Has Dubstep become a good joke yet?
I mean, the gag about ‘waiting for the drop’ is shoehorned wryly into every other conversation I have about music at the moment, but it’s not so much of a joke as submissive recognition of Dubstep’s current all-pervasiveness.
Still, I’m all for artists, as DREΛMS has, to label their music “pre-Dubstep”, in a frankly devious attempt to erase the present and fork off a new future where the words WUB WUB WUB are even more meaningless than they are right now.
Of course, the cynical question is to ask, “so is Don’t Care Bout Her” yesterday’s music? Well, maybe, or maybe not.
But frankly, that question should be banished too: wherever you pin it onto life’s timeline, DREΛMS’ music is a rush through foggy, billowing wisps of obtuse noise, slow groove and vibed-out vocals.
I sometimes try to imagine songs without certain constituent parts, and wonder what they’d sound like. I can’t picture Don’t Care Bout Her with anything added or taken away. This is a good thing.