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Even if the review wasn't 100%, it's still pretty amazing that an underground scene that originated far from New York got published in it's newspaper.

zitanb wrote:Clearly missed the point of REWINDs LOL ..... But yeah probably really good for the US dubstep scene ... its terms of connecting to joe public

Sounds like the DJ's playing the night missed the point of rewinds. Clearly it was too much. If a completely unbiased person shows up for the first time, and their only previous dance music experience involves house/techno/trance/hiphop... imagine showing up expecting a turntablist and getting trainwreck after trainwreck, non mix after non mix... same tune for 10 minutes, same tune for 10 minutes, same tune for 10 minutes... zero mixes in 30 minutes.

One does wonder how many of those rewinds were meant entirely to cover a blown mix.

there were alot of rewinds but noobs have been saying that about dubwar forever . so yeah .......

lol, they dont even know what a pull up is. rewind selecta

surface_tension wrote:

zitanb wrote:Clearly missed the point of REWINDs LOL ..... But yeah probably really good for the US dubstep scene ... its terms of connecting to joe public

Sounds like the DJ's playing the night missed the point of rewinds. Clearly it was too much. If a completely unbiased person shows up for the first time, and their only previous dance music experience involves house/techno/trance/hiphop... imagine showing up expecting a turntablist and getting trainwreck after trainwreck, non mix after non mix... same tune for 10 minutes, same tune for 10 minutes, same tune for 10 minutes... zero mixes in 30 minutes.

One does wonder how many of those rewinds were meant entirely to cover a blown mix.

rass, were you there or something? because every time i've seen skream hes mixed fine, note: they mix the tune in first then let it drop then pull it up, i've never once seen skream just play the next tune (apart from on stella sesh) i think you just need to calm down abit on the exaggerations

if you don't understand rewinds then you definitely haven't listened to enough reggae or dub. rewinds goes back to the 70's and soundclashing in kingston. one studio vs another studio. one dj vs another dj. its foundational business. its part of the experience. obviously, everything in moderation, but I was there for the whole of Skream and Benga, and there wasn't trainwrecking, or over rewound tunes. you have to understand that the crowd response cue's the rewind most of the time. the crowd at both dub war and T&B last weekend were raging all night.

THIS. calling it some sort of derivative of hiphop is probably the best thing this journalist could have said. hiphop is the biggest music in this country, and people actually know what it is. If he would have wrote something along the lines of, ....it formed out of the garage scene...... no one would know what that is.

God forbid they actually report the facts.

“Actions Speak Louder Than Blogs”

good t shirt.

though it does sound like the place was going mental and the journalist was struggling to see from the back whilst intermittently getting pissed off with people bumping into them and spilling their glass of pinot grigio...

seckle wrote:if you don't understand rewinds then you definitely haven't listened to enough reggae or dub. rewinds goes back to the 70's and soundclashing in kingston. one studio vs another studio. one dj vs another dj. its foundational business. its part of the experience. obviously, everything in moderation, but I was there for the whole of Skream and Benga, and there wasn't trainwrecking, or over rewound tunes. you have to understand that the crowd response cue's the rewind most of the time. the crowd at both dub war and T&B last weekend were raging all night.

I watched you call for a 5th reload of Spongebob by Mala when Loefah and Mala were at Dubwar. No offense, but your opinion of moderation in reloading tunes is a bit lopsided based on that observation.

The reload is the 30 minute guitar solo of the scene. 100% masturbation for the egocentric. Remember when D1 played at Dubwar? No reloads, flawless mixing and I seriously doubt that anyone would make the argument that it was any less entertaining than Skream and Benga. Quite the opposite. Crowd went off. I guess it wasn't Dubstep. Rewinds are like Kiss' makeup. They are a gimmick. What we're doing is placing a premium on tune posession and ignoring talent in the DJ game. And we wonder why people think nothing of stealing tunes that aren't publicly available and playing them out.

