Dubstep Music Marketing

Dubstep is a genre of electronic music that has its roots in London's early 2000s UK garage scene. The name of the genre was coined by Ammunition Promotions. Musically, dubstep is distinguished by its dark mood, sparse rhythms, and emphasis on bass. Dubstep started to spread beyond small local scenes in late 2005 and early 2006, with many websites devoted to the genre appearing on the Internet and thus aiding the growth of the scene, such as dubstepforum, the download site Barefiles and blogs such as gutterbreakz.

Simultaneously, the genre was receiving extensive coverage in music magazines such as The Wire and online publications such as Pitchfork Media, with a regular feature entitled The Month In: Grime/Dubstep. Interest in dubstep grew significantly after BBC Radio 1 DJ Mary Anne Hobbs started championing the genre, beginning with a show devoted to it (entitled "Dubstep Warz") in January 2006.

While much of grime continues to focus exclusively on adversarial conflict (hype, clashing, or war), often at the detriment of the music or lyricals, Dot Rotten's music has a level of development rarely seen outside of a choice Durrty Goodz, Ghetto, or Trim track. The traditional grime narratives of a dark, intra-peer conflict mind state remain but tracks like "Get Out of the Hood" or "Pain & Strife" suggest a will to escape beyond the confines of poverty and violence.

Mary Anne Hobbs, the sound's chief evangelist, travels the UK, meeting the producers, DJs and fans that are turning the music into a movement. This is your guide to the most unique sound of the century so far- don't miss it.

Dubstep continues to be dominated by two broad movements: the metallic, distorted mid-range of the wobble sound and the techier Berlin/Bristol sound. But it's around the fringes that excitement is growing. step garage is the root of dubstep but once that genre blew up, its predecessor was nearly lost forever.

A man of many talents, Grievous Angel co-founded the mighty Woofah fanzine and is, of course, a skilled DJ-- a collection of his mixes can be found here. If the choice seems overwhelming, then the 2Step Heaven, On the Wire, and Dubstep Sufferah volume 3 mixes come highly recommended (read more about the latter here.).

Certainly there were markers announcing that dubstep had become more than a collection of like-minded producers: the three volumes of Tempas agenda-setting Dubstep Allstars mix CDs, Skreams 'Request Line getting props from a range of producers as diverse as Wiley to Ricardo Villalobos throughout 2005, and Dubstep Warz, when long-time supporter and Radio 1 DJ Mary Anne Hobbs gave over her Breezeblock show to the cream of dubstep DJ/production talent. However, theres no better illustration of the scenes rapid expansion than DMZs first birthday. The club run by Mala & Coki (aka Digital Mystikz) and Loefah was interrupted mid-dance and ravers asked to file upstairs to the considerably larger Mass in order to accommodate the hundreds in the queue, snaking off into the night.

That means doing mixes where you can really recognise the track, so all the personality and flavour comes through, but where tracks also get translated into something new. Not distorting the track but bringing out some potential that wasn't fully realised. That means reggae MCs and singers and grime tunes."

A cerebral affair of organic textures and warm ambience layered over a deep foundation of bass movement, exhibiting a much more progressive structure than typical Dubstep. Slowly building into a crescendo of cascading polyrhythm and webs of glitch, the end result is abstract yet strikingly music track. Along with playing support for Goth Trad (JAPAN) and Foreign Beggars (UK) in Melbourne, Flippo will be travelling to Sydney in July as one of the headlining acts for Void's Australian Dubstep Showcase special. Flippo is also gearing up to take his sound outdoors, and will be rolling deep and heavy at various festivals later in the year.

Dubstep is generally instrumental. Like another, more vocal garage hybrid, grime, the genre's feel is commonly dark; tracks frequently use a minor key and can feature dissonant harmonies such as the augmented fourth within a riff.

Lets put it this way - two of the hottest tunes of 2007 dropped on a whitelable. Well, probably because the producers who made them couldn?t afford to copyright the vocals they used! But regardless, these tunes are both hot as fuck. Unlike those cheesy deep house remixes of great reggae tracks that make you want to almost cry because its so painful, these tunes do the originals more than justice. So, two hot tracks from two totally hot and very different producers.

The first, Coki - this guy has been destroying dancefloors since the birth of dubstep. He is one third of Digital Mystikz (DMZ), the other two thirds being Mala and Loefah. Together they also run a label (DMZ) and a dubstep dance (DMZ).

With the blogosphere alight with talk about London's funky, a genre given life because of grime's lack of danceability, dubstep is beginning to re-balance how it too, post the halfstep bass drop and wobble metal mosh, can groove again. If there's one track that captures the percussion zeitgeist in dubstep summer 2008, it's LD v Kode9's "Bad". At first, from experience, it can seem a little underwhelming. But through repeated exposure, most notably via Kode's sets, its compressed congas and sour disco samples begin to get under your skin. When they get under your feet too, suddenly you're dancing.

The influence of dark house persists in dubstep, from Mala to Quest & Silkie. But what links "Bad" with several of the most interesting experiments in percussive dubstep right now is one man in particular: LD. A lot of very influential DJs in dubstep rely heavily on LD, and not just for his productions. By day he's the dubplate cutting engineer at south London's Transition studios, producing one-off 10" or 12" acetates for DJs to arm their sets with. It's old technology but still deadly effective in the dance.

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