page_title: Dubstep
section_title: 2011: Brostep and American developments
hierarchical_section_title: Dubstep / History / 2009–2014: mainstream influence / 2011: Brostep and American developments
caption_attribution_description: Sonny Moore, Skrillex
context_page_description: Dubstep is a genre of electronic dance music that originated in South London in the late 1990s. It is generally characterised by sparse, syncopated rhythmic patterns with prominent sub-bass frequencies. The style emerged as an offshoot of UK garage, drawing on a lineage of related styles such as 2-step and dub reggae, as well as jungle, broken beat, and grime. In the United Kingdom, the origins of the genre can be traced back to the growth of the Jamaican sound system party scene in the early 1980s.
  The earliest dubstep releases date back to 1998. In 2001, this sound and other strains of garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night, and on the pirate radio station Rinse FM, which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in these remixes became more noticeable and distinct from 2-step and grime.
  A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards.
context_section_description: In 2011, dubstep gained significant traction in the US market, by way of a post-dubstep style known as brostep, with the American producer Skrillex becoming something of a "poster boy" for the scene.  In September 2011, a Spin Magazine EDM special referred to brostep as a "lurching and aggressive" variant of dubstep that has proven commercially successful in the United States. Unlike traditional dubstep production styles, which emphasise sub-bass content, brostep accentuates the middle register and features "robotic fluctuations and metal-esque aggression". According to Simon Reynolds, as dubstep gained larger audiences and moved from smaller club-based venues to larger outdoor events, sub-sonic content was gradually replaced by distorted bass riffs that function roughly in the same register as the electric guitar in heavy metal.
  The term brostep has been used by some as a pejorative descriptor for a style of popular Americanised dubstep. The producer known as Rusko himself claimed in an interview on BBC Radio 1Xtra that "brostep is sort of my fault, but now I've started to hate it in a way ... It's like someone screaming in your face ... you don't want that." According to a BBC review of his 2012 album Songs, the record was a muddled attempt by Rusko to realign his music with a "Jamaican inheritance" and distance it from the "belching, aggressive, resolutely macho" dubstep produced by his contemporaries.
  Commenting on the success of American producers such as Skrillex, Skream stated: "I think it hurts a lot of people over here because it's a UK sound, but it's been someone with influences outside the original sound that has made it a lot bigger. The bad side of that is that a lot of people will just say 'dubstep equals Skrillex'. But in all honesty it genuinely doesn't bother me. I like the music he makes." Other North American artists that were initially associated with the brostep sound were Canadian producers Datsik and Excision. Their production style has been described by Mixmag as "a viciously harsh, yet brilliantly produced sound that appealed more to Marilyn Manson and Nine Inch Nails fans than it did to lovers of UK garage". The brostep sound also attracted the attention of metal bands. Nu metal band Korn's 2011 album The Path of Totality features several collaborations with electronic music producers, including Skrillex and Excision.
caption: Skrillex performing in 2012
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