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129-545: The book was originally published in 1998, with the American edition following in 1999. An updated edition was published in 2008 and again in 2013 which charted the rise of dubstep and the popularity of EDM in America. Chapter 1 In the book's first chapter, titled "A Tale of Three Cities: Detroit Techno, Chicago House, and New York Garage," Reynolds demonstrates the emergence of electronic music, looking specifically at

258-402: A MRK1 track, observing that listeners "have internalized the double-time rhythm" and the "track is so empty it makes [the listener] nervous, and you almost fill in the double time yourself, physically, to compensate". One characteristic of certain strands of dubstep is the wobble bass , often referred to as the "wub", where an extended bass note is manipulated rhythmically. This style of bass

387-680: A " poster boy " for the scene. In September 2011, a Spin Magazine EDM special referred to brostep as a "lurching and aggressive" variant of dubstep that has proven commercially successful in the United States. Unlike traditional dubstep production styles, which emphasise sub-bass content, brostep accentuates the middle register and features "robotic fluctuations and metal-esque aggression". According to Simon Reynolds , as dubstep gained larger audiences and moved from smaller club-based venues to larger outdoor events, sub-sonic content

516-484: A YouTube channel brand was founded by Luke Hood which introduced Dubstep to many young generations internationally at the time. UKF Dubstep has exploded in popularity as the music genre has hit the mainstream. In November 2010 the channel had 100,000 subscribers, and as of November 2019 has over one million. "UKF features established and up and coming producers from around the world, featuring artists from Flux Pavilion / Knife Party to Friction / Hybrid Minds. We're sent

645-452: A comfort zone." After Sinker was sacked, Tony Herrington took over as editor starting with the March 1994 issue. Herrington had contributed to the magazine as a freelancer since the 1980s, but he had minimal experience as an editor and had only become a permanent staffer the year prior. Yaron left shortly afterward, and so Herrington assumed the position of publisher as well. By January 1995

774-414: A crossover hit (in a similar manner to Skream's "Midnight Request Line") with the track "Night", which gained widespread play from DJs in a diverse range of genres. BBC Radio 1 DJ Gilles Peterson named it his record of 2007, and it was also a massive hit in the equally bassline-orientated, but decidedly more four-to-the-floor genre of bassline house , whilst Burial's late 2007 release Untrue (which

903-621: A dark tone. In 2001, this underground sound and other strains of garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night (sometimes stylised as FWD>>), and on the pirate radio station Rinse FM , which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple , Ammunition , and Tempa , by which time stylistic trends used in these remixes became more noticeable and distinct from 2-step and grime . A very early supporter of

1032-582: A dark, clipped and minimal new direction in dubstep. At the end of 2003, running independently from the pioneering FWD night, an event called Filthy Dub, co promoted by Plastician , and partner David Carlisle started happening regularly. It was there that Skream, Benga, N Type, Walsh, Chef, Loefah, and Cyrus made their debuts as DJs. South London collective Digital Mystikz (Mala and Coki), along with labelmates and collaborators Loefah and MC Sgt Pokes soon came into their own, bringing sound system thinking, dub values, and appreciation of jungle bass weight to

1161-462: A drop for a dynamic peak – and in some instances do not feature a bass drop at all. Rewinds (or reloads) are another technique used by dubstep DJs. If a song seems to be especially popular then someone, most often the DJ, will rewind the record by hand without lifting the stylus and play the track again. Because the stylus has not been lifted (or, on electronic turntables , the channel has not been muted),

1290-648: A genre or act. It also features the avant music scene of a particular city every issue. In addition to its musical focus, the magazine likes to investigate cover art and mixed media artistic works. Since January 2003 The Wire has been presenting a weekly radio programme on the London community radio station Resonance FM , which uses the magazine's strapline as its title and is hosted in turns by members of The Wire . The Wire celebrated its 400th issue in June 2017. The Wire does not employ staff photographers. Instead,

1419-449: A genre standby." Benga and Coki's single "Night" still continued to be a popular track on the UK dance chart more than a year after its release in late 2007, still ranking in the top five at the start of April 2008 on Pete Tong 's BBC Radio 1 dance chart list. However, the year 2009 saw the dubstep sound gaining further worldwide recognition, often through the assimilation of elements of

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1548-601: A huge amount of music so it's our job to pick the best to upload on the channel for our audience to listen to. In just over 3 years our channels now have more than 2m subscribers and 4 channels – UKF Dubstep, Drum & Bass, Music and Mixes. The audience is getting more and more International and younger." Luke said on the interview with SoSoActive. In a move foreshadowed by endorsements of the sound from R&B, hip-hop and recently, mainstream figures such as Rihanna , or The Bomb Squad 's Hank Shocklee, Snoop Dogg collaborated with dubstep producers Chase & Status , providing

1677-486: A jazz magazine. The Guardian columnist Maggoty Lamb said Sinker's tenure was "visionary" and had laid the "foundation" for the magazine to become a "thriving institutional presence". At Pitchfork , Tom Ewing argued that the argumentative articles Sinker commissioned "weren't simply trying to shock or drive readers off—they achieved both—but were trying to build, as ... Sinker put it, [a place] where people could 'have fun starting arguments,' ones that could co-exist within

1806-410: A large influence. Purple sound later led to the development of future bass . The influence of dubstep on more commercial or popular genres can be identified as far back as 2007, with artists such as Britney Spears using dubstep sounds; critics observed a dubstep influence in the song "Freakshow", from the 2007 album Blackout , which Tom Ewing described as "built around the 'wobbler' effect that's

1935-539: A level of "influence disproportionate to its niche readership" compared to other music magazines born in the 1980s, because "not only listeners but music makers and producers were drawn to its columns." Most of these magazines, The Wire included, differentiated themselves by targeting a narrow segment of readers based on demographics and taste. This was commonly done, for example, by devoting coverage to specific musical subcultures as Kerrang! did with heavy metal or The Source with hip hop . Another industry trend

2064-461: A loan and negotiated with Attallah for about six months. The six permanent members of the staff—Herrington, Young, Chris Bohn, Ben House, Anne Hilde Neset and Andy Tait—purchased the company on 21 December 2000 and announced the sale in the February 2001 issue. The magazine has been independently published since then. In 2002, the magazine commemorated its 20th anniversary with a special issue,

