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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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<i>What other genre had such a moment?</i>

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Let me go right back a second.

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Cos it was a UK question.

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It's like, other than maybe Led Zeppelin

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or maybe certain punk rock,

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maybe like the Sex Pistols
or even The Clash,

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Robert Smith, you know,
there are moments like that,

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I feel, that changed
American music forever.

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And I think dubstep has to be

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I think one of the most
significant cultural shifts

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in American or just Western music.

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If you think about
all the things we covered

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in this documentary,
from movies and the Disneys

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and this and that and Grammys
and the sound design,

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it's like, I don't think
there's been something...

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- That's had that impact.
- That's had that impact.

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- I mean...
- You know, just...

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I think drum and bass and jungle

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would've had exactly the same impact,

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but they didn't have the internet.

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I think a big part of it is just that

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the stars aligning with the internet
and being at this moment

25
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where we could be in complete control

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over what we listen to

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at any moment.

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And it created this incredible divide,

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and it created all this chaos
and this tornado of amazingness

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and then now, as the dust settles,

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electronic music is just
ever more artistic

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and ever more stronger

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and ever more than it has ever been.

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You created the name "dubstep"

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and yet you're the most humble
dude ever since I first met you.

36
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But I think at the same time, it was like,

37
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"OK, we started something
that we didn't mean to start."

38
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It was just a sound, just a vibe.

39
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- Yeah.
- It kind of just formed.

40
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It just happened.

41
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And what did you think while
this was happening though, bro?

42
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<i>♪ Light trails behind me ♪</i>

43
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<i>♪ Looking back's a waste of time ♪</i>

44
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<i>♪ Let's push things forward ♪</i>

45
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♪ <i>And keep our heads held high ♪</i>

46
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<i>♪ Time's passed, we've laughed ♪</i>

47
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♪ <i>We chose new paths ♪</i>

48
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<i>♪ We both ♪</i>

49
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<i>♪ Got so much room to grow ♪</i>

50
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<i>♪ Got so much room to grow ♪</i>

51
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<i>♪ It's all we have ♪</i>

52
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<i>♪ But I know we can ♪</i>

53
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♪ <i>We both ♪</i>

54
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<i>♪ Got so much room to grow ♪</i>

55
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<i>♪ Got so much room to grow ♪</i>

56
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♪ <i>Cause we're doing this
Our own way ♪</i>

57
00:03:06,046 --> 00:03:10,388
<i>♪ Gonna turn into something great ♪</i>

58
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♪ <i>We don't care about
Past mistakes ♪</i>

59
00:03:12,459 --> 00:03:15,690
<i>♪ Cause we're doing this our own way ♪</i>

60
00:03:15,826 --> 00:03:18,759
♪ <i>Yeah, we're doing this
Our own way ♪</i>

61
00:03:18,894 --> 00:03:21,497
<i>♪ Gonna turn into something great ♪</i>

62
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<i>♪ We don't care how much it takes ♪</i>

63
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♪ <i>Cause we're doing this
Our own way ♪</i>

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<i>♪ Our own way ♪</i>

65
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♪ <i>Our own way ♪</i>

66
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<i>♪ Our own way ♪</i>

67
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<i>♪ Let's get ready to rumble ♪</i>

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<i>♪ Move out my fuckin' way, boy
you gonna get sliced ♪</i>

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<i>♪ Let's get ready to rumble ♪</i>

70
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<i>Just as much as bass is sound</i>

71
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<i>it's also a feeling, it vibrates you.</i>

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<i>Every time we have an opportunity</i>

73
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<i>to expand on the culture in
our scene we wanna do that.</i>

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<i>That's one of the major things
we try and do with Lost Lands.</i>

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<i>It takes an army of people</i>

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<i>to create what we do for that festival.</i>

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When I'm making a track, the
only thing I'm think about is:

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"What can I do with this track

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to give it the biggest emotional impact

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on the person who's listening to it?"

81
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<i>Each song deserves its own visual piece</i>

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that represents what I was thinking
of when I was making that track.

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<i>We hire probably a hundred
different animators every year.</i>

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<i>We use our eyes for everything,
so why not maximise visuals?</i>

85
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<i>We want them to have
a full sensory experience</i>

86
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<i>and feel the sound.</i>

87
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<i>We want to bring in every single
production element we can</i>

88
00:06:05,961 --> 00:06:09,092
<i>from the lights to video mapping,</i>

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<i>LED projection, lasers, CO2, fire.</i>

90
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Everything.

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How can we deliver someone's
best night of their life?

92
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<i>Where the music has come, you know,</i>

93
00:06:30,289 --> 00:06:32,356
<i>our music on the worldwide scale</i>

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<i>I still meet people now
from back in the day</i>

95
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and they're like,
"How's it going? Still busy?"

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"Still working?"

97
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And I'm like, I show them
pictures and they're, "What!"

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People can't believe
where our music's got to

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<i>and how big it is.</i>

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<i>When you look at the Insomniac guys,</i>

101
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I remember coming over here I think it
was '93, '94, and playing for Pasquale.

102
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First gigs Pasquale was putting
on was in downtown L.A.

103
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500 people,
RAM nights on a Wednesday night.

104
00:07:03,288 --> 00:07:04,621
And of course, with that,

105
00:07:04,756 --> 00:07:08,691
look where Pasquale has gone now with EDC.

106
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When you've got people like
Gary Richard, Pasquale Rotella,

107
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throwing these massive events now

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changing the economies
of cities where they show up.

109
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<i>When we put Andy C,</i>

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<i>when we put Pendulum on
at the biggest stage</i>

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which holds 80,000 people at EDC,

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that wasn't something that was normal

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<i>or had ever been done before here.</i>

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And definitely not for us
at our festivals.

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And now it's become the norm.

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And the audience know when you
put our music in front of them

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with the energy, the tempo,
the excitement, <i>it goes off.</i>

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<i>That's what keeps people
coming back for more.</i>

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<i>♪ Five ♪</i>

120
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<i>♪ Four ♪</i>

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<i>♪ Three ♪</i>

122
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<i>♪ Two ♪</i>

123
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<i>♪ One ♪</i>

124
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<i>♪ Tell me are you ready
for this war on silence ♪</i>

125
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<i>♪ Soundbites get buried
in this war on silence ♪</i>

126
00:08:11,683 --> 00:08:14,392
<i>♪ Tell me are you ready
for this war on silence ♪</i>

127
00:08:14,527 --> 00:08:15,877
<i>♪ In this tone of silence ♪</i>

128
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<i>♪ The war is violent ♪</i>

129
00:08:17,656 --> 00:08:20,056
<i>♪ Tell me are you ready
for this war on silence ♪</i>

130
00:08:20,098 --> 00:08:23,000
<i>♪ Soundbites get buried
in this war on silence ♪</i>

131
00:08:49,061 --> 00:08:51,862
<i>♪ Tell me are you ready
for this war on silence ♪</i>

132
00:08:51,998 --> 00:08:54,393
<i>♪ Soundbites get buried
in this war on silence ♪</i>

133
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<i>♪ Tell me are you ready
for this war on silence ♪</i>

134
00:08:57,262 --> 00:08:58,732
<i>♪ In this tone of silence ♪</i>

135
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<i>♪ The war is violent ♪</i>

136
00:09:00,567 --> 00:09:02,967
<i>♪ Tell me are you ready
for this war on silence ♪</i>

137
00:09:03,042 --> 00:09:05,907
<i>♪ Soundbites get buried
in this war on silence ♪</i>

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Raving existed, and trance didn't.

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And drum and bass didn't,
and dubstep didn't.

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It was all melted together.
It was all...

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You'd hear all those sounds in one set.

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<i>What was going on in the UK
was super inspiring.</i>

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I actually flew to the UK in 1992

144
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because of the lack of events
that were happening here

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and I had one of the best times
of my life.

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<i>A specific party I went to
in the UK was RAGE.</i>

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<i>And I believe it was Grooverider's night.</i>

148
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<i>But it was really the first time
I really heard drum and bass</i>

149
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<i>in a live setting.</i>

150
00:10:01,493 --> 00:10:03,861
<i>And I felt electricity through my body</i>

151
00:10:03,997 --> 00:10:05,336
<i>and I was just hyped.</i>

152
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<i>We were standing on rafters
that looked over the dancefloor</i>

153
00:10:09,041 --> 00:10:12,171
and I was just taking it all in
and I was loving it

154
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and I was dreaming
about America catching on

155
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and wanting to help make that happen.

156
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<i>Always when people talked about
rave culture as a culture,</i>

157
00:10:26,419 --> 00:10:28,319
it was: "What is that noise?
That hum?"

158
00:10:28,389 --> 00:10:31,092
"Well, it's the resonance
of very upset people.

159
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Against the government."

160
00:10:33,634 --> 00:10:35,234
"We don't quite know what it is."

161
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Well, you couldn't because
you couldn't put a name to it.

162
00:10:39,902 --> 00:10:42,400
<i>♪ Feel good, real good ♪</i>

163
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<i>The culture and the music is so important</i>

164
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but the governments look at it as:

165
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"We can't have these guys
getting together."

166
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"More than 20 people in this
rave, we could arrest them all."

167
00:10:52,181 --> 00:10:54,544
We went through pandemonium
in England, man.

168
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We got dragged out of fields
in England for this shit.

169
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The hype was very pure at that time

170
00:11:02,193 --> 00:11:07,565
and everything was simple
and a discovery all the time.

171
00:11:07,701 --> 00:11:09,667
Ray and Marty would get out of the car

172
00:11:09,802 --> 00:11:11,769
and he'd stand on the roof of the car

173
00:11:12,138 --> 00:11:15,835
and put his ear up to hear
where the music's coming from

174
00:11:15,971 --> 00:11:17,775
and then we'd follow the path.

175
00:11:17,910 --> 00:11:20,206
Drive another hour
to some crazy location <i>.</i>

176
00:11:20,341 --> 00:11:23,076
<i>And this first rave that I went to</i>

177
00:11:23,212 --> 00:11:25,845
was in an abandoned, dried up riverbed.

178
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You'd think, "No one's going to be there,
it's 7am. No one's gonna be there."

179
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You get there and it's like...

180
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<i>Probably 5,000 people
just in the middle of nowhere</i>

181
00:11:35,191 --> 00:11:36,911
like, "How the heck did we find this?"

182
00:11:36,995 --> 00:11:40,064
10,000 kids in one place,
and they all walk around

183
00:11:40,199 --> 00:11:43,026
<i>and they find different things
in different rooms.</i>

184
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And it was just wonderful,
it was just amazing to see

185
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people all moving together, and one song.

186
00:11:51,142 --> 00:11:54,142
It was refreshing because
it was no longer about

187
00:11:54,277 --> 00:11:56,527
hooking up with someone
or how good do I look.

188
00:11:56,545 --> 00:11:59,616
<i>It was just about the music
and being more social</i>

189
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and friendly with other people.

190
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It was all the producers,
all the music makers,

191
00:12:06,485 --> 00:12:08,274
all the people who wanted to make music.

192
00:12:08,358 --> 00:12:11,026
They were the people
who were going to these raves.

193
00:12:11,162 --> 00:12:13,592
They'd go to the rave
and go back to the studio

194
00:12:13,727 --> 00:12:17,627
<i>and then whatever they took
from that experience,</i>

195
00:12:17,763 --> 00:12:20,503
<i>they would then put it
into their next record.</i>

196
00:12:21,006 --> 00:12:23,508
When I look back at
those early days of rave

197
00:12:23,643 --> 00:12:25,907
I see it now as a social change

198
00:12:26,476 --> 00:12:29,741
and something that happened
from the people themselves.

199
00:12:52,801 --> 00:12:54,704
Come on. Come on.

200
00:12:55,173 --> 00:12:58,272
<i>Where I grew up
on my little estate in Croydon,</i>

201
00:12:58,407 --> 00:13:00,357
<i>we didn't all have the best of the best.</i>

202
00:13:00,673 --> 00:13:02,880
<i>We had to make do with what we got.</i>

203
00:13:04,217 --> 00:13:04,943
Come on.

204
00:13:05,079 --> 00:13:06,645
<i>My mum was a young mum.</i>

205
00:13:06,780 --> 00:13:09,630
<i>She was out raving at the
weekends as you do at them ages.</i>

206
00:13:10,190 --> 00:13:13,255
<i>At a very, very young age,
my mum went to prison</i>

207
00:13:13,757 --> 00:13:15,057
<i>providing for us.</i>

208
00:13:15,493 --> 00:13:18,425
<i>That was just how things were.
She was selling weed.</i>

209
00:13:18,560 --> 00:13:21,426
<i>Come unstuck, and she went
and done her time.</i>

210
00:13:23,200 --> 00:13:24,646
<i>We took the rough with the smooth</i>

211
00:13:24,730 --> 00:13:27,504
but all the time
things like this was happening,

212
00:13:27,639 --> 00:13:28,765
I always had my music.

213
00:13:29,401 --> 00:13:30,940
It was always a focus for me.

214
00:13:31,075 --> 00:13:33,025
"I want a stereo system like yours, Mum,

215
00:13:33,107 --> 00:13:34,711
with tape decks and stuff."

216
00:13:35,280 --> 00:13:38,130
Then once I had my stereo
in my bedroom, it was kind of...

217
00:13:38,545 --> 00:13:41,544
It was just...
I'm like, "You've fucked it now,

218
00:13:41,680 --> 00:13:43,617
because all I'm focusing on is music."

219
00:13:43,752 --> 00:13:46,267
I've now got two different stereos
playing two different mixtapes

220
00:13:46,351 --> 00:13:48,193
and cutting bits of tape up

221
00:13:48,328 --> 00:13:52,694
<i>and putting audio together
on little plastic TDK tapes.</i>

222
00:13:53,430 --> 00:13:57,367
<i>And then it just took over me
more and more.</i>

223
00:13:57,502 --> 00:14:00,130
To... '95.

224
00:14:00,266 --> 00:14:01,969
<i>It was just like a drug.</i>

225
00:14:02,105 --> 00:14:03,671
It was just...

226
00:14:04,341 --> 00:14:07,505
It was like, "This is on.
It's on. This is me now."

227
00:14:09,276 --> 00:14:10,941
<i>Between my mum and my auntie,</i>

228
00:14:11,076 --> 00:14:14,116
<i>they always made sure I always
had a nice set of needles,</i>

229
00:14:14,252 --> 00:14:17,317
a nice set of headphones,
the freshest records.

230
00:14:19,456 --> 00:14:22,306
But I always remember getting up
at seven or eight in the morning,

231
00:14:22,425 --> 00:14:24,639
going downstairs,
my mum's there with her pals,

232
00:14:24,723 --> 00:14:26,760
tunes are blaring, and it was always...

233
00:14:28,465 --> 00:14:31,131
And it was like, "What's this
fucking energetic shit?"

234
00:14:31,267 --> 00:14:33,364
And it was jungle, drum and bass.

235
00:14:33,499 --> 00:14:36,751
Of The Jungle Part two" by

236
00:14:36,835 --> 00:14:39,371
We wanted to be recognised
for something different.

237
00:14:39,506 --> 00:14:41,442
We tried hip house, it didn't work.

238
00:14:41,578 --> 00:14:46,247
We tried all the genres
that came and went, you know.

239
00:14:47,149 --> 00:14:49,684
But for jungle to come along,

240
00:14:50,220 --> 00:14:52,221
we all nodded our head to the same beat.

241
00:14:52,357 --> 00:14:55,157
And, of course, the tempos
started getting faster.

242
00:14:56,622 --> 00:14:58,273
That was the birth of jungle for us,

243
00:14:58,357 --> 00:15:00,863
which was those very early '90s.

244
00:15:01,165 --> 00:15:05,134
But I was always drawn to this one sound

245
00:15:05,269 --> 00:15:07,934
that I came to understand
was jungle drum and bass

246
00:15:08,069 --> 00:15:10,137
because it was faster

247
00:15:10,273 --> 00:15:12,473
and it totally resonated with me.

248
00:15:12,675 --> 00:15:16,806
<i>♪ The jungle, jungle
King of the jungle ♪</i>

249
00:15:16,941 --> 00:15:20,551
The most dominant sound
that really cut through

250
00:15:20,687 --> 00:15:23,549
and set the bar was Goldie

251
00:15:24,318 --> 00:15:26,685
<i>and all his Metalheadz stuff.</i>

252
00:15:26,821 --> 00:15:31,026
<i>That, from the logo to the look,
to the whole attitude.</i>

253
00:15:31,361 --> 00:15:34,797
When Goldie came,
he was just standing on the side

254
00:15:35,133 --> 00:15:37,227
looking through the cage with his fingers,

255
00:15:37,362 --> 00:15:38,662
shouting all the time.

256
00:15:38,797 --> 00:15:40,884
I was scared of Goldie at first,
to be honest.

257
00:15:40,968 --> 00:15:42,237
I was petrified.

258
00:15:42,672 --> 00:15:45,842
And then how I actually
met Goldie, I was just like <i>,</i>

259
00:15:45,977 --> 00:15:47,912
I come down the stairs one time

260
00:15:48,047 --> 00:15:49,747
and he threw a dubplate in my hand.

261
00:15:50,109 --> 00:15:53,151
And he'd just get in the back
seat and is quiet and is like,

262
00:15:53,286 --> 00:15:56,185
"So, Rob, how come it's taken
you 14 years to book me?"

263
00:15:59,024 --> 00:16:00,472
<i>I listened to it.</i>

264
00:16:00,556 --> 00:16:02,656
<i>When I got home, I thought,
"Fucking hell."</i>

265
00:16:03,355 --> 00:16:04,996
Do you know what I mean?

266
00:16:05,131 --> 00:16:07,343
This guy's got something
different going on here.

267
00:16:07,427 --> 00:16:09,667
Dude pulls in in a car, fast,

268
00:16:10,270 --> 00:16:13,998
<i>Ferrari, I don't know,
some expensive fast car.</i>

269
00:16:14,467 --> 00:16:15,969
<i>Pulls up right in the front,</i>

270
00:16:16,571 --> 00:16:18,674
<i>double parks, doesn't give a shit</i>

271
00:16:19,243 --> 00:16:21,276
about who is standing there, whatever,

272
00:16:21,412 --> 00:16:23,647
and everybody's like,
"You can't park here!"

273
00:16:23,782 --> 00:16:25,148
He's like, "Fuck off!"

274
00:16:25,283 --> 00:16:27,533
"Grab these fucking records,
run into the club

275
00:16:27,548 --> 00:16:30,114
get on the decks and fucking smash."

276
00:16:30,517 --> 00:16:32,323
<i>♪ Target, locked, launch ♪</i>

277
00:16:37,191 --> 00:16:38,324
<i>♪ Yeah, launch ♪</i>

278
00:16:38,460 --> 00:16:41,929
Right, make some motherfucking noise

279
00:16:42,065 --> 00:16:44,732
for music.

280
00:16:47,938 --> 00:16:49,903
I mean, I'm a GOAT.

281
00:16:50,539 --> 00:16:53,039
It's alright, I'm a GOAT.
I've become a GOAT.

282
00:16:53,175 --> 00:16:55,111
But every GOAT needs to be

283
00:16:55,246 --> 00:16:58,548
a young spring chicken, if you like.

284
00:17:00,415 --> 00:17:02,647
<i>♪ Target, locked, launch ♪</i>

285
00:17:07,320 --> 00:17:08,554
<i>♪ Launch ♪</i>

286
00:17:11,393 --> 00:17:13,658
<i>♪ Target, locked, launch ♪</i>

287
00:17:15,899 --> 00:17:20,368
I remember the first time when
Reinforced and Dego and Goldie

288
00:17:20,504 --> 00:17:23,107
and them boys
started to time stretch stuff.

289
00:17:30,008 --> 00:17:31,761
<i>When he handed me "Terminator"</i>

290
00:17:31,845 --> 00:17:33,697
and I heard time-stretching
for the first time

291
00:17:33,781 --> 00:17:36,454
I was like, "This guy's
gonna change the game."

292
00:17:36,589 --> 00:17:37,849
And he did.

293
00:17:44,797 --> 00:17:45,997
Let's get it straight.

294
00:17:46,132 --> 00:17:47,643
"Terminator" ended it for everyone. OK?

295
00:17:47,727 --> 00:17:49,932
"Terminator" ended it.
Game over.

296
00:17:50,067 --> 00:17:55,232
Because "Terminator" was a great example
of technology concept. A concept record.

297
00:17:55,468 --> 00:18:00,143
Time-stretching was first in "Terminator"
with the harmoniser H3000 <i>,</i>

298
00:18:00,279 --> 00:18:01,792
which was a specific piece of equipment

299
00:18:01,876 --> 00:18:05,644
that we used to harmonise
people's vocals that can't sing.