Maybe I'm totally off base, but I'd rather hear a solid mix than dead silence and cheering from a crowd. What are they cheering?

If 30 minutes of a 2 hour set is less than maybe 7-8 tunes, we're not getting our money worth. Or at least, I'm not. If every tune is getting pulled up, it also calls how varied the DJs set is into question. Really... all peak hour tunes, all bangers, all drops, etc... boring. How COULD someone from the outside world understand the rewind as anything but masturbation after the 3rd or 4th time you wheel a tune?

Also, when you have music called DUBstep and it doesn't contain any actual DUB influence outside of dicksizing(our system is bigger, our dubs are more exclusive... etc) why don't we just have the DJs box each other on stage instead? Nobody is playing any Dub influenced anything anymore... or very few are. Where is the influence... the reloads? We don't have people carrying machine guns into Love and firing them in the air when the bassline kicks in yea?

this is what happens when a journalist that doesnt know shit about the genre struggles to write an article....

surface_tension wrote: I watched you call for a 5th reload of Spongebob by Mala

wat

The reload is the 30 minute guitar solo of the scene. 100% masturbation for the egocentric.

The same could be said for ignoring crowds calling for a rewind and focusing only on the mix. DJing, by its very nature, requires crowd interaction.

We don't have people carrying machine guns into Love and firing them in the air when the bassline kicks in yea?

That would be fucking awesome.

I've never heard the rewind abused at live shows...quite the opposite, actually, I've only seen it used sparingly in live sets. On the other hand, it's absurd when I'm trying to chill out listening to Sub.FM and two tools in the chatroom are mashing "5" after every single drop in every single song and the DJ complies. Now that's annoying.

Atleast the genre is getting press these days..........And its not exactly a bad bit of press either - get those panties untwisted! if you think you could do better, write an arctical and send it to news papers innit.

And for the record - a lot of non-dance floor orientated dubstep would be amazing in films like that twilight thing as its quite emotional, cinematic music and would be absolutely great for a scene what needs something dark and mysterious with a optimistic undertone!

surface_tension wrote:

seckle wrote:if you don't understand rewinds then you definitely haven't listened to enough reggae or dub. rewinds goes back to the 70's and soundclashing in kingston. one studio vs another studio. one dj vs another dj. its foundational business. its part of the experience. obviously, everything in moderation, but I was there for the whole of Skream and Benga, and there wasn't trainwrecking, or over rewound tunes. you have to understand that the crowd response cue's the rewind most of the time. the crowd at both dub war and T&B last weekend were raging all night.

I watched you call for a 5th reload of Spongebob by Mala when Loefah and Mala were at Dubwar. No offense, but your opinion of moderation in reloading tunes is a bit lopsided based on that observation.

The reload is the 30 minute guitar solo of the scene. 100% masturbation for the egocentric. Remember when D1 played at Dubwar? No reloads, flawless mixing and I seriously doubt that anyone would make the argument that it was any less entertaining than Skream and Benga. Quite the opposite. Crowd went off. I guess it wasn't Dubstep. Rewinds are like Kiss' makeup. They are a gimmick. What we're doing is placing a premium on tune posession and ignoring talent in the DJ game. And we wonder why people think nothing of stealing tunes that aren't publicly available and playing them out.

Maybe I'm totally off base, but I'd rather hear a solid mix than dead silence and cheering from a crowd. What are they cheering?

If 30 minutes of a 2 hour set is less than maybe 7-8 tunes, we're not getting our money worth. Or at least, I'm not. If every tune is getting pulled up, it also calls how varied the DJs set is into question. Really... all peak hour tunes, all bangers, all drops, etc... boring. How COULD someone from the outside world understand the rewind as anything but masturbation after the 3rd or 4th time you wheel a tune?

