Review: Definitely one of the most haunting and quite possibly one of the most seminal cuts Mala has ever made, the show-stopping 'Changes' enjoys a long overdue re-press. Whether you were around when it first dropped in 2007 and never caught the wax, or you've since discovered it from many different samples such as XXXTENTACION's 'Look At Me' or The Game's 'Holy Water', this is an iconic piece of 140 music that transcends genres and generations. A contemporary classic, nothing less.
Review: Chase & Status and Stormzy coming together was always going to be huge. One rules the charts, the other the clubs, and between them they cooked up a massive single that got heard everywhere all summer long, including a special live performance of it in Ushuaia Ibiza. Now you can own it on a slab of vinyl that has been cut nice and loud, which is perfect for the tune - the bass is devastating, the bars from Stormzy are hard, the energy is dark and unrelenting and it's the perfect sort of jungle cross over sound that will continue to be heard everywhere well into 2025.
Review: The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.
Review: ZamZam Sounds present the latest release from esteemed dubstep illusionist V.I.V.E.K.. The label are quick to note him, amongst a select few others in the OG dubstep pantheon, as one of a few apostolic names to shine an especially novel light on the scene, notably perhaps due to his hosting of the much-loved System club night series. Now building on the accrual of over 20 years' worth of dubstep experience, comes 'Illusions', which self-admittedly goes to the "bedrock of soundsystem music" to deliver a power-stepper of galactic proportions. The title track gleams with exceptional understanding of the dubstep genome, its expositional 16 bars echoing early Deep Medi in not immediately privileging huge snares or snaggletooth mid-basses, but rather miring the listener deeply and accessibly into a simple kick pattern and mesmeric droplet synth, proving dubstep's malleability. The raw version amps this up even further, adding a master sonic blacksmith's ear to the snares and hats, and bringing crazed, quicksilvery tail modulations to the drum design as though the DAW were a floor-fired crucible.
Review: James Blake's debut album is undoubtedly one of 2011's most keenly awaited releases, and its arrival via his own (major label funded) Atlas imprint ensures their is no lull in momentum for a producer who enjoyed a watershed 2010 with releases on Hessle Audio and R&S. The results here differ wildly from his previous sonic excursions - gone are the shimmering R&B soaked melodies of "CMYK" and the sheer experimentalism of the Klavierwerke EP, which saw the young Londoner depart from the confines of the dancefloor and enter a realm where there was only a passing reference to rhythm-based music. Instead we are treated to Blake's own yearning, raw voice, delicate pianos and an underlying sense of melancholy. Ubiquitous single "Limit To Your love" and the crackly sonic terrain evoked on "The Wilhelm Scream" are among the most immediately pleasing moments, but there is much to explore here. It's a fascinating opus and surely the catalyst to a long and fruitful career at the top.
Review: Blimey, if this isn't major meeting of musical Midas minds then we don't know what is. Alter Echo, E3 and Headland all collaborating with legendary dub flautist Diggory Kenrick. "Temple Duel" sets the scene in deep underground chambers, untouched by the sun. Reverb space is our only guide and ritual combat is the only way out as we make our way through subsonic 808 bass foundations, a near-industrial mid-range bass guitar groove, stiff snares, stick-fighting percussion and Diggory's torchlight melody. A truly fluid hypnotic narrative that arcs through the dark, if you're looking for an even foggier route flip for "Temple Dub" where the torch is extinguished and you have nothing but your sonic wits to take you home. Only Diggory knows if you make alive or not...
Review: Deep Medi releases are always a cause for excitement, so it comes as no surprise that some of their earliest output is now being given the reissue treatment, nearly 20 years on from the label's inception. 'Kalawanji' is the infamous debut release by London producer Kromestar, with vocals by Cessman, and first came out on Deep Medi in 2006. Now on a limited green vinyl edition, to contrast to the original black, 'Kalawanji' and 'Surgery' are as raucous a pair of tracks as ever, recalling the period in which growly wobbles were just about taking over.
