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Review: After a flurry of announcements and teasers comes Vegyn's latest record The Road To Hell Is Paved With Good Intentions. Arguably more of an aesthetic regrounding compared an long spell of style-establishing wonders, this record hears Joe Thornalley revive his original alias, and is unabashed in its involving of several London-centric all-star vocalists including John Glacier, Matt Maltese, Ethan P. Flynn, Lea Sen and Lauren Auder. All are heard banding together to ruminate on themes of faith, self-acutalization and eternity, together spanning multiple registers and gliding serenely over Vegyn's various dream-jungle, trap, pop and post-everything beats. Even the non-featured tracks contain vocal delights, with highlight 'Everything Is The Same' pitching up what we can only assume to be Vegyn's own, in a glitzed-out take on a Jai Paul-esque beatscape.

Review: Given the uniqueness of his madcap and mind-altering trademark sound, the release of any new album from Tom Jenkinson AKA Squarepusher is big news. Given that his last new full-length landed four years ago, the arrival of Dostrotime has got an awful lot of experimentalists in a bit of a lather. Like many albums that have surfaced in the last couple of years, it was apparently inspired by the "novel, eerie, sublime silence of lockdown", with the title being a reference to "how time passed differently". Quite how this plays out within the music itself is open to interpretation; for the most part, what's on offer is prime Squarepusher - all distorted, full-throttle acid lines, mutilated experimental D&B beats, analogue electronics and rasping, strobe-lit nods to raves,

Review: Tides is the latest album from Hybrid Minds, whose efforts have landed him at the forefront of the contemporary pop/drum & bass race of late. Hot off the heels of an initial LP release, this CD edition of Tides tops up the album's format-ography. The album sounds as huge on optical-digital as it does analogue; every track is effortless in its glossy command of space and bursting vocal synergy, calling attention to Hybrid Minds' collaboration-heavy approach to creation (every track bar one is a feature track, the best of which include Tom Walker, Grimm and Charlotte Plank).

Review: Calibre as we all know is a machine. The man has produced thousands of records, each one as exceptional as the next, across drum & bass, house and bass music. His latest album Rudy shows no dip in quality with another a masterful display of his signature sound making it another timeless classic. Each track is a journey into his famously lush melodies, intricate rhythms, and soulful vocal touches, all of which showcasing Calibre's unmatched skill in crafting emotive drum & bass compositions. From dreamy atmospheres to the pulsating low ends, heart aching samples and driving drums, every moment captivates with its depth and keen sense of musicality.

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: On MK 3.5, Mount Kimbie has decided to do things differently. Although officially a joint Mount Kimbie release, it's effectively two sets in one, with each member of the duo producing a side of vinyl worth of music themselves. On Dom Maker's suite of tracks 'Die Cuts', he conjures a succession of dreamy, piano-heavy excursions full of smooth basslines, opaque samples, James Blake style soul vocals, manipulated voices, post hip-hop beats and raps from a range of guest MCs. Kai Campos meanwhile opts for slightly bolder, faster and punchier beats influenced by electro and IDM, sci-fi sounds, drowsy ambient electronics and, on standout 'Zone 1 (24 Hours)', throbbing lo-fi techno grooves and out-there, intergalactic synth motifs.

Review: Jessy Lanza's skewed, left-of-centre take on electronic pop has helped her deliver a string of inspired albums, though few are quite as joyful, bold and ear-catching as Love Hallucination. It was created following her move from San Francisco to Los Angeles, with a string of musical friends and collaborators - Jeremy Greenspan, Jacques Greene, Tensnake and Paul White included - lending a hand with the production. The results are undoubtedly inspired, with UKG-influenced synth-pop nuggets, drowsy electronic disco and AM radio-friendly synth grooves being joined by future r&b bullets, bass-heavy pop-house throb-jobs and undeniably Balearic workouts. In other words, Love Hallucination is another inspired full-length excursion from one of the best in the business.

Review: 2019 has been big for Goldie. The late summer saw the anniversary reissue of his second album "Saturnz Return", and now he's put together a bumper collection of drum & bass gems. Across "60 tracks that smashed it" as the release is sub-titled, the proudly British sound of drum & bass is explored and exposed thanks to music from all the key players including Roni Size, Doc Scott, Photex, Krust, DJ Zinc and many more familiar faces. Of course, the Metalheadz boss' own "Inner City Life" kicks off in triumphant fashion and the vibes keep coming thick and fast from there on in.

