Rec
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Dubstep was the first genre that I really got nerdy about and made a part of my identity. My favorite era was what you might call āSecond Wave Dubstep,ā (the kind of stuff put out by OWSLA, Circus Records, Never Say Die, Inspected Records, UKF, MTA, etc.) which I will arbitrarily say lasted from 2009 to 2013. TheĀ UKF Dubstep 2011Ā andĀ GetDarker Presents: This is Dubstep 2011Ā compilations are perfect representations of the Second Waveās beginnings, as SkrillexāsĀ Scary Monsters and Nice SpritesĀ EP influence was changing the genre forever. I stopped following the scene when Dubstep stagnated in its Riddim era (2015-ish) and stopped hitting the same for me. Right now Iād say weāre seeing a post-Dubstep wave where the kids who grew up idolizing Sonny Moore and learning Fruity Loops in their bedrooms are making music which draws influence from 2010s electronic music (underscores, 100 Gecs, Frost Children, Food House, etc.), and thatās made me nostalgic for the old days. I think my highest calling in life is to write Skrillexās biography.Ā
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my dad had a friend who kept up with music and wasnāt stuck in the 70s/80s like my dad is and he was showing Technologic by Daft Punk to my dad in our living room and I remember little 6 year old me going absolutely feral to it. iād never heard anything like it before and I just kept asking them to play it again so I could ābreak danceā (flail around wildly) to it. thatās the first time I remember being captivated by a song like that
years later my brother showed me Kill Everybody by Skrillex and I remember asking him if it was Daft Punk because thatās the only thing I could think of that sounded remotely similar. ended up getting super into skrillex and between ages 11-13 I pretty much exclusively listened to skrillex, and mostly rips from youtube of old/unreleased stuff. skrillex got me into a bunch of other artists through his label OWSLA thatās defunct now but had a sick lineup between 2012-2016 that was super foundational to my music tastes.
years later my brother showed me Kill Everybody by Skrillex and I remember asking him if it was Daft Punk because thatās the only thing I could think of that sounded remotely similar. ended up getting super into skrillex and between ages 11-13 I pretty much exclusively listened to skrillex, and mostly rips from youtube of old/unreleased stuff. skrillex got me into a bunch of other artists through his label OWSLA thatās defunct now but had a sick lineup between 2012-2016 that was super foundational to my music tastes.
May 3, 2024
Jan 31, 2025
Rec
Skrillex destroyed our perception of the beauty of Dubstep with his obnoxiously American, over-maximalist approach to a genre that achieves maximalism through minimal gear. Original Dubstep is proper life changing. There are a few great documentaries on Youtube, but I also keep a playlist of the stuff on deck because of how incredible it is.
May 7, 2024
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Jun 2, 2025
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š“I consume a lot of music regularly, and a huge part of keeping a fresh diet of new listens going is having enough sources of recommendations that arenāt an algorithm that either 1) reinforces your existing listening patterns, keeping you stagnant in your tastes, or 2) platforms whoever paid enough to push their product to the top, serving you something that may not inherently be of inferior quality, but may not align with your tastes, may not be exciting beyond just being a new release, and realigns your current listening habits to be more in line with what the average user on the platform is also listening to ā which socially might have benefits but which creates a homogeneity of consumption that can become bland since youāre listening to something really just because itās the next product on the assembly line to have its public moment and not because anything about the music actually captured your attention. the current landscape of streaming is designed to keep you at an all you can eat buffet where you take whatās served to you, and as a result a lot of us have forgotten how to look at a menu and order.
so what does taking a more active role in your own music curation look like? for me, itās meant not using streaming as a primary listening platform. I mostly use my local Apple Music library on my phone that I curate with the vestigial iTunes Library framework thatās still a part of Apple Music on my laptop. probably going to find an alternative soon since apple seems to be cutting integration progressively. I like this method because it forces me to choose what to sync to the limited storage space I have, forcing me to take inventory of what I actually listen to and what I can offload. the files I get are mostly from Bandcamp or Soulseek depending on whether itās available for purchase or entirely unavailable online (as is the case for a lot of electronic music that was on vinyl only, which is where soulseek comes in clutch). I also have freedom here to change the ID3 tags to better sort and organize, rate, change track info, and track my own listening data.
