Deep Dubstep charts

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Review: Deep Medi releases are always a cause for excitement, so it comes as no surprise that some of their earliest output is now being given the reissue treatment, nearly 20 years on from the label's inception. 'Kalawanji' is the infamous debut release by London producer Kromestar, with vocals by Cessman, and first came out on Deep Medi in 2006. Now on a limited green vinyl edition, to contrast to the original black, 'Kalawanji' and 'Surgery' are as raucous a pair of tracks as ever, recalling the period in which growly wobbles were just about taking over.

Review: Ilian Tape have been sympathetic to the sound of UK bass for some time now, but this new drop from Atrice leans even further into the pervading energy of dubstep as a source of club pressure. The Swiss duo first appeared on Ilian Tape with Q back in 2021, and they're sounding stronger than ever on this latest missive. If 'Multiplex' brings a cybernetic sheen to headsy 140, then 'Is It Warm' does similar work with techy d&b as the pair dice up breakbeats with precision and drape exquisite, shimmering pads over the ruffness. There's also space for crafty techno propulsion on 'Broke' and high-tempo trippiness on '83 Steps', making this a versatile, consistently brilliant release from a rising force in the scene.

Review: Vinyl only and lucky if we see one release a year; Moonshine's Dubwise Revolution always keeps us keen with their white label 10s. This is no exception. Crafted by an anonymous source, these spicy versions join the dots in a contemporary, high grade way. Sleng tenging it out with plenty of molten low end, 'Garnedd' brings the soul while 'Ghetto Living' slugs it out with swagger. Grab it while you can.

Review: Of all the artists past and present who claim to let their music do their talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand. Yet despite this, his music speaks loud and wide, and the world has been listening ever since his 'South London Boroughs' EP debut on Hyperdub in March 2005. His eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many 'best of' polls. Now Burial returns with 'Untrue', a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with the debut's crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Kicking off with the skittering 2step syncopations and vocal science of 'Archangel', 'Near Dark' and 'Ghost Hardware', before long it descends into a space of radiant divas and ambience. Where 'Burial' first was humid, suffocating and unrelentingly sad, 'Untrue' is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria typified by the epic, muted optimism of the album's last track 'Raver'. Forget central heating the radioactivity of this album is all that you'll need to keep you warm this winter. 'Untrue' is available as full 13 track digipack CD, including recent underground hit 'Ghost Hardware', and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.

Review: Last spotted on Strictly 140's Overseas VA LP, Spanish new-gen bass chef serves up his biggest dish to date on Subaltern. Linking up with longstanding baron XL One for the opener, 'Cronauer'. Unhurried, twinkling but laced with a bitter bass bite, it sets the dark dream tone. 'Piranha Plant' and 'Dorsia' see Kodama going solo. The former is a woozy arpeggiated charmer that sits on the hip-hop side of the beat spectrum. The latter hums with similar melancholy but much more of an edge to the drums and that ominous waspy bass tone. Graveyard grooves.

Review: One riddim track, three hugely distinctive voices; Dub-Stuy continue their riddim series with "Santa Muerte Riddim". Loose, spacious, mystic and led by cold steel string twangs, Jonah Freed's beat sings on its own merits but each vocalist adds their own touch. Rider Shafique takes the lead with his signature smoky tones and poetics, Jahdan Blakkamoore contrasts between his gravelly spoken word and musicality on the chorus before Pupajim lets the beat breathe a little more before going full harmonic ham. Holy moly.

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: Russian producer Kercha has already served up two superb EPs that cemented his reputation as a contemporary deep dubstep great, and now he backs it up with a standout first EP of 2021. His Mental Ballast EP comes on the label he is a firm part of, DNO Records, and is complete with his signature off-kilter rhythms. Opener 'Ignornants' has shimmering oscillations and deep, dark dub. Plenty of subtle samples flesh out the eerie groove including a clip of Russian maestro E. Ponasenkov. 'Analysis' is another gem, this time with Berlin artist Yoofee with plenty of purple flourishes. There is serious wobble to 'Tigers' that keeps you on edge and 'Acid' is a real spin out to close.

Review: Bengal Sound is a rising star in the Bristol bass scene and now he makes another mighty fine statement with this two tracker on Wych, the increasingly essential label run by K-LONE. This one comes after his various standout tunes from self-released cassettes fusing dusty old Bollywood samples to red hot club bangers. 'Solace' is the opener and is heavy on the rubbing and cavernous bass with icy leads and on the flip is 'On My Mind' which is just as atmospheric.