Also, when you have music called DUBstep and it doesn't contain any actual DUB influence outside of dicksizing(our system is bigger, our dubs are more exclusive... etc) why don't we just have the DJs box each other on stage instead? Nobody is playing any Dub influenced anything anymore... or very few are. Where is the influence... the reloads? We don't have people carrying machine guns into Love and firing them in the air when the bassline kicks in yea?

dude i think you just need to chill. rewinds are not a gimmick. there isn't even that much thought put into them, it's an in the moment thing. the crowd goes bonkers for the tune to the point of tearing the walls down, you pull that tune up . simple as that. nothing more. except in your post

there were plenty of times when they dropped a big tune and DIDN'T pull it up . so uhh, yeah. obviously, too much of anything is a bad thing, but isn't that the conclusion reached in EVERY SINGLE THREAD ABOUT RELOADS ??

surface_tension wrote:

seckle wrote:if you don't understand rewinds then you definitely haven't listened to enough reggae or dub. rewinds goes back to the 70's and soundclashing in kingston. one studio vs another studio. one dj vs another dj. its foundational business. its part of the experience. obviously, everything in moderation, but I was there for the whole of Skream and Benga, and there wasn't trainwrecking, or over rewound tunes. you have to understand that the crowd response cue's the rewind most of the time. the crowd at both dub war and T&B last weekend were raging all night.

I watched you call for a 5th reload of Spongebob by Mala when Loefah and Mala were at Dubwar. No offense, but your opinion of moderation in reloading tunes is a bit lopsided based on that observation.

The reload is the 30 minute guitar solo of the scene. 100% masturbation for the egocentric. Remember when D1 played at Dubwar? No reloads, flawless mixing and I seriously doubt that anyone would make the argument that it was any less entertaining than Skream and Benga. Quite the opposite. Crowd went off. I guess it wasn't Dubstep. Rewinds are like Kiss' makeup. They are a gimmick. What we're doing is placing a premium on tune posession and ignoring talent in the DJ game. And we wonder why people think nothing of stealing tunes that aren't publicly available and playing them out.

Maybe I'm totally off base, but I'd rather hear a solid mix than dead silence and cheering from a crowd. What are they cheering?

If 30 minutes of a 2 hour set is less than maybe 7-8 tunes, we're not getting our money worth. Or at least, I'm not. If every tune is getting pulled up, it also calls how varied the DJs set is into question. Really... all peak hour tunes, all bangers, all drops, etc... boring. How COULD someone from the outside world understand the rewind as anything but masturbation after the 3rd or 4th time you wheel a tune?

Also, when you have music called DUBstep and it doesn't contain any actual DUB influence outside of dicksizing(our system is bigger, our dubs are more exclusive... etc) why don't we just have the DJs box each other on stage instead? Nobody is playing any Dub influenced anything anymore... or very few are. Where is the influence... the reloads? We don't have people carrying machine guns into Love and firing them in the air when the bassline kicks in yea?

this is the truth ,all of it....i would love to add to it but it really says it all,especially the part about 100% masturbation for the egocentric.i think we all know this is the truth.anyone opposed to what surface tension has said should ask yourself what is good for the scene instead of your image and ego.

regardless of said article's quality, regardless of what the DJs did at the party, regardless of your take on the rewind, what is good for the scene is that DUBSTEP IS IN THE NEW YORK TIMES. that's a few million people who have probably never heard the word before.

and to those who can't see why an american journalist would akin the dstep to hiphop, you're crazy

easy

how about sparing us all the dubplate angst, and start a night of your own, with your own rules, and your own egoless lineups!!! no ones forcing you to go to a skream/benga show. you have choices! tons of choices now. do something positive with that energy, instead of obsessing over shit that 98% of the people going to these parties on a given weekend, don't give a fuck about.

what's wrong with pinot grigio?

no no no , you must drink RED wine whilst reloading spongebob for the fifth time. pinot, that's like wearing white after labor day

starkey wrote:what's wrong with pinot grigio?

I recommend the Peanut Noir.