Back catalogue: Dubstep

Review: Garage powerhouse Zed Bias is back with more old school garage brilliance with the new single 'Shell Them Again' featuring the vocals of Yung Saber and Brakeman. The original has plenty of retro signifiers from the low-end wobble to the withering synth effects, plus crisp hits and jostling drums. After the dub mix comes a remix from Zed himself alongside Safire which is much more dirty and raw. The beats are broken up so the track takes on a dubstep quality as the low-end oscillations bring the weight and drums hit with more force. Finally, the acappella closes out this fresh 12" on IFG.

Review: False Aralia is a new self-titled label from Brian Foote (of Peak Oil, Kranky, etc.) that launches with "a series of recordings growing in all directions" and that draws together the work of artists from North America who are centred around the studio practices of Izaak Schlossman. Zero Key is the first 12" and it opens with a blend of spread synths, dubby undercurrents and microhouse rhythms. Pained vocals drift in and out of focus. There is a hallucinogenic quality to some of the sounds and an aquatic feel to the way the subtle and supple grooves unfold. It is otherworldly music that is rooted in real-world emotion.

Review: We've always been hip to deep dubstep and Naan does it better than most. Their latest transmissions is from Zha who offers up an eclectic EP that seamlessly fuses Bollywood, dubstep, UK garage and breaks. The genre-defying journey begins with 'Quit Dreaming, Grow Up' which serves as a heartfelt ode to artists navigating the delicate balance between crafting their work and the fleeting nature of its consumption. Both a celebration and a reflection, the rest of the release captures the tension between creative passion and the relentless pace of modern music culture, so is impactful on many levels at once.

Review: Remarkably surreal club reconstructions from Uruguayan ur-producer Lechuga Zafiro. 'Desde los oidos de un sapo' ('From The Ears Of A Toad') is a truly elastic entanglement of designed sound refit for the floor, though we'd not be surprised if a private laboratory set aside for the safe containment and study of sonic bio-anomalies would hope to acquire this one too. Zafiro flexes his hylid hamstrings on this wriggling wet lurch through post-Baile sonics and field recorded club jamborees, emphasising the naturalistically percussive and fretfully textured. Basing his musical identity on field recordings of hard materials - metal, wood, rock, glass - as well as, somehow, animal tissue - from toads, birds, sea lions and pigs (let's hope they were at least taxidermied first) - these seven cochlear leapfrogs make for a highly exploratory sonic escape; Zafiro dares to define the next applicative generation of sound design for the dance.