Review: Illuvia expands upon his 2021 ambient drum'n' bass hybrid album Iridescence Of Clouds, with a new suite of alternate and once discarded versions. Revisited, remastered and presented as an extended digital album and double CD, with a new artwork version by Noah M / Keep Adding.

Review: When Hospital Records launched some 16 years ago, it was primarily to focus on the more soulful side of drum & bass. While London Elektricity's imprint is now about so much more than that, many of its' releases still bristle with an expansive soulfulness. This mixed, mid-price, two-disc affair pays tribute to the label's soulful side, delivering sinewy, string-laden gems, vocal anthems, and liquid D&B classics from the likes of SPY, High Contrast, Nu:Tone, Logistics, Danny Byrd, Phuturistix and, of course, London Elektricity. Who mixed it isn't revealed, but they've done a great job; both discs ripple with melody, emotion and, of course, skittering dancefloor rhythms. This is Fast Soul Music, after all.

Review: Loraine James continues to trust her instincts and serve us some of the most honest and original music within the leftfield electronic sphere right now. Having recently paid tribute to the work of Julius Eastman on Build Something Beautiful For Me, now she retunes to Hyperdub with the record she claims the teenage version of her would have made. The label text makes explicit reference to the likes of DNTEL and Telefon Tel Aviv as well as math rock, but James is also way out in her own zone metabolising such influences into unique expression. There are some wonderful guest spots from the likes of RiTchie, Marina Herlop and Eden Samara, while James herself centres her voice for some of the album's most poignant moments. Gentle Confrontation is another outstanding chapter in James' ever-intriguing story.

Review: There is a mix of old-school dons and new-school talents from all over the world here, each adding their own unique spin to Goldie's timeless. It's a record that remains a drum & bass benchmark, but also one of the most seminal in all of electronic music. The man behind it celebrated its anniversary last year with various different projects and now follows that up by handpicking a selection of remixes to take his most treasured material. Searchlight, aka Irish drum and bass producers ZeroT and Beta2, are signed exclusively to Goldie's Fallen Tree 1Hundred label and bring some lush jazz and broken beats to 'State of Mind' and later 'Sensual' while Metalheadz tastemaker J Kenzo brings dark, minimalistic and tribal sound to his Tribute remix of 'Jah'.

Review: During recent interviews, James Blake framed Playing Robots Into Heaven, his sixth album, as a kind of return to his club roots - an idea borne out by his decision to structure the album as a kind of imaginary "night out raving". Of course, this is Blake we're talking about, and while the album does lean heavily on the post-dubstep sound that made him famous (which itself drew as much from experimental electronica and outsider pop as dubstep, house or techno), it's not like he's suddenly turned into Ben UFO, Scuba or Mala. It's a highly enjoyable album, though, and one that combines his most familiar and cherished elements - heavily treated, emotive vocals, piano motifs, woozy electronics and ghostly chords - with grooves rooted in techno, house and UK bass. If you're a fan, you'll love it.

Review: Dominick Martin's Shelflife series takes us back into the very core of Calibre over the past 20 years, finally sharing tracks which were previously only aired in his DJ sets. It's testament to his rigorous approach to the music he released over that time, given how incredible some of these cuts are, but it's also a relief to finally be able to cop the likes of 'Breather', 'Home' and 'I Don't Care What U Say'. The range of d&b on offer here is remarkable too, from moody, heads-down tech steppers to gorgeous, soul drenched swooners, with an unerring quality which lets you know it's Calibre at the controls.

Review: Phonica Records toasts 20 years in style with this three-disc exploration of the house and techno they're best known for. It's no surprise they were able to pull in a heavyweight cast of characters for this collection, but they've made sure to leave enough room for the stars of tomorrow, too. Familiar names include Daniel Bell, Shy One, Willow, Peggy Gou, Midland, Will Saul and Ron Basejam, but there's also surprise inclusions like Tim Reaper and Comfort Zone teaming up for a signature jungle excursion. This is a heavyweight reflection of everything Phonica has represented for the past two decades, but equally a sign towards where they're heading in the future and it couldn't sound rosier.