man knows
remember their press releases though? Couldâve thought they were Aviiciâs cousin or sth
this is something Iâve 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 didnât 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.
This started very early on though; I donât think Caspa and his entourage (Storming Productions and Dubpolice crews) ever got along with the dmz/Tempa guys.
Yeah didnât like loefah or someone go on about that in that 10 year interview thing
Yeah, Iâve long had that impression
was it jealousy, Quiet Stormâs abrasive character or loyalty to different record stores?
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 âturfâ. Itâs all in that âAn Oral History of Dubstepâ Thump article @CreamLord mentioned.
1 BigUp
May 2009 Blackdown interview with Loe:
L: it depends where you want to get booked. You look on Benga and Skreamâs MySpace page and theyâve got a page full of bookings. But you look at the bookings and you ask would you want to do them? Even worse: Caspaâs page. I donât think I want to do one of his bookings.
was this jealousy, elitism or condescension?
hereâs another little find from the February 2013 Pleasure Principle interview
(didnât find the one you were referring to Creamlard)
L: "Ah mate, I learnt this back in dubstep: you canât please all the people all the time. I remember back in the day on Dubstep Forum, people would push things out and youâd be so enraged youâd go on there and blurt it all out, make a big problem for yourself. Weâve all done it. Now, look â if someone doesnât like it, another person will like it, you know? I think a lot of the accusations were a little over the top butâŚit wasnât 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 donât 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 âbring it out!â 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; thatâs the thing, I get where theyâre coming from. Itâs how it is. The tunes will come out, itâs good music â I donât think any tunes on Swamp are really that specific to the time. Well, to a certain extent they are, but theyâre good tunes regardless, theyâre good tunes a year later."
GS: "Obviously thereâs been an extended period of absence since youâve released music yourself â do you feel the group youâve got now act as a conduit, or do you ever think youâre 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 thereâs more to do â this is just my first two. Iâm not thinking about releasing until Iâve got at least four or five dubs out and theyâre playing in clubs. They seem to be going down quite well. Iâm loving it again, yeah, and without my team â my boys â I wouldnât be back in the studio the way I am. But yeah, Iâm 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. Iâm always to be linked with it, but I donât get people coming up to me when Iâm DJing anymore -"
GS: "- like that guy in Holland who tried to get on stage and said âplay some fucking dubstep!â
L: âHaha yeah, exactly. No, people know whatâs 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 âIâll play some classicsâ and it didnât actually go down that well. People were after something else. Pretty much if Iâm with Zed Bias Iâll play 140 â other than that, probably not, unless Iâve had a great set.â
edit@junkhands: ah, that one; Iâll have a squizz.
2 Likes
found it, from that Vice history, Pokes:
Everyone was very supportive â 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, âThese are the guys that are showing promise. Theyâre going to be the next generation of core artists.â They were chatting this bad-mind pollution: âAll these guys â Mala, Loefah, Skream â theyâre taking the piss out of you. You should be doing these huge showsâ â chatting shit in an attempt to get them to join an agency theyâd started. They were creating bad feeling to try to get an investment. It didnât work with us, though. We stuck together.
Another thing was that the producers who were making the more breaks-influenced stuff werenât part of the Croydon mob. It wasnât even a north and south thing. It was the Croydon sound. Before AIM [AOL instant messenger], people werenât passing on tunes so freely, there were less shows â people were watching each otherâs backs, you know? After AIM, all of sudden youâve got more bookings, more emails, more music being spread online â 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, âHang on. Caspa is a west London guy. Why are they coming down to here, of all of the venues?â We wanted more dubstep parties, sure, but it was an unspoken thing. Maybe we shouldnât have been so precious, but we felt like it was a bit of a snide move. Short story: thatâs why Caspa never played a DMZ.
4 Likes
Eh, I was close enough. 
1 BigUp
Joe Muggs gave Distanceâs latest vinyl a nice rap in WireâŚ
appreciating it for being dubstep in contrast to Kuedo (Jamie Vexâd) & Phaelah releases
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 shitâŚneed vinyl.
o, hereâs the original to compare:
All synths should sound either like the voice of some creature (real or imagined) or some natural phenomenon.
should
why?
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.
2 Likes
To reintroduce ânaturalismâ or something.
Fewer grids. More treelike networks imo.
I must admit that Jlinâs sounds are confrontingly "un-natural"
all metallic, sharp & no decay.
but then everything is natural I suppose
&, with habituation, can become human.
huh
that would be life affirming
no really
didnât he also say recently he found an old hard drive of 03-08 stuff?
bet heâs just gunna release some of it as ânew materialâ