Starlight flux pavilion11/21/2023 The T ribune honours, recognizes and respects these nations as the traditional stewards of the lands and waters.James McGill, our university’s namesake, rose to power, property, and fortune, off of colonial trade and his enslavement of at least two Indigenous children, and three people of African descent. The Tribune is situated on the ancestral and unceded territory of the Kanien’kehà:ka a place which has long served as a site of meeting and exchange amongst many First Nations, including the Kanien’kehá:ka of the Haudenosaunee Confederacy, Huron/Wendat, Abenaki, and Anishinaabeg, among others. This is in no way a bad record (your reviewer caught himself humming “Starlight” today) it’s simply music that any dubstep fan will have already bounced to. The album is like Boreale beer: it accomplishes its intended intoxicating goal, and most people wouldn’t deny a bottle if offered-but few actively seek it out. The most disappointing track, “I Still Can’t Stop” sounds like a lazy attempt at remixing Flux Pavilion’s own “I Can’t Stop.” With the same sample and structure, it adds nothing to the original, but serves as an attempt to stir up more appreciation for an old hit. The lyrics on other tracks, especially “The Scientist,” are wholly nonsensical and only contribute the bare minimum of another sound layer. ![]() “Double Edge” and “Do or Die” feature rappers who only serve to irritate the listener and distract from the main event: the beat. A producer like Flux Pavilion, however, coming off of celebrated singles such as “Bass Cannon” and “I Can’t Stop” as well as collaboration work with the likes of Major Lazer and Jay-Z, should not remain content with generic, and ultimately, forgettable beats. The album is average of the eight tracks, six deliver the anticipated blend of pulsing bass and electronic melodies which “make your body wanna bounce,” as the first track invites. ![]() Listening to new albums like Flux Pavilion’s Blow the Roof lends begrudging merit to these words. Likewise, they argue that with new mainstream acceptance, the genre is floundering-the limelight brings the destruction of a genre that can only succeed as a counter-cultural movement. Today, some listeners are voicing concerns that dubstep is a dying genre-a fad that existed solely as an exciting, contrarian alternative to the growing popularity of catchy electronic pop.
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