2193-691: A lot of people over here because it's a UK sound, but it's been someone with influences outside the original sound that has made it a lot bigger. The bad side of that is that a lot of people will just say 'dubstep equals Skrillex'. But in all honesty it genuinely doesn't bother me. I like the music he makes." Other North American artists that were initially associated with the brostep sound were Canadian producers Datsik and Excision . Their production style has been described by Mixmag as "a viciously harsh, yet brilliantly produced sound that appealed more to Marilyn Manson and Nine Inch Nails fans than it did to lovers of UK garage". The brostep sound also attracted

2322-483: A main section (often incorporating a bass drop ), a midsection , a second main section similar to the first (often with another drop), and an outro . Many early dubstep tracks incorporate one or more "bass drops", a characteristic inherited from drum and bass. Typically, the percussion will pause, often reducing the track to silence, and then resume with more intensity, accompanied by a dominant sub-bass (often passing portamento through an entire octave or more, as in

2451-411: A monthly logjam of the most defensively arrogant, humorlessly dense, and gleefully school-marmish verbiage ( David Toop excepted) you'll hopefully never encounter in any other music magazine. After institutionalizing the annoying Euro catchphrase 'electronica', lapping up everything DJ Spooky ever mumbled, and trashing rock-damaged Americans for not inducting Lamonte Young [ sic ] into

2580-503: A more broadly based music journal that covered mainstream jazz as well as the avant-garde, but one that also began moving into other areas of music: pop , soul , reggae , classical ." John Fordham , the jazz critic for The Guardian , credited Cook with "transforming [ The Wire ' s] content and design and opening out a specialised, sometimes uninviting publication" to a broader audience. British-Ghanaian writer Kodwo Eshun pointed to "Black Science Fiction", an essay by Sinker from

2709-596: A name coined by British producer Jakes around 2012. The name comes from the Jamaican Patois term riddim , which refers to the instrumental of dub , reggae and dancehall music. Riddim is characterised by repetitive and minimalist sub-bass and triplet percussion arrangements, similar to original dubstep, with a sound described as "wonky". Riddim is looked upon as a subgenre of dubstep, similarly to other sub genres like brostep, drum-step, and wobble-step. It started gaining significant popularity around 2015. It

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2838-416: A narrow and contrived 'punk' attitude to bear. Let's be blunt. It is a pretentious magazine." In 1999, The Wire was mocked in "The Rock Critical List", an anonymous zine distributed to newspapers and magazines that ridiculed a number of music journalists, critics and editors. The writer of "The Rock Critical List" had this to say about The Wire : "[T]he British trainspotter 's catechism The Wire [is]

2967-521: A new graphic design team and promoted longtime contributor Mark Sinker to assistant editor. The formerly jazz-focused magazine's covers in this period featured decidedly non-jazz artists like Michael Jackson , Prince , Philip Glass , John Lee Hooker and Van Morrison ; meanwhile, articles published inside the magazine profiled a broad range of musicians, including Elvis Costello , Stravinsky , Mozart , Frank Zappa , Prokofiev , Bob Marley and Haydn . Cook told Jazz Forum in 1991 that The Wire

3096-433: A number of women making headway into the scene in a variety of ways. Alongside Soulja of Ammunition Promotions and Mary Anne Hobbs, an influx of female producers, writers, photographers and DJs all have broken through in the up-til-then male orientated scene. With key 12" releases on Hyperdub , Immigrant and Hotflush Recordings, producers Vaccine , Subeena and Ikonika have introduced a palette of new sounds and influences to

3225-422: A politics and culture magazine that started to publish pieces by rock journalists, and Melody Maker , which had hired a group of academically oriented new writers like Simon Reynolds who were influenced by post-structuralism . The Wire contrasted most sharply in approach with Q , which emphasised celebrity personalities and the classic-rock canon . The Wire was among the major British music magazines of

3354-455: A questing shadow behind the heart. Sinker's vision—later characterised as "a thorny, quizzical, fanzine cum proto-Weblog "—clashed with then-publisher Adele Yaron's ideal of "a sleek and stylish urban music 'n' lifestyle monthly". Yaron fired Sinker when a potential buyer requested his removal as part of, in Sinker's words, the " bride price " for the deal. While Sinker's stint as editor

3483-445: A single style across several months at a time. Their typographic work often added elaborate variations to base fonts, which included winding, branching curlicues and interwoven illustrative elements; Karen Sottosanti described their typical design work as "type made of stars or flowers that exploded into negative space [and] type that merged with images of tree branches or birds.". David Jury praised Non-Format's designs, writing that

3612-533: A sofa or a toy robot. Sinker devoted issues to broad themes such as "Music and Censorship", "Music in the Realm of Bodily Desire" and "Music and the American Dream", and for these issues he commissioned multiple argumentative essays on those topics. In retrospect, he characterised his attitude as editor thusly: Losing money? Threatened with closure? Ignore all that. Old punky rule-of-thumb (just now made up):

3741-611: A style of "descriptive objectivity" that studiously avoids any actual evaluation of quality; as Watson wrote, [C]ritics are loath to dismiss anyone waving the Noise flag. ... This 'Fear of Avant' leads to the style of reviewing which pervades The Wire , where music is described like some exotic landscape the writer has witnessed from train or plane—they played high frazzles, then low drones, chucked in some steam engine samples, then did some drumming—with value judgments suspended. Chuck in some words like 'visceral' and 'ambient' and 'fractal' and

3870-401: A variety of outside influences, from dub-influenced techno such as Basic Channel to classical music or heavy metal . Dubstep rhythms are usually syncopated , and often shuffled or incorporating tuplets . The tempo is nearly always in the range of 132–142 beats per minute , with a clap or snare usually inserted every third beat in a bar. With a large majority of releases at 140bpm,

3999-488: A vocal for their "underground anthem", "Eastern Jam". The 2011 Britney Spears track " Hold It Against Me " was also responsible for promoting dubstep tropes within pop music. Rihanna's Rated R album released such content the very year dubstep saw a spike, containing three dubstep tracks. Such events propelled the genre into the biggest radio markets overnight, with considerable airplay. Other hip-hop artists like Xzibit added their vocals to dubstep instrumental tracks for

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4128-443: A way ... It's like someone screaming in your face ... you don't want that." According to a BBC review of his 2012 album Songs , the record was a muddled attempt by Rusko to realign his music with a "Jamaican inheritance" and distance it from the "belching, aggressive, resolutely macho" dubstep produced by his contemporaries. Commenting on the success of American producers such as Skrillex, Skream stated: "I think it hurts

