Back catalogue: Dubstep

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: 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: 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: The latest EP by EVA808 is a bold departure from their emotionally intense past work. This new project, released on Exit Records, channels an eccentric, energetic vibe designed specifically for the club scene. The opening track, 'Let's Be Havin U,' defies easy categorisation, blending a unique tempo that feels both slow and fast. It caught the attention of Exit's Darren aka dBridge, who eagerly signed it, much to the artist's surprise and delight. Inspired by observations of club-goers too out of it to enjoy the music, the artist aimed to create tracks that make a statement on dancefloor culture. Tracks on this EP were road-tested in Reykjavik and Bristol, where their dynamic impact became cleariespecially during a memorable performance at Thekla, where the intensity of the music literally made the ceiling leak. The EP's sound is crafted using a mix of hardware, outboard gear, and creative sampling techniques, and from resampled teeth biting to gum chewing, the artist brings a tactile, unconventional approach to percussion and textures. Recommended.

Review: Make The Ting originated from Elijah's online writings on creativity, known as 'Yellow Squares' on Instagram and Twitter. The first post appeared on July 31, 2021, as COVID-19 restrictions were lifted in the UK and then evolved into lectures and broader explorations of his creativity. In summer 2022, Blay Vision's 'Cammy Riddim' sparked the idea of translating Yellow Squares into songs. Collaborating with Grime MC Jammz, the pair created the track 'Yellow Square' and during a Muay Thai retreat in February 2023, Elijah expanded it into an album that is presented here and emphasised speed and spontaneity, choosing final instrumentals the day before recording. It is a cutting-edge exploration of bass, grime and trap.

Review: EVA808 has used this new album to launch her own new label Gleb and a fine statement it is too across four sides of gatefold clear vinyl to "represent the ice that inspires" the music. The artist born Eva Johannsdottir hails from Iceland and has a signature sound that she hopes conveys a story of "being different." The album is rich and cinematic in design with bass driven low ends and dark, boorish synth moods up top. It's cold yet warm, icy yet inviting and comes after many years of Johannsdottir being a key part of the drum & bass underground having first started outpacing grime and dubstep in 2011.