Deep Night Dubstep (2:45 a.m.)
December 15, 2007 at 12:26 am
Rid yourself of that weak-hearted sentiment; all actions, and above all those of libertinage, being inspired in us by Nature, there is not one, of whatever kind, that warrants shame.
- Marquis de Sade, Philosophy in the Bedroom (1795) p.66.
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“Midnight Request Line. Dubstep”
01. Jah Wobble and Bill Laswell - Orion
Radioaxiom : A Dub Transmission (Palm Pictures, 2001)
02. Federico Aubele - Un Lugar
Gran Hotel Buenos Aires (Eighteenth Street, 2004)
03. Vex’d - Crusher Dub
10 Tons Heavy (Planet Mu, 2007)
04. King Tubby & Soul Syndicate - Salty Dub
Freedom Sounds In Dub (Blood & Fire Records, 1996)
05. Pole - Achterbahn (Shackleton Remix (Skull Disco))
Steingarten Remixes (Scape, 2007)
06. Skream - Midnight Request Line (Digital Mystikz Remix)
Skream! LP (Tempa, 2006)
07. Burial - Unite
Box Of Dub (Soul Jazz, 2007)
08. Deadbeat - Melbourne Round Midnight
Journeyman’s Annual (Scape, 2007)
09. Boxcutter - Fieldtrip
Glyphic (Planet Mu, 2007)
10. Skream - Dutch Flowerz
Skream! LP (Tempa, 2006)
It’s more about when you come back from being out somewhere; in a minicab or a night bus, or with someone, or walking home across London late at night, dreamlike, and you’ve still got the music kind of echoing in you, in your bloodstream, but with real life trying to get in the way. I want it to be like a little sanctuary. It’s like that 24-hour stand selling tea on a rainy night, glowing in the dark. It’s pretty simple. - Burial, Guardian interview.
Note: Mainly dubstep tracks. But instead for pure dance floor, this is more in small room and downtempo feel, moving toward seductive. A little quirky in term of texture. Not perfect all the way, but get the effect going on low volume. Enjoy.
see also: On Dubstep / Dub Techno,
image: David Lynch for FETISH Shoe Campaign.
Synaptic: Hyperdub is the name of your label and online magazine, but it is originally a concept. What does it mean?
Kode9: What thats basically about is this kind of evolution of dub influenced music. So for me hyperdub is a word that describes the side of jungle drum and bass, UK garage, dubstep and grime that I’ve been interested in for the last 10-15 years. In a way I prefer the word hyperdub to dubstep because it includes aspects of jungle, drum and bass, UK garage and dubstep and will evolve into something else—dubstep is not the end of the line… More than being interested in the specific scenes, I’m interested in how that sound evolves and mutates in different genres.
It’s basically hyperactive dub…
…
Kode9: Yeah, what I’m interested in is not the meaning of sound, I’m interested in affect. Rhythm and affect. Vibration and polyrhythm is basically what I’m interested in. So as well as all the other things that I’ve talked about, I’m interested in the influence of the bass culture that’s come from Jamaica into a kind of dub diaspora, this kind of bass diaspora that exists in post dub culture…
http://dubstep.fr/index.php/kode9-interview-part2
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Wire: Vocals were always central to your sound, but they have become even more important on this album than they were on your first LP.
Burial: I was brought up on old jungle tunes and garage tunes had lots of vocals in but me and my brothers loved intense, darker tunes too, I found something I could believe in… but sometimes I used to listen to the ones with vocals on my own and it was almost a secret thing. I’d love these vocals that would come in, not proper singing but cut-up and repeating, and executed coldly. It was like a forbidden siren. I was into the cut-up singing as much as the dark basslines. Something happens when I hear the subs, the rolling drums and vocals together. To me it’s like a pure UK style of music, and I wanted to make tunes based on what UK underground hardcore tunes mean to me, and I want a dose of real life in there too, something people can relate to.
So when I started doing tunes, I didn’t have the kit and I didn’t understand how to do it properly, so I can’t make the drums and bass sound massive, no loud sounds taking up the whole tune. But as long as it had a bit of singing in it, it forgave the rest of the tune. It was the thing that made me excited about doing it. Then I couldn’t believe that I’d done a tune that gave me that feeling that proper real records used to, and the vocal was the one thing that seemed to take the tune to that place. My favorite tunes were underground and moody but with killer vocals: ‘Let Go’ by Teebee, ‘Being with you remix’ by Foul Play. Intense, Alex Reece, Digital, Goldie, Dillinja, EL-B, D-Bridge, Steve Gurley. I miss being on the bus to school listening to Dj Hype mixes. Sometimes some other kids would get us tunes, I’d record off of pirate radio all night.
http://www.thewire.co.uk/articles/347/
little doc clip
you motel de moka nice people force me to listen to new good music
Burial ‘s interview fragment is a pretty picture postcard of late night mood and induce me to listen to his music
cheers
About the photo : they did something like that to Chinese women feet a century ago…
speaking of the photo, here is some interesting youtube.
IDM/softer breakcore galore.
I think I should make a BDSM playlist. :D
angeles Dec 15th, 2007 at 5:41 am Edit
Burial ‘s interview fragment is a pretty picture postcard of late night mood and induce me to listen to his music
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I am trying to make a small night playlist, soft and perfect.
