Deep Dubstep charts

Review: Burial drops his latest two-tracker on XL, two chaotic breakbeat balancing acts firmly rooted in rushy UK 'ardkore and day-glo 80s freestyle respectively. The A is a nail-biting, cavernous tweak out, which Burial pipes out into the darkest, most paranoid corners of the rave, exhuming frazzled dancers and inducing a queasy euphoria that any seasoned hedonists will recognise all too well. 'Boy Sent From Above', on the other hand seems to chart the passage of an obsessive, icy winter graff mission, with tinny drum machines, saccharine squarewave arpeggio hooks and spraycan samples harking back to the heyday of B-Boy electro, Miami freestyle and NYC breaking with devastating efficacy, albeit seen through Burial's unmistakeable misty-eyed LDN gauze; chrome and black over day-glo. Dreamfear marks yet another welcome switch up in Burial's artistic direction, and makes for one of the most evocative, moving and transporting entries in his much pored-over catalogue.

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: We've been saying for a hot minute that a dubstep reveal is due, if not already here - even though, as is the case with any revival, the purists will say the sound never went away. We would like to submit as supporting evidence this reissue of a stone cold classic split 12" from 2009 from serious dubstep heavyweights Loofah and Coki. It came on the pioneering Deep Mehdi Musik label and some 14 years on still has plenty of dark late night allure and killer low end wobble. Two definitive tracks that we can't wait to start hearing out again on loud systems.

Review: Deep Medi releases are always a cause for excitement, so it comes as no surprise that some of their earliest output is now being given the reissue treatment, nearly 20 years on from the label's inception. 'Kalawanji' is the infamous debut release by London producer Kromestar, with vocals by Cessman, and first came out on Deep Medi in 2006. Now on a limited green vinyl edition, to contrast to the original black, 'Kalawanji' and 'Surgery' are as raucous a pair of tracks as ever, recalling the period in which growly wobbles were just about taking over.

Review: The deep techno lovers at the Modern Hypnosis label have got Sub Basics on a new 12" that will lock you into a meditative state from the off. 'Offshore' is first up and ride son icy, minimal and gently broken techno loops that are fluffed out with deft synths and wispy pads. 'E443' is another super paired back sound with a quiet, late-night approach to floating and loopy techno. 'T441' has skittish rhythms and warped synths suspending you in mid-air while closer 'Lucid' (feat Traces) has a darker intensity to its lurching drums and pulsating synth lines.

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: The superb Om Unit label has assembled a mighty fine crew of subheads to serve up their own interpretations of a load of Om Unit originals for this great new double album Acid Dub Versions II. Stylistically this is as diverse a collection as you can imagine given all the tracks operate within a similar dub grounding: some artists like Yushh keep it deep, cavernous and empty, while Hodge lays down his pumping rhythms and runs them through with echo hits and driving acid. VIVEK's take on 'Bristol Theme' is another dubstep doozy that rumbles along with the smell of THC thick in the air and the Nadia Struiwigh remix of 'Electroacidspringwater' is an eerie way to close a fine collection.

Review: Vinyl only and lucky if we see one release a year; Moonshine's Dubwise Revolution always keeps us keen with their white label 10s. This is no exception. Crafted by an anonymous source, these spicy versions join the dots in a contemporary, high grade way. Sleng tenging it out with plenty of molten low end, 'Garnedd' brings the soul while 'Ghetto Living' slugs it out with swagger. Grab it while you can.

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: Blind Prophet & Ishan Sound come together for their first pan-atlantic collaboration here in what is a fine return to the ZamZam label. The pair first met in Portland in 2019 and so it's good to finally have some sounds to get stuck into from their meeting of minds. 'The Labyrinth' kicks off with hefty and stepping drum rhythms that are overlaid by bright synth lines and mystic flutes. The interloping melodies and a menacing bassline finish it in style. On the flip, things get much more dark with 'Minotaur Dub' which is a shadowy world of refracting drums and oodles of reverb and echo. There is a predatory sense to the rhythm that never lets up as fizzing bass pries every deep into the dead of night.

