Martyn - Great lengths - 3024

1."The Only Choice"
2."Krdl-T-Grv"
3."Right? Star!"
4."Seventy Four"
5."Little Things"
6."Vancouver"
7."These Words" (feat Dbridge)
8."Bridge"
9."Elden St"
10."Far Away"
11."Hear Me"
12."Is This Insanity" (feat Spaceape)
13."Brilliant Orange"
14."Natural Selection"

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Talking about dubstep, here we go with a special work on that subject. Breakpoint or melting pot? Martyn comes from D&B, and he manages to put together this album that stare between techno and dubstep, using old school sounds and new school rhythms sounding fresh and exiting.

Un poco de dubstep con este ex productor de drum and bass de los noventa que hoy edita en su propio sello 3024. Une ritmos rotos, sonidos del techno de detroit, bajos como barriga de luchador sumo y todo sonando fresco y novedoso.

Some words about dubstep - Bajos, bajos, bajos

Aquí les dejo un texto acerca del dubstep, para aquellos distraídos que aún no lo conocen. Para los que si pero aún no se aproximaron al género haganlo sin prisa y con paciencia (esto suena deasiado a consejo de abuela no?). Sres. con ustedes wikipedia y unos links para entrar en calor:

(Here i post some info about dubstep in spanish and there is some english stuff at the bottom)

Dubstep es un género de música electrónica que pertenece a la familia de estilos del drum and bass y tuvo sus orígenes en la escena del UK Garage a fines de los años 90. Se puede describir como una aproximación electrónica al dub tradicional y comparte con este estilo estructuras rítmicas y la velocidad.
Si bien en los primeros años fue más una aproximación experimental de algunos productores hacia el garaje británico que un género, alrededor de 2005 se conformó una escena con muchos adeptos alrededor del dubstep, primero en Londres, pasando después al resto de Inglaterra y al resto del mundo.

Estilo
El dubstep mezcla los ritmos sincopados del tradicional UK Garage con elementos del jungle y UK Hardcore de principios de los 90 y por lo tanto tiene un sonido más experimental y agresivo que sus antecesores. Se diferencia del Grime por la ausencia de raps, aunque la aproximación musical de los dos estilos es similar.
Se caracteriza por su carácter oscuro, consecuencia de la utilización de escalas tonales del modo menor y disonancias, un protagonismo de la bassline (línea de graves) y ritmos minimalistas y sutiles. Muchas veces es utilizado la técnica half-step, la cual enfatiza el primer y el tercer tiempo de cada compás, simulando la reducción de la velocidad a la mitad. La utilización de tripletes es otra característica típica del dubstep.
Varios elementos fueron incorporados desde otros géneros del breakbeat, así el llamado bass drop, cuyo origen se remonta al drum'n'bass y que consiste de una línea de graves que baja de un tono a otro usando portamento. Otra característica es el rewind, incorporado desde el dub y el jungle, que consiste en la repetición de una secuencia popular por parte del DJ usando un vinilo.

Origen y desarrollo
El sonido del dubstep fue creado alrededor del año 1999 por productores experimentales de la escena garaje británica, entre las que se destaca El-B, que a veces es llamado el "padre del dubstep". No fue más que una aproximación experimental al Garaje hasta el año 2001 en el cual fue fundado la serie de eventos Forward>> en el barrio londinense de Soho. Además, el grupo de músicos detrás de esta serie produjo un programa de radio en la estación pirata de Pinsa FM, que se convirtió en el primero en difundir la música.
A partir del año 2003 la escena logró captar la atención de un público más variado. DJs y productores como DJ Hatcha y Digital Mystikz ampliaron el espectro musical del género incorporando influencias del reggae y hasta de música orquestal. En el 2005, por primera vez un medio con reputación, el Independent on Sunday informó en una nota sobre la nueva tendencia.
En el año 2006, el interés en el género creció también fuera de Inglaterra. Un buen ejemplo es la banda de sonido de la película de ciencia ficción Children of Men que incorporó varios temas de dubstep y así ayudó a difundir el estilo. Además, con The Roots of Dubstep 2000-2004 apareció el primer compilado retrospectivo. En 2007 el género comenzó a influirse mutuamente con el techno, destacándose el productor y DJ chileno Ricardo Villalobos que no solo remixeó tracks de dubstep, sino también incorpora el estilo en sus sets.

http://www.dubstepdirectory.com/

The Wire 300: Simon Reynolds On The Hardcore Continuum #7: Grime (And A Little Dubstep) (2005)

