How to dance at a dubstep rave

How to dance/interact with girls at raves or concerts? : aves

Hey y’all hope everyone is doing great! This question has kinda been burning inside me after these last few festivals/concerts I’ve been to. I do want to preface this all by saying that I truly go to these things for the music and the atmosphere especially if I can be there with some friends. Whenever I go I always have a schedule that I follow for djs I need to see because I am first and foremost there to get lost in the music to some of my favorite DJs. And yes very likely am under the influence of something lol. Usually there hyping up with friends or even some people around me. And honestly having a blast with it. Some of the most enjoyable memories I’ve had are at these.

However, there’s something that I’ve taken notice to the last few I’ve been to one. It’ll be in the middle of whatever set I am at, I’m probably rolling, dancing (if you can call it that), and having a good time all while facing the stage. But I’ll notice a group of girls in front of me. One will kinda be standing directly in front of me while the others stand to her sides. Now I usually try to keep my space as much as I can in a crowd cause I’m doing my thing there and I want others to be able to do theirs too. But with this situation I’ll notice the girl kind of get closer to me (won’t look at me) and her friends will give glances at me. I’ll do nothing cause I just assume maybe they think I’m acting silly or creeping so I’ll try calm down and back up a bit. But sometimes either she’ll keep backing up or the friends will switch spots and the same thing will happen with the new girl. Eventually nothing ends up happening, they’ll go somewhere else and give me looks while leaving. It’s usually around then that I realize I may have dropped the ball and they may have wanted to dance.

Now I know this is partially (or mostly) a self confidence problem. I use to be obese but in the last year I’ve got that in check and I’m maybe average looking at best. But some of these girls are waaaaaay out of my league so I kinda just assume they don’t wanna dance to begin with. Shocked they’d park themselves in front of me instead of other objectively better looking people around me. And I know there’s the possibilities that maybe they were just there and left for a better spot or maybe they did think I was weird but I’m almost positive some wanted to dance with me.

I just don’t even know what to do cause I would love to dance with one of them. I’ve never approached cause I don’t wanna feel like a creep. But if a girl is giving off those signs that I’m so clearly missing I don’t want her to then think I don’t wanna be around her (cause I do if she’s interested) or that I think something is wrong with her.

This usually happens in the middle of a set too so it wouldn’t be great to talk. How do I initiate? I don’t know what I would say. I don’t even know how I would dance with her. Would I dance next to her? Grind? (which seems aggressive to initiate on my end to start) And then even what happens after that?

I know this is mostly just a personal hurdle that I need to get over myself and figure it out but some general guidance with the questions in the last section would be amazing. And I guess just knowing any general signs of interest too? I’d hate if I initiated and it ruined someone else’s time or was creepy for them. And on top of that if she was interested would love to vibe with a pretty girl. I know this was long but anything helps and thank you!

EDM Rave 2020 Electronic Dance Trance Dubstep Techno House from EDM Records on Beatport

  • Release Date 2019-12-10
  • Label EDM Records
  • Catalog EDM297


  • Various Artists
  • Release Date 2019-12-10
  • Label EDM Records
  • Catalog EDM297
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From dub to grime: why bass music makes us dance

There will be dancing today

From dub to grime: why bass music makes us dance

Nick Zavriev

March 24, 2017 20:00

Together with the musician electronics engineer and journalist Nick Zavriev, Russian pioneer of jungle DJ Dan, producer Sergey Saburov and Therr Maitz frontman Anton Belyaev recall the history of the development of bass music and try to understand why these low frequencies - bass - make us dance.

The first missionaries of the basements

Genre: Dub
When: 1970s
Where: Yamaika (Kingston)
K King Tabbi, Li Scretch Perry and Other

This is how bass music sounded at a time when almost none of us were born yet

The central element in music (if we talk about the recording era that came in the 50s) was the bass for the first time in Jamaica, and Osborne Ruddock, nicknamed King, did it Tabby. Caribbean Kulibin started by organizing street discos, while Tubby had the best sound in Kingston. He soldered the amplifiers with his own hands and modified the speakers so that the sound was spatial (for this, Tubby hung the speakers on trees), while the bass trembled and hit right in the body.

