DUBSTEP RULES? OK?
*Extract from an abandoned record review of the MINISTRY OF SOUND DUBSTEP VOLUME 3 compilation
As a reasonable, rational fan of music, my introduction into the mysterious world of dubstep electronica (the sound of which, I believe, has been officially defined by scientific propellerheads as ‘a faulty hairdryer, a dot matrix printer and your mother-in-law being dropped down the stairwell of an abandoned haunted insane asylum) seemed like a daunting proposition.
Friends and family may laugh or disown me, small animals and thin-skinned children might scurry when they cross my path. Perhaps I may find myself dancing inexplicably to the sound of microwaving popcorn, or even worse, enjoying it long enough to stop deridingly referring to the genre’s biggest pop star as Scallectrix and making a point of finding out what his real name is (Ricky or Buster, or something?)
Whatever happens, I had to realise that, whether I like it or not:
Dubstep. Is. Here…and it may not be going away any time soon.
Naturally, as a flavour of the era, there are a great many starving artists, struggling musicians, horny DJs dabbling in dubstep today, and unless you’ve been spending most weekends in darkened, noisy rooms with dubious, noisy teenagers staring at a couple of paracetamols in the palm of your hand thinking: ‘what the hell is this?’, it is safe to assume you have no idea who or what is currently dropping the bass on this
Right now!!!!…oh, that paracetamol just kicked in.
Thankfully, the kind hardworking people at Ministry Of Sound, who, for almost twenty years now, have conveniently been compiling the best, the most popular and sometimes the most downright embarrassing popular electronic dance music onto CDs, have now made all things dubstep a little easier, a little more consumable, on this, their third volume of essential dubstep tracks.
As always, no matter what genre of dance music they highlight, MOS are good with flow and continuity on their releases, finding only the best and sometimes most obscure tracks that best display the genre. This being the third of the series, the selection is a lot more unusual, a little more exciting, opting to highlight some of the lesser known proponents of dubstep. Not always the best, but usually the most eclectic and interesting.
So, no Skrillex here, but there are other big names represented hero: Nero, DJ Fresh, Example; remixes by James Blake and Dirtyphonics and appearances by the likes of Dizzee Rascal, Ed Sheeran and Tasha Baxter. The rest of the artists, however, require a little more research, which means long, drunken evenings falling down the Bandcamp and Pitchfork rabbit holes, I’m afraid.
But I’ll try sum it up for you here, with a few highlights from both discs.
The pace is relentless from the first track. Dubstep is not known for its sultry ballads and sugary pop sensibility, although it does try once in a while. Its primary objective, as with all dance music, is to keep you on your feet. But often forgotten by other dance compilations, and something that MOS do well, is that you won’t only be dancing to it. You’ll be listening to it in your car, in the shower, washing dishes.
The mix has to be interesting, captivating, and cerebral almost. MOS almost get it right here. There are some interesting thoughtful transitions and short passages of melodic themes that ebb and flow with natural fluidity throughout. However, with over two hours of music across two discs there is a problem of too much runway. It never really takes off and takes flight in a way that a good old fashioned house mix or well-planned Ninja Tune compilation might achieve.
That said, it is a decent selection of varied sounds: a little (real) dub, a little bit of soulful house mixed and blended to within an inch of its life (see: Red (Chasing Shadows Remix) by Laid Blak), some great old school minimal drum n bass sounds crossing swords with unapologetic poppy riffs and runs (see: Young Guns by Lewi White, Ed Sheeran, Griminal, Devlin & Yasmin) and, above all, late into the mix, some of the most extreme, most offensive examples of the genre, most notably Cookie Monsta’s Ginger Pubes, which will quite possibly strip the panelling off your gramophone if you don’t get your settings right.
One noteworthy highlight from disc 1 is KOAN Sound’s Trouble In The West. Funky, with a great sense of drama, wrapped up in a seemingly out-of-place Tom Morelloesque riff, but manages to travel across the song’s different moods effortlessly.
Bare And Dastik’s King Kong is another of those paint stripper tracks, but this time so organically tribal and full of sensual otherworldliness, it defies the usual dubstep trope of relentless beats and overkill bass, to become much more than just another dance song.
Disc 2, as mentioned, loses bit of steam halfway through, never really deciding if the tracks should get you dancing or offend you with onslaughts of bass and percussion.
The highlight here is Tasha Baxter’s great vocals on Feed Me’s Strange Behaviour track. The disc mellows out pleasantly enough towards the end with the pretty but bizarre Cloudlight by Eskmo, all plucky glitches and sweeping sci-fi intonations.
Individually, none of the tracks really outstay their welcome, hanging around just long enough to create the mood for the next track and adding its own unique element to the mix as a whole.
The compilation serves its purpose as a good, concise introduction to the dubstep genre, but as with most commercial dance compilations, will most likely be redundant by the time you finish listening to it.
As a historical document for this current age in music, is might be useful, but in all likelihood, once we have all moved on to the next evolution, the next flavour in electronic dance music, this set will spent eternity on a shelf alongside aging copies of Bump, embarrassing us like old uncles who dance a little too youthfully at family gatherings.
Song writing: – there are some interesting new ideas here, particularly the mixing of dubstep with other leftfield genres. Even for a commercial compilation, there is music here that has a lot of meat on its bones.
Originality: – the dropped bass has become the genre’s calling card, but it is also becoming its noose.
Lyrics: – evaluating commercial dance music lyrics is like wondering when Lindsay Lohan will win a Nobel Prize for science: pointless. Of what I can remember, there were some good choruses, now keep quiet, they’re about to drop the bass.
Flow: – some interesting passages, but on the whole, a loss of momentum over two discs is jarring.
Production: – thanks to technology, we’ve all become bedroom plagiaristic Phil Spectors, so it is surprising that some of the tracks here still manage to achieve studio-quality professional production, that are both unique and fresh.