Why dubstep isnt music

Dubstep isn"t about mind fucking noises, it's about the rythm and the feel of bass sounds. Dubstep fans also feel the need to let everyone know about their affection for the genre. Wearing dubstep clothing and accessories, having dubstep phone backgrounds, it's so stupid. If i was into rap music, i wouldn't go around wearing shirts and hats that say "rap". My phone background wouldn't be the word "rap". This just proves that people like dubstep just because they think it's cool.

This is what it is. Dubstep is a genre of music, not a religion. I love dubstep, but it's like some sort of ego-inflating disease. I honestly can't wait for it to die so only the true dubstep fans are left. Me: "There needs to be a dubstep holocaust.

Form of electronic music characterized by heavy baselines. A style of electronic music that is based around drops and wobble-bass. Skrillex misses most of that. Most of his music is dirty house and filthy electro. Just because YOU have heard it called dubstep, doesn't mean it's right. Dubstep has been around for a hell of a lot longer than two or three years.

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Skrillex isn't dubstep, he has some dubstep songs but he isn't dubstep. It's sad he's become such a huge icon This user has deactivated their account. Anonymous -1 Reply. Spot on. That awkward moment when Skrillex fans don't know who Sonny Monroe is Anonymous -3 Reply. Nice one Anonymous 0 Reply. Vaxed -8 Reply. Chuckonice Reply. HionV -2 Reply. Anonymous -9 Reply. Anonymous -8 Reply. He still blazed on the music scene from nowhere and is one of the most talented You're all cunts!! Dubstep is wank it's all about ska!!!!

From First to Last. Check it out Thats Skrillex pre-dub. Anonymous -4 Reply. Who cares, dubstep isn't music. Throughout the history of EDM, death has been evoked as a way of dealing with constant cultural change, by highlighting the ephemeral nature of the culture as fleeting experiences, immortalized upon the moment of finality through the workings of collective memory.

Mainstream culture allows this self-negation to materialize. In the states, people go to dubstep raves and people die. Here, people come to party and be proud of the sound we gave the world. The dubstep wars therefore highlight an interesting moment in the negotiation of a transnationalist identity in which the pride of a local scene resonates with certain strains of xenophobic nationalism. Indeed, historicization through the origin myth attempts to cancel prior stylistic influences—historicization as erasure, British dubstep as originary itself, outside of influence.

As a discursive formation, the debates of realness and authenticity in EDM culture most recently materialized in the dubstep wars thus reflect the culture as a constantly changing entity, bound up in a transnational web of influence. EDM culture as a heterogeneous, culturally different entity functions precisely by utilizing those homogenizing strategies of nationalism—historicization, the origin myth, and other authenticity tropes.

In recognizing the more complex nationalist strategies of repulsion, rather than attraction, a transnationalist vision of the culture allows us to preserve cultural difference as highly localized, without ignoring its homogeneous structuring within the global framework.

While social media networks helped in bringing the murky sound of British dubstep across the Atlantic, trends in ubiquitous computing and an increasingly transmedial space of digital audio production have taken the music outside of the club and onto the screen. With the rise of smartphone apps for making EDM, rhythm and music-based video games, and dubstep as the omnipresent soundtrack to countless cross-platform media products, EDM has spread like an Internet meme—at a speed that matches gradually rising online bandwidth and at the scale of a computer virus.

The most prominent use of dubstep as a transmedial form comes from video game and movie trailers. Joe , to dystopian first-person shooter video games such as Borderlands , Far Cry 3 , and Call of Duty: Black Ops 2 , modulated oscillator wobbles and bass portamento drops consistently serve as sonic amplifiers of the male action hero at the edge.

I propose that the prefix hyper- may connect hypermediation and cinematic hypermasculinity not just as an obvious spectacle of excess but also a function of speed.

Palmer , 7. Here, the algorithmic control inherent to digital forms of production is externalized through portrayals of dominating male figures that assert similar modes of control over their virtual environments. On a sonic level, brostep epitomizes post-cinematic, as well as digital maximalist descriptions.

Listening, you can hear the conditions under which the music came into being: bodies rigid with tension as they click the mouse; eyes fucked by the red-eye effects of ganja and staring at a computer screen all day.

Reynolds In the dubstep era, the convergence of action cinema, video games, and EDM production has indeed altered the image of the digital musician. Despite utopian arguments for the universal accessibility of music in the globalized digital age, gatekeepers of authenticity remain vigilant in protecting specific, culturally, and geographically situated musical forms from becoming corrupted by external influence.

The resulting culture wars often amplify existing power plays over race, gender, and class while inculcating new forms of musical practice that do, indeed, broaden the scope of EDM audiences. With the rise of social media networks in viral capitalism, this dialectic between local and global style moves at increasingly fragmented intervals, as new subgenres emerge at a frantic pace.

In just a few years, the dominant paradigm of EDM shifted from dubstep to moombahton to trap to bounce, constantly altering audience demographics and geographic nodes of practice along the way. As this push and pull between micro and macro styles continues to shape the soundscape of EDM culture, it becomes increasingly necessary to document these dialectical histories. Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press.

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Nor-Tec Rifa! Electronic Dance Music from Tijuana to the World. New York: Oxford University Press. Middleton, Richard. New York: Routledge. Mitchell, Tony. Palmer, Lorrie. Reynolds, Simon. Thornton, Sarah.