Review: The Allstars compilation series from Tempa has proved a fine litmus test of the UK underground since it was launched in the heady early days of dubstep circa 2003. An eighth volume rounds out Tempa's 2015 business and this broadly diverse selection is proof enough that bass music is in fine health. Following his superb debut LP for Tectonic, Acre opens the doublepack with the stuttered, swung sound design of "Messages", and from here Tempa run the gamut of the UK bass scene. Epoch lays down raw and doomy steppa vibes with "The Vile", Cliques offers up futuristic footwork of "Aut" whilst both Youngsta & Distance and Biome bring the 140BPM heat.
Review: Visionist's Lost Codes label gets rebooted as a new sublabel to PAN, laying down some foundations ahead of the UK artist's long-mooted debut album for the Berlin label. Overseen by both Visionist and PAN founder Bill Kouligas, the first Codes release brings together two artists who have previously excelled on Lost Codes in Acre and Filter Dread. Working together for the first time, the six track Interference suggests this is a deadly partnership that should be given the platform to express itself further. Degraded 8bit sounds permeate opener "Drumz34" which comes across like early Actress played at the wrong speed, whilst sickeningly good sub bass is deployed on "Flash Speed" and "Trashed" is a superb exercise in slack jawed drum programming. Some cavernous bass kicks on this one. "Life" is wonderfully slippery in full flow, whilst "Unknown" is up there with Gramrcy's "Ruffian" in the heavyweight contenders of the year stakes.
Review: Bournemouth boys It's Foundation return with another super-limited, all-corner flavour frenzy. Patrick Brian's "Twelve77" kicks off on a sci-fi instrumental grime vibe, all sirens and star-gazing, Fish gets busy on a sweet two-step vibe with a well-known vocal sample and mischievous bass oscillations while MOREOFUS smelts downs our souls with the late night trap/dubstep hybrid "Lord". We wrap up with wave wonderment as Liquid Ritual's LTHL closes the EP with a deep breeze stepper that's dense in atmospheres but light in its rolling drums. Acutely on-point.
Review: Canadian youngun' Datsik returns to the EX7 imprint for some more punishing industrial dubstep action. A battle between opposing heavily abrasive basslines ensues on "Mechano" whilst on the flipside Datsik teams up with UK producer Funtcase on "Brock Out", slipping in a familiar junglist sample amidst a mass of killer bassline filth.
Review: Immerse Records once again bring you a weighty slice of dubstep pressure following on from recent outings by Benga & Walsh and Andy Skopes & Madcap. This time out its Bristol meets Barcelona, with Forsaken and new artist Diem's new release 'Substratum Part 2' with two tracks Sitar Dub & Thunder
Review: Fifty Weapons arrive with their latest sonic emissive as the mysterious eLan and FaltyDL each take a side on this classy 10 inch. eLan seems to have been plucked from relative obscurity by Modeselektor (he also featured prominently on last year's Modeselektion Vol 1) but the producer certainly knows how to craft a fine instro hop beat with "I Can't Have" laying down woozed out hypnagogic synths over a bumping beat which dovetails nicely with the more frenetic rhythmic leanings of "McGuillicutty Moves" . Falty ups the pace on the other side with some futurist beat action, as "Large Flash" and "I'm Gonna Show You Somthin" both tweak a 2-step bass heavy flex over stuttering melodic and vocal edits.
Review: Rising French talent F aka Florent Aupetit continues to do good things via the 7even imprint, ably following his acclaimed Energy Distortion long player last year with Full Throttle, his debut release of 2011. The two tracks here see F swerve away from the canny mixture of techno and dubstep explored on his LP for a more defined 808 flex that sits comfortably alongside some of the more futuristic endeavours of the Swamp81 camp. The title track especially so, which the keener observers of internet movements will have heard in LWE and FACT mixes from 2562 and Bok Bok respectively. There are few rhythmic kinks in its bass heavy electro deviations, but it's a potent weapon all the same. The flip is more adventurous by far, a veritable downpour of intricately slipped percussion playing off the straight toms and scattergun kicks amidst a background of cascading sonics. Sickness!