Did Americans Ruin Dubstep?

bogey_j

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been hearing some UK heads grumbling about how americans ruined dubstep and that the original scene in bristol was really dope

is that true?
 

Eoin

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but they did give us house and techno :manny:
 

Clapsteel O'Neal

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been hearing some UK heads grumbling about how americans ruined dubstep and that the original scene in bristol was really dope

is that true?

short answer = yes


long answer = yes


and also, the original scene wasn't no gotdamn bristol :russ:

bristol properly came into it at around 05-06

south london is dubsteps original ends


can't be mad though :yeshrug: the uk's underground music has always been progressive and we needed to move on
 

Clem

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How did it get ruined all those uptight brits are still free to make their 'proper' dubstep right?
 

bogey_j

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short answer = yes


long answer = yes


and also, the original scene wasn't no gotdamn bristol :russ:

bristol properly came into it at around 05-06

south london is dubsteps original ends


can't be mad though :yeshrug: the uk's underground music has always been progressive and we needed to move on

explain how americans ruined dubstep though, I want a real answer :ohhh:
 

Clapsteel O'Neal

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explain how americans ruined dubstep though, I want a real answer :ohhh:

because america being the global powerhouse it is in terms of marketing and influence took a b*stardised (and already outdated and boring) version of dubstep (brostep) which had already been perfected and then stretched to its limits in terms of creative potential by its creator (coki). Also, the brostep that america populised doesn't even have any rhythm or structure to it, its just random midrange noise screechings





^^^^

that is brostep perfected






^^^^^^

watch what the goblin riddim does to everyone at 1:10 even though at that time it was alreasy 5 years old as a tune, in a genre where a riddim is considered 'old' within 4 months




^^^^^^^^^^^




that is 'listenable' brostep stretched to its creative limit. The point is, those songs are fukked up to the max, but they still have rhythm and HEAVY low end frequency. Dubstep has allllllllllllllllllllways and will always be about the low end frequency being the driving force and the foundation of the sound...and the brostep that america popularised has none of that. Horrid Henry has bare midrange noises in it but I have been to raves where they played that riddim and the bass caved my chest in..to the point where one time I involuntarily coughed from how hard the bass hit my chest. Fundamentally, the general populace in America doesn't get dubstep. They just don't get it. Its a London sound. Yes you have the anomolies like brehs like frush11 on here who really do, but on the whole, America will never get it, its the same with grime.



Basically, to sum it up in one sense. America got behind a sound that fundamentally doesn't represent what Dubstep as a genre and sound really is...and also alot of waste producers got pushed to the forefront and because of that alot of the creative producers who were really pushing the genre forward left it alone because the music just became shyt


3 songs to sum up what dubstep is (and turn your speaker up)










and btw you are talking to someone who was down in south london and east london going to places like 3rd bass and plastic peoples when you couldn't get 30+ people into a dubstep night back in the day


my personal favorite dubstep song ever is and will always be digital mystiks - haunted

to put in perspective how monumental and sought after vinyl this is in the dubstep scene, used vinyls have gone for £170 ($253)


[ame="http://www.youtube.com/watch?v=T1LY2V5uBqQ"]Digital Mystikz - Haunted HD - YouTube[/ame]

so yeah, there's your propa propa answer in the guise of a long distointed ramble...good day
 
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Clapsteel O'Neal

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also might I add quickly that by definition the version of brostep popularised in america isn't even really dubstep persay.

Dubstep broken up means a mixture of dub reggae and 2-step garage, that brostep shyte has no musical connection to either of them
 

Majestyx

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because america being the global powerhouse it is in terms of marketing and influence took a b*stardised (and already outdated and boring) version of dubstep (brostep) which had already been perfected and then stretched to its limits in terms of creative potential by its creator (coki). Also, the brostep that america populised doesn't even have any rhythm or structure to it, its just random midrange noise screechings


Coki - Goblin (RNG008) (HD) - YouTube


^^^^

that is brostep perfected



Digital Mystikz Outlook 2011 - YouTube


^^^^^^

watch what the goblin riddim does to everyone at 1:10 even though at that time it was alreasy 5 years old as a tune, in a genre where a riddim is considered 'old' within 4 months


Coki - Horrid Henry - YouTube

^^^^^^^^^^^

OUTLOOK FESTIVAL 2010 - DMZ NIGHT (COKI - HORRID HENRY) - YouTube


that is 'listenable' brostep stretched to its creative limit. The point is, those songs are fukked up to the max, but they still have rhythm and HEAVY low end frequency. Dubstep has allllllllllllllllllllways and will always be about the low end frequency being the driving force and the foundation of the sound...and the brostep that america popularised has none of that. Horrid Henry has bare midrange noises in it but I have been to raves where they played that riddim and the bass caved my chest in..to the point where one time I involuntarily coughed from how hard the bass hit my chest. Fundamentally, the general populace in America doesn't get dubstep. They just don't get it. Its a London sound. Yes you have the anomolies like brehs like frush11 on here who really do, but on the whole, America will never get it, its the same with grime.



Basically, to sum it up in one sense. America got behind a sound that fundamentally doesn't represent what Dubstep as a genre and sound really is...and also alot of waste producers got pushed to the forefront and because of that alot of the creative producers who were really pushing the genre forward left it alone because the music just became shyt


3 songs to sum up what dubstep is (and turn your speaker up)


Loefah - The Goat Stare - YouTube


Skream - I - YouTube


Mala - New Life Baby Paris - YouTube

and btw you are talking to someone who was down in south london and east london going to places like 3rd bass and plastic peoples when you couldn't get 30+ people into a dubstep night back in the day


my personal favorite dubstep song ever is and will always be digital mystiks - haunted

to put in perspective how monumental and sought after vinyl this is in the dubstep scene, used vinyls have gone for £170 ($253)


Digital Mystikz - Haunted HD - YouTube

so yeah, there's your propa propa answer in the guise of a long distointed ramble...good day

well, i guess nothing more needs to be said. lock this thread, sticky it if you want.
shytty ass fukking datsik, excision and skrillex... :pacspit:
 

Mr.Whiskers

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America didn't ruin dubstep... Nah...I take that back. It did get ruined, the wave of popular "dubstep" that came out of US just forced real shyt to go back underground. Garage is making it's way back up in UK tho. :yeshrug: shyt dubstep ain't the same tho after that. :to:
 
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