Corporate Propaganda - Inaudible (Glitch)
Inaudible - Corporate Propaganda [HQ]
Inaudible - Dog Logic [HQ]
http://youtu.bM/xamBai0-eg
Inaudible - Storm Therapy [HQ]
DOCTOR P
For me, one of the best. Here you have the Sweet Shop and some remixes.
Doctor P - Sweet Shop (Flux Pavilion Remix) [HD]
Doctor P - Sweet shop (Trolly snatcha rmx)
Doctor P - Sweet Shop (Friction vs Camo & Krooked Remix)
Oscillator Z - Sweet Shop (Doctor P Drumstep Remix)
Enjoy and thanks!!
11 years of Dubstep!!
Always changing, in a headlong rush permanent result of public demand, the competitiveness of the crews or the pressure of changing gender, English electronic dance music of the late twentieth century had little to do with the rhythms to few years before had capitalized on the London night. After the acid house explosion of the late 80's, is the gender jungle marking the pattern to follow in the next decade, either in its original hardcore version or their meanings Jamaican intelligent ambient, techno-infused, jump or neurofunk up. However, across the mid 90's a new scene begins to prevail. Testimonies notes the rise of a sound that used to prick the club's auxiliary room or quiet Sunday afternoon program of radio pirates. At these sessions, soft, DJs put U.S. discs house garage to the speed at which the public was accustomed Junglist, sounding Masters At Work and Todd Edwards at 130 bpm. Soon the English producers make their own pass in the pattern breakbeat house. As Simon Reynolds describes them, these productions are "faster than the American sound with subwoofer jungle, dub and vocal effects skilful ragga timestretching fitted by." This caused a mutation of the jungle would completely alter the hitherto dominant musical pattern.
So configured, this new style of house or garage is not drum and bass, but something new is baptized as 2 step, a musical form that "transforms the garage in a slow motion of jungle". Since then, the jungle and UK garage are separated, forming two separate scenes but close. The latter is developing its own language in the London underground, especially through the pirate radio circuit and musical battles where the MC is gradually gaining prominence. As so often in England, the industrial system and eventually engulf the genre, making several of his interpreters media figures and perverting their sound productions ever closer to pop. Add to this that in the new millennium dawns, the 2 step begins to associate with more or less justice, a violent scene and some pseudo mafia in London, a phenomenon that ends up giving the coup de grace to the subgenus. Then disappears so brilliant, radical, like never before existed, leaving programmed and even be appointed in public. In fact, in the shade, masquerade behind all the media had assembled, and far from the videos that Top Of The Pops aired on television, producers were still working 2 step patterns and peering garage sound incredible possibilities. The dubstep was being born.
Although this term is not widespread until later, when radio was already invaded the country English formula Re-rewind the Artful Dodger and Craig David. But from the side opposite to conventional UK garage where it grows: Subbass exploiting power, abusing the shuffle and omitting most of the vowels, giving wings to the dark side of the 2 step. Faced with the proclaimed demise of physical barriers that the Internet would lead, dubstep in its origin stands for having a very precise geographic origin and local: the London Borough of Croydon. Everything points to the record shop Big Apple Records, based in Surrey Street was the hub of the emerging scene. Producers such as Benga, Skream, Digital Mystikz and Plastician come from or settled in the southern suburb of London. Also Horsepower Productions, pioneers of dubstep, were fixed at the store, which not only sold but also records the latest dubplates were stuck freshly pressed. Groups like the latter and Groove Chronicles are fundamental to understanding the transition that was taking place. Usual garage scene both originating in an environment where Jamaican sound system culture was essential, they soon begin to synthesize the new genre.
