Dubstepforum.com

this is quite an education I'm getting here as I don't know half of who you're talking about...

...as up and coming producers and internet dubstep afficianado should we care and does it matter ???

dubmugga wrote:...as up and coming producers and internet dubstep afficianado should we care and does it matter ???

that is a very subjective question. many people would argue it both ways.
as 'up and coming producers' the main use would be seeing how your music might get recieved and understood.

sounds a bit too clever for us blackdown...

...we just want to get our shit on some videogame soundtraks

not really too worried about our music being understood, it is what it is...

dubmugga wrote: not really too worried about our music being understood, it is what it is...

that's the way i like
create and don't care

Gutter, Infinite (love G's reviews of nites) and Jon MPC aka Prancer. All of the above are always worth a read. Blackdown's monthly piece in Pitchfork is often good as well.

dubmugga wrote:sounds a bit too clever for us blackdown...

...we just want to get our shit on some videogame soundtraks

not really too worried about our music being understood, it is what it is...

why don't you fuck off and make drum'n'bass then

simon r was at the nyc show that i played at a few weeks back. he was very supportive about the set, and of dubstep in general. he reckoned dubstep, when heard over a fat system, is some of the most interesting music around, but that hearing it over a domestic hi fi robs it of its essential power. he doesnt actively rep dubstep, but i dont think he's taken a stance against it. his past criticisms of the scene are dissapointing, but not entirely unfair.

vxd1 wrote:simon r was at the nyc show that i played at a few weeks back. he was very supportive about the set, and of dubstep in general. he reckoned dubstep, when heard over a fat system, is some of the most interesting music around, but that hearing it over a domestic hi fi robs it of its essential power. he doesnÂ’t actively rep dubstep, but i dont think he's taken a stance against it. his past criticisms of the scene are disappointing, but not entirely unfair.

interesting report. wish simon would pop on here to discuss this. surely listening to any type of dance music at home severs it of its essential power and repositions its context, but this doesn't make the music unsuitable for home listening, or not enjoyable.
___________

also i find myself agreeing with geoff. if you show total disregard for the way your music is received why bother making it at all? if you are pushing sounds out into the public domain, then what people think of them is important surely.

its all about ideas: creative and receptive. its all very well and good saying fuck the critics but this won't get dubstep, or your dubstep, anywhere.

problem with critics is that they are or too stupid or too lazy to make their own things - only thing they can do is to criticise work of others
it's easy to criticise, it's easy to destroy but it's really hard to create and that's the difference between being a critic and being an artist

no offence to any of u critics - just thinking on an abstract level

boomnoise wrote:
interesting report. wish simon would pop on here to discuss this. surely listening to any type of dance music at home severs it of its essential power and repositions its context, but this doesn't make the music unsuitable for home listening, or not enjoyable.

dubstep is dance music?

dubstep certainly needs to be played on good systems

vxd1 wrote: dubstep is dance music?

if IDM is a dance music than dubstep is very very dance music

yes, in the broadest sense of the term.

geoff wrote:why don't you fuck off and make drum'n'bass then

been there done that

boomnoise wrote: if you show total disregard for the way your music is received why bother making it at all?

...cos it's just something we do

it's not who we are, it doesn't define us and neither does what other people think of us or our music...

...it only matters what we think and we are our own worst critics

we as artists define our music and ourselves...

boomnoise wrote: if you are pushing sounds out into the public domain, then what people think of them is important surely.

...we don't owe "dubstep" a damn thing, it owes us for the time and money we put into it

if we can expose potentially millions to our brand of dubstep through gaming as well as make some money then what the fuck is it of anybody's business...

...talk about it, blog it, pimp it, listen to it, analyze it and intellectualize about it, do what ever the fuck you like with it cos once it's in the public domain it's beyond our control

if you want to hate it just cos I'm a dickhead, then whatever, but if the music is good then it transcends all the sins of the maker and the definitions of the critics...


...good is all it has to be and pretty much only to the public at large

boomnoise wrote: its all about ideas: creative and receptive. its all very well and good saying fuck the critics but this won't get dubstep, or your dubstep, anywhere.

I know all about ideas, man, got shitloads of em, from music to grafix to film to production and given the opportunity I can realize all of them...

...i don't really give a fuck whether you believe me or not

as far as taking dubstep somewhere i'd like to take it mainstream...

...sounds like you and geoff want to keep it exclusive and underground

my methods may be unconventional but that's what makes it fun, the whole ghetto siege mentality, guerilla marketing, punk ethos and hiphop attitude, subvert the system, fuck the man, chant down babylon, that sort of thing...

...rebel music made by rebels

wish me luck

yeah no beef mate. got a bit off topic

uh yeah, and i got a bit of a rant on...

...s'all gravy though and now back to your regular transmission

as you were...

So would you like to see dubstep remain strictly underground and is not then all that's needed to take it overground, a big media push, the likes of which UKG got with so solid and oxide/neutrino...ie a few posterboys, some controversy, a few more journos with clout propping the scene, a crossover hit and top of the pops ???

dubmugga wrote:...we don't owe "dubstep" a damn thing, it owes us for the time and money we put into it

Erm...

^^^yeah man we value our time in making music and the expense of buying rekkids...

...so if we were to calculate all that then

DUBSTEP OWES ME MONEY !!!

reminds me of that shut up and dance tune or was it ragga twins ???

pardon me mate, no off-fence or anyting, but how the fuck do you get from:

dubmugga wrote: as far as taking dubstep somewhere i'd like to take it mainstream...

to:

dubmugga wrote: ...rebel music made by rebels

in the space of a few words ? Is it jus' me or is that a big fucking leap ?

How is making electronik muzak for video games for profit/exposeur(sic):

dubmugga wrote: the whole ghetto siege mentality

or:

dubmugga wrote: guerilla marketing

?!

On topic now; I rate SilverDollerCircle, he really gave me a leg up putting names to Grime tunes I was hearing in sets.

Gutta is THE DON as far as music in general goes, and dubstep inparticular, I think his 1st person approach enables him to transcend the limitations of the "objective" critic, he actually tells you how music makes him feel, rather just what he thinks about it. Martin Clark occasionally approaches the frontier of this style (i.m.o) but is more disciplined in his approach, so he stops himself before he goes too far.

Dunno if anyone here reads it but I dig DJ Rupture s blog : http://www.negrophonic.com/words/ and on the academic tip: http://wayneandwax.blogspot.com/