Dubstep Recommendations June 2013

Review: Dropping that purple funk like only he knows how, Joker is back on Kapsize for another bout of pimped out steppers laden with synths and a strong whiff of boogie. Opening track "Zim Zimma" proudly rips out some hair metal guitar licks over dramatic piano stabs, and even chucks a jungle break into the mix towards the end of the tune. "Gully Side" is more devoutly aggressive in its demeanour, grinding on a mid-range buzz and a slim line beat of just a few key parts sharply honed for guaranteed floor-flattening. "Handz Up" has a cheeky dose of trance worked into the emotive chord progressions, while the beat even sneaks into 4/4 in places before switching back into a steppy stance. "Newham Generals" rounds off the EP with the lairiest of all the tracks, channelling all the strengths of the previous tracks into one bold and bashy beast of a track.

Review: Having made a series of well received appearances on the station, Rinse invite Huxley for a label debut. Delivering three golden house/garage gems, he's clearly done them proud. "Lost Love" echoes with Todd Edwards style diced vocals while flipping between traditional house vibes and darker, bass-led nuances. "Who Am I", meanwhile, takes the rumbling, big room minimalism once championed by the likes of Subliminal while "Walk 2 U" sparkles with classic Ramsey & Fenn flavoured two-step class.

Review: MASSIVE album alert! Can Chapter II possibly be as remarkable, ground-breaking and time defining as 2008's Diary Of An Afro Warrior? Only time will truly tell, but it's certainly an accomplished long player. From the moment the 80s electro hinting "Yellow" cuts through, it's evident Benga's having a lot of fun, applying a commendably subversive take on the dubstep sound he helped establish. From the strobe-sonics of his Kano collaboration "Forefather" to the skippy, breakbeat-powered rave homage "Higher" via the cinematic, emotional one-way ticket to Lighters Up Town "Waiting", Chapter II's been a long time coming... And it's been well worth the wait.

Review: Frenchman in London, Von D never fails to add a distinctive sophistication to his dubstep. And this is certainly no exception. His debut on Darkside's evergreen Get Darker imprint, each of the three cuts here bustle with the sexiest shades of traditional dubstep, house and garage. "Deeper" rumbles with a rolling break, emotional synths and delicate vocals from Phephe, "Eyes On You" is a more tribal workout with singed bass and yet more textured, well processed vocals. "Sunflower" finishes the set with a string-shimmered Freddie Hubbard sample. Get Darker? Get "Deeper", more like...

Review: If you're looking for a lesson in how to totally murder it with a single vocal loop then look no further than "Transmission". Tripped out, tight and mind-boggling, it builds up with a guttural, industrial riff to chaotic effect. "LV-223" is more your techno flavoured slice of steppery. Dungeon depths and slimy subs; this is for the most tribal of tear-ups, while "Antidote" flips back to the genre's halfstep roots. Spacious and engaging with a series of well textured bass leads, it rolls and develops with production panache; "Kraken" ends with fitting gusto. If you're looking for a lesson in how to totally murder it with a dramatic orchestral sample then look no further.

Review: Israeli stepper Proxima returns to Tempa. And if you passed his "Lie Detector" test, you'll be all over this. "Thermal Vision" is a pneumatic party-starter. Pumping with piston-like efficiency and charged by powerful swampy subs, it's a crucial lesson in how to do dark dubstep and still retain character and energy. "Valve Wars" is the grumpier, more confrontational of the two with big percussive splashes ricocheting above a series of metallic low-end rips and tears. Nasty business.

Review: After a golden year on Chestplate, the fast-rising Sleeper steps over to Osiris for his first solo label release (the last one being a big collaboration with District). "Narcissus" slams and slurs with an industrial strength physical groove. Loopy and nagging, it's a steroid halfstep hybrid with plenty of scratchy, rolling groove in the bass. "Burning Spears" opens softly before breaking out with a tight tribal percussive groove while the bass breathes a foul, metallic motif over the top. Massive.

Review: Hot on the heels of emotional "Something About You", Matt U goes back to badboy with a feisty fiver of sheer bass ugliness. "Frequency" is an obese, slippery slug of a tune, all sludgy and grubby. "Backwards" flips for an uptempo rave homage that incorporates some clever reverse techniques on the breakbeats. "Threshold" tackles from the off-side: the halfsteps stomp with attitude while the double time bassline bubbles uncontrollably. Hooking with Killawatt for the penultimate joint, the "The Strangers" is anchored by so much sub bass there's a warrant out for it. "Uncontrolled VIP" closes the show with a neat reboot of last year's dungeon smash with a neat new purr on the bottom end.

Review: Hot on the heels of his ace new album Brand New Bangarang, comes this rather timely release on Scrub A Dub. Stretching out the bounciest bass this side of Babylon, it's an instant crowd smasher. Especially when Yellowman and Mr Williamz are letting loose with their lyrical dancehall fire. Fancy a slower, sexier jam? Head for "Ram Jam Slow Up". It's as smoochy as it is subby.

Review: Dubstep doesn't get much heavier than these two bumpers from scene founder Coki. "Hold On Wait" is a rolling warped sawtooth serenade, garnished with dubbed out murmurs from MC Blacks. The equally anticipated "Bedouins" looks just as good on the B; riding roughshod with an eastern horn hook we're soon thrown deep into the angular mid-range croak pit as Coki reminds us who the boss is (again). Both head-twistingly simple, sweet and savage, it's another golden strike for Coki's Don't Get It Twisted imprint.

Review: While the cover artwork may make Benton look like a moody former member of an R&B boy band, the music contained on Reflections is as robustly underground as you'd expect. Moving from Burial-ish paranoid atmospherics to deep dubstep-soul via a series of sparse, moody and emotion-rich soundscapes, it portrays the London-based producer as a man for whom the simple pleasures of form and function are just not enough. Along the way, there are growling, murky floorfillers (check the hissing "Herman's Hideout" and "Defect Mind"), dubwise steppers ("20/20 VIP") and occasional blasts of piano-laden beauty (the intricate "We're Both Lost").