The Idea
Borrowing from the dark, electronic abrasions of grime, scattershot rhythms of 2-step and house music-bred minimalism of UK garage, dubstep has offered itself up as the latest crucial chapter in the annals
of UK electronic music. Popularised by producers such as Skream, Hatcha, Benga, Pinch, Youngsta and Burial in recent years, dubstep’s calling cards are its apocalyptic bass tremors, minimalist minor key musicality, electronic futurism and communal soundsystem culture of dub. It’s oddly dichotomous aesthetic is one of brooding atmosphere, speaker-shattering sub-bass and skittering, syncopated beats – mood-drenched, ominous and danceable. Chiefly instrumental, dubstep’s vocal flirtations see it stray closer
to dancehall than the more hip
hop-oriented MCing of grime.
Roots
While it wasn’t until early 2006 that the wider musical populous first caught wind of dubstep – via BBC Radio DJ Mary Anne Hobbs – we have to travel back to the grotty basements of concrete-clad southwest London in the early ‘00s to find its roots. Originally made with little more than free PC and PlayStation music software by then-teenage producers like Benga and Loefah, nascent dubstep was born out of circumstance. The producers’ raw methodology led to a rawer sound. They presumed it their take on grime: but it gained its own life.
Culture
Proudly underground, dubstep has actively sought to reject the gangsterisms, egos and commercial trappings of its urban music precursors and contemporaries. Instead it draws from the community-based traditions of Jamaican dub – and its ribcage-rattling soundsystems and dub-plates. But within this schema, increasing popularity translates to mounting disquiet. Can dubstep survive its
own growing esteem?
The Players
Skream: credited with dubstep’s first crossover hit in 2005’s highly melodic Midnight Request Line.
A key voice. Check: Skream!
The Bug: a long-term experimental dub, dancehall and electronic producer, The Bug (aka Kevin Martin) embraced dubstep with open ears. He adds a hollering dancehall dynamic to the mix. Check: London Zoo (see review, page 50).
Burial: an enigma, he’s never played live or released a press photo. The pitch-controlled vocals and liquid mystique of last year’s mind-boggling Untrue made it one of the records of 2007. Check: Untrue
MAG’s Dubstep Selections!
Diary of an Afro Warrior (Benga)
Aerial (2562)
Steppas’ Delight (Various)
Memories of the Future (Kode9)
