Review: Sukh Knight on White Peach. The stars really have aligned on this one. White Peach's penchant for innovative newness and Sukh's nose for rolling funk that's rooted in the late 2000s style while never looking nostalgic or like its covering old ground: you already know how good this is. "Beast" is the deeper roller of the pair with its pneumatic, well-oiled rhythm flowing like lava and the bass purring beneath. "Nightcrawler" is an instant banger with its ruffage sandpaper riff providing dry gully slaps and cheeky grime bass ping-pongs on the ones and fours. Classic Sukh. Classic White Peach.
Review: Since delivering his first 12" four years ago, Theo Bennett AKA Sepia has become once of the most celebrated producers on the deep dubstep underground, delivering singles for Gourmet Beats and Infernal Sounds - amongst others - that push the style's accepted boundaries. His first Wheel and Deal outing ticks similar boxes. He begins by encasing crunchy beats and heavy sub-bass in chiming music box melodies on "Last Chance Saloon", before doffing a cap to grime on the intoxicating, near tropical heaviness of "Kira". Turn to side B for inspired Koma collaboration "Embalment" - a stuttering, shuffling treat rich in atmospheric chords and ear-pleasing melodies - and the more dub-wise pressure of closer "Frequency".
Review: Two sides, two vibes: Well Rounded Dubs get real with two refreshingly singular pieces of 140 innovation. Yung Jackson builds on his releases on the likes of Dub Tribu and Under Surveillance with this long awaited industrial strength minimal swagger jam. Sounding like it was made in the hottest part of a metal foundry while wearing an iron shirt, it's the sound of a new generation artist making a serious statement of intent. Flip for more forthright soundsystem fury from Denver's Ether as he gets his grunge on with a rough, sludgy bass riff that scuffs the beats, the gutter, its knuckles and your own purdy little features. Limited to the not-so-well-rounded amount of 297 copies, sleeping on this is not recommended.
Review: Where to place Weevil Neighbourhood? Is this dub techno? Perhaps. Dubstep? Maybe. Drum and bass? Sometimes. Experimental? Yes: in the truest sense of the word. It draws from all these aforementioned styles and more, resulting in the formation of a reclusive German label breaking the framework of many electronic music genres wide open. The title-track from Anthone's second EP for the label is where the dub techno suggestion comes from thanks to its caustic chord sequences, only there's flashes of dubstep beat designs and loose drum and bass textures similar to what can be heard on Felix K's Flowers Of Destruction. On the flip, "Lungs" is instrumental and live feeling. In parts it sounds like a band playing, while in others you can here the work of samplers looping, and when combined, it offers an industrial soundscape that's like merging some of the darker rock and metal stylings from Sex Tags No Amfibia with Regis' Sandra Electronics project, only reduced to the point of almost being ambient.
Review: If every record in The Weevil Neighbourhood acts as a location or hub within its community, this is the town hall. The nucleus from which all information and threads of consistency spread, it's where it began: 2011 with two robust, technoid dubby fusions that owe as much to Croydon as they do Detroit. The two came as a whole and have remained both in demand and breath-taking ever since. Still sounding contemporary and fresh, this is a timely reissue of a timeless release.
Review: Copenhagen-based dub warrior RDG (Circle Vision, Surfase Records, All Out Dubstep) returns with more fire on his new jamdown version "Bellyass Dub". Bringing together powerful ragga vocals, fierce bass frequencies and skilful riddims that altogether exclaim it one jah! On the flip, he ventures down a darker, left-hand path on the personal dub of "Born & Grow" a sinister and paranoid joint that calls to mind the early days of UK style dubstep on Tempa or Skull Disco.
Review: As a DJ, promoter and producer, Version boss Orson has been championing dubstep in Germany longer than almost anyone else (fact: he made his production debut way back in 2010!). These days he's an established figure internationally, releasing music that's every bit as good as that made by the sound's British pioneers. "Life Gamble", which opens his latest EP, is something of a peach. Built around a headline grabbing, digi-dub style bassline, the track is deep, dreamy and melodious, with ambient sound washes offering a neat contrast to his ricocheting dubstep beats and blazed audio textures. Flipside "12:09", meanwhile, is a far more straightforward proposition, with the German bass-head serving up an intoxicating dancefloor stepper rich in stabbing bass and echoing electronics.
Review: Bristol's Temple Of Sound emerges with an inaugural release by Kent based DJ Tom Wood aka Sub Basics. Exploring some of the deepest strains of dubstep on the Shipment EP featuring brooding sound design and skillful execution of tension and suspense throughout. From the unsettling fever dream of the title track, the hypnotic freefall of "Ancient Eyez" where we start to hear some good old fashioned bass wobble for good measure. Finally on the flip we have "Keep It Moving" a fervent polyrhythmic workout that reaches near tribal moments.
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: Two massive Pinch classics taken on by the mighty Kromestar; need we say more? Pinch's 2010 speaker shredder "The Boxer" gets an absolute fouling with epic distortion on the bass and swaggering drums. It's so heavy it's been on dub for at least two years. Flip for Kromestar's take on Pinch's 2011 Deep Medi murker "Swish" as it's given a bullet proof suit of armour ready for any militant war scenario. Both absolutely destroy the dance.
