Dirty Dubstep/Trap/Grime charts

Review: It's been a long time since Skrillex (Sonny Moore) pioneered his distinctive complextro sound, characterised by roaring vocal samples, bitcrushed melodies and novelty growls and wobbles. Surprisingly hailing from from an emo background, Moore has leveraged this sound to become an established force of nature, becoming the instigator of an entire tidal sea-change in electronic music. His latest bout of albums, though - one of which is Quest For Fire - hears him exercise his penchant for collaboration more than ever, indulging something of a DJ Khaled-esque streak, but for the EDM-pop crossover world. It's also much less fidgety, erring more on the melodic pop side. Referring to the film of the same name, in which figurative prehistoric cavemen embark on a quest for the discovery of fire, the album is equally a reflection of Skrillex's quest for musical exploration and innovation, as well as his passion for global culture and diversity. We admit: only Skrillex could bring together underground greats like Mr. Oizo, Sleepnet, Joker, Dylan Brady and Flowdan; fresh faces like Starrah, BEAM and Nai Barghouti; and pop-consciousness occupiers like Swae Lee, Aluna, Missy Elliott and Bibi Bourelly.

Review: Dive headfirst into a unique sonic underground experience as Hospital Records proudly unveils the highly anticipated debut album, Streets, Love & Other Stuff, from the dynamic duo P Money and Whiney. This groundbreaking collaboration is a perfect storm, fusing P Money's totemic grime background with Whiney's futuristic drum & bass style, as the pair continue to break boundaries and push the realms of dance music. The collaboration is an energetic one, combining the driving force of drum & bass with the urban lyrical situation of grime.

Review: Zomby returns to Hyperdub with his first album in three years, trailed in high profile fashion by that Burial collaboration "Sweetz." That particular tune is one of Ultra's headline attractions, alongside eyebrow-raising collaborations with Darkstar, Banshee and Rezzett. What really impresses, though, is the skewed, left-of-centre nature of the mask-wearing producer's heavy, post-grime rhythms, sparse but sparkling synth work, and the breathlessly cut-up R&B vocals dotted throughout the set. Interestingly, there are subtle nods towards new wave synth-pop, ghetto-tech, spacey ambient and alien IDM, making Ultra Zomby's most intriguing and consistently on-point album to date.

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: Released right at the very end of 2019, Stormzy's much-trumpeted second album, "Heavy Is The Head", is one of the most significant releases in recent times. Made with a gigantic cast list of producers and guest vocalists - Aitch, Burna Boy, Headie One, H.E.R, Tiana Major9, Yebba, Fred Gibson and MJ Cole included - the set includes some of his most thoughtful and incisive lyrics to date, as well as some particularly ear-catching mutations of grime that will further solidify his place as one of Britain's most important artists of the 21st century. Yes, it does include more nods towards pop music - he's a Glastonbury headliner after all - but the beats remain tough.