By the mid-1970s, he focused on working in the studio, becoming an established visionary producer. From lightweight reggae, he, along with colleagues like the eccentric Lee "Scratch" Perry, developed his own genre called dub. The innovators literally gnawed reggae to the bone, making the bass parts the main ones in the dub tracks, and drowned the few elements of the arrangement in a thick pulsing echo.

"Low frequency demonism" takes over America and then the whole world

Genre: Electro & Miami Base
When: 1980s
Where: USA (New York, Los Angeles, Miami)
Who: Africa Bambata, Egyptian Lover, Dynamix II, Planet Patrol

Absolutely timeless classic electro: that's how it sounded almost 40 years ago, and that's how it sounds today on techno club dance floors

In mainstream music, the 1980s were a time of crusades against "low-frequency devilry" but for pop stars underground musicians worked out with a vengeance. The outpost of bass culture at this time was American electro: robo-funk that grew out of George Clinton's futurism, Kraftwerk Germans, breakdance and African-American street culture. Here, as in the dub, the rhythm section was the main one, but this time it was fast and ragged.

The key element of the electrorhythm was the gooey and bassy kick of a Roland TR-808 analog drum machine (now a sky-high device, widely used in genres ranging from hip-hop to trap). Electro not only influenced the development of club electronics (primarily techno), but has also been preserved in almost its original form: today, dozens of labels and hundreds of musicians compete to see which of them will most accurately embody the precepts of the patriarchs.

British producers are doing a brilliant operation to import bass substitution

Genre: Blip-n-Base
When: 1989–1991
Where: England (Sheffield, Lids)
Lie: First Clients of the WARP label-Forgemasters, Sweet Exorcist, Lfo 9000 and the fat bass line of this track tore off the head in the late 1980s to tens of thousands of ravers in Britain and their like-minded people from other countries spawned its own version of club music. 808 State and A Guy Called Gerald appeared in Manchester, and the Warp label opened in Sheffield. It is now known as a stronghold of smart electronics due to releases as big as Boards of Canada, but at first it specialized in a local cult of techno called blip 'n' bass.

Blip was raw and loose club music with a direct rhythm and an incredibly heavy bass line for those times, which on good sound systems literally smeared ravers on the walls. The most famous people from this scene, even in the name, could not do without bass, the abbreviation of the project LFO (Low Frequency Oscillator) stands for "low frequency oscillations". “We wanted to bring as much bass to the record as possible,” says Warp co-founder Steve Beckett. “When cutting records, the machines got so hot that they could burn out. What saved us was that a plant engineer named Kevin was also a bass fanatic, eager to help us, and willing to take risks.”

Superbrust Kroshevo Rhythm and Pinch Bas: Jangle

Genre comes: Jangle
When: 1993–1995
Where: England (London and Vocabulary)
BE: M-BEVERIDER. , Alex Rees, Doc Scott, 4hero

In 1993, jungle appears, the style is based on the contrast of a fast and super-complex rhythm, cut from classic funk breaks and a slow, drawn-out bass that filled the whole space. It was about as deep as in the blip, but it sounded much fatter and more voluminous.

“A very important part of this whole story was the bass line, which in 95% of the pieces was represented by a Roland TR-808 low bass drum, laid out by notes. Each track consisted mainly of loops and bass. Later, the style that replaced the breakbeat was called drum and bass, and this is a fairly accurate designation.

Closer to 1995, jungle gained popularity and became mainstream. Musicians increasingly wanted to highlight their track with something special and surprise DJs and the public with the depth of sound. And it was the bass that almost always played the main role in this task.”

5 jungle records that Andrey Kotov recommends everyone to listen to

DJ Zins "Super Sharp Shooter"

One of the best-selling records of that time due to the author's use of an "inverted" bass - that is, played backwards. It was unusual and really memorable.

London Elecktricity "Pull The Plug"

Closer to 1999-2000, liquid funk came into vogue - classic funk elements began to appear in drum and bass tracks. Most often they sampled double bass and "croaking" guitar. And this track is a classic example of style.

Ed Rush "What's Up"

In parallel with liquid funk, the industrial style of tex-tep also developed. Heavy and usually dark music. For me, the era of textap began with this track by producer Ed Rush.

