Mistersloane said a really clever thing on there when I was going on about the lyrics and their heavy use of strings of percussive monosyllables he said it was probably to do with writing on a phone screen. I think he's right.
I think road rap/drill HAS been criticised for just being a knock-off of US trap/drill. What has happened though is that it's evolved to become a distinctive sound (albeit highly derivative of US rap - Barty will disagree I suppose) - the MCs have a definite grime influence, as well as their own slang etc.
Post dubstep was a coalescing of all these different influences. Which made it a bit tepid and half-baked. Also it rarely if ever managed to transcend those infleunces.
UK drill is definitely open to all manner of criticisms but it has a certain purity that a "scene" like post dubstep lacked. And it's produced tunes that I'd argue are as strong as stuff that Chicago and Atlanta has produced.
I think post-dubstep was seen as beyond the pale for its blatant involvement of students?
As said, I both get the 'too samey' criticism and I don't. Part of the charm of, say, rave, is that all the core elements are present and correct in a high percentage of tunes. That said, another part of its charm is that some tunes go rogue
Depends what elements you're inclined to foreground really. If you read the never ending debates on YouTube and Twitter the Americans say it's all DJ L beats and any spin that's been put on that basic template is so small as to be negligible whereas English people say it's it's own thing. Funny thing is the Dutch are on it too and have been for a while. Yamica is Dutch for instance.
And anyway it isn't just beats is it?
I'm not saying it's some radically new thing but it has matured to reach a level where it's not just a pisspoor imitation of the US stuff