Fact-checked by Grok 2 weeks ago

Post-dubstep

Post-dubstep is an electronic music genre that emerged in the during the late 2000s as a from , characterized by atmospheric, emotive soundscapes that blend influences from , , R&B, ambient, and , often at tempos around 130 with reduced emphasis on heavy wobble and a focus on experimental textures and vocal manipulations. The term "post-dubstep" was coined around 2009 to describe a wave of producers rejecting the genre's shift toward aggressive, commercialized forms like brostep, instead exploring introspective and diverse sonic directions rooted in dubstep's underground origins in clubs such as Plastic People. This movement gained prominence through pivotal releases like Burial's Untrue (2007), which introduced haunting, 2-step garage-inflected rhythms, micro-edited vocal samples, and themes of urban isolation, earning a nomination and influencing an entire generation of emotive . Key artists associated with post-dubstep include , Mount Kimbie, James Blake, , , and Darkstar, whose works such as Mount Kimbie's Crooks & Lovers (2010), James Blake's self-titled debut (2011), and Joy Orbison's "Hyph Mngo" (2009) exemplified the genre's shift toward melodic minimalism, live instrumentation, and crossover appeal with indie and soul elements. Peaking creatively between 2009 and 2011, post-dubstep's influence extended to future garage and , though the label has largely faded by the 2020s as its artists integrated into broader electronic and pop landscapes.

Origins

Roots in Dubstep and UK Bass

Post-dubstep emerged as an evolution from , a genre characterized by its sparse, syncopated rhythms typically operating at around 140 beats per minute () and dominated by heavy, pulsating sub-bass lines that create an immersive, low-frequency rumble. These elements drew directly from the precursors in and , which introduced shuffled, off-kilter beats and soulful, R&B-inflected vocal samples, infusing with a rhythmic complexity and emotional depth that contrasted the more straightforward four-on-the-floor patterns of . This fusion resulted in a darker, more minimalistic sound that emphasized negative space in percussion and bass-heavy drops, laying the groundwork for post-dubstep's experimental expansions. The roots of , and by extension post-dubstep, are deeply embedded in South London's vibrant culture of the early 2000s, where immigrant communities hosted outdoor parties featuring massive bass rigs that prioritized sub-bass vibrations over melody. This scene, centered in areas like and , fostered an ethos of communal listening and sonic innovation, influenced by Jamaican and traditions. Pirate radio stations played a crucial role in disseminating proto-dubstep tracks, with emerging as a key platform that broadcast these raw, bass-driven mixes to a wide audience, helping to solidify the genre's presence in London's urban nightlife before it gained broader recognition. Ambient and broken beat scenes further shaped dubstep's atmospheric leanings, contributing layered textures and irregular rhythms that encouraged more introspective and experimental productions. Artists like exemplified this bridge in their 2007 album Untrue, which employed reverb-drenched soundscapes, crackle, and micro-edited vocal fragments to evoke the melancholic isolation of urban nightscapes, blending dubstep's bass foundation with hauntological ambient elements drawn from 1990s and 2-step influences. By the mid-2000s, independent labels such as Hyperdub—founded in 2004 by (aka )—began institutionalizing these developments, releasing seminal dubstep works that would later nurture post-dubstep's shift toward more melodic and hybrid forms. This early infrastructure highlighted dubstep's role as a cultural response to London's post-rave socio-economic shifts, setting the stage for post-dubstep's broader artistic explorations.

Emergence in the Late 2000s

Post-dubstep began to take shape in the late 2000s as producers in the UK electronic scene experimented with dubstep's sub-bass foundations, incorporating elements from , , and music to create more introspective and hybrid sounds. A key early release was Mount Kimbie's Maybes EP, issued in 2009 on Hotflush Recordings, which blended dubstep's low-end bass with intricate rhythms and textures, signaling a departure from the genre's traditional aggression toward atmospheric experimentation. Pivotal tracks further defined this transitional phase. Joy Orbison's "Hyph Mngo," released in 2009 on Hotflush Recordings, introduced garage-infused bass wobbles layered with R&B vocal samples, capturing a warmer, more melodic vibe that resonated in London's underground clubs. Similarly, James Blake's 2009 remix of Untold's "Stop What You’re Doing" on Hemlock Recordings brought vocals and stark minimalism to the fore, stripping away dubstep's bombast in favor of emotional sparsity and half-time grooves. Cultural shifts amplified these innovations. The Hyperdub label, founded by in 2004, expanded its roster in the late 2000s to include post-dubstep-leaning artists like and Cooly G, fostering a broader ecosystem for emotive beyond strict conventions. Concurrently, The xx's self-titled debut album in 2009 popularized intimate, reverb-drenched aesthetics in indie circles, influencing post-dubstep's shift toward subdued, nocturnal atmospheres. By 2010, the term "post-dubstep" gained traction through critical discourse, notably in Pitchfork's coverage of the 's bass music evolution, which highlighted the genre's move from aggressive drops to emotive, cross-pollinated hybrids. The term itself emerged in music press around 2009, often associated with Mount Kimbie's early work.

