Dubstepforum.com

Ehh that wasn't the point of the thread. More how the internet has changed the way scenes/styles evolve. Not that the internet is ruining anything. Change =/= bad

Nah, was more just a take on the comments from people seemingly pissed off at the hyper quick rise and fall of local scenes thanks to the internet. Wrong place to complain really!

Oh right misread that, my bad. Yeah I'm trying to stay away from that. I know for everyone who's complaining about how things changed since 10 years ago, there will be someone else 10 years now who's nostalgic to 2013.

garethom wrote:Best thing about this thread is people complaining about local stuff being unable to grow now because of the internet on a global forum dedicated to a genre that was started by a handful of people in london

I know

garethom wrote: Something you gotta ask yourself... How do you know localised sounds AREN'T popping up, and you're just not hearing about them because they're not on the internet

We can only hope, but shit seems unlikely. I imagine only disgusting hipsters who don't produce shit worth listening to would purposefully keep music offline, for the reasons we're discussing in this thread.

Genevieve wrote:The progression used to be fairly linnear. There were those odd ones out like funky and breakstep that appeared alonside the 'main styles' of those times, but the evolution from rave to dubstep was still rather straight forward.

I disagree. Hardcore evolved into jungle into drum n bass, but the garage styles evolved alongside these genres, there was definitely a bit of cross-pollination but for the most part they were very separate scenes. But I agree nothing has really blown up since dubstep

Harkat wrote: I imagine only disgusting hipsters who don't produce shit worth listening to would purposefully keep music offline.

actually those r the people who make sure their music IS on the internet

Today wrote:

Harkat wrote: I imagine only disgusting hipsters who don't produce shit worth listening to would purposefully keep music offline.

actually those r the people who make sure their music IS on the internet

'Internet' will soon just be a genre. "I make inernet brah" where every sound and technique is sourced from youtube and uploaded to soundcloud...
808 check,
Triplet hi-hat pattern check
Massive Bass check,
Trance lead check,
Rapper spittin' ill 16 check,
R'n'B autotune vocal check,
2 word hood check,
Reference to the street check,
Reference to the club check,
Reference to making it, being on top, being better or acquiring wealth
check.

Pedro Sánchez wrote:

Today wrote:

Harkat wrote: I imagine only disgusting hipsters who don't produce shit worth listening to would purposefully keep music offline.

actually those r the people who make sure their music IS on the internet

'Internet' will soon just be a genre. "I make inernet brah" where every sound and technique is sourced from youtube and uploaded to soundcloud...
808 check,
Triplet hi-hat pattern check
Massive Bass check,
Trance lead check,
Rapper spittin' ill 16 check,
R'n'B autotune vocal check,
2 word hood check,
Reference to the street check,
Reference to the club check,
Reference to making it, being on top, being better or acquiring wealth
check.

So pretty much like this, rapper and "street" lyrics aside:

there are local scenes for everything, just that it's most likely not a new genre, just different spins on already established stuff - and you're probably not into them since you're posting that local scenes are dead.
the thing is imo to have "new" scenes & genres popping up you need to have cities with an established musical & club culture, cities that have been hubs of creativity over the time (london, chicago, new york etc) - sure, things can randomly pop up anywhere in the world, especially now, but chances are pretty slim and even slimmer to actually get big if you don't have anything to sustain it

and the internet didn't/doesn't "kill" scenes. the internet is just a medium, a platform - one that maybe isn't exploited correctly (or maybe exploited too good?) with all the poorly written clickbait articles uncovering the hot new thing every now and then. althought it seems that people are running out of "new things" compared to like 2010-2012

as for dubstep idk it probably was/is the last type/genre w/e of nuum-related music. where we are now is interesting tho, because you have a bunch of different crews that managed to carve their own little niches but they're not really that isolated as they're all part of the same spectrum - just that the music is too varied to pin down to a single genre. for instance keysound, hyperdub, night slugs/fade to mind, and maybe to a lesser extent hessle, butterz, lost codes, cold, livity - even tho you have a lot of variation and different directions all these labels are going in, there's a lot of common ground and dialogue between them

