Review: New Zealand dubsmith Akcept hops over the Pacific with a plate of two halves; "Teachings" takes us back to the foundations for root cause analysis. Unfathomably deep, warm and tailored for fine tuned systems, it's a quintessential lesson in dub science. Meanwhile on the B "Going Round In Circles" flips the coin for something just as dubby but a lot more dancefloor. As teased by many of his mixes, Akcept's penchant for dub techno is just as strong as his love for roots... Something that's more than clear when you hear this record.
Review: Bandulu strike again! This time with fellow kindred system spirit Bengal Sound. Two more totally disarming, otherworldly experiments, if you've just returned from Outlook then you'll already know what damage these are causing. "Never Mind" warms up with graveyard stroll before opening up into a strange shimmering organ riff that doesn't quite sound as if it's made on this planet. "Short Stay" meanwhile twists up the percussion and drum arrangements, making them almost breathe with trippy toxicity and a wooziness you just can't find in any other style of music. One of a kind and already teased out a few months ago. This new batch won't last long.
Review: It was only a matter of time before Boofy landed on Pinch's Tectonic. Both Bristol. Both magnetised to the fringes. Both responsible for untold low end hurters like these... "Back In The Box" is a heavy pressure cut with pneumatic kicks and ominous stretched brass textures while "Herbie" is a highly strung piece that's stripped back to just drums, subs and an eerie faltering lead and builds and twists when you least expect it. Flip for the churchy chords and rattled percussion of "In My Head" before "Perfunktion" closes with jazzier chords and a stone cold steppy kick arrangement. Classic Boofs.
Review: Bristol-based badman Borai has been quietly issuing some of the city's most immense club wreckers for many years now, sometimes in partnership with October, and sometimes flying solo (as on the crucial Anybody From London for Hotline Recordings). Here he's inaugurating Higher Level with some absolute dance slayers, kicking off with the mammoth pitched-down drum funk and gut-wrenching bass of "Razor" before switching stance for the dreamier but no less rowdy "Predators." Both cuts are a masterclass in classic breakbeat science, delivering the foundational UK sound with panache that sets these weapons far apart from the rest of the pack.
Review: Last spotted on Boka shotting "22 Ounces", Chad Dubz now returns to find us all fully fledged "Addicts" awaiting our next Bristol fix. The lead track is at once bouncy and subdued with a heavy pressure and filter on the riff fluctuations. "Out Of Here" gets us on the first train to rehab city, its tricky percussive rolls and deep space slowly cleansing our souls before "Teachings In Wub" diverts us with scholarly wobble-whipped subterfuge. The final stage of our program takes us deep into the wilderness to find ourselves; "Iggy's Castle" leaves us on a mystic finale, all cobweb sonics and strange shadows. Moreish.
Review: Like a many Britons, Chad Dubz doesn't have much time for Prime Minister Theresa May, who was, at the time of writing, still just about clinging on to her job. He's not only included a demonic painting of the "Maybot" as a "Reptilian Bitch" (his words, not ours) on the record's centre labels, but also made a thrillingly angular and heavy dubstep smasher as a kind of artistic two-fingered salute. LSN's flipside remix of the title track ratchets up the distorted analogue bass and mind-altering electronics, while also adding some suitably exasperated and sweary vocal samples. Elsewhere, "Wob" is a deep stepper powered by a gargantuan wobble bassline, while "Rollin'" not only does exactly what it says on the tin, but also includes the EP's deepest, heaviest bassline.
Review: The cavendish crusaders are at it again. And this time they're rolling out the barrels with full V/A power. Chad Dubz opens with the provocatively titled "Pricks", all sludgy, swampy and twisted while Karnage & Dayzero up the energy with a dramatic symphonic loopy nod to the far east on "No One" while Guesswerk close the show with the long awaited "Persian Dub". On dub for a good couple of years, this gravel throated swinger has been doing the business for a select amount of DJs for some time. Now it's finally yours. From Bristol with fruit. Tuck in and be quick about it.
Review: Following cuts on Gourmet and Trusik, Osaka's City1 makes his debut on Subaltern with three more reasons to keep him radar-locked. Hurling us into the mix with no warning, "Speak Out" takes the lead with Japanese steel licks and fire tongue truths from Rider Shafique before "Koroga" oozes its way in pursuit. All wet and wobbly, it's 2007 all over again but with a wily sense of direction that never sits still. "Zee" closes the EP in true pranged-out fashion. Off-key, warped and a grumpy bassline that harrumphs for days, if you need any more reasons to keep tabs on City1 just lift the needle and play again.
