The only sequel any Wu-filliate was eagerly anticipating this year was Raekwon’s Only Built 4 Cuban Linx II, and that one surpassed the hype, something you can’t say about any Wu-Tang Clan album this decade (8 Diagrams was close, though). So to say that Wu-Tang Meets the Indie Culture Vol. 2: Enter the Dubstep is flying under the radar is something of a misnomer; the thing isn’t even on anyone’s screen. And why should it be? It’s the sequel to Wu-Tang Meets the Indie Culture, a record created with the crazy idea that maybe the guys on Rhymesayers like the Wu-Tang Clan, and would like to rap on a compilation that had beats that were too bad to appear on Iron Flag. This time out the central conceit is that dubstep is a really hot genre (it is), and the tracks from the first version (and a few from loosely Wu-Tang-affiliated albums) would sound totally awesome if they were remixed by no-name dubstep hacks (they don’t).
First off, calling this a Wu-Tang Clan album is erroneous, since there are like five of 19 tracks that don’t feature an original member, and some of them feature U-God (he’s on here more than he was on Enter the Wu-Tang Clan), both of which are marks against Volume 2. And any Wu album post-Supreme Clientele that doesn’t have at least three Ghostface verses is a travesty. Volume 2 has one, and it’s buried within a medley (“Pencil/My Piano/Firehouse”). The least educated Wu-Tang Clan fan could tell you having Killah Priest on a cut with no-name Killah Beez does not a Wu-Tang banger make. And even the cuts with real Wu members (like “Let’s Get It,” “Knuckle Up” and “Cinema”) are some of the weakest (no one on here even seems to care) Wu-related material, partially because this stuff is the deepest of deep cuts, most not even fit for Wu-Tang solo albums.
But the egregious part here is the “dubstep” portion of the title, since all it takes to make something a dubstep remix, according to this album, is a little metal-on-metal banging, some dripping noises and synthetic claps. And all you need to be a “hot” dubstep producer is to have the genre listed on your MySpace page, and a cheap asking price (you haven’t heard of any of the producers here, so it’s almost pointless to list them out). Enter the Dubstep serves as a cautionary tale of what happens when older acts (or more than likely, someone at that group’s publishing company) try to attach their sensibilities to different genres. Liking dubstep doesn’t prevent you from appreciating the dusty, gritty and visceral charms of the Wu-Tang Clan, and vice versa. It’s not like they’re mutually exclusive. One thing’s for sure; fans of both won’t find much to like about Enter the Dubstep.
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