Thursday, April 19, 2007

STEP BACK, REALISE, THEN BROCK WIDE

If anyone e-mailed me and hasn't heard back, my e-mail's up and running again. The reasons behind this are too embarassing to divulge.

So, uh, common sense tells me to leave Dubstep pontification to qualified folks like Martin Clark and Steve Goodman, but I've never allowed gross underqualification keep me from weighing in on anything before. Plus, it's pretty much all I'm listening to right now. I bin making some mixes, and I think I finally got it right on the third try:

pressure f/ warrior queen - money honey
loefah - horror show
mala - bury the bwoy
geiom f/ terrible shock - feel so bad
skynet - isolate
skream - i (loefah rmx)
appleblim - vansan
coki - officer
shackleton - you bring me down
massive music - find my way (kode9 rmx)
mala - forgive

I guess the natural temptation is to just load it up with DMZ, Hyperdub and Skull Disco product, and it appears I've nearly given in. And hardly a wubba wubba in sight.
Even though it's become the non-formulaic formula (xbeats + ybass + zspace = whatevs, I believe), the number of artists that actually treat it as such is still somewhat limited. But they tend to be the leaders and the scene tends to accept whatever they do, so I'm hardly shook. At least I tend not to be.
Listen to a Mala track. Sounds like roots music, but an entirely new form of roots music. There's a lot of familiar elements there: moody ambience, house-y sampled instruments and repetitive beats, but they form an intoxicatingly soulful whole. And when I say soulful, I don't mean schmaltzy and shitty, I mean they actually make you feel something. Forgive might be my favourite, and, reaching into my bag of lame, obvious electronic music references, I'd say the mood resembles something off Endtroducing.
I'd get into the qualities that make Loefah and Shackleton and Kode9 and Skream special, but I've written about three drafts rambling on about various Dubstep related topics, and this is the closest I've come to making a point clearly and efficiently, so I'll leave it at that.

Now that I've come into some cash I'm left with a bit of a dilemma. While I could certainly purchase a sizeable chunk of what I want, that'd require some seriously foolish allocation of funds. I'd like to acquire jah lion's share of the DMZ catalogue, but what's in print (which ain't much) works out to about $20 CDN a 12" after shipping and exchange. So I can get a pile of Dubstep twelves off Forced Exposure, but they won't satiate my hunger for Neverland and Goat Stare. And that's not even getting into other wants/needs like Blues Control's Puff LP or everything His Hero is Gone ever recorded. And Don Imus thinks he's got problems.