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Computer Based Composition

Scott Hewitt

2013 June Boyce-Tillman. Constructing musical healing: The wounds that sing. : Jessica Kingsley, 2000. B. Brewster and F. Broughton. Last Night a Dj Saved My Life: The History of the . GROVE/ATLANTIC Incorporated, 1999. ISBN 9780802136886. URL http://books.google.co.uk/books?id=Np3dpRhTsxQC. B Chamish. Police raid trance parties in . Billboard, 110(37):40, 1998. Torsten Fassbender. The trance experience: An introduction to electronic . Knoxville, Tenn.: Sound. org, 2005. Jimi Fritz. culture: An insider’s overview. Small Fry Pub, 2000. Scott R Hutson. The rave: Spiritual healing in modern western subcultures. Anthropological Quarterly, pages 35–49, 2000. Iara Lee and Simon Reynolds. Modulations: a history of : throbbing words on sound. 2000. Matthias E Liechti, Alex Gamma, Franz X Vollenweider, et al. Gender differences in the subjective effects of . Psychopharmacology, 154(2):161–168, 2001. R. Snoman. The Dance Music Manual: Tools, Toys and Techniques. Focal Press, 2012. Donna Summer. Love to love you baby, 1975. History of Electronic Music

Scott Hewitt @scotthewitt Sound Recording

Phonautograph 1857 Leon Scott

Phonography 1877 Edison (Charles Cros)

Gramophone 1887 Emile Berliner

Magnetic Tape 1928 Fritz Fleumer Futurist

The Art of Noises 1913

Luigi Russolo Cage

The Future of Music - Credo 1937

Organisation of Sound Love to Love You Baby

Donna Summer 1975

Disco 1970’s

Emmergence from Music

Night Fever 1977 Sucks

Steve Vahl 12 July 1979 House Music Francis Grosso

Sanctuary 1970

Mixing of Two Tracks The Gallery

New

Nicky Siano

Frankie Knuckles and Larry Levan

The Continental Baths 1977

The Warehouse Chicago

Descriptive of style rather than music

Godfather of House 1982 and 1983

Decline of the Warehouse

Knuckles established the Powerhouse Music Box

Ron Hardy

Eclectic Mix - Euro Disco, Funk, Soul

Greatest Ever DJ WBMX On Air Mixing Scatches

Back Spins

Phase Effects

Ralphi Rossario

Kenny ‘Jammin’ Jason

Steve ‘Silk’ Hurley

Mickey ‘Mixin’ Oliver

Farley ‘’ Funk The Reworks

Frankie Knuckles Italian Imports Playing Italian imports due to disco sucks campaign including dub influences

Erasmo Rivieria Reworking earlier Disco On and On

Jesse Saunders 1984

Released by Say

Distributed by Imports Etc Your Love

Jamie Principle

Only given to Knuckles The Labels

Trax - Larry Sherman

DJ International - Rocky Jones The Releases Music is the Key

Move Your Body

Time to Jack

Get Funky

Jack Your Body

Runaway Girl

Promised Land

Washing Machine

House Nation

Acid Trax Hardware

1987

Roland TB303

TR909

TR808

Juno 106

Can U Feel It 1986 Influenced by Soul, and , not Disco DeepHouse

Instrumental on Mr. Fingers’ "Washing Machine" EP Rhythm Control

My House 1987

Chuck Vocals of Can U Feel It Nick Siano

I’m Looking For You 1986 Todd ’The God’ Terry

NY

Introduced Sampling Techniques

Percusive Style

Released 3 Massive Dance Floor House Anthmes Current

14 Different Subgenres , hard house, , dark house, , , UK house, US house, euro house, , , vocal house, micro house and disco house Analysis

In fact, today the word house has become somewhat of a catch-all name for music that is dance (not pop!), yet doesn’t fit into any other dance category. [Snoman(2012)] Features