Review: Way back in 2016, Fent Plates offshoot White Peach offered up a killer collection of instrumental versions of some of its most popular made-for-MCs releases - a heady mixture of grime and dubstep workouts that reflect the label's London roots. Eight years on, they've finally got around to dropping a sequel. Featuring 26 killer cuts stretched across two CDs, it boasts a wealth of genuine standouts, from the deep, suspenseful shuffle of 'Bardo' by Cadik, and the delay-heavy, string-laden punchiness of Glume & Phassa's exotic 'Hatchet', to the slow motion, spaced-out weirdness of Koma's 'Arrival', the Japanese-influenced jauntiness of Ourman's 'Windy', and the ghostly, sub-propelled heaviness of 'Red Handed' by Mr K.
Review: One of the most interesting artists to have emerged from the Czech and Slovak based crossbreed movements that dominated the first decade of the century on the harder side of d&b, Forbidden Society has evolved and morphed with the times to a much deeper, emotionally-wrought but still hard-assed sound. This seventh studio album (released on Noisia's iconic Vision imprint) is the best version of his fusions so far. From the dark industrial strength dubstep swagger of 'Wish' to the sci-fi hurricane of cuts like 'Deception' and 'Reaching Zero', this is an incredible body of work from an impressive and unique craftsman.
Review: Kevin Richard Martin, known for pushing the boundaries of sound as THE BUG, unleashes his latest full-length, Machine. The album, released via Relapse, is his first solo instrumental work under the moniker, following a series of self-released EPs on PRESSURE. Each track is a sonic barrage, merging futuristic dub with crushing electronic elements, heavy bass riffs, and industrial weight that recalls his earlier work with Techno Animal and King Midas Sound. Machine takes the listener on a journey through dense, dystopian soundscapes, where each beat feels like a seismic event, making it perfect for oversized systems in sweat-drenched clubs. Tracks like 'Buried' and 'Bodied' epitomise this, with the former dropping tectonic bass lines over heavyweight beats, while the latter smoulders with industrial doom. Martin's signature "ice cold and dystopian" sound is at its zenith here, blending visceral sub-bass pressure with masterful production. It's a brutal yet nuanced record, one that demands to be felt as much as heard.
Review: The man of many aliases, Jevon Ives brings his Nina project to a whole new level with this powerful Innamind triptych. 'Uno Riddim' will have you picking up four on every turn with its sharp tongued Portuguese vocals and slithery bassline. Plenty of fire follows as Hijinx goes ballistic over 'Neighbourhood' and reps with a full UK assault while 'Shook Ones' greases up and slides us into the future with a powerful sense of creepy android funk. Change direction.
Review: Ghetts presents a new album, On Purpose, With Purpose, which follows 2021's epic Conflict Of Interest and continues the ongoing artistic evolution of one of the UK's foremost rappers. Ghetts returns sounding sharper, more unflinchingly honest and boldly confident than ever before, expanding his sonic palette by reaching out beyond rap and incorporating wider genre elements such as soul ('Double Standards'), r&b ('Mine'), gospel ('Hallelujah'), Afrobeat and amapiano ('Gbedu', 'Blessings', 'Tumbi'). With every contemporary stylistic box ticked, Ghetts' purpose is made abundantly clear: to please.
Review: Six barnstormin' mutant cuts from West London's enigmatic Tutu Ta, traversing half time Muslimgauz-y techno abstraction, Gastian 4x4 steppers, syrupy synth funk, and cavernous UK roots destruction. 'The Shrine' sees Tutu further refine their bassbin-bothering sonic footprint, with a concise platter of smogged, hypnotic klang. Standouts include the heavy-browed opener, on which Tutu Ta's hollers semi-intelligible phrases over a beat that sounds like Adrian Sherwood produced a Three Six Mafia record, the silken plod of 'You Funky Devil', and the menacing metallic clank n' roll of the evocative 'Smoke Coming From The Steel Mill'. Definitely one to watch!
