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: Kevin Richard Martin, known for pushing the boundaries of sound as THE BUG, unleashes his latest full-length, Machine. The album, released via Relapse, is his first solo instrumental work under the moniker, following a series of self-released EPs on PRESSURE. Each track is a sonic barrage, merging futuristic dub with crushing electronic elements, heavy bass riffs, and industrial weight that recalls his earlier work with Techno Animal and King Midas Sound. Machine takes the listener on a journey through dense, dystopian soundscapes, where each beat feels like a seismic event, making it perfect for oversized systems in sweat-drenched clubs. Tracks like 'Buried' and 'Bodied' epitomise this, with the former dropping tectonic bass lines over heavyweight beats, while the latter smoulders with industrial doom. Martin's signature "ice cold and dystopian" sound is at its zenith here, blending visceral sub-bass pressure with masterful production. It's a brutal yet nuanced record, one that demands to be felt as much as heard.
Ready 4 War (feat Sharky Major, Armour & Stormin) (4:40)
Street Fighter (instrumental) (2:42)
Go (instrumental) (4:28)
Ho (instrumental) (4:06)
String Ho (instrumental) (2:44)
Ting Ting (instrumental) (2:06)
Wheel (instrumental) (3:51)
Review: Grime might now be one of the biggest sounds in the UK music scene, but it arguably might never have been without the much earlier work of scene forefather Dizzee Rascal. The Londoner broke through just after the turn of the millennium and onto the international stage with his in-your-face bars, mashed-up dance sounds and big samples. Quite possibly his best work is Boy In Da Corner, the stunning Mercury Prize winning long player on XL that is now 20 years young. It gets a special reissue for the occasion with all the big ones like 'Fix Up, Look Sharp' present and correct, as well as a load of fine instrumentals.
Review: DDD fam since 2019, Costa Rico artist Jleon comes correct with this wildly ambitious debut album. Conceptually it's a deep dive into the fantastic as he re-imagines the Spanish conquistadors being met by an angry octopus (Sibu) Musically it's just as much of a scuba operation as go 20,000 leagues deep through all manner of rhythms, textures and strange trippy sonic realms. From the system-shaking strut of 'Boruca Mask' to the psychedelic sludge of 'Control Denied' by way of the eerie and tense 'Visit', this is an exceptional album that wraps you up and seems to digest you whether you're locked in on the dancefloor or headphones. Wakey wakey.
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: Zha brings together element of dubstep, grime and trap on his latest 12" for the Naan crew. It is his first outing of the year following solid slabs of wax for the likes of White Peach and this label dating back to 2015. This one kicks off with 'Spice,' which has bass tones pinging about the mix with big hits, snatched vocal yelps and dusty drums all keeping you on your toes. 'Grief' is darker and dirtier thanks to the filthy great oscillation that rips up the swaggering rhythm and 'Harm' gets deep on some pensive pads and intoxicating melodic sounds. 'Two Rumours' closes down with sub so warm and cuddly it's like being hugged by a new duvet.
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: Long running dubstep purveyors Duploc deliver an ultra-toothy new one from producer Coltcuts, a one-track-mind of pure sizzling heat from the UK. 'Antidote' launches with a banging slice of bass and crunch overlaid with a hook of derision from rapper PAV4N, who rides the beat with invective chagrin, throwing shade on the clout-chasing hangers-on present at the system stage. Then come the instrumental goods: 'Madhouse' maddens with its chipped-out bloops and underfoot-rattling womp-basses, while 'Menace' menaces with its sinusoidal wobbles and cavernous verbs, and 'Real Talk' offers a candid intervention with a wendigo's worth (that's about 26 basslines, to be exact) of synthetic cackles and growls.
Pretentious Friends (feat Busdriver - Call by Pillowtalk)
Shipwreck (with Thom Yorke)
Evil Twin (vocals by Otto Von Schirach)
German Clap
Berlin (feat Miss Platnum)
Grillwalker
Green Light Go (with PVT - additional synth by Siriusmo)
Humanized (feat Anti Pop Consortium)
This (with Thom Yorke)
War Cry (guitar by Sascha Ring of Apparat)
Review: Over the years, Modeselektor have forged a reputation as fearless innovators, neatly sidestepping genres and frequently confounding critics. Given their tireless touring schedule and the fact they run two prolific labels it's perhaps no surprise that it's been some four years since the last full-length Modeselektor album. Monkeytown flits effortlessly between skittish 140 BPM bass music, clandestine electronica, sludgy hip-hop and even warehouse-flavoured tropical rhythms (see "German Clap"). There are some real standouts, including a dreamy, slo-mo pop outing with PVT, two collaborations with Thom Yorke and a droning Anti-Pop Consortium hook-up. Must-check.
Review: The much-lauded Jamie XX rework of Gil Scott-Heron's 2010 album I'm New Here finally arrives, and it's pretty darn good. In truth there's little quite as gorgeously ambitious as the strangely anthemic teaser single "NY Is Killing Me" (included here), but that doesn't stop it being an excellent listen. Not so much a set of remixes as a total reproduction, We're New Here places the veteran beat poet's distinctive vocals at the heart of a heady, other-worldly soup of eclectic beats (think dubstep, hip-hop and wonky house), booming basslines, sparkling house riffs, blissful melodies and paranoid late night atmospherics. A near perfect 33 minutes, all told.