4/4

Range : 110 - 140 BPM

Typical : 127 or 137 Listening

Daft Punk - Digital Love

Modjo - Lady

I Four to the floor

I Syncopated

I Electric Wah

I Sample Inclusion Technique Fundamental Beat Structure

Kick on beat 1/4 note

16th HighHats Open on Offbeat

Strong Weak Medium Weak

Snare / Claps beat 2 and 4 Additional Percussion

Play Live for feel

Define subgenre Drive

Snare pushed forward with Bass

Clap pushed forward Kick

Tight

Short Decay / Fast Attack

TR909 90hz Sine + Compressed Square

Slight Distortaion Kick II

Compress

Low Ratio

High Threshold

Fast Attack

Medium Release Snare

E-Mu Drumulator Square + Pink Noise

Fast Attack + Fast Decay

HPF or BPF Others

Down sampling for harshness Mix Percussion

Slight Reverb

Pitch Shifts

Problems from multiple sounds at once

Compression for ’pumping’

Noise Gate to cut up

Layering Kick Bass

Simple Walking

Complex live playing

Timing - inject Groove Listening

Supermen Lovers’ ‘Starlight’ Bass Driven

Layo and Bushwacka’s ‘Love Story’ Keys Focus SynthPop

Electro Pop / Technopop

late 1970 / mid 1980s Artists

Yellow Magic Orchestra - Firecracker (79)

Was Dog A Doughnut - Cat Stevens (77)

Ultravox

The Human League Deep House

Mystery of Love (85)

Can you feel it? (86)

by Larry Heard (Chicago)

Lush, soulful sound

Darker

Jazzy Harmony Acid House

Acid Tracks (87) - 303

Use of TB-303 Squelch

Establihsed by 89

Synth Pads

Vocal Samples

Atmospheric

Blue Room - The Orb

Elvis on the Radio, Steel in my Soul - The KLF

Cassius 99 - Cassius

Fukkin Oldskool - Olav Basoski

Occasional Acoustic Instrumentation Critcal Listening Lecture 5 Trance 1980s

Eurohouse

Eurodance

Eurotechno

Euro-NRG

Euro

Rich Female melodic vocals

Male Rapped verses

Synthesizer

Strong bass rhythm

Melodic hooks Billboard

70s disco and 60s [Chamish(1998)] History

Emerged 1993 [Fassbender(2005)] We Came in Peace by Dance 2 Trance (DJ Dag and Jam El Mar)

The Age of Love by Jam & Spoon

Love Stimulation by Style

a variant of techno marked by a relentlessly seductive, hypnotizing beat [Lee and Reynolds(2000)]

Music in general has always been able to sweep people off their feet, but what distinguishes raves is the concept of the shared experience; a feeling of unity often arises and people are open and friendly to one another. . . . People are celebrated for who they are, not what they are not. Brian Behlendorf, as quoted in [Fritz(2000), pg52] Healing

“the rave can be conceptualized as a form of healing comparable both to shamanic, ecstatic healing documented in ethnographies of small-scale non-western societies, and to spiritual experiences in modern western subcultures” [Hutson(2000), p36] Traditions

The trance and rave music traditions have seen music and dance rejoined with notions of transcendence. In these traditions, transcendence has been made into a commodity by a capitalist value system that enables the recording industry and the drug cartels to exploit what is a fundamental human need. [Boyce-Tillman(2000), 280] MDMA (Ecstasy) Subjective Effects

derealization, depersonalization, altered perception of space and time, positive basic mood, mania-like experience, anxious derealization, thought disorder, fears of loss of thought or body control, visual hallucinations or pseudo-hallucinations, synesthesia, changed meaning of percepts, facilitated recollection or imagination. [Liechti et al.(2001)Liechti, Gamma, Vollenweider, et al.] Adjective Mood

self-confidence, heightened mood, apprehension-anxiety, thoughtfulness-contemplativeness, extroversion, dazed state, sensitivity and emotional excitation. [Liechti et al.(2001)Liechti, Gamma, Vollenweider, et al.] Location

