Review: Scottish artist Aether emerges from the ether with some of his most spell-binding material to date. Twinkling, evocative and hazy, there's a dreamlike theme as the narrative runs throughout and we're taken down lullaby lane with woozy and wondrous results. From the startling sunrise soul of the first encounter to the poignant, lingering final goodbye, Aether's sonic imagery and consistency makes this more of a mini album than an EP. Utterly beautiful.
Review: New Zealand dubsmith Akcept hops over the Pacific with a plate of two halves; "Teachings" takes us back to the foundations for root cause analysis. Unfathomably deep, warm and tailored for fine tuned systems, it's a quintessential lesson in dub science. Meanwhile on the B "Going Round In Circles" flips the coin for something just as dubby but a lot more dancefloor. As teased by many of his mixes, Akcept's penchant for dub techno is just as strong as his love for roots... Something that's more than clear when you hear this record.
Review: Where to place Weevil Neighbourhood? Is this dub techno? Perhaps. Dubstep? Maybe. Drum and bass? Sometimes. Experimental? Yes: in the truest sense of the word. It draws from all these aforementioned styles and more, resulting in the formation of a reclusive German label breaking the framework of many electronic music genres wide open. The title-track from Anthone's second EP for the label is where the dub techno suggestion comes from thanks to its caustic chord sequences, only there's flashes of dubstep beat designs and loose drum and bass textures similar to what can be heard on Felix K's Flowers Of Destruction. On the flip, "Lungs" is instrumental and live feeling. In parts it sounds like a band playing, while in others you can here the work of samplers looping, and when combined, it offers an industrial soundscape that's like merging some of the darker rock and metal stylings from Sex Tags No Amfibia with Regis' Sandra Electronics project, only reduced to the point of almost being ambient.
Review: It was only a matter of time before Boofy landed on Pinch's Tectonic. Both Bristol. Both magnetised to the fringes. Both responsible for untold low end hurters like these... "Back In The Box" is a heavy pressure cut with pneumatic kicks and ominous stretched brass textures while "Herbie" is a highly strung piece that's stripped back to just drums, subs and an eerie faltering lead and builds and twists when you least expect it. Flip for the churchy chords and rattled percussion of "In My Head" before "Perfunktion" closes with jazzier chords and a stone cold steppy kick arrangement. Classic Boofs.
Review: Bristol-based badman Borai has been quietly issuing some of the city's most immense club wreckers for many years now, sometimes in partnership with October, and sometimes flying solo (as on the crucial Anybody From London for Hotline Recordings). Here he's inaugurating Higher Level with some absolute dance slayers, kicking off with the mammoth pitched-down drum funk and gut-wrenching bass of "Razor" before switching stance for the dreamier but no less rowdy "Predators." Both cuts are a masterclass in classic breakbeat science, delivering the foundational UK sound with panache that sets these weapons far apart from the rest of the pack.
Review: Dropping a searing double pack of 10" badness ahead of the forthcoming Angels & Devils album, The Bug is back in business with some apocalyptic gutter bass of the highest order. "Freakshow" matches the leering delivery of Danny Brown with the sinister croon of King Midas Sound's Kiki Hitomi over a horn-laden trap swagger to devastating effect. "Louder" pits Flowdan in the depths of a nauseating half-step march, while "Dirty" takes the London MC into a barrage of equally nerve-jangling drum rattles and alarm-clanging stabs. Long-time Bug collaborator Daddy Freddy rolls up his sleeves for "Kill Them", anchoring the dread stomp with a fearsome growl as anthemic as it is nihilistic.
Review: Like a many Britons, Chad Dubz doesn't have much time for Prime Minister Theresa May, who was, at the time of writing, still just about clinging on to her job. He's not only included a demonic painting of the "Maybot" as a "Reptilian Bitch" (his words, not ours) on the record's centre labels, but also made a thrillingly angular and heavy dubstep smasher as a kind of artistic two-fingered salute. LSN's flipside remix of the title track ratchets up the distorted analogue bass and mind-altering electronics, while also adding some suitably exasperated and sweary vocal samples. Elsewhere, "Wob" is a deep stepper powered by a gargantuan wobble bassline, while "Rollin'" not only does exactly what it says on the tin, but also includes the EP's deepest, heaviest bassline.
Review: Gnischrew's label hits its third outing with Bristol's Chad Dubz. Maintaining the meditative theme from previous Sub Audio outings, Dubz opens with "Wisdom" wherein a whole barrel of space funk is ripped open and the skanks are so textured you feel you get lost inside them. "Stuck In The Loop" plays the consummate foil as the Bristol producer takes us on a much more paranoid, tunnelling trip. And if that's not enough, man of the moment Hebbe provides a killer remix for good measure. Be wise.