The key lies in dubstep have a structure flexible enough to allow sounds and influences assimilate diverse,providing a perfect channel for experimentation and constant renewal. As noted by Rory Gibb, "although it isdifficult to find the exact reason why dubstep in particular has proved a fertile field as much experimentation, it probably has to do with the amount of space inherent in its structure." Indeed, dubstep shares more than it seemswith the dub. It is not only a predilection for powerful bass lines and hypnotic and some Jamaican sound casual, but also share a common origin and side B. The first dubstep arises in the hands of El-B or Noodles, members ofGroove Chronicles, just that the dub in Jamaica more than twenty years earlier as a filler issues occupied by-sidesongs still sound anchored to the conventional (reggae or garage as appropriate). Less visible on the face seepedinstrumental productions where the rate cut and the low were preeminent, dominant. As in the dub, is born a musical form based on the skeleton rhythm and texture, in which the producer has an unlimited space for experimentation.
At that time foundational dubstep is somewhat overshadowed by the much more popular then grime. Original in east London, is another mutation of UK garage. As dubstep, is built on nervous and brittle patterns 2 step, buthighlighted by a tough, aggressive sound that replaces the prior soul violent diatribe, throaty sound. So configured, the grime seems to have something to do with gangster music, to the extent that it has been compared to hip hopWest Coast: "Roll Deep are grime's NWA (its members include such luminaries as Dizzee Rascal, Riko , FlowDan, Trim and Danny Weed) counting on Wiley as its Dr Dre. "What in your day was a continuation of the legacyperipheral So Solid Crew reached and continues to develop today, a considerable amount of experimentation andremarkable productions, but could not avoid the stigma that its rough profile eventually carry it. The dubstep grimegrew in parallel, feeding both in those early years. And while Rephlex compilations do think that the art was in thegrime of Plastician and Mark One, it was soon clear that this corset would do the majority choice of dubstep. In 2006 Skream described the recent fall and rise of two scenes: "It is impossible to return to find a grime night in London (...). The grime was based on the typical hip hop theme of 'my gun is bigger than yours'. If you went to an event, there was no party atmosphere, but intimidating. The first dubstep is like the jungle, there is an influence and a certain feeling reggae rave. "
Despite these changes, producers and Mala Digital Mystikz, Loefah and Vex'd grime drank heavily, and even contributed to its development. But out of it where they find their own voice and personal through to deploy a sound that stands out not soon be closed to any kind of emotion. This is a testing architecture allows to use the garage for developing rhythmic sensibilities very different. Only then is it possible to understand how the rhythm hipersincopados garage basslines and very low frequency sound systems designed to trap monsters can serve to compose elegies full of insights that serve as a perfect soundtrack for a gray London full of loneliness and emptiness. Although the most celebrated exponent of this sound is Burial, from South London Boroughs who takes a city postal painting eternally covered in mist and inhabited by ghosts elusive, it is a kind of dubstep present in the list of labels such as Hotflush from the first times of the genre. Toasty Scuba producers or loaded dubstep also proposed a rich and evocative atmospheres, rhythms and vocal slowed after which Aaliyah manipulated or drugged divas Beyonce appeared as helium and wrapped in gloom. With these elements and the mysterious deliveries of El-B as a reference for Ghost, Burial wove a way that ambient dubstep packaged in the hitherto unusual long form reached a large audience and gave a certificate of naturalization to the subgenus. While not really original, discovered many possibilities for intimate version (or effect) of dubstep: Pangaea, Clubroot, Darkstar, Instra: mental or producing new batch of its flagship Hotflush the head Joy Orbison owe everything .
Revealing as a way not only able to assume different sounds but also different emotions that crossed with other styles of dance music was only a matter of time. As dubstep is spreading and gaining popularity, either through his appearances on BBC radio, playing at festivals such as Sonar or approaching the charts at the hands of pioneers such as Skream, eventually a Andy C sort of gender or Sven Väth, their sound is observed with growing curiosity about techno producers traditionally associated with more smoking and steaming side of the genre as shed or renovators as Surgeon. Reciprocally, dubstep dub techno takes advantage of Basic Channel and its subsequent development for expanding once again and rhythmic palette. Names such as 2562 or Martyn take advantage of that crossing items 4 × 4 full of broken falsely synth pads and effects imported from outside the scene that fits perfectly.
