The Brits stole our riffs.
I used to blame bro
but Iâve got to admit that I was growing tired of the sameness before the noughties were out
even then people on here were calling out rip-offs & copying
and the big tunes contrasted to a lot of tunes made to a pattern.
The experimental nature of the dark garage/breakstep transition was over
and, as was said above, the production values of dnb were leading towards
the takeover of techstep & dungeon
which turned out to be a creative dead-end.
In a way, the emo hysterics of bro tropes
helped to call an end to the rehashing
long recognized by producers bailing to fg, funky & bass music
(and then house & tech)
That time was marked, in Sydney anyway, with a few hanging onto the vibes
but aware that, like any formative pulse, it had been & gone.
But I still think that, apart from its ongoing influence,
dubstep, the music, hasnât been fully explored
and will be by a review of its 02-06 roots
by some budding genius.
1 BigUp
problem is, if the yank teenagers hadnât latched on to the sound that coki spawned (and rusko + american ruskos abused) and put it on every youtube video, every advertisement, every trailer, every festivalâŚthen people wouldnât have got so fucking sick of it so quickly.
so many people abandoned ship because they donât want to be sharing a seat with a 17 year old yank who thinks dubstep is MDMA music or call of duty frag movie music.
outside of the actual music side of things, dubstep was just perfectly positioned in the 2000s for americans to take advantage of it. they got there too late to fuck up dnb/jungle (hang tight dieselboy though) but they were right on time to ride the internet dubstep wave and point the genre in the wrong direction.
although for all the blame that yanks must accept, kryptic minds also need to accept blame.
so many people are STILL trying to nail that âone of usâ sound nearly a decade later. lol.
(btw no actual hate to american heads from me. i am partly joking, and americans arenât bad by default)
2 Likes
Yeah, where did Garage actually start and where did all of the breaks come from that Jungle/DnB producers used?
There is no vacuum.
nobody wants a vacuum. but the internet-powered rate at which dubstep evolved (died?) was not something jungle/dnb/garage or anything prior really had to contend with.
that speed, and those yanks, helped ruin the genre imo.
in retrospect skrillex didnât even have anything to do with it. it was âdeadâ way before skrillex got his hands on it.
Well, the internet age was a new thing to contend with.
Iâve heard of a thousand new genres and everyoneâs had their 15 minutes of lame.
2 Likes
tbh, the majority of dubstep in the UK wasnât that much better after a while.
does anyone miss that whole post-dubstep/future bass (lol) 2010-12 period? donât know if I was just lucky, it was nice to hear everything from dubstep, grime and funky through to house and techno all in the space of one night.
donât think youâd get that nowadays. everything feels so compartmentalised again.
yeah just to be clear, iâm not dissing the americans who were pushing the sound, so much as I am criticising the american audience.
it was one of jujuâs mixes that even got me in to this genre.
Valor is in a league of his own.
joe nice is one of the best the genre has.
DJG had some bangers.
yup. the melting pot of sounds is what it was all about.
go to a night and every set, even every next tune, was different. all these different sounds co-existing in the dance.
I remember a night at subheavy, think it was 2009, with joker, appleblim, wedge, gatekeeper, necta selecta, me, and djake.
joker playing purple and benga dubs, 'blim playing whatever the fuck he wanted cos heâs 'blim, wedge and gatekeeper bringing the straight murkage, necta bringing some grime and hard shit, and then me and djakob probably playing DMZ records for the first 2 hours.
thatâs an inconsequential story I just told about a lineup, but yeah, I miss those days and that variety of sound.
3 Likes
Really glad to see a lot of discussion going on.
@111 What you said about the genre basically being ruined by the time Skrillex jumped in is right⌠2010 was his debut year, and by then UKF Dubstep started growing to be the biggest YouTube music channel for shit dubstep, and a lot of stupid stuff was released by then anyways. But around that time, UK-led club music was changing in so many directions in all fronts and genres, it was crazy.
Also another important note Iâm paraphrasing from earlier in the thread is the whole smoking ban coinciding with Rusko and Caspaâs FabricLive mix, which shifted dubstepâs reputation to being an MDMA / jumpy club drug genre.
One thing that I really miss, before Kryptic Minds cause the whole dungeon boom, was how grungy and mean the tracks back then sounded, especially with the drums. Nothing nowadays sound like these tracks anymore.
1 BigUp
Tbh whilst brostep was a thing, dubstep was also ruined by the uk when every release between 2012 and 2018 has sounded like the same fucking song lol
luckily blackdown saved the genre by playing records at 130 bpm instead
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obnoxiously overcompressed Pryda snares FTL
1 BigUp
One thing I think thatâs forgotten about Swamp 81 was that, amidst the immediate popularity that revolved around the dubstep / garage / techno / house, 81 was the biggest crew releasing electro tracks. They had a sense of quality control across both music and artwork that no other label could match in their heyday. Come to think of it Swamp 81 was really just a thing for Loefah to put out his design work 
After all he designed the Keysound logo as well.
isnât the keysound logo literally just âkeysoundâ written in microsoftâs impact font?
if anyone wants to pay for this kind of design work hit me up.
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Youâre a daft â â â â
American dubstep producers now are holding down the original sound. UK dubstep producers now are producing beta-trap. Thatâs just the reality. (Obviously not EVERYONE but really look at some of these recent UK releases and tell me Iâm totally wrong)
1 BigUp
i dunno what point youâre trying to make m8
if you want to generalise like that, then yeah whatever, loads of people are making trappy shit.
but also, to generalise, the american audience (not american heads or producers, did you read what i wrote?) did fuck this genre.
donât really care if you agree m8. who are you anyway?
The person that created this thread.
1 BigUp
big up for that i guess lol
1 BigUp
I think itâs just a frustrating thing about dubstep in the US in general. The audience for deep/original dubstep is there, the audience for heavy dubstep/âriddimâ is there too and is a bigger audience, but letâs face itâŚthe majority of heavy dubstep producers that got massive play were and are British. Not American. Is it the audienceâs fault for consuming what is most visible?
yeah cos our dubstep is better ya daftkunt