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Hi Dec 15th, 2007 at 8:43 am Edit
About the photo : they did something like that to Chinese women feet a century ago…
I think there is fundamental difference in that image. 1. I seriously doubt it is a widespread cultural phenomena. 2. The actor is free to play or leave. So the free will is intake.
to me at least I interpret it more along the line of body piercing instead of say religious or social convention forced upon somebody. Of course then one can ask me… how do I know the woman in the picture is aware? .. I don’t I am just guessing, considering who is doing the picture and the context it is presented (ie. they are not stupid and desperate people. They are in the business of image creation)
The genesis of dubstep dates to the turn of the century, when it began as a hybrid of dub reggae and 2Step garage. The latter is a British club delicacy that usually combines R&B-style vocals with distinctive, “two-step” drum patterns. In 2003, garage begat grime, a steely, ragged battle music performed by the likes of Dizzee Rascal and Lethal Bizzle. This too became a building block for Skream and his peers.
Dubstep, however, is a minimalist interpretation of its lineage. It has no interest in garage’s dramatic excesses; even vocals are rare. Nearly all dubstep productions are focused on low-end frequencies that pummel the listener like a wrecker’s ball. Dozens of tunes are specifically designed for the massive speaker boxes at two London clubs, Plastic People (Shoreditch) and Mass (Brixton), where regular events called FWD>> and DMZ have served as the scene’s holiest temples for the past several years. There and elsewhere, a proper dubstep party will send drinks trembling across tabletops, raise the hairs on the back of one’s neck — make the whole body feel as if pulsed by a second heartbeat (running a steady 138-142 beats per minute). There are no rules for dancing: enthusiasts make it up as they go. The music is a physical experience, meant to be heard at extreme volumes.
http://www.cbc.ca/arts/music/dub_style.html
yes, definitely I got a crush on dubstep tunes
thanks!, cheers :)
I’ll do another one. The rest of my list in the line up is too depressing and oversize.
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http://www.bbc.co.uk/dna/collective/A10695684
Each of the principals are keen to stress that dubstep did not happen overnight. As with so many ‘new’ dance genres, it evolved in increments, imperceptibly over time. It was born around the millennium, in the margins of the capital - places like Croydon’s Big Apple record shop where producers like Hatcha, Benga and Horsepower Productions became attracted to the sparser, dub end of UK garage; pirates like Rinse FM, where DJ Youngsta debuted aged 13, and any number of bedrooms illuminated by PCs running Fruityloops.
This blog has informed opinion
http://blackdownsoundboy.blogspot.com/
The biggest forum
http://www.dubstepforum.com/
Daily Mix here
http://forums.unnet.net/showthread.php?s=e4cb002b229847891cbc1103436f4b4c&t=32984&page=16
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As is the danger with any emerging genre, dubstep has to run the fine line between progression and stagnation - making sure not to become a bass-heavy exercise in sonic tail-chasing, whilst ensuring things move forwards in a manner which excites the punters but doesn’t leave them alienated. The last thing we need is a dubstep Ocean Colour Scene. Thankfully through the likes of Skream, Digital Mystikz and Kode 9 this seems an increasingly unlikely proposition - with ‘Midnight Request Line’ juxtaposing upfront melodies with a basement of grimy (small G!) lowend-business, simultaneously managing to be both dank and inviting.
One possible explanation for this willingness to embrace a broader sound can be found after a quick root through his record collection; “I listen to loads of different genres. At the minute I’m really feeling Goldfrapp… They’re sick!” In addition to a trend-bucking love of horse-headed glam-electro, Skream also professes a softspot for House (DJ Gregory etc.) and makes another frank confession “You might not believe it but I also listen to a lot of Disco/Funk - Gap Band, KneeDeep, Fatback Band: All the masters_”. Whilst this certainly helps to signpost his melodious top-shelf, how did the Skream basement come to be such a lightless place? “When I was growing up I was always on stuff that was a little bit darker - Underground garage, Artwork, Zed Bias, El-B, Nude, Oris Ja. It taught me to do what I feel and realise that there are no rules to making music”.
http://www.boomkat.com/article.cfm?id=2
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XLR8R TV Episode 25: Dubstep
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Dub War Kode 9 and Plastician NY City
thanks for the links, I guess we can’t define dubstep as underground anymore
It hasn’t reached general mass media/public awareness in the US. so it’s pretty much underground.
Large techno/electronica performance in general is a target of police surveillance. That’s why there is no big labels doing it anymore. There is no money since things like giant rave is hard to organize. That’s why the scene is not catching up as quickly in the US. Radio doens’t play music anymore. just advertisement for big label.
This is pretty much internet thing beyond UK/europe.
[...] Register « Deep Night Dubstep (2:45 a.m.) [...]
[...] Moose contributor, Josh K, sent me a link to a cool blog called Motel De Moka where he’d discovered a great MP3 list of dubstep cuts posted up - Deep Night Dubstep (2:45AM), there’s some very good cuts there. And digging deeper Josh found another post that was a rather fascinating side-by-side comparison of tracks from Radiohead’s In Rainbows that sound uncannily like each other. I’ve posted an example below for you all to listen to and compare for yourselves. [...]