Review: Sub Basics' album Sentient Machines was a doozy that many DJs have been keen to see pulled apart and served up on 12" and now Sub Basics has obliged on his own Temple of Sound label. This new and heavily limited 12" features four cuts from it. 'Internet Explorer' is a silky deep techno workout with lithe rhythms and watery dub undercurrents, while 'Configuration' has heavier drums and eerie synth wisps that bring cosmic ambience to the fore. 'Firewall' then rides on tumbling broken kick patterns that keep you moving and 'Integer' (feat Pugilist) is all about the oscillating low ends and moody pads.
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: Long running dubstep purveyors Duploc deliver an ultra-toothy new one from producer Coltcuts, a one-track-mind of pure sizzling heat from the UK. 'Antidote' launches with a banging slice of bass and crunch overlaid with a hook of derision from rapper PAV4N, who rides the beat with invective chagrin, throwing shade on the clout-chasing hangers-on present at the system stage. Then come the instrumental goods: 'Madhouse' maddens with its chipped-out bloops and underfoot-rattling womp-basses, while 'Menace' menaces with its sinusoidal wobbles and cavernous verbs, and 'Real Talk' offers a candid intervention with a wendigo's worth (that's about 26 basslines, to be exact) of synthetic cackles and growls.
Pretentious Friends (feat Busdriver - Call by Pillowtalk)
Shipwreck (with Thom Yorke)
Evil Twin (vocals by Otto Von Schirach)
German Clap
Berlin (feat Miss Platnum)
Grillwalker
Green Light Go (with PVT - additional synth by Siriusmo)
Humanized (feat Anti Pop Consortium)
This (with Thom Yorke)
War Cry (guitar by Sascha Ring of Apparat)
Review: Over the years, Modeselektor have forged a reputation as fearless innovators, neatly sidestepping genres and frequently confounding critics. Given their tireless touring schedule and the fact they run two prolific labels it's perhaps no surprise that it's been some four years since the last full-length Modeselektor album. Monkeytown flits effortlessly between skittish 140 BPM bass music, clandestine electronica, sludgy hip-hop and even warehouse-flavoured tropical rhythms (see "German Clap"). There are some real standouts, including a dreamy, slo-mo pop outing with PVT, two collaborations with Thom Yorke and a droning Anti-Pop Consortium hook-up. Must-check.
Review: The much-lauded Jamie XX rework of Gil Scott-Heron's 2010 album I'm New Here finally arrives, and it's pretty darn good. In truth there's little quite as gorgeously ambitious as the strangely anthemic teaser single "NY Is Killing Me" (included here), but that doesn't stop it being an excellent listen. Not so much a set of remixes as a total reproduction, We're New Here places the veteran beat poet's distinctive vocals at the heart of a heady, other-worldly soup of eclectic beats (think dubstep, hip-hop and wonky house), booming basslines, sparkling house riffs, blissful melodies and paranoid late night atmospherics. A near perfect 33 minutes, all told.
Review: Although Rhythm & Sound and Basic Channel man Mark Ernestus has worked with or remixed many different artists over the years, we didn't expect him to join forces with D&B scene stalwarts Calbre and DRS. Yet that's exactly what's on offer here, as the Hardwax founder delivers two typically deep, dubbed-out techno outings crafted from portions of the pair's collaborative cut 'Badman', which is due to feature on Calbre's forthcoming sixteenth studio album, Feeling Normal. Both 'Bad' and 'Badder' are typical of Ernestus' ultra-deep and hypnotic style, with snippets of the duo's original instruments, beats and vocals echoing in and out of a warming, all-encompassing, sub-heavy groove. In a word, it's superb.
