This text provides a detailed overview of the electronic music genre Darkstep, defining it as a subgenre of Drum n Bass that emerged in the late 90s, combining Techstep elements with gritty, distorted "rolling basslines." It traces the origin of this signature bass sound not to Drum n Bass itself, but to a 1988 Techno track, "Just Want Another Chance," by Kevin Saunderson's alias, Reese, which was later adopted and modified by DnB pioneers. The author also identifies a unique percussive element nicknamed "spoon percussion." A significant portion of the text is dedicated to a critical commentary on the evolution of Drum n Bass, lamenting the commercialization of other subgenres. The author expresses frustration over the term "Darkstep" being co-opted by producers of "Brostep" and positions authentic Darkstep as one of the remaining strongholds of underground DnB.
A History and Analysis of the Darkstep Genre
Defining Darkstep: Emerging in the late 1990s, Darkstep is a subgenre of Drum n Bass that builds on Techstep by adding distorted, overdriven, and gritty "rolling basslines."
The Origin of the "Rolling Bassline": The genre's signature bass sound predates Drum n Bass. It originated from a 1988 Techno track called "Just Want Another Chance" by Reese (Kevin Saunderson). This original smooth, rumbling bassline was created on a Casio CZ-5000 and became known as the "Reese" bass.
Adoption into Drum n Bass: Around 1994, DnB producers like Grooverider, Dillinja, and Ray Keith began recreating the "Reese" bass on their own hardware, establishing it as a foundational sound within the scene.
Darkstep's Unique Contribution: The genre's key innovation was to take the smooth rolling bass and make it "dirty" and aggressive, like a "bowling ball going down an alley full of gravel." This led to a competition to create the "nastiest" basslines in the scene.
"Spoon Percussion": The author identifies another curious attribute of the genre: a tinny, rattling sound in the drum programming, humorously likened to someone shaking a bottle with rocks in it or Artis the Spoonman from Soundgarden.
Modern Critique and Identity: The author strongly criticizes that the name "Darkstep" has been co-opted in recent years by descendants of the Brostep scene. They assert this is an incorrect appropriation of the term.
The Last Bastion of "Propah" DnB: The text concludes by framing Darkstep and Neurofunk as the last remaining forms of authentic, underground Drum n Bass, contrasting them with the perceived commercialization and degradation of genres like Jump-up and Liquid Funk.