ZOMBY Vinyl & CDs

Review: YES! We'd been waiting on this collaboration from UK start vocalist Wiley and shadowy electronic pioneer Zomby for a long time now, and it's about time it's landed on our shelves. "Step 2001" is a straight-up grime piece, a clicking, twisted groove made up of darting hi-hats and pacman sounds; you know when they say "they don't make them like they used to!"? Well, this doesn't apply here, as it's a serious head-dive back into the early noughties scene. There's also an instrumental version for maximum damage.

Review: Zomby is back with another instalment of his Chaos Reins series. It is made up of music that the loudmouth but well respected UK producer has dug out from his vaults, but the material has all aged well. In fact, stylish breaks and bass like this is pretty ageless: people are always going to want to lose their shit to dark steppers and post-rave cuts such as these in a grotty and disused space. This one starts on a deep and introspective bleeps tip, then takes in reflective and glassy melodies on a shuffling garage beat and some haunting late night bass. For us, the eerie pads and skeletal rhythm of 'Fragments' is the real highlight for the way it subtly layers in an r&b vocal that brings hints of hope and soul.

Review: Zomby is as elusive as he is brilliant as he is outspoken. For that reason he has become a firm favourite in the UK underground scene. This EP is actually a collection of some of his most cherished but long lost sounds and features sought after jams 'She Loves Me', 'She Loves Me Not' and 'Soundbwoy R.I.P.' They are all well designed, wall-rattling and brain twisting rave bangers with militant breakbeats, hoover sounds, rude-boy vocal stabs and jungle rhythms. They perfectly embody the whole history of the UK hardcore continuum and are sure to still sound as good years from now.

Review: Major league reissue business as enigmatic Hyperdub alumni Zomby returns to his early work and brings it back to the future on a series of Warehouse Rave revisits. For 'Spliff Dub' it's all about that classic Billy Boyo sample that Zomby flipped in swaggering style back in 2008 and for good measure he's brought in the massive Sukh Knight remix that arguably became even bigger than the original with its big organs and even bigger basslines. Massiveness... And there's more to come. Keep the evil away.

Review: Modern Love's newest release comes from British beatmaker Zomby, who has reached into his archives to unearth a long lost album nearly a decade after its completion. Said to be recorded between two weeks around 2008-2009, the Mercury's Rainbow LP sees the London based producer interpreting grime innovator Wiley's Eskibeat productions, which played an instrumental role in the genre's formation. It features the 4AD/Hyperdub affiliated artist utilising intricately hand-programmed arpeggios, 'sliding Triton squares' and post-garage drum patterns. On a conceptual level, it uses theories of colour and its relation to the sonic chromatic spectrum - the circle of fifths.

Review: Zomby returns to Hyperdub with his first album in three years, trailed in high profile fashion by that Burial collaboration "Sweetz." That particular tune is one of Ultra's headline attractions, alongside eyebrow-raising collaborations with Darkstar, Banshee and Rezzett. What really impresses, though, is the skewed, left-of-centre nature of the mask-wearing producer's heavy, post-grime rhythms, sparse but sparkling synth work, and the breathlessly cut-up R&B vocals dotted throughout the set. Interestingly, there are subtle nods towards new wave synth-pop, ghetto-tech, spacey ambient and alien IDM, making Ultra Zomby's most intriguing and consistently on-point album to date.

Review: Zomby returns to Hyperdub with his first album in three years, trailed in high profile fashion by the Burial collaboration "Sweetz." That particular tune is one of Ultra's headline attractions, alongside eyebrow-raising collaborations with Darkstar, Banshee and Rezzett. What really impresses, though, is the skewed, left-of-centre nature of the mask-wearing producer's heavy, post-grime rhythms, sparse but sparkling synth work, and the breathlessly cut-up R&B vocals dotted throughout the set. Interestingly, there are subtle nods towards new wave synth-pop, ghetto-tech, spacey ambient and alien IDM, making Ultra Zomby's most intriguing and consistently on-point album to date.

Review: Let's Jam sees the return of London's Zomby after his recent escapades with grime producer Wiley, and the bass experimentalist lands on the mighty XL Recordings with two EP's, this being the first part. On the A-side, "Surf I" and "Surf II" are the housiest things we've heard from Zomby, but although many producers seek to imitate the 4/4, our main man does it his own way. "Slime" is a wonky bit of stutter-house with clear grime influences, and "Acid Surf" is a bumping lick propelled forwards by gargling swirls of 303 delight. Strong.

Review: London's shadowy bass maestro Zomby lands on the above-the-line XL Recordings with four hybrid tunes, a blend of pure experimentation from the lower end of the sound spectrum. "Neon" is a wonky, bleeped-out jam, whereas "Bloom" is more of a contemporary hip-hop instrumental. On the B-side, "Peroxide" takes a slow tempo and dabs plenty of gunfire over its groove, and "Xenon" prolongs that vibe into an even more melancholic bundle of sounds and beats.

