Mention must also go to Frenchman Von D, whose particularly luscious releases increasingly pointed to the fact that this kind of dubstep can travel as well as the noisier stuff, and to a brilliant compilation, Worth the Weight, which proved the vital contribution of Bristol's tight-knit musical community to the genre.
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Meanwhile other foundational dubsteppers like Hatcha, Silkie, Quest, MRK1, Cotti, Kromestar, Cyrus and Heny G, plus labels like DJ Chef's Sub Freq, Mala's Deep Medi Muzik and DJ N-Type's Wheel & Deal and Sin City all brought out releases that showed that the poised, elegant and immersive – yet still hefty, not gentrified or Starbucks-friendly – version of the sound was still creatively vital. Two albums were released in vinyl-only editions by Mala and Coki, aka Digital Mystikz, one produced by each of the duo, and both reaffirming the Mystikz's sound as intense, Futurist in outlook but rooted in a reggae soundsystem mentality. This sense of “classic dubstep” was upheld even more by other key scene players, who made some of the best material of their careers.
The two artists previously most often blamed for dubstep's harder direction – sometime production partners Caspa and Rusko – proved they were not one-dimensional, too: Rusko's production work on M.I.A.'s /\/\/\Y/\ album contributed to a punky yet intricate cultural collage, while Caspa's Dub Police label increasingly shifted to a high-gloss sound that harked back to dubstep's club roots even as it showed arena-sized ambition.
Watch the video for "Slang Like This" by True Tiger feat P Money
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The genre's other major label signing, the True Tiger collective, also proved that populist needn't equal dumb with a series of big remixes and productions including the joyously confident “Slang Like This” featuring rapper P Money. While admittedly the USA took to a buzzing, squalling and perhaps creatively limited version of dubstep more suited to rock crowds, back at home the biggest successes, from Katy B and Magnetic Man, proved that it was capable of becoming a new, sophisticated and subversive kind of dance-pop, the BBC had a symbolic Dubstep Takeover night on Radio 1 and 1Xtra hosted by Mistajam, while a previous generation of big dance acts capitulated to the new breed by working with dubstep artists, most notably in Underworld's collaborations with producer Appleblim and Al Tourettes (pictured right).
Of course, as with any big success this brought the naysayers out in force, pronouncing the creative demise, ossification or simply unhipness of the sound, but it managed to outflank most predictions. That movement of dubstep into the mainstream had been a long time coming – indeed, like many of 2010's developments, it was a consolidation of much that had been bubbling away for the past decade – but it marked a fundamental generational shift. The most aggressive sounds proved to have a sensitive or celebratory side, the hoariest old rhythms were given a new lease of life and – despite the supposed globalisation of the weird wired world – highly localised club scenes were once more at the forefront of developments.
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