Review: The cavendish crusaders are at it again. And this time they're rolling out the barrels with full V/A power. Chad Dubz opens with the provocatively titled "Pricks", all sludgy, swampy and twisted while Karnage & Dayzero up the energy with a dramatic symphonic loopy nod to the far east on "No One" while Guesswerk close the show with the long awaited "Persian Dub". On dub for a good couple of years, this gravel throated swinger has been doing the business for a select amount of DJs for some time. Now it's finally yours. From Bristol with fruit. Tuck in and be quick about it.
Review: Following last summer's scorching anonymous first CV white label "War / Fan Dem Off", RDG's label returns with another mysterious never-to-be-repressed doublet. Fittingly cold and wintry for this time of year, both "Sly" and the much-coveted "Teardrop" are taken to glacial places. Deep, smoky, spacious and foggy, both cuts burn long smouldering fires both at home and in the dance. Grab them while they're ice cold.
Review: Following last year's "Contours", Nottingham duo Congi return to Fent Plates with more raw emotion. Once again with another five track feast that reflects their deepest, widest range to date. Across the EP we're immersed in tangible textures and feelings ranging from the cinematic piano laced two step of the title track to sludgy lofi hip hop of "Too Much" by way of the outer planetary R&B of the finale "Like The Seasons". Genuinely beguiling.
Review: Japanese junglist Ishio Dai presses up another Effective96 heavyweight handstamped white. Harnessing the magic of Skatalite's Jonny Moore on both sides, "Mirage" takes us deep into his own cloudy atmospheric universe upon a rolling jazz-minded drum arrangement while "Island Dub" strips everything right back to the crucial constituent parts to allow each rhythmic and dubbed element to sing. Singular.
Review: Although Dalek One has been exterminating dancefloors (sorry) for some time, it was only last summer that the deep dubstep don made his long-awaited vinyl debut. Here he keeps up the pressure via a weighty EP on Encrypted Audio. Check first the mangled, electronically scrambled rap vocals and sci-fi riddims of "Eyes Red", before getting your ears around the elongated sub-bass tones, tribal percussion and paranoid electronics of "Wire Tap". If that's not enough to set the pulse racing - and it should be - we'd recommend whacking on the crackling, sub-heavy roller that is time-travelling dancefloor treat "Man Sees Alien". In summary: pleasingly far-out.
Dark Harmonics & Otz - "Voidwalker" (J Kenzo remix) (5:05)
Track 4 (4:14)
Review: Vinyl-only business from the FKOF crew: Sheffield's Dark Harmonics and Subaltern's Otz team up for the incendiary "Voidwalker". Creepier than a graveyard picnic, it's all in the strange misty textures and powerful sense of tension before the flabbiest of subs kick in and the fun begins. Remix wise J:Kenzo does them proud with a similarly tense twist that's based around hard swaggering kicks and more eerie and bad dream textures. Elsewhere Dark Harmonics throws down a crucial solo. Brilliantly entitled "Fucking Spiders", it's an outstanding piece of 23rd century funk with all the right room and gloom we've come to expect from him. Creepy crawly.
Review: Have a word... Youngsta's launched a brand new vinyl-only label and DBridge launches it. Need we say more? Both "Fashion Dread" and "Digital Dread" are Darren White at his darkest and most stately - elephantine production, moody and misty and ultimately soaked in beautifully warm bass, both cuts have been doing the rounds on dubs for almost two years and have been in demand since Youngsta debuted them. Simply massive. Get on these quickly.
Review: It's 2019 and Chestplate bossman Distance is well and truly woke. Dropping his first officials since his outing on J:Kenzo's Artikal last spring, the whole four tracker is a pungent trip back to the stinker golden age. Rough funk, distorted and tailored strictly to kick the living peanuts out of the crowd, each cut is Distance doing what he does best. From the psychedelic dirge of "Awaken" right through to the orchestral darkness of "Settling Scores", Distance isn't mucking around here. Neither should you.
Review: Toronto's Distinct Motive returns to Truth's triple D stable with four more outright stinkers. Opener "Radar" has been huge for those lucky enough to have it on dub; all infectious and bleepy but not overly so while "Itchy Fingers" grizzles and grunts with a loose but savage groove. Deeper (and darker) into the EP we hit the 2007 feels of "Loose Pimp" while "Crazy" closes with a little nod towards to the instrumental grime motifs; all string plucks, glacial feels and smoking 808s. One for the radar.
Review: Fresh Sector 7, Bristol's Drone makes his debut on V.I.V.E.K's System Sound with two smoking slabs of bass weight. "Amphibious" funks up the radar for a bleep excursion through the swampiest of textures with only a trippy riser and noir spoken word. Flip for "Lucid Dreams" where things take a creepier undertone thanks to the cavernous space, waterdrops, roomy switchy kicks, pranged out reverse manoeuvres and a sub as thick as marmite. Immense.