300
00:18:07,648 --> 00:18:09,482
"What if I put breakbeat through it?

301
00:18:09,617 --> 00:18:11,950
No one's ever done it.
Let's do it."

302
00:18:12,219 --> 00:18:13,420
So we wired it up

303
00:18:13,555 --> 00:18:16,059
and the whole aspect of "Terminator"

304
00:18:16,195 --> 00:18:18,655
is turning the knob on one programme.

305
00:18:18,791 --> 00:18:20,931
It's got a thousand programmes on it.

306
00:18:21,500 --> 00:18:24,632
But that idea, changing pitch,
was not time stretch.

307
00:18:24,767 --> 00:18:27,636
Time stretch is when
you put the sample into the 950

308
00:18:27,771 --> 00:18:30,324
and stretch it over the time
it's supposed to be stretched.

309
00:18:30,408 --> 00:18:33,640
But at the same time,
DJ Hype on Suburban Base

310
00:18:33,775 --> 00:18:35,576
<i>made a tune called "Shot in The Dark"</i>

311
00:18:35,711 --> 00:18:38,010
<i>and they both was around at the same time.</i>

312
00:18:38,880 --> 00:18:42,313
We put out one of the first
time stretch records.

313
00:18:42,882 --> 00:18:45,651
A DJ Hype track called "Shot in The Dark".

314
00:18:46,752 --> 00:18:48,457
So the whole idea of "Terminator"

315
00:18:48,592 --> 00:18:51,622
and using, essentially...
Which wasn't time stretch.

316
00:18:51,758 --> 00:18:53,581
That's the thing that was the red herring.

317
00:18:53,665 --> 00:18:56,998
"Terminator", everyone seems
to think that time-stretching

318
00:18:57,200 --> 00:18:58,761
was first on "Terminator".

319
00:18:59,030 --> 00:19:02,471
You guys thought
that it was time-stretching

320
00:19:02,606 --> 00:19:06,002
and that is why
the graffiti cast the illusion.

321
00:19:06,137 --> 00:19:08,487
Bam! Done! Job done.
You're still sitting there.

322
00:19:08,544 --> 00:19:10,412
By the way, just for the record,

323
00:19:10,547 --> 00:19:12,877
Dan Donnelly's looking miffed
behind the lens.

324
00:19:13,012 --> 00:19:16,086
<i>Similar technique that we thought</i>

325
00:19:16,589 --> 00:19:19,750
<i>that Goldie had done
in his record "Terminator"</i>

326
00:19:19,885 --> 00:19:22,786
blew my mind when all these years later

327
00:19:22,921 --> 00:19:25,394
he explains to me how he achieved that.

328
00:19:25,763 --> 00:19:27,508
So, I'll have that one, guys.
Thank you very much <i>.</i>

329
00:19:27,592 --> 00:19:29,663
This was him and Hype

330
00:19:29,798 --> 00:19:33,270
and the guys at Reinforced
and Rob at Moving Shadow

331
00:19:33,405 --> 00:19:35,733
and everyone really testing the boundaries

332
00:19:35,868 --> 00:19:38,768
of what this limited equipment could do.

333
00:19:38,904 --> 00:19:40,704
And that's the story of Urban Legend.

334
00:19:40,777 --> 00:19:43,365
The idea of time stretch.
Was it Dego? Was it you guys?

335
00:19:43,449 --> 00:19:46,279
Who was it?
But I win, "Terminator", I win.

336
00:19:46,615 --> 00:19:49,152
But the idea of this friendly rivalry,

337
00:19:49,288 --> 00:19:50,948
playing table tennis with mentasm.

338
00:19:51,484 --> 00:19:55,893
<i>These guys were making music
to best their peers.</i>

339
00:19:56,028 --> 00:19:57,628
<i>There was that friendly rivalry.</i>

340
00:19:57,728 --> 00:20:00,727
<i>It meant that everyone
was raising the bar.</i>

341
00:20:00,863 --> 00:20:03,294
<i>Everyone was pushing the limits
of the equipment,</i>

342
00:20:03,429 --> 00:20:06,533
<i>pushing the limits of what we
could do with this technology,</i>

343
00:20:06,668 --> 00:20:08,464
where we should take the sound next.

344
00:20:08,600 --> 00:20:10,067
There was no rules.

345
00:20:20,016 --> 00:20:22,064
<i>I think in anything, in any great art,</i>

346
00:20:22,148 --> 00:20:25,786
<i>at least the stuff
that I remember looking back at</i>

347
00:20:25,921 --> 00:20:30,890
<i>it was limitation
that bred extra creativity</i>

348
00:20:31,026 --> 00:20:33,430
<i>and experimentation
and thinking outside the box</i>

349
00:20:33,566 --> 00:20:35,761
<i>because you really had to use all you had.</i>

350
00:20:37,635 --> 00:20:40,236
<i>Even going back to bands like The Ramones,</i>

351
00:20:40,672 --> 00:20:43,771
<i>they bought all their gear
from flea markets</i>

352
00:20:43,906 --> 00:20:47,037
and they just wanted the guitars
to sound crazy and loud

353
00:20:47,172 --> 00:20:51,374
so they turned gain, treble,
mids, bass, volume,

354
00:20:51,509 --> 00:20:54,650
everything up to ten, because
that's how they knew to get it,

355
00:20:54,786 --> 00:20:57,814
and that's how I was going,
you just get the energy out.

356
00:20:57,950 --> 00:21:00,590
- For life.
- For life, man. Exactly.

357
00:21:01,493 --> 00:21:03,727
<i>The word "house music" was named</i>

358
00:21:03,862 --> 00:21:06,831
<i>because it was music that
sounded great in warehouses.</i>

359
00:21:06,966 --> 00:21:08,008
That's why it was minimal

360
00:21:08,092 --> 00:21:10,077
that's why the kick drums
were so dominant.

361
00:21:10,161 --> 00:21:12,366
It's because it would have to sound good

362
00:21:12,501 --> 00:21:14,736
in a non-acoustic treated area.

363
00:21:14,872 --> 00:21:17,336
<i>We have these drum machines,
we have warehouses</i>

364
00:21:17,472 --> 00:21:18,838
<i>and we have whatever.</i>

365
00:21:18,973 --> 00:21:20,904
<i>We've got to make do with what we have.</i>

366
00:21:21,173 --> 00:21:23,947
<i>And from there, they pushed the boundaries</i>

367
00:21:24,549 --> 00:21:26,976
and then house music, the soul, the core,

368
00:21:27,112 --> 00:21:28,811
<i>kick drum music, four-on-the-floor</i>

369
00:21:28,946 --> 00:21:31,617
<i>is embedded in us forever now.</i>

370
00:21:51,704 --> 00:21:52,794
Bang, bang, bang.

371
00:21:56,911 --> 00:21:59,213
You've got Andy C
selling out Wembley Arena.

372
00:21:59,549 --> 00:22:02,251
That ties into everything, I think.

373
00:22:02,586 --> 00:22:04,717
Andy knew Wembley
was so significant for us

374
00:22:04,853 --> 00:22:06,718
cos it took a long time to get there.

375
00:22:07,087 --> 00:22:10,225
We ended up being
the first ever all-night show

376
00:22:10,360 --> 00:22:12,655
of any genre, any act, ever.

377
00:22:13,291 --> 00:22:15,729
<i>Wembley Arena had given us that honour.</i>

378
00:22:17,397 --> 00:22:21,165
<i>Turned out they were well up for
putting on an all-night party.</i>

379
00:22:24,143 --> 00:22:25,574
<i>♪ Back and forth ♪</i>

380
00:22:26,542 --> 00:22:28,071
<i>♪ And back and forth ♪</i>

381
00:22:29,481 --> 00:22:31,347
♪ <i>Back and forth, and forth ♪</i>

382
00:22:31,483 --> 00:22:33,479
Roni Size winning the Mercury Prize.

383
00:22:33,815 --> 00:22:36,250
Huge for the scene.
Really important.

384
00:22:36,386 --> 00:22:37,686
This was a pivotal moment.

385
00:22:37,754 --> 00:22:39,754
I think everybody was buzzing after that.

386
00:22:39,789 --> 00:22:41,789
Look, I've never won anything in my life,

387
00:22:41,856 --> 00:22:44,954
but we went, we turned up and we won.

388
00:22:45,256 --> 00:22:47,824
And I think we represented,
we did our thing.

389
00:22:47,959 --> 00:22:50,796
It wasn't an award just for us,

390
00:22:50,932 --> 00:22:55,401
it was for the whole of what came before.

391
00:22:55,804 --> 00:22:57,704
We really felt like we'd arrived.

392
00:22:58,107 --> 00:23:02,844
It was Roni and those guys
who spearheaded that moment,

393
00:23:02,979 --> 00:23:05,743
but we all benefited from it
and it was a huge deal.

394
00:23:05,945 --> 00:23:08,963
<i>This is probably the most radical winner
in the history of the prize.</i>

395
00:23:09,047 --> 00:23:12,002
<i>Drum and bass is still very much an
underground movement in Britain</i>,

396
00:23:12,086 --> 00:23:14,090
<i>but tonight, it really goes overground.</i>

397
00:23:14,226 --> 00:23:15,526
People said we were crazy,

398
00:23:15,660 --> 00:23:17,544
but we just believed in what we was doing.

399
00:23:17,628 --> 00:23:22,065
You know, Die, Suv, Dynamite, Krust,

400
00:23:22,501 --> 00:23:24,361
we've all been working hard for this

401
00:23:24,497 --> 00:23:29,433
and this isn't just about me,
it's about, you know, listen.

402
00:23:33,978 --> 00:23:37,008
Originally, jungle had been
starting to have its moment,

403
00:23:37,609 --> 00:23:38,878
and then...

404
00:23:39,146 --> 00:23:41,546
At that same time,
it started getting super dark.

405
00:23:41,582 --> 00:23:43,718
It got a bit moody.

406
00:23:45,822 --> 00:23:47,788
<i>I like the dark stuff,</i>

407
00:23:47,924 --> 00:23:51,527
but there were no females
going down that road.

408
00:23:51,663 --> 00:23:54,190
You'd go to a rave and it was bare men.

409
00:23:56,101 --> 00:23:59,699
I'll always forever credit Dieselboy
with destroying drum and bass

410
00:23:59,835 --> 00:24:02,903
from being popular in the U.S.
In 1997.

411
00:24:03,939 --> 00:24:06,138
<i>But I always just followed</i>

412
00:24:06,273 --> 00:24:09,040
<i>what I thought sounded the most
progressive at the time.</i>

413
00:24:09,175 --> 00:24:11,713
Then Dieselboy was like,
"I only play dark shit."

414
00:24:11,848 --> 00:24:14,485
When I was playing dark stuff in '97, '98

415
00:24:14,620 --> 00:24:17,379
and playing a lot of
Renegade Hardware stuff,

416
00:24:17,515 --> 00:24:19,837
I just thought that was
the most progressive style

417
00:24:19,921 --> 00:24:21,971
of drum and bass that was out at the time.

418
00:24:32,068 --> 00:24:34,466
<i>But as jungle drum and bass emerged</i>

419
00:24:34,735 --> 00:24:36,437
in the UK through the '90s,

420
00:24:36,572 --> 00:24:37,972
there became a point in time

421
00:24:38,071 --> 00:24:41,110
towards the end of the '90s where...

422
00:24:41,913 --> 00:24:44,763
Yeah, UK garage started to creep
up on the record shelves.

423
00:24:45,710 --> 00:24:49,751
Garage music was kind of
born out of the necessity

424
00:24:49,887 --> 00:24:54,720
for an urban UK music
that people could rave to

425
00:24:54,989 --> 00:24:58,695
but was a little bit more female-friendly.

426
00:24:58,831 --> 00:25:00,881
<i>All the girls listening to garage</i>

427
00:25:01,065 --> 00:25:04,568
at the after parties, saying,
"You got any garage music?"

428
00:25:14,108 --> 00:25:16,238
You almost get two scenes come from that:

429
00:25:16,374 --> 00:25:21,047
the grime scene,
guys like Wiley and Dizzee

430
00:25:21,183 --> 00:25:25,682
and these guys that
were part of the garage scene.

431
00:25:26,285 --> 00:25:29,857
And before that,
the drum and bass scene, as MCs.

432
00:25:30,159 --> 00:25:32,209
<i>So you've got grime that emerged from this</i>

433
00:25:32,262 --> 00:25:37,532
and these are all ancestrally
from that D&B-jungle lineage.

434
00:25:37,868 --> 00:25:40,631
<i>And one of the most important ones</i>

435
00:25:40,933 --> 00:25:45,439
<i>that grew from that was dubstep.</i>

436
00:25:45,708 --> 00:25:47,538
There was one DJ in particular

437
00:25:47,974 --> 00:25:50,614
who was championing this sound

438
00:25:50,749 --> 00:25:55,347
before it really had a name
and an identity.

439
00:25:55,783 --> 00:25:57,654
<i>And that was Hatcha,</i>

440
00:25:57,789 --> 00:26:00,019
<i>working out of Big Apple Records.</i>

441
00:26:05,857 --> 00:26:09,230
<i>Here's where it began.
Welcome to the home of dubstep.</i>

442
00:26:12,899 --> 00:26:14,431
<i>Dubstep wasn't just me.</i>

443
00:26:14,634 --> 00:26:17,741
<i>Dubstep was a handful of artists
that brought this together,</i>

444
00:26:17,876 --> 00:26:20,139
<i>as well as a couple of record labels.</i>

445
00:26:21,442 --> 00:26:24,881
This is where it all started
for me, club-wise, to be fair.

446
00:26:25,450 --> 00:26:26,913
This is Granaries nightclub,

447
00:26:27,048 --> 00:26:28,998
and we're right in the centre of Croydon

448
00:26:29,147 --> 00:26:32,386
<i>and I used to play for a pirate
radio station called Upfront FM.</i>

449
00:26:32,822 --> 00:26:36,391
<i>And they used to run a weekly every
Saturday here at this nightclub.</i>

450
00:26:36,527 --> 00:26:40,197
<i>It used to be called the Ananda Lounge.
This was day one for me.</i>

451
00:26:40,333 --> 00:26:43,797
This was where old school garage was
happening every Saturday night.

452
00:26:44,033 --> 00:26:46,429
Way before dubstep was even thought of.

453
00:26:47,299 --> 00:26:49,331
<i>Before the genre was even coined.</i>

454
00:26:49,734 --> 00:26:51,934
<i>This is where it started,
performing in clubs</i>

455
00:26:52,011 --> 00:26:53,894
<i>and working in the record shop
just up the road.</i>

456
00:26:53,978 --> 00:26:56,812
<i>This was the spot for me
in the early days.</i>

457
00:27:00,348 --> 00:27:03,012
<i>The shop was in a busy
fruit and veg market,</i>

458
00:27:03,614 --> 00:27:06,421
<i>so I knew all the people
up and down the stalls.</i>

459
00:27:06,556 --> 00:27:07,919
It's a pound for a bunch.

460
00:27:08,355 --> 00:27:10,378
That's what I wanna hear.
You're doing alright.

461
00:27:10,462 --> 00:27:12,128
That's what it's all about.

462
00:27:12,630 --> 00:27:15,115
<i>You stand at the back of the shop and
you're like, "The big boys are here."</i>

463
00:27:15,199 --> 00:27:17,612
<i>It's like, "You ask for a
record." "No, you ask for one."</i>

464
00:27:17,696 --> 00:27:21,337
<i>You get a bit more confidence,
finally find your sound,</i>

465
00:27:21,473 --> 00:27:23,005
<i>your style of music.</i>

466
00:27:23,141 --> 00:27:26,172
<i>And at them time, it was
early UK garage and jungle.</i>

467
00:27:27,209 --> 00:27:29,475
<i>This was all from a little shop
I just found</i>

468
00:27:29,610 --> 00:27:32,380
<i>down the fruit and veg market
called Big Apple Records.</i>

469
00:27:33,149 --> 00:27:35,149
<i>This was my thing, in and out of the shop</i>

470
00:27:35,186 --> 00:27:37,300
<i>and it got to the stage
I'd get to the shop some days</i>

471
00:27:37,384 --> 00:27:39,788
<i>and there'd be no customers in there.</i>

472
00:27:39,923 --> 00:27:42,877
<i>Then I'd have to make conversation with
the guys working behind the counter.</i>

473
00:27:42,961 --> 00:27:45,291
<i>That's when you build up
your relationships.</i>

474
00:27:46,294 --> 00:27:51,428
As a DJ who was playing music
on a weekly basis

475
00:27:51,563 --> 00:27:54,068
<i>in the vinyl era, record store culture</i>

476
00:27:54,204 --> 00:27:57,907
<i>was probably more important than the club.</i>

477
00:27:58,143 --> 00:28:01,641
At first it was a movement,
and then it became a culture

478
00:28:01,777 --> 00:28:03,276
which took over the world.

479
00:28:04,479 --> 00:28:06,980
<i>And also it was a really
important meeting place</i>.

480
00:28:07,116 --> 00:28:09,485
<i>I mean, that was our social media.</i>

481
00:28:09,888 --> 00:28:12,050
You can't beat going to a record shop.

482
00:28:12,185 --> 00:28:14,187
We have to go in and hum a few bars

483
00:28:14,323 --> 00:28:16,176
to the guy behind the counter
in the record store.

484
00:28:16,260 --> 00:28:19,291
And you know that feeling
when you have to have the tune.

485
00:28:19,427 --> 00:28:22,393
It's in your head.
You're living it, breathing it.

486
00:28:22,529 --> 00:28:25,328
That was all part of the fun,
tracking down this music

487
00:28:25,731 --> 00:28:30,338
and singing a snippet of it:
"It goes like this, mate."

488
00:28:34,311 --> 00:28:36,425
The geezer's looking at me,
I'm looking at the geezer,

489
00:28:36,509 --> 00:28:39,079
and he's like, "I don't know
what that tune is."

490
00:28:39,214 --> 00:28:41,032
The raves are only
gonna be on the weekends,

491
00:28:41,116 --> 00:28:42,920
the club's only open on Friday night

492
00:28:43,055 --> 00:28:46,218
but seven days a week
that's your link to the scene.

493
00:28:53,097 --> 00:28:55,663
Having these records
that you can hold on to

494
00:28:55,798 --> 00:28:57,264
and you can feel and touch.

495
00:28:57,499 --> 00:29:02,539
There's something tangible and
there's something real about it.

496
00:29:02,974 --> 00:29:07,570
And that is your connection to the artist.

497
00:29:07,806 --> 00:29:10,942
The sense of community
from going into a record store.

498
00:29:11,078 --> 00:29:12,609
To get them white label dubs,

499
00:29:12,745 --> 00:29:15,819
<i>you'd have to know someone
behind the counter.</i>

500
00:29:20,119 --> 00:29:21,419
White labels would come in

501
00:29:21,453 --> 00:29:24,025
and it was first come, first served.

502
00:29:25,725 --> 00:29:27,709
<i>You didn't know what was gonna be in it</i>

503
00:29:27,793 --> 00:29:30,626
and there'd be ten people
just like me all sitting there,

504
00:29:30,761 --> 00:29:33,630
frantically hoping
to get their hands on something.

505
00:29:35,000 --> 00:29:37,850
<i>They'd lay out
100 white labels on the table</i>

506
00:29:37,943 --> 00:29:40,169
and then there'd be about 20 of us like...

507
00:29:40,404 --> 00:29:42,340
It's like a catfight.

508
00:29:42,475 --> 00:29:45,641
And it didn't really have
any kind of class,

509
00:29:45,777 --> 00:29:48,918
it didn't have any
social standing relative to it.

510
00:29:49,053 --> 00:29:50,817
<i>It was just you were into the music</i>

511
00:29:50,953 --> 00:29:52,418
<i>and that was the beehive.</i>

512
00:29:58,560 --> 00:30:01,657
Me and Artwork had done
a Big Apple Records radio.

513
00:30:01,792 --> 00:30:04,564
We put a speaker on each
of the lampposts opposite.

514
00:30:04,699 --> 00:30:05,968
That's it.

515
00:30:06,103 --> 00:30:07,616
Ran a wire to the top of the record shop

516
00:30:07,700 --> 00:30:10,122
and we were playing tunes
off the Technics, weren't we?

517
00:30:10,206 --> 00:30:12,535
We were doing shouts-out
to the market traders.

518
00:30:15,274 --> 00:30:17,240
<i>This is Big Apple Records,</i>

519
00:30:17,543 --> 00:30:19,477
<i>and this is where it all started.</i>

520
00:30:19,612 --> 00:30:21,912
<i>Unfortunately,
it's a hair and beauty salon now</i>

521
00:30:22,016 --> 00:30:23,587
<i>but this was our home.</i>

522
00:30:23,956 --> 00:30:25,435
<i>I'd just walked out of my last job,</i>

523
00:30:25,519 --> 00:30:27,723
<i>stopped at the record shop
on the way home,</i>

524
00:30:27,858 --> 00:30:30,476
walked in there, sad old face, said,
"John, I've been sacked." and all that.