Dark Harmonics & Otz - "Voidwalker" (J Kenzo remix) (5:05)
Track 4 (4:14)
Review: Vinyl-only business from the FKOF crew: Sheffield's Dark Harmonics and Subaltern's Otz team up for the incendiary "Voidwalker". Creepier than a graveyard picnic, it's all in the strange misty textures and powerful sense of tension before the flabbiest of subs kick in and the fun begins. Remix wise J:Kenzo does them proud with a similarly tense twist that's based around hard swaggering kicks and more eerie and bad dream textures. Elsewhere Dark Harmonics throws down a crucial solo. Brilliantly entitled "Fucking Spiders", it's an outstanding piece of 23rd century funk with all the right room and gloom we've come to expect from him. Creepy crawly.
Review: It's 2019 and Chestplate bossman Distance is well and truly woke. Dropping his first officials since his outing on J:Kenzo's Artikal last spring, the whole four tracker is a pungent trip back to the stinker golden age. Rough funk, distorted and tailored strictly to kick the living peanuts out of the crowd, each cut is Distance doing what he does best. From the psychedelic dirge of "Awaken" right through to the orchestral darkness of "Settling Scores", Distance isn't mucking around here. Neither should you.
Review: Toronto's Distinct Motive returns to Truth's triple D stable with four more outright stinkers. Opener "Radar" has been huge for those lucky enough to have it on dub; all infectious and bleepy but not overly so while "Itchy Fingers" grizzles and grunts with a loose but savage groove. Deeper (and darker) into the EP we hit the 2007 feels of "Loose Pimp" while "Crazy" closes with a little nod towards to the instrumental grime motifs; all string plucks, glacial feels and smoking 808s. One for the radar.
Review: Fresh Sector 7, Bristol's Drone makes his debut on V.I.V.E.K's System Sound with two smoking slabs of bass weight. "Amphibious" funks up the radar for a bleep excursion through the swampiest of textures with only a trippy riser and noir spoken word. Flip for "Lucid Dreams" where things take a creepier undertone thanks to the cavernous space, waterdrops, roomy switchy kicks, pranged out reverse manoeuvres and a sub as thick as marmite. Immense.
Review: Earlier in the year, South African rising star Escapism Refuge delivered a debut album laden with deep sub-bass, heady aural textures and killer dancefloor rhythms. There's plenty more atmospheric, rumbling fare on offer on the producer's latest three-track EP, too, with the focus is naturally on "Wet Wipes". While the original version, featured on the B-side, delivers an attractive fusion of drifting, Arabic-sounding vocal samples, undulating music box melodies and crispy dubstep rhythms, it's Biome's cinematic, synth-laden A-side revision that's really getting us hot under the collar. Also impressive is bonus cut "Don't Mind Me", where ambient chords and head-in-the-clouds melodies rise above a skewed-but-punchy rhythm track.
Review: Last year Burial and the Bug joined forces as Flame 1, delivering an in-demand EP on the latter's Pressure label featuring two sizable slabs of industrial strength soundsystem science. Here they return as Flame 2, once again offering up a pair of weighty dancefloor excursions. A-side "Dive" is a loud and claustrophobic affair, as the duo wraps dystopian dub bass and sparse, mutilated post-drill rhythms in layers of apocalyptic aural textures and mind-altering dub techno style processed noise. Flipside "Rain" is arguably more suitable for dancefloor plays and sees the esteemed twosome combine pulverizing sub-bass heaviness with dancehall style drums that come smothered in mind-melting effects and paranoia-inducing aural smoke.
Review: Mean Gene Headland returns to the perennial dub stable Innamind with three more bone-shaking beauties. "The Judge" slams the hammer of justice down and declares us all innocent as an accordion chord weaves around middle eastern strings, "Camino" puts its foot down and drives us into the horizon on a road made of naked drums under a sky of dreamy harpsicord arpeggios while "Strays" summons us all back to the courtroom and declares us guilty in one fell moody, groaning bassline swoop. Court dismissed.