4257-480: A whirring noise is produced. Rewinds are also an important live element in many of dubstep's precursors; the technique originates in dub reggae soundsystems , is widely employed by pirate radio stations and is also used at UK garage and jungle nights. Taking direct cues from Jamaica 's lyrically sparse deejay and toasting mic styles in the vein of reggae pioneers like U-Roy , the MC's role in dubstep's live experience

4386-417: A wider audience," and he said both were still "stonking good reads that have introduced me to hours of pleasure that I might otherwise have missed." Unfavourable assessments of the magazine have often derided its avant-garde sensibility as pretentious, self-important and inaccessible. Gail Brennan at The Sydney Morning Herald opined in 1993 that The Wire "covers a surprising range of music while bringing

4515-420: A young Loefah regularly visited the shop as well. The shop and its record label have since closed. All throughout 2003, DJ Hatcha pioneered a new direction for dubstep on Rinse FM and through his sets at Forward>>. Playing sets cut to 10" one-off reggae-style dubplates , he drew exclusively from a pool of new South London producers—first Benga and Skream, then also Digital Mystikz and Loefah—to begin

4644-400: Is a British music magazine publishing out of London , which has been issued monthly in print since 1982. Its website launched in 1997, and an online archive of its entire back catalog became available to subscribers in 2013. Since 1985, the magazine's annual year-in-review issue, Rewind , has named an album or release of the year based on critics' ballots. Originally, The Wire covered

4773-571: Is approximately 130 beats per minute . The breadth of styles that have come to be associated with the term post-dubstep preclude it from being a specific musical genre. Pitchfork writer Martin Clark has suggested that "well-meaning attempts to loosely define the ground we're covering here are somewhat futile and almost certainly flawed. This is not one genre. However, given the links, interaction, and free-flowing ideas ... you can't dismiss all these acts as unrelated" The production duo Mount Kimbie

4902-707: Is critically important to its impact. Notable mainstays in the live experience of the sound are MC Sgt Pokes and MC Crazy D from London, and Juakali from Trinidad. Production in a studio environment seems to lend itself to more experimentation. Kode9 collaborated extensively with the Spaceape , who MCed in a dread poet style. Kevin Martin 's experiments with the genre are almost exclusively collaborations with MCs such as Warrior Queen, Flowdan , and Tippa Irie . Skream has also featured Warrior Queen and grime artist JME on his debut album, Skream! . Plastician , who

5031-436: Is not a genre in its own right and is instead just a style of dubstep. Riddim producer Oolacile states "A lot of people who have been around a lot longer have a different idea of what riddim is. Older fans consider riddim to be the swampy, repetitive sound, and newer fans will associate riddim with the sound of the underground." Beginning in mid-2014, dubstep began to decline drastically in mainstream popularity, particularly in

5160-448: Is often associated with the origination of the term post-dubstep. English music producer Jamie xx released remixes which are considered post-dubstep, including We're New Here (2011), a Gil Scott-Heron remix album. In 2011, dubstep gained significant traction in the US market, by way of a post-dubstep style known as brostep , with the American producer Skrillex becoming something of

5289-470: Is said that those who enjoy this style of music describe it as the "dirtier, swaggier" side of dubstep, whereas those looking at this from the outside, claim that it is "repetitive and chaotic". Notable artists of the genre include Subfiltronik, Bukez Finezt, P0gman, Badklaat, 50 Carrot, Dubloadz and Coffi. Notable tracks of the genre include "Yasuo" by Bommer and Crowell, "Orgalorg" by Infekt, and "Jotaro" by Phiso. Some commentators have suggested that Riddim

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5418-614: Is typically produced by using a low-frequency oscillator to manipulate certain parameters of a synthesiser such as volume , distortion or filter cutoff . The resulting sound is a timbre that is punctuated by rhythmic variations in volume, filter cutoff, or distortion. This style of bass is a driving factor in some variations of dubstep, particularly at the more club-friendly end of the spectrum. Wobble bass has been nicknamed Wobble-step. Originally, dubstep releases had some structural similarities to other genres like drum and bass and UK garage. Typically, this would comprise an intro ,

5547-464: The Independent on Sunday commented on "a whole new sound", at a time when both genres were becoming popular, stating that "grime" and "dubstep" were two names for the same style, which was also known as "sublow", "8-bar", and "eskibeat". In the summer of 2005, Forward>> brought grime DJs to the fore of the line up. Building on the success of Skream's grimey anthem "Midnight Request Line",

5676-669: The 2-step garage sound. These experiments often ended up on the B-side of a white label or commercial garage release. Dubstep is generally instrumental . Similar to a vocal garage hybrid – grime – the genre's feel is commonly dark; tracks frequently use a minor key or the Phrygian mode , and can feature dissonant harmonies such as the tritone interval within a riff. Compared to other styles of garage music, dubstep tends to be more minimalistic, focusing on prominent sub-bass frequencies. Some dubstep artists have also incorporated

5805-606: The BBC 's Maida Vale studios for a show called Generation Bass . The show was the evolution from her seminal BBC Radio 1 Dubstepwarz Show in 2006, and further documented another set of dubstep's producers. Silkie and Quest, along with Kromestar and Heny G would all come through the Anti-Social Entertainment crew, with a show on Rinse FM and later Flex FM . As the genre has spread to become an international rather than UK-centric scene, it has also seen

5934-741: The British jazz scene with an emphasis on avant-garde and free jazz . It was marketed as a more adventurous alternative to its conservative competitor Jazz Journal , and targeted younger readers at a time when Melody Maker had abandoned jazz coverage. In the late 1980s and 1990s, the magazine expanded its scope until it included a broad range of musical genres under the umbrella of non-mainstream or experimental music . Since then, The Wire ' s coverage has included experimental rock , electronica , alternative hip hop , modern classical , free improvisation , nu jazz and traditional music . The magazine has been independently owned since 2001, when

6063-491: The Deep Medi Musik label, using 1970s funk and soul reference points, a departure from the familiar strains of dub and UK garage. The sound also continued to interest the mainstream press with key articles in magazines like Interview , New York , and The Wire , which featured producer Kode9 on its May 2009 cover. XLR8R put Joker on the cover of its December 2009 issue. In April 2009, UKF Dubstep ,

6192-494: The Internet and aided 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 , 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

6321-454: The post-punk era. Former NME staffer Richard Cook took over as editor in July 1985; by September, Wood's name was gone altogether from the masthead . Around this time there was a resurgence of interest in jazz among white British " hipsters "—a trend that lasted until the 1987 "Black Monday" market crash . As editor, Cook refurbished The Wire so it would seem stylish and appealing to