525
00:30:30,560 --> 00:30:33,094
<i>He went, "Jump behind
the counter for the day.</i>"

526
00:30:33,230 --> 00:30:36,048
<i>At the end of the day, he was like, "You
can have a job, mate." I was like, "Sweet."</i>

527
00:30:36,132 --> 00:30:38,332
So, I was here every day and it was on.

528
00:30:38,467 --> 00:30:41,036
It was on, it was the home.
Big Apple was the home.

529
00:30:41,171 --> 00:30:43,421
And I'm very grateful
to have been part of it.

530
00:30:44,208 --> 00:30:47,472
<i>Wages weren't great, working in the shop.</i>

531
00:30:47,741 --> 00:30:50,376
<i>But what was great
was being in that environment,</i>

532
00:30:50,512 --> 00:30:52,712
<i>being with the people
that worked in the shop</i>

533
00:30:52,812 --> 00:30:54,729
<i>because that record shop and
the people I worked with</i>

534
00:30:54,813 --> 00:30:57,263
<i>meant a lot to me
and they still mean a lot to me.</i>

535
00:30:57,583 --> 00:31:00,056
<i>And that was a big part of my career.</i>

536
00:31:00,191 --> 00:31:02,254
<i>There's no way I'd be where I am today,</i>

537
00:31:02,390 --> 00:31:04,389
<i>if it wasn't for Big Apple Records.</i>

538
00:31:06,665 --> 00:31:08,162
So the next thing you know,

539
00:31:08,297 --> 00:31:10,794
we've got this young boy
coming into the shop.

540
00:31:10,930 --> 00:31:12,027
Oliver.

541
00:31:12,163 --> 00:31:13,431
Oliver Jones.

542
00:31:14,804 --> 00:31:16,337
We didn't know that

543
00:31:16,473 --> 00:31:19,173
he was gonna turn out to be
an absolute genius, did we?

544
00:31:41,696 --> 00:31:46,667
Skream's ears didn't pick up
to the regular two-step garage.

545
00:31:46,802 --> 00:31:47,934
The popular stuff.

546
00:31:48,336 --> 00:31:53,009
His ears picked up to the cool stuff.

547
00:31:55,179 --> 00:31:57,208
Me and Ollie built up a relationship.

548
00:31:57,343 --> 00:32:00,095
I was driving home from work and see him
waiting at the bus stop in school uniform.

549
00:32:00,179 --> 00:32:01,512
"Want a lift home, mate?"

550
00:32:08,625 --> 00:32:11,995
Two, three, four months later
he's come in with a mini-disc.

551
00:32:14,594 --> 00:32:16,694
And you could tell
six months down the line

552
00:32:16,794 --> 00:32:18,644
he's still playing with his programme.

553
00:32:18,664 --> 00:32:20,801
I'm like, "He's fucked, he's in this now."

554
00:32:20,936 --> 00:32:22,368
"We've got him for life."

555
00:32:23,637 --> 00:32:26,075
Anyone that was coming
into the store producing,

556
00:32:26,210 --> 00:32:28,260
he would encourage them to be making stuff

557
00:32:28,311 --> 00:32:30,580
that was of the style that he could play.

558
00:32:30,815 --> 00:32:34,043
<i>And that was this darker strand
of garage and stuff like this.</i>

559
00:32:34,646 --> 00:32:38,221
Hatcha was known for playing garage,

560
00:32:38,357 --> 00:32:43,020
but more so the darker stuff
and the B-sides of garage tunes.

561
00:32:43,356 --> 00:32:45,122
It was garage B-sides really.

562
00:32:45,258 --> 00:32:49,059
Like breaky, weird, dubby,

563
00:32:49,828 --> 00:32:54,334
third track on a garage,
twelve tunes mixed together.

564
00:32:55,370 --> 00:32:57,869
His sets morphed from those B-sides...

565
00:32:58,371 --> 00:33:00,141
There were signs it was morphing.

566
00:33:00,276 --> 00:33:02,411
...And the dark garage into the music

567
00:33:02,547 --> 00:33:06,116
that people like a very young
Skream were giving to him.

568
00:33:06,318 --> 00:33:08,396
<i>- Are we on air?
- Yes, you are.</i>

569
00:33:08,480 --> 00:33:12,415
<i>Hello, Ma. I'd like to hear a
new beat on the request line.</i>

570
00:33:12,750 --> 00:33:17,555
<i>OK, you got it. Comin' up.</i>

571
00:33:32,111 --> 00:33:34,440
Once Skream got his hands on FruityLoops,

572
00:33:36,114 --> 00:33:38,064
it was goodbye to the rest of the world.

573
00:33:53,561 --> 00:33:57,968
And the music he was writing was dubstep.

574
00:33:58,103 --> 00:34:00,037
But dubstep hadn't been coined yet.

575
00:34:26,631 --> 00:34:28,982
I didn't know what I was witnessing
was the birth of dubstep.

576
00:34:29,066 --> 00:34:31,567
So, while Ollie's doing this,

577
00:34:32,536 --> 00:34:35,435
I've got this other youngster
that comes into the shop.

578
00:34:36,472 --> 00:34:37,818
And he become another little regular.

579
00:34:37,902 --> 00:34:41,375
And it was Ollie and Bennie,
Skream and Benga.

580
00:35:07,635 --> 00:35:09,835
You've just seen the end
of Benga and Skream.

581
00:35:11,836 --> 00:35:13,359
That's what everyone wants, innit?

582
00:35:13,443 --> 00:35:14,723
That's why they keep booking us together.

583
00:35:14,807 --> 00:35:17,013
I said, "What kind of music is this?"

584
00:35:17,149 --> 00:35:18,727
Then I found out it was called dubstep.

585
00:35:18,811 --> 00:35:20,648
<i>That was my entrance into dubstep.</i>

586
00:35:20,783 --> 00:35:23,583
<i>I think Skream was one of
the first people I ever played.</i>

587
00:35:23,614 --> 00:35:25,954
His take on dubstep was

588
00:35:26,590 --> 00:35:29,654
<i>probably the platform
where everyone copied.</i>

589
00:35:31,425 --> 00:35:34,462
I think it's undeniable to show

590
00:35:34,598 --> 00:35:38,399
that all that comes from
the likes of Skream and Benga.

591
00:35:40,502 --> 00:35:42,102
New producers started popping up.

592
00:35:42,736 --> 00:35:44,633
<i>One day, one boy comes into the shop</i>

593
00:35:45,035 --> 00:35:46,870
<i>saying he's brought me a CD as well</i>

594
00:35:47,006 --> 00:35:48,990
<i>and I was like,
"This is cool. Cheers, mate."</i>

595
00:35:49,074 --> 00:35:52,744
It said on the front of the CD
"Quiet Storm" <i>.</i>

596
00:35:53,213 --> 00:35:57,220
Little did I know that Quiet Storm
would turn out to be Caspa.

597
00:36:03,028 --> 00:36:04,478
But actually picking up vinyl

598
00:36:04,525 --> 00:36:06,361
and starting to get into the DJing,

599
00:36:06,496 --> 00:36:10,398
that was really, I would say, 2000-2001.

600
00:36:10,767 --> 00:36:13,769
<i>His music's gone
straight into the record bag.</i>

601
00:36:14,072 --> 00:36:16,097
Also, I've got a couple of MCs

602
00:36:16,233 --> 00:36:18,940
<i>that I've known in
the garage scene before dubstep</i>

603
00:36:19,076 --> 00:36:20,942
<i>that stopped MCing.</i>

604
00:36:21,378 --> 00:36:25,347
<i>They've come in one day and they've gone,
"Hatch, I've started writing music."</i>

605
00:36:31,082 --> 00:36:33,432
This was dubstep
how I've never heard it before.

606
00:36:33,492 --> 00:36:36,221
Me and Coki had been building
tracks for about a year.

607
00:36:36,923 --> 00:36:39,295
<i>And all of a sudden,
we give them to Hatcha.</i>

608
00:36:39,430 --> 00:36:41,528
<i>Hatcha's like, "I can play this."</i>

609
00:36:43,330 --> 00:36:44,592
We were like, "Rah, OK!"

610
00:36:44,728 --> 00:36:46,803
Now we've got a good team.

611
00:36:46,939 --> 00:36:50,239
We've got loads of kids coming into
the shop giving us good dubstep.

612
00:36:52,106 --> 00:36:55,808
<i>So people like Skream, Benga, Mala, Coki</i>

613
00:36:56,010 --> 00:37:00,112
<i>would all buy records
and learn a lot about music</i>

614
00:37:00,247 --> 00:37:01,312
<i>through Hatcha.</i>

615
00:37:01,448 --> 00:37:02,780
They would play the music,

616
00:37:02,915 --> 00:37:05,065
share the music with Hatcha
to get feedback.

617
00:37:05,150 --> 00:37:07,850
All they was doing for me
was giving me their artillery

618
00:37:07,956 --> 00:37:11,092
and I was just pumping it out
in the clubs, on the radio.

619
00:37:11,228 --> 00:37:12,759
<i>Please make some noise</i>

620
00:37:12,895 --> 00:37:17,095
<i>for the guy that goes
by the name of DJ Hatcha!</i>

621
00:37:48,626 --> 00:37:49,893
There was a genre...

622
00:37:50,061 --> 00:37:52,395
Not a genre, there was a scene
growing with us.

623
00:37:52,731 --> 00:37:54,131
<i>And a guy come into the shop</i>

624
00:37:54,465 --> 00:37:56,622
<i>he was chatting away,
I think he was writing notes,</i>

625
00:37:56,706 --> 00:37:58,956
but he was some kind of blogger
or interviewer

626
00:37:59,070 --> 00:38:00,820
<i>and he was asking us some questions.</i>

627
00:38:01,141 --> 00:38:04,091
He was like, "What have you
called this new genre of music?"

628
00:38:04,108 --> 00:38:06,510
He's fumbling for
what do we call this stuff

629
00:38:06,646 --> 00:38:08,679
and, "Well, it's like two-step."

630
00:38:08,815 --> 00:38:10,205
We didn't know it was a new genre.

631
00:38:10,289 --> 00:38:11,736
I thought, "What do you call it?"

632
00:38:11,820 --> 00:38:14,516
<i>And I remember 'dark
2-steppy' kind of stuff.</i>

633
00:38:15,219 --> 00:38:19,422
It's like a darker, dubbier
version of two-step.

634
00:38:19,557 --> 00:38:21,093
This is 'dubstep'.

635
00:38:21,228 --> 00:38:22,293
'Dubstep'.

636
00:38:22,628 --> 00:38:24,426
And it was born right there.

637
00:38:24,561 --> 00:38:26,061
That record shop

638
00:38:27,966 --> 00:38:30,704
I mean, pff, dubstep was born there.

639
00:38:49,424 --> 00:38:52,694
<i>Back then, I'm in a point that
I'm listening to hip-hop</i>

640
00:38:52,830 --> 00:38:56,396
<i>and drum and bass and reggae
and I'm in a metal band</i>

641
00:38:56,698 --> 00:38:58,695
and I'm sitting there at that night

642
00:38:59,030 --> 00:39:01,698
and someone's playing these records

643
00:39:01,901 --> 00:39:04,269
that are somewhere in the middle.

644
00:39:05,172 --> 00:39:09,404
It's heavy like metal,
it's slower than drum and bass,

645
00:39:09,773 --> 00:39:11,413
there's hip-hop mash-ups.

646
00:39:11,548 --> 00:39:13,298
It was, take everything that I like.

647
00:39:13,345 --> 00:39:16,485
There was reggae, vocals on it,
take everything I like

648
00:39:16,620 --> 00:39:19,555
and put it all together,
and that's dubstep.

649
00:39:23,521 --> 00:39:24,956
How mad is that?

650
00:39:25,292 --> 00:39:28,011
<i>I went and asked the DJ,
"What the fuck is this?"</i>

651
00:39:28,095 --> 00:39:32,468
He was like, "This guy's Benga,
this guy's Skream,

652
00:39:32,604 --> 00:39:36,404
this guy's Mala,
this is another Skream record."

653
00:39:36,540 --> 00:39:41,070
It was basically mostly the Croydon boys.

654
00:39:46,746 --> 00:39:48,148
- Yep.
- I do understand...

655
00:39:48,284 --> 00:39:49,749
I'm not saying you.

656
00:39:54,390 --> 00:39:55,722
Oh, yeah.

657
00:40:00,395 --> 00:40:05,065
<i>For me, I didn't realise
that the music was from Croydon.</i>

658
00:40:05,267 --> 00:40:06,635
<i>At that time,</i>

659
00:40:06,770 --> 00:40:09,632
<i>I was 100% committed to drum and bass.</i>

660
00:40:09,768 --> 00:40:11,100
I got a text from Teck.

661
00:40:11,236 --> 00:40:13,454
She's like, "Yo,
are you familiar with dubstep?"

662
00:40:13,538 --> 00:40:17,106
<i>I was like, "What is dubstep?"
I'd never even heard this word.</i>

663
00:40:20,212 --> 00:40:23,284
<i>I was like, "Yo,
this is really crazy shit."</i>

664
00:40:23,419 --> 00:40:25,181
<i>It might be slow drum and bass,</i>

665
00:40:25,316 --> 00:40:27,949
<i>but the producers know what they're doing.</i>

666
00:40:28,252 --> 00:40:30,386
And I was like, "Oh, so this is Kode9,

667
00:40:30,521 --> 00:40:33,759
this is Coki, this is Mala,
this is Skream, this is Benga,

668
00:40:33,894 --> 00:40:35,594
this is Hatcha, this is so-and-so."

669
00:40:35,626 --> 00:40:39,161
<i>And so, from that, that's when
I started going deep.</i>

670
00:40:48,011 --> 00:40:52,978
<i>Skrillex, he's been a DJ
around L.A. for a long time.</i>

671
00:40:53,113 --> 00:40:57,518
<i>He used to play dubstep at the Cinespace.</i>

672
00:40:57,988 --> 00:41:01,690
<i>He would play on Sundays
and I went there one time</i>

673
00:41:01,825 --> 00:41:04,459
<i>and I heard somebody
playing dubstep in there</i>

674
00:41:04,595 --> 00:41:06,824
and I was like, "Who is this kid?"

675
00:41:06,960 --> 00:41:09,626
And my friend says, "His name's Sonny

676
00:41:09,762 --> 00:41:11,700
<i>and he was in a band."</i>

677
00:41:11,835 --> 00:41:14,700
<i>We found out he lives in downtown L.A.</i>

678
00:41:15,069 --> 00:41:18,040
<i>And then we were friends, ever since then.</i>

679
00:41:21,813 --> 00:41:23,627
<i>When I first saw 12th Planet live</i>

680
00:41:23,711 --> 00:41:25,880
<i>I'd never felt bass like that.</i>

681
00:41:26,549 --> 00:41:27,980
<i>And I remember where I was.</i>

682
00:41:28,116 --> 00:41:31,316
<i>I remember 12th Planet opened up
with "Sweet Shop"</i>

683
00:41:31,451 --> 00:41:36,024
<i>and just the contrast between
that high Doctor P flute.</i>

684
00:41:38,328 --> 00:41:39,588
And that high note.

685
00:41:40,224 --> 00:41:42,429
Right?
And you can almost see it.

686
00:41:42,564 --> 00:41:44,366
I feel like I have synaesthesia.

687
00:41:44,501 --> 00:41:46,867
I can see the shapes and patterns,

688
00:41:47,002 --> 00:41:49,150
at least in my own head,
I see how they look to me.

689
00:41:49,234 --> 00:41:51,673
I can see that high thing sitting on top.

690
00:41:51,809 --> 00:41:56,746
And I can feel and see
this low, low octave.

691
00:41:59,442 --> 00:42:02,251
<i>Dubstep became a massive influence,</i>

692
00:42:02,487 --> 00:42:05,621
ever since seeing 12th Planet live.

693
00:42:05,757 --> 00:42:08,217
That was the first time
I ever saw live dubstep.

694
00:42:10,058 --> 00:42:11,925
<i>All I wanted to do was make a record.</i>

695
00:42:12,060 --> 00:42:14,209
<i>If I could make a record
that Excision would play</i>

696
00:42:14,293 --> 00:42:17,831
<i>or 12th Planet,
then I was happy, back then.</i>

697
00:42:19,198 --> 00:42:21,870
I remember seeing Sonny at Insomniac raves

698
00:42:22,005 --> 00:42:25,236
before he was Skrillex,
and he's quite recognisable.

699
00:42:25,605 --> 00:42:29,178
And he's walking around backstage
while I'm like, "Who's that kid?"

700
00:42:29,314 --> 00:42:30,712
<i>I see him at every rave.</i>

701
00:42:30,980 --> 00:42:32,930
<i>And I'd be playing out in San Bernardino</i>

702
00:42:33,010 --> 00:42:34,409
<i>for Forest and Pasquale</i>

703
00:42:34,544 --> 00:42:37,147
and then, "There he is again.
It's that kid."

704
00:42:37,283 --> 00:42:40,420
He was DJing
as Sonny and the Blood Monkeys,

705
00:42:40,555 --> 00:42:41,951
<i>but he got signed.</i>

706
00:42:42,287 --> 00:42:45,227
<i>And he pretty much spent his whole cheque</i>

707
00:42:45,363 --> 00:42:46,460
<i>on going to Europe.</i>

708
00:42:46,595 --> 00:42:48,257
So then, as far as I understand,

709
00:42:48,392 --> 00:42:51,062
there was something about
Noisia doing a remix

710
00:42:51,197 --> 00:42:52,968
<i>where he got involved with Noisia.</i>

711
00:42:53,103 --> 00:42:54,856
<i>Once he worked with those producers,</i>

712
00:42:54,940 --> 00:42:59,770
<i>he came back and his whole ethos
was completely changed</i>

713
00:42:59,905 --> 00:43:03,944
<i>and his mixed sounds were crazy.</i>

714
00:43:04,247 --> 00:43:07,476
<i>His way that he approached
making music was different</i>

715
00:43:07,611 --> 00:43:11,047
<i>and he was competing
and operating at a higher level</i>

716
00:43:11,183 --> 00:43:13,148
than anyone I'd ever seen in my life.

717
00:43:13,317 --> 00:43:15,354
<i>Dance music was forever changed</i>

718
00:43:15,490 --> 00:43:20,663
<i>by Skrillex enlisting the very
best drum and bass producers</i>

719
00:43:20,798 --> 00:43:23,225
and coming out with,
"My Name is Skrillex".

720
00:43:23,361 --> 00:43:25,696
He went in like a guppy came outta shark.

721
00:43:26,666 --> 00:43:30,372
<i>After learning all about
how to be Noisia from Noisia,</i>

722
00:43:30,974 --> 00:43:32,686
<i>people say that
he's ghost-produced by them.</i>

723
00:43:32,770 --> 00:43:36,043
<i>I'm like, "No, he wasn't.
No, he's just a smart kid."</i>

724
00:43:36,178 --> 00:43:38,557
He knew what he was doing
and he knew they were the best

725
00:43:38,641 --> 00:43:40,941
and he went to the best
and he became the best.

726
00:43:50,960 --> 00:43:52,540
<i>It appeared that I was this guy</i>

727
00:43:52,624 --> 00:43:54,774
<i>that took a genre,
then got a ton of money</i>,

728
00:43:54,791 --> 00:43:57,279
<i>and just made it famous
and cashed in on this moment,</i>

729
00:43:57,363 --> 00:44:00,197
<i>but it was really a progression
in my whole life</i>

730
00:44:00,566 --> 00:44:02,766
<i>up to that moment
of constantly making music.</i>

731
00:44:02,769 --> 00:44:06,038
<i>And not really thinking,
taking it in and letting it come out.</i>

732
00:44:07,778 --> 00:44:10,076
Some people might call sleeping in a van

733
00:44:10,211 --> 00:44:13,578
and making $100 a show
split amongst eight people

734
00:44:13,714 --> 00:44:16,598
trying to sell $500 of merch to
get to the next city a hardship,

735
00:44:16,682 --> 00:44:20,423
<i>but for me it was just fun,
it was adventure and growing up</i>

736
00:44:20,558 --> 00:44:24,074
<i>and that's what made me appreciate what
I do now as far as travelling goes.</i>

737
00:44:24,158 --> 00:44:26,011
<i>Just to get a hotel room and enough money</i>

738
00:44:26,095 --> 00:44:28,731
<i>to make it to a city as a DJ
was insane to me</i>

739
00:44:28,867 --> 00:44:32,262
'cause for the first year
and a half of touring

740
00:44:32,397 --> 00:44:35,799
my band, for the first year,
we made no money,

741
00:44:35,934 --> 00:44:37,367
we were just in debt.

