Back catalogue: Drum And Bass

Review: KRaeK steps onto Flexout's main label with a striking debut EP, collaborating with Ukrainian artist NickBee. Their music emerged from an intense creative connection forged in the chaos of war. NickBee's contributions, crafted amid the turbulence of his homeland, give each track a visceral weight, charged with survival, anger and flickers of hope. This EP stands as a raw, uncompromising expression of friendship and resilience, capturing an experience that transcends beats and basslines. It's a sobering reminder of the ongoing conflict in Ukraine and a show of solidarity with those still enduring.

Review: Certified 'badmen of 2022', Atlanta's Nikki Nair links and London's DJ ADHD link up once again for four furious breakbeat jams. As you'd expect, it's naughtiness from the off as they pair guide us through a whole maze of bass and series of shells. Highlights include the rampant garage thrust and flex of 'Whaa', the wonky grit and rumbles of the EP's title track 'Golden Monkey' and the bashy dystopian radar ripples and eastern string stabs of 'No Pulse'. You'd have to have no pulse to not be feeling this. Go for gold.

Review: Trust us: we know when a reissue has been done lovingly and not in a meritless way. Vinyl Fanatiks fall into the former category, evidencing their ability to turn us to fanatical vinyl proselytes in turn, with this new edition of Nexus & Blowback's 'The Cat's Whiskas'. First released on the UK label Stranger Recordings in 1992, this 12" was just one of two records to ever grace the outlet's decked-out halls; label owner Sam Tierney was also behind the short-lived fixator alias, Obsession, the other releasee on the imprint. As if to put into words the emotions and affects attached to certain lingo native to the early breakbeat hardcore scene, track titles like 'Totally Cabbaged', 'Dinosaurus' and 'Law Of The Jungle' suggest a viviparous vive, their brisk breaks, colic choirs and explosive pianos making explicit the aliveness of a ravebound youth. Also pairing the music with allusions to animalia and the jungle wilderness, the EP grows increasingly experimental as it progresses both through the thicket and back in time, with 'Dinosaurus' serving up a triassic extinction event by the hand of catastrophic synth-struments, such as buzzing square waves and nuclear breaks.

Review: Dead Dreams Don't Die Vol 1 is the first release from the new label Half Grand Records, which we're told will be focused on no-frills, raw talent electronic music. And so it proves on this split EP which brings together a diverse bunch of names. Nimam kick off with the jungliest breaks and fizzing future energy of 'Cilinger Slobs' before Jon Doppler mangels synth modulations and more airy breakbeats on his 'Feel Like.' On the flip, A Stantz brings the darkness with raw, frazzled electro stylings on 'Vags Ande' and Cracktros closes out with 'Deosil' which is a deeper techno cut with star-gazing synth leads.

Review: Oi oi, gun fingers and glow sticks at the ready for this one, which is a jungle, d&b and hardcore fusion that throws it back to the good old days. 'Feel The Magic' has it all and then some with blistering amen breaks and killer vocal stabs, 'Wheel Up' keeps on the pressure with more irresistibly funky breaks, spin backs and prying synth tone and 'Come Inside' hypnotises with a mystic flute lead before the devastating drums drop once more. 'Breakage #6' shuts down with another lively rhythm that will turn any 'floor into a rave den.

Review: Throwback proto-jungle glitz from Noise Factory reissued by Kemet Music, the revolving-door ragga jungle collective mainly owned and operated by label owner Mark X. Just as it was with its original release on the label in 1993, we hear Noise Factory's original 'Can You Feel The Rush' - first surfacing on Ibiza Records that same year - followed by three stonkers from DJ, producer and emcee TDK. This is an EP that overflows with legitness, its liquid tsunamic runovers of energetic vibe pouring forth from NF's 'Power Mix' as well as the subsequent key-mapped demon choir hellscape, 'Baby Plane'. All tunes here bear that raw, much coveted yet never quite totally replicable rasp sound, endemic to the early-to-mid 90s. Feathers don't get ruffled as much as they do get ruffed, on the closers 'Illusion Of Balance' and 'Bonus Beat'.

Review: Scene veteram - if not downright originator - Nookie returns to Metalheadz with his latest offering, which as the title suggests, finds the London-based d&b producer embracing the creative process as a means of surprise and discovery. Nookie himself calls the tracks on Improvisions "the best I've ever written," and we'd be hard pushed to disagree. Ruth Royall becomes a central figure within the record's story, her voice ringing out over Nookie's jazz-laced, soul-drenched production on 'Part Of Me' especially. There is plenty of dancefloor energy to be found on the likes of 'Over & Over' as well, but vitally this is a d&b artist album from someone whose inspiration continues to flow prodigiously.

Review: Opus One digs into the vaults with this one. It is a new 12" with a pair of old-school remixes of gold-standard Nookie originals. First up is the Makoto remix of 'Natural Experience' which is a soul-drenched, feel-good and upbeat roller with silky vocals and oodles of sunny charm. On the flip is a Nookie (aka Cloud 9) remix of 'Innerspace' that takes the cut into cosmic territory with slapping and slamming amen breaks, thrilling snares and bleeping synths that work as well as head as they do on heart and heel.

Review: The Time Is Now label single-handed ushered in a new era of garage if you ask us. That was a few years ago but the label continues to lead from the fort here with a new EP from Samurai Breaks & Napes who make their label debut in explosive fashion. They are skilled studio talents who are nudging at the boundaries of the current UK bass sound and here they hybridise bassline, jungle and garage. You won't easily be able to fit these into one stylistic box but they will do damage on the floor, from the ghetto restlessness of the opener to the manic melodies of 'Correct Technique' and onto the turbocharged 'FrogMob'. Thrilling stuff.