German

Goa

Ibiza Styles

Progressive, Goa, Psychedelic, Acid or Euphoric

Early style

First-wave trance

Roland TB-303 bass machine as lead Artist Art of Trance

Union Jack

Eternal Basement

Emmanuel Top

Hardfloor

Kai Tracid

Solar Quest

Oliver Lieb

Alex Shelley Examples

Octopus - The Art Of Trance

Two Full Moons & A Trout (Original Mix) - Union Jack

complex, melodic form of trance named for Goa

Early 90s

IDF Artist Yahel Sherman

The Infinity Project

Transwave

Man With No Name

Infected Mushroom

Astral Projection

Goa Gil

Juno Reactor

Message From God

Razorback - Juno Reactor

Cosmic Waves - Yahel Dream Trance

epic trance

mid-’90s

highly melodic

often features soothing piano riffs Artist

DJ Dado

Robert Miles

The Cynic Project

Zhi-Vago Example

Children - Miles

Cherry Earth - The Cynic Project Trance II Euro-Trance

Hardstyle bass drums

Primitive Lyrics

Pitch Shifted Vocals

Remixes Artist Jan Wayne

Milk Inc.

Special D.

Marko Albrecht

Pulsedriver

Cascada

Alice DeeJay

DJ Manian

Insomnia

Tune Up! Example

Because The Night - Jan Wayne

Better Off Alone - Alice Deejay Balearic Trance

Very melodic and mellow

sometimes with ethnic features

Costal sample use

Use of guitar

Syncopated or Latin rhythms Artist Café del Mar

Chicane

Energy 52

Imagination

Miromusic

Roger Shah

Salt Tank

York Example

Saltwater - Chicane

Jeanie - Salt Tank

German 1993

Aggressive

Slower

Originating in

Influences from hardcore Artist Kai Tracid

Gary D.

Yoji Biomehanika

Lisa Lashes

Trance Generators

Flutlicht

Mat Silver & Tony Burt

DuMonde

Jones & Stephenson

Yves Deruyter

Cosmic Gate

Mauro Picotto

Sunburst

DJ Scot Project

Jon The Baptist

System D Example

Exploration of Space -

Imperion - Jon The Baptist Second Wave

Uplifting, Athem, Epic

Commercialized

Late 90s Artist Paul van Dyk

Super8 & Tab

Gouryella

Dan Stone

System F

Andy Blueman

Carlo Resoort

Nitrous Oxide

Ayla

Sash!

