Review: The latest release by Newdubhall is yet another emission of furrowed J-dub: in light of a recent five-year hiatus despite an esteemable career so far, Babe Roots has once again been hailed an icon of modern dub production here. 'Mi Feel It' hears a determined collaboration with bass tenor and mic controller Wayne, a vocalist whose glottis most fellow spitters could only dream of having been born with; the track plods through popping snares, stereo-caressing chords and a rustling beat-corpus, as Wayne reacts to the undignified laity around him with magnetic disrespect. An implosion at 140 beats per minute ensues on the B, bringing a knockier sound and a disestablishing pulse.
Review: ?Boys Wonder's 'Be Reasonable' is a lovely and limited edition new 10" etched vinyl released exclusively for Record Store Day 2025. Serving as a companion to their long-awaited debut LP Question Everything, this limited-edition single features two previously unreleased tracks exclusive to wax. The band's distinctive blend of glam-rock energy, sharp wit and infectious pop hooks brings both of these to life and are part of the reason they have been endorsed by Vic Reeves as the greatest band that never was and hailed by Jonathan Ross as one of my all-time favourite bands.
Review: Marking Indica Dubs' 100th release in serious style, 'When Jah Come' by Danman takes the form of a powerful tribute to the late Jah Shaka, whose influence shaped generations of dub and roots sounds and musicians. This long-anticipated dubplate was famously championed by Shaka himself and comes laden with deep, earth-shattering basslines, spiritual vocals that touch your inner psyche and militant rhythms with unmistakable reverence. It is a celebration and a memorial that honours Shaka's legacy while showcasing Danman's ever-commanding voice and Indica Dubs' unrivalled production strength.
Review: Marvin Dash and Lowtec combine to serve up some house grooves here that perfectly embody the Workshop sound. They are lovably loose-limbed, dusty and ramshackle, and almost feel as if they may fall apart at any given moment, but that is the joy of them. Instead, they keep you locked amongst rickety drums, frayed pads and imperfect little vocal hooks that bring the soul. 'Track 1' does that with a hazy feel, 'Track 2' is more one out with a dubby undercurrent and sustained keys and 'Track 3' brings little more prickle and drive, like a super raw Omar-S track. 'Track 4' is all about the prying, bulbous bassline that unfurls with a mind of its own beneath DIY percussive sounds.
Review: Talk about things that make you go "oooh." The moment we heard that Daniel Avery, Working Men's Club and Ghost Culture were working together on a "new musical project" we had a lot riding on the results being particularly potent. Quite what they might sound like was anyone's guess mind, and there was an underlying worry that we might be left with another supergroup disappointment - where the parts are strong but don't necessarily understand how to gel. Demise of Love prove that doesn't have to be the case every time. It sounds like all of the above and yet none of them, it's ripe with emotion, fraught with punk ferocity and outwardly romantic in an electronic sense. Rave-y, weird, melancholic, angry, sleazy and infinitely re-playable, believe the hype.
Review: Out of stoner rock miasma traipse David Eugene Edwards (Wovenhand, 16 Horsepower) and Al Cisneros (OM, Sleep) with two new sludge-offs, 'Pillar Of Fire' and 'Capernaum'. With leeward, mountainous horror vacui depicted on the front cover - and a 10" press signifying that the musicians intend for this to be a maestro's statement, not too invested in the magnanimity of a full LP and yet still knowing full well that you'll lap up the sense of terse completion such a record promises - these tracks are estivate delights, both their meditative experimental-bass workings evoking barren, anxious wanderlust.
Review: True to the name, FFF's releases do tend to make us teeter on the edge of profanity, inciting us to utter a hearty "FFF...!" whenever one of his pre-drop seatbelt warnings is sounded. With what sounds like a copyright lapsed, twilight zoney TV sample musing on the terror of true freedom kicking off the opener 'No Holds Barred', we're inducted into a true blue jungle asepsis here, with an unstoppable, untainted 808s extending over both tracks, full time and halftime alike. Only the breakbeats on the A singe the mix to the point of well done break steak, where the track's atmospheres are otherwise clean and twinkly; FX's remix, on the other hand, hovers dirtily and indubitably between jungle techstep and trip-hop, delivering a consciousness expanding mind mutator.