Lucy Furr "Infidel"

Later, technoid drum and bass was born on the basis of texep. Actually, it is from there that the legs of the modern and currently very popular neurofunk subgenre grow. The track "Infidel" is a gem of this style.

M-Beat feat. General Levy «Incredible»

And, of course, ragga jungle. This style is distinguished by the presence of Jamaican reggae/ragga vocals. To the delight of music lovers, it has been preserved and is being published to this day almost in its original form. And here is the most striking and classic example.

Basic techno for horizontal dances

Genre: Dab-techno
When: mid-1990s
Where: Germany (Berlin)
Who: Moritz von Oswald, Mark Ernestus, DJ Pete, DJ Pete

Produced by Moritz von Oswald (aka Maurizio), this series of records is built around an ingenious combination of hollow hollows and viscous bass.

In the late 1980s, just before the fall of the Berlin Wall, the Hard Wax record store was opened, the founders of which combine two passions: love for Detroit techno and collecting Jamaican dub and reggae. From two ingredients, the Berlin melting pot soon gives birth to a new genre. Dub techno picked up the flag just about where King Tubby left it.

This music consisted almost entirely of a rhythm section and an echo, and both the deepest dub bass and the measured techno kick seemed to have no high-frequency component at all. Truly dub techno is revealed when listening on large club sound systems or full-fledged Hi-Fi equipment, where the bass can breathe, and the speakers in the club or good headphones tremble.

The beginning of the millennium - another restart of the bass-era on the world's dance floors

Genre: grime
When: early 2000s
Where: England (East London)
Who: Dizzy Rascal, Wiley, Cano

classic of the genre, but also won the Mercury Award for Best Album of the Year in Britain, despite the fact that the new records of Coldplay and Radiohead appeared in the same category

live to a dark but combative soundtrack from a mixture of house, jungle, garage, and also Jamaican dancehall. Once again, the grime engine was heavy and aggressive bass.

Soon, the ambitious guys became crowded within the framework of illegal broadcasts, and they began to record and release their own tracks. Grime almost instantly became the official voice of the streets - he had both bold, sharply social lyrics and an interesting new sound.

Bass-music: bass played to its signature musical style

Genre: dubstep
When: mid-2000s
Where: 9017 England (south London)0018 Burial, Pinch, Loefah, DMZ

A company of young like-minded people from south London grew up on jungle, slow and sad Bristol trip-hop, as well as Jamaican dub and reggae (in the southern suburbs of the British capital there are especially many people from Jamaica, and reggae sounds, what is called, from each iron). Throw in a little more from the UK garage, popular in London clubs, and the output is dark, post-apocalyptic music, built around a floating bass (even fatter and deeper than jungle), as well as slow, but deafening drums, rapping out hypnotic patterns.

“At first, no one danced at dubstep parties,” recalls one of the founders of the genre, musician Loefah, “everyone sat on the floor, shrouded in smoke, and nodded their heads to the beat. ” Later, dubstep would divide into dozens of very different subgenres, from the intellectual mysticism of Burial to aggressive bro-step (here's a prime example - producer Caspa), giving rise to the umbrella brand "bass music", or simply "bass".

“Base (bass-music, bass music) is not a musical style, but rather another symbol for a huge range of genres that are on the other side of techno. This music can be grouped together along the lines of: enhanced deep bass, garage, dubstep roots, often uneven, broken beats more typical of street culture.

London-based label Hyperdub is a prime example of such music propagandists. They started out as a webzine about garage and experimental music, then a community of talented DJs, musicians formed around them, connections with other labels and communities (for example, with Teklife) took shape.

Of course, when they talk about Hyperdub, they immediately remember the musician Burial, and thanks to him everyone knows about the label. But Hyperdub is a whole cultural phenomenon, a commercially successful label that has been saving us from the dominance of mass club music for many years. You can only listen to Hyperdub and be aware of a huge layer of modern electronics: Kode9, DJ Rashad, Endgame, Hype Williams, Zomby, Laurel Haylo, DVA, Jesse Lanza, Cooly G and many, many more."

3 major Hyperdub records, according to Sergey Saburov

Burial "South London Boroughs"

This was the first record I bought from Hyperdub, Burial's debut release.

