Martin Clarke’s latest over at Pitchfork is an interesting look at the interconnected sonic islands emerging out of London, weighing the pros and cons of what’s essentially a non-genre and debating its impact on London’s long-debated hardcore continuum. Personally, I tend to think that the 130 sphere is producing some of the most interesting music out there today, even as it’s also producing some boring, middlebrow dreck I have no time for. It’s a case by case basis and while I’ll be more than happy to catch Addison Groove, Untold, Scuba and Girl Unit play my city this summer, I’ll be complementing those DJs with an equal dose of Jungle, Dubstep, Funky and other ruder, genre based styles.

The thing is, it’s easy to dismiss contemporary Dubstep as “screaming infantile synth-fits” just as its easy to typecast the new styles as “whiteboy bass house” and honestly, I’m not that keen on hearing a full night of either. One of the most underrated aspects of the amorphous nature of UK based dance music in 2010 is that it can result in some truly unexpected collisions of ideas given the right promoters and crowds. The artists are already on the ball: Ramadanman tore down the house with Dizzee Rascal’s “I Luv U” during his MTL stop and his bridge building Wooo Glut mashup features the sort of unexpected cross-pollination that any music demands in order to remain exciting.

Which (somehow) brings us to this new P-Money mixtape. P-Money is a Grime emcee whose made a name rapping over wobbly Dubstep beats. On the surface, his material is the opposite of the creative

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