Flux Pavilion

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• Top 6 Dubstep Artists of All Time

  Currently #5 · score 0

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• Skrillex

  Skrillex became the artist most responsible for bringing dubstep to mainstream American audiences, winning multiple Grammy Awards for his aggressive, heavily distorted "brostep" sound that diverged significantly from the genre's more minimal, bass-focused UK origins. His 2010 EP "Scary Monsters and Nice Sprites" became one of the most commercially significant and influential dubstep releases ever made, its distorted, mid-range-heavy "wobble bass" sound establishing a specific American variant of the genre that came to dominate festival main stages throughout the early 2010s. Skrillex's role helping popularize electronic dance music's broader mainstream American festival boom during the early 2010s extended his influence well beyond dubstep specifically, making him one of the most commercially significant electronic music producers of his generation regardless of genre. His combination of "Scary Monsters and Nice Sprites'" genre-defining commercial breakthrough and his broader role driving American EDM's mainstream festival explosion has made Skrillex almost universally regarded as the most commercially significant dubstep artist in the genre's history.

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• Rusko

  Rusko became one of the defining producers of dubstep's UK-to-US crossover period, helping bridge the genre's underground British origins with the American festival scene that would later embrace the "brostep" variant of the sound during the early 2010s. His energetic, playful production style and his prominent touring presence across major American electronic music festivals helped introduce dubstep to a considerably wider American audience than the genre's earlier, more strictly underground UK club scene had reached. Rusko's influence on the specifically American strand of dubstep production, incorporating more aggressive, festival-oriented bass drops distinct from the genre's more minimal Croydon and South London origins, helped shape the sound that Skrillex and other American producers subsequently built on. His combination of his foundational role bridging UK dubstep to American audiences and his influence on the genre's evolving festival-oriented sound has made Rusko one of the most historically significant figures in dubstep's transatlantic development.

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• Benga

  Benga became one of the foundational figures in dubstep's original South London scene, releasing genre-defining tracks throughout the mid-2000s that helped establish the minimal, bass-heavy, half-step rhythm structure that defined the genre's earliest and most influential era. His 2008 collaboration with Coki, "Night," became one of the most widely recognized and influential early dubstep tracks, helping establish the genre's core sonic vocabulary before its later, more commercially varied international expansion. Benga's role within London's Croydon dubstep scene, alongside contemporaries including Skream and Digital Mystikz, placed him at the direct geographic and cultural origin point of the genre, giving him a foundational historical significance distinct from later international dubstep producers. His combination of his foundational role in dubstep's original South London scene and "Night's" genre-defining influence has made Benga one of the most historically important figures in the genre's earliest and most musically influential era.

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• Skream

  Skream became one of dubstep's most foundational producers, releasing his influential self-titled debut album in 2006 and helping establish Croydon, South London, as the genre's original geographic and cultural birthplace alongside fellow pioneering producers. His track "Midnight Request Line," released in 2005, became one of the most widely cited foundational dubstep recordings, its minimal, sub-bass-heavy production establishing a sonic template that shaped the genre's earliest development before its later international variations. Skream's continued influence extended into house and other electronic genres in the years following dubstep's initial peak, reflecting a broader versatility that distinguished him from producers who remained more narrowly focused on dubstep specifically throughout their careers. His combination of "Midnight Request Line's" foundational genre significance and his broader continued influence across electronic music has made Skream one of the most historically important pioneers in dubstep's original development.

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• Nero

  Nero, the London duo of Daniel Stephens and Joe Ray, brought dubstep into direct commercial dialogue with mainstream pop and rock production, winning a Grammy Award and achieving significant UK chart success with their 2011 debut album "Welcome Reality." Their sound, incorporating soaring, anthemic vocal hooks and rock-influenced song structures alongside dubstep's characteristic bass drops, gave their music considerably broader mainstream radio accessibility than the genre's more purely instrumental, club-oriented origins. "Welcome Reality" reaching number one on the UK Albums Chart reflected dubstep's genuine mainstream commercial breakthrough in its country of origin, a level of chart success matched by relatively few other dubstep-associated releases in the UK specifically. Their combination of their Grammy-winning, chart-topping commercial success and their pop-and-rock-influenced approach to dubstep production has made Nero one of the most commercially significant acts in the genre's mainstream crossover era.