Characteristics

Rhythmic and Melodic Elements

Post-dubstep distinguishes itself through rhythmic foundations that diverge from the aggressive, half-time drops of traditional , favoring a slower typically ranging from 120 to 135 beats per minute, which allows for a more relaxed and flowing pace. This , often hovering around 130 , incorporates elements of , featuring broken swing patterns and syncopated hi-hats that create a fluid, less rigid groove compared to the 140 rigidity of . Producers emphasize micro-edited percussion with and subtle shuffles to evoke a sense of and movement, prioritizing groove over intensity. A hallmark of post-dubstep's rhythmic innovation is the use of "wonky" or off-kilter beats, which introduce deliberate asymmetry and unease through irregular timing and disjointed percussion patterns. In Ikonika's productions, for instance, these wonky elements manifest as messed-up rhythms that blend dubstep's bass heritage with experimental glitches, fostering a disorienting yet compelling experimentation. Melodically, post-dubstep integrates ambient textures to craft introspective and ethereal atmospheres, often employing sparse synth motifs with extended reverb and delay tails that linger like echoes in vast spaces. These textures draw from post-rock influences, incorporating harmonic progressions to evoke wistful, expansive moods rather than confrontational energy. Vocal elements frequently feature chopped R&B and neo-soul samples from early 2000s artists like Aaliyah, pitch-shifted and formant-altered for intimacy and grainy depth, as heard in James Blake's reconfiguration of Aaliyah's "Are You That Somebody?" on his CMYK EP. Structurally, post-dubstep tracks emphasize gradual build-ups that rely on reverb and delay effects to layer tension through and sweeps, rather than abrupt climaxes. sections prioritize atmospheric immersion, alternating between lulls and swings to heighten introspection, with syncopated percussion adding light chaos without overwhelming the ethereal core. This approach shifts focus from high-energy drops to sustained mood, creating a sense of fluid evolution throughout the composition.

Basslines and Production Techniques

Post-dubstep basslines retain the deep sub-bass foundation of traditional , providing a resonant low-end presence that anchors the track's structure. However, they diverge by employing smoother, less distorted wobbles compared to the aggressive, heavily modulated drops of earlier styles, prioritizing atmospheric depth over confrontational intensity. This shift allows the bass to integrate more seamlessly with melodic and vocal elements, creating a sense of space and introspection rather than dominance. For instance, James Blake's "" exemplifies this with its pulsating sub-bass that adds weight without overwhelming the arrangement's emotional core. To achieve clarity in dense mixes, post-dubstep producers frequently modulate basslines using sidechain compression, which ducks the low frequencies in response to the kick drum, ensuring "breathing room" and rhythmic punch at tempos around 130 . This technique enhances the genre's emphasis on , preventing muddiness while maintaining the sub-bass's tactile impact on sound systems. Complementing this, often involves heavy application of reverb and delay effects to generate ambient washes that envelop the , fostering an ethereal quality. further contributes to these textures by fragmenting and reassembling audio grains, adding subtle, evolving layers that blur the lines between and atmosphere. Sampling from R&B and soul vocals is a hallmark technique, with these elements processed through vocoders or pitch-shifting to create masked, otherworldly integrations that interact dynamically with the . This not only obscures vocal identities for but also harmonizes them with the sub-bass, as heard in SBTRKT's work where pitched-down samples weave into hybrid rhythmic beds. Producers favor blending analog synth emulations with digital plugins like to craft versatile hybrid textures that balance warmth and precision. This approach underscores the genre's commitment to space and , where functions atmospherically to support broader narratives rather than lead aggressively.

