Just Wikipedia being Funny

More recently the term post-dubstep has been used to describe music that combines stylistic features of dubstep with other musical influences. In 2011, dubstep gained significant traction in the US market by way of a post-dubstep style known as brostep with the American producer Skrillex becoming something of a figurehead for the scene.

Unlike traditional dubstep production styles, that emphasize sub-bass content, brostep accentuates the middle register and features "robotic fluctuations and metal-esque aggression". According to Simon Reynolds, as dubstep gained larger audiences and moved from smaller club-based venues to larger outdoor events, sub-sonic content was gradually replaced by distorted bass riffs that function roughly in the same register as the electric guitar in heavy metal.

The term brostep has been used by some as a pejorative descriptor for a style of popular Americanised dubstep. Dubstep purists have leveled criticisms at brostep because of its preoccupation with "hard" and aggressive sounding timbres. In the UK, brostep has been jokingly called "bruvstep" and "mid-range cack". US and Canadian artists often drew inspiration from British producers who tended to work less with sub-bass and more with mid-range sounds such as Caspa and Rusko, and Vexd. Rusko himself has claimed in an interview on the BBC's 1Xtra radio show that "brostep is sort of my fault, but now I've started to hate it in a way...It's like someone screaming in your face for an hour...you don't want that." Commenting on the success of American producers such as Skrillex, Skream has stated: "The bad side of that is that a lot of people will just say 'dubstep equals Skrillex'.

Urban dictionary:

cack
	Yet one of the many alternative words British people have for shit.

BBC Review of Rusko - Songs [2012]

Dubstep producer tries aligning his output with Jamaican originals, with muddled results.

Rusko’s attempt on this second album to realign his music with a Jamaican inheritance is something that some people might find problematic. Songs opens with a reference to King Tubby, and tries to make a point out of using reggae styles and vocalists. Yet it has nothing of the mind-opening space and texture of any Tubby dub. And since Rusko is one of the original drivers behind dubstep’s mutation from deep frequencies studiously engineered by people who understood bass into belching, aggressive, resolutely macho electro, this move is more than a bit ironic.

If Rusko is an innovator, as the reference wants to claim, his innovation has been to further remove dubstep from the roots soundsystem culture, as signified by King Tubby, and to make it more accessible to pop practitioners like M.I.A. and Skrillex. Thus Rusko tries to reclaim his foundational status from his imitators while being completely blind to the paradox therein. Indeed, the head-banging, saw-like riff of ‘Skanker’ is prologued by echoes and bleeps that only achieve a parody of dub.

of dub.