6450-464: The "most exciting and apparently vibrant work of the 1980s" and said it shared a "kind of melancholia" with Neville Brody 's work from the period and Vaughan Oliver 's designs for the record label 4AD . A major redesign was completed in 2001 by Non-Format , a design team composed of Kjell Ekhorn and Jon Forss, who were working out of an office next to The Wire . Ekhorn and Forss were the magazine's art directors between 2001 and 2005. Herrington, who

6579-421: The (perhaps misnamed) Grime and Grime 2 . The first featured Plasticman, Mark One and Slaughter Mob, with Kode9, Loefah, and Digital Mystikz appearing on the second. These compilations helped to raise awareness of dubstep at a time when the grime sound was drawing more attention, and Digital Mystikz and Loefah's presence on the second release contributed to the success of their DMZ club night. Soon afterwards,

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6708-408: The 1970s, but by 2016 it only sold 20,000—the same number The Wire sold at that time—and in March 2018 NME ended its print edition altogether. The Wire was considered one of the most significant independently owned publications covering the musical underground in the 2000s, alongside Fact , Rock-A-Rolla , Dusted and innumerable blogs . The Wire debuted as a quarterly jazz magazine in

6837-436: The 1989—99 UK lineage: bleep 'n' bass, jungle, techstep , Photek -style neurofunk , speed garage , [and] 2 step." Reynolds comments that the traces of pre-existing styles "worked through their intrinsic sonic effects but also as signifiers, tokenings-back addressed to those who know ". Dubstep's early roots are in the more experimental releases of UK garage producers, seeking to incorporate elements of drum and bass into

6966-433: The 1990s, a decade that represented an overall peak for the print magazine industry before the next two decades brought the rise of digital journalism and a general decline in print readership. However, The Wire has held a steady circulation and remained in print even as other magazines that once sported much larger circulations have folded or become online-only titles. NME once sold 300,000 weekly copies at its peak in

7095-717: The Baseball Hall of Fame, they just keep on droning." Others within the avant-garde music scene have also criticised The Wire . For example Ben Watson , who has contributed to The Wire himself, critiqued the magazine's editorial approach to covering noise music . In Watson's view, the magazine has had a tendency to treat noise musicians' work as "so worthy, alternative and dis-corporate" that virtually all of it must be inherently meritorious. This tendency results in an institutional reluctance to distinguish between good noise music and mere noise, along with an excess of positive, yet shallow, reviews. Rather than delving deeper into

7224-524: The British weekly magazine Melody Maker had by 1982 virtually abandoned jazz coverage. The Wire would emphasise boundary-pushing musicians; at the outset, Wood declared that free jazz and free improvisation would "be given a loud enough voice to be heard above the dissenters who are still questioning the music's validity." The magazine was named after "The Wire", a composition by American jazz saxophonist Steve Lacy , whose "musical farsightedness"

7353-544: The February 1992 issue, as a major influence on Afrofuturism , a term that was coined the following year. In June 1992, Cook left The Wire for a position at PolyGram UK and was succeeded by Sinker. Cook's departure coincided with the magazine's 100th issue, an unannounced move that caught Sinker by surprise. Though he only served as editor for 18 months, Sinker took a bold editorial approach. During his brief tenure, few covers featured portraits of musicians, and instead often featured abstract photos of isolated objects, like

7482-643: The Forward>;> sound as "b-lines to make your chest cavity shudder." Forward>> also ran a radio show on east London pirate station Rinse FM , hosted by Kode9 . The original Forward>> line ups included Hatcha , Youngsta, Kode 9, Zed Bias, Oris Jay, Slaughter Mob, Jay Da Flex, DJ Slimzee , and others, plus regular guests. The line up of residents has changed over the years to include Youngsta, Hatcha, Geeneus, and Plastician , with Crazy D as MC/host. Producers including D1, Skream and Benga make regular appearances. Another crucial element in

7611-542: The Mass venue, a converted church) saw fans attending from places as far away as Sweden , the United States, and Australia, leading to a queue of 600 people at the event. This forced the club to move from its regular 400-capacity space to Mass' main room, an event cited as a pivotal moment in dubstep's history. Later Mala would also found the influential label Deep Medi Musik . In 2004, Richard James ' label, Rephlex , released two compilations that included dubstep tracks –

7740-586: The October 1984 issue. Reflecting on the early years as part of the Namara Group, Tony Herrington said: I think they thought it would be good to have a magazine to support Quartet's jazz titles. We were in this horrible little office off Oxford Street and it was weird because you'd run into Richard Ingrams , Auberon Waugh and Joan Bakewell chatting on the stairs. There were always debs flitting about, Simon Ward 's kids, Susannah York 's kids. There

7869-553: The Official UK Singles Chart. DJ Fresh and Nero both had number one singles in 2011 with " Louder " and " Promises ". Strong baselines imported from dubstep continued in popular music with the Taylor Swift song " I Knew You Were Trouble ", which made number 1 on Billboard's U.S. Mainstream Top 40 chart. In early 2011, the term "post-dubstep" (sometimes known as " UK bass " or simply "bass music")

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7998-520: The Tempa Label. The sound's first North American ambassador, Baltimore DJ Joe Nice helped kickstart its spread into the continent. Regular Dubstep club nights started appearing in cities like New York, San Francisco, Seattle, Montreal, Houston, and Denver, while Mary Anne Hobbs curated a Dubstep showcase at 2007's Sónar festival in Barcelona. Non-British artists have also won praise within

8127-402: The United States, where many formerly successful dubstep artists became popular. Artists such as Skrillex, for instance, moved on to producing tracks for trap and pop artists, while artists such as Mount Kimbie and James Blake shifted their sounds from post-dubstep into more experimental or soulful electronic influenced music. Pioneers of dubstep such as Skream and Loefah moved away from

8256-651: The Year, Eric Grandy remarked in Seattle Weekly that it was "[n]o surprise that willfully obscurantist British rag the Wire ' s Best of 2011 list is topped by James Ferraro's winking Windows '97 soft-rock hellscape ... and further ranges from the Beach Boys ' Smile Sessions to Laurel Halo and Hype Williams ." Over the years, The Wire has received both praise and derision. Positive commentary about