Ferry Tayle

Armin van Buuren

Filo & Peri

ATB

DJ Tandu

Neo & Farina

Blank & Jones

Marco V

Matt Darey

Above & Beyond

Daniel Kandi

Digital United

Sean Tyas

Airscape

EX-PLOSION

Darude

Tiesto

Vincent de Moor

Airbase

Aly & Fila

Cascade

The Thrillseekers Example

Crown of Thorns - Matt Darey

Evacuate the Dance Floor - Cascade Issue In Performance

Live Use

Elements - not tracks Resources

www.tranceaddict.com Trance Analysis Analysis

Anthemic Music

Long Breakdown

Melodic Reprises

Layered Elements

Simple Structurial devices Features

4/4

Range : 125 - 150 BPM

Typical : 137 - 145 BPM Listening Technique Fundamental Beat Structure

Simple

4 to the floor Kick

Kick on beat

Double kick to support progression End of pattern

No Dynamic pattern

Tight

90Hz Sine

No Attack, Slight release Snare

Snares and/or claps 2/4

No Dynamic pattern High Hats

Closed 16ths

Open 1/8 Syncapted

Strong - Medium - Weak - Strong

Focus on 1 and 4 Other Percussion

Very limited due to need to leave space in mix Bass

Use of Delay

Harmonic Complexity

Thick

Thick

Filled with pads

Clear Piano or Guitar or Synth

Delay

Simple Pad

Thick

Multi Layered

Vocal Elements Vocals

Simple

Nursery Rhyme

Reptataive

Non-Narative

Male, Female Roles House Features

4/4

Range : 110 - 140 BPM

Typical : 127 or 137 Fundamental Beat Structure

Kick on beat 1/4 note

4 to the floor

16th HighHats Open on Offbeat

Strong Weak Medium Weak

Snare / Claps beat 2 and 4 Drive

Snare pushed forward with Bass

Clap pushed forward Kick

Tight

Short Decay / Fast Attack

90hz Sine + Compressed Square

Slight Distortaion Kick II

Compression

Low Ratio

High Threshold

Fast Attack

Medium Release Snare

E-Mu Drumulator

Square + Pink Noise

Fast Attack + Fast Decay Others

Down sampling Mix Percussion

Slight Reverb

Pitch Shifts

Problems from multiple sounds at once

Compression for ’pumping’

Noise Gate to cut up

Layering Kick Bass

Simple Walking

Single Octave

Timing - inject Groove Structure

Isolated Beat

Gradual Entries TB-303

http: //archive.org/details/NateHarrisonBasslineBaseline TB-303 Oscillator

Single Oscillator

Saw or Square

Envelope generator decay control only TB-303 Filter

LPF -24db per octave

Cutoff frequency

Envelope

4-pole filter Pattern Programming

Accent (emphasises Envelope Generators filter’s cutoff and resonance)

Portamento (fixed duration) Pattern Scramble

Low voltage failure mode Rebirth

http://www.rebirthmuseum.com/ Lecture 1 Techno Techno

Coined by in an effort to describe how they mixed electronic instruments and technology together to produce ‘pop’ music. Written

1988 [Brewster and Broughton(1999), p.354] Possible Early Examples

Shari Vari by A Number of Names (1981)

I Feel Love by Donna Summers

Techno City by Cybotron

Off shot of Chicago house

Big Fun by Inner City Influenced by

European

Japanese technopop "Technopolis"

Early B-boy Hip-Hop

Italo Disco Belleville Three

Juan Atkins, and Inspired by Midnight Funk Generation on WJLB-FM

Kraftwerk, Tangerine Dream and George Clinton

Roland TR909, TR808 and TB303

Techno City (1984)

No UFOs (House Use)

Nude Photo (1987)

Derrick May (1987)

House or Techno Techno – The New Dance Sound of Detroit

Neil Rushton Virgin Records http://www.discogs.com/ Various-Techno-The-New-Dance-Sound-Of-Detroit/ release/65112

Minimalist

Almost mechanical house music

Original working title ’The House Sound of Detroit’ Typical Sound

Dark pounding rhythms

Soulful feed Typical Sound

Dark pounding rhythms

Soulful feed

Stripped down vibe Early Available Technlogy

TB303

TR909

TR808

Two track mix down Early Releases

Rhythim is Rhythim Nude Photo 87 Rave Generation

1992

Drug-influenced Hypnotic Tribal Beats Pure Techno

Tribal Beats Examples Thomas Krome

Redhead Zync

Henrik B

Tobias

Carl Craig

Kenny Larkin

Richie Hawtin Lecture 2 Detroit Techno Analysis Analysis

Percussive Focus

Drum Rhythms

Atonal

Texture rather than Melodic Analysis II

The genre defines itself on a collection of carefully programmed and manipulated textures rather than melodic elements [Snoman(2012)] Analysis III

Formed and written with DJ in mind

Seamlessly Mix Example Beat

Kick on beat 1,2,3,4

Snare on 2,4

Hi-hat syncopated 1/4 notes Summary

4 to the floor Poly Rhythm techniques

130-150 BPM Percussion Sounds

TR-909 16-steps

MIDI Equipped

R8 TR-909 R8 Playing the Studio

Effects / manipulations to create variations

Brought in and out Layering

Fades

EQ

To shape combinations Method

Hectic, harmonically rich rhythm

Filters EQ

Harmonic interplay rhythm Sherman Filterbank

24dB/octave 4-pole dual filter

LFO

ADSR

1997

Transitions

Automataion of EQ Effects Base Loop Structure

Kick 1 2 3 4

Snare 3

Hi-Hats 16ths

Occasional Crash (mark section end) Secondary Loop

Similar structure

Off beat

Delayed

Syncopated

No kicks (why?)

