As I write this, my eardrums are threatening to explode. A heavy-hitting dubstep remix of La Roux’s “In For the Kill” makes its way through my headphones. (I’ll spare the details of any desk-chair dance moves that may or may not have taken place as a result.)
Dubstep music, a sub-genre of electronic music, has been rapidly growing in popularity for the past couple of years and it seems that the grasp of its reach has yet to exceed itself.
The scope of possibilities in terms of incorporating multiple genres of music, diverse styles of mixing, creative use of sampling and personal vision into each and every song could quite possibly be described as having no limit in sight.
This new genre has the capability of reaching millions of listeners via YouTube, social networks and electronic music-sharing sites such as Beatport and Soundcloud.
When the basic platform for creating music is a laptop, the potential to go from anonymous Internet DJ to world-touring live act is far from impossible and it has been made evident that the music appeals to an ever growing demographic with its core in the youth culture.
From scene kids to frat-guys, and Rihanna to Britney, dubstep is making its mark on the mainstream music scene.
When I was in high school, many of my evenings, much to the avail of my parents, were spent in downtown Cleveland, frequenting shows at The House of Blues, the Agora Theatre or the infamous Peabody’s Downunder.
The metal/hardcore scene at the time was thriving, and I was happy to be immersed in it. The music was perceived as an outlet of expression for an angst-ridden youth culture.
Today, I’m listening to a dubstep remix of Katy Perry’s “Extraterrestrial” and I can clearly draw distinctive parallels and similarities between the aggressive nature of the beat and a classic hardcore “breakdown.”
In an online interview with Sonny Moore, more widely known as Skrillex, the artist who initially gained notoriety in the post-hardcore/screamo band, From First to Last, discusses the current state of dubstep.
After his debut record reached the number one spot on Beatport, only four days after its release, he describes the sub-genre as being in its “prime,” as if on the verge of some big moment.
The interviewer, Alex Chapman, wittingly refers to dubstep as “the new punk.”
Skrillex further proves this point by describing the youthful nature of his fans.
“It’s cool because you speak to a young audience. It’s the music they grow up with. I think our high school records are our most personal of our whole lives,” Skrillex comments.
And it’s not just the young, show-hopping scenesters who are enjoying dubstep. Electronic music was popular in Europe for years, dominating the club scene before making a splash in American.
The lineup of showcasing artists at the recent South by Southwest and the upcoming Coachella music festivals feature a multitude of electro and dubstep acts such as Axwell, A-Trak, Crystal Castles, Ratatat, MSTRKRFT, Skrillex and Paul Van Dyke.
Mainstream big-timers like Britney Spears, Rihanna and Katy Perry have also embraced more house/club-based beats.
In this age of remixes, it might seem like electronic music is the future. At least until the next big thing comes along, I think I’m fine with that assertion, and although this isn’t my personal favorite genre of music, there is no denying the artistic merit and quality of vision that accompanies the songwriting process.
Reach Ben at bkarris@asu.edu