Review: Zha brings together elements of dubstep, grime and trap on his latest 12" for the Naan crew. It is his first outing of the year following solid slabs of wax for the likes of White Peach and this label dating back to 2015. This one kicks off with 'Spice,' which has bass tones pinging about the mix with big hits, snatched vocal yelps and dusty drums all keeping you on your toes. 'Grief' is darker and dirtier thanks to the filthy great oscillation that rips up the swaggering rhythm and 'Harm' gets deep on some pensive pads and intoxicating melodic sounds. 'Two Rumours' closes down with sub so warm and cuddly it's like being hugged by a new duvet.
Review: Russian producer Kercha has already served up two superb EPs that cemented his reputation as a contemporary deep dubstep great, and now he backs it up with a standout first EP of 2021. His Mental Ballast EP comes on the label he is a firm part of, DNO Records, and is complete with his signature off-kilter rhythms. Opener 'Ignornants' has shimmering oscillations and deep, dark dub. Plenty of subtle samples flesh out the eerie groove including a clip of Russian maestro E. Ponasenkov. 'Analysis' is another gem, this time with Berlin artist Yoofee with plenty of purple flourishes. There is serious wobble to 'Tigers' that keeps you on edge and 'Acid' is a real spin out to close.
Review: Last spotted on Strictly 140's Overseas VA LP, Spanish new-gen bass chef serves up his biggest dish to date on Subaltern. Linking up with longstanding baron XL One for the opener, 'Cronauer'. Unhurried, twinkling but laced with a bitter bass bite, it sets the dark dream tone. 'Piranha Plant' and 'Dorsia' see Kodama going solo. The former is a woozy arpeggiated charmer that sits on the hip-hop side of the beat spectrum. The latter hums with similar melancholy but much more of an edge to the drums and that ominous waspy bass tone. Graveyard grooves.
Review: The return of the Heartless Badboys... Numa Crew smash the cork off a dank bottle of 2020 with a one way trip to "Babylon". Rolling deep with Riko Dan, this certified heavy hitter takes you back to where you came from with broadsword bars and thumping 808 grime beat. Savage, tense and dramatic, it's supercharged on the flip with the skank-packed Steppa remix. Move like bloodclart magicians to this.
Review: Kahn & Neek return to local hub Peng Sound for some self titled double plated dubplate action under their steppahs project Gorgon Sound, housed in a rather lovely stamped gatefold sleeve. Although primarily known for their incendiary grime bangers on their own Bandulu imprint, and the dancehall sounds of last year's Backchat single, Kahn & Neek's steppahs-influenced Gorgon Sound project is a chance for them to expand on Bristol's rich legacy of dub, reggae, and soundsystem culture. Since the pair decided to begin the project in 2010, Gorgon Sound has since evolved into a full dubplate DJ operation, with a show made up of entirely their own material. Last year saw the Gorgon Sound project see its first vinyl release, in the form of "Find Jah Way", which featured on the debut released from Bristol's Peng Sound; this double 12" release presents a more expansive take on their steppahs sound, featuring four cuts of West Country bassweight with guest vocalist spots from Brazil's Junior Dread and Bristol's Guy Calhoun.
Review: After the massive impact of Vex'd in the breakthrough years of dubstep, it was big news when Jamie Teasdale chose to swerve in his own direction and emerge as Kuedo. Released in 2011, Severant was a bold statement of intent which didn't wholly shirk what had come before, but placed emphasis on the kind of romantic synthesis you'd readily associate with Vangelis and saw trap and other influences sneaking into the mix. In hindsight, Severant is typical of the times we live in, drawing on a glut of influences and presenting its own idiosyncratic vision, but above all that the emotion and intent of Teasdale's ideas make it an enduring, captivating listen.
Review: This is how it all began! Coco Bryce and Saturate take us back to 2011 with this deliciously wacky 80bpm halftime couplet. 'Honeymoon' takes us on a wonky MIDI mission with stacks of drama and feeling while 'Wonk' is pure off-the-wall bleep art. Never before released on vinyl, both cuts carry a certain sense of late 2000s nostalgia while remaining so unique they still bump hard today. Feel the love!
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