Esto lo robe del facebook de Plastician, un productor bastante conocido de UK. Describe basicamente la epoca en la que aparecio el ahora conocido "dubstep"

I agree with Skream that this right here was the track Neil Joliffe was referring to when he used the term "Dubstep" for the first time to describe the fusion of dark 2 step garage with dub reggae.

We may have had people doing stuff before it - that was perhaps the seed being planted by the likes of Zed Bias, El-B, Steve Gurley, M Dubs, Dem 2, DND etc.... Then we had Horsepower productions making this sound which inspired people like Skream to go on and make the stuff he was making in 2000 / 2001.

Alongside this sound, influences were drawn from the dark, breakier side of UK garage produced by people like Zinc and Oris Jay / Darqwan. As well as the emerging, stripped down and at the time what was often described as "juvenile" sound of grime, this is what pretty much made up the early influence which was taken on board by a group of producers in Croydon - most notably Skream and Benga.

Hatcha would play a lot of it - particularly the more tribal influenced sounds. The stuff I was making at the time probably took a lot more influence from grime. Skream was doing full on tribal dubby stuff close to the Horsepower sound, Benga sat neatly in the middle with the deeper basses of the dubby stuff mixed in with catchy sounds and riffs often noted in grime productions. Outside of Hatcha's radio show, not a lot of people were taking any interest in what we were doing. Most people into dark garage at the time were beginning to move onto grime and were focusing on stuff being played by DJ's like Slimzee. We (the croydon producers) also used to send our stuff to Slimzee, but he didn't pick up on too much of it. He eventually started playing some of my own productions which prompted Hatcha to play a few of my early stuff too. Not long after, Slimzee was also spinning the odd bit of early dubstep being produced by Skream and Benga.

At the same time as this, I think the only DJ's supporting the croydon side of the dark garage evolution were DJ's on Delight FM based in South London - notably N Type and Walsh. They'd support the usual dark garage stuff being played across the board on all pirate stations, but also used to play a lot of exclusives from me and producers like Skream, Benga, Random Trio, Artwork, Horsepower and the likes all coming thru the Big Apple records shop on the weekends to swap new music.

Labels started to emerge. Tempa were already releasing stuff by Horsepower and Kode 9. The Ammunition Promotions company also ran other labels such as Vehicle, Soulja, R.O.A.D. and Bingo and were starting to release more of the new darker styles coming out of the garage movement.

At this time people were still not calling the sound dubstep. It was still garage to all of us, we never really thought it would evolve into anything more than a spin off strain of garage.

Around 2003 / 2004 the scene began to draw in more interest from other people involved in the garage scene in other pockets of the sound. It was around this time that Coki, Loefah and Mala began making stuff along the lines of what was beginning to mould into a small movement of croydon producers and DJ's spinning what we were now beginning to call dubstep. Outside of FWD on a monthly basis we now had a couple of new events. I remember Thriller Funk ran by Slaughter Mob down at Herbal, and Filthy Dub ran by myself and my mate Dave down in Croydon. We were trying desperately to help build the sound and branch out to new ears but the events predominantly attracted the same crowd you'd see at FWD - people were just willing to travel out to wherever the sound was being pushed. It was a real community. Nights began to pop up in Bristol soon after.

The DMZ boys (Mala, Coki and Loefah) began running their event at 3rd Bass in Brixton. After Filthy Dub and Thriller Funk stopped we didn't really have anywhere else to play regularly so it really came at a good time. By this time there was also a healthy movement gathering pace in Bristol, centred around Pinch's Subloaded event which would promote acts from London in line with all of the new blood coming thru from Bristol. The crowds began to pick up, and the sound began to gain support on mainstream radio stations.

John Peel on Radio 1 was the first to pick up on it - he played stuff by Digital Mystikz, Mark One, Distance, Hot Flush recordings and also my own stuff. This was also around the same time Maryanne Hobbs was introduced to me at a DMZ event still in it's early days. She became a huge supporter of the sound. She played music from all corners of the sound which at the time was not as vast as it is now in 2012, but was still varied enough for her to be able to showcase the many styles without turning her electronic music show into a straight up dubstep broadcast!

Maryanne Hobbs' interest and support of the sound was the main catalyst for it being recognised as a legitimate genre as opposed to a small movement centred in south london. She showcased a handful of producers and MC's on her "Dubstep Warz" broadcast in the lead up to the DMZ birthday event. In the lead up to the event there was a definite buzz about it but nothing any of us expected to see was the sight of around 800 people queuing to get in before the doors opened.

It's important for me to mention that prior to this birthday event, most dubstep events would be half empty. At best, the busier events would only attract around 400 people as the venues in use were small to medium in size. For us to see the surge of people in such a short space of time was actually unbelievable. I remember thinking just 6 months prior to the DMZ event that I might have to give up making music to focus more on a career as opposed to doing my part time work to fund my attempt at making a living from music. I was earning just enough money to pay for the dubplates I was spinning to be cut, and being paid to DJ in these events usually depended on how many people came thru the door - but this was all agreed in advance anyhow. It was only when you picked up the occasional booking outside of your circle of mates that you'd pick up any money, and this was never substantial enough to be considered "a living".

But... after that event, everything seemed to fall into place and all of a sudden it began to gather speed amongst people interested in new music. Events began to pop up, university events were bringing in dubstep acts to provide something new for their punters. We were slowly being bled into the room 2's of drum and bass events and all of a sudden, we were being respected.

The rest, as they say, is history!