742
00:44:37,903 --> 00:44:39,273
It was always a passion.

743
00:44:39,409 --> 00:44:40,809
A few months.

744
00:44:50,580 --> 00:44:53,250
Cos they've got no fur.
Snuggled in bed.

745
00:44:54,954 --> 00:44:56,686
I've been DJing since 2007

746
00:44:56,821 --> 00:44:59,861
and learned around the street
in the first loft I moved into.

747
00:44:59,997 --> 00:45:01,994
<i>There was a DJ that was my neighbour</i>

748
00:45:02,130 --> 00:45:04,596
<i>and he taught me Serato and CDJs.</i>

749
00:45:04,731 --> 00:45:09,200
<i>And back then it was electro,
Daft Punk, Mstrkrft, Justice.</i>

750
00:45:09,402 --> 00:45:11,470
<i>I'd DJ warehouses and do little remixes</i>

751
00:45:11,605 --> 00:45:14,655
<i>and that's how I paid my rent
in this area, it was very cheap.</i>

752
00:45:14,773 --> 00:45:18,239
So when I started getting busy
with touring in about 2010-12,

753
00:45:18,374 --> 00:45:21,636
I didn't live anywhere, I didn't have an
apartment or somewhere to call home.

754
00:45:21,720 --> 00:45:23,682
<i>And then crashed at The Compound,</i>

755
00:45:23,818 --> 00:45:25,217
<i>which is 12th Planet,</i>

756
00:45:25,352 --> 00:45:28,724
<i>which was the dubstep hub of Los Angeles.</i>

757
00:45:29,059 --> 00:45:31,486
<i>People crashed in there,
making tunes back there,</i>

758
00:45:31,621 --> 00:45:34,430
so many records have been made back there.

759
00:45:34,866 --> 00:45:37,465
Me and John did a couple
of songs back there.

760
00:45:37,701 --> 00:45:41,265
And it was just exciting, man.

761
00:45:51,109 --> 00:45:52,475
That's fucking good audio.

762
00:45:52,610 --> 00:45:55,679
It's more about
your aesthetic of production.

763
00:45:55,948 --> 00:45:57,516
I love old cameras.

764
00:45:57,751 --> 00:45:58,984
I love my cameras.

765
00:45:59,120 --> 00:46:01,250
The sound is just so spot on.

766
00:46:01,486 --> 00:46:03,793
This is a record that I'm mixing

767
00:46:04,228 --> 00:46:07,894
and I don't look at my music.
Some people swear by like...

768
00:46:08,029 --> 00:46:11,980
When Noisia's in the studio, they have the
spectral analyser running the whole time

769
00:46:12,064 --> 00:46:13,414
so you're seeing the music.

770
00:46:13,497 --> 00:46:15,447
You're seeing what key the kick drum is.

771
00:46:15,567 --> 00:46:18,970
And you see if it's flowing
perfectly in the sub

772
00:46:19,105 --> 00:46:20,903
or if there's a little phasing.

773
00:46:21,172 --> 00:46:25,144
I normally don't do that, but I'll send
it to Virtual Riot at the end sometimes.

774
00:46:25,912 --> 00:46:27,475
And this band, this range

775
00:46:27,611 --> 00:46:31,380
is normally on every loud bass record.

776
00:46:31,782 --> 00:46:34,485
And that's my song,
so the bass is a little higher.

777
00:46:34,620 --> 00:46:38,091
I like my shit louder,
but there's a bump right here.

778
00:46:38,858 --> 00:46:40,426
Ah, yeah.

779
00:46:40,561 --> 00:46:42,744
In between here,
then down here, the high mids,

780
00:46:42,828 --> 00:46:46,095
I just ended up boosting a little
bit of like 3K right there,

781
00:46:46,231 --> 00:46:50,081
which is normally the harsh shit you wanna
get out, but I took it out too much.

782
00:46:50,204 --> 00:46:51,854
So that's what we were just doing.

783
00:46:53,172 --> 00:46:57,647
<i>The way I was doing things and trying
to make sounds was so wrong.</i>

784
00:46:58,082 --> 00:47:01,246
<i>I first got FruityLoops
when I was 14 years old.</i>

785
00:47:01,882 --> 00:47:03,048
With the demo version,

786
00:47:03,184 --> 00:47:05,184
you'd have to finish a song completely

787
00:47:05,319 --> 00:47:07,104
and you'd render it cos you couldn't save.

788
00:47:07,188 --> 00:47:09,818
So I'd basically have to finish a song

789
00:47:09,953 --> 00:47:13,326
and I can only imagine how
insane my project files looked,

790
00:47:13,462 --> 00:47:16,225
just remembering the techniques
to get a certain sound.

791
00:47:16,828 --> 00:47:19,033
<i>I still do things
the wrong way all the time.</i>

792
00:47:19,169 --> 00:47:21,369
I'm like, "I can't get
that sound from there,

793
00:47:21,398 --> 00:47:22,933
I have to try something else."

794
00:47:23,069 --> 00:47:26,667
Sometimes less is more.

795
00:47:27,537 --> 00:47:29,038
I've got a record.

796
00:47:37,716 --> 00:47:39,954
<i>A lot of production techniques</i>

797
00:47:40,090 --> 00:47:42,551
some of the best engineers in the world

798
00:47:42,686 --> 00:47:45,126
come from bass music, like drum and bass.

799
00:47:45,261 --> 00:47:47,544
But there's a big element,
especially bass music,

800
00:47:47,628 --> 00:47:52,330
drum and bass, anything that was
a little more breaks-oriented

801
00:47:53,499 --> 00:47:55,771
comes from a more reggae sound system.

802
00:47:55,907 --> 00:47:57,823
It all comes from the reggae sound system.

803
00:47:57,907 --> 00:47:59,505
Everything comes from Jamaica.

804
00:48:01,443 --> 00:48:03,979
<i>♪ ...Rebellion, let the whole world know ♪</i>

805
00:48:04,115 --> 00:48:06,065
<i>You can see a direct parallel</i>

806
00:48:06,645 --> 00:48:11,413
between how that influenced
the UK urban music scene

807
00:48:11,883 --> 00:48:16,353
and how that was the incubator
for hip-hop in the U.S.

808
00:48:16,756 --> 00:48:21,095
<i>DJ Kool Herc in the projects in New York</i>,

809
00:48:21,230 --> 00:48:23,060
<i>he's putting up these speaker stacks</i>

810
00:48:23,195 --> 00:48:26,030
<i>and a couple of turntables, MC.</i>

811
00:48:26,165 --> 00:48:28,464
That's pure reggae sound system.

812
00:48:28,599 --> 00:48:33,072
That's where you're getting hip-hop.

813
00:48:33,374 --> 00:48:36,110
<i>That's the birth of that whole movement.</i>

814
00:48:37,209 --> 00:48:38,525
Drum and bass was the first time

815
00:48:38,609 --> 00:48:43,481
where you really had this integration

816
00:48:43,617 --> 00:48:49,418
<i>of underground
West Indian music and techno</i>

817
00:48:49,654 --> 00:48:51,719
<i>and all of these sounds coming together.</i>

818
00:48:51,855 --> 00:48:57,666
So I think that's had
a super lasting impact

819
00:48:57,801 --> 00:49:01,300
on all the genres that followed.

820
00:49:03,940 --> 00:49:06,638
I believe bass music producers

821
00:49:07,141 --> 00:49:10,842
tend to be far more technical

822
00:49:11,244 --> 00:49:14,612
than your average music writer.

823
00:49:14,748 --> 00:49:20,422
If you wanna take producing
A-level, expert production,

824
00:49:20,557 --> 00:49:23,141
drum and bass is definitely the
deep end of the swimming pool.

825
00:49:23,225 --> 00:49:25,289
It's not easy to make this music.

826
00:49:25,425 --> 00:49:27,025
It's not easy to make bass music.

827
00:49:27,090 --> 00:49:30,462
It's not easy to make people
screw their face at a sound.

828
00:49:49,483 --> 00:49:51,236
<i>We're in a cut-throat business</i>

829
00:49:51,320 --> 00:49:55,387
where we have to come up
with the next new thing.

830
00:49:56,823 --> 00:49:59,193
<i>Nobody knows what the next
new thing's gonna be</i>

831
00:49:59,328 --> 00:50:01,989
<i>so you have to create it and develop it</i>

832
00:50:02,125 --> 00:50:07,300
and you push the boundaries
of whatever is available to you.

833
00:50:08,931 --> 00:50:12,369
For example, with my Roland W30,
my first sampler,

834
00:50:12,504 --> 00:50:14,437
it had 12 seconds of sample time.

835
00:50:14,573 --> 00:50:16,940
You only had 13 seconds to sample.

836
00:50:17,075 --> 00:50:18,077
14 seconds.

837
00:50:18,212 --> 00:50:20,344
Had 11.5 seconds sampling time.

838
00:50:20,747 --> 00:50:23,786
So imagine trying to make
a four-minute, five-minute record.

839
00:50:24,055 --> 00:50:26,620
And you have a total of 12 seconds.

840
00:50:46,272 --> 00:50:47,804
We would take a sampler

841
00:50:47,940 --> 00:50:50,707
and we would use it for
something they hadn't intended.

842
00:50:50,843 --> 00:50:53,407
So we were taking shit
and turning it, spinning it,

843
00:50:53,543 --> 00:50:54,843
chopping up and dicing it.

844
00:50:54,911 --> 00:50:57,286
Programmes like Recycle,
when that came up,

845
00:50:57,421 --> 00:51:00,456
<i>which would chop beats
into little fragments</i>

846
00:51:00,591 --> 00:51:03,525
<i>in order to speed them up
without changing the pitch.</i>

847
00:51:03,927 --> 00:51:05,655
<i>We would do that stuff manually.</i>

848
00:51:06,724 --> 00:51:10,129
What if I just get a sound going

849
00:51:10,264 --> 00:51:12,229
on a microphone.

850
00:51:12,364 --> 00:51:14,136
And put them on a keyboard.

851
00:51:14,271 --> 00:51:16,421
Stretch them over ten keys,
ten keys, ten keys.

852
00:51:16,500 --> 00:51:17,899
Play them fast in a row

853
00:51:18,034 --> 00:51:20,438
and then you can change
the tempo on something.

854
00:51:21,107 --> 00:51:25,107
We pushed the agenda for the people
making the technology sometimes.

855
00:51:41,225 --> 00:51:44,363
It was expensive back then.
It was a real barrier to entry.

856
00:51:44,499 --> 00:51:48,165
You couldn't just download some software.

857
00:51:48,301 --> 00:51:49,401
<i>There was no internet.</i>

858
00:51:49,868 --> 00:51:52,841
It's different now
cos you think about dubstep

859
00:51:52,976 --> 00:51:54,375
and they have sample packs.

860
00:51:54,510 --> 00:51:56,722
It's like, "Here you go.
Make a track with these noises."

861
00:51:56,806 --> 00:52:01,046
<i>Lots of people didn't like it
when I put out a sample pack.</i>

862
00:52:01,182 --> 00:52:02,547
<i>And I just did it again</i>

863
00:52:02,682 --> 00:52:04,780
<i>and there's been mild backlash again.</i>

864
00:52:04,915 --> 00:52:06,766
Like: "Everything's gonna sound the same

865
00:52:06,850 --> 00:52:08,924
now everyone has these secret sounds."

866
00:52:09,059 --> 00:52:10,709
Technology's everything, remember.

867
00:52:10,759 --> 00:52:14,555
Technology is the guitar string,
technology is the guitar amp,

868
00:52:14,690 --> 00:52:16,495
technology is the recording.

869
00:52:16,631 --> 00:52:18,243
<i>There's always been technology there</i>

870
00:52:18,327 --> 00:52:21,263
<i>but it's just more accessible,
cheaper technology.</i>

871
00:52:27,139 --> 00:52:31,277
It just comes from the roll off
of this view, it's too strong,

872
00:52:31,413 --> 00:52:33,611
and the movement is the important part.

873
00:52:37,553 --> 00:52:41,751
The producers nowadays,
the shit they can do

874
00:52:42,785 --> 00:52:45,358
<i>the way they can get sounds,</i>

875
00:52:45,693 --> 00:52:51,800
the fidelity and nature of
the production techniques

876
00:52:51,935 --> 00:52:53,235
are on another planet.

877
00:52:56,538 --> 00:52:58,050
<i>It's an unsung hero,</i>

878
00:52:58,134 --> 00:53:00,341
<i>the production levels of our musics.</i>

879
00:53:00,476 --> 00:53:02,603
<i>But I think it's being that unsung hero</i>

880
00:53:02,972 --> 00:53:06,346
that keeps it in the underground,

881
00:53:06,481 --> 00:53:08,095
keeps it a culture, keeps it moving

882
00:53:08,179 --> 00:53:10,879
<i>when all these accolades
fall down, when they all stop.</i>

883
00:53:10,947 --> 00:53:14,884
<i>We all know that the levels of production
in dance music are through the roof</i>

884
00:53:15,019 --> 00:53:17,688
and have always been getting
better and better.

885
00:53:18,623 --> 00:53:20,321
And that's all we need to know.

886
00:54:02,101 --> 00:54:05,706
I remember I played with Benga
at the Apollo in Manchester,

887
00:54:06,008 --> 00:54:09,544
I played right after him and he dropped
his last tune before I went on.

888
00:54:09,679 --> 00:54:12,279
And I just grabbed him and
I was like, "What's this?"

889
00:54:12,545 --> 00:54:14,045
He was, "Ah, new Skream tune."

890
00:54:14,277 --> 00:54:16,785
<i>The forums the next day were buzzing.</i>

891
00:54:16,920 --> 00:54:18,386
<i>Like going mad.</i>

892
00:54:29,965 --> 00:54:32,301
<i>When I first heard a vocal dubstep tune</i>

893
00:54:32,436 --> 00:54:34,630
it was kind of like,
"This can cross over."

894
00:54:34,765 --> 00:54:36,735
Like really cross over, though.

895
00:54:36,937 --> 00:54:41,635
It was the La Roux x Skream
remix, "In For The Kill".

896
00:54:41,771 --> 00:54:43,474
A remix of the La Roux.

897
00:54:43,609 --> 00:54:45,343
It crossed over with that song.

898
00:54:45,478 --> 00:54:47,410
This thing is fucking cool.

899
00:54:47,545 --> 00:54:49,118
Now that is fucking good.

900
00:54:49,253 --> 00:54:52,013
<i>♪ Leave them out too long ♪</i>

901
00:54:53,122 --> 00:54:54,683
♪ <i>Ooh ♪</i>

902
00:54:54,818 --> 00:54:58,794
<i>♪ I'm hoping you'll understand ♪</i>

903
00:54:59,229 --> 00:55:01,255
<i>♪ And don't let go of my hand ♪</i>

904
00:55:01,390 --> 00:55:05,697
♪ <i>They say we can love
Who we trust ♪</i>

905
00:55:07,799 --> 00:55:09,997
<i>♪ We can fight our desires ♪</i>

906
00:55:10,132 --> 00:55:12,741
♪ <i>And don't let go of my hand ♪</i>

907
00:55:16,041 --> 00:55:19,247
We used to be on AIM,
all the dubstep community.

908
00:55:19,383 --> 00:55:21,083
Everyone had AOL Instant Messenger.

909
00:55:21,179 --> 00:55:23,429
<i>The great thing about
AOL Instant Messenger is</i>

910
00:55:23,482 --> 00:55:26,751
you don't have to be friends with
someone to send them a message.

911
00:55:26,887 --> 00:55:29,049
Mind if I send you some stuff
via AIM? Cool.

912
00:55:29,785 --> 00:55:33,795
The first thing I started doing was
sending to some of the people I knew.

913
00:55:34,097 --> 00:55:35,759
And so I sent it to John

914
00:55:36,028 --> 00:55:40,235
and I believe he hooked me up
with Borgore.

915
00:55:40,637 --> 00:55:44,703
I remember one day
this kid hits me up: Skrillex.

916
00:55:45,206 --> 00:55:46,372
Flux Pavilion.

917
00:55:46,507 --> 00:55:48,370
I went to speak to Sonny on there.

918
00:55:48,672 --> 00:55:49,872
I remember he sent me...

919
00:55:49,974 --> 00:55:52,244
This record that was called "FM8".

920
00:55:52,379 --> 00:55:54,208
It was called "FM8 Test".

921
00:55:54,343 --> 00:55:57,981
Because he made the record
with the synth FM8.

922
00:55:58,116 --> 00:56:01,119
And all he said was,
"What do you think of this?"

923
00:56:01,621 --> 00:56:04,822
And I was like, "What is this?"

924
00:56:06,061 --> 00:56:07,527
"What the fuck?"

925
00:56:07,663 --> 00:56:10,092
I was sitting there for a month or two

926
00:56:10,227 --> 00:56:13,565
trying to figure out the sound
on this record.

927
00:56:13,834 --> 00:56:18,034
And I was just like,
"This is totally unique."

928
00:56:18,237 --> 00:56:23,208
I remember it struck me as
not the dubstep that I knew.

929
00:56:23,343 --> 00:56:25,313
And that was later

930
00:56:25,449 --> 00:56:27,209
"Scary Monsters And Nice Sprites".

931
00:56:27,345 --> 00:56:32,951
And I remember sending a message
like, "Yeah, it's alright."

932
00:56:45,436 --> 00:56:47,161
The internet's horrible for music.

933
00:56:47,296 --> 00:56:51,707
It's like...
Fuck, that's a tough one.

934
00:56:52,076 --> 00:56:53,940
Yeah, that's loaded.

935
00:56:54,075 --> 00:56:58,474
The internet's, I dunno, it's
a double-edged sword, innit?

936
00:56:58,610 --> 00:57:00,315
The internet, yeah.

937
00:57:00,784 --> 00:57:02,836
It's a funny question.
It can go both ways, I think.

938
00:57:02,920 --> 00:57:05,548
<i>I think the internet in terms of music</i>,

939
00:57:05,684 --> 00:57:07,283
it accelerates everything.

940
00:57:07,518 --> 00:57:08,820
Good or bad.

941
00:57:09,055 --> 00:57:11,957
And it's a product of who we are
and what we put into it.

942
00:57:21,237 --> 00:57:25,098
I think to say the internet's bad for
it is kind of living in the past.

943
00:57:25,234 --> 00:57:27,971
It's been bad in the fact that...

944
00:57:28,741 --> 00:57:31,944
Music is almost seen, I think,

945
00:57:32,079 --> 00:57:34,779
<i>by the younger generation
as more throwaway.</i>

946
00:57:35,048 --> 00:57:37,645
An instant doesn't have
much shelf life anymore.

947
00:57:38,214 --> 00:57:40,049
It feels like it's very in and out.

948
00:57:40,185 --> 00:57:45,489
We probably consume more music
and entertainment

949
00:57:45,858 --> 00:57:47,990
than at any point in human history.

950
00:57:48,225 --> 00:57:54,168
ITunes has systematically
destroyed album culture.

951
00:57:54,304 --> 00:57:56,163
<i>It's destroyed the need</i>

952
00:57:56,465 --> 00:57:59,467
<i>to go and spend your money on the artist.</i>

953
00:57:59,603 --> 00:58:02,303
<i>People were just
downloading, file-sharing.</i>

954
00:58:02,505 --> 00:58:04,225
<i>You didn't need to buy a compilation album</i>

955
00:58:04,309 --> 00:58:06,464
because they're picking
a track here, a track there

956
00:58:06,548 --> 00:58:08,098
and making their own playlists.

957
00:58:08,215 --> 00:58:12,020
<i>So that business absolutely
dropped off completely.</i>

958
00:58:12,355 --> 00:58:15,555
<i>I think other things like SoundCloud
and stuff like that,</i>

959
00:58:15,622 --> 00:58:20,455
I think, really changed the way,

960
00:58:20,590 --> 00:58:23,859
that's a music business thing,
the way music's listened to

961
00:58:23,994 --> 00:58:25,765
<i>and the way music's shared,</i>

962
00:58:25,900 --> 00:58:28,670
<i>and the amount of music and the quality.</i>

963
00:58:29,206 --> 00:58:31,785
The quality bar, I think,
has dropped through things like sound hub.

964
00:58:31,869 --> 00:58:33,269
You could sit there and say,

965
00:58:33,403 --> 00:58:36,370
"I don't like the way Spotify
and Pandora pay us

966
00:58:36,506 --> 00:58:40,545
with 0.05 fucking percent
of a whatever the fuck that is."

967
00:58:41,114 --> 00:58:44,381
"But look at the amount
of views I'm getting."