From the techno, but in other hands, there was also some curious parasitic on other side of dubstep. A small label, of short life and small but very compact code, came in the second half of the first decade of the century a kind ofdubstep whose influence, as a seismic disturbance, would continue being felt long after his hasty closure. SkullDisco, created by Shackleton and Appleblim producer, is adopting a dark and obscurantist iconography, with occasional political lashes on issues such as Hamas Rule or Blood On My Hands. Musically, explores the basicfundamentals of dubstep from an unusual approach, having said their relationship with groups as far away asThrobbing Gristle and Muslimgauze. In his productions so visceral tear off any hair and skin that may remain in the skeleton dubstep, dealing exclusively with their bone structure to shape a world dense and deep listening. That sound that tribal and atavistic references associated Skull looks beyond the boundaries of the genre and is seenas distant disk complex and unfathomable as the last work of T + +.
During the life of dubstep have accumulated mutations which, while maintaining a shared basic structure of both the distant sound crossing and Berlin techno sound as wild and hypnotic Skull. Each new baby reformulation of the above, but adds new colors, discover unsuspected key. Do not believe in any case a new genre but interesting variations. Around 2008, producers like Rustie, Joker, Guido, Zomby and Ikonika make the dubstep sound to soakthe moment, a combination of synths report 8bit game, ketamine and elements of crunk southern United Stateswhich journalists call the wonky, but some look really just a review or a bleep and bass is broken and without rhymeof g-funk. This mini scene for its popularity was the infallible flair with business Kode 9 and Hyperdub label, whoalso published a reference of another new dubstep recent phenomenon, although it did much more by word of mouth from the hordes of young returning to Britain to spend your holiday in Malta drunken. The UK funkypresumably arises as a response to the lack of girls, gradually displaced the dance floor by regular or darkaggressive sound. With nothing again, is the end of the decade when widespread, producers deciding Cooly G orRoska try to make dubstep with those trotters soca rhythms steeped in a nice and mellow sound reminiscent of the first garage.
Dubstep does not stop. The last two years have seen continued incorporating diverse influences and experimenting with new combinations of rhythm and texture still unpublished. The odds still seem as big as the ultimate bastardization nearby. Once established, it begins to be absorbed by the mainstream undisguisedly, appearing fully commercial approach to selling cars detinados, remix or serve mixed success orchestral supportfor the divas of the star system. At the same time, former producers of drum and bass or IDM and Drum MachineBreakage or go to the field to see apparently exhausted the science of love or doomed to netlabel. Even recoverthe origins, genuine public pumps or 2 step grime dubstep passes through the filter on labels on the scene as faras the Belgian icon and the first intelligent techno hardcore R & S. The genus is shown as a body able to regenerate and grow with an extraordinary ability to adapt to the environment. Returning to Rory Gibb, "presents a perfect opportunity for a huge number of electronic musicians to print their tracks so completely unique on its basic form. The seemingly endless collection of variants present today seem to offer a sufficiently robust evidence to support this notion ".
Sorry for the English, I am beginner.
So configured, this new style of house or garage is not drum and bass, but something new is baptized as 2 step, a musical form that "transforms the garage in a slow motion of jungle". Since then, the jungle and UK garage are separated, forming two separate scenes but close. The latter is developing its own language in the London underground, especially through the pirate radio circuit and musical battles where the MC is gradually gaining prominence. As so often in England, the industrial system and eventually engulf the genre, making several of his interpreters media figures and perverting their sound productions ever closer to pop. Add to this that in the new millennium dawns, the 2 step begins to associate with more or less justice, a violent scene and some pseudo mafia in London, a phenomenon that ends up giving the coup de grace to the subgenus. Then disappears so brilliant, radical, like never before existed, leaving programmed and even be appointed in public. In fact, in the shade, masquerade behind all the media had assembled, and far from the videos that Top Of The Pops aired on television, producers were still working 2 step patterns and peering garage sound incredible possibilities. The dubstep was being born.
