IMO what happens is that dubstep became more club / dance oriented which makes sense. Those tracks that you posted don't really fit the club style. I personally like the less "dub" dubstep. Maybe it's best to give it a new name than have anyone bitch about it ))

I seem to have been having the dubstep vs post-dubstep conversation all over the place (eg https://plus.google.com/106416716945076707395/posts/PiYo2yrv3Vz) It seems to wind people up when you start treading on their genres! The big problem is that what was called "dubstep" in 2005 is not what we call "dubstep" now.

Meanwhile what it was in 2005 influenced and changed a lot of different genres. So now there's a recognisable theme across all sorts of genres from house, techno, garage, jungle to whatever it is that the Jamies (Blake, XX, Woon) are doing along with people like SBTRKT. Lumping them all together in "Post-Dubstep" doesn't really help. Neither does adding Post or Future to each genre. We should probably stop trying to create new sub-genres to deal with this and just recognise that people making deep house were listening to Burial/Loefah/Kode9, just stole ideas and added them to what they were doing. So they're still making deep house, it's just that now it's got more wub-wub.

But then what do you do with somebody like Burial themselves. Back in '05 South London Boroughs was dubstep. Last year's Street Halo is clearly from the same genre. It's just as good. And yet people coming to dubstep last year would barely recognise it. So is Sth London Pre-dubstep, or is Street Halo Post-dubstep?

And down the rabbit hole we go again.

All I know is that I prefer dub/grime as i feel it has more 'wub' bassy sounds. I haven't listened to a lot if I'm being honest, but I'm open if you know of a similar sound/name the genre?

Interesting that you end this up with Burial. They say about Burial (and Synkro, Submerse) that they're dubstep / future garage. They don't sound anything like modern dubstep. But clearly post(?)dubstep can't be synonymous to future garage. Or is it? So confused. Although I don't care what they call them, really.

Also thing is that when you mention 2005, most kids who listen to dubstep here in U.S. are probably 17-18, so they could not have possibly listened to anything of this nature in 2005. My impression is that they listen to anything that's called "dubstep" or has Skrillex in the same sentence.

http://en.wikipedia.org/wiki/Dubstep is pretty comprehensive and traces the origins back to 2000 or so. The definitive Simon Reynolds text about the Hardcore Continuum goes back further. http://energyflashbysimonreynolds.blogspot.com/2009/02/hardcore-continuum-or-theory-and-its.html

So really, the whole 2011 Brostep, Skrillex thing is just a blip in the ongoing process as dance music twists, turns, mutates and pulls itself into the future.

Personally, I like The Groove, so Deep House is like a warm place to curl up in. I need enough Complexity to keep me interested. I like some Randomness so it's not entirely predictable. And I need The One to keep me in sync. Which all means I've had a soft spot for Dub Reggae for the longest time. And it was always the Cocktails at Sunset and Ambient Trance at dawn, rather than the Jungle/Bangface at 1am.

Jeez' did I just write that? It's time for this boring old fart's medication!

"yes wub | flite -f -"
and
http://christwire.org/2012/02/skrillex-uses-satanic-and-homosexual-influence-to-win-grammys/

+Andy Rabagliati Bwahahaha! Brilliant!

still reading this http://energyflashbysimonreynolds.blogspot.com/2009/02/hardcore-continuum-or-theory-and-its.html ... a lot of data to absorb ))

It's TL;DR! but it is actually worth ploughing through it because it does provide considerable perspective to a bit of musical history. And there's some very interesting ideas in there that have wider implications. For instance the process of change in which rapid change is expected by the participants and the way that they become aware of possible futures while in the process of creating the past. (wow!)

Simon Reynolds is getting a lot of notice right now from people outside the music obsessives due to his book Retromania. I'm not sure yet how I feel about this. I suspect there's some truth in there but in being blown into book side it ends up being hack journalism. That's a sin that I think Greil Marcus suffers from as well.