968
00:58:53,697 --> 00:58:57,491
You were only hearing what you were fed.

969
00:58:57,827 --> 00:59:04,405
<i>The major labels, radio, MTV
really had control of things.</i>

970
00:59:04,541 --> 00:59:06,602
Now we can choose what we listen to

971
00:59:06,738 --> 00:59:08,472
at any given moment.

972
00:59:09,342 --> 00:59:11,726
<i>And not only what we listen to,
but how we put it out</i>

973
00:59:11,810 --> 00:59:13,443
<i>and who listens to it.</i>

974
00:59:13,578 --> 00:59:15,261
<i>You can get your
music to someone now easily.</i>

975
00:59:15,345 --> 00:59:17,582
You can get your music to a label easily.

976
00:59:18,018 --> 00:59:20,151
As in the old days, it was who you know.

977
00:59:20,287 --> 00:59:24,251
You can literally see careers
made off the internet now.

978
00:59:24,386 --> 00:59:26,176
I owe a lot of my career to the internet

979
00:59:26,260 --> 00:59:29,362
because without MySpace
and YouTube and all that stuff

980
00:59:29,498 --> 00:59:30,864
I'd never be where I am

981
00:59:30,999 --> 00:59:35,270
cos I sent all my records
to Dub Police and Hench

982
00:59:35,406 --> 00:59:37,505
and Boka and all these labels

983
00:59:37,641 --> 00:59:40,073
and no one responded.
So...

984
00:59:40,208 --> 00:59:42,756
If you're going on the internet
and put in creative energy

985
00:59:42,840 --> 00:59:44,173
and sharing your music

986
00:59:44,309 --> 00:59:46,647
that you'd never have
the opportunity to do

987
00:59:46,782 --> 00:59:48,950
unless you were signed to a major label,

988
00:59:49,352 --> 00:59:50,819
that's a net positive.

989
00:59:50,954 --> 00:59:53,454
And the more people
who are putting good out there,

990
00:59:53,522 --> 00:59:54,767
the internet will be great.

991
01:00:04,996 --> 01:00:06,228
<i>♪ Hit 'em with that ♪</i>

992
01:00:08,135 --> 01:00:10,704
<i>I still to this day say that dubstep</i>

993
01:00:10,839 --> 01:00:13,468
was the first internet-based genre.

994
01:00:14,538 --> 01:00:18,045
And I think dubstep
and the internet blew together.

995
01:00:18,347 --> 01:00:23,047
It was the perfect timing for the
music just to spread and blow up.

996
01:00:26,753 --> 01:00:28,084
If it wasn't for forums

997
01:00:28,220 --> 01:00:30,525
and people ripping sets and uploading.

998
01:00:30,661 --> 01:00:32,855
With MySpace and Twitter and YouTube.

999
01:00:32,990 --> 01:00:36,178
<i>Other genres of music didn't
come up that fast in America.</i>

1000
01:00:36,262 --> 01:00:41,503
It took years for even
house music to blow up.

1001
01:00:41,772 --> 01:00:45,636
Whereas dubstep,
the way it blew up so fast

1002
01:00:45,772 --> 01:00:47,171
because of online hype,

1003
01:00:47,306 --> 01:00:50,677
that's probably how every
future genre that blows up

1004
01:00:50,813 --> 01:00:52,663
it's gonna happen that exact same way.

1005
01:00:52,709 --> 01:00:59,117
And that's kind of why dubstep
ramped up in 3-4 years,

1006
01:00:59,252 --> 01:01:01,684
what drum and bass tried to do
in 15-20 years.

1007
01:01:02,086 --> 01:01:05,590
<i>I think the biggest difference
between jungle and dubstep,</i>

1008
01:01:05,726 --> 01:01:06,992
<i>like what Caspa said,</i>

1009
01:01:07,127 --> 01:01:10,160
dubstep took three years
to change the world,

1010
01:01:10,295 --> 01:01:12,084
where drum and bass had tried for years.

1011
01:01:12,168 --> 01:01:15,118
I think it was in that moment of
renaissance we were experiencing

1012
01:01:15,202 --> 01:01:18,003
with the internet,
with digital audio workstations,

1013
01:01:18,138 --> 01:01:20,440
Ableton Live, FruityLoops,
all these things,

1014
01:01:20,575 --> 01:01:21,625
all at the same time.

1015
01:01:21,740 --> 01:01:22,772
YouTube, boom!

1016
01:01:22,907 --> 01:01:24,679
It was like new energy

1017
01:01:24,814 --> 01:01:26,826
and we all had it
in the palm of our hands.

1018
01:01:45,898 --> 01:01:47,097
The internet to dubstep

1019
01:01:47,232 --> 01:01:50,706
was what pirate radio was
to drum and bass.

1020
01:01:50,841 --> 01:01:52,755
Pirate radio
was our version of the internet.

1021
01:01:52,839 --> 01:01:54,138
That was my SoundCloud.

1022
01:01:54,273 --> 01:01:56,404
That was my internet, was the radio waves.

1023
01:01:56,540 --> 01:02:00,344
Pirate radio, still,
I was obsessed with it.

1024
01:02:00,480 --> 01:02:03,449
Pirate radio was the only place
you could hear music,

1025
01:02:03,584 --> 01:02:04,650
<i>proper music.</i>

1026
01:02:04,986 --> 01:02:06,333
Tell you what, allow the football talk.

1027
01:02:06,417 --> 01:02:08,204
We're all gonna fall out
and have a rubble.

1028
01:02:08,288 --> 01:02:09,876
<i>♪ There's too many men, too many men ♪</i>

1029
01:02:09,960 --> 01:02:11,407
<i>♪ Too many men, inside the house ♪</i>

1030
01:02:11,491 --> 01:02:12,390
Trust me.

1031
01:02:19,901 --> 01:02:23,284
People were tired of not hearing the music
they wanted to hear on the radio over here.

1032
01:02:23,368 --> 01:02:27,275
Some whizz kid, electronics enthusiasts

1033
01:02:27,578 --> 01:02:29,239
started building transmitters.

1034
01:02:32,714 --> 01:02:35,065
<i>That's the hardest part
of setting up a radio station</i>

1035
01:02:35,149 --> 01:02:36,949
is, "Where do you get a transmitter?"

1036
01:02:37,113 --> 01:02:39,237
We happened to have a guy in the class
that could build one for us.

1037
01:02:39,321 --> 01:02:42,749
And it was a bunch of kids
in some block of flats somewhere

1038
01:02:42,885 --> 01:02:46,058
who figured out how to use
an antenna and all this stuff.

1039
01:02:47,227 --> 01:02:49,156
<i>This is a test transmission.</i>

1040
01:02:49,358 --> 01:02:51,295
<i>Coming soon on this frequency,</i>

1041
01:02:51,430 --> 01:02:56,136
<i>London's brand-new station
Flex 101.4FM.</i>

1042
01:02:56,939 --> 01:02:58,386
<i>You're putting the aerial up</i>

1043
01:02:58,470 --> 01:03:00,420
<i>and you're basically trying to piggyback</i>

1044
01:03:00,440 --> 01:03:03,023
off other radio stations
that have a legitimate licence

1045
01:03:03,107 --> 01:03:04,912
of which there were three.

1046
01:03:07,379 --> 01:03:09,164
"We want our own radio station",
is the attitude.

1047
01:03:09,248 --> 01:03:10,836
"We're gonna put the music out there."

1048
01:03:10,920 --> 01:03:14,082
Pirate radio was the essential way

1049
01:03:14,218 --> 01:03:15,818
to find out what was going on.

1050
01:03:18,159 --> 01:03:20,422
Happy old-school Sundays, guys and dolls.

1051
01:03:22,758 --> 01:03:25,129
<i>Do the first few shows, set them up,</i>

1052
01:03:25,765 --> 01:03:29,095
read it out on the station,
"Everyone go down to this venue."

1053
01:03:29,231 --> 01:03:30,564
They would tell you

1054
01:03:30,966 --> 01:03:33,916
exactly what was going on where,
what time, who was playing.

1055
01:03:34,010 --> 01:03:36,311
It reached out to so many different people

1056
01:03:36,446 --> 01:03:39,573
and dragged people in who didn't
even know this music existed.

1057
01:03:42,684 --> 01:03:46,118
<i>All the ones that I knew
and had anything to do with</i>

1058
01:03:46,254 --> 01:03:49,250
<i>would generally be an abandoned flat</i>

1059
01:03:49,853 --> 01:03:53,390
<i>in a tower block, you know,
government housing.</i>

1060
01:03:53,526 --> 01:03:56,931
What we call a block of flats
on a council estate.

1061
01:03:59,201 --> 01:04:02,262
Just imagine you're going up
a flight of stairs

1062
01:04:02,397 --> 01:04:04,172
in a 20-storey tower block.

1063
01:04:04,307 --> 01:04:07,157
Knocking on the door, like
a little shutter, "Who's that?"

1064
01:04:07,274 --> 01:04:09,360
In some of them,
you go through a secret door

1065
01:04:09,444 --> 01:04:11,913
<i>through a cupboard,
then you're in the studio.</i>

1066
01:04:13,247 --> 01:04:15,133
<i>There'd be nothing in that flat</i>

1067
01:04:15,217 --> 01:04:19,250
except for a pair of
Technic 1200s and a mixer.

1068
01:04:21,156 --> 01:04:22,669
It'd have all the setup to play the music

1069
01:04:22,753 --> 01:04:24,809
and that was it, that was all
that was in the flat.

1070
01:04:24,893 --> 01:04:27,059
It'd most probably be smelly.

1071
01:04:27,462 --> 01:04:29,977
Empty crisp packets and
coke cans all round the place.

1072
01:04:30,061 --> 01:04:31,598
Stinks of smoke, stinks.

1073
01:04:31,734 --> 01:04:33,200
Cockroaches everywhere.

1074
01:04:33,335 --> 01:04:36,003
And you don't even want
to put your record bag down

1075
01:04:36,138 --> 01:04:39,468
and, you know, just totally falling apart.

1076
01:04:47,080 --> 01:04:48,228
<i>I used to love it.</i>

1077
01:04:48,312 --> 01:04:50,110
I'd play four in the morning till six.

1078
01:04:50,246 --> 01:04:53,396
Any message, whether it'd be one
or three: "Someone's listening!"

1079
01:04:53,485 --> 01:04:55,356
<i>You'd just be there playing tunes.</i>

1080
01:04:55,491 --> 01:04:57,940
<i>You didn't think any minute
the door would come through.</i>

1081
01:04:58,024 --> 01:04:59,388
The only thing about it

1082
01:04:59,524 --> 01:05:01,656
is that you had to hide from the DTI.

1083
01:05:01,791 --> 01:05:04,531
Someone has to watch
for this van with an aerial,

1084
01:05:04,667 --> 01:05:06,100
and that was my job.

1085
01:05:06,236 --> 01:05:08,147
You have to watch for this van,
and if you see it,

1086
01:05:08,231 --> 01:05:09,664
you're like, "DTI!"

1087
01:05:09,900 --> 01:05:12,388
You're running up the stairs
and you've gotta grab the aerial

1088
01:05:12,472 --> 01:05:14,437
<i>cos that's the thing that costs money.</i>

1089
01:05:35,827 --> 01:05:39,099
<i>For me, pirate radio
stations are a big part</i>

1090
01:05:39,235 --> 01:05:43,571
of the development
of rave music from the UK.

1091
01:05:43,940 --> 01:05:45,640
There wouldn't be what there is now

1092
01:05:45,774 --> 01:05:47,708
on a full open page

1093
01:05:47,843 --> 01:05:52,914
for whether it be drum and bass, jungle,
anything, if it wasn't for pirate radio,

1094
01:05:53,049 --> 01:05:54,461
cos somebody needed to take a risk.

1095
01:05:54,545 --> 01:05:57,748
Pirate radio, right, was a revolution.

1096
01:05:57,884 --> 01:05:58,814
It was evolution.

1097
01:06:06,496 --> 01:06:09,525
<i>Take it on the chin,
son. Pick yourself up. Bosh.</i>

1098
01:06:10,359 --> 01:06:12,793
This is groundworks.

1099
01:06:13,496 --> 01:06:15,497
You want something right now?

1100
01:06:15,699 --> 01:06:19,873
That building right there, so, yeah, 2010,

1101
01:06:20,242 --> 01:06:22,235
in that second window from the right,

1102
01:06:22,971 --> 01:06:25,573
that's where I did "Scary
Monsters and Nice Sprites"

1103
01:06:25,708 --> 01:06:30,782
and lived, actually, from 2009-2010.

1104
01:06:30,984 --> 01:06:32,112
In the Arts District.

1105
01:06:32,347 --> 01:06:34,154
<i>So, here it is.</i>

1106
01:06:35,556 --> 01:06:38,354
You have to think about
the whole lead up to that sound.

1107
01:06:38,590 --> 01:06:40,927
It was like when we started with Skream

1108
01:06:41,262 --> 01:06:43,193
and you go into maybe like Doctor P

1109
01:06:43,328 --> 01:06:44,999
and Flux and all of that stuff.

1110
01:06:45,134 --> 01:06:47,328
It was the second wave of dubstep for me

1111
01:06:47,463 --> 01:06:49,101
that got me really excited.

1112
01:06:49,303 --> 01:06:52,206
With the likes of Flux Pavilion,
Doctor P.

1113
01:06:52,508 --> 01:06:55,086
I try and make wobbly music
and always do it really badly.

1114
01:06:55,170 --> 01:06:57,592
To the point that Doctor P,
who was doing drum and bass

1115
01:06:57,676 --> 01:07:01,213
was just like, "Just stop.
Just stop doing it."

1116
01:07:01,348 --> 01:07:03,181
Then I heard dubstep and I was like,

1117
01:07:03,650 --> 01:07:07,354
"Shit, if I just slow down
all my songs to 140BPM,

1118
01:07:08,124 --> 01:07:09,701
that's it,
I was writing it anyway."

1119
01:07:09,785 --> 01:07:13,226
Flux played me "Cockney Thug" by Rusko.

1120
01:07:15,726 --> 01:07:17,826
<i>Straight away, hearing that tune</i>

1121
01:07:17,895 --> 01:07:21,599
opened up potential to me
for what dubstep could become.

1122
01:07:27,205 --> 01:07:30,711
So, within a couple of weeks of hearing
dubstep for the first time

1123
01:07:30,846 --> 01:07:32,046
I started writing it.

1124
01:07:32,181 --> 01:07:34,081
It was just an immediate: "This is it."

1125
01:07:34,113 --> 01:07:35,380
"This is the music."

1126
01:07:35,515 --> 01:07:37,415
It was like Croydon being reborn again.

1127
01:07:37,551 --> 01:07:41,321
Flux and Doctor P playing
right before Diplo at EDC

1128
01:07:41,456 --> 01:07:43,724
<i>was a huge moment,
not only for bass music,</i>

1129
01:07:43,860 --> 01:07:44,958
<i>but for dance music.</i>

1130
01:07:45,093 --> 01:07:48,895
<i>The place was going bananas</i>

1131
01:07:49,031 --> 01:07:52,563
<i>and people had never heard</i>

1132
01:07:52,698 --> 01:07:55,136
<i>a lot of the music they were dropping.</i>

1133
01:07:56,338 --> 01:07:59,035
Moments like that
contributed to dance music

1134
01:07:59,270 --> 01:08:00,600
blowing up in America.

1135
01:08:00,869 --> 01:08:03,473
And just created this most amazing music

1136
01:08:03,609 --> 01:08:05,742
and just turned everything on its head.

1137
01:08:05,877 --> 01:08:09,780
And then Skrillex was like
another level of insanity.

1138
01:08:18,755 --> 01:08:21,560
I was a big supporter of Skrillex.

1139
01:08:21,696 --> 01:08:24,208
I like Skrillex. I thought
his production was unbelievable.

1140
01:08:24,292 --> 01:08:27,261
Sonny's one of the hardest-
working people I've ever met.

1141
01:08:27,396 --> 01:08:28,697
I think he's...

1142
01:08:28,832 --> 01:08:31,733
The most important person
in electronic music

1143
01:08:33,335 --> 01:08:34,776
since the 2000s.

1144
01:08:34,911 --> 01:08:40,742
He basically took the punk:

1145
01:08:41,512 --> 01:08:45,484
<i>"I don't give a fuck, I'm doing
whatever I want" wild attitude</i>

1146
01:08:45,886 --> 01:08:47,388
to everyone.

1147
01:08:47,524 --> 01:08:51,620
And I think it was just
exactly what the American rave

1148
01:08:51,756 --> 01:08:54,089
and music crowd in general was craving.

1149
01:08:57,461 --> 01:08:58,661
<i>♪ Bangarang ♪</i>

1150
01:09:01,971 --> 01:09:03,237
♪ <i>You feel the ♪</i>

1151
01:09:06,272 --> 01:09:07,538
<i>♪ Bangarang ♪</i>

1152
01:09:07,706 --> 01:09:09,839
The sound really resonated with those kids

1153
01:09:09,975 --> 01:09:12,577
<i>and the kids who didn't want
to be so mainstream</i>

1154
01:09:12,712 --> 01:09:14,912
<i>all of a sudden,
they had an alternative now.</i>

1155
01:09:15,077 --> 01:09:18,917
Well, he stood out to me
because he was from America

1156
01:09:19,286 --> 01:09:20,915
<i>and he had a different swagger</i>

1157
01:09:21,050 --> 01:09:23,552
<i>than everyone else that was doing dubstep.</i>

1158
01:09:23,688 --> 01:09:26,020
Someone coming from rock and roll

1159
01:09:26,155 --> 01:09:29,996
and then diving into dance music
on a level that he did.

1160
01:09:30,932 --> 01:09:33,385
<i>When Skrillex stepped up, it was like,</i>

1161
01:09:33,469 --> 01:09:35,862
"I'm gonna do what I'm doing",
kind of thing.

1162
01:09:36,197 --> 01:09:39,671
That became the start
of the DJ rock star phase.

1163
01:09:39,807 --> 01:09:41,619
<i>♪ Shout to all my lost boys, we rowdy ♪</i>

1164
01:09:41,703 --> 01:09:43,110
Skrillex has got the talent

1165
01:09:43,246 --> 01:09:45,440
and the amazing production levels,

1166
01:09:45,576 --> 01:09:47,642
and also he's a fucking star.

1167
01:09:47,778 --> 01:09:50,552
One of the most talented producers

1168
01:09:50,987 --> 01:09:53,184
that we've seen from bass music.

1169
01:09:53,686 --> 01:09:57,888
You know, you can't deny
the guy's work ethic,

1170
01:09:58,391 --> 01:10:00,557
<i>dedication to making sure</i>

1171
01:10:00,693 --> 01:10:03,462
that he's the best he can possibly be.

1172
01:10:08,103 --> 01:10:10,130
This kid is phenomenal.

1173
01:10:10,666 --> 01:10:12,173
<i>He was the best producer</i>

1174
01:10:12,475 --> 01:10:14,669
<i>and then everyone was laughing at him</i>

1175
01:10:15,072 --> 01:10:17,638
<i>for DJing on Ableton instead of CDJs</i>,

1176
01:10:18,107 --> 01:10:20,311
<i>and then he became the best fucking DJ.</i>

1177
01:10:20,647 --> 01:10:22,812
He's like, "Oh, you guys
are laughing at me

1178
01:10:22,947 --> 01:10:25,649
for not being able
to use Pioneers. Fuck y'all."

1179
01:10:26,648 --> 01:10:28,620
He took the top spot.

1180
01:10:29,289 --> 01:10:30,951
He took the number one spot.

1181
01:10:31,420 --> 01:10:33,459
For forever.

1182
01:10:34,528 --> 01:10:36,091
<i>♪ Shout to all my lost boys ♪</i>

1183
01:10:36,226 --> 01:10:37,983
<i>♪ Sh-sh-sh-sh-sh,
shout to all my lost boys ♪</i>

1184
01:10:38,067 --> 01:10:39,300
<i>♪ Bangarang ♪</i>

1185
01:10:42,834 --> 01:10:44,289
<i>One week it was me,</i>

1186
01:10:44,373 --> 01:10:46,173
I could have the number one track.

1187
01:10:46,342 --> 01:10:47,942
The next week it could be Skream.

1188
01:10:47,974 --> 01:10:50,424
<i>And then you could have
Caspa and Rusko, Doctor P,</i>

1189
01:10:50,440 --> 01:10:51,439
<i>Excision.</i>

1190
01:10:52,142 --> 01:10:55,547
Every week, someone could
come out with that new banger.

1191
01:10:55,682 --> 01:10:57,683
<i>And that could take the scene by storm</i>

1192
01:10:57,818 --> 01:11:00,221
<i>and be the guy
that everyone's talking about.</i>

1193
01:11:00,390 --> 01:11:01,836
And you could lose it just as quickly <i>,</i>

1194
01:11:01,920 --> 01:11:04,220
as soon as someone else
makes that next banger.