Although this term is not widespread until later, when radio was already invaded the country English formula Re-rewind the Artful Dodger and Craig David. But from the side opposite to conventional UK garage where it grows: Subbass exploiting power, abusing the shuffle and omitting most of the vowels, giving wings to the dark side of the 2 step. Faced with the proclaimed demise of physical barriers that the Internet would lead, dubstep in its origin stands for having a very precise geographic origin and local: the London Borough of Croydon. Everything points to the record shop Big Apple Records, based in Surrey Street was the hub of the emerging scene. Producers such as Benga, Skream, Digital Mystikz and Plastician come from or settled in the southern suburb of London. Also Horsepower Productions, pioneers of dubstep, were fixed at the store, which not only sold but also records the latest dubplates were stuck freshly pressed. Groups like the latter and Groove Chronicles are fundamental to understanding the transition that was taking place. Usual garage scene both originating in an environment where Jamaican sound system culture was essential, they soon begin to synthesize the new genre.
The key lies in dubstep have a structure flexible enough to allow sounds and influences assimilate diverse,providing a perfect channel for experimentation and constant renewal. As noted by Rory Gibb, "although it isdifficult to find the exact reason why dubstep in particular has proved a fertile field as much experimentation, it probably has to do with the amount of space inherent in its structure." Indeed, dubstep shares more than it seemswith the dub. It is not only a predilection for powerful bass lines and hypnotic and some Jamaican sound casual, but also share a common origin and side B. The first dubstep arises in the hands of El-B or Noodles, members ofGroove Chronicles, just that the dub in Jamaica more than twenty years earlier as a filler issues occupied by-sidesongs still sound anchored to the conventional (reggae or garage as appropriate). Less visible on the face seepedinstrumental productions where the rate cut and the low were preeminent, dominant. As in the dub, is born a musical form based on the skeleton rhythm and texture, in which the producer has an unlimited space for experimentation.
At that time foundational dubstep is somewhat overshadowed by the much more popular then grime. Original in east London, is another mutation of UK garage. As dubstep, is built on nervous and brittle patterns 2 step, buthighlighted by a tough, aggressive sound that replaces the prior soul violent diatribe, throaty sound. So configured, the grime seems to have something to do with gangster music, to the extent that it has been compared to hip hopWest Coast: "Roll Deep are grime's NWA (its members include such luminaries as Dizzee Rascal, Riko , FlowDan, Trim and Danny Weed) counting on Wiley as its Dr Dre. "What in your day was a continuation of the legacyperipheral So Solid Crew reached and continues to develop today, a considerable amount of experimentation andremarkable productions, but could not avoid the stigma that its rough profile eventually carry it. The dubstep grimegrew in parallel, feeding both in those early years. And while Rephlex compilations do think that the art was in thegrime of Plastician and Mark One, it was soon clear that this corset would do the majority choice of dubstep. In 2006 Skream described the recent fall and rise of two scenes: "It is impossible to return to find a grime night in London (...). The grime was based on the typical hip hop theme of 'my gun is bigger than yours'. If you went to an event, there was no party atmosphere, but intimidating. The first dubstep is like the jungle, there is an influence and a certain feeling reggae rave. "
Despite these changes, producers and Mala Digital Mystikz, Loefah and Vex'd grime drank heavily, and even contributed to its development. But out of it where they find their own voice and personal through to deploy a sound that stands out not soon be closed to any kind of emotion. This is a testing architecture allows to use the garage for developing rhythmic sensibilities very different. Only then is it possible to understand how the rhythm hipersincopados garage basslines and very low frequency sound systems designed to trap monsters can serve to compose elegies full of insights that serve as a perfect soundtrack for a gray London full of loneliness and emptiness. Although the most celebrated exponent of this sound is Burial, from South London Boroughs who takes a city postal painting eternally covered in mist and inhabited by ghosts elusive, it is a kind of dubstep present in the list of labels such as Hotflush from the first times of the genre. Toasty Scuba producers or loaded dubstep also proposed a rich and evocative atmospheres, rhythms and vocal slowed after which Aaliyah manipulated or drugged divas Beyonce appeared as helium and wrapped in gloom. With these elements and the mysterious deliveries of El-B as a reference for Ghost, Burial wove a way that ambient dubstep packaged in the hitherto unusual long form reached a large audience and gave a certificate of naturalization to the subgenus. While not really original, discovered many possibilities for intimate version (or effect) of dubstep: Pangaea, Clubroot, Darkstar, Instra: mental or producing new batch of its flagship Hotflush the head Joy Orbison owe everything .
