Well-known member
I love most of laksa's stuff, always think of it as more of an updated breakbeat thing.


Well-known member
Hey guys, this is my first post so play nice pleeeaaaasse. :D:D:D

Though I can completely sympathise with the notion that the art-schoolification of, er… well anything really can be disastrous, I don’t think that’s the case with most post-dubstep. Where giving something the St. Martin’s treatment fails is when it softens what was interesting about something or even goes so far as to miss the point completely. In terms of post-dubstep, Fourtet :)poop:) would be the best example of that happening. However, when done correctly an artistic tact can be useful in highlighting, emphasising and exaggerating the most potent components of music that wouldn’t be as prominent in a more populist setting. (Ooh look at me sounding all cleaver lol... Ok I admit it, I took a couple of days to write this).

For example Pangaea’s ‘Hex’ takes the ‘vocal science’ of Garage and exaggerates it to a level of avant-garde never attained by Garage itself.

There’s more rhythmic experimentation and eclecticism in Post-Dubstep and the soundscapes are more varied than in previous Hardcore Continuum genres, which gives it a wider emotional remit.

It’s worth noting that it was only Post-Dubstep out of all the UK genres that managed (or even attempted to) to integrate Footwork.

When compared to UK Funky, Bassline, Deep Tech or Bass House I’d argue that Post-Dubstep is the genre truly continuing in the Hardcore spirit of experimentation and pushing things forward.

Pew, I worked harder on that than my dissertation.