Kode9 + The Spaceape "9 Samurai"

Label founder Steve Goodman (Kode9) with a new sound manifesto.

DJ Rashad "I Don't Give a Fuck"

The perfect union of Hyperbub and Teklife.

Footwork: a style that does not hide that this is a listener’s legs

When: End of 200019 where: USA (Chicago)
Who: DJ Rashad , RP Boo, Traxman

Fast, Dirty, Tech is Footwork

Chicago footwork has won the intra-species struggle among the many sub-genres of bass music, and today it can be called the cutting edge of club music. The roots of the street dance of the same name, in which complex leg movements play an active role, go back almost to the end of 1980s, but the musical genre was formed only in the late 2000s by the efforts of musicians such as DJ Rashad and RP Booo.

Footwork is the great-grandson of electro (the same culture of street dance, the same bass rumbles), the grandson of Chicago booty house and the nephew of dubstep - the same triplet rhythms, but unlike the heavy and clumsy great-grandfather, footwork came out not just dynamic, but direct still flying. Elastic basses here serve as the basis for a powerful dance groove.

Frontman Therr Maitz explains why the bass is the sound that has made us dance for decades

“Bass is an energetically central element in music, especially dance music, but not only. There is not as much musical information in the bass part as in the parts of other instruments, but the listener often reacts precisely to the bass, to its energy.

When a bass line appears in my track while recording, it means that I already understand where I am moving stylistically. At the same time, you always need to be very careful with bass, incorrect bass reproduction can ruin everything. It could easily be too much. Incorrect bass can cause discomfort in the listener, up to depression.

There are a huge number of songs and tracks in the world where the attention of the listeners is focused precisely on the bass. If you start with yourself, then, first of all, of course, this is our song "365".

There is basically a lot of bass here and the recording is made in such a way that we emphasize it - such an experimental thing, even the kick drum here is especially low, non-radio, this is usually not the way to record pop music. If you recall some other vivid examples of music with an interesting bass, then here is the young talent Mura Masa - just listen to this track of his.

From this point of view, it's also nice to listen to jazz, where the bass always sounds very interesting and it's very cool to listen to it on good equipment. Take Ella Fitzgerald, for example: there are always a lot of overtones in her recordings, a very rich sound.

A well-tuned sound and especially high-quality bass is a very important thing. And that is why music should only be listened to in good headphones / on good speakers, this was one of the reasons why I became the face of the Sony EXTRA BASS ™ line - these are speakers and headphones where all the nuances of the bass line are revealed to the fullest.

A vivid example of active bass development among equipment manufacturers is the products of Sony, an expert in high-quality sound, in partnership with which we made this material. The company has a special line of products in its arsenal that allows you to maximize all the bass vibrations of your favorite styles of music - from dub and electro, to jungle and dubstep.

Sony introduces portable yet powerful home party audio systems, wireless waterproof speakers and EXTRA BASS™ headphones that boost low frequencies and produce highly realistic sound with crisp rhythms.

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Dubstrate Partner material Kyiv raves, festivals or parties are already a common thing. But how many of them really understand electronic music, know something other than techno, and can distinguish one genre from another (for example, IDM from UK Garage). Do you go to such events, but are afraid to admit that you do not understand electronic music? Or maybe you are sure that you will give odds to the electronic engineers themselves? Check yourself right now.

DTF Magazine and Jägermeister introduce you to the main styles of electronic music and its heroes just on the eve of a large-scale party in Kyiv with the participation of the British Koreless and the German Christian Löffler


You have to say thanks to the Chicago clubs for the house. There, in the 1980s, musicians used drum machines and synthesizers to create new music exclusively for dance. According to one version, the genre was named after the WareHouse club, where DJ Frankie Knuckles mixed classic disco with European synthpop, adding beats made on a Roland 9 drum machine.09. And the first house track is considered to be the composition On and On Tracks by Jesse Saunders.

House is characterized by a straight beat and a speed of 118-135 beats per minute (BPM), and its foundation is bright and beautiful passages, major chords and simple but catchy melodies. Since the 1990s, house has been divided into various sub-styles. All of his directions are recognizable by the 4x4 disco rhythm, expressive keyboard parts and sometimes vocals. House is softer and more melodic than techno. And the arrival of one of the leaders of the German electronic scene, Christian Loeffler, to Kyiv is a good opportunity to see the versatility of house music.

