Jamie xx's respectful deconstruction of Gil Scott-Heron's I'm New Here arrived months before the poet's death, transforming confessional blues into spectral UK bass. The younger producer understood that Scott-Heron's weathered voice needed space, not embellishment, wrapping those hard-earned wisdoms in dubstep's skeletal architecture and ambient fog.

New York Is Killing Me becomes genuinely haunted, its minimal throb amplifying rather than competing with the original's desperation. A cross-generational handshake that introduced an icon to the club generation without sacrificing an ounce of gravitas.