8385-459: The age of 25, who he felt were poorly served by the state of jazz writing in Britain. The only other British jazz magazine in print at the time was Jazz Journal , which Wood criticised for its conservative approach: "the reverend gentlemen at Jazz Journal continue, at best, to admit only grudgingly that jazz has got beyond 1948; at worst, deny its current development." In addition, Wood noted,

8514-476: The aggression and impact of brostep with the rich tonality and musicality of melodic dubstep, drawing on the best elements of both sides and fusing tonality with mid-range bass sound design. Artists like 501, Subscape, and Gemini have experimented upon this style of production in the earlier 2010s. English dubstep producer Chime coined the term " colour bass " describing this style of dubstep due to its focus on vibrant, bright and colourful production, and founded

8643-428: The attention of metal bands. Nu metal band Korn 's 2011 album The Path of Totality features several collaborations with electronic music producers, including Skrillex and Excision. This style of dubstep is sometimes known as metalstep . In the early 2010s, UK artists began to play with a style of dubstep reminiscent of a resurgence or continuation of original British dubstep styles. This became known as Riddim ,

8772-475: The audio example). It is very common for the bass to drop at or very close to 55 seconds into the song, because 55 seconds is just over 32 measures at the common tempo of 140 bpm. However, this (or the existence of a bass drop in general) is by no means a completely rigid characteristic, rather a trope; a large portion of seminal tunes from producers like Kode9 and Horsepower Productions have more experimental song structures which do not rely on

8901-574: The avant-garde. Since its founding in 1982, its monthly circulation has reportedly ranged from about 7,000 to about 20,000. Within the American and British music journalism markets, The Wire was among a generation of music magazines launched in the 1980s. That decade also saw the debuts of The Face (1980), Kerrang! (1981), Maximumrocknroll (1982), Mixmag (1983), Alternative Press (1985), Spin (1985), Q (1986), Hip Hop Connection (1988) and The Source (1988), among others. According to writer Simon Warner, The Wire took on

9030-419: The cities of Detroit , Chicago , and New York , all three of which were key to the development of this dance-focused genre. In Detroit, both the industrial (past) and post-industrial (present) milieu led emerging DJs to play around with mechanical, futuristic, and technological sounds, having also been inspired by the proliferation of science-fiction media, leading to the creation of Techno . In Chicago, House

9159-487: The common tropes of the genre. The early sounds of proto-dubstep originally came out of productions during 1999–2000 by producers such as Oris Jay, El-B , Steve Gurley and Zed Bias . Neil Jolliffe of Tempa Recordings coined the term "dubstep" in 2002. Ammunition Promotions, who run the influential club night Forward>> and have managed many proto-dubstep record labels (including Tempa, Soulja, Road, Vehicle, Shelflife, Texture, Lifestyle and Bingo), began to use

9288-479: The contradiction is the hook—don't bury it, flaunt it. NO FUTURE NO FUTURE NO FUTURE: treat every issue as if it's the last, and go for broke with the material you have. I wanted (he writes with ten-year hindsight) an alert, funny journal which cruised its readers, chafed and teased and englamoured and thrilled and hurt and baffled and fucked with them—a space for speculative playful malicious unfrightened imagination which when it vanished (any moment, we all thought) left

9417-404: The cover and pushed the logo to the bottom right, halfway off the page. In 2011 Complex named Non-Format's March 2005 cover with MF Doom among the 50 greatest hip-hop magazine covers. Every January since 1986, The Wire has published a year-in-review issue with a critics' poll. The staff collates ballots submitted by its contributors into a list of the year's best releases. Originally,

9546-540: The cultural centre of jazz in Europe—especially European free jazz . There was greater cultural appreciation for jazz in Germany than in Britain and a greater volume of dedicated press coverage, even though the British jazz scene was actually larger. In an introductory essay explaining the magazine's editorial policy and scope, Wood wrote that The Wire intended to target the demographic of listeners under

9675-492: The decade, Reynolds also contributed a series of essays on post- rave trends in UK dance music, covering jungle , drum 'n' bass , hardstep , neurofunk and 2-step garage . These essays culminated in his theorizing of the " hardcore continuum ": a diverse, ever-evolving tradition of electronic dance music that had diverged from American-born house and techno to become a distinctly British style. The magazine launched its website, thewire.co.uk , in October 1997. By 1999,

9804-634: The dubstep scene. Digital Mystikz brought an expanded palette of sounds and influences to the genre, most prominently reggae and dub, as well as orchestral melodies. After releasing 12-inch singles on Big Apple, they founded DMZ Records, which has released fourteen 12"s to date. They also began their night DMZ, held every two months in Brixton , a part of London already strongly associated with reggae. DMZ has showcased new dubstep artists such as Skream, Kode 9, Benga, Pinch , DJ Youngsta, Hijak, Joe Nice , and Vex'd. DMZ's first anniversary event (at

9933-586: The early 2000s. The style emerged as a UK garage offshoot that blended 2-step rhythms and sparse dub production, as well as incorporating elements of broken beat , grime , and drum and bass . In the United Kingdom, the origins of the genre can be traced back to the growth of the Jamaican sound system party scene in the early 1980s. Dubstep is generally characterised by the use of syncopated rhythmic patterns , with prominent basslines , and

10062-555: The early development of dubstep was the Big Apple Records record shop in Croydon . Key artists such as Hatcha and later Skream worked in the shop (which initially sold early UK Hardcore / Rave, Techno and House and later, garage and drum and bass, but evolved with the emerging dubstep scene in the area), while Digital Mystikz were frequent visitors. El-B, Zed Bias, Horsepower Productions , Plastician, N Type, Walsh and

10191-403: The genre (as well as others, including grime) is sometimes referred to as "140". In its early stages, dubstep was often more percussive, with more influences from two‑step drum patterns. Many producers were also experimenting with tribal drum samples, such as Loefah's early release "Truly Dread" and Mala's "Anti-War Dub". In an Invisible Jukebox interview with The Wire , Kode9 commented on

10320-485: The genre gets its name). While electronic beats were still thoroughly used, Garage also emphasized the use of R&B and Soul female vocals, adhering to a more traditional musical style as opposed to House and Techno. This article about a music publication is a stub . You can help Misplaced Pages by expanding it . Dubstep Dubstep is a genre of electronic dance music that originated in South London in

10449-401: The genre's radical political dimensions, Watson argued, The Wire has instead curated its noise coverage based on superficial trends of underground fashionability; he suggested that the writing may sometimes provide "a clue as to how some new crew of hopeless hairy Stateside noisemaker muffins have been selected: ' Thurston says they're okay...'." The magazine's writing on noise came to rely on