Originally published as "The Primer: Grime " in The Wire #254, April 2005.
Grime emerged from London's pirate radio underground. Its immediate precursor was two-step (aka UK Garage), which at the turn of the millennium broke into the UK pop mainstream in a massive way. Two-step had been shaped by the "feminine pressure" for sing along melodies and wind-your-waist grooviness. Grime arose as a backlash against this crossover sound, a violent swing in the scene's inner gender-pendulum from yin to yang. Out went two-step's high pitched diva vocals, sensual swing, and sexed up amorousness; in came gruff rapping, stiff electro-influenced beats, and raucous aggression.MCs have been part of the pirate radio tradition for at least fifteen years, going back through Garage and Jungle to the early days of Hardcore. By the end of the 90s, however, the MCs were moving beyond their customary restricted role as party 'hosts' and sidekicks to the DJ. Instead of gimmicky vocal licks and 'praise the selector' exhortations, they began to rap actual verses: initially, extended takes on traditional boasts about their own mic skills, but soon getting into narrative, complicated metaphors and rhyme schemes, vicious dissing of rivals, and even introspective soliloquies. The MC's rise swiftly eclipsed the DJ, hitherto the most prominent figure on rave flyers or the main designated artist on record releases. 2001 was the turning point, when MCs shunted selectors out of the spotlight. So Solid Crew broke into the pop charts, and the underground seethed with similar collectives modeled on the clan/dynasty structures that prevail in American hiphop and Jamaican dancehall.Emerging from the transitional sound known as 'Garage rap', Grime really defined itself as a distinct genre when the first tracks appeared that were designed purely as 'MC tools' - riddims for rappers to ride. These Grimestrumentals were largely sourced in the electro diaspora - post-"Sleng Teng" ragga, Miami bass, New Orleans bounce, Dirty South crunk, and 'street rap' producers like Swizz Beats. Like these genres, Grime doesn't go in much for sampling but prefers synths, typically with cheap 'n' nasty timbres that vaguely evoke the Eighties and often seem to be influenced by pulp movie video soundtracks, videogame musik, and even mobile phone ringtones. But in Grime's textured beats and complex programming you can also hear the imprint of the Jungle that most of these late teens/early twenties producers grew up on, alongside folk memory traces of gabba and Techno. Sometimes, listening, you might imagine you can hear uncanny echoes of post-punk era electro-primitivists such as The Normal, DAF, Cabaret Voltaire, or the calligraphic exquisiteness of Japan, Thomas Leer, and The Residents.Inherited from the period when two-step ruled the top 10, but also inspired by enviously watching the living large of American rap superstars, Grime feels a powerful drive to invade the mainstream and get 'paid in full'. Pirate radio, a broadcast medium with a potentially vast audience, encourages this grandiosity. One peculiar byproduct of Grime's ambition is the scene's craze for DVD releases, like Risky Roadz and Lord Of The Mic, containing documentary material with live footage. It's as if the scene is DIY-ing the sort of TV coverage it feels it deserves but isn't getting. Yet while some of top MCs are being groomed for stardom by major label-owned boutique labels, the day to day reality of Grime is grafting to get by in a narrowcast culture. Selling 500 copies of a track is considered a good result. The way Grime operates - small run vinyl-only pressings and mix-tapes, often sold directly to specialist stores - has a surprising amount in common with the microcultures familiar in these pages, such as Noise, free folk, Improv, and extreme Metal. Like these genres, Grime is what Chris Cutler would call an "engaged" culture, with a high ratio of performers to consumers. These aspiring MCs, DJs and producers have a deeper understanding of what constitutes skill and innovation in their scene. Grime even has an Improv element with its freestyles and MC battles. There's a glorious ephemerality to the way MCs riff off the cuff lyrics during pirate sessions, although fans have always tape recorded the shows and some are now getting archived on the web.Unlike those globally dispersed microcultures, Grime is geographically concentrated. It's popular across London and has outposts in other multiracial UK cities, but its absolute heartland consists of a few square miles in that part of East London not served by the Tube. In truth, it's a parochial scene, obsessed with a sense of place, riven by internecine conflicts and territorial rivalries (the intense competitiveness being one reason Grime's so creative). Still, despite this insularity, Grime has never been easier for 'outsiders' to investigate, thanks to 1xtra (the BBC's digital radio station for UK 'urban' music; check especially the weekly shows by Cameo and Richie Vibe Vee), the trend for pirates like Rinse FM to go online as well broadcast terrestrially, mail-order via companies like Rhythm Division and Independance, and the swarm of blogs covering the scene.