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: 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: 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'.