Deep Dubstep charts

Review: James Blake's debut album is undoubtedly one of 2011's most keenly awaited releases, and its arrival via his own (major label funded) Atlas imprint ensures their is no lull in momentum for a producer who enjoyed a watershed 2010 with releases on Hessle Audio and R&S. The results here differ wildly from his previous sonic excursions - gone are the shimmering R&B soaked melodies of "CMYK" and the sheer experimentalism of the Klavierwerke EP, which saw the young Londoner depart from the confines of the dancefloor and enter a realm where there was only a passing reference to rhythm-based music. Instead we are treated to Blake's own yearning, raw voice, delicate pianos and an underlying sense of melancholy. Ubiquitous single "Limit To Your love" and the crackly sonic terrain evoked on "The Wilhelm Scream" are among the most immediately pleasing moments, but there is much to explore here. It's a fascinating opus and surely the catalyst to a long and fruitful career at the top.

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.

Review: Hyperdub kick off the vinyl side to their ten-year celebrations with this weighty four-tracker from some of the leading lights from the label's story. Mala is in a strident mood with "Expected, Level 10" carrying through that extra touch of melody from the Mala In Cuba LP. DVA cuts loose with the leftfield scattershot groove of "Technical Difficulties", reveling in tonal experimentation and jagged rhythmic flair to a stunning end. Still locked into the sci-fi trap tangent that characterised Severant, Kuedo turns out the haunting "Mtzpn" and Helix pops up for a remix of Kode9's "Xingfu Lu" that strips down to bare essentials with a little starlit soul rubbed into the framework.

Review: The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.

Review: Although Rhythm & Sound and Basic Channel man Mark Ernestus has worked with or remixed many different artists over the years, we didn't expect him to join forces with D&B scene stalwarts Calbre and DRS. Yet that's exactly what's on offer here, as the Hardwax founder delivers two typically deep, dubbed-out techno outings crafted from portions of the pair's collaborative cut 'Badman', which is due to feature on Calbre's forthcoming sixteenth studio album, Feeling Normal. Both 'Bad' and 'Badder' are typical of Ernestus' ultra-deep and hypnotic style, with snippets of the duo's original instruments, beats and vocals echoing in and out of a warming, all-encompassing, sub-heavy groove. In a word, it's superb.

Review: Definitely one of the most haunting and quite possibly one of the most seminal cuts Mala has ever made, the show-stopping 'Changes' enjoys a long overdue re-press. Whether you were around when it first dropped in 2007 and never caught the wax, or you've since discovered it from many different samples such as XXXTENTACION's 'Look At Me' or The Game's 'Holy Water', this is an iconic piece of 140 music that transcends genres and generations. A contemporary classic, nothing less.

Review: TRACKLISTING:
A1: Photek & Kuru - Fountainhead (DJ-KICKS)
B1: Photek - Azymuth
B2: Photek - No Agenda

OVERVIEW:
"There are mavericks out on their own, the fearlesss creators operating on the very fringes of their respective scenes - Photek is just such an artist."- DJ Mag

"Photek has sweated over every little drum sound and fill resulting in a complex and subtle sound that is a million miles away from the nasty sound of commercial dancefloor dubstep."- DrownedInSound.com

"Easily more creative, more experimental and more thought out than his counterparts. A revolutionary musician and composer."- Sputnikmusic.com

Photek stands mercilessly on the edge. A sonic scientist, pushing both his sounds and fans' expectations to the outermost limits since 1994, he floods the footnotes of electronica like MP3s clutter up your hard drive.

2011 saw him drop a series of sounds that reflect the truest perception of him. Driven by his years of studio discipline; sharpened by an acute awareness that he'll be received by the heads that know him well and ears that don't know him at all.

