Review: Andre Sobota is Bungle, the Brazilian producer tearing up the contemporary drum & bass landscape with his hard hitting rhythms. He only tends to put out one EP a year, but that changes this autumn with three missives all landing in the space of two months. This is the first and features four cuts on two slabs of wax. "Mutant" starts out as an icy liquid roller before being ripped apart by rasping synths, "Dictate" is a glistening stomper with raga vocal stabs and melodic shimmers while "Enigma" is a dark, twisting and turning track that takes you down a rabbit hole. "Step Two" finishes things off in rump-wiggling jump up fashion and closes out a devastating release.
Review: DLR lands on 31 with some more of his drum & bass stylings. "Banana Bread" is an old school classic with silky percussion and smooth flowing bass that is littered with dark one word vocals that keep it edgy. "Busy" on the flip is more dark and amped up, with kinetic drum programming and slapping hits that lock you down time and time again. It's a shimmering and seductive tune that leans on the past to head into the future. It does so with skill and style to spare.
Review: Jay Fairbrass aka J. Kenzo has had a steady succession of great releases on his own, Kent based Soul Shakerz imprint and Artikal, which he runs with Mosaix. Not to mention several EPs and an album for dubstep pioneers Tempa in addition to appearing on d:Bridge's Exit and Roska's Kicks and Snares. "Sykura" is by now one of several releases thus far for Doc Scott's respected 31 Records. The track's immaculately programmed breaks accompanying an almost cinematic and suspense filled atmosphere are reminiscent of classic Photek or Optical from the mid to late noughties. On the flip is "Assemble", a more straight ahead techstep stomper that attacks you head on with stealth measure; this one too is reminiscent of classic sounds: in this case Ed Rush & Optical.
Review: A master of all things dark and gritty when it comes to jungle and drum & bass, Ray Keith is back with a vengeance here across two devastating cuts. A side "Jungle Fi Dread" is built on his archetypal dread bass sound, stepping breaks and flailing hits, and it adds up to a controlled bit of dance floor frenzy with numerous peaks and troughs. "What Time Dread" on the flip has a rude vocal stretched and warped over rinsed out breakbeats that shimmer while a droning bassline conjures up some sort of doom-laden final level boss scene from your favourite RPG.