Martin is surely right to argue that the most exciting phases are those periods of semantic indeterminacy before anyone can settle on a genre name, everything's still in flux, the sound has yet to arrive at itself. * Martin Clark convenes a clutch of movers and shakers in the London scene to assess the significance of funky house's ever-rising popularity in the capital whether it is indeed a major 'pendulu(nuu)m swing'. erm, nongenitality,yeah, totally, the amorousness of bassline is utterly fantastical and hyper-real nothing to do with real-world between-sheets carnality, more luvdup than love action.) Plus K-punk on bassline's freakadelic fairground aesthetic (and re. * bassline: another piece by Hattie Collins, this time for RWD and letting the scene itself-deejays, producers, promoters, even vocalists-tell their own story. * dissensus thread started by Gabba Flamenco Crossover on dubstep's migration into the free party scene where its sloth and coldness mesh perfectly with the Ketamine-induced Katatonia that's long defined the squat-rave vibe, When the pharmasonic synergy kicks in and producers from that scene start to propel dubstep deep into the K-hole, will the genre's metabolism screw right down to.
