Deadmau5 gives his reasons for hating dubstep
Wed 10th Oct, 2012 Newsin
If there’s one guy you can count on to speak his mind, it’s Deadmau5. No stranger to making his opinion heard (see: Madonna’s “molly” incident, button-pushers and “these fucking festival things”, etc), Joel Zimmerman lived up to his reputation for giving a good interview in a recent chat with Fuse. As well as talking over his latest >album title goes here< and musical progression, the ever-debatable topic of dubstep got a solid airing.
Zimmerman’s admitted he won’t be hurrying back to the genre any time soon, but he was happy to expand on what’s at the crux of his distaste for the American bass embrace. “Dubstep: I don’t hate it for the culture; I love it for the culture. I don’t hate it for the artists,” he begins. “I hate it for the fucking sound. It is a fuck you to every audio engineer in the world because these kids go out and they want it loud, loud, loud. You’ve got a volume knob for that, dude. And if it’s not loud enough buy an amp and some better speakers.” You can start watching from around 4:18 to hear his whole reasoning.
In that earlier 45-minute chat with Q Uncut, Zimmerman mused that he “sold out” by dabbling briefly in dubstep. Unsurprisingly, his latest LP kept clear of the sound. “I’ve only ever made one dubstep track, and I’ll admit I did it ‘cause that was cool at the time,” he told the radio show. “I’m not a fan of dubstep, but I figured I can engineer something that’s at least palatable or on par with the whole Skrillex thing that everyone’s into. I sold out on that one dubstep track, ‘cause I did it for that popularity factor.”
In an interview with inthemix, Datsik – one of the fast-rising stars in the U.S. ‘brostep’ fraternity – touched on the issue of sound. “When you talk to people from the UK, they say Canada and the U.S. are all about noisy dubstep,” he said. “But I think that the only reason it’s like that is because Canada and the U.S. haven’t really experienced good, deep dubstep on a big system. It was never introduced like that. It’s really hard to get some of these big UK producers who started the genre over to the U.S., because kids have never heard of them. It’s hard to fork out the money to bring these big heads over and have them play a show of deep dubstep when kids have no idea. That’s why the noisier stuff tends to do well over here.”