Review: American label Deep Bow makes a notable vinyl debut with this heavyweight 10" featuring King Stanley and Prince Jamo, both voicing over a thunderous riddim crafted by producer Dub Sev?. This roots-driven slab stars with King Stanley's passionate cries over sleek drums with shiny digital synths and neat guitar licks. It stays true to the deep, meditative spirit of sound system culture and becomes much more roomy and spaced out in the hands of Dub Seva. Prince Jamo's 'Joke' has a cleaner vocal and some natty keys, and also gets dubbed out by Dub Seva. A strong introduction from Deep Bow that showcases talent from both sides of the Atlantic.
Review: Two decades deep into his career and still pushing forward, this seasoned German DJ delivers something that feels both timeless and fresh. The original version of 'Kingston Riddim' is a smooth, sun-soaked affair. Drawing from island dub but built with a crisp, modern hand, the track is full of warm organic textures and laid-back swing. The chords are clean and expressive without feeling too polished. There's a breezy confidence to the groove that makes it feel effortless. It's the kind of track that could slip into any set and feel right at home. Sato's interpretation dives into deeper territory. The bass rolls in thick and heavy while the chords get more tangled and echo-laced. There's a submerged quality here, like the track has been dragged through deeper waters. It's moodier than the original but still carries that same rooted sense of rhythm. This is one of those rare records where both sides hit in different but equally effective ways.
Review: Kohei Matsunaga has spent over three decades dismantling and reconstructing the boundaries of experimental music. Born in Osaka and originally trained in architecture, his approach to sound is methodical yet unpredictable, reflecting a fascination with structure and abstraction. Across releases for labels like Raster Noton, PAN, and Skam, his work oscillates between dense rhythmic frameworks and fleeting bursts of sonic chaos, shaped through collaborations with the likes of Mika Vainio, Sean Booth, and Merzbow. His latest release continues this restless exploration. 'Filled With Vacuum' sets the tone with jagged percussive sequences and warped atmospherics, while 'Ancient Behave' layers hypnotic pulses with eerie tonal shifts. On the flip, 'Same Point Different Coordinate' pushes further into spatial disorientation, before 'Formulated Rhythm 4s' closes with a fractured yet intricate groove. It's another entry in Matsunaga's ever-expanding sonic architectureiprecise, disorienting and entirely his own.
Review: Silent Force Recordings drops a heavy 10" teaser ahead of the much-anticipated The Last Transmission album. This sampler of it features two standout cuts from Pixl and Murder Most Foul, who ramp up the excitement for what's to come. Gritty, atmospheric, and razor-sharp, both tracks tap into the label's signature blend of deep breaks and futuristic dread. The sound designs are pristine and the beats heavy so it's a fine preview of the full-length project due later this year-raw, cinematic drum & bass built for dark rooms and loud systems. Silent Force isn't playing here.
Review: Refreshers is a little-known alias of Lukid, an underrated producer who has previously explored murky lo-fi sounds on cult labels like Werk Discs. With this alias, though, he makes drum & bass and jungle, and crafted the original featured here back in 2021 and dropped it into his Dekmantel mix. It was heard by the Future Retro label head who reached out to release it and we're glad he did. It's a hidden treasure that is dark, intricate and perfectly crafted. The surprise release feels like uncovering a secret moment in jungle history and it comes with Phineus II's powerful remix, which adds depth and drum rawness, which makes this a vital pick up.
Review: Nearly a decade since the Swedish trio's last full-length Casino (2014), brothers Andreas and Johan Berthling, along with Tomas Hallonsten, ease back into the fold with Preludes, a five-track collection that reaffirms their mastery of delicate, genre-blurring soundscapes. Following the promising 'Refrains' 10" in 2023, this new release is a comforting reminder that Tape's signature blend of acoustic instrumentation and electronic processing remains as singular and stirring as ever, as they continue to weave hypnotic textures that feel both ethereal and earthy. 'Opener Lights Out' is a tender folk threnody where repeating guitar patterns create a meditative haze. 'Naukluft Plateau' drifts with ruminative piano over cascading tones, while the brief 'Golden Gain' mixes huffing harmonium and subtle electronic scrums. 'Tangential Thoughts' is quintessential Tape, a dreamy two-chord motif, rustling organ and delicate percussion all evoking wistful reveries. The closing track, 'On The Accordion Bus', sways with glitch-like textures and gentle rhythms, blurring the line between transit and reflection. There's a unique warmth to their balance of melody and abstraction here, reminiscent of Aphex Twin's ambient pop or Susumu Yokota's textural elegance. Praise indeed, but sometimes the quietest returns make the deepest impact.
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