Who is skreams brother

In November he closed his infamous label Disfigured Dubz, unveiling a brand new platform called Of Unsound Mind six months later in May His endless creativity fueled by the dance floor — the place where his heart lies and where he feels most at home. For Skream, this is a dream come true, the epitome of success.

To achieve that kind of trust from the dance floor is rare, and to maintain it is even more extraordinary, but Skream is no ordinary artist and his commitment to music, and his fans, is unparalleled. Night Owl Radio. This wobbly, grimy, bass-heavy groove was deliciously new; sludgy with half-time rhythms and lopsided like a psychedelic grimace. By the time we were 16, we were both on magazine covers … Next thing, I was in the club watching my records get played.

That was the real changing point like, 'this is what I'm going to do. Is he wasting his time or whatnot? Just as The Judgement took off, the dubstep scene in south London hit a wall. Urban music clientele got a bad rep from club owners, so anything too grimy was out. Big Apple Records even shut its shop, but Skream stayed busy working on a collection of songs that would become his debut LP, Skream!

His sound was still dark and minimal, but it also welcomed a fresh kind of funk. Bass slogged under slinky synths and computerized reggae horns. I see a magazine, I looked at it, and I had Record of the Month. In , he delivered a two-hour dubstep dissertation for BBC Radio 1's Essential Mix , comprised mostly of his own creations. By , he was touring as much in North America as he was in Europe, sometimes alongside Benga, sometimes on his own.

Jones remembers a particularly wild debut at Shambhala Festival in Canada. People were losing their absolute minds. That wobble struck a nerve on both sides of the scene. The wobble had become energetically heightened.

Second wave dubstep was still filth-ridden and bass heavy, but it was also hyper, loud and technicolored. Dubstep records are basically fast techno records really, when I listen back now. The only thing that clung it together was the tempo, because that was what tempo everyone was DJing at.

I'd make fucking gabber records at bpm. In , Skream, Benga and Artwork released Magnetic Man , a self-titled track album that incorporated dubstep rhythms with bright breakbeats and electronica melodies. I started not to feel great about what I was doing, and I'd never felt that before. People close to him could see his ship turn. He dug back into his collection, revisiting the hits of his childhood and wandering toward the house and techno stages of the events he played. He actually had some fun.

Skream became a project in transition. He still gigged with Benga and found himself beside emergent bass acts Baauer and RL Grime , but he also played decidedly deeper events, like Get Lost in Miami alongside techno god Carl Craig and self-proclaimed house gangster DJ Sneak. It was no big deal, really, until that headline.

He joined Hatcha on the bill, alongside fellow old-schoolers Plastician and Mala. He thought nothing of the comments, went back to his hotel and caught a flight to London in the morning. The article was published before he landed. I spent my entire life building this, and out of respect for my friends that are still doing it, I would never have said it. I wouldn't say it now. When did you do it? How did it come about? I think I done it January, February. I just started hearing Coki and Mala out of Digital Mystikz and it's sort of really heavily musical dub-sounding stuff.

Basically, I started wanting to tap into that side of things because it just adds another whole contrast to your set, playing out, and just to you as a producer really because you just start branching out… just trying different things, just listening to a lot of the old dub records and seeing the methods they used.

You were saying as well, there was another dub-influenced record that you could play next to that to show a different sound.

Was it that bass and beats thing you said? Just the whole way bass runs the track. It runs dubstep really. So we talked about bass, we talked a bit about how you started DJing and how you started making music. Where does pirate radio come into the story? Pirate radio is big for any underground music really. The authorities try and push them down, then a new one will pop up somewhere else. What was the first pirate station you played on?

Flight FM, which is in the back of some scrap yard, really. You just had to climb through about three metal fences to get to it. You might have liked a station that plays one hour at two till three in the morning of music that people actually want to hear. Just for production really. Just getting Hatcha stuff and then people wanted to start hearing more from the producer rather than from the DJ.

What about Rinse? Playing on pirate stations is not like playing on a legal station, is it? Well, the first few times always I was nervous. The radio station was pretty mad. I remember once on Rinse, you used to go to the top of these dirty tower block flats and the actual studio was in a box on the wall.

You walked into the wall and got into the wall. It was sort of like six foot high. It was pretty dedicated, really. You come out stinking. No, that was a one-off. This is like being in your bedroom. It was just pretty nerve-wracking first of all, but now it just comes naturally, really. Rinse now is good. Because now people, you can hear me out here which is a big step.

In a way, them coming off air essentially has been a good thing because it means that your dubstep nation is expanding outside of London? Loads of good producers as well. Played in Brisbane Saturday, which was pretty weird. Pretty trippy, indeed.

There was the Dubstep Warz. Basically, Mary Anne Hobbs [runs] a sort of new music show. She decided to have two hours just dedicated to dubstep which no one ever…. Radio One. It was just crazy. The vibe in the studio, everyone was just smiling.

Everyone was on such a good one. Everyone was drinking. Everyone was doing whatever. It was surreal. We were running about the Radio 1 studio like Yeah, the Magnificent Seven as I call it. It was mad. It was really, really surreal.

The other really interesting thing about the whole scene is how, if you were to look at the spectrum of different people that are in the scene It contrasts. You got Burial.

Yeah, Coki who just ill. If you listen to by Coki, the bass just takes you away. There was something that Burial said. Everyone is just off wandering. Yeah, definitely. There is no competition as of yet. There obviously will be because it always happens. Everyone will see one of the other producers once a week. I see Mala every day. I see Loefah every other week. My turn. We are just pushing each other at the moment.

Hopefully, it stays like that forever. I think that, if it does, it should be around for a little while. I was listening to quite a bit more minimal techno, and that is where the idea for the remix come from. I just got approached by a minimal techno label.

They said it reminded them of some techno track. I got to see what I could do with the parts. I did that in an hour, and I had the parts for about four months. It was just from Hatcha, really. Hatcha always cut tens, and it was just a thing of cutting tens. But inch dubs actually do sound better. Just some remixes for some new producers I was really feeling. Back to that family thing, if they are safe and cool, why not do a remix for them? After all these years… obviously, you're essentially a veteran, like we were saying earlier.

Are you seeing kids now coming through who are the same age you were when you first started? Sort of. All you need is an MC to do a phrase over it and that is it. It ended up getting bigger in grime than it did in dubstep. I am not too sure.

He talks… I wanted to come with a paranoid flow. So, to make sure this is all clear — basically, this is the one thing with a grime MC on an album? This dubplate has been absolutely hammered, so if it sounds a bit sketchy, that's why. This is sort of exactly what I wanted.

Do you find that if you put… vocals on there, which sort of lighten things — which isn't the case here — that you compensate other parts of the record to make it darker or harder? It was like a saint sent the company a message.

No one had even heard the tune, but I done it with Warrior Queen in mind, like all the space for her and everything.