When a country is at war or in economic depression, underdevelopment or tightened security, it sets an affective tone or mood, which seeps through into everyday life via all kinds of channels.

Most music culture these days runs on systems and networks devised to deal with the aftermath of thermonuclear war. Music culture has a habit of using these moods and machines in creative, unintended ways.

Hyperdub started in 2001 as a web magazine, but we also did a few events in the early days before becoming a label.

I wrote a short article called "Yardcore" for that issue, too, as an attempt to talk about the Jamaican influence on garage, grime and dubstep; as a splicing of soundsystem culture and hardcore.

Technical devices or processes which receive intensified investment during cold or hot wars spread through societies contagiously once their monopoly by the state has been undermined.

Audio virology is not a metaphor. It is to be taken literally. It maps real processes of mutation, transmission, contagion and memory within music culture.

Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)