Review: Yuku come correct with this special blue vinyl remix 12". Two vibes per side, both Traka and Granul go under the knife. On one side we have Serbian crew Traka under scrutiny as Commodo flips 'Yosai' into a menacing slab of tension while Muqata takes the Killa P-fronted 'Start Taking Note' into a brutalist sonic rainbow. Flip for two remixes of Turkish maverick Granul; Jtamul turns two-step inside out with stacks of eerie space on 'Deformity' while Iskeletor turns 'Interconnected' into the twisted, halftime heaver of your dreams. Stark sermons!
Review: It's been a while since we last saw Sepia on Infernal Sounds but rolling deep with Rider Shafique, he fits right back into the groove with the sublime and title track 'Time Stands Still'. A fitting title for a dreamy vibe, it's backed up by a wide range of gems... 'Gatekeeper' is sludgy, gloom-coated creeper, 'Whispers' sees him teaming up with Ickle for an icy swagger while 'Trust' closes the EP on a gentle, woozy tip. Timeless.
Review: Hamdi presents DUPLOC with two of his most sought-after dub plates on this sizzling new 12", plus a bonus vinyl-one cut. The 'Selecta' EP comes three years after his one and only other record and kicks off with the title track, a menacing low-slung buzzer. The drums make heavy rotations beneath a synth one that zips about with future energy. 'Immortal' then layers up another fat low-end oscillation and crisp hits while 'Peace' has a more prickly percussive vibe and suspensory feel topped with grime vocals. Three sound systems winners, for sure.
Review: Grime legends Trends, Boylan and Slimzee have made independent names for themselves over the years for their enduring contributions to the underground; the former two artists first cropped up on our radar after a string of horror-movie-themed grime bits which first proliferated virally on the internet. Slimzee, on the other hand, has been there from the beginning, co-founding the legendary Rinse FM pirate station among other things. We can't contain our excitement for this fresh, psychotic release for Etch's Sneaker Social Club; returning to the trio's penchant for oppressively trappy instrumentals, there are newer explorations in breakstep and garage, fleshing out the many teeth-gritted possibilities of the eight-bar rhythm. Haunting, atrophied sonic skeletons from a dream trio.
Review: Apocalypto! Foreign Beggar PAV4N lays down some hard hitting truths with the hard hitting Truth and the results are sizzling in moody futurist fusion. 'Brave New World' (with Saskilla) marches us slap bang into the middle of a 23rd century war, 'Pythons' slithers with so much attitude you can feel squeezing you, softening you up for Pav's lunchtime treat. 'Online Overdose' (with Ashez) hurls us into a neon swing, pinging through the arpeggiated sci-fi swagger before 'Pyrex Jackie' goes straight up Universal Soldier. Metal jacket tackle.
Review: Way back in 2016, Fent Plates offshoot White Peach offered up a killer collection of instrumental versions of some of its most popular made-for-MCs releases - a heady mixture of grime and dubstep workouts that reflect the label's London roots. Eight years on, they've finally got around to dropping a sequel. Featuring 26 killer cuts stretched across two CDs, it boasts a wealth of genuine standouts, from the deep, suspenseful shuffle of 'Bardo' by Cadik, and the delay-heavy, string-laden punchiness of Glume & Phassa's exotic 'Hatchet', to the slow motion, spaced-out weirdness of Koma's 'Arrival', the Japanese-influenced jauntiness of Ourman's 'Windy', and the ghostly, sub-propelled heaviness of 'Red Handed' by Mr K.
Review: The second instalment of Brownswood Recordings' Remix Editions series features two dancefloor hitters; one from new kids on the block Izco & Reek0 and the other from sub-bass heavyweight Coki. Each producer turning their hands to a remix from a different track from Oreglo's debut EP, 'Not Real People', both efforts turn out to be massive. Izco and Reek0's version of 'Levels' opens the proceedings with a stargazing march, fusing motifs of amapiano, carnival and UK jazz. Coki's flipside is much more dubious, working in a much lower dubstep register, and filtering Oreglo's original 'Opedge' jazz instrumentation into a mnemonic groundwork for a grime-caked heater.
Review: Get your 'Freak' on! White Peach are reissuing this doozy of 12" from Yoofee and not before time, too. Originally released in 2021, and still sounding years ahead of the pack, 'Calibration' takes the lead in all its bouncy, steppy glory. It's backed up by plenty more heat... The four-to-the-floor switches on 'Freak', the depth plunge subby funk of 'OK Cold' and the super creepy graveyard gravy finale 'Negative Released'. Positive release.
Review: Oskar Allen and Luke Barnett are Glume & Phossa, but beyond that we dot know much about them, Musically this superb album shows that they bridge the gap between electronica, trap and hip-hop with plenty of slick and sleek minimal rhythms and glistening synths. There's a psychedelic edge to these sounds - hyper real melodies and warped vocal sounds - that makes it otherworldly and futuristic at the same tie as having the sort of nostalgic chords that remind you of a time you probably never actually lived. Brilliant stuff for either home listening or the dance floor.
Review: It's not often we pass on much trappy EDM to listeners at Juno, but Eprom is a special case, having made a name for himself for pushing the glossy post-dubstep trap style that made many artists like him famous. At the same time, Barclay Crenshaw (Claude VonStroke) is another name in the EDM world whose direction isn't quite the same as Eprom's, but nevertheless shares a space with the former artist for having also remixed Yung Skrrt's wilfully trashy hit 'McDonalds' of late. As both artists have dropped their respective cuts in many a DJ set all over the world, Skrrt's label DIRTYBIRD have now orchestrated a meeting of the two minds - not least to mention this juicy vinyl compilation of the two remixes.
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