Key Artists and Releases

Pioneering Acts

Burial, the alias of William Bevan, is widely regarded as a foundational figure in post-dubstep, with his 2007 album Untrue on Hyperdub introducing haunting, 2-step garage-inflected rhythms, micro-edited vocal samples, and themes of urban isolation that influenced the genre's emotive direction. The album earned a Mercury Prize nomination and is often cited as a blueprint for atmospheric bass music. Mount Kimbie, the duo consisting of and Kai Campos, emerged as key figures in post-dubstep by evolving from their 2008 EPs Maybes and on the Hotflush Recordings label, which introduced ambient and dubstep-infused soundscapes. Their 2010 debut album Crooks & Lovers, also released on Hotflush, marked a pivotal shift, blending post-dubstep's bass elements with textures, minimalist , and influences to create introspective, club-averse tracks that prioritized melody and atmosphere over traditional dancefloor aggression. This fusion helped define post-dubstep's move toward more experimental, guitar-tinged forms, earning widespread acclaim and influencing subsequent artists in the genre. James Blake, a solo producer and vocalist, solidified post-dubstep's emotional depth with his 2011 self-titled debut album on ATLAS/ , which integrated dubstep's sparse rhythms with soulful and piano-driven arrangements. Drawing from influences in his keyboard playing and vocal delivery, Blake's work evoked a haunting, confessional intimacy that distinguished it from dubstep's origins, earning a nomination for the 2011 . His background, shaped by early exposure to classical and alongside club sounds, allowed him to bridge electronic experimentation with traditions, making the album a cornerstone of post-dubstep's crossover appeal. Joy Orbison, the alias of producer Peter O'Grady, broke through in 2009 with tracks like "Hyph Mngo," released on Hotflush Recordings, which showcased an eclectic fusion of shuffles, grooves, and dubstep's sub-bass pressure. This single, praised for its innovative sampling and rhythmic unpredictability, captured post-dubstep's transitional energy at a time when the genre was absorbing influences from 2-step and traditions, positioning O'Grady as a vital innovator in London's underground scene. His output emphasized playful, off-kilter structures that blurred genre boundaries, contributing to the style's reputation for sonic hybridity. Jamie xx, known for his production work with The xx and solo releases, contributed to post-dubstep through remixes and tracks like "Far Nearer" (2011), blending indie elements with deep bass and garage rhythms on labels like . Darkstar, the duo of James Young and Aiden Whalley, advanced the genre with their 2010 album North on Hyperdub, featuring ethereal synths, vocals, and subtle basslines that evoked atmospheres. Ikonika, the project of London-based producer Sara Abdel-Hamid, advanced post-dubstep through her 2010 Edits EP on Hyperdub, featuring signature "wonky" basslines—characterized by playful, pitch-bent synth riffs and erratic rhythms that deviated from dubstep's conventional wobble. As one of the few prominent women in the male-dominated scene, her work brought feminist perspectives by challenging norms in production, often incorporating video game-inspired timbres and skitters to create vibrant, forward-thinking tracks. This release on the influential Hyperdub label underscored her role in expanding post-dubstep's palette toward more colorful, hip-hop-inflected experimentation.

Landmark Tracks and Albums

One of the earliest landmark tracks in post-dubstep is Joy Orbison's "Hyph Mngo," released in 2009 on Hotflush Recordings, which fused R&B and garage elements with tense, high-strung basslines and a distorted organ progression trailing the beat, marking a shift from traditional dubstep's aggression toward more euphoric, club-oriented sounds. This track quickly became a staple in clubs, ranking 14th on Pitchfork's list of the 100 best tracks of 2009 and exemplifying the genre's progression into warmer, melodic territory. Similarly, James Blake's "Limit to Your Love" from his 2011 self-titled debut album introduced piano-driven to post-dubstep, reworking Feist's original into a sparse overlaid with echoing sub-bass and fragile vocals that emphasized emotional restraint over heavy drops. The track's underground success highlighted the genre's potential for crossover appeal, blending dubstep's electronic roots with soulful introspection. SBTRKT's "Nights," from the 2011 self-titled by producer Aaron Jerome (performing as ), further showcased post-dubstep's atmospheric leanings with its brooding rhythms and subtle vocal layers, creating a nocturnal, immersive that prioritized mood over bombast. This track, part of an hailed as a pioneering post-dubstep effort, integrated glitchy percussion and restrained bass to evoke late-night , influencing subsequent productions. Among landmark albums, Burial's Untrue (2007) on Hyperdub served as an early blueprint for post-dubstep, with tracks like "Archangel" featuring rainy atmospheres, chopped vocals, and 2-step beats that captured the genre's shift toward experimental, emotive electronica. The album's innovative production defined the sound's maturity, earning acclaim for its fusion of dubstep with ambient elements. Mount Kimbie's Crooks & Lovers (2010) further exemplified this, blending intricate guitar work, sampled vocals, and skittering beats on tracks like "Before I Move Off," which captured the genre's shift toward experimental, post-rock-infused electronica. Released on Hotflush, the album's layered production and avoidance of conventional drops defined the sound's maturity, earning acclaim for its innovative fusion of dubstep with indie elements. The xx's debut xx (2009) brought indie crossover appeal to post-dubstep influences, with its minimalist guitars, echoing reverb, and sparse rhythms evoking a hushed, intimate vibe that bridged club music and alternative rock. Tracks like "Intro" and "Crystalised" highlighted the genre's potential for emotional subtlety, reaching number 5 on the UK Albums Chart, topping the UK Indie Albums Chart, and ranking 3rd on Pitchfork's best albums of 2009. Four Tet's There Is Love in You (2010) incorporated post-dubstep rhythms into folktronica, using warm, organic samples and pulsating bass on songs like "Love Cry" to create a danceable yet introspective palette that expanded the genre's boundaries. These releases collectively bridged post-dubstep from underground scenes to mainstream recognition, with tracks and albums like James Blake's self-titled effort receiving airplay during the station's 2010 dubstep takeover and charting on UK indie lists by 2011. Blake's album, in particular, garnered a 2011 Mercury Prize nomination, signaling the genre's commercial viability and broader cultural traction.