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More in Music

• Naftule's Dream

  Naftule's Dream grew out of the Shirim Klezmer Orchestra, a Boston-area group that had already been playing traditional klezmer for 14 years before Newton, Massachusetts-born clarinetist Glenn Dickson and accordionist-songwriter Michael McLaughlin spun off a more adventurous, improvisation-focused outlet from within it. The band released two records on their own, "Search for the Golden Dreydl" in 1997 and "Smash, Clap" in 1998, before going on to record three further albums for composer John Zorn's Tzadik label under its Radical Jewish Culture series, a significant marker of downtown-avant-garde credibility. The Boston Globe praised the group for fusing "klezmer music, Phish-like improvisation, and radical Yiddish poetry," a description that captured how directly the band pushed past traditional acoustic klezmer instrumentation and arrangement. Their combination of their roots in a 14-year-old traditional klezmer orchestra and their three albums on John Zorn's boundary-pushing Tzadik label has made Naftule's Dream one of the most musically adventurous bands in the klezmer revival movement.

• Brave Old World

  Brave Old World formed in 1989 with members drawn from California, Chicago, New York, and Berlin, an unusually international lineup for a klezmer band, originally featuring clarinetist Joel Rubin, drummer Ben Bazyler, multi-instrumentalist Stu Brotman (a former member of 1960s rock band Kaleidoscope and a sideman for Canned Heat), keyboardist Alan Bern, and violinist Michael Alpert. Rubin was later replaced by Kurt Bjorling, musical director of the Chicago Klezmer Ensemble since 1984, bringing another deeply credentialed klezmer specialist into the lineup. The Washington Post called Brave Old World "the revival's first supergroup," noting that "every player is a virtuoso," and the band won first prize at the 1992 International Klezmer Festival in Safed, Israel, a significant early validation from within the genre's own community. Their combination of their genuinely international, virtuoso-level lineup and their 1992 Safed festival win has made Brave Old World one of the most artistically respected bands in the klezmer revival.

• Kapelye

  Kapelye was assembled in 1979 when ethnomusicologist Henry Sapoznik organized a group of musicians to perform at a klezmer lecture at Temple Beth-El in Providence, Rhode Island; the November 18, 1979 debut went well enough that the musicians agreed on the spot to keep performing together as a full-time band. The group took its name from the Yiddish word for "a band" and began actively researching and collecting turn-of-the-century klezmer recordings, drawing several members, including fiddler and vocalist Michael Alpert, from the overlapping Balkan music community. Their 1981 debut album, "Future & Past," mixed traditional Yiddish folk ballads with labor and political anthems and songs pulled directly from Yiddish theater, and the band followed it with "Levine & His Flying Machine" in 1985 and "Chicken" in 1987, before "Old-Time Jewish American Radio" became their most successful release. Their combination of Sapoznik's foundational archival research and their genre-launching 1981 debut album has made Kapelye one of the most historically significant bands in klezmer's modern revival movement.

• Andy Statman

  Andy Statman, born in New York City in 1950, started on banjo and guitar at 12 before switching to mandolin, which he studied briefly under lifelong friend David Grisman, and by 1970 he was playing in the experimental bluegrass group Country Cooking, followed by stints with David Bromberg's band. In 1975, Statman sought out klezmer clarinet legend Dave Tarras and became his protégé; Tarras wrote melodies specifically for him and eventually bequeathed Statman four of his own clarinets, deliberately passing the older master's living klezmer lineage directly to him. His late-1970s album "Jewish Klezmer Music" became a touchstone recording for that decade's klezmer revival, released alongside his mandolin-focused "Flatbush Waltz," and the National Endowment for the Arts later named him a National Heritage Fellow, the nation's highest honor in the traditional arts. His combination of his direct mentorship under Dave Tarras and his rare parallel mastery of klezmer clarinet and bluegrass mandolin has made Statman one of the most historically important figures in klezmer's modern revival.

• Giora Feidman

  Giora Feidman was born in 1936 in Buenos Aires to a family of klezmer musicians spanning his father, grandfather, and great-grandfather, and by 18 he was already leading clarinetist of the orchestra at Argentina's Teatro Colón before joining the Israel Philharmonic Orchestra in 1957 on the recommendation of conductor Paul Kletzki. He played with the Israel Philharmonic until 1974, then launched a solo career and was crowned "the King of Klezmer" in New York already in the 1970s, well before klezmer's broader American revival movement took hold in subsequent decades. In the early 1990s, Steven Spielberg invited Feidman to record alongside violinist Itzhak Perlman on the score for "Schindler's List," and Feidman's solo clarinet became a defining voice on that soundtrack, which went on to win the Academy Award. His combination of a multi-generational klezmer family lineage and his solo clarinet performance on the Oscar-winning "Schindler's List" score has made Feidman one of the most significant ambassadors for klezmer music worldwide.