Revealing as a way not only able to assume different sounds but also different emotions that crossed with other styles of dance music was only a matter of time. As dubstep is spreading and gaining popularity, either through his appearances on BBC radio, playing at festivals such as Sonar or approaching the charts at the hands of pioneers such as Skream, eventually a Andy C sort of gender or Sven Väth, their sound is observed with growing curiosity about techno producers traditionally associated with more smoking and steaming side of the genre as shed or renovators as Surgeon. Reciprocally, dubstep dub techno takes advantage of Basic Channel and its subsequent development for expanding once again and rhythmic palette. Names such as 2562 or Martyn take advantage of that crossing items 4 × 4 full of broken falsely synth pads and effects imported from outside the scene that fits perfectly.
From the techno, but in other hands, there was also some curious parasitic on other side of dubstep. A small label, of short life and small but very compact code, came in the second half of the first decade of the century a kind ofdubstep whose influence, as a seismic disturbance, would continue being felt long after his hasty closure. SkullDisco, created by Shackleton and Appleblim producer, is adopting a dark and obscurantist iconography, with occasional political lashes on issues such as Hamas Rule or Blood On My Hands. Musically, explores the basicfundamentals of dubstep from an unusual approach, having said their relationship with groups as far away asThrobbing Gristle and Muslimgauze. In his productions so visceral tear off any hair and skin that may remain in the skeleton dubstep, dealing exclusively with their bone structure to shape a world dense and deep listening. That sound that tribal and atavistic references associated Skull looks beyond the boundaries of the genre and is seenas distant disk complex and unfathomable as the last work of T + +.
During the life of dubstep have accumulated mutations which, while maintaining a shared basic structure of both the distant sound crossing and Berlin techno sound as wild and hypnotic Skull. Each new baby reformulation of the above, but adds new colors, discover unsuspected key. Do not believe in any case a new genre but interesting variations. Around 2008, producers like Rustie, Joker, Guido, Zomby and Ikonika make the dubstep sound to soakthe moment, a combination of synths report 8bit game, ketamine and elements of crunk southern United Stateswhich journalists call the wonky, but some look really just a review or a bleep and bass is broken and without rhymeof g-funk. This mini scene for its popularity was the infallible flair with business Kode 9 and Hyperdub label, whoalso published a reference of another new dubstep recent phenomenon, although it did much more by word of mouth from the hordes of young returning to Britain to spend your holiday in Malta drunken. The UK funkypresumably arises as a response to the lack of girls, gradually displaced the dance floor by regular or darkaggressive sound. With nothing again, is the end of the decade when widespread, producers deciding Cooly G orRoska try to make dubstep with those trotters soca rhythms steeped in a nice and mellow sound reminiscent of the first garage.
Dubstep does not stop. The last two years have seen continued incorporating diverse influences and experimenting with new combinations of rhythm and texture still unpublished. The odds still seem as big as the ultimate bastardization nearby. Once established, it begins to be absorbed by the mainstream undisguisedly, appearing fully commercial approach to selling cars detinados, remix or serve mixed success orchestral supportfor the divas of the star system. At the same time, former producers of drum and bass or IDM and Drum MachineBreakage or go to the field to see apparently exhausted the science of love or doomed to netlabel. Even recoverthe origins, genuine public pumps or 2 step grime dubstep passes through the filter on labels on the scene as faras the Belgian icon and the first intelligent techno hardcore R & S. The genus is shown as a body able to regenerate and grow with an extraordinary ability to adapt to the environment. Returning to Rory Gibb, "presents a perfect opportunity for a huge number of electronic musicians to print their tracks so completely unique on its basic form. The seemingly endless collection of variants present today seem to offer a sufficiently robust evidence to support this notion ".
Sorry for the English, I am beginner.
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