[Source: The Independent]

“I didn’t say forget dubstep,” Skream says when I open the interview by incorrectly wording a past quote of his – “I said I don’t tie anyone with dubstep anymore.”

Inside the small dressing room, there are photographers, promoters, DJs and emcees all attentively fixed on Skream.

“The word dubstep is being used by a lot of people and there were a lot of people being tagged with the dubstep brush. They don’t want to be tagged with it and shouldn’t be tagged with it – that’s not what they’re pushing.”

“At one point, all the Numbers gang were tagged with it,” he says looking towards Numbers label boss Jackmaster who is in the room, “When I say ‘UK bass’, it’s what everyone UK is associated with so it would be a lot easier if it was called that,” says Skream.

While relatively young at 25, Skream is a veteran of the dubstep scene. He reflects on the diversification of the genre and its connection with what he calls UK bass music.

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[Source: Nouse]

“Dem ting just start by accident – a man sing off key an’ when you a reach a dat you just drop out everything an’ leave the drum, an’ lick in the bass, an’ cause confusion an’ people like it.” This is how producer Bunny Lee describes the beginning – a fumbling, haphazard and humble birth in the heart of Kingston. In late 60s Jamaica, King Tubby invented dub. It’s a music still rooted in the low-tech life of the ghetto, unlike the reggae of Marley and Tosh, Toots, and Jimmy Cliff, figureheads of a more commercial sound. Tubby made most of his music in a studio in a poor and violent area of West Kingston called Waterhouse. But 40 years later, Tubby’s dub still ranks among the best, and the music he invented has evolved in many directions to form new genres, including grime, punk, most modern dance and dubstep.

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