Timbre Focus Method

Combine

Layer

Shape Development

Additional loops

Different meters 3/4, 5/4

Beat Shifting Methods

Remove snare/hi-hat transients and increase sustain Use a transient designer to remove the transients of a snare or hi-hat and then increase the sustain.

Reverse sample, apply reverb (long tail) play forwards

Use a noise gate to shorten sounds

Heavy compression to squash the transients

Heavy compression with long attack but only to the sustain Methods II

Filter to balance spectrum With the aid of a spectral analyser, identify the frequencies that contribute to the body of a sound and reduce their volume while increasing the volume of those surrounding them.

Combine two timbres use EQ to remodel

Pitch shift notes up by extreme amounts

Heavy chorus or flangers/phasers to hits (hi-hats, snares) Methods III

Hi-hat pattern, apply heavy delay, then cut to produce a new pattern

Heavy delay/chorus/flanging/phaser to loop, cut segments out to mix in

Time stretch and compress to add digital clutter Compression

Harsh, heavy beats

Pumping

Effect type of use

Valve compressor, send effect Compressions Settings

12:1

Attack of 5 ms

Release of 200

Threshold control to reduce kick and snare by around 5db Favoured Compressors

Joe Meek SC 2.2 - quiet, low distortion

UREI LA 3

UREI 1176 LN

Due to, Musical pumping

Second-order harmonic distortion UREI LA 3 UREI LA 3

Electro-

1.5ms Attack Time UREI 1176 LN UREI 1176 LN

Ultrafast attack 20 microseconds

FET-Style

Transistor Circuitry FET vs Opto

FET Punchy

Fast

Opto Pumping

Slower

Parallel Pumping

Chain from kick

Ratio 5.1 - 10.1

Threshold -5 / -15db

Attack 1-15 ms

Release based on Bass

Simple

Limited movement (none?)

Variation in length

Portamento

Bass spectrum draws attention to kit spectrum Synthesis Bass

TB303

Saw and Square wave

Medium sustain

LPF midway rez and cut-off

Slight distortion

Simple stereo

Effects

Increase Delay for effect

White Noise side chained to kick Suggested Listening Derrick May

Juan Atkins

Kevin Saunderson

Eddie Fowlkes

Richie Hawtin (Plastikman)

Carl Craig

Kenny Larkin Suggested Listening II

Stacey Pullen

Jeff Mills Mike Banks

James Pennington

Robert Hood

Blake Baxter

Alan Oldham Lecture 3 Origins

Development of Jungle a fusion of, (Developed from Hip Hop)

Reggae

Dub

Hardcore and Artcore The Break

Amen Brother by 1969

6 second

B-Side of Colour Him Father

Played by Gregory Cylvester "G. C." Coleman Sources

"Musical history: Seven seconds of fire". The Economist (The Economist Newspaper Limited). 2011-12-17. Retrieved 2011-12-28. http://www.economist.com/node/21541707

"The Amen break’s impact on history" http://www.youtube.com/watch?v=5SaFTm2bcac "BBC Radio 1’s Stories: The Amen Break". BBC. Mon 6 Jun 2011. http://www.bbc.co.uk/programmes/b011nyd1 Hip Hop Aside

1970s

Disco Rap

Hip Hop, Be Bop (Don’t Stop) by Man Parrish

Chinese Arithmetic by Eric B. & Break Beat

1970s Kool Herc

Grand Wizard Theodore

Afrika Bambaataa Hardcore Aside

1988

Development of Acid House

Complex Rhythms Hardcore Development 1992

120-145BPM

Darklands by Fabio and

Ragga and

Fast complex beats

Deep bass

(later 160-180BPM) Drum and Bass Origins

Bristol / London Mid 1990 Key Release

Timeless (1995)

