.

Skrillex Isn't Surprised By Dubstep Takeoff

'It just brings so many different types of people together,' he says in our Hot Issue

November 2, 2011 4:05 PM ET
Skrillex
Skrillex
Bruno Postigo

Don't believe the hype: Skrillex didn't set out to wrestle dubstep from its brainy dub-reggae roots and warp it into an aggro dance-metal hybrid that online haters call "brostep." "I thought I'd play the Echo in L.A. once a month for 150 people," says Sonny Moore, 23, who quit fronting screamo band From First to Last to focus on beatmaking. Instead, Moore has played to thousands almost daily since dropping his first LP, Scary Monsters and Nice Sprites, last year on Big Beat and his buddy Deadmau5's label.

But he's not surprised by the rapid ascent of dubstep in the United States. "It's so fun," he says. "It just lets so many people in and there's nothing about it that seems shoved down anybody's throats. You can connect with it culturally because it brings so many different types of people together, from ravers to hip-hop people to whatever people like to dance." He's bracing himself for what will happen when the music fully crosses over in the mainstream, though. "There will come a time when it will be watered down and sensationalized like everything else. That's not a bad thing, every type of music goes through that. But right now, for how big it is, if you turn on Kiss FM, there's no real dustup on the radio right now."

In addition to new collaborations with Korn ("It's really tasteful") and the Doors, Skrillex is planning to release a crop of brand new tracks. "I have like 30 songs done," he says. "I couldn't put together an album with what I have, because it's not cohesive as an album. So I'll probably end up just releasing some EPs of maybe like six songs each. I don't want to just put 12 songs together and call it an album because it doesn't feel like it flows."

As Skrillex faces the future, he's learning to tune out the critics. "A few hundred people might be bitching on a message board, but you can go to a festival and find 100,000 people dancing to my music," says Skrillex. "No one gives a fuck."

Related
The Hot List: The Best, the Brightest and the Baddest of 2011

This is from the November 10, 2001 issue of Rolling Stone.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

prev
Music Main Next

blog comments powered by Disqus
Around the Web
Powered By ZergNet
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.

X

We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“Try a Little Tenderness”

Otis Redding | 1966

This pop standard had been previously recorded by dozens of artists, including by Bing Crosby 33 years before Otis Redding, who usually wrote his own songs, cut it. It was actually Sam Cooke’s 1964 take, which Redding’s manager played for Otis, that inspired the initially reluctant singer to take on the song. Isaac Hayes, then working as Stax Records’ in-house producer, handled the arrangement, and Booker T. and the MG’s were the backing band. Redding’s soulful version begins quite slowly and tenderly itself before mounting into a rousing, almost religious “You’ve gotta hold her, squeeze her …” climax. “I did that damn song you told me to do,” Redding told his manager. “It’s a brand new song now.”

More Song Stories entries »
 
www.expandtheroom.com