Age? If thought dubstep was the latest thing to hit the electronic music scene you’d be surprised, post-dubstep has emerged as dubstep has split into ‘bro-step’, epitomised by Skrillex, and a slightly less well defined ‘post-dubstep’.
What does ‘post-dubstep’ actually mean? Nobody’s really sure; in fact the only thing that people can agree on is what it isn’t. It’s not dubstep, grime or house, although these all have influences in the scene. The music is about 130 bpm and also goes by the name of ‘future garage’.
If nobody knows what it is, can it actually be a scene? While it may not be a specific genre there is close interaction between the artists and a free-flow of ideas. Its components are nothing new: R&B-esque samples, dubstep bass, cut up vocals and a flavour of house but together they make something both new and, most important, incredibly listenable, mixing nostalgia with innovation.
This sounds confusing, just where am I meant to listen to this? Post-dubstep really does range. Artists like James Blake and Mount Kimbie can soundtrack a late-night essay crisis or intensive library revision while Joy Orbison or Pariah wouldn’t feel out of place being played at one of BabyLove’s edgier nights.
For a brief introduction to the genre, that attempts at least to encapsulate the wide range of what it offers, click here.
Dark Sky – Leave
Carnival – Carnival
Fantastic Mr. Fox – Sketches
Gil Scott-Heron & Jamie xx – NY Is Killing Me
Joy Orbison – Sicko Cell
Mount Kimbie – Maybes
Pariah – Detroit Falls
Phaeleh – Afterglow (feat. Soundmouse)
SBTRKT – Hold On
James Blake – CMYK
