might as well bring discussion of Caspa’s "reconsideration"
as conveyed in the recent FatKidOnFire interview
here from the Music subforum
ella_doney: he did a mix for Garage Pressure two hours before his set @ the Laundry (on Saturday 11 July). No bro…started with aggy sounds, chainsaw, tear-out, hard wobble but made a transition to proppa with mixes of Coki wobble & Kenzo’s Rotek and ended with half-time dnb I thought it was a great statement of intent (hopefully) and showed the way for healing the schism in music
I’ve just found the record that lost Caspa for me Floor Dem/My Pet Monster on Digital Soundboy,
released in 2008
To my ear, it was absolute crap
noisy, annoying (not in a punk way) & appealing to low human instincts
but yes, I bought it in the shop
cos I intuited that it represented a nadir,
possibly because there’s a foto of Mr McCann spewing fake vomit on the cover
(at the time I considered Skleenex as just an interloping narcissistic knob)
I’m starting to wonder if Caspa was smart enough to see the potential for Septic edm to swamp Brit tastes as well and this was his attempt to hold onto some influence and money.
And maybe I should’ve put this in the Unpopular Opinions thread?
I haven’t listened to Caspa’s 500 album yet.
His claimed intentions may not be represented by it’s aesthetic.
But even tho bro seems to have run out of testosterone
(it may have just leaked into trap etc.)
we do need more effort to reconcile GDS
before simmering tension leads to a thousand years of conflict
like between dogmatic religious sects.
tbh I couldn’t care less if bro & it’s adherents rotted in Hell
but I couldn’t forgive myself if I remain ruled by hatred.
A lot of producers / DJs are just trying to appeal to everyone by encompassing multiple sounds. For example, Bukez Finezt was a producer well known in the “riddim” scene, but he got a lot of attention from the truhed camp from Under Control. Same thing with Firepower, who’re known for brostep, releasing tunes from Truth that would’ve sounded good under other established dubstep labels considering Truth have established a large back catalogue on many labels, or Genetix releasing on Artikal. Maybe dungeon got enough attention from all dubstep sects, but it’s a shame a lot of producers jumped on it when it stagnated and got boring. At the end of the day tho, everyone’s just doing what they’re doing.
If you think firepower got recognition in the ‘scene’ bc of truth you are mistaken. Truth got laughed at for releasing an awful release on an awful label. b8 upon b8
I actually think ‘deep’ dubstep is the new brostep. Tasteless ‘deep’ vibes peppered with cheesy vocal samples about illumaniti and smoking weed. Toss in a dash of Jah samples for good measure.
lol is that really happening? post examples. as irrelevant as dubstep nowadays is, it’s almost kinda cute if brosteppers have been “true” to dubstep still
Firepower didn’t really get much recognition tbh. I do agree with “deep” dubstep being the new brostep tho, brostep stagnated to hell and not much people care about it anymore
I’m willing to forgive and maybe forget
a la Nelson Mandela
if anybody wants to come on & admit their youthful enthusiasm
has now been tempered with some worldly wisdom & perspective
and having realized that heavy, even hard, dubstep is a different beast to
the mids-dominated, drop-obsessed, commercial pap that they were lead to believe was dubstep,
that there lay the path to hell & cheese,
that by seeking out the roots & truth,
& becoming enamoured of the variety, complexity, depth & width of proppa dubstep
they allow themselves to be welcomed into (or back into) a community of steppas awaiting with open arms,
ready to accept you & your transgression into the ice-fields of EDM
just as we hope you forgive our criticisms of your kind & ridicule of your ignorance.
I’m sure that, with discussion & tolerance, can come mutual understanding
and eventual reconciliation.
ah & that’s the nub
can I go beyond conceding that bro is dubstep
to actually & truly believing it.
I remember Cyrus’s gig in Sindey, maybe 09? 10?
two rooms:
Main room had Garage Pressure’s chronology of garage to deep, Mark Pritchard playing progressive beats then Cyrus with his heavy minimal dubstep.
Not real well attended cos Distance was playing noisy stuff down the road at a Uni.
Smaller room had a handful of youngsters in their hip-hop clobber
playing out CDs & running round in circles like a kindergarten,
undoubtedly enjoying themselves to the screech
but an anathema to me.
Like, I’ve listened to a lot of dubstep,
from torture chamber repetitive
to abrasive psychotherapy
to ego-confronting, head-in-the-bin dissolution
to skanky, head-down lope
to stand-in-the-corner & nod to the sub
to chin-scratching intrigue at new sounds.
And that wasn’t dubstep sfar as I’m concerned.
so dansci mate
I’ll deal with it when you tell me how you’ve dealt with your soccer mum aversion.
Shame that the wobble bass got a bit of a bad rep, because some of the scenes greatest tunes have a main focus on wobble bass and it sounds when used well
I get exactly what nuSD5 is saying. Just like people the genre will grow and change over time. I guess what’s important is that the genre has a future.
huh
impressed with the tone of What Tune Got you into Dubstep thread
no one shiaking nubes or carrying on like pork chops
hey the new forum works!
looks like the Schism is healing & we’re moving on up .
.