After being snowballed with information on dubstep by one of South Australia’s best dubstep DJs Counterpart, and after getting so engrossed in both of Burial’s remarkable and highly publicized albums, I had high expectations of any dubstep artist in the spotlight.

David Rodigan took time aside from the UK Radio Academy’s Hall of Fame to introduce the album, “Are you listening? Because Caspa’s playing.” Well David and Caspa, I was listening but I didn’t feel like I was listening to an album. With so many great releases and remixes under his belt, I assumed the album’s energy would be more unified. It started off ambient, then Dynamite MC helped deliver hip-hop reggae and then finally I landed on a rawer style of dubstep that I had been hanging for with Marmite – although for a second I thought I had landed in the Labyrinth.

The second intro Riot Powder featuring Rod Azlan, five tracks in, divides the album early on and from that point onwards the tracks do get tighter, but the album still lacks a solid identity. If you are looking for a commercially expected sound, Lon-Don City is the stand out in the album. Uncle Sam features to bring a very easygoing set of vocals to the mix. Meanwhile a couple of tracks after Dynamite MC returns for Rat-A-Tat-Tat, with his contrasting heavy sound.

I was not a huge fan of Beezy’s vocals in Disco, but the sounds were fun and the loose chorus did work. He is from the UK, so why deny it? Lady Sovereign would have slotted in nicely too. Speaking of fun, I found myself frequently jumping back to Terminator (and you can do that with such a mixed up album). The track could not have made you want to re-enact the final scene of Terminator 2 more. Don’t do it Arnold!

Bird sounds (because that’s what we all want to hear sampled right?) set up the final track Back To ’93, which was more like ‘back to track 2’ and the ambient and less vocal side of Caspa which I seem to prefer. A simple but effective track, much like the tune Victoria’s Secret, and a style that will whisk you into a meditative state.

Back to the beginning, and I feel like Rodigan is warning me with a reminder “Who’s hot and who’s not, we don’t care” and he’s right. This music is individual, experimental and continues to expand on a genre that is exciting in the dance world.

If you think you know what to expect from dubstep then think again. Caspa provides his own metamorphosis of the genre with an admirable blend of reggae, hip hop and jungle, influenced by his West London heritage. Who knows what’s next?