Dubstep revolution

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A PHRASE associated with us Manxies is that ‘we don’t like change’.

We’ve all heard the light bulb joke. Currently, we seem to be content with what the local music scene is producing, that being the sound of the conventional guitar band and singer songwriters.

However, there’s an underground revolution taking place in the bedroom of the youth.

Their stereo systems are being blown and ears are being captivated by an aural sensation.

Slowly but surely, they are succumbing to the effects of the Dubstep revolution.

Originating in London at the start of the decade, it has gradually gained popular support.

It’s a blend of everything: grime, garage and techno, full of wobbles and screeches. Basically, drum and bass’s hybrid little brother.

In the past year or so, most notably, Magnetic Man along with Katy B, have acted as spearhead that have lead the genre into the frontline of mainstream success.

Its sound has barely scratched the surface on our shores in terms of live performance, until Friday.

Athol Street felt its tremors when Flux Pavilion arrived at the Courthouse. A legend in the Dubstep world, he has continued to make a name for himself not only in the UK but across Europe.

Dressed head to toe in Adidas originals and with his bleach blonde hair, Joshua Steele, aka Flux Pavilion, is the typical student who likes to make music at a computer desk whilst taking full advantage of the Dominoes Two for Tuesday.

Flux and his collection of quaking mixtapes added to the DoI’s woes after being responsible for even more potholes in and around the town centre.

The clock struck midnight and Flux stepped into the booth.

He made no hesitation as he immediately introduced the womping blare of Dubstep’s concoction.

It generated a noise so incessant and unremitting, it sounded quite possibly like a group of Transformers singing in the shower.

Bursting with propulsive rhythms and reverberant drum patterns it was ruthless audio thunder.

Like setting off grenades, the drops in his choice of tracks were tremendous.

Although quite callously sounding, one couldn’t help but notice the reggae swagger it released.

As a result it had people dancing in ways they never thought they could dance.

At one stage the basslines were so overwhelming that it led to the venue’s stereo system taking a wobble.

This was rather fortunate as it provided some essential breathing space to allow the newly converted dub heads to recover from their stitches and lower body cramps.

Reports coming from the male toilets were that the mints from the urinals had actually sprung on to the floor.

After quickly changing a lead, Flux got everyone straight back into the midst of things.

His own creations provided an answer to those left restless by the sudden halts in the set.

The warped ass Cannon and the once Hottest Record in the World according to Zane Lowe, I Can’t Stop, consisted of a potent wobble that undone your shoelaces and unbuckled your belts.

Sounds completely alien to the middle aged man, the screeching and squelching continued as Flux executed some sublime DJing.

He whipped out remixed versions of Cracks by Freestylers and Sweet Shop by Doctor P.

But the tune of the night was DJ Fresh’s Gold Dust, with Flux’s own dubstep take on it.

Flux provided a soundtrack that was rupturing with blasting vibrations and quivering basslines that were filthier than Douglas bay.

Its sound may not dominate the local scene, but over time it’ll certainly have an increasing presence come the future – inspiring local DJs to have their own go at engineering a Dubstep master class.

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