There seems to be a misperception in some spheres of the music community that “underground” means “undiscovered”, and that the underground is comprised of artists and promoters aiming for some big break into the mainstream. But in this culture the notion that “bigger is better” only applies to sound systems. Our philosophy is better summarized by “less is more”. From the minimalistic sounds that define underground styles to the small rooms that host events boasting very little (and often negative) profits, underground dubstep directly contradicts the mainstream doctrine of mass appeal. So when Sub.mission celebrated its eighth birthday last weekend, it was by doing the exact same thing as it has for the past eight years. The eight year party was a triumph of success, subverted; the anniversary honored eight years of an uncompromised underground. Every last person in the Fusion Factory last Friday was there for the same single reason: dubstep. This includes the artists. (Curious about what eight years of Sub.mission entails? Check out this interview with owner/founder Nicole Cacciavillano on The Dankles).
Vivek, Dark Tantrums, and Truth arrived in Denver radiating the same kind of devotion that compels us to the dance. Like Sub.mission, these artists aren’t playing a game for money and fame. Each of them journeyed across oceans for the event because they want to share the pieces of themselves they embody in their music with those of us who crave and covet it. Such genuine shared passion is the life blood of underground dubstep, pumping through Denver’s veins since 2007. For this installment of Sub.mingling, we sat down with Vivek, Dark Tantrums, and Truth for some insight on what dubstep means to them. The artists bared their souls to the dance floor; now, read on for a peek into their minds.
VIVEK
How has the dubstep scene in London changed since its inception?
I think it’s changed quite a lot. Music becomes popular very quickly, and then it becomes unpopular... dubstep became very mainstream, and now it’s come back around. I think the scene is in a healthy position. There are a lot of artists pushing different sounds, and a lot of new blood. It’s important to have new people coming through or else the sounds get stale. But right now there’s plenty of that, there’s a lot of good music, its underground... I guess compared to a few years ago the scene isn’t as big as it was before, but I think it’s progressing more than it was when it was popular
It seems like artists are becoming more inventive with their music. How do you explain all of the amazing music coming out of the UK these days?
There are a lot of good artists out there, and a lot of people pushing not only new sounds but the old sounds. Some of these sounds have always been around but they feel so new because new people are hearing them. There’s always been good music, but it’s hard to really understand how much the media has an influence on how we think. Something gets drilled into your head, after awhile a lot of people start believing it. So you only hear certain music until you’re introduced to something different.
What is your songwriting/production process like? Do you just make a tune, or do you have a concept before you sit down to write a song?
I just start something and go with it. That’s probably why I don’t finish a lot of music. Sometimes I may start with a sound that I like, I may start on a piece of percussion and work around that one sound to build a track, but as far as having a full concept in mind beforehand – not really.
DARK TANTRUMS
What influences your music/sound?
When I grew up I was really influenced by drum n’ bass in London. I used to go out raving every weekend and I liked all the aspects of it. I liked the deeper stuff, the angry stuff, the jump up... so when I started making dubstep I incorporated all those sounds. The liquid stuff, the really dark stuff, everything – I can’t continuously create in the same style. I have to keep it fun. It’s good to have your own style but you’ve gotta have variations.
How does this show tonight compare to shows overseas?
London is alright, but I think a lot of people in London take things for granted because there’s so much going on all the time. So when you get a chance to come out here and see how much everyone’s into it, its crazy. I can’t really put it into words. Everyone cares so much about what they’re doing here. Even on twitter and facebook beforehand I could really see the strong community here. And the sound system is well good here tonight, very impressive.
Anything you want Denver to know coming out of this?
I love you lots, I had a wicked time out here, and I promise I will be back!
TRUTH
What is it like branching outside the underground scene to play bigger events for a younger, more musically naive audiences?
It’s more of a challenge. We prefer to play at nights like this filled with heads that really know our music, but we also love playing those gigs. It’s different. We just played a tour with Datsik where we played big room parties to quite young crowds. A lot of them hadn’t even heard of Truth, so that’s a challenge but for us its all about pushing our music out there and reaching you people. Even if just a handful of people walk out of the club night thinking “oh I should look up more Truth music”, then we did our job.
Does it change the way you approach your sets?
For those sets we still played the Truth sound and within our realm, if you call it that. It was more of a mashup as well. We switched up the tempos a lot. We played some drum n’ bass, some 160, 140, 125 bpm, and tried to make it more of a party oriented set because it was more of a “show” than nights like tonight which is all about the dark room, big sound system. Tonight I’ll be taking it a lot deeper. It’s different, but it’s still the real Truth experience. We’re won’t start playing some cheesy big pop tunes just to keep the crowd happy. We’d rather play our sound for the few people who will appreciate it.
Do you have any advice for aspiring artists still trying to find their sound?
My main bit of advice is make music that you like. Make music that you’d listen to yourself. Don’t make music for other people, do it for yourself, and if other people like it too then that’s a bonus. Too many people are trying to prescribe to a certain formula for a certain reason, because what’s popular or whatever. They’re worried about what people like. But if you like something, someone else out there will like it too.
How would you describe your vision for your music?
There’s lots of different ways to describe it but at the end of the day its music that makes you feel something. We want you to feel it both physically and emotionally. We want you to feel the vibrations, and we want it to stimulate some kind of emotion. That’s the main thing. Even if it means you feel sad, that still does the job. There’s too much shallow music out there, like formulaic cheesy shit that doesn’t make you feel anything. Its brain numbing. I don’t mind some cheesy pop song because if it makes people sing along and it makes people feel happy then its done its job. As long as it makes you feel. I hate music that’s just mindless - “I’m in the club taking shots, blah blah blah” - or just money, everything about money. I can’t handle that shallow crap. I see it conditioning people – young kids even – through repetition: work, drink, money, sex, whatever. It’s sketchy. And I have nothing against rap music with dirty lyrics and messed up stuff, but this- its almost like they’re working for the banks or something. So we want to make music that makes you feel beyond that.
-Amye Koziel