Bandcamp and other music purchasing platforms are great because 1) it reshapes my relationship to music away from consumerism and back towards curation. I have to pay actual money for this thing now if I want to use it, so iām forced to consider its value (usually iāll stream a release first to gauge my interest). 2) having to spend money helps me to course out my meals so to speak, as iāll buy a few releases iāve accumulated in my cart over the month and cash out on Bandcamp Friday when 100% of my money is actually getting to the artist (TOMORROW IS BANDCAMP FRIDAY BTW!!!), and between purchases I can actually chew and savor and digest my last orders, they donāt get swept up in the deluge of new releases. my plate is full until iām done and then I order more. also for the times of the year like now when new music isnāt coming out as regularly I take time to find older music that I would normally overlook while keeping up with new drops. currently very into early 80s/late 70s music with early digital production, kinda stuff that would evolve into synthpop and dance music.
so how do you know what to order? for me, Iām getting recs through trusted curation platforms. whether itās bandcamp daily, yāall lovely folks here on PI.FYI, friends, or most importantly musicians who I follow on socials that share their tastes through posts, stories, playlists on steaming, interviews, etc. I like this last one especially because itās kind of like a musical game of telephone. if I like an artist and they share their interests and influences itās like every layer in this process is stretching my palate further from the sound that I was originally interested in and into a new territory that has some shared DNA but would never have been recommended to me by an algo because thereās no shared category or label between them, only the musical influence and interpretation of it made by the artist. as an example, I was a huge Skrillex stan, he signed KOAN Sound to his label, they collab with Asa who collabs with Sorrow, Sorrow takes huge influence from Burial, Burial makes some ambient adjacent stuff and takes huge influence from 90s rave music and drum and bass and 2000s rnb, now iām listening to Brandy - All in Me, William Basinski, Aphex Twin, none on whom would get recommended by Spotify to me from Scary Monsters and Nice Sprites.
LAST thing iāll say ā because in yappin about this iām realizing how actually passionate about this subject I am: MAKE LISTS! playlists are cool, but they can flatten your music into vague categories of āvibesā and āaestheticsā and encourage picking one-off songs from artists that you never form an active audience relationship with. I make a practice of making my own year end lists of top 25 albums (plus some honorable recs and top individual songs) and keeping them in a notes doc that I regularly update and rearrange over the course of the year. this forces me to consider the actual relationship iām forming with what iāve ordered for myself. did I like it in the moment but it didnāt have staying power? is it slowly growing on me? it also encourages taking albums as a whole. maybe I liked one or two tracks a lot but the rest wasn't resonating. thatās ok! maybe I rank it lower but now iāve actually taken time to consider it, itās in my library, and maybe (quite a few cases for me) something I ranked like bottom 5 albums becomes a retroactive favorite from that year as my tastes evolve. also 25 albums to take with me from each year is really more than you'd think, i struggle sometimes to even find 25 that I formed a true connection with. I think the biggest thing the itunes era ruined that led into now is the single-ification of music, the ability to separate the hits from the deep cuts. albums are meant to be taken as a whole, and then once you've really sat with the whole you can find what actually stuck. even then I like to keep the whole around because soooo often iāll write off a track that yeeeears later I come to love. trust the artist, they made it like they did for a reason.
aaannyyyywayy TLDR: get recs organically, be more active in deciding your listening patterns, fr*cken pay artists yall, trust the artist embrace the album, really consider what you consume
so what does taking a more active role in your own music curation look like? for me, itās meant not using streaming as a primary listening platform. I mostly use my local Apple Music library on my phone that I curate with the vestigial iTunes Library framework thatās still a part of Apple Music on my laptop. probably going to find an alternative soon since apple seems to be cutting integration progressively. I like this method because it forces me to choose what to sync to the limited storage space I have, forcing me to take inventory of what I actually listen to and what I can offload. the files I get are mostly from Bandcamp or Soulseek depending on whether itās available for purchase or entirely unavailable online (as is the case for a lot of electronic music that was on vinyl only, which is where soulseek comes in clutch). I also have freedom here to change the ID3 tags to better sort and organize, rate, change track info, and track my own listening data.