Evolution and Cultural Impact

Mainstream Integration in the 2010s

During the early , post-dubstep achieved significant commercial milestones that propelled it into mainstream visibility. James Blake's second album, (2013), debuted at number eight on the and topped the Dance/Electronic Albums chart, marking a breakthrough for the genre's integration into broader markets. The album, which won the in 2013, featured a collaboration with on the track "Life Round Here," blending post-dubstep's atmospheric production with elements to attract diverse audiences. Similarly, SBTRKT's Wonder Where We Land (2014) reached the Top 20, incorporating vocal contributions from that highlighted the genre's shift toward emotive, singer-led structures suitable for radio play. Post-dubstep's crossover influences extended to and R&B, fostering hybrid sounds that appealed beyond electronic niches. The xx, whose minimalist incorporated post-dubstep textures through producer 's contributions, expanded to arena tours in the mid-2010s, such as their 2017 global run including venues like London's O2 Academy Brixton, demonstrating the genre's role in elevating indie acts to large-scale performances. In R&B, Drake's 2011 album Take Care prominently sampled 's post-dubstep remix of Gil Scott-Heron's "I'll Take Care of U" for its , produced by , which introduced bass-driven beats to mainstream hip-hop and peaked at number seven on the Billboard Hot 100. Festival inclusions from 2011 to 2013 further solidified post-dubstep's cultural presence, with acts like James Blake performing soulful sets at in 2012 and appearing at in 2011, alongside dubstep-adjacent performers such as & Benga. Media outlets recognized this momentum; The Guardian described the evolving scene in 2010 as transcending traditional boundaries toward innovative futures, while Spin in 2011 highlighted post-dubstep's role in a new wave of American electronic music experimentation. This mainstream traction blurred post-dubstep's lines with pop, contributing to the emergence of around 2015 as a warmer, chord-progression-heavy offshoot that retained dubstep's bass foundations but emphasized melodic accessibility for pop charts.

Recent Developments and Influences ()

In the , post-dubstep has seen contributions from artists blending its atmospheric bass elements with other genres, exemplified by the Welsh duo , formerly known as , whose 2023 debut album Good Lies integrates post-dubstep's introspective textures with and influences. Similarly, Venezuelan producer Arca extended post-dubstep's glitchy, wobbling basslines into experimental electronic territory on her 2020 album , incorporating traces of the genre's sub-bass propulsion alongside and elements. Pink Siifu, through collaborations like the 2021 project FlySiifu's with , infused post-dubstep-adjacent bass music into experimental rap, creating abstract tracks that echo the genre's fragmented rhythms. Labels like Hyperdub have maintained continuity in the 2020s by releasing works that build on post-dubstep foundations, emphasizing UK bass evolutions in experimental electronic projects with atmospheric bass. Independent platforms like Bandcamp have risen as key outlets for post-dubstep-adjacent bass music, enabling direct artist-to-fan distribution of niche releases tagged under the genre. Post-dubstep's influences have permeated hyperpop, with 2020s artists like 100 gecs sampling its atmospheric and distorted bass elements alongside dubstep roots to create chaotic, genre-blending tracks. The genre has also impacted global bass scenes, contributing to experimental hybrids in electronic music beyond the UK. Following the COVID-19 pandemic, a resurgence of post-dubstep-infused bass music appeared in UK club nights from 2023 to 2025, including events by collectives like Rupture, as part of broader electronic revivals amid venue recoveries. A 2025 Bandcamp article highlights a "" reinvigorating , drawing on post-dubstep's introspective vibes to counter fatigue, though the maintains no major chart dominance but sustains strong niche presence on streaming platforms like through dedicated s.