Review: On Tell Me, Skeptical capitalises on the freedom afforded by his own Rubi label by dialling back his established d&b sound and presenting a half-time trip into downtempo territory. That shouldn't be mistaken as a softening of his production chops, because there's still massive amounts of weight as he warps snarling bass around stark drums on 'Tapestry'. 'Atomic' goes further into a minimal, dubbed out sound with carefully executed low end growl which carries the torch from DMZ's earliest soundsystem meditations.

Review: Ilian Tape have been sympathetic to the sound of UK bass for some time now, but this new drop from Atrice leans even further into the pervading energy of dubstep as a source of club pressure. The Swiss duo first appeared on Ilian Tape with Q back in 2021, and they're sounding stronger than ever on this latest missive. If 'Multiplex' brings a cybernetic sheen to headsy 140, then 'Is It Warm' does similar work with techy d&b as the pair dice up breakbeats with precision and drape exquisite, shimmering pads over the ruffness. There's also space for crafty techno propulsion on 'Broke' and high-tempo trippiness on '83 Steps', making this a versatile, consistently brilliant release from a rising force in the scene.

Review: Modern Hypnosis rolls onto its 11th release and it's another deliciously deep dubstep trip into sub-aquatic realms. 'Vintage' is patient and roomy, full of ricochetting hits and bulbous bass wobbles with fragments of vocal floating throughout the mix. 'Wistful' is a more kinetic cut with busy leads and energetic drums that are pent up with potential as a moody vocal adds extra tension. 'Be Humble' then comes on strong with crashing hits and the sort of ice-cold synths that cut through any dancefloor. Last but not least is 'Amethyst', a more bright and optimistic cut for sunnier days.

Review: It might come as a surprise that dubstep favourites Kahn & Neek have only just gotten round to releasing their debut album, but their repertoire has spoken for itself over the years, so this is more than deserved. Translating from the Latin phrase "the wolf and the bear", Lupus et Ursus draws heavily on the image of the pair's occupation of the top of their very own hierarchy; the carnal apex predators of bass music. That in mind, the music is just as alarming, as if we were mere bunny rabbits at their mercy, as a barrage of complex, earthen, and arid grime and dubstep is flung our way, with all the favourite MCs - Rider Shafique, Riko Dan, Flowdan, Mez - joining in for a due exchange of bars.

Review: Around the world in 12 wubs; Alix Perez's superlative 1985 continues to dig deeper and deeper into our psyche with the third volume of their faultless Atlas VA series. As always, the tempos are set to flexible as we slide and glide between the style and speeds courtesy of some incredible names... Cesco brings some proper dark UKG on 'Superstealth', Sir Hiss gets angular with the electro funk of 'Shower Man Time', Visages go all slinky and futurist on 'Margit' while the bossman Perez and GLXY link up for something truly sexy and soulful with 'Green Lane'. All this and so much more, from Rockwell & Scepticz to Settle Down to Eprom, this is yet another exceptional adventure from the 1985 crew.

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: Thankfully there has now been enough time passed since the original dubstep movement that people are turning back to the genre to reinvent and reinvigorate it without prejudice. There is plenty of like about dubstep 2.0 not least this EP from Dubamine on Dub Stu, which leans heavily on the original dub sounds of the 70s with its natty vocals and rolling drums all brought up to date with crisp contemporary production. 'Cool & Relax' (feat Nazamba) is a sublime tune to sink into while 'Nature's Dub' is as organic as the title suggests, with bottomless bass and endless depths.

Review: Powerful hypnosis sessions from south UK artist Tom Woods AKA Sub Basics: Foundation Audio return after a short break with two stunning adventures. Both heavily groove-based, 'Tribal Flex' and 'YY' roll with percussive momentum, sitting somewhere between contemporary 140, timeless dub and universal dancefloor dynamics. The former is all about that bouncy kick and its sweltering tropical sound elements while 'YY' is on more of a mystical tip. Both flex hard, there's nothing basic about this operation whatsoever.

