Back catalogue: Deep Dubstep

Review: Basel-based experimental labels Amenthia Recordings and A Walking Contradiction join forces for their first collaborative release here in the form of the Flash Crash/Hack Crash EP. Both labels are known for pushing boundaries within their close-knit creative circles and this one features Agonis' heavy stepper and Konduku's whirlpool of low frequencies on the Amenthia side, while Lemont continues the low-end, tripped-out vibe. Varuna represents A Walking Contradiction and delivers swampy, slow-motion sounds in their signature style. This release embodies both labels' commitment to daring, unconventional electronic sounds.

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: 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: London trio Damos Room serve up their take on dub-inspired bass music on this new EP which emerged from a rare collaborative session in Elijah Minnelli's loft. 'Commencement' opens with a deep, droning bass groove that's topped with a stream of conscious muttering to create a moody and hypnotic sound. 'Mineral Blend' brings a laid-back dancehall vibe with dreamy echoes of past sessions and remixers Gonjasufi, Lewi Boome, Dome Zero and Polyop individually infuse the tracks with dub techno, acid and experimental twists best highlighted by Gonjasufi's haunting transformation of 'Commencement' into a misty, immersive bit of sonic menace.

Review: The connection between ZamZam and Feel Free Hi Fi was sparked by Bristolian Neek out in Portland and lead to an immediate bond forged over a shared sound and DIY ethos. Inspired by early digi-era dancehall and UK dub, the duo crafts a sound here that honours tradition while venturing into bold, idiosyncratic territory. It comes on their own Digital Sting label and opens with 'Voyageur' which is a mix of cinematic atmospherics with haunting synths that evoke wild and mythic landscapes. 'Underground' pays tribute to the spirit of DIY underground music and captures the struggle to preserve both nature and the essence of basement gigs in today's shifting cultural landscape.

Review: Josi Devil's debut on Hessle Audio is a natural step forward for the label, expanding its sound in a way that still feels unmistakably its ownithis release adding a layer of tension and subtlety to an already diverse catalog. Hailing from Bristol, Josi has built a reputation with labels like Innamind and Nervous Horizon, known for his raw, unrelenting style. But here, he takes a step into slightly murkier waters, layering euphoric vocal snippets with deeper, atmospheric textures that give the track an interesting push and pull. 'Make It Better' kicks off with swung breakbeats that quickly dissolve into a blend of chopped vocals and rumbling sub-bass, offering moments of pure euphoria while maintaining an underlying tension. There's a certain balance here, as the energy ping-pongs between light and dark, but it never feels out of sync. Josi manages to hold onto a grounded, gritty feel, all while pulling in atmospheric elements that make the track feel spacious and immersive. On the flip, things get darker with 'Restless Sleep' where muffled drums and deep, growling basslines add a sense of foreboding as shadowy Buchla tones weave through. The UKG-inspired samples mix with the heavy low-end, creating a sense of unease without ever feeling too overbearing. It's a track that knows when to hold back and when to let the tension fully break looseishowing off Josi's knack for creating complex, layered sounds that still pack a visceral punch. This release feels rooted in the underground but offers something fresh for the forward-thinking listener, leaving a lingering impression long after the first listen.

Review: Hyperdub kick off the vinyl side to their ten-year celebrations with this weighty four-tracker from some of the leading lights from the label's story. Mala is in a strident mood with "Expected, Level 10" carrying through that extra touch of melody from the Mala In Cuba LP. DVA cuts loose with the leftfield scattershot groove of "Technical Difficulties", reveling in tonal experimentation and jagged rhythmic flair to a stunning end. Still locked into the sci-fi trap tangent that characterised Severant, Kuedo turns out the haunting "Mtzpn" and Helix pops up for a remix of Kode9's "Xingfu Lu" that strips down to bare essentials with a little starlit soul rubbed into the framework.

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: Repping Sugar Records and Tanum Sounds, Winsome comes through with three really interesting perspectives. 'Tab' is a unique and highly springy piece of work as it works and wriggles its away around some well sculpted table drum hits and sub plunges. '24gb' takes us down a much dreamier pathway, sitting somewhere between Indian Ropeman and Chicken Lips. Finally 'Who' closes this stunning EP with a faraway drone. Intense.

Review: Woof! Hyperdub bring together two of the most recognisable and enigmatic artists of recent times on this 10", as Zomby and Burial square down ahead of the former's new album for the label. Zomby's Ultra LP is undoubtedly one of this year's most anticipated albums and "Sweetz" suggests it may be a very moody affair indeed. Whilst rooted in UK dance, Zomby and Burial do look elsewhere for inspiration too. Just under seven minutes long, "Sweetz" veers through various sub-heavy soundscapes with intermittent rhythmic patters and a distinctive looped vocal sample whose pitch changes with dramatic effect.

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: 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: Dutch DJ/producer Martyn has always been one of techno and bass music's most thoughtful and diverse operators, with a trademark production style that draws on many interconnected styles and now a Substack newsletter full of interesting essays about different aspects of the music culture he's been part of for decades. Through Lines, seemingly inspired by his ongoing desire to make sense of the musical shifts he's contributed to, is his first career retrospective - a fine collection of personal favourites and hand-picked club workouts featuring tracks recorded and released at different points between 2005 and 2015. It's a terrific collection filled with tracks that variously mix and match elements of dubstep, polyrhythmic techno, UK garage, Detroit techno, broken beat, 140, drum and bass and deep techno.

Review: The accompanying notes with this say "don't call it a comeback" for NOT_MDK (aka Martin Wood-Mitrovski), even though it is an album that finds him exploring an all-new style. It is a meeting of steady 70/140 bpm grime drums and beats with IDM synth details and evocative breaks that soundtrack an all new type of late night urban conurbation. It's menacing and fresh, perfect for both body and head and is a long way from the jungle this artist made in the late 90s, or the cid and breakbeats he made in the years after that. It's a brilliant reinvention.

Review: Khaliphonic represents a rich seam alongside sister label ZamZam Sounds, carrying forth vital modern iterations of dubwise music from switched on artists the world over. As such, compilations like these are a perfect primer on who's out there doing great things, whether it's Bristol duo Titus 12 & MTF, Japan's Undefined or West Coast veterans Systemwide. There are plenty of ideas and styles explored here, from melancholic synth steppas to trad-school echo chamber immersion, but the constant is a staggering high quality. If a label should be a trusted stamp of authority, then Khaliphonic have their role nailed. Essential sonics for any dub-minded explorer.

Review: Brittle bass music from 1985 Music, who present the first edition of Fragment, their new V/A albums series focusing on dubstep, drum & bass and experimental oddities in between. Convoking names both old and new, well-established and less so, this fiendish silicone collection bottles ten headtop hitters onto a single 3xLP gatefold record, channelling a whole uncountable host of aggressive intentions in the process. When it comes to being whacked round the head, we're not talking sugar glass either: with tracks from mainstays Headland, Drone and Visages, all the way up the cullet pile to 1985 label boss Alix Perez with the relatively chic 'Bloomsbury', all tracks herein command the utmost polish, shrillness and pressure, never failing to push us to the edges of our seats.