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.

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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!, cheers :)

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