Review: Even before you hear the first beat, there is something incredibly exit about seeing the names Male - a pioneering beat master and pivotal figure in the early emergence of the dubstep sound - with Joe Armon-Jones, talented musician and master keys man. A Way Back comes on Aquarii, Armon-Jones's own label with him on keys and synths, Mala on drums and bass and Maxwell Owin featuring on 'Oh Lord'. It brings back memories of the golden dubstep years with cavernous bass and heavy weight drums all finished to perfection with Armon-Jones top lines.

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: Prepare to be shocked to your core with this new and electrifying first EP from the freshly launched High Voltage Music label and moonlighting d&b veteran Alix Perez with Headland at the controls. It comes from a production outfit of the same name about whom we know very little. And so to the tunes we turn - 'Feel Love' kicks off with slick and punchy tech house drums overlaid with a yearning vocal to up the emotional intensity levels. It is sure to do a fine job of livening up the floor, while 'NRG' then picks up with raw percussive clatter over a whacked out tech beat. Two top level tools.

Review: Sneaker Social regulars Alan Johnson return to the label with more unclassifiable gems. All flexing that bewitching, beaty brew of percussion, smoking 808s, shattered beats and crafty sampling, each cut hits with a direct physical groove. From the System-level dubsteppy title track to the more organic haze and swoons of the finale 'People Of The World', the UK duo have once again weaved a fine line between so many genres without committing to any. Tonnes of love..

Review: Few labels have been as important to the development of deep dubstep over the last decade than the Deep Medi Musik crew. Here comes another of their fine transmissions, ready and waiting to rattle your ribs and test your bowels. Somah is at the buttons for the four cuts and kicks off with 'Irked' which has inky bass and haunting late night leads over a heavy but deft bottom end. 'Mirrors' pairs more eerie empty space with echoing hits and distant sirens and 'Cold Chain' has a warmer, even slightly soulful sound thanks to the pad work. 'Unmarked' closes with a clatter of percussive menace.

Review: One riddim track, three hugely distinctive voices; Dub-Stuy continue their riddim series with "Santa Muerte Riddim". Loose, spacious, mystic and led by cold steel string twangs, Jonah Freed's beat sings on its own merits but each vocalist adds their own touch. Rider Shafique takes the lead with his signature smoky tones and poetics, Jahdan Blakkamoore contrasts between his gravelly spoken word and musicality on the chorus before Pupajim lets the beat breathe a little more before going full harmonic ham. Holy moly.

Review: Last year Burial and the Bug joined forces as Flame 1, delivering an in-demand EP on the latter's Pressure label featuring two sizable slabs of industrial strength soundsystem science. Here they return as Flame 2, once again offering up a pair of weighty dancefloor excursions. A-side "Dive" is a loud and claustrophobic affair, as the duo wraps dystopian dub bass and sparse, mutilated post-drill rhythms in layers of apocalyptic aural textures and mind-altering dub techno style processed noise. Flipside "Rain" is arguably more suitable for dancefloor plays and sees the esteemed twosome combine pulverizing sub-bass heaviness with dancehall style drums that come smothered in mind-melting effects and paranoia-inducing aural smoke.

Review: Dark dubstep allstar Dayzero first came to out attention with 'Allca', where they pitted themselves alongside contemporaries Gantz or Coki in their unique displays of wonk and lo-fi production techniques. 'Pages' and 'Sen' continue this charge; watery, knocky and psychopathic, both tunes sound like a tank trudging through sludge. Militant and gritty.

