Back catalogue: Dub

Review: The Flesh & Blood label kicks on here with a nice blood-red vinyl 7" featuring a hard-hitting new tune from Dixie Peach. 'Rebel Muzik' hits plenty of key dancehall hallmarks - the shiny, metallic digital chords, the stepping rhythms, the swaggering bass down low and some fine bars up top. On the flip, you can find a more heady and stripped-back version with some melon-twisting effects and dangling piano chords courtesy of the in-house Flesh & Blood Posse's own version. Plenty of damage will done with either of these providing they are played loud and at the right time.

Review: The newly formed Dreadlionsmusic label out of Austria debuts here with a fresh EP featuring the eponymous producer Dreadlionsmusic. They take charge of two tunes - the first features the mic work of Fitta Warri on 'Full Control' which has fleshy drums wobbling backwards and forwards and natty dub vocals with some fresh and futuristic synth work next to classic chords. Dreadlionsmusic then offers up a dub take, as they also do of the second tune 'Heart & Soul'. The original is another bit of well-made dub steeped in tradition but with fresh production bringing it right up to date.

Review: The connection between ZamZam and Feel Free Hi Fi was sparked by Bristolian Neek out in Portland and lead to an immediate bond forged over a shared sound and DIY ethos. Inspired by early digi-era dancehall and UK dub, the duo crafts a sound here that honours tradition while venturing into bold, idiosyncratic territory. It comes on their own Digital Sting label and opens with 'Voyageur' which is a mix of cinematic atmospherics with haunting synths that evoke wild and mythic landscapes. 'Underground' pays tribute to the spirit of DIY underground music and captures the struggle to preserve both nature and the essence of basement gigs in today's shifting cultural landscape.

Review: The limited edition deluxe double vinyl release of 'SLO MO' is here, featuring a stunning holographic overlay that matches the album's deep, immersive sound. Freddy's latest studio album is a nine-track journey packed with bass-heavy beats, offering both redemption and resolution. Described by Fitchie, the group's beatmaker, as "Afro rhythmic soul music," 'SLO MO' explores the rich intersection of Black music through a Polynesian lens. This strictly limited pressing is a celebration of rhythm, soul and culture, making it an essential pick-up for vinyl collectors and fans of bold, genre-defying sounds.

Review: A fascinating new long-player from Justin Robertson under his new Five Green Moons alias, marking another new stylistic turn for the Mancunian DJ and producer, whose main remit is house music to most. Moon 1, by contrast, is not "Justin at the house controls", but rather him delving into "his roots, digging around through the likes of P.I.L, Gang Of Four, On-U-Sound, Current 93, Coil, Sabres Of Paradise and all manner of post punk echoes", a "haunted ballroom of memories", in the artist's own words. Our glossing of Moon 1 is that this is probably the best post-punk come dubstep crossover record you'll hear in 2024, though it does also cross over into wonky beats and monologuing ambi-trance on occasion too. The record moves increasingly mauve-psychedelic as it progresses, with 'Everything's A Song In A Sound World' paring back its off-the-top vocal slogans for a purer exercise in rattling psyche-dub and 'I See All And I See Nothing' admitting to the contradiction of humility and quixotism in the same fret-slid breath.

Review: Froid Dub's new album Deep Blue Bass on French label Delodio is as deep as the Mariana Trench. The bubbling bass and gurgling synth lines bring a new aesthetic to digi-dub that places you at the centre of the cavernous and aqueous sound worlds. Mystic synth leads take the mind away up top as those bottom ends rumble on in an atmospheric fashion. Tunes are subtle marbled with acid lines and echoes, digi-dub bleeps and icy hi-hats that all help oil the rhythms and accent the basslines. A superb work.