References

  1. [1]
    The beginner's guide to: post-dubstep - MusicRadar
    Apr 27, 2022 · The term 'post-dubstep' was coined around 2009 to describe this wave of artists rejecting the way dubstep was heading and looking in new ...Missing: origins key
  2. [2]
    What is Dubstep Music? History, Artists, and Subgenres - Blog - Splice
    May 1, 2025 · Post-dubstep. This is where things get even more interesting. The late 2000s saw artists experiment further with the structure of dubstep ...Missing: key | Show results with:key
  3. [3]
    From the Bass, There's Nowhere To Go But Up: What's Post-Dubstep?
    Nov 24, 2023 · Post-dubstep's origins are hard to determine. A handful of producers now pushing the sounds began as pure dubstep artists, but around 2010 ...
  4. [4]
    Why Burial's Untrue Is the Most Important Electronic Album of the ...
    Oct 26, 2017 · The post-punk connection helps to explain why Burial is the one dubstep artist that people who don't follow dubstep, or even electronic dance ...
  5. [5]
    The Origins of... Dubstep | Blog - Producertech
    Oct 25, 2023 · Dubstep originated in late 1990s South London, influenced by UK garage, 2-step, Jamaican dub and reggae, and the underground club scene.Missing: 140 | Show results with:140
  6. [6]
    Jungle, garage and grime: 20 years of Rinse FM - The Guardian
    Nov 27, 2014 · Rinse FM has gone from edgy pirate radio station to mainstream presence taking over the charts ... Meanwhile, on Rinse, dubstep was thriving.<|separator|>
  7. [7]
    THE BEST 13 MID-2000S DUBSTEP TRACKS - Mixmag.net
    Feb 15, 2018 · Meditate on bass weight: exploring dubstep's fearsomely experimental early days. Intricately woven broken beats, textures both gritty and ...
  8. [8]
    How dub master Kode9 became the hero of zero - The Guardian
    Nov 16, 2015 · Transformation and mutation have been central motifs for Hyperdub, the label Goodman founded in 2004. Best known for the vespertine dubstep ...
  9. [9]
    Mount Kimbie: Maybes EP / Sketch on Glass EP - Pitchfork
    November 30, 2009 ... If you're still trying to figure out what dubstep is, keep in mind that people are already using the term "post-dubstep" (and ...<|separator|>
  10. [10]
    https://www.discogs.com/master/266063-Mount-Kimbie-Maybes-EP
  11. [11]
    Rewind: Jacques Greene - Another Girl · Single Review RA
    Oct 24, 2021 · Andrew Ryce looks back on one of the pivotal tracks of the post-dubstep era for its tenth anniversary.
  12. [12]
    Untold: Gonna Work Out Fine Album Review | Pitchfork
    Jan 12, 2010 · Jack Dunning aka Untold's final 2009 Hemlock release cements his status as one of post-dubstep's-- hell, electronic music's-- most vital
  13. [13]
    Hyperdub 20th Anniversary: How The UK Label Changed Electronic ...
    Mar 26, 2024 · Kode9 re-launched Hyperdub as a label the following year. “Sine of the Dub,” his collaboration with the Spaceape was its first-ever release.Missing: expansion | Show results with:expansion
  14. [14]
    Albums of 2009, No 1: The xx – xx - The Guardian
    Dec 18, 2009 · Much was made of the various influences that went into the xx's debut album: from Aaliyah and Portishead to the spooked-out sound of dubstep.
  15. [15]
    Grime / Dubstep - Pitchfork
    Nov 16, 2010 · The year in London bass music, with a look at the trends and ideas in dubstep, grime, funky, and the post-dubstep landscape.Missing: post- | Show results with:post-
  16. [16]
    Post-Dubstep - Melodigging
    Post-dubstep is a loosely defined wave of UK-born electronic music that grew out of dubstep but moved away from its rigid 140 BPM wobble-bass formula.
  17. [17]
    Ikonika: the woman pushing dubstep forward | Electronic music
    Apr 8, 2010 · Sara Abdel-Hamid – aka Ikonika – is one of UK dubstep's sharpest talents. She talks about getting inspiration from Madonna, videogames and her cat.
  18. [18]
    James Blake's 'CMYK' sample of Aaliyah feat. Timbaland's 'Are You ...
    "CMYK" by James Blake sampled Aaliyah feat. Timbaland's "Are You That Somebody?". Listen to both songs on WhoSampled.Missing: post- | Show results with:post-
  19. [19]
    Aaliyah's Influential Afterlife - The Atlantic
    Sep 14, 2012 · Before you know it, James Blake (who cut his teeth on the post-dubstep circuit) is sampling it on his own suite of Frankensteined R&B songs, ...
  20. [20]
    A history of sub bass in 12 speaker-rattling tracks | MusicRadar
    Aug 4, 2022 · 37 heavyweight bass production tips; A man dwarfed by two huge sub ... post-dubstep before transitioning to vocal-centred music. This ...
  21. [21]
