In a music landscape defined by digital technology, the dubstep community’s reverence of genre traditions strike some as outdated. Many popular producers are quick to denounce strict adherence to conventional templates; the infinite nature of digital production does challenge the role of genre in modern music. However, the notion of “genrelessness” is a premature ideal. Rejecting the principle does not equal stylistic creativity, and tracks that do not easily fit into pre-existing categories are not innovative by default. From the outside, it may seem counter-intuitive that much of today’s most original, unique production rises from a community so firmly rooted in genre convention. But if you’re looking for artists who actively pushing the boundaries of structure, underground dubstep is a sure place to start.
If there’s any artist successfully straddling genre lines, it’s Thelem. The London-based DJ and producer rose to notoriety in the international dubstep scene, but to label him as a “dubstep producer” does a disservice to the artist’s stylistic versatility. Thelem’s dubstep tunes are sound system staples around the world, however, many of his releases are impossible to categorize as anything but bass music. His catalogue jumps around obscure BPM’s, settling often at the prescribed 140, or the 160+ range that characterizes drum and bass. Thelem’s newest release – the We Ain’t The Same EP – features a fusion of classic dubstep styles, the contagiously danceable sound that epitomizes UK grime, even elements of the bass-heavy party style known in America as “trap”. Younger fans of electronic music devised an appropriately ambiguous label suited for Thelem’s postmodern productions: “Future Bass”.
It is notable, then, that Thelem’s production is inspired largely by the past. His earliest releases date to 2011: as far as the 140 tradition is concerned, this is relatively recent. But Thelem’s style has more in common with pre-2011 dubstep than the genre’s more popular commercial offshoots. His tracks focus on movement through the gradual build and release of tension rather than relying on the impact of clearly defined “drops”. Compared to the commercialized renditions of electronic music, Thelem’s style could be considered minimalistic. However, his music is more suited for celebration than meditation. His tracks create epic moments on the dance floor. The 2014 release “Haunted Harmonics” is a sound system staple destined for classic status. Likewise, “Foul Play” (released as part of the Artikal Music UK 2014 compilation) is familiar to anyone who passes their nights at dubstep parties.
Thelem’s work with vocalist T-Man is perhaps his most impressive. 2013’s “Bring Me Down” (Innamind) is an irresistible underdog anthem that captures the headstrong dedication that characterizes the underground ethos (“I ain’t got time for no waste kids tryna tell me that I’m not gonna make it”). The title track for his most recent EP, “We Ain’t The Same”, re-iterates the theme with an equally compelling energy. The release also includes a second track with T-Man. “Mind Games” is a drum n’ bass banger for those unwilling to slow down.
Ever since his emergence in the scene, Thelem’s presence has pervaded the UK community. Appearances at nights like GetDarker and Fabric mark him as a mainstay in the heart of the culture. But following his Artikal Music UK releases, Thelem’s name is known well outside the 140 circle. Headed by genre figurehead and cultural curator J:Kenzo, the Artikal Music UK label is a leader in audible innovation. With releases from artists like Sleeper, Truth, Piezo, and J:Kenzo himself, the label features heavy bass music that stretches the dubstep tradition into uncharted territory. Thelem’s Haunted Harmonics EP is among the most structurally diverse collections to rise from dubstep’s sphere of influence.
Dubstep post-brostep is defined by aesthetic uncertainty: if five people reference “dubstep”, it is likely that they’re talking about five different things. Thelem’s production suggests that such uncertainty is no more harmful than stubborn attachment to concrete genre conventions. His deliberate experimentation speaks to the collective progression of electronic music. Genre isn’t dead, but it shouldn’t divide dance floors. If “future bass” is an aspiration to stylistic unity, Thelem’s music is a declaration: the future is now.
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Amye Koziel