Towards the end of the 2000s, a new wave of younger producers such as TS7, coupled with the rise of Digital audio workstations, which reduced the use of drum machine samples and old sampled basslines, took bassline to a different path.
Together with its return to feminine-style music, bassline is said to embrace pop music aesthetics, and to have a euphoric, exuberant quality similar to that of earlier British rave music - both also in contrast to grime and dubstep [REF].