Goldie and Rob Playford Key Features

controlled production

deep basses Instrumentation

Acoustic Instruments

Industrial or synthetic sounds Tempo

165-185BPM

Typically 175-180BPM Beat Structure

Snare 2 and 4

Fluid Kick Typical Kick Structure Bar 1 1st beat

Just before snare

2 after snare

Bar 2 2 Kicks

Just before snare

1 after snare Beat Complexity Speed Impression

Complex beat requires slower tempo

Simple beat requires faster Tempo Beat Development

Pitch effects

Flangers

Phasers

Filters Similar to techno use of desk Snare Synthesis Methods

Triangle Wave

White Noise

Amp EG 0 Attack/Sustain/Release set length with Decay

Snappy Sound

Pitched up Dual Amp EG

Triangle Wave as Above

Noise Wave longer decay Filtering

Move Pitch Up at end

Notch middle Kick Synthesis Methods

Sine Wave

100-150Hz

Attack/decay EG, modulate pitch with maximum positive depth setting

Immediate attack and short release Additional Click Layer

Add square wave

Pitched down

Very fast amplifier attack and decay Drum Compression

Slow attack to miss transient

Increase the gain to boost Drum Methods

Single Kick

Complexity from differing hi-hat rhythms

5-6 layers (minus kick) Poly Rhythm Methods

Combine 4/4 and 3/4 Parallel Compression

Aux hosted compression

High Ratio

Medium Threshold And the Bass Bass Structure

Within Octave

Quarter of tempo

Half Time Bass Effects

Pitch Bend

Pitch Modulation

Filtering Bass Synth Method

Build from kick method

Increase delay and release

Slow LFO on frequency Bass Synths

Spectrasonics Trilogy

EW QL Collosus Additional Instrumentation

Guitars

Synthesis chords Harmony

Minor

Contrary motion Additional Instrumentation Vocals

Short vocal snippets Sound Effect Devices

Mutronics Mutator

Sherman Filterbank 2 Lecture 4 Garage Origins

Development of Jungle Jungle Aside

Duke Ellington 1920s

Exotic fast drum rhythms

fast beat and a deep throbbing bass Jungle Roots

Breakbeat

Reggae

Dub

Hardcore

Artcore 1970s HipHop

Kool Herc

Exposed Drum Loops

DJs Grand Wizard Theodore and Afrika Bambaata Beat Developments

1988 sampler and rave culture

led to Breakbeat

Acid House influence

led to Hardcore Jungle Emerges

House and Techno influence replaced by

Ragga and Dancehall

Alla the , Rebel MC The Garage /

84 King Street in west SoHo

Larry Levan’s Paradise Garage 1996 Early UK Garage

Sunday Music

Mellow house beats and vocals

Jungle roots Garage

Armand Van Helden’s remix

Sugar Is Sweeter by CJ Bolland 1996

House combined with dub/ bass lines

Armand Van Helden remix

Spin Spin Sugar by the

RIP, , Booker and 187 Lockdown

Sometimes know as Niche Garage Pitch Shifting

Todd Edwards producer NJ

vocal phrases played like instruments and experimenting

pitch-shifting individual syllables 2-Step Garage (1997)

Removing 2 and 4 kick

Open hi-hat on upbeat

Syncopated Bass

Funky Feel

Never Gonna by Tina Moore

Baby Can I Get Your Number by Silo 2-Step (2000)

Craig David and Daniel Beddingfield

Do You Really Like It by DJ Pied Piper Breakstep Garage

2000

Heavier break beats

Deep bass lines new Skool

late 2007

My Destiny by Delinquent

Snowflake by Garage Genre

It can feature house rhythms with slow pounding bass lines, it can incorporate more funky rhythms or it can be extremely minimalist. [Snoman(2012)] Structure

