now i'm so confused about anything ___step

@Aids, no I think that is what it is, but brostep seems to be centred mostly in america whereas other dubstep is centered mostly around its origins in england

generally

Album Rating: 1.5 | Sound Off

HxC 2 step

"or wait maybe I'm misunderstanding what "brostep" (retarded term) means

I was under the impression it was just club-approved, wobble heavy dubstep (Bar9, Reso, Zeds Dead, Excision etc.)"


Heavier more aggressive than dub-step... as I understand it.

Album Rating: 1.0

Rusko, a brit, invented brostep, then apologized for it on the BBC. Too fuckin' late, it got taken up by some other Brits, then went HUUUUGE in US



brostep is dubstep that leaves out any traces of real emotion or groove and replaces it with the dirtiest, wobbliest bassline possible so that tonnes of jugaloos can snort ket and bounce around to it

Album Rating: 1.5 | Sound Off

Brostep is a post-dubstep trend that has recently received increasing exposure, with the American producer Skrillex becoming something of a figurehead for the scene. In September 2011 a Spin Magazine EDM special referred to brostep as a "lurching and aggressive" variant of dubstep that prevails in the United States. Elsewhere it has been described variously as “dubstep with more anger to it" and "Americanized, garbage dubstep." Unlike traditional dubstep production styles, that emphasise sub-bass content, brostep accentuates the middle register and features "robotic fluctuations and metal-esque aggression." According to Simon Reynolds, as dubstep gained larger audiences and moved from smaller club based venues to outdoor and arena events, sub-sonic content was gradually replaced by distorted bass riffs that function roughly in the same register as the electric guitar in heavy metal. Dubstep "purists" have levelled criticisms at brostep because of its preoccupation with "hard" and aggressive sounding timbres. In the UK brostep has been jokingly called "bruvstep" and "mid-range cack." The English producer Rusko is credited with being the progenitor of brostep and during an interview on BBC's 1Xtra radio show he commented that: "Brostep is sort of my fault, but now I've started to hate it in a way...It's like someone screaming in your face for an hour...you don't want that."

Album Rating: 1.0

'But I take solace in the fact that, with a little bit of luck, this might just be the final nail in the coffin for the crucified remains of "brostep"'



god I hope so

"then apologized for it on the BBC."

lol, awesome. if he didn't "invent" it though it would have come around soon enough.

"god I hope so"

like I said earlier, I think Dev is 100% wrong on that one. dubstep (particularily "brostep") is becoming huge in NA. I think it will be around for a looooooooong time.

"So are only the staff writers allowed to rate things 0.5?"
anyone can rate 0.5, but only in reviews. and then even if you do give a 0.5, your personal rating will still be a 1

"dubstep (particularily "brostep") is becoming huge in NA. I think it will be around for a looooooooong time."
taking over from pop punk?

It's not that I see it as an insult to the genre (even though I do find this whole style to
be an insult of sorts to the beginnings of the movement) and I'd feel the same way about this
release had it been something wholly original. The music itself is terrible, but it's not just the
that I find the music horrendous but how it's been approached and implemented. Everything here just
feels rushed and half-assed, and the album as a whole seems to be nothing more than a cash cow and
an attempt at relevance for the group

Every song sounds the same. Is this what dub step is usually like?

I feel like Korn had the chance to create a really unique, and experimental album. For having guests on every track, and creating an album that is not their usual genre, it sounds a lot like...Korn.

"See You On The Otherside" and "Untitled" were way more experimental than this one. Hell, I would argue that every single one of their albums is waaaay better then this one. I will not be buying or listening to it again.

'Every song sounds the same. Is this what dub step is usually like?"

no. well, some of the shitty stuff sounds very similar, but most good dubstep is incredibly varied. the popular "mainstream" faction of it is generally pretty generic and based on the same handful of ideas though

fuck that makes me sound like such a hipster... whatever, most popular dubstep is garbage

hipster

Album Rating: 1.0

http://www.youtube.com/watch?v=rEuFTBG0Rbg

this is the rusko thing



"like I said earlier, I think Dev is 100% wrong on that one. dubstep (particularily "brostep") is becoming huge in NA. I think it will be around for a looooooooong time."



i dont doubt this either, but i like to pretend a good chunk of the brostep movement is just the younger generation's linkin park phase, and glory be, that didnt last too long.

Ya'll wanna single, say fuck that
fuck that
fuck that

Best first comment I've seen in a long time sir. I liked the different take you had on the album compared to the other two reviews, as an album promising much it should be judged on those premises.

I can't help but feel that deviant had set out to give this the lowest rating possible from the start and that nothing could have changed that
If he were given this album without being told who it was by, I wonder what the rating would be

did you review this because you wanted to critique this dubstep trend or do you actually listen to korn lol

there's lots of "brostep" from the UK though.

bar 9 is one of the biggest names in the scene and they're british

Album Rating: 1.0

Has Dev seen that post where the guy corrected him by saying Noisia is an electronica group, not a dnb group yet?

Yeah, but I saw a smiley face as well

Album Rating: 1.0

If Bar 9 is considered brostep then it's brostep done right. Their tracks usually carry a lot of bassweight and they're actually structured like regular dubstep songs. As in, an actual melody is created and all spaces of the songs are filled in with meaningful material. Brostep is almost always just that formulaic build-up, drop, build-up, drop. The only purpose of the build-up's existence is usually for the drop itself, and the drops only consist of loud grinding mid-range that's designed for all the sweaty shirtless dudes at their shows.



For example, Bar 9's "Strung Out" is reminiscent of Joker's "Japan" (a godly dubstep track) until the drop, where heavy wobbles get added. But it's not a drop about throwing as much shit in your face as possible. It's one of their Bar 9's worst drops actually, I'm just using it to reference Bar 9's ability to focus on more than just the drop. You could never find a typical brostep track without a huge drop that the fans would enjoy. No one ever says "damn that build-up was sweet". It's usually something like "that drop was so dirty that I had to *insert youtube gimmick here*".



But if you look more at a track like "Midnight" it has an incredible piano melody until the drop, which is just an awesomely groovy and really wobbly piece, but it's never about being as "huge" or "filthy" as possible. It uses restraint while still pushing some heavier sounds. Same thing can be said about 16Bit on a track like "Jump". Shit, even Coki uses really wobbly bass on a lot of his tracks.

I don't care if a track is heavy or "filthy", that kind of thing doesn't bother me at all. Shit all I really need is an awesome bassline and some hard hitting percussion and I'm set. The problem I have with most American dubstep material is that hardly anyone seems content with just living by that principle. Look at Skrillex for example (and keep in mind I don't mind his electro stuff) but he seems to be suffering from a.d.d. to the point where he can't stop adding things into the mix. I don't want sensory overload and I don't wanna hear 8 different things at once (because to me that just shows you're attempting to cover up any potential flaws you may have as a producer). Give me something simple and I'm happy, doesn't matter if it's filthy or atmospheric