but in all seriousness I think it's about your own personal taste and canon-building. I think I've said this before but my parents were very young compared to everyone else and I never had that experience of growing up with The Beatles or Fleetwood Mac or ABBA the way my friends did. My parents were going to see Faithless and Underworld and playing New Order and Massive Attack around the house. So my idea of how things sound was quite different to other people. Bjork's Homogenic was a really formative album for me - all my pals in primary school thought it was really weird whereas I thought it made perfect sense because dance and electronic music was a real presence in my life. When I finally heard a Beatles album I was 16 and thought it was really boring, "where are all the synths I thought they were innovators"
Yeah I hate club life. nothing wrong with that. What is there to like about being paraded like cattle in a meat market by some ex-con bouncers looking to control the drug supply and nick unsuspecting punters to sell the gear at double the price? Get a grip.
Genius is not the point of gabber anyway. It's even more senius than jungle, so when it does try and break away from that, it goes into proper highbrow musique concrete realms (la peste and crew.)
There's a reason why post-reinforced Goldie has been middlebrow, and that's because jungle was never as senius as people cracked it up to be, so there was no real uniformity to rebel against.
Put it another way: compositionally speaking, 93 was more technically advanced than 94, even if the 94-95 productions were far more technically advanced, more spatious, more accomplished, more 4 dimensional. 93 productions sound crammed and rickety, but that's because they were senius. Same with 92-93 maximal hard acid techno, it was about making a lot with limited resources. When people got better equipment they had to as a necessity go more minimal, pay more attention to spatial dynamics. That wasn't initially a negative development, though the conservatism of dance music inevitably ended up making it the default.
Another way to think about this is the basslines. Most basslines in jungle are very simple, sine wave tones and reese/reversed basses. But when the basslines became layered and pretcil-like, with a greater emphasis on harmonics, that's when the 2step beat became a necessity. You can't have those techy basslines over mashed up amens or apaches, it will just sound like a mess, but not in a good way. Why is this? Because those basslines fill the rhythmic information which was previously occupied by the dynamic flutters in sampled breaks.
Not a song in particular but I don't like a lot of recent film scores, the epic chugging action type ones. I turned Dark City off after about 20 minutes due to the music. I think Speed with Sandra Bullock was one of the first to have this kind of score, later adopted by Hans Zimmer and co.
My parents listened to no western music. It's for this reason I'm totally objective. as @luka can tell you parents who listen to Portishead and The Smiths raise their children to be non-partisan liberal decadents with the worst taste of all time.
Imagine is alright but it's been soiled by people singing it in railway stations on those public pianos.
Obviously people fixate on John Lennon the millionaire singing about imagining no possessions but speaking as a millionaire we often indulge in these little thought experiments to spice up our otherwise dull days by the pool.