Review: Given that Young Echo operatives Kahn (AKA Joe McGann) and Neek (Sam Barrett) have been working together for well over a decade, it's a surprise to discover that this is the post-grime, dub-loving duo's first collaborative album. Wisely, they've utilised the potential of the album format, choosing not to fill the set with bona-fide club bangers (there are naturally some present), but instead take us on a deep, psychedelic, mind-altering musical journey that effortlessly blends dark ambient, deep dubstep, grime, twisted electronica, smoke-charred sonic textures, dub-wise riddims, chiming electronic melodies and countless guest raps from some of the best MCs in the business. In a word: excellent!

Review: Clearlight is a Belgian producer of deep and experimental dubstep, with the 'experimental' label shining especially brightly on this latest EP for DNO. Through rich construction of atmosphere and intricate percussion, Clearlight evokes early Deep Heads on the likes of 'Super Strong' and 'Heavy Feet', harking back to the original dubsteppers' emphasis on style and immersion. The B-sider 'Spinning Head' is a special highlight, minimal on the low-end while remaining no less impactful in its use of a 16th note, midrange wobble.

Review: Well, it's been a long old while since we saw or heard the Semtek name. His last release on these pages was a full six years ago on his own always mighty fine Don't Be Afraid imprint with only one or two other EPs credited to him in the whole of the last decade. Rubadub have done well to coax him out of semi-retirement because these two tracks are hard: 'Denny Island' is a supple drum workout with darkness in the air but plenty of deep cosmic feels keeping things warm and welcoming. 'Catching Smoke' is another one defined by its rubbery busy bottom end and atmospheric synth work up top. Two heads-down back room beauties.

Review: Always coming with the juiciest and most forward-thinking takes on 140 music and bass culture, Zhu's White Peach operations have been setting the benchmark for many years. And this reissue is a kindly reminder of their consistency and future-focused nature. Originally released in the summer 2020, it's now rebooted on lush yellow vinyl and, from the stunning Indian strings on the skin-scorching opening title track to the last rippling bleep from the finale track 'Renegade', the sounds remain as ahead of their time.

Review: TMSV has the honour of closing out another solid year for the Deep Mehdi crew. His debut on the label gives a fine representation of his sound across a quartet of dark dubstep gems. 'The Glow' opens in eerie fashion, with low end oscillations and late night tones leaving long tails in their wake. 'Revenge' gets more tense and taught as it traps you in some edgy loops and 'Housing' layers up what sounds like broken glass, ominous drones and flashing synth work into something brilliantly. 'Stay Closed' wraps things up with fractured melody and plunging bass.

Review: Thankfully there has now been enough time passed since the original dubstep movement that people are turning back to the genre to reinvent and reinvigorate it without prejudice. There is plenty of like about dubstep 2.0 not least this EP from Dubamine on Dub Stu, which leans heavily on the original dub sounds of the 70s with its natty vocals and rolling drums all brought up to date with crisp contemporary production. 'Cool & Relax' (feat Nazamba) is a sublime tune to sink into while 'Nature's Dub' is as organic as the title suggests, with bottomless bass and endless depths.

Review: Two certified dubstep donnies collide for 'Ascension', a unique album that explores 140 music from the system roots to the very outer edges. Made remotely during the recent frustrating years, the pair developed a strong creative code and built a body of work that taps into Nomine's 'Blind Man' signature but trembles with that minimal Mondays vibe Youngsta famously pushed. This 12" is a great snapshot of the LP with some of the beguiling features; Breezy Lee brings a Portishead like earnestness on 'Catch Me', there's the disarming violin work and stark bass tones on 'Chasm' and Lelijveld's spelling-binding whispers on 'Hidden' will stop you in your tracks. '528' takes us far east for a final blast of special inspiration. A unique set.

Review: Blind Prophet & Ishan Sound come together for their first pan-atlantic collaboration here in what is a fine return to the ZamZam label. The pair first met in Portland in 2019 and so it's good to finally have some sounds to get stuck into from their meeting of minds. 'The Labyrinth' kicks off with hefty and stepping drum rhythms that are overlaid by bright synth lines and mystic flutes. The interloping melodies and a menacing bassline finish it in style. On the flip, things get much more dark with 'Minotaur Dub' which is a shadowy world of refracting drums and oodles of reverb and echo. There is a predatory sense to the rhythm that never lets up as fizzing bass pries every deep into the dead of night.