10578-481: The genre, beginning with a show devoted to it (entitled "Dubstep Warz") in January 2006. Towards the end of the 2000s and into the early 2010s, the genre started to become more commercially successful in the UK, with more singles and remixes entering the music charts. Music journalists and critics also noticed a dubstep influence in several pop artists' work. Around this time, producers also began to fuse elements of

10707-460: The genre, moving on to other genres instead. Loefah stopped playing and producing dubstep and moved on to UK bass, founding his record label Swamp81 in the process. Skream shifted away from dubstep, choosing to instead produce and play house and techno music in his DJ sets and releasing various techno songs on Alan Fitzpatrick's record label We Are The Brave. Around the early to mid 2010s, a niche development of dubstep began to emerge which combines

10836-402: The genre, such as double-time bass drums, 8-bit video game samples , hand percussion and lushly arranged strings. Mary Anne Hobbs commented that, unlike "Grime and drum 'n' bass raves, the mood at dubstep nights is less aggressive, or more meditative, leading to a larger female attendance at events than with the genre's precursors. You see the female-to-male ratio constantly going up – it's got

10965-449: The graphic design field. Robert Newman—a former design director at magazines like Entertainment Weekly , New York and The Village Voice —said The Wire ' s minimal design contrasted with colourful late-80s trends in both British and American magazine design. Newman said he was inspired by Elliman's designs and borrowed stylistic elements for his The Village Voice layouts. In Newman's opinion, Elliman and Ward produced "some of

11094-539: The hype around the DMZ night and support from online forums (notably dubstepforum.com) and media, the scene gained prominence after Radio 1 DJ Mary Anne Hobbs gathered top figures from the scene for one show, entitled "Dubstep Warz", (later releasing the compilation album Warrior Dubz ). The show created a new global audience for the scene, after years of exclusively UK underground buzz. Burial 's self-titled album appearing in many critics' "Best of ..." lists for

11223-404: The job's done. Watson also recalled bristling at Herrington's suggestion to "think niche" when writing for the magazine, which he took as an anti-universalist and commercially motivated attitude. In a 2007 interview, Herrington addressed the magazine's reputation for pondering music that he joked might "sound like a steamroller running over a broken fax machine", saying: "Most people would take

11352-495: The kind of detail that puts most other publications to shame—sound and music from every conceivable angle" and "treating boundary-pushing music with diligence, care, and above all else, enthusiasm". The same year, designer Adrian Shaughnessy said that he regarded The Wire and the British film magazine Sight & Sound as the only two magazines that "remain unmissable"; he said both publications had "serious writing at their core", which "is never softened to make it 'accessible' to

11481-727: The larger Dubstep community. The dynamic dubstep scene in Japan is growing quickly despite its cultural and geographical distance from the West. Such DJ/producers as Goth-Trad , Hyaku-mado, Ena and Doppelganger are major figures in the Tokyo scene. Joe Nice has played at DMZ, while the fifth instalment of Tempa's "Dubstep Allstars" mix series (released in 2007) included tracks by Finnish producer Tes La Rok and Americans JuJu and Matty G. Techno artists and DJs began assimilating dubstep into their sets and productions. Shackleton's "Blood on My Hands"

11610-584: The magazine "retained an identity all its own through its creative use of experimental headline fonts, white space and excellent photography." Noteworthy examples of Non-Format's cover art include the July 2004 issue, which portrayed the composer Alvin Lucier using brainwaves he had recorded with electrodes at a concert, and the December 2004 issue "In Praise of the Riff", which placed repetitive black lines across

11739-526: The magazine adopted the new subtitle "Adventures in Modern Music", which it used continuously until 2012. Two months after Herrington became editor, the magazine published an influential piece by Simon Reynolds in which he defined the parameters of the genre " post-rock ". The genre and its associated artists became a focus for the magazine in the mid to late 1990s, along with electronica and nascent subgenres like illbient and glitch . Throughout

11868-439: The magazine commissions all of its photography from freelancers or relies on musicians and labels to provide their own publicity photos. In recent years, the magazine has published work by photographers like Nigel Shafran , Todd Hido , Tom Hunter , Pieter Hugo , Alec Soth , Clare Shilland, Leon Chew, Jake Walters, Juan Diego Valera, Michael Schmelling, Mark Peckmezian, and Takashi Homma. The Wire ' s first art director

11997-422: The magazine has often referred to its diverse range of coverage and unique status as a longstanding publication devoted to music outside the mainstream. In 2005 the writer Bill Martin called it an "invaluable resource" and said "there is no other English-language magazine today of comparable scope." On the occasion of the magazine's 400th issue in 2017, Josh Baines of Noisey praised the magazine for "examining—in

12126-408: The magazine hoped to emulate. Twenty years later, Lacy's composition was used as the opening track of the box set The Wire 20 Years 1982–2002 . In 1984, Wood sold The Wire to Naim Attallah and it became part of the Namara Group. Attallah's other properties included Literary Review and Quartet Books. Wood announced the new owner, along with a switch from quarterly to monthly publishing, in

12255-582: The magazine itself, The Wire ' s critics' polls have garnered a reputation for their unconventional, eclectic selections. Guardian columnist Maggoty Lamb commented in 2007 that The Wire has "the annual best-of list most likely to single out an ensemble called Kiss the Anus of the Black Cat as having made 'one of the most interesting records of the year'." When the magazine named James Ferraro 's vaporwave album Far Side Virtual its 2011 Release of

12384-446: The magazine reportedly reached a monthly circulation of about 20,000 copies. Rob Young became editor in March 2000. Later that year, the magazine's staff bought it from the Namara Group. When Herrington learned Naim Attallah was preparing for retirement and wanted to sell the magazine, he offered to buy it himself; Attallah replied "I know how much I pay you and you can't afford it." Herrington consulted with his fellow staffers, secured

12513-499: The magazine's old strapline "Adventures In Modern Music" had been replaced by "Adventures In Sound And Music". In addition to the Wire Tapper CDs, subscribers receive label, country and festival samplers. Apart from the numerous album reviews every month, the magazine has features such as "The Invisible Jukebox", an interview conducted by way of unknown tracks being played to an artist, and "The Primer", an in-depth article on

12642-401: The mixtape project Mr Grustle & Tha Russian Dubstep LA Embrace The Renaissance Vol. 1 Mixed by Plastician . In summer 2009, rapper and actress Eve used Benga's "E Trips"; adding her own verses over the beat to create a new tune called "Me N My"; the first single from her unreleased album Flirt . The track was co-produced by Benga and hip hop producer Salaam Remi . Throughout 2010,