Destination tomorrow: Photek's decorated past and diligent work ethic leads us here. The new music you've heard from Photek in 2011 is yet another chapter in a life spent overdosing on sonic nuances and boundary testing. In the past 12 months his new material has been remixed by the brightest young stars of dance music - Boddika, Falty DL, Addison Groove and Breach to name a few. In turn, Photek has remixed for the likes of Moby, Jess Mills, Distance, Ray Lamontagne and was part of Daft Punk's Tron Remixed package - for which he has been nominated for a Grammy. His newly re-launched label, Photek Productions, has this year released the 'Avalanche EP' which garnered international support from tastemakers such as Benji B, Gilles Peterson, Skream, Annie Mac, Zane Lowe and more, and the 'Aviator EP'. The single 'Closer' was also released on Pinch's pioneering Tectonic Recordings in June, adding to the gathering noise that you can't ignore - Photek is well and truly back and you can be sure that whatever sound he drops next, it won't fail to get the world's attention... Watch out in 2012 for his installment in the highly influential DJ Kicks compilation series on K7 Records and his long awaited new artist album.


PRESS: Album reviews running in Clash, DATA TRANSMMISSION (+ Interview), HYPONIK, FACT, DEFECTED, RESIDENT ADVISOR, MIXMAG (+ Classic Albums feature), MUSIC OMH (+ Interview), SPIN (+ Interview Feature), TRAP MAGAZINE (+ feature), DJ Mag. Updates to follow.

Review: Om Unit's Acid Dub Studies album, an inspired fusion of outer-space ambient sounds, deeply psychedelic TB-303 tweakery and outer-space digi-dub riddims, was for our money one of the standout electronic albums of 2021. This surprise sequel more than lives up to the high bar set by its predecessor, with the Bristol-based producer subtly expanding the project's boundaries (see the borderline Balearic brilliance of 'Camo') while delivering more fusions of ambient techno, acid and digi-dub. Highlights are plentiful, with our picks including the slow-motion strut of 'Strange Brew', the intergalactic squelch of 'Pursuit', the warming loveliness of 'To The River' and the borderline tropical melodiousness of 'Liberation'.

Review: Former Grid member and now ambient superstar Richard Norris delivers two new oracular divinations for his very own Group Mind label, the imprint formed in and after the COVID-19 lockdowns to help mindfully assuage the creeping anxieties of the age. A six-track 12" limited to just 30 copies - numbered and signed by the artist himself (move quick, hares) - these six tracks segue between dub and deep listening, fronting the bass and keeping percussive elements spread and panned. Best on the obverse is the A3, 'Mystery Dub', whose endlessly delayed stabs and cutoff conga samples well convey a vacuum-of-space vibe. The B-side moves into snake-charming dancehall territory, the punning, chordophonic 'Rockers Sci Fi' and the vocal blissout 'Stronger Together' being the ethereal highlights.

Review: After the massive impact of Vex'd in the breakthrough years of dubstep, it was big news when Jamie Teasdale chose to swerve in his own direction and emerge as Kuedo. Released in 2011, Severant was a bold statement of intent which didn't wholly shirk what had come before, but placed emphasis on the kind of romantic synthesis you'd readily associate with Vangelis and saw trap and other influences sneaking into the mix. In hindsight, Severant is typical of the times we live in, drawing on a glut of influences and presenting its own idiosyncratic vision, but above all that the emotion and intent of Teasdale's ideas make it an enduring, captivating listen.

Review: Blimey, if this isn't major meeting of musical Midas minds then we don't know what is. Alter Echo, E3 and Headland all collaborating with legendary dub flautist Diggory Kenrick. "Temple Duel" sets the scene in deep underground chambers, untouched by the sun. Reverb space is our only guide and ritual combat is the only way out as we make our way through subsonic 808 bass foundations, a near-industrial mid-range bass guitar groove, stiff snares, stick-fighting percussion and Diggory's torchlight melody. A truly fluid hypnotic narrative that arcs through the dark, if you're looking for an even foggier route flip for "Temple Dub" where the torch is extinguished and you have nothing but your sonic wits to take you home. Only Diggory knows if you make alive or not...