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Review: Modern Hypnosis rolls onto its 11th release and it's another deliciously deep dubstep trip into sub-aquatic realms. 'Vintage' is patient and roomy, full of ricochetting hits and bulbous bass wobbles with fragments of vocal floating throughout the mix. 'Wistful' is a more kinetic cut with busy leads and energetic drums that are pent up with potential as a moody vocal adds extra tension. 'Be Humble' then comes on strong with crashing hits and the sort of ice-cold synths that cut through any dancefloor. Last but not least is 'Amethyst', a more bright and optimistic cut for sunnier days.

Review: Skid Row is a carefully composed six-tracker of modern club and soundsystem oriented Bristol-influenced bass music. Believe it nor not, all basslines on this release are created by the same untypical hardware device, the Benidub DS71 Dub Siren. The tracks fuse grime and techno, picking up early reggae and 90s warehouse toasting - far from shiny algorithm optimization. 'Rictus' attunes the listeners to a playful, deeply swinging bassline embedded in reduced drums and comfy pads. 'Cockatrice' unfolds a technoid, almost trancelike impetus - dressed in broken beats and thoughtful vocal samples. 'Weedlot' sticks more to the funky side and cavorts with witty sonic effects, while the flip meets with 'Clodbuster': a conscious, truly demolishing badass tune in the spirit of only-the-rawest UK bass and grime; 'Suttree', finally, slows things down to a wide and wry space garnished with reggae horns and contemporary dance music samples. The record closes with growling drums, reverberant chords, tripping vocal snippets, and a sub-bass targeted on blurring your sight: 'Calico'.

Review: Powerful hypnosis sessions from south UK artist Tom Woods AKA Sub Basics: Foundation Audio return after a short break with two stunning adventures. Both heavily groove-based, 'Tribal Flex' and 'YY' roll with percussive momentum, sitting somewhere between contemporary 140, timeless dub and universal dancefloor dynamics. The former is all about that bouncy kick and its sweltering tropical sound elements while 'YY' is on more of a mystical tip. Both flex hard, there's nothing basic about this operation whatsoever.

Review: The deep dubstep revival continues to roll on and turn out ever more crucial sounds from the underground and back streets. Bukkha's latest for Innamind Recordings is a perfect case in point - it's primed and ready to blow out the basins of any system it is played on. Opener 'Deliverance' has some serious weight to it while the low-end wobbles keep things rolling under crispy, long tailed hits and hissing synth mystery. On the flip is 'The Time Is Now" (feat DPRNDRP)', a more crunchy and broken beat overlaid with squealing synth motifs and bad man vocalisations.

Review: Hands up - this is our first brush with French artists Ourman, but we're already hooked. He has a clear love of UK sounds - dubstep, bass, broken beat - as they are the cornerstones of this new EP on UK label White Peach. He serves them all up with a deftness of melodic touch and plenty of cosmic aesthetics. 'Zengo' starts with screwing bass and sunny acoustic strings over a lurching beat, then 'Second Thoughts' is another hefty low end wobbler but with introspective melodies and bright flashes of colour. "Mindless Mills' is a darker UK stepper and 'Pocket Fruit' is the wispy, whimsical closer that will fit your heart with warmth and hope. A standout EP from a name we shall be keeping an eye on.

Review: DJ Squarewave and DubApe team up for a phat but stylistically sprawling dubstep EP, 'Ready & Ripe', oscillating between both the heavier and serener ends of the spectrum. A decidedly arid, sub-Saharan palette abounds, whether that be on the opening hype machine that is 'Ready & Ripe' - propelled forward by the energizing emceeing exposition of Roachee - or the bubbling sub-riddim headnod that is 'Drain'. The closing instrumental version of the title track, too, is a notable heater in its own right.

Review: Wall In The Hole kicks off life with a first EP from an unbeknown producer of the same name. The label will be tapping into what some (us) are calling the great dubstep revival with a super minted, one time only pressing of two brilliantly juicy tunes. 'Monia' has bright synths and warm chords over nimble drums and bass that convey real weight, all topped off by a superb r&b vocal sample from the golden era. 'Reckless' on the flip is another one defined by its magnificent vocals sample, but this one has more broken beats and lively bass swings, low end wobble and wooden percussion.

Review: Sneaker Social regulars Alan Johnson return to the label with more unclassifiable gems. All flexing that bewitching, beaty brew of percussion, smoking 808s, shattered beats and crafty sampling, each cut hits with a direct physical groove. From the System-level dubsteppy title track to the more organic haze and swoons of the finale 'People Of The World', the UK duo have once again weaved a fine line between so many genres without committing to any. Tonnes of love..