1195
01:11:04,558 --> 01:11:07,258
What Sonny did when he stepped up

1196
01:11:07,394 --> 01:11:10,261
<i>he took that so far away,</i>

1197
01:11:10,397 --> 01:11:13,332
from that kid in the bedroom.

1198
01:11:13,468 --> 01:11:15,764
It started off that number one spot

1199
01:11:15,899 --> 01:11:18,033
was accessible to the kid in the bedroom

1200
01:11:18,169 --> 01:11:22,307
<i>and I feel like he expanded
what was possible</i>

1201
01:11:22,576 --> 01:11:25,109
as an electronic music producer, as a DJ,

1202
01:11:25,311 --> 01:11:26,844
so quickly and so far

1203
01:11:27,080 --> 01:11:30,816
that it made it really hard for
anyone to catch up, basically.

1204
01:11:32,253 --> 01:11:35,616
He was doing something that no one
could compare him to at the time,

1205
01:11:35,752 --> 01:11:37,720
and people don't like change,

1206
01:11:37,855 --> 01:11:39,511
they don't like something different,

1207
01:11:39,595 --> 01:11:42,157
they don't like something new
until they do.

1208
01:11:42,960 --> 01:11:44,811
Then, from that,
everyone's like, "Oh, crap.

1209
01:11:44,895 --> 01:11:46,351
Now we need to sound like this."

1210
01:11:46,435 --> 01:11:48,285
Then the bar was exponentially raised.

1211
01:11:48,798 --> 01:11:52,638
<i>Even though the word Skrillex
was pissing me off at the time,</i>

1212
01:11:52,774 --> 01:11:54,773
<i>I was like, "Yo, we know this guy's sick,</i>

1213
01:11:54,774 --> 01:11:56,409
<i>but we don't have to mention it."</i>

1214
01:11:56,544 --> 01:11:59,347
I was hearing his name 20 times a day

1215
01:11:59,482 --> 01:12:01,432
and I was in a different city every day.

1216
01:12:01,516 --> 01:12:04,846
Too many people just followed suit.

1217
01:12:04,981 --> 01:12:07,751
The problem was it was the domino effect

1218
01:12:07,887 --> 01:12:09,637
<i>of everyone trying to sound like him</i>

1219
01:12:09,757 --> 01:12:11,953
<i>and I think that's what ruined everything.</i>

1220
01:12:12,088 --> 01:12:14,427
It wasn't necessarily him
or a certain sound

1221
01:12:14,563 --> 01:12:15,842
cos no one else was doing that sound.

1222
01:12:15,926 --> 01:12:17,626
It was everyone else who copied it.

1223
01:12:17,694 --> 01:12:19,266
When it went to America

1224
01:12:19,568 --> 01:12:21,884
and people like Skrillex
took it to another level,

1225
01:12:21,968 --> 01:12:25,170
I think it's a good thing
because things have to evolve.

1226
01:12:25,306 --> 01:12:26,738
Things have to move on.

1227
01:12:26,874 --> 01:12:28,690
As somebody who puts something
out in the public domain

1228
01:12:28,774 --> 01:12:30,511
for people to enjoy and listen to,

1229
01:12:30,647 --> 01:12:32,698
<i>you've got to understand
that people are gonna</i>

1230
01:12:32,782 --> 01:12:35,126
<i>take it, twist it, manipulate it
and make it their own.</i>

1231
01:12:35,210 --> 01:12:37,251
That's what we do.
That's what we did.

1232
01:12:37,386 --> 01:12:39,946
We'd always strive to get the sound

1233
01:12:40,082 --> 01:12:41,932
as big and spread as wide as possible,

1234
01:12:42,056 --> 01:12:45,106
so I could never understand why
people were so angry about it.

1235
01:12:45,126 --> 01:12:49,458
I weren't angry about it. I was like,
"Fair play." We did it to garage.

1236
01:12:49,627 --> 01:12:53,731
I get it, man. There was a moment where
you'd turn on a Target commercial

1237
01:12:53,866 --> 01:12:56,197
and I remember seeing a fake "Bangarang".

1238
01:12:57,133 --> 01:12:58,899
<i>Dubstep changed everything.</i>

1239
01:12:59,201 --> 01:13:02,169
It wasn't pop music, it changed everything

1240
01:13:02,304 --> 01:13:04,374
<i>and this is what people don't comprehend.</i>

1241
01:13:04,510 --> 01:13:05,912
<i>It changed everything.</i>

1242
01:13:06,381 --> 01:13:08,044
Just the sound was everywhere.

1243
01:13:08,180 --> 01:13:11,751
Just like you see anything,
like anything that blows up.

1244
01:13:11,886 --> 01:13:16,253
It changed daytime radio,
it changed festival line-ups.

1245
01:13:16,522 --> 01:13:17,622
<i>It changed everything.</i>

1246
01:13:17,755 --> 01:13:20,055
<i>We went from room three to room one.</i>

1247
01:13:20,190 --> 01:13:23,024
And then what was in room one
was now in room three.

1248
01:13:27,968 --> 01:13:30,230
<i>By the music being propped up</i>

1249
01:13:30,365 --> 01:13:34,072
all the people that were
sniffing out money and fame

1250
01:13:34,340 --> 01:13:35,741
kind of went to it

1251
01:13:35,876 --> 01:13:38,426
and started writing music
that sounded like dubstep,

1252
01:13:38,675 --> 01:13:39,758
but didn't feel like it.

1253
01:13:39,842 --> 01:13:42,009
It just flipped the script.

1254
01:13:42,178 --> 01:13:44,683
That's why I think
everyone got sick of it.

1255
01:13:44,818 --> 01:13:47,654
Listen, attention now.
It all sound sick.

1256
01:13:47,823 --> 01:13:51,989
Level of production, bass noise,
manipulation, mix down

1257
01:13:52,125 --> 01:13:53,252
banging!

1258
01:13:53,454 --> 01:13:55,694
<i>I probably couldn't tell you
who wrote what.</i>

1259
01:13:57,628 --> 01:13:59,161
The cyclone happens

1260
01:13:59,297 --> 01:14:00,783
and there's all these things
that are important in the centre

1261
01:14:00,867 --> 01:14:02,480
and all this other shit gets swept in

1262
01:14:02,564 --> 01:14:04,855
and it's hard to tell what's
what anymore, it's everywhere.

1263
01:14:04,939 --> 01:14:08,272
When electronic music
and dance music gets pushed

1264
01:14:08,975 --> 01:14:11,439
<i>to the mainstream, that's what happens.</i>

1265
01:14:11,574 --> 01:14:15,444
<i>People who don't care about
the music start writing it.</i>

1266
01:14:15,713 --> 01:14:17,446
And they start writing it badly.

1267
01:14:17,681 --> 01:14:20,068
That's why it's important, I think,
not to be attached to too much

1268
01:14:20,152 --> 01:14:22,100
at the end of the day,
cos it's out of your control.

1269
01:14:22,184 --> 01:14:25,625
We had the two or three-year period

1270
01:14:25,794 --> 01:14:28,044
where people became
disconnected with dubstep.

1271
01:14:28,059 --> 01:14:30,693
<i>And I think it got told that it was cool</i>

1272
01:14:31,162 --> 01:14:34,126
<i>and then it had that taken away from it.</i>

1273
01:14:34,495 --> 01:14:37,802
And then it did everything
it could to stay cool

1274
01:14:38,337 --> 01:14:39,739
and then failed.

1275
01:14:39,874 --> 01:14:41,219
The worst thing about
everything with the change

1276
01:14:41,303 --> 01:14:43,742
was some fucking stupid Sun journalist

1277
01:14:44,044 --> 01:14:45,795
<i>who quoted me saying "dubstep's dead</i>"

1278
01:14:45,879 --> 01:14:47,579
<i>and people still believe I said it.</i>

1279
01:14:47,749 --> 01:14:50,377
They put me on a cover, it was a cartoon,

1280
01:14:50,512 --> 01:14:52,814
<i>and it was a bomb
and it said "U.S. dubstep"</i>

1281
01:14:52,949 --> 01:14:54,451
<i>and I was raging on the thing.</i>

1282
01:14:54,587 --> 01:14:56,286
<i>It was very obvious.</i>

1283
01:14:56,422 --> 01:14:59,486
<i>It was like they Donald-Trump-dubstepped
me.</i> I was that image.

1284
01:14:59,621 --> 01:15:03,557
It was like, "Let's make this
super hyper American thing."

1285
01:15:03,692 --> 01:15:07,533
I was, "Borgore ruined dubstep"
cos everyone said I ruined it.

1286
01:15:07,669 --> 01:15:09,519
So I was like, "Fuck it, I'll ruin it.

1287
01:15:09,535 --> 01:15:10,968
I'm going with it."

1288
01:15:11,471 --> 01:15:14,740
The Guardian called me "the most
hated man in electronic music".

1289
01:15:17,006 --> 01:15:19,140
I was doing an interview with him

1290
01:15:20,415 --> 01:15:22,242
and I coated him off, basically.

1291
01:15:23,383 --> 01:15:24,948
I'm sorry, Sonny.

1292
01:15:26,919 --> 01:15:28,754
After, I was like, "Fuck you guys.

1293
01:15:28,889 --> 01:15:31,051
Why am I going to sit here and talk to you

1294
01:15:31,187 --> 01:15:34,092
as if you have some real questions

1295
01:15:34,227 --> 01:15:37,796
and you already have the title
of this story pre-planned."

1296
01:15:37,964 --> 01:15:41,128
The headline "Skream says dubstep's dead",

1297
01:15:41,297 --> 01:15:43,148
I still stand by it.
No, I didn't say it.

1298
01:15:43,232 --> 01:15:45,086
I was sad, like, this is journalism now.

1299
01:15:45,170 --> 01:15:47,121
They don't really care
about the real story.

1300
01:15:47,205 --> 01:15:49,226
They don't want to hear what
we're talking about now.

1301
01:15:49,310 --> 01:15:52,960
I remember seeing all this stuff and
people hating what Skrillex was doing.

1302
01:15:52,978 --> 01:15:54,928
But he just did his thing and kept going

1303
01:15:55,014 --> 01:15:58,511
and for me, that was
a huge, huge inspiration

1304
01:15:58,646 --> 01:16:01,589
for me to keep going,
to see other people try things

1305
01:16:01,724 --> 01:16:04,251
and get backlash,
but keep moving through it.

1306
01:16:04,386 --> 01:16:06,727
I don't know, I think especially in the UK

1307
01:16:06,863 --> 01:16:09,590
people saw Skrillex
as the Antichrist in dubstep.

1308
01:16:09,725 --> 01:16:13,729
People are very much still on their
"Dubstep is underground."

1309
01:16:13,864 --> 01:16:15,428
It shouldn't be Americanised

1310
01:16:15,564 --> 01:16:18,498
and it shouldn't be turned into
this other thing."

1311
01:16:18,634 --> 01:16:21,706
To me, dubstep still is
what was happening in Croydon

1312
01:16:21,841 --> 01:16:23,440
in South London at that time.

1313
01:16:24,009 --> 01:16:26,539
The kind of dubstep I was used to

1314
01:16:26,675 --> 01:16:30,684
<i>was more spaced out,
focused on the low-end bass.</i>

1315
01:16:31,720 --> 01:16:34,251
The dub element had gone, completely left.

1316
01:16:34,386 --> 01:16:38,890
And I thought that was always,
for me, the basis of the tracks.

1317
01:16:42,094 --> 01:16:43,749
<i>The original sound of dubstep,</i>

1318
01:16:43,833 --> 01:16:47,034
that tribal,
that progressive rolling style,

1319
01:16:47,469 --> 01:16:49,604
it kind of just fizzled out.

1320
01:17:00,744 --> 01:17:01,979
What do you mean?

1321
01:17:19,298 --> 01:17:21,848
Type in "dubstep" and
the first thing that'll pop up

1322
01:17:21,969 --> 01:17:24,197
will be the thing
that's got the most views.

1323
01:17:24,333 --> 01:17:26,571
And that would be the American scene.

1324
01:17:26,940 --> 01:17:29,905
So that just completely dwarfed us.

1325
01:17:30,040 --> 01:17:31,944
We was nothing all of a sudden.

1326
01:17:32,079 --> 01:17:34,745
So we'd gone from earning
this big money every month

1327
01:17:35,080 --> 01:17:38,686
to boom, everything just dropped for us.

1328
01:17:42,022 --> 01:17:44,220
<i>I ended up with a bad drug addiction.</i>

1329
01:17:44,923 --> 01:17:46,659
<i>I was doing a lot of coke,</i>

1330
01:17:47,228 --> 01:17:49,724
<i>drinking a hell of a lot,
smoking a lot of weed,</i>

1331
01:17:49,960 --> 01:17:51,092
<i>not sleeping a lot.</i>

1332
01:17:51,428 --> 01:17:54,166
<i>Being that person for so many years</i>

1333
01:17:54,535 --> 01:17:57,837
affected my career.

1334
01:17:58,737 --> 01:18:01,207
It affected my family.

1335
01:18:02,143 --> 01:18:04,439
<i>When you're there,
when you're in that game,</i>

1336
01:18:04,975 --> 01:18:06,445
<i>it's a lonely game.</i>

1337
01:18:07,147 --> 01:18:09,127
<i>You're doing the drugs,
you're doing the drink.</i>

1338
01:18:09,211 --> 01:18:11,114
<i>When you come off that stage,</i>

1339
01:18:11,716 --> 01:18:13,017
<i>you either party</i>

1340
01:18:13,286 --> 01:18:15,650
<i>or you go on your own to your hotel room,</i>

1341
01:18:15,785 --> 01:18:18,457
<i>think, "I've got a flight
tomorrow, I'll be sensible."</i>

1342
01:18:18,593 --> 01:18:19,857
<i>It never works that way.</i>

1343
01:18:20,192 --> 01:18:21,907
<i>What do you do?
Go back to the hotel,</i>

1344
01:18:21,991 --> 01:18:23,296
<i>you act the fool.</i>

1345
01:18:23,799 --> 01:18:26,233
And that happened for fucking years, mate.

1346
01:18:26,369 --> 01:18:27,795
That happened for years.

1347
01:18:28,164 --> 01:18:30,001
And it burnt a lot of bridges.

1348
01:18:34,539 --> 01:18:39,540
<i>I never really had no direction
how to control my career.</i>

1349
01:18:40,143 --> 01:18:42,275
When I was in the record shop,

1350
01:18:42,544 --> 01:18:45,179
I had people that knew
about the music industry

1351
01:18:45,315 --> 01:18:47,953
like, if they was in my life for longer...

1352
01:18:52,654 --> 01:18:55,862
I think it would've been
a better direction for me.

1353
01:19:09,506 --> 01:19:13,374
I didn't feel like
I was enjoying myself anymore.

1354
01:19:17,982 --> 01:19:19,481
For me, when he decided

1355
01:19:19,617 --> 01:19:21,401
<i>to stop doing the dubstep
and do the house thing,</i>

1356
01:19:21,485 --> 01:19:24,759
<i>I was like, "Cool.
Whatever you wanna do."</i>

1357
01:19:25,693 --> 01:19:27,108
Skream leaving definitely is bad

1358
01:19:27,192 --> 01:19:28,960
for the dubstep scene as a whole.

1359
01:19:29,262 --> 01:19:32,767
<i>But, at the same time, I respect it 100%.</i>

1360
01:19:33,635 --> 01:19:35,118
What I'd say probably to anybody

1361
01:19:35,202 --> 01:19:37,805
that had anything negative
to say about Skream,

1362
01:19:37,973 --> 01:19:40,534
"If you haven't seen him
play a house set yet,

1363
01:19:41,203 --> 01:19:43,777
if you can honestly tell me

1364
01:19:43,913 --> 01:19:46,043
that he doesn't love it just as much,

1365
01:19:46,412 --> 01:19:48,812
then maybe you've got
the right to say something.

1366
01:19:49,713 --> 01:19:52,649
I've seen Skream play a number
of house sets over the years

1367
01:19:53,118 --> 01:19:57,221
and I don't see any difference in the way
he approaches it or the way he loves it.

1368
01:19:57,356 --> 01:19:59,860
The thing is, I'd been doing
one-off radio shows

1369
01:19:59,995 --> 01:20:02,159
playing disco or playing house or whatever

1370
01:20:02,428 --> 01:20:05,397
and I was getting so much
more excited about other things.

1371
01:20:05,533 --> 01:20:08,185
It made me feel like I was learning
again and starting again

1372
01:20:08,269 --> 01:20:11,304
and I felt buzzing
and excited to do things again.

1373
01:20:11,440 --> 01:20:13,099
I will always say

1374
01:20:13,235 --> 01:20:15,754
I don't think he should've took the
Skream name with the house thing.

1375
01:20:15,838 --> 01:20:18,295
<i>He should've maybe with his real
name, Oliver Jones, and done it.</i>

1376
01:20:18,379 --> 01:20:22,743
But the Skream thing for me
was so legendary in that name,

1377
01:20:22,878 --> 01:20:25,470
inside I was like, "Don't make
that music with that name."

1378
01:20:25,554 --> 01:20:26,954
It's too legendary.

1379
01:20:27,089 --> 01:20:29,489
When Skream switched
from dubstep to house music,

1380
01:20:30,055 --> 01:20:31,687
I didn't think it would work.

1381
01:20:31,822 --> 01:20:34,472
But obviously, Skream being Skream,
he's pulled it off.

1382
01:20:34,524 --> 01:20:36,774
It's actually incredible
because I can't think

1383
01:20:36,792 --> 01:20:40,131
of anyone else that's been able
to do that kind of move.

1384
01:20:40,667 --> 01:20:43,871
<i>Sticking to who you are,
that has longevity.</i>

1385
01:20:44,206 --> 01:20:47,941
Having a pre-planned vision
of what you're gonna be

1386
01:20:48,077 --> 01:20:50,873
and trying to emulate
what's hot right now,

1387
01:20:51,376 --> 01:20:53,680
that might make you really successful,

1388
01:20:54,216 --> 01:20:56,666
but I don't think I'd be able
to live with myself.

1389
01:20:56,745 --> 01:20:59,549
But sticking by your guns,
that's very respectable.

1390
01:20:59,684 --> 01:21:03,983
<i>As an artist, if you get known
for a certain sound,</i>

1391
01:21:04,119 --> 01:21:07,187
<i>it's something that you loved
when you started making it.</i>

1392
01:21:07,323 --> 01:21:09,194
But if you start to get bored,

1393
01:21:09,329 --> 01:21:11,932
you're not gonna make
good quality music anymore

1394
01:21:12,068 --> 01:21:14,497
because you've lost your passion
for that sound.

1395
01:21:14,632 --> 01:21:17,938
I feel like as an artist,
you need to constantly evolve.

1396
01:21:18,073 --> 01:21:19,851
I'd say that that is the mark of an artist

1397
01:21:19,935 --> 01:21:24,210
and I will say that he probably
had a couple of years

1398
01:21:24,346 --> 01:21:28,112
where he had to really be like,
"Am I sure about this?"

1399
01:21:28,448 --> 01:21:31,377
And sometimes the evolution
is a really big step.

1400
01:21:31,913 --> 01:21:34,180
<i>You hear something
you wanna get involved in</i>

1401
01:21:34,316 --> 01:21:35,921
<i>or you have an idea,</i>

1402
01:21:36,323 --> 01:21:38,958
<i>and I guess you have
to piss some people off</i>

1403
01:21:39,094 --> 01:21:41,622
to get to that next level of great music.

1404
01:21:41,757 --> 01:21:44,192
To me, it's leaving
everyone else in the dust,

1405
01:21:44,327 --> 01:21:48,277
and just go ahead and do what you wanna do
regardless of what anyone says anyway.

1406
01:21:48,300 --> 01:21:50,403
I think it's great what he's done

1407
01:21:50,538 --> 01:21:53,489
<i>and what he did for the sound
is what we should be focusing on</i>

1408
01:21:53,573 --> 01:21:56,043
<i>rather than what he's not
doing now or whatever.</i>

1409
01:21:56,279 --> 01:21:58,696
<i>If anything,
that's the most honourable thing</i>

1410
01:21:58,780 --> 01:21:59,944
<i>that he could've done.</i>

1411
01:22:00,079 --> 01:22:01,529
<i>He's sticking true to himself</i>

1412
01:22:01,579 --> 01:22:04,216
and he's doing what he believes
he has to do.

1413
01:22:04,351 --> 01:22:08,682
I'm sure there was a manager
in a room with Ollie

1414
01:22:09,251 --> 01:22:11,217
that was like, "What?"

