(well i find myself in substantial agreement with it, anyway!)
highlight passages from Datwun/Dom's overview:
on UK Bass
"For London producers working under the 'Bass' umbrella this year, not a single gun finger was busted. Postmodernism has not treated UK dance music well, and the atemporal, internetty, vybless music coming from the capital - a mush of vaguely dubsteppy bass, house rhythms, washy synths, 808s and AALIYAH SAMPLES MADE BORING HOW DO U EVEN DO THAT?!?!? - has lost all sense of FWD progression and all sense of fun....
"Wake me up when London artists stop talking like critical theorists and when somebody, anyone makes a BANGER."
[Feel a little kindlier towards UKbass hessle hemlock etc than he does, but perhaps only because I'm getting mellow and quite enjoy having weirdbeat-ige on in the background while working on my computer - in a club, i'm sure i'd be TEARING MY HAIR OUT IN BROCK-BLOCKED FRUSTRATION!]
"Imagine what music/culture would be like right now if footwork didn't exist? It's a truly depressing thought. For musical modernists, footwork is pretty much all that that stands between us and the end of history"
"for the first time in musical history the UK has responded to an American innovation by tempering it"
[Yes, exactly. Problem with footwork is a bit like the problem with all those global ghetto groove sounds, in so far as it can't be adopted wholesale as a culture by non-locals because it is so territorialised, bound up with specific rites and in situ dance-functionalism. Unlike jungle in the mid-90s, it can't really be responded to in the "energy signal / summons to action" way i.e. scenes for footwork sprouting up all around the wall. It's not an identity (i don't think anyway) that can be embraced, signed up for, as a mode of conversion and plighted troth. In the absence of that, then, footwork seems likely to have its effect as an influence, which tends to lead to ungainly fusion, or dilution, or quirkification -- the drill'n'bass etc scenarios. Or (again cf carioca, cumbia etc, as a flavor in hip-dj favour, dropped into sets but not really catalysing anything long-term... I]
Which gets hailed as
"a topography of a specifically Northern British dance tradition - evoking everything from bassline to Northern soul, via organ house, speed garage, happy hardcore, donk and jungle.... The difference between this music history in a blender and the internetty mush I decry in London-centric UK Bass, is that Jackin is the response to a specific Northern tradition, it's not a random assortment of influences gathered from soundcloud and youtube... but local influences absorbed into the music through a regional IRL scene, and absorbed through the memory of other local scenes. Simply put, jackin is exactly what you'd expect Northern rave music to sound like in 2k12, and it's strong because of its basis in The Real.
That is basically jungle house... which is to say, speed garage, slowed a bit, and given some 2012 digi-polish
His tune of the year
Love the donk/Blackout Crew echo of "that's sick"
(D's overview then debated over at Dissensus from this page onward... the back and forth having a shall we say deja lu feeling about it)