    Post-Dubstep - Music genre - Rate Your Music
    Post-dubstep is a genre that emerged in South London at the end of the 2000s, with the term being coined around 2009 to describe a wave of Dubstep producers.
  22. [22]
    Two Decades of Dubstep - Sample Focus Blog
    May 23, 2025 · Today we'll dive into the world of dubstep; how it started, its defining sound, the most important artists, and its evolution up to these days.
  23. [23]
    Is side chaining used much in "post-dubstep" and future bass?
    Jan 5, 2012 · I know that compression is sometimes used heavily on individual sounds, but I'm not sure if side chaining is used in a similar manner. Really, I ...
  24. [24]
    How to create pitchshifted vocal effects in Ableton Live - MusicRadar
    Dec 5, 2014 · A popular trick in many deeper forms of contemporary dance music, such as post-dubstep ... Bass. 37 heavyweight bass production tips. Compressor ...
  25. [25]
    Mount Kimbie - YouTube Music
    Mount Kimbie was formed in 2008 by Maker and Campos. The duo expanded on the musical template of the UK dubstep scene, releasing early EPs Maybes and Sketch on ...
  26. [26]
    Mount Kimbie - Music Publishing - Concord
    Formed in 2008 they released their lauded debut album 'Crooks & Lovers' in 2010. The album would go on to be hailed as one of the 'Best Of 2010' by over 30 ...
  27. [27]
    Crooks & Lovers - Mount Kimbie - Bandcamp
    Free deliveryMount Kimbie's influences range from shoegaze, minimalist, indie, electronica, hip hop, field recordings and more. ... contact / help. Contact Mount Kimbie ...
  28. [28]
    Mount Kimbie: Crooks & Lovers Album Review | Pitchfork
    Jul 23, 2010 · After two stellar EPs, this post-dubstep duo again turns club and R&B influences into something, like Boards of Canada or James Blake, best enjoyed alone.Missing: shoegaze | Show results with:shoegaze
  29. [29]
    The best songs by Mount Kimbie, as chosen by Kai Campos and ...
    Apr 7, 2024 · As they release their fourth album The Sunset Violent, Kai Campos and Dom Maker take Joe Webb through five keystone songs of Mount Kimbie's ...
  30. [30]
    https://www.albumism.com/reviews/james-blake-the-colour-in-anything
  31. [31]
    James Blake: James Blake – review | Dubstep - The Guardian
    Feb 5, 2011 · 23-year-old James Blake's debut album: 11 heroically understated pieces that skirt the fringes of soul.<|separator|>
  32. [32]
    Critical Voices: James Blake, Overgrown
    Apr 11, 2013 · Drawing from R&B and gospel influences, he doesn't shy away from ... post-dubstep sounds as the song pushes onward. Though the slick ...
  33. [33]
    Overgrown (Deluxe Edition) - Album by James Blake - Apple Music
    ... gospel choirs to post-dubstep. With Overgrown, Blake further expands his omnivorous influences and yields eclectic results—from a hip-hop track featuring ...
  34. [34]
    Blake, Eerie - Interview Magazine
    May 12, 2011 · James Blake does and he doesn't. Some say dubstep, others say pub music. His heady blend of electronic echoes, gospel vocals and classical ...
  35. [35]
    Joy Orbison - Hyph Mngo - Record Label Run by Scuba
    We are a label that supports emerging artists. Send us your music with the subject line 'DEMO' to info@hotflushrecordings.com ...Missing: Creepin' | Show results with:Creepin'
  36. [36]
    Joy Orbison: "Hyph Mngo" Track Review | Pitchfork
    Aug 26, 2009 · ... Joy Orbison's* "Hyph Mngo" (first mentioned here by Martin Clark) is that it's a spectacularly well-crafted dubstep song in the same manner ...
  37. [37]
    10 years of Joy: how 'Hyph Mngo' changed the game | DJ Mag
    Aug 22, 2019 · Joy Orbison's debut, 'Hyph Mngo', is 10 years old. DJ Mag reflects on a track that signalled a seismic shift in UK dance music.Missing: Creepin' | Show results with:Creepin'<|separator|>
  38. [38]
    Joy Orbison (No 671) | Pop and rock - The Guardian
    Nov 17, 2009 · Peter O'Grady is a dance music producer from south London who records his own tracks as Joy Orbison. He has been greeted with almost religious awe.Missing: Creepin' label
  39. [39]
    Edits EP [EP] by Ikonika [Vinyl] 5055300303295| eBay
    Format : Vinyl (1 Disc); Stereo. Label : Hyperdub. Release Date : 28 June, 2010. Studio/Live : Studio. Country : USA.
  40. [40]
    Loving Wonky - Rouge's Foam
    Jun 1, 2009 · Perhaps significant for 'wonky' and one its most dominant parent musics, dubstep, is the subtle rhythmic/metrical 'wonkiness' in classic dub of ...
  41. [41]
    Ikonika: “Vangelis laid the groundwork and nobody progressed it.”
