Today we’d like to introduce you to Alexander Baker.
Hi alexander, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
I was really into death metal back in high school. But everything changed around 2009 when a friend showed me dubstep for the first time. I wasn’t naturally talented with instruments, but I had a deep love for music and would be at shows almost every week. The following year, another friend introduced me to Fruity Loops, and that’s when it really began for me. I finally found my way of making music, and I became completely obsessed.
Back then, there weren’t many resources to learn from. I remember watching this old Rusko masterclass video religiously, breaking it down over and over just to understand what was happening. Eventually, I decided to go to school for audio production. That experience gave me a strong technical foundation, but it was rooted more in traditional audio engineering. Dubstep, on the other hand, was all about breaking rules. It was different. It didn’t follow the usual path and that’s what I loved about it.
In 2014, Subwreck officially came to life. I always saw myself as a producer first. From day one, I was playing my own music live, and that felt like a huge achievement. Especially since so many people start the other way around as DJs first. I got involved with White Rabbit Group when they expanded to San Diego and partnered with a venue called Somewhere Loud.
Not long after, I became a regular at Organized Grime, San Diego’s longest-running dubstep and drum & bass weekly. Every Monday for over a decade, that place felt like home. It was where I grew not just as an artist, but as part of a true community.
Dubstep has always been evolving and so have I. What pulled me in from the start was the sound design. I took pride in crafting my own sound, because in dubstep, that’s what defined you. I started out more as a tastemaker DJ, focusing on the emerging subgenres at the time – Riddim and Tearout really spoke to me.
I released music through various SoundCloud networks, but the most notable was Get Heavy. They were throwing some of the most exciting underground parties in LA, and that eventually led to me playing a show with them out there. But the biggest full-circle moment came after the pandemic, when they connected me with Insomniac.
I joined the Bassrush roster for local support just as Insomiac launched their new venue, Nova. For the first seven months, there weren’t any bass shows—until one day, they asked if I wanted to play. They didn’t even tell me the headliner. I said yes anyway, figuring it had to be something big. Turns out, I was offered the very first Bassrush show at Nova… with Excision headlining. I felt honored.
Doing music has been a journey—full of highs, lows, and everything in between. It hasn’t always been easy, but every step has shaped me. From the moment I first heard dubstep to playing my own tracks in front of crowds, I feel grateful for how far I’ve come. The people I’ve met, the community I’ve been a part of. it’s all been a blessing. And the ride’s definitely not over yet.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
As stated before was the lack of resources when I first started producing. There weren’t YouTube tutorials or big Discord servers full of producers. It was me, FL Studio, and an old Rusko masterclass video on repeat. I had to learn everything by trial and error.
One of the biggest obstacles early on was how the scene viewed dubstep, especially in the club world. At the time, dubstep wasn’t really accepted as something you’d hear at the start of the night. Promoters didn’t like it for openers. They wanted house, or something “groovy” to warm up the room. Dubstep was considered too aggressive, too weird.
As a DJ and producer, that put me in a tough spot. I wasn’t just trying to play music, I was trying to play my own music. And when that sound isn’t being embraced by the local scene yet, it can feel like you’re constantly swimming upstream. I had to work extra hard to carve out a space where my style fit, and to build a reputation where people trusted my sets even if it wasn’t what they expected.
All those early roadblocks made me more self-reliant. I had to believe in my sound before anyone else did. And I think that shaped my identity as an artist in a big way.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I’d say I’m known for staying true to the roots of the sound while still pushing my own style. I’m most proud of being part of the scene during the early days of riddim becoming its own thing—being part of that wave, playing those shows, and connecting with people through music that was still being defined in real time.
I always try to bring something personal into my sets and productions. I started out producing before I got into DJing, so I’ve always had a strong focus on creating original material. Even in my early sets, I was already playing my own tracks, which I think helped me stand out.
We’d love to hear about any fond memories you have from when you were growing up?
One of my favorite childhood memories is skateboarding. It started off as something fun with friends, but I really stuck with it throughout high school. Over time, I got pretty good at it, and it became a way for me to challenge myself, stay active, and stay focused. It taught me a lot about persistence and learning through failure. Every trick took patience and repetition, but landing one after struggling felt incredibly rewarding
Contact Info:
- Instagram: https://www.instagram.com/subwreck/
- Facebook: https://facebook.com/subwreck
- Twitter: https://x.com/subwreck
- Soundcloud: https://soundcloud.com/subwreck
- Other: https://linktr.ee/subwreck
Image Credits
Insomiac, Bassrush, Kevin Eilenberg, James Gross, Alec Williams, Emily Reinhardt