another effect i think the internet had especially on new producers and djs, which imo is worth mentioning, is easy access, not just to software, but to information and ideas. in the past it was a bit harder and more expensive to dig, now you can get almost everything you want in some form or another. besides a conscious effort from the people involved to not be pinned down, i think this played a part as well; it's harder to stick to one style or vibe when you're into 50 different things

lol I said some emo bullshit in this thread

I'm not saying this opposed to what you lot are saying, but rock or jazz music was never that local.

Back in the fifties (early 60s?) most young people got their rock fix of radio Luxenbourg.

Thats the same form of appropriation as the net only worse, but look how far it reached.

I realize the argument is the opposite, I'm saying people don't even have to meet to form that breeding ground it's just coincidentally how london and detroit were, that we use in every example because we are stuck up our own bums a bit.

Interesting thread tbh

I think the new music that will come will have to be dancefloor orientated though. some people earlier said producers are looking to be dancefloor DJs but when there is no money in production for 99% of people, Live performances on dancefloors are critical.
I feel that there won't be any more location specific music, it will start in places but the internet will mean it will spread very quickly if it is any good. My opinion anyways.

We should do like a necnomin8 one man spontaneous boiler room thing

google map b2b iphone

I think Spaces are the next frontier - like, dedicated physical spaces, maybe with unique sound system configurations which in turn influence/reinforce innovation in the music being played back on 'em. No longer one-size-fits-all... you'll actually have to have the proper gear to play the proper records in that space. Psychoacoustic headfuckery. Like the Audium but with beats. The combination of physical locality with specialized equipment will filter out the dregs long enough for nascent sounds to be explored and developed in much the same way that regional scenes used to develop pre-internet.

_ronzlo_ wrote:I think Spaces are the next frontier - like, dedicated physical spaces, maybe with unique sound system configurations which in turn influence/reinforce innovation in the music being played back on 'em. No longer one-size-fits-all... you'll actually have to have the proper gear to play the proper records in that space. Psychoacoustic headfuckery. Like the Audium but with beats. The combination of physical locality with specialized equipment will filter out the dregs long enough for nascent sounds to be explored and developed in much the same way that regional scenes used to develop pre-internet.

The problem with that is it confines music solely to one space, one (small) audience. It has very little market value unless your audience is comprised of millionairs. And with little market value, there is little reason to release music in that way. Musicians wants to reach an as large as possible audience, under most circumstances. The model you're proposing is rather limiting.

I think London's soundsystem culture was a bit of an isolated island with its own weird mutations, but its product had global appeal. And without that global appeal, I don't think that it could've thrived the way it did, because the big name producers had to partially rely on their international success for their longevity.

TBF there is soundsystem culture that has survived being almost as expensive or full of hassle as that idea there would be, there just has to be like a foundation for geeks that would pride themselves in having such a 'space'.

nice idea, very utopian. what if you had like a crowd of people with smart phones and then had apps for different stuff - like it was a whole body and they were the whitebloodcell/enzyme/immunesystem ?

Genevieve wrote:Musicians wants to reach an as large as possible audience, under most circumstances. The model you're proposing is rather limiting.

I think London's soundsystem culture was a bit of an isolated island with its own weird mutations, but its product had global appeal. And without that global appeal, I don't think that it could've thrived the way it did, because the big name producers had to partially rely on their international success for their longevity.

this is very good point

the spreading and success of dnb and dubstep was pretty much based on the fact that they were bastard genres, not because they were let to evolve locally imo. people found something they liked in all of them, be it dub, hiphop, metal, hardcore, industrial etc, hence their global appeal

Bristol man dem put your llghters up

apparently all progress has moved to Bristol & Portugal
which means the underground is anywhere but those places

...so Londres I back in the picture of possibilities along with Ulan Bator.