Dubstep has had a rough time of it in recent months. UK producer Rusko came out swinging against dubstep’s bastard spawn ‘brostep’, and inthemixers lamented the genre’s demise after it was revealed Britney Spears had adopted some wobbly basslines in one of her latest releases. But for those of us who still hold a candle for the genre there is good news – dubstep is alive and well, albeit in a form that is no doubt unfamiliar to many.

Arriving at the Bakery we were greeted with the chilled out sounds of {move} DJs, Ben M and Ben Taaffe, catering for the few early birds loitering in the lounges scattered about the bar. The Bakery has developed a reputation for bringing the most sought-after acts to Western shores and regularly plays host to some of the best producers and DJs the scene has to offer.

As the crowd slowly trickled in, the couches were surrendered for prime viewing positions as the time drew nearer for Sydney trio Seekae to take to the stage. Having heard very little about this group I was keen to hear what they had to offer. Suffice it to say, I was not left disappointed.

The group produced a tight set featuring many minimal, ambient and electronica elements, with heavy basslines and the added bonus of live percussion for most of their songs. There’s just something about a live kick drum that cannot be replicated by even the best drum machines.

Seekae are clearly experienced when it comes to the build-up/breakdown dynamic of their music, as the crowd moves and slows with every twist and turn of their well-crafted set. If I were to find fault at all I would point my finger squarely at their stage presence, which was fairly non-existent. I will, however, concede that is difficult to connect with a crowd with your head stuck in a MacBook Pro; a risk that many live acts run.

Despite this, I was thoroughly impressed by their overall performance, and they have secured themselves firmly on my list of groups to keep an eye on from now on.

After a brief interlude it was time for Mount Kimbie to take the reins in front of a sold-out crowd for their first Australian show ever. Opening with a song that is all too familiar for those of us who have had their debut album Crooks and Lovers on repeat for the last few months, Tunnelvision eased the crowd into the set. What followed was a heady mix of ground-shaking bass, piercing synths and guitars overdriven to extremes.

The UK duo lifted the mood in the room with their sample-laden Ode to Bear, before dropping enough bass to satisfy even the most insatiable post-dubstep hunger. Before I Move Off was a real crowd-pleaser. As the ambient tones filled the bar, the crowd once again found their dancing feet to give the track a warm reception.

Following on from this, Mount Kimbie maintained the energy of the crowd by launching into a fairly vicious rendition of Fields. The track suffered from the overpowering use of the guitar, as a few tracks had done over the course of the night.

We were then treated to the title track off the 2009 EP Maybes. Relying heavily on ambient elements layered beneath loops and samples the song let the crowd breathe for a moment as the temperature had almost become unbearable. The set was rounded out with Mayor, a synth-heavy track that certainly left a lasting final impression.

Many fans were disappointed by the set length, with less than 40 minutes of playing time chalked up. With one full length album, two EPs and a slew of remixes under their belt many fans couldn’t help but feel they had been robbed of the opportunity to hear their favourite tune in a live setting.

As one of the major driving forces behind the post-dubstep movement, Mount Kimbie were welcomed by an Australian fan base that has become disillusioned by the exorbitant use of LFO and heavy-hitting, violent dubstep. For myself personally it was an extremely refreshing change of pace, and despite expecting more from Mount Kimbie, the boys certainly earned the right to be counted amongst some of the most progressive and dynamic producers of today.