we're all in water

Never has electronic music been so hip. Dubstep specifically has shown that music developed exclusively through technology can possess traits other than being uninhabitable and barren, uninviting and frigid. Because I feel like that’s how many viewed the inception of electronic music as a whole; sure, it had a certain novelty to it, a certain inherent spring in its step, but at the same time people were accustomed to the more organic nature of music created from tangible instruments. I can imagine that it came across as more of an alien phenomenon, one seeming to lack the emotive capacity the more organic music possessed. And that’s exactly why it’s interesting to think about the progressions that have taken place within the realm of electronic music, as well as the regressions. Because despite the massive influx of creative concepts that’s stemmed from the blossoming of the movement overall, there has simultaneously been somewhat of a retread across older ideas, not only for nostalgia’s sake but also for a rekindling of the fire that was ignited at the scene’s advent.

I feel like this type of thinking is what Burial’s music consists of, and it’s likely why it’s been received so amicably by the masses. It’s a memento of what dubstep was, while also serving as an acute snapshot of what it has the capacity to be. The whole musical idea itself may be associated these days with brodowns (espeeeeeeecially in North America, let me tell you), but the funny thing is how much of a polar opposite this is when comparing this counter-culture to the original ideologies of the pioneers of dubstep. The genre itself was founded exclusively upon a minimalist verve, letting the hisses and pops between the percussion speak loudest, and yet as of lately it’s become a much more homogenized culture, one that is so eerily off-brand that its integrity is almost questionable. Key word: almost. I would never say that today’s rendition of dubstep should be rendered invalid, solely because it happens to be a distinct variation on the original formula. If this were true, then we might as well discredit the authenticity of the mutt of the English language that we speak today.

It certainly seems that change was precalculated into the dubstep formula; there was room left for alterations, space meant to be filled by the aspirations of innovative youth. We therefore can’t complain when the genre warps in ways it was predicted to, and we also need to remember that it definitely isn’t all a bad thing. There have been beautiful moments stemming from the more modern rendition of dubstep, for example. The swells of bass pulsing do have the potential to be abused (coughcoughEXCISION), but overall these later players to the game bring a tainted reputation to the genre. It isn’t all about bass drops, and I guess that’s why it’s so important to remember dubstep’s origins when looking into its much heralded future.

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2 months ago

My trashcan is a mausoleum of pretzel bags

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2 months ago

There are times when I love being disconnected from everyone.

Specifically, right now I’m loving it. I don’t want to have to deal with anyone. I don’t want to try and make friends right now. I can’t handle people right now, and I’m tired of trying to pretend like I’m some insanely friendly guy that just loves to be around people. I do, and I am, when I’m healthy, but when I don’t take care of myself I can’t handle anyone, I don’t want anybody to bother me, I’m a judgmental cynic and massive douche overall, and I deserve everything I get.

And it’s weird having a social life, because I’m so used to shutting everybody out. And as good it’s been for me to go out of my way to meet people these days, I feel like nobody really understands what I can be like. Or what I want to be like.