I'm pretty open to "outsider" tracks (including from dubstep producers) becoming big on the scene and thus becoming insider track. But I think the fact of them actually having traction within the scene remains relevant.
UK Funky as a style is a lot about context, about how different stylistic impulses and sonic approaches (sweet r&b tunes, housey throwbacks, skank tracks, ruff instrumentals) are thrown together and vibe off one another. But there has to be a narrative thread running through the tracks that renders them part of a single genre. In fact this is a big part of the appeal: the amazement that all of these impulses could sit next to one another and yet still sound of a piece.
I'm not someone who thinks the two parallel scenes we're taking about here are in fact one, at all, but i dont think your signifiers ( "stylistic impulses and sonic approaches (sweet r&b tunes, housey throwbacks, skank tracks, ruff instrumentals)") define funky accurately, as you could classify most of Oneman's sets as sweet r&b tunes, housey throwbacks, skank tracks, ruff instrumentals these days.
So either the groups are defined by class or perhaps more accurately by social groups, defined by the places they hang out and meet, who they know, labels they release on etc, with Rinse being a main loci of overlap and dialog.
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