Review: The original enfant terrible of the bass music world marks his second long player for 4AD with a sprawling opus of more than 30 skits and skirmishes daubed in his trademark colourful sonic scrawl. There is plenty here that reminds you of the early days of the producer's emergence when dubstep was a younger beast, from the spacious "Horrid" to the measured arpeggios of "Pray For Me", but you'll also find more intricate musings such as the dynamic and dramatic "Memories". Hype abounds on the creepy Funky of "VI-XI", while "Overdose" launches enthusiastically into a jungle tear out. At any given turn, you'll find yourself surprised, lurched from a serene mood into a manic one, only to be tempered again. There's a staggering range of ideas and styles to comprehend here, but would you want it any other way from one of electronic music's most outspoken upstarts?

Review: The original enfant terrible of the bass music world is back with a new album, marking his second long player for 4AD with a sprawling opus of more than 30 skits and skirmishes daubed in his trademark colourful sonic scrawl. There is plenty here that reminds you of the early days of the producer's emergence when dubstep was a younger beast, from the spacious "Horrid" to the measured arpeggios of "Pray For Me", but you'll also find more intricate musings such as the dynamic and dramatic "Memories". Hype abounds on the creepy Funky of "VI-XI", while "Overdose" launches enthusiastically into a jungle tear out. At any given turn, you'll find yourself surprised, lurched from a serene mood into a manic one, only to be tempered again. There's a staggering range of ideas and styles to comprehend here, but would you want it any other way from one of electronic music's most outspoken upstarts?

Review: If the first single from this album, "Natalia's Song", left you worried that Zomby may have toned down his sound to fit the current zeitgeist in bass music, then don't. Dedication is a long way removed from Where Were U In '92?, but the influence of jungle and hardcore remains, albeit in a more spectral form, where skeletal beats play off against organic tones, his characteristic purple arpeggios drenched in reverb. The progression in his sound is just enough to add an element of introspection to his productions, while retaining the essence of what made his earlier material so irresistible; it's an album where air horns can co-exist happily with string sections and it doesn't seem jarring .With several tracks that are at times almost baroque in their execution, Dedication is an album that, whatever your preconceived notions of Zomby's sound, or bass music as a whole, must be heard.

Review: Zomby remains such a singular and interesting figure within the music industry that the mooted legal kerfuffle surrounding "Natalia's Song" led James Holden to recently remark (via Twitter) with more than a degree of humour that it was perhaps the first instance of a European intellectual stealing from a Russian. This one sided ten inch comes ahead of the producer's keenly anticipated new album for the 4AD imprint, sampling and stuttering Russian Star Factory singer Irina Dubtzova and wrapping her voice around skeletal programming and heart melting melodies. Housed in deluxe packaging and first heard closing out Mary Anne Hobbes' tenure on Radio One, it's a little slice of niceness this.

Review: Ahead of a highly anticipated album on 4AD, the endlessly enigmatic Zomby serves up this intriguing 7" serving as a teaser alongside the already well loved "Natalia's Song", which also dropped this week). The subtle melodic shuffle of "A Devil Lay Here" is an instant highlight, with glassy textures and bleeps held together in the most fragile, beautiful manner. The smoky piano of "Basquiat" on the flip makes this a damn near irresistible release - can the album hurry up and arrive please?

Review: Instalment # 2 of Hyperdub's rapid-fire assault on 2008 continues to mine the same rich bleep seam which kicked off with Kode9's remixes of 'Find My Way' and 'Skeng', rolled on through Quarta 330 and marks time right now with Ikonika. This latest release, 'Mush', bloods another pair of selectors fresh to the label; both Zomby and the on-fire Glaswegian producer Rustie. They have built up a dedicated following based on a string of off-key productions, with the ferric-oxide-like one hailed in a recent post on Dubstep Forum as "Autechre fighting Four Tet while grime and dubstep make bets in the background". Their first Hyperdub outing is headlined by Zomby's epic bleep symphony 'Mu5h' (yes, with a 5), a dramatic and melodic 8bit stepper, while the new retooling of 'Spliff Dub' - one of the scene's biggest tracks in the last 12 months - claims equal honours on the flip. Where Zomby's original followed on from the classic 1980s 'Sleng Teng' school of digital dancehall, Rustie's glitched version scuttles along with wonky denatured percussion, jiggy groove, speaker busting bass, blaring synths and a chopped-up vocal instructing you how to 'keep the evil away'.

Review: Woof! Hyperdub bring together two of the most recognisable and enigmatic artists of recent times on this 10", as Zomby and Burial square down ahead of the former's new album for the label. Zomby's Ultra LP is undoubtedly one of this year's most anticipated albums and "Sweetz" suggests it may be a very moody affair indeed. Whilst rooted in UK dance, Zomby and Burial do look elsewhere for inspiration too. Just under seven minutes long, "Sweetz" veers through various sub-heavy soundscapes with intermittent rhythmic patters and a distinctive looped vocal sample whose pitch changes with dramatic effect.