Review: Khaliphonic represents a rich seam alongside sister label ZamZam Sounds, carrying forth vital modern iterations of dubwise music from switched on artists the world over. As such, compilations like these are a perfect primer on who's out there doing great things, whether it's Bristol duo Titus 12 & MTF, Japan's Undefined or West Coast veterans Systemwide. There are plenty of ideas and styles explored here, from melancholic synth steppas to trad-school echo chamber immersion, but the constant is a staggering high quality. If a label should be a trusted stamp of authority, then Khaliphonic have their role nailed. Essential sonics for any dub-minded explorer.

Review: Repping Sugar Records and Tanum Sounds, Winsome comes through with three really interesting perspectives. 'Tab' is a unique and highly springy piece of work as it works and wriggles its away around some well sculpted table drum hits and sub plunges. '24gb' takes us down a much dreamier pathway, sitting somewhere between Indian Ropeman and Chicken Lips. Finally 'Who' closes this stunning EP with a faraway drone. Intense.

Review: The connection between ZamZam and Feel Free Hi Fi was sparked by Bristolian Neek out in Portland and lead to an immediate bond forged over a shared sound and DIY ethos. Inspired by early digi-era dancehall and UK dub, the duo crafts a sound here that honours tradition while venturing into bold, idiosyncratic territory. It comes on their own Digital Sting label and opens with 'Voyageur' which is a mix of cinematic atmospherics with haunting synths that evoke wild and mythic landscapes. 'Underground' pays tribute to the spirit of DIY underground music and captures the struggle to preserve both nature and the essence of basement gigs in today's shifting cultural landscape.

Review: Dutch DJ/producer Martyn has always been one of techno and bass music's most thoughtful and diverse operators, with a trademark production style that draws on many interconnected styles and now a Substack newsletter full of interesting essays about different aspects of the music culture he's been part of for decades. Through Lines, seemingly inspired by his ongoing desire to make sense of the musical shifts he's contributed to, is his first career retrospective - a fine collection of personal favourites and hand-picked club workouts featuring tracks recorded and released at different points between 2005 and 2015. It's a terrific collection filled with tracks that variously mix and match elements of dubstep, polyrhythmic techno, UK garage, Detroit techno, broken beat, 140, drum and bass and deep techno.

Review: The Bitter End label and eponymous production outfit is back with a new and limited 12" of brilliantly dazzling electro, disco and some other unnameable sounds. It's fresh in its fusion of the new with the old and opens with 'U Up', an electro-tinged cut that glides through the cosmos with characterful synth sounds and plenty of colour. 'U Dancin' then brings wispy pads and smeared vocals to a twitchy technoid groove and 'U Perfect' brings out some spangled metal sounds and dubbed out low ends before 'U Burnin' closes with lurching beats and hefty bass under raw percussion. It's experimental body music that cannot fail to get you going.

Review: After deciding to sidestep off-kilter bass music bangers in favour of exploring the more experimental side of his musical personality, Jim Coles AKA Om Unit has seen his career get a deserved bump. At the heart of this transformation has been the superb Acid Dub Studies series of albums, which here reaches its third and final instalment. Like its predecessors, Acid Dub Studies III offers an enticing mix of weighty digi-dub 'riddims', deeply psychedelic TB-303 trickery, boisterous dub-leaning bass music grooves, trippy effects aplenty and some of the most immersive sound design around. Yet while there are some genuinely weighty and forthright dancefloor moments - see the rugged 'The Chase', bouncy 'Hungry World' and steppas-powered 'Usurper' - Coles also finds space for warmer and more loved-up excursions, with the gorgeous 'Lost & Found' standing out.

Review: Bengal Sound is a rising star in the Bristol bass scene and now he makes another mighty fine statement with this two tracker on Wych, the increasingly essential label run by K-LONE. This one comes after his various standout tunes from self-released cassettes fusing dusty old Bollywood samples to red hot club bangers. 'Solace' is the opener and is heavy on the rubbing and cavernous bass with icy leads and on the flip is 'On My Mind' which is just as atmospheric.