12771-561: The most beautiful and remarkable magazine covers of that (or any) era, timeless designs that still look strikingly contemporary today." John L. Walters , an editor and owner of the quarterly design magazine Eye said their designs did not look "home made or like academic papers (or both)", as other specialist magazines of the time tended to look, and said the magazine "took musicians seriously, and its design made them look good without trying—be they stars, greying veterans or young turks ." John O'Reilly cited Elliman's work for The Wire among

12900-483: The new wave of British jazz hipsters, but he increasingly steered the magazine toward a pluralistic, multi-genre approach. The Wire also began to develop a house style that tended toward the philosophical and cerebral, printing "articles peppered with references to Gilles Deleuze and Félix Guattari , or Jacques Attali 's monograph Noise ." Under Cook's editorial oversight, The Wire significantly broadened its coverage of music in genres other than jazz. He hired

13029-638: The original dubstep sound with other influences, creating fusion genres including future garage and the slower and more experimental post-dubstep . The harsher electro-house and heavy metal -influenced variant brostep , led by American producers such as Skrillex , greatly contributed to dubstep's popularity in the United States. The music website AllMusic has described dubstep's overall sound as "tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals." According to Simon Reynolds , dubstep's constituents originally came from "different points in

13158-405: The poll only selected the best jazz LP of the year. In 1992, the main poll grew to include albums in any musical genre, and in 2011 it began accepting releases in any format or medium, not just " albums ". In addition to the main all-genre list there are typically shorter lists of the best releases within selected genres as well. These year-in-review issues have been called Rewind since 1997. Like

13287-473: The potential to be 40:60". Purple sound emerged in Bristol in late 2008 out of the splintering dubstep scene and took inspiration from wonky , which it is sometimes considered a part of. It incorporates synth-funk from the 1980s and G-funk production from the 1990s into dubstep, while also introducing many aspects of grime and 8-bit music. Several prominent purple sound artists cite video game music as

13416-400: The presence of dubstep in the pop charts was notable, with " I Need Air " by Magnetic Man reaching number 10 in the UK singles chart. This presented a turning point in the popularity of mainstream dubstep amongst UK listeners as it was placed on rotation on BBC Radio 1 . " Katy on a Mission " by Katy B (produced by Benga) followed, debuting at number 5 in the UK singles chart, and stayed in

13545-571: The publication of the book Undercurrents: The Hidden Wiring of Modern Music and a three-CD box set, The Wire 20 Years 1982–2002 . In the 2000s, The Wire devoted significant attention on the emerging genre of dubstep . Several musical genres were coined or first defined in the pages of The Wire in that decade, including microhouse , by Philip Sherburne , in 2001; New Weird America , by David Keenan , in 2003; and hypnagogic pop , also by Keenan, in 2009. In 2007, The Wire reportedly sold about 17,500 copies per issue. A press release from

13674-419: The readership, we lost a diehard jazz fan who just wished to know if Howard Riley or Stan Tracey had made another album and what it was like." Regardless of Cook's impact on sales figures, several of his contemporaries acknowledged that he had made The Wire a more accessible publication. Scottish writer Brian Morton said "[u]nder Cook's editorship, The Wire evolved from a small, coterie magazine into

13803-406: The record label Rushdown in 2016 to promote it. Despite the overall declining popularity of dubstep in mainstream culture, colour bass has been promoted by veteran electronic labels like Monstercat around the early 2020s, with artists like Skybreak, Ace Aura , and Chime himself finding success in producing colour bass music. The Wire (magazine) The Wire (or simply Wire )

13932-486: The same year gave the magazine's monthly circulation as 20,000 copies, with 9,000 subscribers. In 2013, the magazine made available its entire archive—amounting to 25,000 pages at that time—to subscribers, via the site Exact Editions . A series of new music compilation CDs called The Wire Tapper has been given away with the magazine since 1998. The magazine has used the strapline "Adventures in Modern Music" since 1994; on 14 December 2011 The Wire's staff announced that

14061-524: The six permanent staff members purchased the magazine from previous owner Naim Attallah . Anthony Wood (1982 – Jun 1985) The Wire is a monthly magazine that specialises in a diverse spectrum of avant-garde and experimental music . A 1999 subscription flyer for the magazine advertised its subject matter as "non-mainstream" music. In the late 1980s and early 1990s The Wire transitioned from exclusive coverage of jazz to coverage of contemporary music in general, maintaining its prioritisation of

14190-484: The sound into other genres, in a manner similar to drum and bass before it. At the start of the year, UK electronic duo La Roux put their single " In for the Kill " in the remix hands of Skream . They then gave remix duties of " I'm Not Your Toy " to Nero and then again with their single " Bulletproof " being remixed by Zinc . The same year, London producer Silkie released an influential album, City Limits Vol. 1 , on

14319-417: The sound was BBC Radio 1 DJ John Peel , who started playing it from 2003 onwards. In 2004, the last year of his show, a listeners vote included songs by Distance , Digital Mystikz , and Plastician as the top 50 for the year. Dubstep started to enter mainstream British popular culture when it spread beyond small local scenes in late 2005 and early 2006; many websites devoted to the genre appeared on

14448-427: The soundtrack to much of the second series of Dubplate Drama , which aired on Channel 4 with a soundtrack CD later released on Rinse Recordings . A track by Skream also featured in the second series of the teen drama Skins , which also aired on Channel 4 in early 2008. In the summer of 2008, Mary Anne Hobbs invited Cyrus, Starkey, Oneman , DJ Chef , Silkie , Quest, Joker , Nomad, Kulture and MC Sgt Pokes to

14577-536: The summer of 1982. The magazine was co-founded by jazz promoter Anthony Wood and journalist Chrissie Murray. Lacking office space, Wood and Murray prepared the first issues of the magazine from an Italian restaurant on St Martin's Lane . The staff sold copies of the first issue to concert-goers at a jazz festival in Knebworth and at the Camden Jazz Festival . At that time, Germany was considered

14706-524: The term "dubstep" to describe this style of music in around 2002. The term's use in a 2002 XLR8R cover story (featuring Horsepower Productions on the cover) contributed to it becoming established as the name of the genre. Forward>> was originally held at the Velvet Rooms in London's Soho and later moved to Plastic People in Shoreditch , east London. Founded in 2001, Forward>>

