Yosif

Indeed, that's what I think too. Right now, I can't say I've particularly followed the more recent developments in the genre, and I could be spouting some nonsense since it seems there's a lot of up-to-date people here (dopoesmoker kosmo giorgio, etc.) who know the genre very well, but I think that for the serious stuff like Burial and things open to experimentation and techno influences, including this album which is quite impressive, most of the productions (those more club-oriented packed with LFOs, syncopated bass, tons of reverb, and pauses, or the productions of Benga and company, or especially Distance) [which I see is quite hyped even though he makes formulaic records] are a continuous copy-paste and recycling. Nothing new, being in my humble opinion an exact copy of the grime that was around 10 years ago (just slower and without raps over it). Don't classic albums like these remind you of some recent/current dubstep? -> |||| .... same synths, same steppy rhythms. It’s no coincidence that dubstep comes from all those British sounds like UK garage, 2-step, grime from the early 2000s. In short, I conclude by saying that I do like something like this too (especially the more ignorant stuff like the Dub Police catalog, for example this one which is an absolute banger! YouTube video non trovatoFJoG8jdNSJ0) but I've never understood why this is talked about as the millennium's novelty, as the serious and intelligent electronic music of the situation, as the "response" to the cheesy stuff for kids, considering it's yet another derivative and, in my personal opinion, a genre destined to last not much longer that doesn’t deserve all this attention.