    Nov 23, 2016 · Her debut 12” 'Please'/'Simulacrum' in 2008 led to her being anointed with titles that highlighted her gender, race, or religion first, then the ...
  42. [42]
    https://juiceonline.com/ikonika/
  43. [43]
    The Year in Grime / Dubstep - Pitchfork
    Nov 5, 2009 · A look at the top records of 2009 in the worlds of dubstep, wonky, grime, and funky.
  44. [44]
    The Top 100 Tracks of 2009 | Page 8 - Pitchfork
    Dec 13, 2009 · Joy Orbison "Hyph Mngo" [Hotflush]. One way to look at "Hyph Mngo" is to think about the song's progressive nature, to consider that Joy Orbison ...<|separator|>
  45. [45]
    James Blake: 'I didn't make this record for Chris Moyles, I'm in the ...
    Jan 21, 2011 · Blake insists that he made Limit To Your Love to be played in dubstep clubs rather than on Radio 1. "It's lovely when people ring me up and say, ...Missing: post- | Show results with:post-
  46. [46]
    The Top 100 Tracks of 2010 | Page 2 - Pitchfork
    Dec 12, 2010 · ... Limit to Your Love"-- a preview of his 2011 self-titled album-- his own fragile voice was front and center. "I Only Know (What I Know Now) ...
  47. [47]
    Other Voices festival – review - The Guardian
    Hallelujah. It was quite a journey to the pulverising performance of post-dubstep pioneer SBTRKT four nights later, via appearances from – among others – US ...<|separator|>
  48. [48]
    Top Post-Dubstep albums of 2011 - Rate Your Music
    Top Post-Dubstep albums of 2011 ; James Blake - James Blake, Cover art. James Blake. 7 February 2011 · James Blake · Alternative R&B Art Pop ; SBTRKT - SBTRKT, ...Missing: indie | Show results with:indie
  49. [49]
    The 40 Greatest Dance Albums of the Decade: Staff List - Billboard
    Nov 26, 2019 · Mount Kimbie, Crooks & Lovers (2010). 2010 was a fertile year for ... before making it. Lune Rouge is thus certainly a triumphant record ...
  50. [50]
    The xx, Village Underground, Shoreditch | The Arts Desk
    Oct 28, 2009 · For The xx are the first post-dubstep rock band: schooled on club ... The band played their album's songs, and their outstandingly weird cover ...
  51. [51]
    The Top 50 Albums of 2009 | Pitchfork
    Dec 16, 2009 · The Top 50 Albums of 2009 · 1. Animal Collective Merriweather Post Pavilion [Domino] · 2. Dirty Projectors Bitte Orca [Domino] · 3. The xx. The xx
  52. [52]
    Four Tet - Three | Reviews - Clash Magazine
    Mar 14, 2024 · Four Tet ... folktronica. Deconstructing this, albums like 2010's 'There Is Love In You' skirted on the edges of post-dubstep and bass abstraction ...
  53. [53]
    Four Tet: There Is Love in You Album Review | Pitchfork
    Jan 25, 2010 · And while the result isn't dance music proper, There Is Love in You definitely functions on that plane. ... folktronica" was sometimes applied to ...<|separator|>
  54. [54]
    Radio 1 - Dance Blog: Dubstep Takeover - BBC
    Post categories: dubstep · MistaJam | 01:57 UK time, Wednesday, 8 December 2010. Dubstep Takeover on Radio 1 & 1Xtra. Hello Dance Bloggers!
  55. [55]
    James Blake 2011 - Radio 1's Classic Essential Mix - BBC
    Relive a classic Radio 1 Essential Mix from James Blake. Featuring music from Joy Orbison, Outkast, Gavin Bryars and Salem.Missing: post- dubstep 2010 Mount Kimbie
  56. [56]
    PJ Harvey, James Blake Nominated for Mercury | Pitchfork
    Jul 19, 2011 · This year's shortlist includes PJ Harvey's Let England Shake, James Blake's self-titled debut LP, Adele's monster smash 21, and the latest from ...
  57. [57]
    OVERGROWN – JAMES BLAKE - Official Charts
    Latest chart stats about OVERGROWN - peak chart position, weeks on chart, catalogue number, week-by-week chart placement and latest news.
  58. [58]
    10 Albums To Revisit From... 2013 - See Tickets Blog
    Apr 3, 2020 · UK Chart Position: 8. Biggest Hit: 'Retrograde'. James Blake's second LP 'Overgrown' catapulted him overnight into the mainstream sphere.
  59. [59]
    James Blake wins Mercury music prize for album Overgrown
    Oct 30, 2013 · 25-year-old sees off competition from David Bowie, Jake Bugg, Arctic Monkeys and others to scoop £20,000 award.
  60. [60]
    Overgrown (Deluxe Edition) - Album by James Blake - Apple Music
    ... post-dubstep. On Overgrown, Blake further expands his omnivorous influences and yields eclectic results—from a hip-hop track featuring RZA ("Take a Fall for ...<|separator|>
  61. [61]
    SBTRKT - Apple Music
    To record his 2014 sophomore album, Wonder Where We Land, Jerome retreated to ... The LP made the Top 20 of the UK charts and reached No. 3 on Billboard's ...
  62. [62]
    SBTRKT: Wonder Where We Land review – tastefully edgy hip-hop
