Last month I had the rare pleasure of witnessing a DJ set from someone I consider an inspiring living legend, Mala. With a line around the block on a Monday in NYC, Cielo was packed wall-to-wall for the Dubspot and Deep Space celebration. From the second the needle hit the record until the last dubplate was tossed, it was undeniable how the refined, signature bass weight sound of Digital Mystikz and DMZ has changed modern club music.

Before dubstep formed the enigmatic identity it has today, the word dubstep itself comes from joining two genres of music, “dub,” as in dub reggae, and “step,” referring to 2-step garage. It has since incorporated a myriad of other genres and influences into its definition (or lack of), but it’s important to note its origins stem from these fundamental foundations. When it comes to pioneers, especially regarding its dub roots, Mala and Coki — together known as Digital Mystikz — are essential visionaries in dubstep’s history.

Having already been long term friends, Mala and Coki initially formed Digital Mystikz from sharing a common love of jungle, dub, reggae, garage and house. In 2004, the South London underground began to recognize their dubwise production style after their breakthrough track “Pathwayz” was rinsed at the cutting-edge club night, FWD. Mala and Coki seized this opportunity to start their own record label, DMZ, along with fellow collaborator Loefah. In 2005, after a series well-received single releases, Digital Mystikz and Loefah started the soon-to-be legendary DMZ club night.

Since the inception of DMZ as a label and clubnight, Digital Mystikz and Loefah have championed a radical, unprecedented attitude toward club music: meditate in the club. On original DMZ flyers was the slogan “come meditate on bass weight,” encouraging attendees to embrace the introspective headspace their music launches you into. Another crucial member of the DMZ family is the always charismatic emcee Sgt Pokes, who directs the vibes of the night.

These two principles—bass weight and meditation—are the most fascinating and unique elements of dubstep and what initially drew me to the genre. When I first heard Digital Mystikz’ tune “Haunted,” I thought “what is this music? People go to the club to this?” It was completely alien to me, as my knowledge of jungle, drum and bass, grime, garage and dub was limited at the time. It wasn’t until I made it to DubWar, the United States’ first and then longest running dubstep night, did I convert to the dubstep side. Tracks such as “Horror Show,” “Bury Da Bwoy,” and “Goblin” are what I consider soundsystem specific tracks: their deliberately designed for sub woofers and huge soundsystems. Long story short, if you haven’t heard any of these tunes in a proper club environment, you haven’t had the entire DMZ and dubstep experience.

In addition to preserving the dubwise ethos in dubstep, Digital Mystikz are never afraid of innovation. Coki alone is responsible for two significant turning points in the genre. In 2007, Coki was one of the first to explore the metallic and menacing wobble bass with his breakthrough banger “Sponge Bob.” The following year, Coki co-produced with Benga one of the most famous dubstep tracks to hit international radio airwaves, “Night.” Years later, these tracks still sound as dynamic and groundbreaking as they did when they were first cut to dubplates.

Never compromising and always evolving, DMZ continues to contribute to dubstep history. Last year Digital Mystikz released two highly anticipated LPs, Return II Space and Urban Ethics, which were both collections of unreleased, sought-after dubplates from the Mystikz themselves.

In 2006, Mala started his own imprint Deep Medi Musik, which continues to carry the torch for dubstep’s dub roots. In 2009, Loefah started his own label Swamp 81, a label embracing the darker, mysterious side of house by combining elements from the past and present (its logo alone references iconic Chicago-house label, Trax Records). With such innovative, sincere and forward-thinking leaders, you should never be afraid to keep it eyes to the ground and meditate in the club.

- Rx