Thursday, May 10, 2012

D*Step Aims High From the Midrange

There's a part of me that deeply believes almost every word of this to be true, but then there are times when things like this:

don't seem like the worst things in the world.  In fact, I don't really find them more patently offensive than whatever underground d*step has become.  It only seems appropriate at this point that d*step blows up instead of continuing to blow itself. In terms of ethics and solipsism, yes, the exalted DJ god stuff is completely toxic (maybe even moreso than Brostep's chauvinist swagger), but I don't know that it's always the Hiroshima its critics make it out to be (okay, maybe a case can be made for that reaaaal shitty Tiesto/Guetta/Deadmau5 strain). In fact, lest sounding like "the musical equivalent of a guy sucking himself off", as the mnml ssgs article above states, I find Skrillex to be more like the musical inverse of Coldplay- an act that wastes its potential by pouring too much effort into its bombast.

The big shame about the Cypress Hill collab though is that they didn't use dubstep proper to rescue their career roughly a decade ago when the grime, rust, and atomic clouds of the music could have better matched that dilated weed-smoke murk of Cypress Hill's earlier, far superior paranoid sonics.