14835-560: The top 10 for five more weeks. Also, in 2010, American producer Skrillex had achieved moderate commercial success in North America with a dubstep-influenced sound. By 2011, his EP Scary Monsters and Nice Sprites had peaked at number three on the U.S. Billboard Dance/Electronic Albums chart. In February 2011, Chase & Status 's second album No More Idols reached No. 2 in the UK album chart. On 1 May 2011, Nero 's third single " Guilt " from their album reached number 8 in

14964-407: The year, notably The Wire' s Best Album of 2006. The sound was also featured prominently in the soundtrack for the 2006 sci-fi film Children of Men , which included Digital Mystikz, Random Trio, Kode 9, Pressure and DJ Pinch. Ammunition also released the first retrospective compilation of the 2000–2004 era of dubstep called The Roots of Dubstep , co-compiled by Ammunition and Blackdown on

15093-520: Was "going into overdrive" with ambitions to expand its domestic and international sales. Estimating the magazine's monthly circulation at 15,000–20,000 copies, Cook said he hoped to reach 25,000. But his efforts to expand the magazine's circulation had mixed results. Chris Parker, the magazine's publisher between 1984 and 1989, said the changes did not make an "appreciable" increase in sales; in Parker's view, "for every would-be hip young thing we recruited to

15222-537: Was Terry Coleman. Paul Elliman took over art direction in January 1986; by July, he debuted a serif -typeface logo that the magazine would continue to use, with variations, until 2001. Lucy Ward succeeded Elliman as art director in July 1988 and introduced a broader array of fonts. Under both Elliman and Ward, the minimalist aesthetic of The Wire favoured simple typography, black-and-white photography and ample white space . Elliman and Ward's late-1980s work for The Wire has been praised by their contemporaries in

15351-529: Was brief and controversial, music writers have praised his editorial decisions in retrospect and highlighted his influence on the magazine's future directions. The French writer-musician Rubin Steiner considered the August 1993 issue with Björk on the cover to be a definitive turning point, signalling the start of constant changes in coverage that would follow, after which The Wire could no longer be considered

15480-579: Was characterized by repetitive beats, drum machines , and synthesizers, which were heavily used by DJs to create new, exciting sounds for the city’s underground gay club scene, which demanded sonic innovation as the Disco era waned (although as stated in the reading, never really died). Lastly, in New York, the emergence of the Garage music genre was pushed forward in clubs such as Paradise Garage (from where

15609-445: Was critical to the development of dubstep, providing the first venue devoted to the sound and an environment in which dubstep producers could premier new music. Around this time, Forward>> was also incubating several other strains of dark garage hybrids, so much so that in the early days of the club the coming together of these strains was referred to as the "Forward>> sound". An online flyer from around this time encapsulated

15738-601: Was familiar with their previous work designing music packaging, approached the team to redesign the magazine. In addition to designing the magazine's current logo, they designed each issue of the magazine until 2005. While they retained the magazine's overall clean, Modernist aesthetic, they incorporated highly intricate, unpredictable details into the designs of features. At first, Ekhorn and Forss created custom layouts and typographies in nearly every issue, rather than relying on standardised templates for features; however, this became too much work, and they eventually settled on using

15867-420: Was gradually replaced by distorted bass riffs that function roughly in the same register as the electric guitar in heavy metal . The term brostep has been used by some as a pejorative descriptor for a style of popular dubstep developed in the United States. The producer known as Rusko himself claimed in an interview on BBC Radio 1Xtra that "brostep is sort of my fault, but now I've started to hate it in

15996-668: Was no money about, but the great thing was [Attallah] just let us get on with it. Attallah's laissez-faire attitude and the magazine's editorial freedom contrasted with the state of other UK music magazines in the 1980s. Competition among weeklies like NME , Melody Maker and Sounds heightened in the 1980s, and these publications began to prioritise circulation , advertising and commercial appeal, which resulted in editorial constraint. The Wire did not impose significant editorial demands or stylistic revisions on its writers and, as such, it became an attractive publication for freelancers who had started their careers at UK weeklies during

16125-518: Was nominated for the 2008 Nationwide Mercury Music Prize in the UK) incorporated extensive use of heavily manipulated, mostly female, 'girl next door' vocal samples. Burial has spoken at length regarding his intent to reincorporate elements of musical precursors such as 2-step garage and house into his sound. Much like drum and bass before it, dubstep started to become incorporated into other media. In 2007, Benga, Skream, and other dubstep producers provided

16254-457: Was one of the first DJ's to mix the sound of grime and dubstep together, has worked with notable grime setup Boy Better Know as well as renowned Grime MC's such as Wiley, Dizzee Rascal and Lethal Bizzle. He has also released tracks with a dubstep foundation and grime verses over the beats. Dubstep artist and label co-owner Sam Shackleton has moved toward productions which fall outside the usual dubstep tempo, and sometimes entirely lack most of

16383-441: Was polarization between two styles of writing: popular criticism for mass-market consumers versus intellectual criticism for underground music connoisseurs. The Wire was certainly positioned on the " highbrow " end of the industry—even if, as editor Tony Herrington said, the magazine preferred "intelligence to intellectualism ". Its embrace of high-minded, literate criticism aligned it with publications such as New Statesman ,

16512-875: Was remixed by minimal techno producer Ricardo Villalobos (an act reciprocated when Villalobos included a Shackleton mix on his "Vasco" EP) and included on a mix CD by Panoramabar resident Cassy. Ellen Allien and Apparat 's 2006 song "Metric" (from the Orchestra of Bubbles album), Modeselektor 's "Godspeed" (from the 2007's Happy Birthday! album, among other tracks on that same album) and Roman Flugel's remix of Riton 's "Hammer of Thor" are other examples of dubstep-influenced techno. Berlin's Hard Wax record store (operated by influential dub techno artists Basic Channel) has also championed Shackleton's Skull Disco label, later broadening its focus to include other dubstep releases. The summer of 2007 saw dubstep's musical palette expand further, with Benga and Coki scoring

16641-555: Was used to describe club music that was influenced by certain aspects of dubstep. Such music often references earlier dubstep productions as well as UK garage , 2-step and other forms of underground electronic dance music . Artists producing music described as post-dubstep have also incorporated elements of ambient music and early R&B . The latter in particular is heavily sampled by three artists described as post-dubstep: Mount Kimbie , Fantastic Mr Fox and James Blake . The tempo of music typically characterised as post-dubstep

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