    Sep 18, 2014 · Regular partners Sampha and Jessie Ware fare well, if below their best, on low-stakes piano soul, but more ambitious tracks fail. Vampire ...
  63. [63]
    The xx Announce Tour Dates | Under the Radar
    Nov 16, 2016 · ... Arena * 12-06 Tokyo, Japan - Toyosu PIT 02-08 Stockholm, Sweden - Hovet 02-10 Copenhagen, Denmark - Forum 02-12 Hamburg, Germany ...
  64. [64]
    Gil Scott-Heron / Jamie xx: We're New Here Album Review | Pitchfork
    Feb 22, 2011 · Jamie Smith, percussionist and producer of the xx, has become a minor celebrity of the post-dubstep Brixton scene, earning a reputation as a ...
  65. [65]
    Drake – Take Care Samples | Genius
    Take Care Samples ; I'll Take Care of U · Jamie xx, Gil Scott-Heron (2011) ; I'll Take Care Of You. Gil Scott-Heron & Gil Scott-Heron (2010).
  66. [66]
    Follow The Sample: Drake's 'Take Care' Comes From The Blues - NPR
    Nov 8, 2011 · Drake did something similar with the title cut from Take Care, but so far, only a few people have caught the original reference.
  67. [67]
    Sonar Festival - NME
    Jun 29, 2012 · James Blake and James Murphy follow, and the former is especially brilliant, with a selection of soulful, sometimes filthy post-dubstep beats ...Missing: Glastonbury 2011-2013
  68. [68]
    Glastonbury 2011 happened (highlights, video, setlists, Tricky ...
    Jun 27, 2011 · Glastonbury Festival took place in Worthy Farm in Pilton, England ... Another UK post-dubstepper Jamie Woon played the festival. 3AM ...
  69. [69]
    Glastonbury 2011 Dance Line-Up | Defected Records
    Apr 26, 2011 · The dance village features Carl Cox, Fatboy Slim, Skream & Benga, Photek, Erol Alkan, Annie Mac, Skepta, Steve Lawler, Yousef, James Holden, DJ ...
  70. [70]
    ... Dubstep | Dance music | The Guardian
    ... dubstep, or post-dubstep, or something that mixes up words such as grime, mutant, plate, urban, bass, UK, house, fragment, and there are various true and ...
  71. [71]
    SPIN'S 20 Best Dance Albums of 2011
    Dec 21, 2011 · ... music galaxy, with elements of grime, dubstep, juke, and dancehall ... post-everything doldrums, the duo (Global Communication's Mark ...
  72. [72]
    Future Bass | NoCopyrightSounds Wiki - Fandom
    Future Bass is a genre of EDM which made its first significant appearances in the 2010s, linked to the Post-Dubstep movement in the UK.Missing: emergence | Show results with:emergence
  73. [73]
    Future Bass - Genre History, Artists and What It Actually Stands For
    Fast-forward to 2015-16, I feel that as future bass music was becoming more and more mainstream, the amount of vocal-driven tracks drastically increased. You ...Missing: emergence | Show results with:emergence
  74. [74]
    Good Lies - Album by Overmono - Apple Music
    May 12, 2023 · Good Lies is an extraordinary electronic record: a genre-defying set glistening with purpose, poise, and dance-floor delirium. “The main anchor ...
  75. [75]
    Arca Morphs Into Four New Fractal Forms With Her Expanding 'Kick ...
    Dec 3, 2021 · Among the standouts is “Sanctuary” with Japanese composer Ryuichi Sakamoto. Over traces of post-dubstep wobble, a bubbling, seething brew ...
  76. [76]
    FlySiifu's | Pink Siifu & Fly Anakin - Bandcamp
    Fly Siifu is a new collaborative project by Pink Siifu & Fly Anakin. Their debut album, FlySiifu's, unites two prolific rappers with infectious chemistry. The ...
  77. [77]
    https://ronee.bandcamp.com/album/flysiifus
  78. [78]
    Music and merch tagged post-dubstep on Bandcamp
    Shop for vinyl, cassettes, CDs, t-shirts, and other merch tagged post-dubstep on Bandcamp ... post-dubstep. Genres. electronic; rock; metal; alternative; hip ...Missing: independent 2020s
  79. [79]
    Hyperpop: The Internet's Loudest, Most Exciting Music Genre
    Mar 25, 2022 · 100 Gecs are popularly (and rightfully so) referred to as pioneers of hyperpop ... dubstep experimenters like Rustie and Hudson Mohawke ...Ericdoa · Dltzk · Midwxst
  80. [80]
    The Next Step: A New Generation of Artists Is Reinvigorating Dubstep
    Sep 18, 2025 · In its embryonic stage, dubstep was a broad sound that reflected many influences and took on many forms. It shook up rhythm and tempo, and ...
  81. [81]
    Clubbing has changed dramatically in the past 25 years: is the party ...
    Dec 24, 2024 · As the 2000s became the 2010s, younger-generation scenes and styles started to make their presence felt – notably dubstep, which exploded ...<|separator|>
  82. [82]
    Post-Dubstep Mix | Spotify Playlist
    Playlist · Post-Dubstep Mix · 50 items. ... Hyph Mngo. Joy Orbison. Scales. Emika. Know Where. Holy Other.