Review: Sleeper man Alex Fox debuted the GRAMZ alias earlier in the year via a two-track 12" on Sentry Records built around paranoid sonic textures, serious bass-weight and rolling 140 BPM beats. For this 10" outing on Crucial, Fox has taken a deeper approach, ratcheting up the smoky atmosphere while retaining sizeable low-end pressure. "Joken" and flipside "Get Them Bags" are hazy, ultra-deep dubstep workouts, with both doffing a cap towards hip-hop and grime (check out the manipulated MC vocal samples on the latter, in particular), as well as the crackling sonic textures of Burial. "Joken" rolls along nicely while remaining pleasingly subdued, while "Get Them Bags" has a little more sonic strut. Both, though, are excellent.

Review: Rinse France branches out with a brand new label of its own and who better to inaugurate it than Paris-based Beatrice M. The producer makes a knowing nod to dubstep's golden era on this debut with the first version of 'Magic.' It is built on steppy rhythms with seriously wobbling basslines that are all-consuming. Glitchy effects and shimmering synths finish it in style and leave you dreaming of dubstep dances gone by. The B-side is a Techno Mix that reimagines the original with a driving four-on-the-floor rhythm and plenty of richly atmospheric pads.

Review: This is a four-track sampler taken from parts one and two of the One Hundred and Fifty Steps VEP series which is all about exploring the rise of 150 bpm dubstep, a sound that characterised by fast basslines, broken rhythms and heavy halftime pulses. From VEP pt. 1, L.A.'s Carre delivers pacey wobblers and then Berlin's Formella debuts with playful breaks and more wobbly bass on 'Dripstep'. VEP pt. 2 features Leipzig's Old Man Crane with their intricate, syncopated style shinning through on 'Grey' and Valencia's Andrae Durden then shows class with a Kryptic Minds-inspired low-end powerhouse.

Review: The UK's Hamdi, formerly Hamdiman, has been a formidable presence on the dubstep scene since at least god knows when. We're therefore delighted to note his debut release on the instrumental dubstep label Deep Medi, proving that the often elusive but no less prolific Mala-run label still has their finger on the pulse when it comes to championing next-gen talent. 'Simplicity' recalls the tripletty experiments of the more experimental, nay brutal players in dubstep, with 'Killa' barely indulging even so much as a hint of reverb, except for on the titular sample. The 6/8 timing continues throughout, with 'Second Mouse' utilising a surreal "why?" sample amid sudden stops and tricky hi-hat creeps-upward. The sendoff 'Simplicity', finally, pays homage to an earlier apogee of the scene, perhaps nodding at Coki's raw and unpolished growly sound heard in his 'Spongebob' era.

Review: East London MC Jus Rival teams up with Camden's Joe Fire here for a hard-hitting new track 'G.M.S (Gun Man Sound).' Following their previous collaboration on 'Dangerous Settings,' the duo builds on their undeniable chemistry for another explosive release with some serious low-end heft. Produced by grime heavyweight Spooky Bizzle, the brass-laced instrumental provides the perfect backdrop for both MCs to shine and Jus Rival opens with a catchy hook and sharp bars, while Joe Fire takes over with a playful, yet commanding verse. Accompanied by a slick visual directed by Honey JD,tihs one is defined by its dynamic delivery and relentless energy.

Review: Skream has shown over the years he was never content to just rest on his reputation as one of the pioneers of dubstep's early days. His swerves into house, techno, disco and other sounds have been determined enough to push him into the position he holds today as a multi-genre maven free to indulge any tempo or style he pleases, and Skreamizm Vol. 8 celebrates that in no uncertain terms. There's plenty of the man's swagger on the production, while guest bars from the likes of Trim up the ante in terms of party-starting prowess, but there's also space for vulnerability on the likes of 'Not Ready Yet'. If the Skreamizm series has always been a marker for where the artist is at, then get ready for a heavyweight update.