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: It's time to turn on, tune in and drop all over the shop as Low End Activist unleashes the deliciously titled 'Gossip Is The Devil's Radio' on ESP. A little deeper and more explorative than recent club-heavy dispatches he's been firing out lately, this EP takes us much deeper into his dubby, eerie psyche where cold, dystopian flavours and aesthetics rule the roost. Highlights include being pushed head first into abyssal frequencies on the likes of 'Good Question' and the industrial swagger of 'G.E.L'. Time to get activated.

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: The accompanying notes with this say "don't call it a comeback" for NOT_MDK (aka Martin Wood-Mitrovski), even though it is an album that finds him exploring an all-new style. It is a meeting of steady 70/140 bpm grime drums and beats with IDM synth details and evocative breaks that soundtrack an all new type of late night urban conurbation. It's menacing and fresh, perfect for both body and head and is a long way from the jungle this artist made in the late 90s, or the cid and breakbeats he made in the years after that. It's a brilliant reinvention.

Review: The deep dubstep revival continues to roll on and turn out ever more crucial sounds from the underground and back streets. Bukkha's latest for Innamind Recordings is a perfect case in point - it's primed and ready to blow out the basins of any system it is played on. Opener 'Deliverance' has some serious weight to it while the low-end wobbles keep things rolling under crispy, long tailed hits and hissing synth mystery. On the flip is 'The Time Is Now" (feat DPRNDRP)', a more crunchy and broken beat overlaid with squealing synth motifs and bad man vocalisations.

Review: Three exceptional low end delights from Parisian artist Quasar right here on Infernal. Each cut as unhurried as the last, there's a latent swagger coded deep into each groove as the Frenchman does his thing... 'Reminiscence Dub' is a gloopy, dubby strut in deep space, 'Space Raiders' hits with a deep bounce that recalls the likes of Roots Manuva's hopeful anthem 'Witness' while 'Molotov' (with Causa) brings the EP to an explosive finale. Unforgettable.

Review: Torsten Profrock’s T++ project has continually spread its wings since conception in 2005. Championed by fans of techno, dubstep, experimental and drum & bass alike, his latest EP for Honest Jons (and rumoured to be his last under this monkier) showcases the amalgamation of styles and sounds that has earnt the German such a far reaching fanbase.



If it does prove to be the final T++ release ever, then the alias will have left us with the most expressive and energetic of his works. Adding a real sense of personality, Profrock unearthed a handful of samples of the singer and ndingidi player Ssekinomu, recorded in East Africa in the 1930s and 40s in the label’s vaults for this release. Skilfully, the producer works these snippets into the complex rhythm structures, giving his music a human touch that has never been seen before. Profrock looks to the radical fringe of UK garage for the snapping 2 step vibe in these rhythms that remain central to all four tracks on the EP. This results in a clutch of tracks that take on an immensely tribal and subconsciously innate feel. They morph new structures from the forms of 2 step, techno and drum & bass around which Profrock wraps twisted FX and weighty sub bass to create one whole, throbbing organism.
So with quite possibly his final release, T++ leaves us, rather fittingly, with a record that sounds at once both ancient and modern. It has a totally unique tone, like a form of tribal language that can only speak to and be understood by today’s culture through these sub-heavy, atmospheric sounds.

Review: Clearlight is a Belgian producer of deep and experimental dubstep, with the 'experimental' label shining especially brightly on this latest EP for DNO. Through rich construction of atmosphere and intricate percussion, Clearlight evokes early Deep Heads on the likes of 'Super Strong' and 'Heavy Feet', harking back to the original dubsteppers' emphasis on style and immersion. The B-sider 'Spinning Head' is a special highlight, minimal on the low-end while remaining no less impactful in its use of a 16th note, midrange wobble.

Review: Russian producer Kercha has already served up two superb EPs that cemented his reputation as a contemporary deep dubstep great, and now he backs it up with a standout first EP of 2021. His Mental Ballast EP comes on the label he is a firm part of, DNO Records, and is complete with his signature off-kilter rhythms. Opener 'Ignornants' has shimmering oscillations and deep, dark dub. Plenty of subtle samples flesh out the eerie groove including a clip of Russian maestro E. Ponasenkov. 'Analysis' is another gem, this time with Berlin artist Yoofee with plenty of purple flourishes. There is serious wobble to 'Tigers' that keeps you on edge and 'Acid' is a real spin out to close.

