There’s a vocal sample laid over the recent track “Too Slow” by Boston dubstep producer Moldy that essentially lays out his overarching musical thesis: “People like you, I think, are starting to realize there’s too much speed in the system,” a voice intones over the clipping percussion, languorous rhythm, and minimal sound architecture. “There’s too much busyness and it’s time to find, or get back to, that lost art of slower rhythms,” it says, just before the deep bass pulse comes in. It’s a much different style of dubstep than how the genre has come to be understood, and Moldy is trying to dial things back.
Moldy, a.k.a. Ennis Glendon, 33, a Portland, Maine, native, now living in Brighton, says the concept is in keeping with what early adopters of the style, like himself and “American dubstep ambassador” Joe Nice, have been saying all along. “Bass, pace, and space” is how Nice, founder of New York City’s ahead-of-the-curve Dub War club night, typically describes it in most interviews he’s done over the years. This amounts to pulling back on the tempo of the tracks, and providing room for the bass to take the lead without too much extraneous noise muddying things, Glendon explains.