Review: Chad Dubz's Foundation Audio label outta Bristol remains a leading light in the bass, sound system and dubstep scene. This time out it is Kroomen and Somah who pair up for some mysterious late-night transmissions designed to rattle the walls. 'Kaba Rhythm' manages to be both light and airy yet dark and heavy all at once, with some Eastern melodies leading you ever deeper into the shadows. 'Sub 37' is all lurching kicks and skittish perc with twisted metallic textures and 'Heavy Smoke' is a slow and purposeful rhythm that takes its time to lure you in. It's golden-era dubstep that is as atmospheric as it is inviting.

Review: The Plymouth soundsystem and collective known as No Ice Cream Sound take their namesake after the historic Johnny Osbourne song 'No Ice Cream Sound', which hears one of the many most popular faces and voices of reggae decry "ice cream sound", his shorthand for tunes and soundboys who'd dare soften the original intended rawness of roots music. Here the boys take a thousand-watt megabulb to a gelato the size of a glacier with 'This & That', which hears residents Charlie P and Jman go back to back, trading verses and rhythms in a soundsystemic pattern. Fusing influences of both rubadub and roots, the two versions featured here are truly twin whirlwinds, not for slackened belts by any stretch.

Review: Riddim Tuffa's Echoboy follows up releases on Moonshine and Solway Dub with this exceptional triplet of soundsystem jams on Soul Ex Machina. Cosmic, meditative but kicking like a sub-loaded mule, there's a gentle progression throughout the EP. 'Roots Of Dub' immerses us like a Smith & Mighty blueprint, 'We Lock Down The Block' is a little more dancefloor focused but still heavily restrained and pared back (similar to Tipper at his deepest and most star-gazey) while finally 'Chords Trip' closes on a much more traditional digi dub tip. Beautiful.

Review: It's sleepy liminal steppers' zones aplenty on Sub Basics' latest full-length for Temple Of Sound, Rooms In Time-Space. As if imagining a purely abstract, extremophilic lifeworld, seed-generated for the pure purpose of headnodding, the latest incarnation of Sub Basics' enduring dubstep sound reflects the artist's unyielding exploration of a certain form, in thrall to which one simply cannot go wrong, provided one has mastered it. With its considered track titles like 'Basement', 'Wilderness', 'Quantum Zone', 'Observatory', 'Nonlinear' and 'Tangent', a detached, stoic, hard-scientific mood is evoked throughout, as if to liken the art of dubstep that of an oblique graphical process, void of emotive distortions. But that's just the front face of the project; deeper listens reveal an abiding humanity behind the beats, an aspect of our being that never tires of such driving broken propulsions, such immersive post-blast movements.

Review: A vrooming new V/A comp from London's bass music bacchanals 1985 Music, following up a sellout show at the Roundhouse earlier in 2024. Helmed up by pensive liquid purveyor come bass musical all-rounder Alix Perez, the label now compile several star tracks from throughout the year, setting them side-by-side on wax for the first time. Including trax by Perez, Drone, Cesco, Visages, Hijinx and Onhell, the general movement is from sociopathic grimescape though to bear trap tricksiness, shortly tied up in an extended jungle and d&b coda on the B; Paige Julia's 'Indisputable' is as brazenly fearless as Flowdan's opening flows are, though a continual liquefaction occurs therefrom; the best element heard towards the end has to be the erratic bubblegum cutups heard on Visages' 'Dol Guldur'.

Review: London-based label Deep Heads are proud to present the highly anticipated vinyl edition of Deep Heads Dubstep Vol.3, featuring some of the scene's best producers throughout the past decade, and some timeless classics from the imprint's back catalogue. Highlights come from Kromestar with the glassy-eyed and bittersweet bass frequencies of 'Another Day', Biome with the grey area drum and bass experiment of 'Night Flight', Danny Scrilla with the slow motion power version of '#1 Station' and Synpal & Ras Stimulant venturing into dark and murky waters on the meditative riddims of 'Ital Being'.