Bandcamp and other music purchasing platforms are great because 1) it reshapes my relationship to music away from consumerism and back towards curation. I have to pay actual money for this thing now if I want to use it, so iām forced to consider its value (usually iāll stream a release first to gauge my interest). 2) having to spend money helps me to course out my meals so to speak, as iāll buy a few releases iāve accumulated in my cart over the month and cash out on Bandcamp Friday when 100% of my money is actually getting to the artist (TOMORROW IS BANDCAMP FRIDAY BTW!!!), and between purchases I can actually chew and savor and digest my last orders, they donāt get swept up in the deluge of new releases. my plate is full until iām done and then I order more. also for the times of the year like now when new music isnāt coming out as regularly I take time to find older music that I would normally overlook while keeping up with new drops. currently very into early 80s/late 70s music with early digital production, kinda stuff that would evolve into synthpop and dance music.
so how do you know what to order? for me, Iām getting recs through trusted curation platforms. whether itās bandcamp daily, yāall lovely folks here on PI.FYI, friends, or most importantly musicians who I follow on socials that share their tastes through posts, stories, playlists on steaming, interviews, etc. I like this last one especially because itās kind of like a musical game of telephone. if I like an artist and they share their interests and influences itās like every layer in this process is stretching my palate further from the sound that I was originally interested in and into a new territory that has some shared DNA but would never have been recommended to me by an algo because thereās no shared category or label between them, only the musical influence and interpretation of it made by the artist. as an example, I was a huge Skrillex stan, he signed KOAN Sound to his label, they collab with Asa who collabs with Sorrow, Sorrow takes huge influence from Burial, Burial makes some ambient adjacent stuff and takes huge influence from 90s rave music and drum and bass and 2000s rnb, now iām listening to Brandy - All in Me, William Basinski, Aphex Twin, none on whom would get recommended by Spotify to me from Scary Monsters and Nice Sprites.
LAST thing iāll say ā because in yappin about this iām realizing how actually passionate about this subject I am: MAKE LISTS! playlists are cool, but they can flatten your music into vague categories of āvibesā and āaestheticsā and encourage picking one-off songs from artists that you never form an active audience relationship with. I make a practice of making my own year end lists of top 25 albums (plus some honorable recs and top individual songs) and keeping them in a notes doc that I regularly update and rearrange over the course of the year. this forces me to consider the actual relationship iām forming with what iāve ordered for myself. did I like it in the moment but it didnāt have staying power? is it slowly growing on me? it also encourages taking albums as a whole. maybe I liked one or two tracks a lot but the rest wasn't resonating. thatās ok! maybe I rank it lower but now iāve actually taken time to consider it, itās in my library, and maybe (quite a few cases for me) something I ranked like bottom 5 albums becomes a retroactive favorite from that year as my tastes evolve. also 25 albums to take with me from each year is really more than you'd think, i struggle sometimes to even find 25 that I formed a true connection with. I think the biggest thing the itunes era ruined that led into now is the single-ification of music, the ability to separate the hits from the deep cuts. albums are meant to be taken as a whole, and then once you've really sat with the whole you can find what actually stuck. even then I like to keep the whole around because soooo often iāll write off a track that yeeeears later I come to love. trust the artist, they made it like they did for a reason.
aaannyyyywayy TLDR: get recs organically, be more active in deciding your listening patterns, fr*cken pay artists yall, trust the artist embrace the album, really consider what you consume
Feb 29, 2024
Jun 4, 2025