Dubstep: It's More Than You Think

"I used to listen to dubstep back in the '90s… every time I connected my computer to the Internet." If I had a dollar for every time I've heard that joke, I'd probably be able to afford my tuition. The image that comes to mind when listening to Americanised "brostep" is of Flea climbing across telephone wires in the Red Hot Chili Pepper's "Otherside" video; those thick, twanging cords on either side of my head -- thwap, thwap, thwap. To those who have made this comparison, I'd like to clue you in on some history of dubstep -- for the genre did exist in the '90s, and it sounded nothing like the head-banging cacophony it's associated with today.

It's common knowledge that dubstep originated in the darkened corners of London. Less widely known, however, is the fact that it developed as early as 1998. "I Do," a track by one of the first dubstep artists, Zed Bias, is practically soul. Originally sung by Blaque Ivory, Bias transformed the song into a bass-heavy 2-step that plays gently across the ears. Early dubstep was highly experimental, light, and rarely abrasive. Throughout the early 2000s, the genre slowly became darker, and its popularity grew. Dubstep DJs began playing venues that were more accustomed to hosting rock groups, gaining a more substantial fan base. In London, though, the metal edge to the music never reached the borderline chaos it has quickly achieved in the United States.

The first taste I had of dubstep was a remix by Skrillex of Benny Benassi's "Cinema." After sticking to the original first verse, all remnants suddenly disappear when Skrillex bluntly announces that he is about to "Drop the bass," and chaos ensues. Formerly the lead singer of the rock band From First to Last, Skrillex, aka Sonny Moore, brings a clear hardcore influence to the once-subtle art of orchestrating a bass-driven track. Perhaps solely responsible for the abominable reputation the genre now holds in the States, Skrillex is also probably the only dubstep artist of which you've heard.  Take comfort in the fact that the scene is still up and running back in London, with old pros continuing to crank out quality dubstep.  Arguably the best London DJ operating today is Nero, composed of Daniel Stephens, Joe Ray, and Alana Watson.  Their song "Promises" is a good example of upbeat dubstep, verging on electronic dance and not too obvious with the bass.

Dubstep has covered a lot of ground, and its creative possibilities have been pushed to the limit with such releases as a "Pink Elephants" remix (that's right -- the trippy number on the Dumbo soundtrack) by Swedish artist Daladubz.  As, albeit unwisely, an outspoken dubstep fan, I'd like to reassure you that brilliant dubstep does exist west of the Atlantic.  Most notably there is Deadmau5, a.k.a. Joel Zimmerman, North American dubstep mogul.  Known for his trademark mouse-shaped head gear, Deadmau5 has gained enough momentum as a performer to have played in New York City on New Year's Eve.  

In addition, some of my favorite dubstep tracks are produced by DJs born and raised on this side of the pond.  "Daisy," originally by Brand New, is reworked by Adventure Club Dubstep.  Its fidelity to the initial track, together with its well-timed and satisfying drop, nears excellence.  The electronic swelling rises and falls with Jesse Lacey's soft voice in oceanic perfection.  "Gimme Shelter" by The Rolling Stones and "Nights in White Satin" by The Moody Blues are rearranged by Zeds Dead, and they, too, display an ability to create good house music that doesn't overshadow the original, classic songs.  Even if you were aware of these artists -- Deadmau5, Adventure Club, Zeds Dead -- you most likely weren't aware that they all hail from Canada.  Well-done (and, I would go so far as to say, beautiful) dubstep music is out there to discover once you wade through the intimidating swamp of aggressive, shock-happy brostep.

Of course, if you are into the seizure-inducing variations, Skrillex and his rowdy friends Excision and Datsik are always around to help you out.