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: 1985 Music take their Various Artists' collections very seriously and Atlas 2 is their latest top-drawer offering. Across no fewer than six sides of vinyl - served up in an embossed sleeve - the label platforms a wide range of artists, some of them red hot newcomers, some of the deserving and still relevant veterans as well as plenty in between. From the alluring darkness of Alix Perez & Ebb's minimal 'Shallow Affect' to Trail's haunting 'Velasquez' and Scout's ice-cold 'Meltdown' then is s superb cross-section of the best in stylish and heady drum & bass.

Review: Given that Young Echo operatives Kahn (AKA Joe McGann) and Neek (Sam Barrett) have been working together for well over a decade, it's a surprise to discover that this is the post-grime, dub-loving duo's first collaborative album. Wisely, they've utilised the potential of the album format, choosing not to fill the set with bona-fide club bangers (there are naturally some present), but instead take us on a deep, psychedelic, mind-altering musical journey that effortlessly blends dark ambient, deep dubstep, grime, twisted electronica, smoke-charred sonic textures, dub-wise riddims, chiming electronic melodies and countless guest raps from some of the best MCs in the business. In a word: excellent!

Review: Longstanding London deepsmiths Insight reissue their beautiful ten year anniversary retrospective X from 2021 for those of us who missed it the first time around. A powerful collection that reaches back to some of the label's earliest releases, the strong themes of ambience, emotion and depth that the label has always been renowned for breeze and tease throughout. Weave between trembling keys on gentle cuts like Pensees - 'Mist' and the hazy two-step of Magisterium - 'Metamorphosis' as we reacquaint ourselves at how timeless and evocative Insight have always been.

Review: White Peach maestro Zha is a regular member of the Naan label family and is back with another EP that follows up quickly from two previous efforts earlier in the year. As always he brings together grime, trap and dubstep into intoxication soundtracks that are full of mystery and intrigue. 'What Have You Done' kicks off with melancholic bass and moody melodic hooks then 'Let's Throw It All Away' further draws on Zha's heritage with another blend of plucked strings and lurching beats. 'Chup' ups the ante with more edgy and unsettling leads and 'Hiding Place' closes down with the most spacious sound of the lot.

Review: Of all the artists past and present who claim to let their music do their talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand. Yet despite this, his music speaks loud and wide, and the world has been listening ever since his 'South London Boroughs' EP debut on Hyperdub in March 2005. His eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many 'best of' polls. Now Burial returns with 'Untrue', a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with the debut's crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Kicking off with the skittering 2step syncopations and vocal science of 'Archangel', 'Near Dark' and 'Ghost Hardware', before long it descends into a space of radiant divas and ambience. Where 'Burial' first was humid, suffocating and unrelentingly sad, 'Untrue' is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria typified by the epic, muted optimism of the album's last track 'Raver'. Forget central heating the radioactivity of this album is all that you'll need to keep you warm this winter. 'Untrue' is available as full 13 track digipack CD, including recent underground hit 'Ghost Hardware', and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.

Review: Nadia Struiwigh's Pax Aurora was a standout ambient techno LP in 2022, and now Nous Klaer Audio have returned to the project to commission a grip of remixes which respond to the source material in distinctive ways. DJ Nobu takes a delicate, mesmerising approach to 'Nana', while Jakojako plumbs the depths of immersive, feathery techno. With Om Unit and Julia Gjertsen representing with equally hypnotic, elegant versions on the flip as well, this is the perfect example of a remix EP which truly adds weight to the original release.

