A major discovery today: DJ Skream out of London---discovered as well his hell degradation from skimming the cream dubstep in the mid 2000's to essential $-making house that is nothing entrancing a decade later---see the difference, but when you watch his artistic mesmerized style you can see the artist despite what I consider to be a lower form of electronic mixing--from exquisite Dubstep to party techno House and what a shame--but he's still an artist and you see his intensity in the live performance (only hear his genius in the studio album, which is so far above the House music in 2015)--style, composition, intensity, depth of layered texture in the music versus what I hate: thump thumpidy thump for wealthy party-going $$$ children of the corn rather than "subculture" dub more hidden more convoluted (in a good twisted way) and more accessible to 24-hour party people who don't necessarily have a Trust fund party life of thump thump existence--(making a lot of bold inferences--this is only a premise, a sensation of watching the vid and listening to his earlier style and format--such a difference. I think the $ got to him. Ir happens so often that a true artist comes out with something exceptional, becomes noticed, perhaps more wealthy, and the hard-core intensity dwindles into thumpy conformity (4/4 beats like any other disco DJ for modern anti-original dance culture). ****btw/nota bene: this post has been hacked and re-arranged by the hacker terrorists. The writing above is disjointed like I just smoked a doobie and got lost in the translation. No. The hackers deleted grammar (commas, periods) and then pasted the hacked sentences together. It's hard to follow, it makes me appear like I'm high on something. I'm high on the music he made in 2007 (the BBC album below) but my writing is not a reflection of me but of hacking--I am not going to re-arrange it and retype it now. Please note that every single thing I write (and almost everywhere I go) my brain is under mind control blockage to neural firing and cognitive connectivity of thought, memory and especially in self-defense when under attack. I realized two days ago when paying my motorbike fees while being really viciously attacked verbally by this nasty hateful ladyboy exactly how badly my brain is altered in these situations--I "thought" of defensive but sensible, polite responses to the hateful things this creep said and did, an literally as soon as the thought came to my mind it was blanked out and I said things I had not thought of that were not in my syntax or vocabulary. There were idiomatic expressions peculiar to my personality, syntax or thought processes. It just comes blurting out, and what I had thought of saying is immediately wiped out by this nefarious insidious technology. They want me to march to their 4/4 mediocrity beat and the technology is like a de-evolution of the potential for genius misused and turned into a placating into conformity and subordinate behavior force--like the music degenerating from the extreme originality and power that Skream had in 2007 compared with his more wealthy party atmosphere (still extremely talented but that sharp edge, the cutting edge, was gone--eliminated). The forces that changed him also strive to change me using mind control. I think many original artists who come into public attention are put under similar technological "silent" marching order mind control conformity and you always see that they accumulate their energies to money-making enterprises and the originality just seems to fly away while some of their artistry remains it's nothing compared to before they got noticed and thus Big Bro tried to pound that nail sticking out into the mainstream.

 "Skream--Essential Mix--Radio 1. 17.06.2007". GetDarker. June 15, 2016.

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"SKREAM Alter Ego UK GARAGE set". Mixmag. October 29, 2015.

This is still pretty mesmerizing, especially as he gets more into the mix and the distraction of the host playing around with switching equipment around and bumping into him for the first 5 minutes dissolves like candy into a delight but still nothing like his 2005 mix for the BBC (above) . But watch that guy mix and just watching that is like better than watching a very extremely boring movie or even a moderately good movie----he's truly inspirational and you can see he LIVES in the music and imbibes the flow and is a mixical genius.

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"SKREAM--Come With Me (Documentary)". THUMP. July 15, 2014.

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The "documentary" above cites DJ Skream performing for the Miami ULTRA electronic music festival---that festival was something I walked past on my beach walks when the tents were being put up around 1999--I heard only thump thump in staggered blasting speakers from tent-to-tent and lost interest in attending. I always hated House music (try to like it in the versions that Frankie Knuckles invented, not like the replications that all came afterwards succeeding the Detroit electronic music revolution in music). I am nothing short of a non-expert on this subject only have been on the fringe of that scene--(outcase and etc not able to afford until everything is now free on the internet to download) so I lost out---but now, I find that all my original approval of some SOME forms of Dubstep are still what appeals the most and in the version that Skream put out in the mid-early 2000's he was a phenomenal artist--the documentary confirms what I had written above about him first performing for small and not wealthy "patrons" and then you see him (de)evolving into mass party and $$ culture--the thumpy thump mixing began but still he's a genius even in that sphere. I still don't consider his progress from then to 2015 (above) to be complimentary towards his real capabilities. I think the $$ sort of grinded him down into a more conformist approach. This is why subculture should not be over-run by mainstream corporate entertainment---which happened en masse on South Beach until it's like one huge mafia-controlled musical machine grinding out the same marching orders beat at 4/4 with no exceptions but a few little mixed-in bitties as the men who rake in the money think about in the recesses of their money-grabbing minds in the recesses whatever rhymes with bitties---and the music becomes a major money enterprise and loses it's ingenious ingenuity that was so intense and sharp and focused and strong in those lessor affluent tiny dark spaces and clubs where you could pound out a vibration that was of a special beat and depth.