Of the Love Generation's tragic decline, Hunter S. Thompson once wrote, "with the right kind of eyes you can almost see the high-water mark — that place where the wave finally broke and rolled back." With none of the cultural gravitas, but similar proportionate respect to musical integrity, this was an inversely comparable temporal watermark for that divisive once-microgenre known as dubstep. At the precipice of dubstep exploding beyond the bass underground, albeit in a bastardized form, one of its progenitors enlightened the womp-seekers with no pretension in an appropriately cold and characterless echo chamber, backlit by ominous monochromatic dancing shapes.
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