Aftershock: The Seismic Impact of Dubstep

Aftershock: The Seismic Impact of Dubstep is the title of a forthcoming book announced by Lauren Martin. The book documents dubstep history from the late 1990s through 2011. It features interviews and contributions from artists including Mala, Loefah, Coki, Kode9, Hatcha, Skream and Pinch. The project builds on Martin’s 2015 interview series The VICE Oral History of Dubstep.

The book includes 28 participants and covers the creation of the dubstep ecosystem, including events such as FWD>> and DMZ and labels such as Skull Disco, Tectonic Recordings and Hyperdub. It is published by independent publisher Velocity Press as a hardcover measuring 24 x 17 cm, printed in full color across 320 pages. The retail price is 33.99 British pounds and the release date is listed as August 3. The scope extends from the genre’s South London origins to the growth of the scene in Britain and its expansion to North America.

Aftershock: The Seismic Impact of Dubstep

Author: Lauren Martin

Format: Hardcover

Dimensions: 24 x 17 cm

Color: Full color

Number of Pages: 320

Publisher: Velocity Press

Price: £33.99

Release Date: August 3

This book expands upon Martin’s 2015 interview series, The VICE Oral History of Dubstep, and provides an in-depth look into the development and impact of the dubstep genre.

The contributors named in reporting on Aftershock include Mala, Loefah, Coki, Kode9, Hatcha, Skream and Pinch as identified participants.

Additional contributors listed are Benny Ill, Youngsta, Rusko, Plastician, Joker, Appleblim and Shackleton.

The roster also contains Neil Joliffe (Ammunition), Jason Goz (Transition Studios), Martin “Blackdown” Clark, Pearson Sound, The Bug, Kahn and Artwork.

Completing the list are Sgt Pokes, Geeneus (Rinse FM), Chef, Joe Nice, Oris Jay, Deapoh (Barefiles) and Ivan Dubway (Dubstep Forum).

Aftershock: The Seismic Impact of Dubstep documents the development of dubstep from the late 1990s to 2011 and situates that period as the primary focus of the book. The work records the genre’s origin in South London and identifies the city as the starting point for the musical and cultural practices the book examines. It traces the expansion of local scenes within Britain during the formative years and frames those domestic developments as central to the narrative. The account remains bounded to the stated timeframe, concentrating on the era that produced the initial dubstep community and infrastructure.

The book’s scope extends beyond Britain to include the scene’s international movements. It documents the expansion of the dubstep scene into North America and records aspects of its transatlantic development during the covered years. The publication also notes a revival of interest in the genre in Germany and includes that revival within its geographic scope. These regional strands are presented as components of the broader historical arc covered in the book.

Aftershock documents the creation of the dubstep ecosystem and identifies specific events and labels as part of that ecosystem. The book includes coverage of events such as FWD>> and DMZ and lists labels including Skull Disco, Tectonic Recordings and Hyperdub among those discussed. The narrative assembles these named events and labels within the book’s account of scene formation and activity. The section of the book dedicated to ecosystem-building focuses on these concrete institutions and gatherings as elements of the documented history.

The book includes documentation of the dubstep ecosystem and references specific events and record labels associated with the scene. Reporting on the book names events such as FWD>> and DMZ. It also names labels including Skull Disco, Tectonic Recordings and Hyperdub.

Events	Labels
FWD>>	Skull Disco
DMZ	Tectonic Recordings
	Hyperdub

The available sources do not include an explicit evaluation of the book’s overall significance.

They do not present material that characterizes the work as comprehensive documentation of dubstep history or that compares its scope to other published histories.

The available reporting does not supply commentary assessing the cultural impact attributed to the book or its contributors, and it does not provide analysis of how the publication engages with ongoing developments in the electronic music scene.

The available sources also do not provide information about the book’s continued relevance in contemporary electronic music contexts, including reviews, reception, or indicators of long-term influence.

Section not specified.