In the early hours Thursday (last night if you're on Pacific time), Mary Anne Hobbs broadcast the final show of her 14-year career with BBC Radio 1.

Aided by special guests Hyperdub artists and dubstep breakout stars Kode9 and Burial, Hobbs ended an era with elan, with a track list that ranged from old rap classics such as the Prodigy Remix of Method Man's "Release Yo Delf" and Rakim's "I Know You Got Soul," to skits from "Pulp Fiction," to recent tunes from Ikonika and Al  Tourettes.

Befitting her Left Coast-leaning slant, Hobbs also played "Change," a collaboration between Gonjasufi and the Gaslamp Killer. Kode9 and Burial opted to avoid satiating fans breathless to hear their new tracks, instead sticking to a set heavy on Hyperdub artists (Terror Danjah, Cooly G, Darkstar) and the garage and 2-Step artists that influenced the creation of dubstep (El-B, A Guy Called Gerald). To keep things funky, they found time to play a little Erykah Badu and Prince.

The set is available for streaming at BBC Radio 1's website. While Gorilla vs. Bear has a streamrip of Kode9 and Burial's portion. Listening to the whole thing is recommended, as it provides an ideal two-hour survey of the last decade-plus in electronic music, a tenure in which Hobbs was one of the genre's most vaunted taste makers.

As she said herself, it's the end of an era, but with dubstep and its offshoots currently enjoying record popularity, it's clear she helped usher in an entirely new order.

-- Jeff Weiss

Photo: Mary Anne Hobbs performing at a Low End Theory party at the Airliner. Credit: Christine Cotter / Los Angeles Times.

The producers of the DJ-Kicks compilation had to know what to expect when they asked Kode9, the inscrutable impresario of London's Hyperdub imprint, to contribute a mix to the venerable 15-year series. That is to say, anything. Thus, the man born Steve Goodman dropped an hour-long mix that veers from U.K. funky to tar-pit grime, space-disco R&B to staccato garage, juke music, and even a little of the dubstep that his label became famous for in 2006, a period that feels almost antiquated in this rapid-fire Rapidshare era.

The name "post-dubstep" would be inaccurate to describe this fusion -- it's a by-product of the ingratiating chaos of a post-genre world. The scrambled but seamlessly mixed iPod of one of the world's most visionary musicians. The reasons for the mix and Hyperdub's success, are evident throughout -- a repudiation of rigidity. Unlike past movements that forsook evolution and settled into stasis, Goodman has consistently eschewed ideology or BPM constraints; his ideology is none at all -- merely a dedication to asphyxiating bass and hard-core beats.

In advance of the "DJ-Kicks" release Tuesday, Kode9 spoke with Pop & Hiss about everything from Burial to the state of bass music, to his love of local music. He also allowed Pop & Hiss to premiere the Martyn remix of his "You Don't Wash (Dub)," which is as filthy as it sounds.

The mix skews heavily toward British artists, but a track from Los Angeles' J*Davey stands out. What drew you to the track and the band's music?

I've been aware of their album 'The Beauty in Distortion' for a while and was a big fan of some of the tracks, and particularly her voice. But the track I used -- 'Mr. Mister' -- I noticed was a bit more uptempo, and the guitar kind of reminded me of the Terror Danjah track 'Stiff' that's is a few tracks afterward in the mix, so I just thought I'd throw it in and see what friction it generated.