4/4

2-step can be 3/4

94-145bpm Beat Structure

Kick on beat

Open Hi-Hat on off beat

Snares or claps sometimes on 2 and 4

Or to ’skip’ snare just before beats

Also add snare between beat 3 and 4 Additional Percussion

Tambourines

Shakers

Live, unquantized Feel

House style Drive

Pre-emptive snares (few ticks)

Match bass attack to snares Mix

Kick and snare below bass Kick

Tight

Short Decay

Immediate Attack

120Hz Sine

Positive pitch EG with Fast Attack, Quick Decay

Can be layered Kick Compression

Low ratio

High threshold

Fast attack Crushes inital transient

Medium release Consider setting beyond next attck PSP Vintage Warmer

Plugin

Single- or multi-band compressor/limiter

Saturation modelled on tape characteristics

Single Band high / low shelving equaliser ±12dB Snare

Snappy

High Pitched

Short Decay Synthesis Method

Triangle or a square wave (with saturation)

Pink noise

Modulated with an amp envelope with fast attack and decay

With filtered white noise

Seperate Envelopes for wave and noise Sound Sources

TR808 samples

TR909 samples Bass

Simple

1/4 or 1/2 durations

3 or 5 semitones

Pitch Bend

Portamento

NI Massive Bass Synthesis

Warping bass timbre

Two square waves, detune one from the other by + or - 5

Amp envelope to a fast attack and short decay

Filter envelope, medium attack and full modulation

LFO to modulate the cut-off frequency Bass Compression

Controlled distortion to inject ’rawness’

ratio to 4:1,

attack of 5 ms

release of 150 ms Motifs

Lead riff is bright and pitched high

187 Lockdown’s Gunman Harmony

Simple

Limited use of chords

Thin textures Vocals SFX

Limited clean vocal use but sample and effects are used

sirens, gunshots

Consider previous genres?! Suggested Listening Armand Van Helden

Dreem Teem

RIP

187 Lockdown

Booker

Todd Edwards

MJ Cole

The

Shanks and Bigfoot

Ed Case Lecture 5 Origins

2-step Garage

Drum and bass

Jungle

Dub Elements

B-side of 2-step garage releases (1998)

darker

more experimental

less emphasis on vocals Term

Labels based Big Apple

Also Ammunition and Tempa (2002) Establishment

Forward» 2001 Velvet Rooms and later Plastic People

XLR8R Magazine in July 2002

Dubstep Warz in Radio 1 DJ M.A. Hobbs (Jan 2006-) Tribal Influence

Truly Dread by Loefah’s

Anti-War Dub by Mala 2002- Onwards

DMZ Records

DMZ

Rephlex label 2004 and Grime 2

Children of Men sound track

U Hurt Me by 2006 http://www.discogs.com/master/11767

Night by and Coki 2007 Tracks

Louder by DJ Fresh (2011)

Promises by Nero (2011)

Scary Monsters and Nice Sprites by Skrillex (2012) Features Syncopated drum and percussion

Sub bass

Commonly dark

Minor key, dissonant harmonies (including tritone interval)

use of samples

a propulsive

sparse rhythm Details

138–142 BPM

syncopated

shuffled

tuplets Bass

Wobble

Rythmic manipulation of ongoing sound

LFO on volume, distortion or filter cutoff The Drop

55secs

32 Bars at 140BPM

Common Feature Main Stream Emmergence

FreakShow by Britney Spears 2007

Eastern Jam by Snoop Dog with Chase & Status

I Need Air by Magnetic Man 2010

Hold It Against Me by Britney Spears 2011

I Knew You Were Trouble by Taylor Swift 2012 Future Developments

Future garage

Post-dubstep

Electro house

Brostep Brostep

Mid Range Content

Skrillex Suggested Listening Hatcha

Youngsta

Kode 9

Zed Bias

Oris Jay

Slaughter Mob

Jay Da Flex

Slimzee

Skream

Plastician

Benga

Skrillex