Review: Uncompromised 140 magic right here as Tokyo's Helktram returns with their first full single in over two years. This time coming on Trusik, each cut flexes into a different dimension. Opening track "Suggestive Effect" hits like a pneumatic techno drill, marching militantly into your cortex with its staccato drill. "Insecure" plays the consummate foil with its glacial textures and weeping, woozy chords while "Iron Box" brings things together with a classic Coki-style pinched wobble driving the groove both back and forth in time.
Review: It's been a while since we last heard from Kerem Sevincli AKA Iskeletor, an Istanbul-based beat-maker and bass-loving experimentalist who last featured on Tektosag way back in 2013. His return to the imprint boasts a trio of tracks on one-side, with an attractive, etched illustration on the other. He begins with "Afromax", a two-minute flurry of chopped experimental hip-hop beats, mangled bicycle bell and nuts-and-bolts percussion and wonky, shape-shifting electronics. Gantz Seytan remixes, cannily emphasizing the wonkiness of the beats on an outer-space excursion that's near hallucinatory in its twisted, slow motion approach. To round things off, Sevincli offers up his rework of Grup Ses cut "Mimar", re-casting it as a dystopian, ever-changing experimental beatscape rich in redlined sounds and epileptic drumbeats.
Review: J:Kenzo strikes us down with pure bass weight once again, this time on Infernal Sounds with an almighty remix of San Francisco's Saule's ploughman stepper "Cure Dem". Adding an orchestral twist to those murderous stabs, this remix doesn't so much as cure but completely blazes every possible inch of your skin. Flip for an escapade of more ominous proportions as "Shijima's Revenge" takes us deep into Japanese legend with a powerful droning bass and a march-like groove that will have you trooping into the shadiest of graveyards. Absolute murderation.
Review: Having appeared on the likes of Nous Disques, Dream Eater and Collection Artaud, it was only a matter of time before London beat splicer J-Shadow's glacial, unnerving textures and sounds would find a home on Bun The Grid. With strong senses of techno and electro deep in the low-end mix, highlights include the nutty, almost breakcore style flippery of "No Gravity" the powerful technoid dirge of the title track "Embers". Loaded with remixes from none other than Etch and Danny Scrilla, once again BTG have spoilt us rotten.
Review: Oof! It's finally here; two east London mic dons link up over a heavy Chimpo beat on Jamakabi's Rhythm Rollers for a name that truly lives up to its name. Doing the rounds in various forms since last year, "Wickedest Ting" touches wax in two perfect version; the body-slamming original and a bashing jungle twist from the Ghosty Men. Wicked.
Review: Back in 2016, Leo James stepped up to deliver the debut 12" on J.Sparrow's Navy Cut imprint. Here he returns to the label for the first time since, and this time he's got soul-soaked reggae vocalist J Appiah in tow (an artist last spotted lending his honeyed tones to a house record by Damian Lazarus). The vibe here is slow, sensual and emotional, with atmosphere taking precedence over any notion of appeasing peak-time dancefloors. That's a good thing, though, because "Struggle" - a deep, smoky dub-soul cut rich in delay-laden reggae instrumentation, weighty bass and heart-aching vocals from Appiah - is sublime. There's more of a dancefloor feel to the similarly dubbed-out and heartfelt "Lost & Found", with a rhythmic shuffle that's slightly closer to house than stereotypical dubstep.
Review: Chonk Mob familia Koma joins the gang at White Peach with this far-out four-piece that showcases his broadest and most considered range. "Arrival" sets the scene with big cinematic pads, arpeggiated pipes and a mood that gets deeper and darker the more you stride into it. "Missing Amsterdam", meanwhile, shows a calmer Koma as we mooch to poignant chimes in the most contemplative way. Finally, the bashy steel drum twister "Tasteful" plays the consummate pudding course as Koma and fellow Chonkster Rygby serve up the final course of this exceptional feast. Koma back soon.
Review: Following his recent collaboration with Sepia on Wheel & Deal, Chonkmob's Koma gets busy on Encrypted with three dastardly originals. "Moonlight" is murky and all fogged out with devilish tendencies while "Uncle Sullivan" takes a trappist approach with its lavish lead strikes creating drama on every up and down. "Deep In The Crease" (with Dalek One) is all about the hip hop breaks, gritty sleaze, off beat samples and sweary cockney. Need a more trippiness? Jump on Murk's remix.