Review: Having recently notched up 100 releases, Tectonic begins a new era by offering up a suitably weighty collaborative release from Peng Sound regular Ishan Sound. On side A, the Young Echo member joins forces with Hodge - owner of the nicest hair in techno - for the deep and dreamy dubstep shuffle of "C5", where fluid riffs dance above a blazed but powerful beat. Muttley lends a hand on flipside cut "Still Smoking", an altogether livelier and more aggressive - if still suitably deep and hazy - 140 BPM workout that comes complete with stabbing, grime style riffs and some serious subsonic bass.
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: We're not sure who Leftlow is/are but anything with the System stamp of approval passes all necessary filters. Especially when the lead track whisks you straight back to 2006 with the squelchiest hook this side of "Cluedub"'s dub dungeon and a sub grumpier than thunder. "Boa" is a little more contemporary in its minimal Rotterdam style. Strange, stripped back and sprung with a peculiar bounce that's as addictive as it is trippy, with its soft, subtle kick it's a genuinely unique piece of 140 craft. For good measure Skeptical swings by for a knock out remix of "Cluedub" where even more flabby low end gets baked in the mix. Don't get left out.
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: Run somewhere between Berlin, Hamburg and Bristol, Subaltern Records are back with more deep dubstep goodness by San Francisco's Saule (Infernal/Crucial Sounds) and Italy's most wanted: D-Operation Drop Family aka DPRTNDRP on the Gorilla Glue EP. They bridge the gap between low-end theory and modern grime aesthetics on the totally dope title track, until Saule goes it solo for the remainder of the EP. His B side contribution "Close Chatter" was undeniably the highlight on the EP: a serving of emotive urban melancholia on a semi-dystopian tip in the vein of legend Burial. Perfect headphones listening for the stoned ride back home on the night bus.
Review: Gnischrew's label hits its third outing with Bristol's Chad Dubz. Maintaining the meditative theme from previous Sub Audio outings, Dubz opens with "Wisdom" wherein a whole barrel of space funk is ripped open and the skanks are so textured you feel you get lost inside them. "Stuck In The Loop" plays the consummate foil as the Bristol producer takes us on a much more paranoid, tunnelling trip. And if that's not enough, man of the moment Hebbe provides a killer remix for good measure. Be wise.
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: One of the most prominent and on-point dubstep labels to emerge in recent years, Youngsta's Sentry hits new peaks with their first V/A album. The full set will include the likes of Argo, Taso, Sukh Knight, Mr K, LSN, Nomine, Opus and many more contemporary low end visionaries. And it kicks off right here with a truly international collective; Truth, Caspa, Bukez Finezt, Onhell. From New Zealand to Cali via Germany and UK, all vibes are explored here... Cosmic swagger on Truth's "Simulation Theory", paranoid gravity-defying deepness on Caspa's "Anyone Else" and proper Mozart-flavoured 808 mischief from Bukez Finezt. Onhell brings this remarkable syndication to a close with the wavey, poignant "Sun Ra". Bring on the whole album.
Review: Three releases deep, each one an absolute peach: Youngsta's Sentry label has been total fire so far. Kicking off with dBridge, then Nomine, now the label take us to New Zealand for its third outing as Akcept takes the controls and proceeds to drive on both sides of the road; "Dreader Than Dread" is an epic bounce back 10 years with its brazenly funk horns and rolling chubby bass groove while "Howl" is a lot more spaced out, starker, late night jam with a fatty sub line that should come with a health warning. Stay alert.
Review: Croatia's Ognjen Zecevic, otherise known as Egoless, has been absolutely smashing over the last three years, with releases for imprints like ZamZam Records and Deep Medi Music instilling his sound at the top of the contemporary bass game. To that point, here he is on Youngsta's Sentry Records, home to producers like dBridge, Caspa and Gramz - so you know the quality is on point. The title tune "Decolonize" is an Eastern riddim, mashing up tough dub-steps with flutes and chimes from the Levant; "Global" keeps that narrative going with some Middle-Eastern melodies blended up and filtered-down into a heady, percussive groove for the ultimate mood-switcher.
Review: Recovering from the damage caused by Caspa's "Gutter Riddim" earlier this year, Youngsta's Sentry returns with a rightfully-hyped newcomer Gramz. Following a strong range of flips and self-releases, here we find the UK talent in full vinyl mode with two ridiculously on-point 140 jams. "Dip Dip Potato Chip" is every bit as tasty and filling as it sounds. Trippy, slurring and woozier than a disgraced celeb, this one sucks you right in and doesn't even bother to chew you up; it just swallows you whole. "Illa" takes the freakiness to even more refreshingly vital levels with its pitched ghetto vocals and drill-like snares. As with all previous Sentry releases, this is nothing short of essential.
Review: Have a word... Youngsta's launched a brand new vinyl-only label and DBridge launches it. Need we say more? Both "Fashion Dread" and "Digital Dread" are Darren White at his darkest and most stately - elephantine production, moody and misty and ultimately soaked in beautifully warm bass, both cuts have been doing the rounds on dubs for almost two years and have been in demand since Youngsta debuted them. Simply massive. Get on these quickly.