Ben Murphy spotlights the new wave of artists and labels pushing the boundaries of 140bpm beats
The dubstep underground is thriving in 2021, with a network of original artists, new labels, young-blood producers and DJs working to push the genre forward. Mala’s long-running DEEP MEDi MUSIK remains a tireless champion of the style. With a highly prolific output, the label releases everything from the bass-driven funk of seasoned producer Silkie’s new album ‘Panorama’ to new French artist Quasar’s EP of hazy soundscapes, ‘Walk’.
Meanwhile, Artikal Music, launched in 2012 by J:Kenzo and Mosaix, has ramped up its schedule of late, putting out nine new EPs in 2020, ranging from the darkside vibe of Russian newcomer Oddkut’s ‘The Ghastly Grinner’ to Dublin-based Sabab’s bass wave speaker-crusher ‘System Skank’. Shoring up the scene is a plethora of upcoming beatsmiths, a few of whom have had considerable success.
Though some associate American dubstep with its more commercial, EDM-driven side, Stateside group Ternion Sound are bucking the trend with a deeper, murkier style that harks back to the genre’s roots. Based in Minneapolis, the trio have put out a string of EPs since 2018 on labels like Distance’s Chestplate, Artikal and many more. Fresh labels pushing the form are numerous.
Set up by Zha in 2011,but highly prolific recently, White Peach focuses on the best new artists in dubstep, grime and adjacent genres. “White Peach has grown into a larger entity, providing services in record manufacturing, distribution, mastering and as a specialist online record store,” Zha says. “I’d like to think we’re still leading the charge and consistently merging the boundaries of dubstep and grime through innovative music.”Regarding new artists, Zha tips “Ourman for one. He’s incredibly versatile, with a heavy preference on strong melodies. He has several forthcoming White Peach releases, which are unbelievably good. Another artist is Yoofee, a percussive genius in my eyes.”
In Brighton, DNO has recently become a go-to for bass-heavy 140bpm sounds. Lately, it released the ‘Fulminating’ EP from Russian producer Kercha, blurring the lines between trip-hop and dubstep. Belgium, meanwhile, has DUPLOC, a label that has released music by original artists like Distance as well as newcomersSurreal and Hella.
FKOF (FatKidOnFire) is another key label. Run by Wil Benton, it started as a music blog, then morphed into a label proper in 2013. Now counting 50 digital releases, five vinyl EPs and a sub-label to its name, FKOF is a potent force in the genre, putting out massive EPslike Japanese producer Møndaigai’s ‘Undefined’ recently. Benton reckons that right now, dubstep could be the best it’s ever been. “If you avoid the snobbiness, or UK vs. US dubstep fight, this community of producers, fans, DJs, labels and everyone else has been grinding away since the forefathers built the first few tunes in the early 2000s, and it’s almost more exciting now than it was then. There’s a huge amount of experimentation, with the latest production technologies, and a vibrant audience of consumers who are buying this stuff.”
Though key dubstep club-nights like HVYWGHT may be on hiatus at the moment, it feels like dubstep is still thriving in the shadows and studios of a dedicated movement. “With the current pandemic, it has taken away a lot of the joy from experiencing dubstep [in a club], but I don’t think this has hindered artists’ production quantity,” Zha says. “Everyone is quietly making music, preparing for when we have normality once again.”
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