Review: Brittle bass music from 1985 Music, who present the first edition of Fragment, their new V/A albums series focusing on dubstep, drum & bass and experimental oddities in between. Convoking names both old and new, well-established and less so, this fiendish silicone collection bottles ten headtop hitters onto a single 3xLP gatefold record, channelling a whole uncountable host of aggressive intentions in the process. When it comes to being whacked round the head, we're not talking sugar glass either: with tracks from mainstays Headland, Drone and Visages, all the way up the cullet pile to 1985 label boss Alix Perez with the relatively chic 'Bloomsbury', all tracks herein command the utmost polish, shrillness and pressure, never failing to push us to the edges of our seats.

Review: Ever since launching his Echoboy project on the label, Moonshine has played a key role in Adam Kupec's output. Rising up from his Riddim Tuffa roots with a disarming, deep dark vibe, he's made his sonic statement clear since 'Jahova' in 22 and 'Fire' in 23. Now back with 'Rasta We Rasta', his signature seems to gleam off the wax. Digital but warm and resonant. Dancefloor but laced with a little soul. Highlights are the ominous boom of the Danny Red featured title track and the tricky cymbals and shiny finish of 'Horns Dub'.

Review: Inner Echo's latest venture dives into dub's atmospheric underbelly with an ear for intricate detail and deep emotional resonance. Basslines don't just anchor the compositions but ripple through them, creating a sense of movement and weight. Vocals surface like apparitions, haunting but never overpowering, while percussion glints at the edges, sharp yet restrained. The production leans into space and silence, allowing melodies to linger and decay in equal measure. There's a timeless quality here; it's dub imagined not just as a genre but as a state of mind, with every element fine-tuned to pull listeners into its reflective core.

Review: Always coming with the juiciest and most forward-thinking takes on 140 music and bass culture, Zhu's White Peach operations have been setting the benchmark for many years. And this reissue is a kindly reminder of their consistency and future-focused nature. Originally released in the summer 2020, it's now rebooted on lush yellow vinyl and, from the stunning Indian strings on the skin-scorching opening title track to the last rippling bleep from the finale track 'Renegade', the sounds remain as ahead of their time.

Review: Peaky Beats is a great name for a label that serves up such irresistible house and garage jams as it has so far over its first eight EPs. This ninth outing is no less desirable, coming from the in house production team in collaboration with Breakfake. 'Life In Stereo' hits a perfect note between kinetic drums and soulful, jazzy chords deigned to melt the heart. 'Rat City' is more filthy - a warped bassline screws about beneath more sleazy broken beats. 'Chapel Town' brings low end dubstep wobble to the party and 'Dub The Acid' is another filthy dirty skanker with echoing hits and mutant bass.

Review: Basel-based experimental labels Amenthia Recordings and A Walking Contradiction join forces for their first collaborative release here in the form of the Flash Crash/Hack Crash EP. Both labels are known for pushing boundaries within their close-knit creative circles and this one features Agonis' heavy stepper and Konduku's whirlpool of low frequencies on the Amenthia side, while Lemont continues the low-end, tripped-out vibe. Varuna represents A Walking Contradiction and delivers swampy, slow-motion sounds in their signature style. This release embodies both labels' commitment to daring, unconventional electronic sounds.

Review: Monsieur like Von D returns for another sermon at the Deep Medi cathedral and there's not a dry pew in sight. Following his sublime sub-soaked sonic trad dub vibes on his last Deep Media EP 'Hermetica' in 2020, this one hits with much more of a direct and heavy electronic vibe. 'Arcane' rattles out a nagging jagged analogue riff while 'Runtz' bangs out the war drums with an Amit-level military flare. Finally 'THL' brings back the bouncier, more organic side to Von D but there's still a really furious and crisp bite on those horns. Even with a discog as consistent and crisp as Von's, this is proper stand out tackle. Magnifique.