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: TMSV has the honour of closing out another solid year for the Deep Mehdi crew. His debut on the label gives a fine representation of his sound across a quartet of dark dubstep gems. 'The Glow' opens in eerie fashion, with low end oscillations and late night tones leaving long tails in their wake. 'Revenge' gets more tense and taught as it traps you in some edgy loops and 'Housing' layers up what sounds like broken glass, ominous drones and flashing synth work into something brilliantly. 'Stay Closed' wraps things up with fractured melody and plunging bass.

Review: French producer Moresounds delivers a simple nine-tracker of rather advanced and pleasing trap beats, upending the idea that any beat as such needs an MC to survive. It's a miracle that this kind of music can emerge from the French countryside. Deep drops and wonky hat triplets abound, nodding to the deep dubstep tropes heard on international labels like Innamind, but retaining the clean production Moresounds is known for.

Review: Causa and Pharma link-up for one of Locus Sounds' rare vinyl outings and the vibes are set as high as ever. Two originals from both, each one remixing each other's tunes, Causa kicks off with 'Kreamy', an industrial weight growler that's given a dubby touch by Pharma on the rub. Meanwhile on the flip, Pharma heads in an easterly direction with the intense pressure and swagger of 'Shift' before Causa charges the groove up with a bulbous, funk-oozing bassline. Kream if you wanna go faster.

Review: Well, it's been a long old while since we saw or heard the Semtek name. His last release on these pages was a full six years ago on his own always mighty fine Don't Be Afraid imprint with only one or two other EPs credited to him in the whole of the last decade. Rubadub have done well to coax him out of semi-retirement because these two tracks are hard: 'Denny Island' is a supple drum workout with darkness in the air but plenty of deep cosmic feels keeping things warm and welcoming. 'Catching Smoke' is another one defined by its rubbery busy bottom end and atmospheric synth work up top. Two heads-down back room beauties.

Review: We're glad that plenty of artists seem to be back making dubstep again - purists will say it never went away but the spotlight sure did move on after that initial explosion 15-plus years ago. Her we find Teffa going deep on Subotage's fourth EP with a quartet of deliciously heavy steppers. 'Event Horizon' kick off with sparse streetwise swagger and low end oscillations, 'Turn On The Sound' has a characterful lead synth zipping about a desolate metropolis late at night and then 'Make It A Dub' has a classic dubstep feel with endless echo, frazzled synths and that lurching sense of low energy menace. A Split remix closes out a vital EP.

Review: LEA is back up to his activities as he comes crashing back onto planet Sneaker Social with three beautiful broken beat fusions. All sitting around that dubstep/techno/23rd century garage axis, the focus is on the groove, the subs and that lean, timeless funk he's made his signature. 'Sent West' sounds like a dark B-side of a 2005 CoOp joint, all mean and minimal but suddenly opening up into a jazzy flourish. 'Neurosis', meanwhile, subverts the two-step vibe for a spacious dub jam that could work across a multitude of genres before the brilliantly titled 'Dry Chat Wet Rag' closes off with a slo-mo jungle breakbeat fix. Moist.

Review: Skid Row is a carefully composed six-tracker of modern club and soundsystem oriented Bristol-influenced bass music. Believe it nor not, all basslines on this release are created by the same untypical hardware device, the Benidub DS71 Dub Siren. The tracks fuse grime and techno, picking up early reggae and 90s warehouse toasting - far from shiny algorithm optimization. 'Rictus' attunes the listeners to a playful, deeply swinging bassline embedded in reduced drums and comfy pads. 'Cockatrice' unfolds a technoid, almost trancelike impetus - dressed in broken beats and thoughtful vocal samples. 'Weedlot' sticks more to the funky side and cavorts with witty sonic effects, while the flip meets with 'Clodbuster': a conscious, truly demolishing badass tune in the spirit of only-the-rawest UK bass and grime; 'Suttree', finally, slows things down to a wide and wry space garnished with reggae horns and contemporary dance music samples. The record closes with growling drums, reverberant chords, tripping vocal snippets, and a sub-bass targeted on blurring your sight: 'Calico'.