claimed stylistic differences.
It didn’t happen in Sydney until bro came along.
Fair enough that record labels
compete for economic survival
but I really believed that ds could be a broader church.


#23

This started very early on though; I don’t think Caspa and his entourage (Storming Productions and Dubpolice crews) ever got along with the dmz/Tempa guys.


#24

Yeah didn’t like loefah or someone go on about that in that 10 year interview thing


#25

Yeah, I’ve long had that impression
was it jealousy, Quiet Storm’s abrasive character or loyalty to different record stores?


#26

If I remember correctly, I think Caspa threw a night in the Brixton venue where DMZ were happening too. Since Caspa is from north london (or east?), this was considered an invasion of their “turf”. It’s all in that “An Oral History of Dubstep” Thump article @CreamLord mentioned.


#27

May 2009 Blackdown interview with Loe:

L: it depends where you want to get booked. You look on Benga and Skream’s MySpace page and they’ve got a page full of bookings. But you look at the bookings and you ask would you want to do them? Even worse: Caspa’s page. I don’t think I want to do one of his bookings.

was this jealousy, elitism or condescension?

here’s another little find from the February 2013 Pleasure Principle interview
(didn’t find the one you were referring to Creamlard)

L: "Ah mate, I learnt this back in dubstep: you can’t please all the people all the time. I remember back in the day on Dubstep Forum, people would push things out and you’d be so enraged you’d go on there and blurt it all out, make a big problem for yourself. We’ve all done it. Now, look – if someone doesn’t like it, another person will like it, you know? I think a lot of the accusations were a little over the top but…it wasn’t intentional, at all. It just happened at its own pace. In actual fact, we had a massive backlog of tunes to bring out, and we had a hold-up with one of the records, which made us wait six months, which made the backlog even worse. People don’t know that, do they? They sit at home, they want a tune, an mp3, blah blah blah. If I was a record buyer back then, I would probably be one of the ones leading the charge going “bring it out!” Labels like Prototype Records, back in the day, I waited two years I swear for one tune. We were going mad, hearing all the DJs play it every week; that’s the thing, I get where they’re coming from. It’s how it is. The tunes will come out, it’s good music – I don’t think any tunes on Swamp are really that specific to the time. Well, to a certain extent they are, but they’re good tunes regardless, they’re good tunes a year later."
GS: "Obviously there’s been an extended period of absence since you’ve released music yourself – do you feel the group you’ve got now act as a conduit, or do you ever think you’re going to have the impetus to put music out yourself again?"
L: "I played two of my dubplates tonight!"
GS: "Oh really okay, are they going to remain dubplates?"
L: "Dunno mate, see how we go about it. But there’s more to do – this is just my first two. I’m not thinking about releasing until I’ve got at least four or five dubs out and they’re playing in clubs. They seem to be going down quite well. I’m loving it again, yeah, and without my team – my boys – I wouldn’t be back in the studio the way I am. But yeah, I’m loving it!"
GS: "Has the musical landscape shifted enough that you feel that your legacy personally has been detached from the narrative of dubstep, or do you think it will continually come up?"
L: "I think people have just got there. I’m always to be linked with it, but I don’t get people coming up to me when I’m DJing anymore -"
GS: "- like that guy in Holland who tried to get on stage and said “play some fucking dubstep!”
L: “Haha yeah, exactly. No, people know what’s going on now. You know what, I played a set a little while ago where I had a bit of extra time at the end; I thought “I’ll play some classics” and it didn’t actually go down that well. People were after something else. Pretty much if I’m with Zed Bias I’ll play 140 – other than that, probably not, unless I’ve had a great set.”

edit@junkhands: ah, that one; I’ll have a squizz.


#28

found it, from that Vice history, Pokes:

Everyone was very supportive – and against the odds sometimes, too. I remember, around the time of the Winter Music Conference in 2006 or 2007, when two prominent drum and bass artists tried to round up a load of the young dubstep guys, like Quest and Silkie. They thought, ‘These are the guys that are showing promise. They’re going to be the next generation of core artists.’ They were chatting this bad-mind pollution: “All these guys – Mala, Loefah, Skream – they’re taking the piss out of you. You should be doing these huge shows” – chatting shit in an attempt to get them to join an agency they’d started. They were creating bad feeling to try to get an investment. It didn’t work with us, though. We stuck together.

Another thing was that the producers who were making the more breaks-influenced stuff weren’t part of the Croydon mob. It wasn’t even a north and south thing. It was the Croydon sound. Before AIM [AOL instant messenger], people weren’t passing on tunes so freely, there were less shows – people were watching each other’s backs, you know? After AIM, all of sudden you’ve got more bookings, more emails, more music being spread online – and that glue started to decay.

I remember that when we were doing DMZ at Third Bass, [producers] Search and Destroy were working with Caspa back when he was called Quietstorm, and they put on a party at Mass. We were like, “Hang on. Caspa is a west London guy. Why are they coming down to here, of all of the venues?” We wanted more dubstep parties, sure, but it was an unspoken thing. Maybe we shouldn’t have been so precious, but we felt like it was a bit of a snide move. Short story: that’s why Caspa never played a DMZ.


#29

Eh, I was close enough. :badteeth:


#30

Joe Muggs gave Distance’s latest vinyl a nice rap in Wire…
appreciating it for being dubstep in contrast to Kuedo (Jamie Vex’d) & Phaelah releases


#31


this Emalkay remix was supposed to be released in 2010.
was it ever?
great dubstep treatment of a classic
altho the sound on this upload is shit…need vinyl.

o, here’s the original to compare:


#32

All synths should sound either like the voice of some creature (real or imagined) or some natural phenomenon.


#33

should
why?


#34

this site is currently undergoing (another)
crisis of relevance.

rally around folks
participate
whatever thread
push through

keep us engaged

unless this is our final vision.

rally
unless the moment has passed.

creativity
unless you are drained

commitment
unless you have other stuff to do.

enjoyment
unless it has become a drag

all those unlesses
resist ennui.


#35

To reintroduce “naturalism” or something.

Fewer grids. More treelike networks imo.


#36

I must admit that Jlin’s sounds are confrontingly "un-natural"
all metallic, sharp & no decay.
but then everything is natural I suppose
&, with habituation, can become human.


#37

#38

https://twitter.com/I_Skream/status/828132561075466240


#39

huh
that would be life affirming
no really


#40

didn’t he also say recently he found an old hard drive of 03-08 stuff?

bet he’s just gunna release some of it as “new material”