1415
01:22:11,587 --> 01:22:13,787
"You don't wanna do dubstep anymore?"

1416
01:22:13,923 --> 01:22:16,896
<i>Skream, he's done so much for dubstep</i>

1417
01:22:17,466 --> 01:22:20,901
<i>that you can never say to him,
"You can't come back."</i>

1418
01:22:21,036 --> 01:22:24,204
It's like he's the ultimate golden boy.

1419
01:22:24,573 --> 01:22:27,573
Doesn't matter how long I've still
been doing it and he's not,

1420
01:22:27,636 --> 01:22:29,286
he's got so many tunes on his belt

1421
01:22:29,375 --> 01:22:31,227
and he's done so many things
for the music,

1422
01:22:31,311 --> 01:22:33,379
that's just what it is and that's a fact.

1423
01:22:33,648 --> 01:22:37,149
So he's always welcome back to make
a banger or two. We miss him.

1424
01:22:51,798 --> 01:22:52,825
What's happening?

1425
01:22:53,528 --> 01:22:55,202
- You alright?
- Hiya.

1426
01:22:55,337 --> 01:22:57,487
- Alright? What's happening?
- Always, bruv. Always.

1427
01:23:36,207 --> 01:23:37,508
That's Skream.

1428
01:24:11,542 --> 01:24:14,808
You're now seeing bass music producers

1429
01:24:14,977 --> 01:24:18,114
from the drum and bass scene,
from the dubstep scene

1430
01:24:18,249 --> 01:24:20,614
working with big major stars

1431
01:24:20,750 --> 01:24:24,154
from the U.S. hip-hop,
R&B, pop scene.

1432
01:24:24,356 --> 01:24:25,806
<i>I called Will at 3am.</i>

1433
01:24:25,886 --> 01:24:28,662
He goes, "What's wrong?
Who's dead?"

1434
01:24:28,797 --> 01:24:30,494
I'm like, "No one's dead.

1435
01:24:30,630 --> 01:24:32,750
But I think Snoop Dogg's just
messaged us on MySpace."

1436
01:24:32,834 --> 01:24:36,402
And then you get the likes of Doctor
P getting hollered by Will.i.am

1437
01:24:36,538 --> 01:24:38,717
<i>cos he wants to know:
"How are you making that sound?"</i>

1438
01:24:38,801 --> 01:24:41,001
Yeah, working with Will.i.am
was pretty cool.

1439
01:24:41,004 --> 01:24:44,443
It was interesting to be in
that completely different world.

1440
01:24:49,548 --> 01:24:51,547
It's interesting to see how many people

1441
01:24:51,682 --> 01:24:53,882
from the drum and bass scene
have infiltrated

1442
01:24:53,981 --> 01:24:58,024
these more major projects
beyond drum and bass

1443
01:24:58,293 --> 01:25:01,161
from producing pop records
with big artists

1444
01:25:02,095 --> 01:25:03,610
like Chase & Status and Rihanna.

1445
01:25:03,694 --> 01:25:06,131
I'm at home in bed
with my then girlfriend,

1446
01:25:06,266 --> 01:25:08,294
asleep at 5-6am or some shit.

1447
01:25:08,864 --> 01:25:11,303
<i>My phone rings, I'm like, "Hello."</i>

1448
01:25:11,438 --> 01:25:13,867
<i>And he's like, "Saul, it's Jay."</i>

1449
01:25:14,269 --> 01:25:16,919
<i>"Hey, man. I've got someone
who wants to talk to you."</i>

1450
01:25:17,139 --> 01:25:19,939
"Hello?" Then basically it's
Rihanna on the phone saying,

1451
01:25:19,942 --> 01:25:21,795
I can't do her accent
so I'm not gonna try,

1452
01:25:21,879 --> 01:25:24,716
on the phone saying, "Yo,
Saul, yeah? Chase & Status?"

1453
01:25:24,851 --> 01:25:26,153
I'm like, "Yep."

1454
01:25:26,288 --> 01:25:27,736
She goes, "Yeah,
I heard this record, love it."

1455
01:25:29,049 --> 01:25:31,249
"I need that track,
I need some more tracks."

1456
01:25:31,292 --> 01:25:32,636
Don't give anyone else these tracks."

1457
01:25:32,720 --> 01:25:34,627
And I was like, "No problem."

1458
01:25:37,493 --> 01:25:39,362
Pop culture starts to like,

1459
01:25:39,498 --> 01:25:41,331
"Ooh, what's going on over there?"

1460
01:25:41,467 --> 01:25:43,335
If the pop producers are going out

1461
01:25:43,470 --> 01:25:45,939
and they're partying and they're raving,

1462
01:25:46,074 --> 01:25:49,441
they want to try and replicate it.

1463
01:25:49,577 --> 01:25:52,277
But sometimes you've got
to go to the source, you know?

1464
01:25:52,407 --> 01:25:53,539
And use our guys.

1465
01:25:53,674 --> 01:25:55,644
Flux, who was a lovely fella

1466
01:25:55,779 --> 01:25:57,679
that used to go to Hatfield University,

1467
01:25:57,748 --> 01:26:00,147
and he's doing tunes with Kanye and Jay-Z.

1468
01:26:00,283 --> 01:26:01,450
My mind is blown.

1469
01:26:01,586 --> 01:26:03,482
Flux Pavilion producing for Kanye,

1470
01:26:03,618 --> 01:26:04,918
for Jay-Z, for Roc Nation.

1471
01:26:05,052 --> 01:26:07,558
You look at Flux
working with Childish Gambino.

1472
01:26:07,693 --> 01:26:11,156
<i>Kanye and Jay-Z
picked up on "I Can't Stop".</i>

1473
01:26:12,059 --> 01:26:15,130
With Jay-Z and Kanye
willing to use the track,

1474
01:26:15,366 --> 01:26:16,830
I wasn't sold at first.

1475
01:26:16,966 --> 01:26:20,340
Dom C, who was
their right-hand man called us

1476
01:26:20,475 --> 01:26:24,571
and said, "Is it OK
if we use 'I Can't Stop'?"

1477
01:26:24,706 --> 01:26:27,077
Do I really wanna give my track

1478
01:26:27,480 --> 01:26:29,848
that's come from my little chaos bubble

1479
01:26:29,984 --> 01:26:31,184
to a bunch of pop stars?

1480
01:26:31,216 --> 01:26:32,549
Is that selling out?

1481
01:26:32,685 --> 01:26:34,737
I wasn't particularly on board
with the idea

1482
01:26:34,821 --> 01:26:38,058
of working with any pop stars
or anything to begin with.

1483
01:26:38,194 --> 01:26:40,387
That felt like selling out to me.

1484
01:26:41,557 --> 01:26:45,428
<i>And then I was in New York
with Skrillex in a club.</i>

1485
01:26:45,830 --> 01:26:49,201
<i>The DJ just kept
dropping record after record</i>

1486
01:26:49,704 --> 01:26:51,954
<i>and I remember one of them,
I turned to Sonny,</i>

1487
01:26:52,003 --> 01:26:54,736
<i>I was like, "Who's this?"
He was like, "Kanye."</i>

1488
01:26:55,472 --> 01:26:56,637
I was like, "Oh, shit."

1489
01:26:57,006 --> 01:26:59,343
Next one, "Who's this?"
He's like, "Kanye."

1490
01:26:59,479 --> 01:27:01,177
I was like, "This is really good."

1491
01:27:01,313 --> 01:27:03,043
"Who's this one?" "Jay-Z."

1492
01:27:03,779 --> 01:27:05,349
Hearing the music in the context

1493
01:27:05,485 --> 01:27:07,719
of where it was meant to be heard

1494
01:27:07,854 --> 01:27:10,834
and where it had been created,
the place it'd really come from,

1495
01:27:10,918 --> 01:27:14,524
I was like, "Shit, Jay-Z and Kanye.

1496
01:27:14,659 --> 01:27:17,228
They're not pop stars.
This is wild."

1497
01:27:17,730 --> 01:27:20,564
<i>And then to get the stems to that track,</i>

1498
01:27:20,700 --> 01:27:22,730
<i>my friend had to break down my door,</i>

1499
01:27:22,865 --> 01:27:25,131
cos I was away, and open up my computer,

1500
01:27:25,266 --> 01:27:28,370
and he couldn't bounce the stems
cos they kept crashing,

1501
01:27:28,839 --> 01:27:31,041
every time he tried to open the project.

1502
01:27:31,977 --> 01:27:36,149
<i>So, one minute Jay-Z and
Kanye West are sitting there,</i>

1503
01:27:36,285 --> 01:27:37,929
waiting for the stems to this project

1504
01:27:38,013 --> 01:27:40,584
and then on the other side of the world

1505
01:27:40,719 --> 01:27:43,717
my mate at uni, drunk,
is breaking into my room

1506
01:27:43,853 --> 01:27:46,326
trying to get the sounds off the computer.

1507
01:27:49,057 --> 01:27:51,260
<i>Then Radio one put it on the A List.</i>

1508
01:27:51,929 --> 01:27:55,300
And at that point,
I started getting an influx

1509
01:27:55,436 --> 01:27:57,237
of people telling me I'd sold out.

1510
01:27:57,906 --> 01:28:01,139
And that was the day that I gave
up on the idea of selling out.

1511
01:28:01,808 --> 01:28:05,840
<i>Cos I was like, I wrote a track
that no one really liked</i>

1512
01:28:06,810 --> 01:28:08,778
and then people started to like it

1513
01:28:09,514 --> 01:28:11,276
and then it got played on radio

1514
01:28:11,812 --> 01:28:14,216
and throughout all of this

1515
01:28:14,651 --> 01:28:16,455
<i>it's been the exact same MP3.</i>

1516
01:28:16,757 --> 01:28:18,907
<i>Exact same piece of music,
nothing's changed</i>

1517
01:28:18,988 --> 01:28:21,422
<i>from something that no one liked at all</i>

1518
01:28:21,557 --> 01:28:22,722
<i>to Radio one A List.</i>

1519
01:28:23,191 --> 01:28:26,731
And it really opened my eyes
to musical culture.

1520
01:28:27,067 --> 01:28:28,435
And to think...

1521
01:28:28,570 --> 01:28:30,883
Just because someone is
really big and popular...

1522
01:28:30,967 --> 01:28:33,470
It doesn't mean it's not a great record

1523
01:28:33,606 --> 01:28:35,674
that's been written with passion.

1524
01:28:41,775 --> 01:28:43,416
<i>♪ I can't stop ♪</i>

1525
01:28:43,551 --> 01:28:48,347
<i>♪ Stop, stop, stop, stop ♪</i>

1526
01:28:48,483 --> 01:28:53,691
<i>♪ I-I can't-can't stop,
stop, stop, stop, stop ♪</i>

1527
01:28:53,826 --> 01:28:56,630
<i>♪ I can't stop, stop, stop, stop, stop ♪</i>

1528
01:28:56,765 --> 01:29:00,132
<i>I think it's cool that Skrillex and Diplo</i>

1529
01:29:00,268 --> 01:29:01,862
<i>are doing pop productions</i>

1530
01:29:01,998 --> 01:29:08,339
by using those dubstep and EDM sounds.

1531
01:29:08,608 --> 01:29:10,571
I think I'd rather have them doing it

1532
01:29:10,707 --> 01:29:12,238
than someone ripping them off.

1533
01:29:12,374 --> 01:29:14,924
I thought that whole
"Jack Ü" album was really good.

1534
01:29:15,048 --> 01:29:18,210
<i>I thought they did something
absolutely perfect at the time.</i>

1535
01:29:18,446 --> 01:29:21,984
That's funny too cos
"Where Are Ü Now" is a dubstep,

1536
01:29:22,119 --> 01:29:26,757
almost like a throwback
kind of like skanking lil' drop.

1537
01:29:26,893 --> 01:29:29,343
But obviously what they were
doing with that album

1538
01:29:29,365 --> 01:29:31,363
is underground and pop crossover.

1539
01:29:31,499 --> 01:29:33,198
That was obviously their concept.

1540
01:29:33,333 --> 01:29:35,767
It's like them doing their sound

1541
01:29:35,902 --> 01:29:39,203
<i>with some of the top vocalists
in the world.</i>

1542
01:29:39,339 --> 01:29:41,305
<i>So it's like, "Why not?"</i>

1543
01:29:43,641 --> 01:29:45,408
<i>♪ I need you the most ♪</i>

1544
01:29:45,544 --> 01:29:46,938
<i>♪ I need you the most ♪</i>

1545
01:29:47,074 --> 01:29:49,277
♪ <i>I need you the most ♪</i>

1546
01:29:51,347 --> 01:29:54,982
I think that underground music
is always gonna contain

1547
01:29:55,117 --> 01:29:57,524
<i>the soul of what people wanna hear.</i>

1548
01:29:57,659 --> 01:29:59,885
<i>But now the hip-hop producers,</i>

1549
01:30:00,020 --> 01:30:02,054
<i>they know they want better.</i>

1550
01:30:02,189 --> 01:30:04,493
They don't just want the same thing <i>.</i>

1551
01:30:04,629 --> 01:30:06,060
They want the next thing <i>,</i>

1552
01:30:06,196 --> 01:30:07,947
so, of course, that's why
they're going to the people

1553
01:30:08,031 --> 01:30:09,850
like the Pendulums and the Chase & Status

1554
01:30:09,934 --> 01:30:11,884
and the Doctor P and the Flux Pavilions.

1555
01:30:11,935 --> 01:30:13,585
You know what?
The tempos as well.

1556
01:30:13,671 --> 01:30:17,109
140 and 174, well, 170-174,

1557
01:30:17,411 --> 01:30:18,926
if you listen to most things now,

1558
01:30:19,010 --> 01:30:22,145
are the predominant tempos
of most big pop records.

1559
01:30:22,680 --> 01:30:24,743
And regardless of what people say,

1560
01:30:24,879 --> 01:30:27,619
it all stems back here.

1561
01:30:27,754 --> 01:30:30,457
And I just think it's amazing.

1562
01:30:31,226 --> 01:30:33,737
<i>I'm really proud of the fact
that our music</i>

1563
01:30:33,821 --> 01:30:35,726
has gone into mainstream

1564
01:30:35,861 --> 01:30:38,624
and has influenced the evolution of music.

1565
01:30:45,802 --> 01:30:46,904
<i>♪ Something like... ♪</i>

1566
01:31:03,988 --> 01:31:06,893
Hearing house music or electronic music

1567
01:31:07,195 --> 01:31:08,495
on a day-to-day basis

1568
01:31:08,630 --> 01:31:10,680
was something
I never thought would happen

1569
01:31:10,694 --> 01:31:12,760
when I started off in music.

1570
01:31:13,062 --> 01:31:14,897
Even though I loved electronic music,

1571
01:31:15,032 --> 01:31:18,099
I didn't think it'd ever happen,
but I was wrong.

1572
01:31:18,234 --> 01:31:20,672
Even I sometimes, I could be
in a café somewhere,

1573
01:31:20,807 --> 01:31:22,554
and like, "What's this?
Drum and bass."

1574
01:31:22,638 --> 01:31:25,258
I'll say, "That's drum and bass.
They play drum and bass here."

1575
01:31:25,342 --> 01:31:28,981
It was incredible to hear that
house, how fast that spread.

1576
01:31:29,383 --> 01:31:30,947
It's literally everywhere.

1577
01:31:31,082 --> 01:31:33,534
It's on the Apple cell phone
commercials, bass music.

1578
01:31:33,618 --> 01:31:34,950
<i>It's on everything.</i>

1579
01:31:35,086 --> 01:31:37,688
You listen to TV adverts,
you listen to movies.

1580
01:31:37,823 --> 01:31:41,659
On video games, FIFAs to fighting games,

1581
01:31:41,961 --> 01:31:44,262
to Need for Speeds
and all that kind of stuff.

1582
01:31:44,398 --> 01:31:46,329
You can turn the TV on now

1583
01:31:46,799 --> 01:31:49,227
and I guarantee you every TV advert,

1584
01:31:49,429 --> 01:31:52,504
you will hear little bits
of our stuff in it.

1585
01:31:52,639 --> 01:31:54,904
The Olympics to football games,

1586
01:31:55,740 --> 01:31:58,271
UFC.
Everywhere, basically.

1587
01:31:58,473 --> 01:32:00,859
You look at "How To
Get Away With Murder".

1588
01:32:00,943 --> 01:32:03,550
Mr Parkes, the infamous Photek.

1589
01:32:05,751 --> 01:32:11,454
Photek is multiple Grammy-nominated

1590
01:32:12,224 --> 01:32:16,594
as a remix and producer
from the drum and bass scene.

1591
01:32:16,863 --> 01:32:19,658
<i>He's now winning ASCAPs and BMI awards</i>

1592
01:32:19,794 --> 01:32:21,932
for film scoring.

1593
01:32:22,067 --> 01:32:24,666
Making an album a week
making that soundtrack.

1594
01:32:24,802 --> 01:32:26,331
Winning awards, it's amazing.

1595
01:32:26,733 --> 01:32:30,407
<i>Getting these ASCAP awards and BMI awards,</i>

1596
01:32:30,543 --> 01:32:31,941
it's a little different

1597
01:32:32,908 --> 01:32:34,542
in terms of its validation.

1598
01:32:34,711 --> 01:32:37,414
ASCAP and the BMI awards

1599
01:32:38,016 --> 01:32:41,546
are based off commercial sales, basically.

1600
01:32:41,915 --> 01:32:45,250
It's based off the amount of money
the productions are making.

1601
01:32:45,386 --> 01:32:47,653
So, for me, coming from drum and bass,

1602
01:32:48,289 --> 01:32:50,390
and it's all about what people reckon

1603
01:32:50,525 --> 01:32:53,025
to just hardcore "better make
a shit-ton of money".

1604
01:32:53,127 --> 01:32:55,160
I kind of like that validation.

1605
01:32:55,595 --> 01:32:58,731
It's got nothing to do with
even how good I was

1606
01:32:58,867 --> 01:33:00,400
at what I was doing.

1607
01:33:00,536 --> 01:33:04,572
It's just that my skillset
makes money for other people.

1608
01:33:05,308 --> 01:33:08,076
That's been the last thing
on my mind my whole life,

1609
01:33:08,211 --> 01:33:11,511
is how much money
my skillset in music makes.

1610
01:33:11,647 --> 01:33:14,682
It's like the last thing ever,
but now I get awards for that.

1611
01:33:15,218 --> 01:33:17,250
It's the complete flipside of that coin.

1612
01:33:19,321 --> 01:33:21,492
<i>I'm amused and excited</i>

1613
01:33:21,628 --> 01:33:24,510
<i>when I hear drum and bass pop up
in a commercial or in a movie</i>

1614
01:33:24,594 --> 01:33:29,264
or some random background clip,
like a radio drop, or whatever.

1615
01:33:29,666 --> 01:33:31,030
- But...
- But...

1616
01:33:31,165 --> 01:33:33,806
- But...
- But at the same time...

1617
01:33:33,941 --> 01:33:36,507
No one wants to go
to the source a lot of the time.

1618
01:33:36,642 --> 01:33:42,313
Come on, guys. Clearly you're making beats
that emulate what we're experts at

1619
01:33:42,449 --> 01:33:43,849
and we're all fans.

1620
01:33:43,984 --> 01:33:46,164
This is a no-brainer.
We'd be there in a minute.

1621
01:33:46,248 --> 01:33:48,315
On another note, you've got Skrillex.

1622
01:33:48,751 --> 01:33:50,122
Won five Grammys.

1623
01:33:50,725 --> 01:33:52,723
Gets up and you're like, "Five Grammys?

1624
01:33:52,859 --> 01:33:54,654
Absolute gangster.
What a legend."

1625
01:33:55,390 --> 01:33:57,340
Next thing you know, you're watching it.

1626
01:33:57,798 --> 01:34:00,359
Not only did he win five Grammys,

1627
01:34:01,028 --> 01:34:02,630
he then gets up on stage

1628
01:34:03,233 --> 01:34:05,467
does his shout-outs, does his thank yous,

1629
01:34:05,603 --> 01:34:10,374
and then he takes time to thank
Croydon and the Croydon people.

1630
01:34:10,509 --> 01:34:13,406
<i>For best remix recording, non-classical</i>

1631
01:34:13,541 --> 01:34:17,915
<i>the nominees are:
Sonny Moore, Afrojack,</i>

1632
01:34:18,350 --> 01:34:24,086
<i>Photek, Abel Aguilera
& Ralphi Rosario, deadmau5.</i>

1633
01:34:24,722 --> 01:34:26,054
And the Grammy goes to...

1634
01:34:26,290 --> 01:34:29,622
Sonny Moore for "Cinema, ".

1635
01:34:31,292 --> 01:34:34,852
There's a lot of people that have been
here before us doing what we've been doing.