Who to listen to

from foreign musicians : Frankie Knuckles, Mr. Fingers, Nick Holder, Rick Wade, 808 State, Theo Parrish,
out of Ukrainian musicians : SE 62, Youngg P, Pahatam, Vakula

electronic music, appeared more than 40 years ago in Berlin: the owner of the local shop grouped the recordings of early synthesizer artists (Kraftwerk, Neu!, Klaus Schulze) under the banner of Tekno.

Therefore, the term "techno" is sometimes erroneously used as a generic term when talking about electronic music in general.

Detroit is considered the birthplace of techno. In the second half of the 1980s, local teenagers, influenced by German bands, began to create their own music on synthesizers. Techno is the brother of house music, which uses all the same elements, but is characterized by a faster tempo. Techno is dark, strict and mechanical. In the words of one of its founders, Juan Atkins, "it's music that sounds like technology." It also has a 4×4 rhythm and a speed of 120-150 BPM.

Who to listen to

from foreign musicians: Jeff Mills, Derrick May, Kenny Larkin, Robert Hood, Octave One, Daniel Bell, Monolake, Wolfgang Voigt, Surgeon
from Ukrainian musicians : Tolkachev, Recid, zolaa., Svarog, Woo York, Splinter, Na Nich, Motoblok, Voin Oruwu


First there was electro funk that started in 1970s New York. This is, as you may have guessed from the name, a late version of funk music that uses synths and effects. But the birth of electro was promoted by hip-hop and rap, influenced by groups such as Kraftwerk and Yellow Magic Orchestra (YMO). The first electro tracks sounded like broken drum beats and lasers were superimposed on the music of James Brown.

The defining characteristics of the genre are broken beats, dominating synth lines and rhythm sections created on a Roland TR-808 drum machine. Vocals on electro tracks are robotic or distorted by effects.

Who to listen to

from foreign musicians: Aux 88, Jackal & Hyde, DMX Krew, I-F, Luke Eargoggle, Carl Finlow, DJ Overdose
from Ukrainian musicians: Savant, Alexage, Lobanov K. Vladimir Gnatenko, KOMITET, Bejenec


Trance appeared on the British rave scene in the late 1980s, continued to flourish in Germany, and then spread throughout Europe as a more melodic offshoot of techno. It focuses on melodies more than any other genre of electronic music, and its recognizability is provided by the pronounced synth melodies that always form its core. And the name itself expresses its main goal: to hypnotize and introduce the listener into a state of trance. 994-1996 and quickly spread throughout the British capital. But it's actually rooted in the original Garage sound that originated in New York's Paradise Garage club back in the 1980s.

Originally called House & Garage or Sunday Scene, Garage's up-tempo sound eventually became Speed ​​Garage. UKG has a 138 BPM tempo, swinging rhythm, tight bass borrowed from early ragga jungle. By 1998, representatives of this genre were experimenting a lot with UKG drum parts, which resulted in its offshoot 2-step.

Whom to listen to

from foreign musicians: M.J.Cole, El-B, 24 Hour Experience, Horsepower Productions, Restless Natives, Masterstepz


Dubstep originated in England at the turn of the XX century. Its key element and defining feature is the bass. The elegant rhythm of dubstep was heavily influenced by related genres such as jungle, UK Garage and grime. Dubstep is typically characterized by sparse rhythmic patterns with overdriven metal bass and sonic distortion. The dubstep tempo fluctuates around 130-150 BPM.

Who to listen to

from foreign musicians: Mala, Skream, Kode9, Vex’d, Loefah, Kahn & Neek, DJ Distance, Pinch.


IDM (intelligent dance music) term. appeared in the early 1990s to describe the sound of several electronic musicians who sought to develop dance music not for clubs, but more for home listening. IDM as a genre was born at illegal parties throughout the UK, where popular dance music was not particularly favored at that time, and the city of Sheffield became the center of development of IDM, with the leading label Warp Records. At first, this music was minimalistic, less experimental and was called Bleep Techno or Bleep'n'Bass.

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