Dubstep Case Essay

The name dubstep was first coined to apply to cryptic-driven electronic music in 2002 in a town c onlyed Croydon (South London), England. The actual root of dubstep are a bit tough to pinpoint because it is a merge of dozens of types of electronic music, and even after it began to achieve popularity it has continued to evolve and grow. Still, hither we bring you this article to offer a general history of events that went into the formation & growth of a new genre.EARLY FORMATIONS (PRE-1999)Dubstep is thought to have evolved out of Jamaican dub music and other soundsystem cultures. The Jamaican soundsystems emphasized disco-type sounds with reproduced mystifying frequencies underlying. This eventually gave rise to the dub variety of reggae music that had features like sub-bass (bass w present the frequency is less than 90Hz, a.k.a. genuinely really deep), 2-step drums and distortion effects. All of this development eventually churned out the more forward-looking British sounds of jungle, store and now dubstep. It is important to note that many of these features existed distributively prior to dubstep, but were only brought together under unity roof in the early 2000s.Here is a sample of sub-bass being use in 1992, Some Justice by Urban ShakedownTHE ORIGINS OF DUBSTEP (1999-2002)Ammunition Promotions, who run the club Forward are thought to be the first to use the term dubstep to let on this style of music. The club, located in Soho London, was instrumental in the formation of dubstep music because it was really the first venue that was dedicated to playing the genre. Additionally, Forward ran a radio figure on Rinse FM that was hosted by Kode9 to premier new music. The electronic style gained traction as the term dubstep was used to refer to the genre in a 2002 XLR8R cover story. Finally, under the Tempa file label (managed by Ammunition Promotions) we saw Dubstep Allstars Vol 1 CD released by DJ Hatcha that solidified the movement and constituted the dubstep name.Ammunition Records was certainly one of the big reasons that dubstep was able to gain momentum, decomposeicularly because of the many dubstep record labels that they promoted, Club Forward and Kode9s radio show. One other report of the puzzle that really allowed the music style to spring roots was Big Apple Records in Croydon, South London. A lot of influential artists, particularly Skream and DJ Hatcha actually worked in the shop and many more were frequent visitors. The store has since shut down, but the influence is undoubted.GROWTH AND DEVELOPMENT (2002+)In 2003, DJ Hatcha began to kick down a new direction for dubstep on Rinse FM using 10 dubplates (reggae-style) to form a dark, clipped & minimal sound that is largely used in dubstep today. An event in 2003 called Filthy Dub snuff ited happening regularly, and was where quite a few popular DJs like Skream, Benga, N Type and Cyrus made their debuts. It was slightly this cartridge clip that Mala and Coki (toge ther Digital Mystikz) started combining reggae to form yet another extension of dubstep that had orchestral and jungle sounds.Digital Mystikz, along with Loefah and Sgt. Pokes, began to manage the club DMZ in 2005 along with its predecessor FWD, this is one of the most influential clubs. One of the landmark moments in dubstep history was the night of DMZs anniversary, where a line of business of over 600 nation forced the club to move dubstep into the main room. The music has continued to accelerate, and after BBC Radio DJ Mary Anne Hobbs gave it attention on a national circuit across the U.K., we started to see regular dubstep night clubs popping up in New York, San Francisco, Tokyo and Barcelona. Still, it is worthwhile to note thatTHE PROGRESSIVE era OF DUBSTEP (2007+)More recently, the influence has spread to the commercial market with artists such as Britney Spears adopting the sound in newer tracks. In 2010, dubstep songs like I Need Air by Magnetic Man started hitting the pop charts in the UK. Undoubtedly, the 2010-2011 period was one of the most notably on the dubstep music scene, where progressive artists like Flux Pavilion, Noisia, Bassnectar and Zeds deadened began to redefine the traditional dub sound with increasing portions of mid-range bass and vocals. In a nod to more universally-accepted club music, these new artists have begun to bridge gaps amid progressive house and traditional UK Bass to form more high-powered mixes that hinge on the increasingly-used recede of a track.With the ongoing sound wars in modern music making, traditionalists like Burial point to the sonic superiority of classic dubstep, with dynamic bass lines and complex arrangement patterns that focus on heart-stopping sub bass more than anything else. However, there is certainly room in the genre for artists like Grammy-award winning Skrillex, who choose to focus on progressive basslines, heavy distortion and gut-wrenching drop sections that maintain sub bass while cov ering more ends of the frequency spectrum. The age of social media has allowed almost anyone to have access to at-home production studios. More self-sufficient artists join the arena every single day, and so dubstep has never been as far reaching with many artists searching for their first big hit.Were here to cover all the madness for you here at uDubstep.com -JRSome people might think dubstep is a new phenomenon, but it actually grew out of garage and grime about a decade ago. In Croydon, south London, there was a shop called Big Apple Records that acted as a hub for people into all sorts of bass-led music (sadly, it closed five age ago). I had a recording studio above the shop and started the Big Apple record label with can Kennedy and DJ Hatcha. We were the first label to sign Skream and Benga when they were exclusively 15 years elderly alongside Digital Mystikz (DMZ), Mala, Coki and Loefah. These artists made some of the first dubstep records. Around this time Hatcha, who also worked at Big Apple, was championing this sound at a London club night called FWD. We were all making records for Hatcha to spin and meeting in the record shop to discuss the sound we were making.It was a bit like a bass university. And through Benga, Skream, Oris Jay, Plastician, Chef, LB, Kode 9, N Type and Benny Ill, the dubstep sound was brought to life. We have just finished the festival season with Reading and Leeds. This is unbelievable for us, considering a few years ago you wouldnt get to play those festivals unless you had a guitar in your hatful or a set of drums in front of you. It shows how much this music has grown in the past few years that a non rocknroll band can be accepted at a major rock festival (although it should be pointed out that we continue some of the old rocknroll traditions after the shows). I was speaking to Skream this weekend about how dubstep has gone so far in the past three years we were wondering if a new style of music has ever spread aro und the world so rapidly.If you think about drumnbass taking off in the 90s, a scene would blow up in one country in one year, then another a year or so later. The internet has changed all that and helped spread dubstep across the world almost instantly. At the same time, dubstep is constantly changing, incorporating different sounds and styles all the time. The lookout man festival was held in Coatia last weekend, a dubstep event hosting some of the biggest names in the genre from around the world. If you thought you would hear only straight-up dubstep you were in for a surprise. Loefah played Detroit techno, Skream played metal, and Joker mixed it up with some UK funky and house.I think the fact dubstep artists embrace other genres is a big part of why its so difficult to define the music. The borders are becoming increasingly blurred between dubstep, grime, drumnbass, techno, house, funky everything. However, there is one element that links all of these genres together and that is BASS. The music industry has been in the doldrums for a long time with few A&R people willing to take a risk. You get the feeling they are all being told by bosses to sign us a hit or youre out.This is very short-sighted, and has done a lot of damage to the music on the majors. Luckily, we found a label (Columbia) that didnt ask us to water down our sound. Hopefully, other majors will follow suit and let their A&R teams make choices based on the music they believe in. thither are so many great acts out there, with fresh music deserving the same exposure we are getting at the moment (see below). With the nurse of more labels like ours, and Radio 1 willing to take risks as they have in supporting us, the remainder of 2010 and 2011 will hopefully be the start of another revolutionary and exciting time in UK music.