This is Dubstep 2011 as part of the continuing compilation series from GetDarker had both much to improve and continue upon. The series lacked diversity, a crucial factor within the development of a genre still finding its footing, and duly coming into its own following a massive mainstream breakthrough, a solid accumulation of tracks was often spoiled by very little regard for anything beyond particular composition or stylistic choices; not that there’s anything wrong with constructing a compilation as such, however, after last years Vol. 3, it was starting to become repetitive. This is Dubstep 2011 is an improvement, by which it hints at the variation of what the genre is and what it has become since 2006, yet still it falters in being a particularly unique or impressive collection, perhaps on a single CD this would’ve been different, but instead it spans forty tracks and results in spreading itself far too thin.

The biggest problem is imbalance, perpetuated by the inconsistent quality of the entire collection; granted, it’s hard to construct a compilation and have every track regarded as a virtuosic masterpiece or instant club classic, perhaps it’s even impossible, but it seems that little consideration was made in regard to how these pieces would fit together, and subsequently, the difference between the great and not-so-great tracks is highly accentuated. Highlights include Tek-One (also the considerable highlight of Vol. 2) with a remix of The Blackout’s Higher & Higher, a simple yet fetching, stylish breakdown, and considerably the most original track on the album along with the Burial remix of Be True by Commix and Dark Sky’s Drowned City; both similar in their soundscape approach; Burial aims for the ethereal and begrudging optimism whilst Dark Sky moves toward a soulful, melancholic bounce. Dark Sky and Tek-One are undoubtedly the producers to keep watching.

Then there’s the low points: I have a strong inclination that much of This is Dubstep 2011 does not embody each producers most attractive nor impressive pieces of work; The Excision & Datsik remix of Noisia’s Alpha Centauri is a somewhat strange inclusion, considering it was prevalent on their debut ‘Split the Atom’. GetDarker could have chosen to accommodate a track from Noisia’s experimental Invisible Recordings instead, and appropriately boasted a considerably impressive variation. A similar issue could be taken with the appearance of the excessively popular and exalted Big Boss from Doctor P, which by now has frequently appeared in every set and compilation through the year. This is Dubstep 2011, within the context of the entire series, has become increasingly impetuous, restraining the possibility of a superior quality to appease a wider audience instead, failing to understand that the two are not mutually exclusive to each other.

So who is this CD aimed for? I wouldn’t say that it appeals to long-time listeners of the genre; those who have come to expect a mixing pot of musical forms and styles that materialize the “new” Dubstep wave will be disappointed, nor would it benefit the new listeners, lest they fully understand that the genre is conceptually bigger than what can be found on This is Dubstep 2011. Some great tracks, and a lot of filler, the latest effort from GetDarker is typical compilation stuff, it’s easy to get excited about their definitive tendencies and chest-thumping, but when it fails to present any kind of reward, it’s back to discovering for yourself what Dubstep really is.