1636
01:34:34,936 --> 01:34:36,951
I think Justice's "Cross"
should've won a Grammy

1637
01:34:37,035 --> 01:34:39,305
I think Daft Punk should've won Grammys,

1638
01:34:39,441 --> 01:34:42,457
but it's cool that now, this year it's
gonna open doors for everyone.

1639
01:34:42,541 --> 01:34:45,022
There's labels out there that have
been doing what we've been doing

1640
01:34:45,106 --> 01:34:48,914
for a long time like Dub Police and
Never Say Die and the list goes on.

1641
01:34:49,050 --> 01:34:52,778
All the Croydon dub guys
that started this all in 2003.

1642
01:34:52,913 --> 01:34:54,215
It's crazy.

1643
01:34:55,719 --> 01:34:57,721
I mean, this is...

1644
01:34:57,990 --> 01:34:59,952
I remember talking to Dieselboy one day.

1645
01:35:00,088 --> 01:35:03,763
He was telling me that all the boats
rise with the water, so this is cool.

1646
01:35:03,898 --> 01:35:06,048
I'm gonna stop talking now.
Thank you, guys.

1647
01:35:10,537 --> 01:35:12,966
We flew in to London

1648
01:35:13,102 --> 01:35:15,401
and I'd been on a group chat.

1649
01:35:15,536 --> 01:35:19,004
<i>It was Flux, Doctor P and SKisM.</i>

1650
01:35:19,674 --> 01:35:22,074
<i>And I'd never met
any of those guys in real life.</i>

1651
01:35:22,609 --> 01:35:24,609
<i>We grabbed beers and walked around London</i>

1652
01:35:24,745 --> 01:35:27,083
<i>and it was surreal, being with these guys.</i>

1653
01:35:27,219 --> 01:35:29,250
<i>These guys were gods to me back then.</i>

1654
01:35:29,385 --> 01:35:31,651
- Thank you, guys.
- Thank you very much.

1655
01:35:31,787 --> 01:35:33,489
Cheers.

1656
01:35:33,625 --> 01:35:35,006
<i>We ended up going
to an Example show that night</i>

1657
01:35:35,090 --> 01:35:37,158
<i>and then I met Skream backstage.</i>

1658
01:35:37,627 --> 01:35:41,164
And there was a bar backstage,
we were having some drinks

1659
01:35:41,299 --> 01:35:43,769
and Skream had this whistle
he was blowing like

1660
01:35:43,904 --> 01:35:45,704
in people's faces.

1661
01:35:45,802 --> 01:35:49,568
<i>And he was so nice to me, man,
and this is when I started...</i>

1662
01:35:49,737 --> 01:35:52,642
<i>By the way, I didn't know about
this hate culture</i>

1663
01:35:52,777 --> 01:35:54,141
when it comes to dubstep.

1664
01:35:54,277 --> 01:35:57,350
I didn't know the online culture.

1665
01:35:57,485 --> 01:36:01,654
Whatever was coming out was just
everything I was hearing in my life.

1666
01:36:01,790 --> 01:36:03,486
So that's when I started hearing:

1667
01:36:03,622 --> 01:36:06,822
"Oh yeah, these people in London,
don't fuck with what I'm doing."

1668
01:36:06,954 --> 01:36:09,441
So, I heard Skream was there,
I was almost a little nervous.

1669
01:36:09,525 --> 01:36:11,575
<i>And it was the opposite.
He was so loving.</i>

1670
01:36:11,658 --> 01:36:13,664
<i>He was like, "Dude, what you're doing</i>

1671
01:36:13,799 --> 01:36:15,281
<i>is taking it to the next level."</i>

1672
01:36:15,365 --> 01:36:16,983
<i>And he was like, all these compliments,</i>

1673
01:36:17,067 --> 01:36:18,398
<i>it was such a sweetheart.</i>

1674
01:36:18,534 --> 01:36:20,522
<i>And a lot of
these other dubstep guys, Caspa,</i>

1675
01:36:20,606 --> 01:36:24,008
<i>and people I already mentioned
were always super supportive.</i>

1676
01:36:25,343 --> 01:36:27,296
The only thing I don't like
about all that shit

1677
01:36:27,380 --> 01:36:30,250
is when people speak for me
when I didn't say anything.

1678
01:36:30,385 --> 01:36:31,677
<i>I never came in</i>

1679
01:36:31,813 --> 01:36:34,065
<i>trying to take a genre
away from anybody or change it.</i>

1680
01:36:34,149 --> 01:36:35,349
<i>I was making what I made</i>

1681
01:36:35,450 --> 01:36:37,583
and I think in defence of even that

1682
01:36:37,719 --> 01:36:41,927
is like, "Dude, you can't be
precious about anything."

1683
01:37:11,288 --> 01:37:13,321
- You know?
- Yeah, yeah.

1684
01:37:18,161 --> 01:37:19,899
That's a remix with the band.

1685
01:37:22,365 --> 01:37:24,569
I lost myself for quite some years

1686
01:37:24,705 --> 01:37:25,855
to addiction and stuff.

1687
01:37:25,906 --> 01:37:27,456
- Yeah.
- Lost a lot of friends.

1688
01:37:27,537 --> 01:37:30,607
And I wasn't really
being the person I could be

1689
01:37:30,743 --> 01:37:32,103
till quite recently.

1690
01:37:32,606 --> 01:37:34,878
I phoned up a few people, made amends

1691
01:37:35,013 --> 01:37:37,015
for shit I'd fucked up over years.

1692
01:37:37,150 --> 01:37:40,285
It takes...
Man, for someone to say that.

1693
01:37:40,421 --> 01:37:43,356
<i>There are people out there
that can't even say that.</i>

1694
01:37:43,491 --> 01:37:44,449
<i>Yeah.</i>

1695
01:37:44,585 --> 01:37:46,585
<i>I can admit I was wrong.</i>

1696
01:37:47,187 --> 01:37:50,144
Those are the moments, when you can
really admit that you did wrong

1697
01:37:50,228 --> 01:37:51,946
and make amends, where you actually grow.

1698
01:37:52,030 --> 01:37:53,480
You know, still working hard.

1699
01:37:53,828 --> 01:37:56,666
Clearing up a trail of disaster
to a certain extent

1700
01:37:56,802 --> 01:37:58,168
over the last few years,

1701
01:37:58,303 --> 01:38:00,203
<i>but it makes us stronger, right?</i>

1702
01:38:02,443 --> 01:38:03,602
<i>♪</i>

1703
01:38:05,640 --> 01:38:07,440
There's no one bigger than the music.

1704
01:38:07,545 --> 01:38:10,344
It wasn't dubstep to me,
it was electronic music to me.

1705
01:38:10,480 --> 01:38:13,178
Call it whatever you want.
Bass music, EDM.

1706
01:38:13,814 --> 01:38:16,114
Whatever genre,
they don't mean anything to me.

1707
01:38:16,152 --> 01:38:17,502
It was bigger than all that

1708
01:38:17,519 --> 01:38:19,657
and it was a way I could be myself again.

1709
01:38:19,959 --> 01:38:21,857
It's a release, it's a way out.

1710
01:38:22,059 --> 01:38:23,694
It's a sound and it's a feeling.

1711
01:38:23,830 --> 01:38:26,997
Anything with a pure thing

1712
01:38:27,133 --> 01:38:31,068
that comes from something so pure and real

1713
01:38:31,203 --> 01:38:34,340
is gonna have the sort of Godfathers

1714
01:38:34,476 --> 01:38:37,076
or the guard.

1715
01:38:37,211 --> 01:38:40,210
These guys, whether we want
to admit it or not,

1716
01:38:40,445 --> 01:38:42,345
<i>were part of the music industry already</i>

1717
01:38:42,413 --> 01:38:44,001
<i>just doing their thing on the side.</i>

1718
01:38:44,085 --> 01:38:47,217
<i>And now, it is the music industry.</i>

1719
01:38:58,298 --> 01:39:00,930
We've set the trends,
always, always, always.

1720
01:39:01,065 --> 01:39:02,665
We never follow, we always lead.

1721
01:39:02,729 --> 01:39:04,831
The importance of this music is seen

1722
01:39:04,967 --> 01:39:09,338
<i>by the tens of thousands of
people that are out every week.</i>

1723
01:39:10,140 --> 01:39:13,612
<i>The huge stars that you see now</i>

1724
01:39:13,815 --> 01:39:17,609
producing mainstream pop acts.

1725
01:39:17,745 --> 01:39:19,645
Call it pop, call it whatever you want,

1726
01:39:19,684 --> 01:39:23,251
it comes from DJ culture,
it comes from electronic music.

1727
01:39:23,386 --> 01:39:26,654
<i>The impact is global.</i>

1728
01:39:27,057 --> 01:39:28,962
The influence is...

1729
01:39:30,658 --> 01:39:32,862
You can't calculate the influence.

1730
01:39:32,997 --> 01:39:34,364
You know what I mean?

1731
01:39:34,499 --> 01:39:36,749
Cos foundation and underground
is cool, right?

1732
01:39:36,863 --> 01:39:38,864
<i>Everybody wants to resonate with that</i>

1733
01:39:39,000 --> 01:39:42,239
<i>and our music is that,
always has been, always will be.</i>

1734
01:39:42,541 --> 01:39:44,854
So it's not just what
we've influenced up to now,

1735
01:39:44,938 --> 01:39:47,374
it's what we're gonna influence
going forward.

1736
01:39:48,010 --> 01:39:50,510
<i>As long as people are talking about it,</i>

1737
01:39:50,517 --> 01:39:54,251
<i>as long as people are playing it
and still enjoying it,</i>

1738
01:39:55,321 --> 01:39:59,690
then I believe that
it won't ever disappear.

1739
01:39:59,825 --> 01:40:03,455
Now we're in a new resurgence of
dubstep cos that bit's over,

1740
01:40:03,590 --> 01:40:07,183
and the only people that are left writing
dubstep are the people who believe in it.

1741
01:40:07,267 --> 01:40:09,463
All the kings need
to take their crowns back

1742
01:40:09,598 --> 01:40:11,630
and start saying, "This is the new wave.

1743
01:40:11,765 --> 01:40:13,535
Do something different.
Change it."

1744
01:40:13,670 --> 01:40:17,575
And the true innovators
and kings of that shit

1745
01:40:17,710 --> 01:40:19,177
will rise again.

1746
01:40:34,522 --> 01:40:37,030
<i>And the kings will rise again.</i>

1747
01:40:39,566 --> 01:40:41,419
<i>There was no one before.
There weren't.</i>

1748
01:40:41,503 --> 01:40:44,202
<i>There's been a lot after,
but there's no one before.</i>

1749
01:40:45,434 --> 01:40:47,067
<i>It's in my fucking blood, man.</i>

1750
01:40:47,769 --> 01:40:50,004
<i>I'll make 140 again at some point.</i>

1751
01:40:50,740 --> 01:40:52,561
<i>And I'll do it and
I'll come with something</i>

1752
01:40:52,645 --> 01:40:54,726
<i>that'll fucking hopefully blow
people's heads off.</i>

1753
01:40:54,810 --> 01:40:56,631
<i>And I'll do it and
I'll come with something</i>

1754
01:40:56,715 --> 01:40:59,165
<i>that'll fucking hopefully blow
people's heads off.</i>

1755
01:41:01,084 --> 01:41:02,352
And so is this.

1756
01:42:05,717 --> 01:42:08,549
<i>When I played EDC, it was nostalgic.</i>

1757
01:42:08,918 --> 01:42:11,883
<i>That was the charm of it.
It was nostalgia.</i>

1758
01:42:36,744 --> 01:42:40,552
<i>Loads of people messaging,
"People won't appreciate it, da-da-da-da."</i>

1759
01:42:40,687 --> 01:42:43,337
<i>Half the people probably
never heard the songs before.</i>

1760
01:42:43,655 --> 01:42:45,455
<i>That's the thing.
It's a lot of kids.</i>

1761
01:42:45,527 --> 01:42:47,810
<i>That was one of the main driving
forces of me doing it</i>

1762
01:42:47,894 --> 01:42:50,791
<i>is that I could stand there
and play them tunes with pride</i>

1763
01:42:50,926 --> 01:42:52,477
<i>to people who ain't heard 'em before.</i>

1764
01:42:52,561 --> 01:42:54,193
<i>Some had, but a lot hadn't.</i>

1765
01:43:30,403 --> 01:43:32,199
<i>We didn't mean to do this.</i>

1766
01:43:32,468 --> 01:43:34,068
<i>We was just doing what we loved.</i>

1767
01:43:34,402 --> 01:43:37,773
<i>Dubstep took three years
to change the world</i>

1768
01:43:37,909 --> 01:43:40,210
<i>where drum and bass
had been trying for years.</i>

1769
01:43:40,345 --> 01:43:43,545
<i>I think it was in that moment of
renaissance we were experiencing.</i>

1770
01:43:48,355 --> 01:43:49,736
<i>Dubstep changed everything</i>

1771
01:43:49,820 --> 01:43:51,601
<i>and this is what
people don't really comprehend.</i>

1772
01:43:51,685 --> 01:43:53,391
<i>It changed everything.</i>

1773
01:43:55,722 --> 01:43:57,322
<i>If you listen to most things now</i>

1774
01:43:57,357 --> 01:44:00,359
<i>are the predominant tempos
of most big pop records.</i>

1775
01:44:00,895 --> 01:44:02,284
<i>It's literally everywhere.</i>

1776
01:44:02,368 --> 01:44:03,598
<i>Grammy goes to...</i>

1777
01:44:03,734 --> 01:44:05,598
<i>And the Grammy goes to...</i>

1778
01:44:05,934 --> 01:44:07,872
<i>And the Grammy goes to...</i>

1779
01:44:08,007 --> 01:44:10,093
<i>- Sonny Moore!
- Skrillex and Diplo!</i>

1780
01:44:10,177 --> 01:44:11,577
<i>Skrillex, come back.</i>

1781
01:44:14,079 --> 01:44:16,459
<i>Regardless of what people say,
it all stems back here.</i>

1782
01:44:18,747 --> 01:44:21,452
<i>♪ We can fight our desires ♪</i>

1783
01:44:22,451 --> 01:44:24,583
♪ <i>Ooh ♪</i>

1784
01:44:25,152 --> 01:44:28,294
<i>♪ But when we start making fires ♪</i>

1785
01:44:30,826 --> 01:44:33,657
♪ <i>I'm going in for the kill ♪</i>

1786
01:44:34,027 --> 01:44:36,831
<i>♪ I'm doing it for a thrill ♪</i>

1787
01:44:36,966 --> 01:44:40,939
♪ <i>Oh, I'm hoping
You'll understand ♪</i>

1788
01:44:41,241 --> 01:44:43,868
<i>♪ And don't let go of my hand ♪</i>

1789
01:44:44,004 --> 01:44:46,878
♪ <i>I'm going in for the kill ♪</i>

1790
01:44:47,381 --> 01:44:50,344
<i>♪ I'm doing it for a thrill ♪</i>

1791
01:44:50,713 --> 01:44:52,177
<i>If you were to go out</i>

1792
01:44:52,312 --> 01:44:55,182
<i>and take away everything
that's influenced by urban music</i>

1793
01:44:55,451 --> 01:44:56,584
<i>and bass culture,</i>

1794
01:44:57,087 --> 01:44:59,387
<i>it's a bit of a blank canvas
you're looking at.</i>

1795
01:45:01,260 --> 01:45:02,394
♪ <i>I'm going in ♪</i>

1796
01:45:04,493 --> 01:45:05,727
<i>♪ I'm doing it ♪</i>

1797
01:45:07,498 --> 01:45:08,994
♪ <i>Oh, I'm hoping you ♪</i>

1798
01:45:11,172 --> 01:45:13,933
<i>♪ Will understand ♪</i>

1799
01:45:17,639 --> 01:45:18,938
♪ <i>I'm doing it ♪</i>

1800
01:45:20,610 --> 01:45:22,315
<i>♪ Oh, I'm hoping you ♪</i>

1801
01:45:24,284 --> 01:45:27,452
♪ <i>Will understand ♪</i>

1802
01:45:31,024 --> 01:45:37,055
<i>♪ Ooh ♪</i>

1803
01:45:52,344 --> 01:45:53,610
It's over.

1804
01:45:54,212 --> 01:45:55,744
I feel tore up.

1805
01:45:58,682 --> 01:46:00,782
<i>♪ Light trails behind me ♪</i>

1806
01:46:04,955 --> 01:46:07,789
<i>♪ Looking back's a waste of time ♪</i>

1807
01:46:11,564 --> 01:46:14,565
<i>♪ Let's push things forward ♪</i>

1808
01:46:17,966 --> 01:46:20,637
♪ <i>And keep our heads held high ♪</i>

1809
01:46:21,539 --> 01:46:24,505
<i>♪ Time's passed, we've laughed ♪</i>

1810
01:46:24,707 --> 01:46:27,947
♪ <i>We chose new paths ♪</i>

1811
01:46:28,082 --> 01:46:29,479
<i>♪ We both ♪</i>

1812
01:46:29,614 --> 01:46:31,910
<i>♪ Got so much room to grow ♪</i>

1813
01:46:32,045 --> 01:46:34,284
<i>♪ Got so much room to grow ♪</i>

1814
01:46:34,420 --> 01:46:37,288
<i>♪ It's all we have ♪</i>

1815
01:46:37,423 --> 01:46:40,519
<i>♪ But I know we can ♪</i>

1816
01:46:40,721 --> 01:46:42,294
<i>♪ We both ♪</i>

1817
01:46:42,429 --> 01:46:44,296
<i>♪ Got so much room to grow ♪</i>

1818
01:46:44,431 --> 01:46:46,059
<i>♪ Got so much room to grow ♪</i>

1819
01:46:46,195 --> 01:46:49,128
<i>♪ Cos we're doing this our own way ♪</i>

1820
01:46:49,263 --> 01:46:52,603
<i>♪ Gonna turn into something great ♪</i>

1821
01:46:52,805 --> 01:46:55,772
<i>♪ We don't care about past mistakes ♪</i>

1822
01:46:55,908 --> 01:46:58,939
<i>♪ Cos we're doing this our own way ♪</i>

1823
01:46:59,141 --> 01:47:02,041
<i>♪ Yeah, we're doing this our own way ♪</i>

1824
01:47:02,243 --> 01:47:05,242
<i>♪ Gonna turn into something great ♪</i>

1825
01:47:05,378 --> 01:47:08,653
<i>♪ We don't care how much it takes ♪</i>

1826
01:47:08,789 --> 01:47:11,650
<i>♪ Cos we're doing this our own way ♪</i>

1827
01:47:11,785 --> 01:47:13,690
<i>♪ Our own way ♪</i>

1828
01:47:19,559 --> 01:47:24,366
<i>♪ Our own way, our own way our own way ♪</i>

1829
01:47:24,501 --> 01:47:26,439
<i>♪ Our own way ♪</i>

1830
01:47:37,283 --> 01:47:39,177
<i>♪ Our own way ♪</i>

1831
01:47:50,259 --> 01:47:53,191
<i>♪ Cos we're doing this our own way ♪</i>

1832
01:47:53,393 --> 01:47:56,601
<i>♪ Gonna turn into something great ♪</i>

1833
01:47:56,803 --> 01:47:59,935
<i>♪ We don't care about past mistakes ♪</i>

1834
01:48:00,071 --> 01:48:03,135
<i>♪ Cos we're doing this our own way ♪</i>

1835
01:48:11,016 --> 01:48:15,483
<i>♪ Our own way our own way, our own way ♪</i>

1836
01:48:15,618 --> 01:48:17,688
<i>♪ Our own way ♪</i>

1837
01:48:28,466 --> 01:48:30,503
<i>♪ Our own way ♪</i>

1838
01:48:41,409 --> 01:48:44,583
<i>♪ Cos we're doing this our own way ♪</i>

1839
01:48:44,785 --> 01:48:47,785
<i>♪ Gonna turn into something great ♪</i>

1840
01:48:47,920 --> 01:48:50,920
<i>♪ We don't care about past mistakes ♪</i>

1841
01:48:51,056 --> 01:48:54,121
<i>♪ Cos we're doing this our own way ♪</i>

1842
01:48:54,256 --> 01:48:57,256
<i>♪ Yeah, we're doing this our own way ♪</i>

1843
01:48:57,391 --> 01:49:00,357
<i>♪ Gonna turn into something great ♪</i>

1844
01:49:00,493 --> 01:49:03,900
<i>♪ We don't care how much it takes ♪</i>

1845
01:49:04,036 --> 01:49:06,666
<i>♪ Cos we're doing this our own way ♪</i>

1846
01:49:06,801 --> 01:49:08,838
<i>♪ Our own way ♪</i>