Dubstep charts

Review: Definitely one of the most haunting and quite possibly one of the most seminal cuts Mala has ever made, the show-stopping 'Changes' enjoys a long overdue re-press. Whether you were around when it first dropped in 2007 and never caught the wax, or you've since discovered it from many different samples such as XXXTENTACION's 'Look At Me' or The Game's 'Holy Water', this is an iconic piece of 140 music that transcends genres and generations. A contemporary classic, nothing less.

Review: Chase & Status and Stormzy coming together was always going to be huge. One rules the charts, the other the clubs, and between them they cooked up a massive single that got heard everywhere all summer long, including a special live performance of it in Ushuaia Ibiza. Now you can own it on a slab of vinyl that has been cut nice and loud, which is perfect for the tune - the bass is devastating, the bars from Stormzy are hard, the energy is dark and unrelenting and it's the perfect sort of jungle cross over sound that will continue to be heard everywhere well into 2025.

Review: The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.

Review: James Blake's debut album is undoubtedly one of 2011's most keenly awaited releases, and its arrival via his own (major label funded) Atlas imprint ensures their is no lull in momentum for a producer who enjoyed a watershed 2010 with releases on Hessle Audio and R&S. The results here differ wildly from his previous sonic excursions - gone are the shimmering R&B soaked melodies of "CMYK" and the sheer experimentalism of the Klavierwerke EP, which saw the young Londoner depart from the confines of the dancefloor and enter a realm where there was only a passing reference to rhythm-based music. Instead we are treated to Blake's own yearning, raw voice, delicate pianos and an underlying sense of melancholy. Ubiquitous single "Limit To Your love" and the crackly sonic terrain evoked on "The Wilhelm Scream" are among the most immediately pleasing moments, but there is much to explore here. It's a fascinating opus and surely the catalyst to a long and fruitful career at the top.

Review: Moeller expands his dub techno expertise into the 170 BPM d&b realm, crafting a full-length journey that feels both natural and innovative. Known for his cavernous sound design and machine soul, his shift to d&b territory is a seamless fit for the Samurai label, where evolving rhythms and fresh palettes are integral to the modern club scene. The album stands apart with its hypnotic arrangements, deep textures and monolithic reverb, showcasing his legacy and mastery of sound. The tracks blend club-ready physicality with introspective moments, offering a balance of dancefloor energy and headphone-worthy detail. From the snarling feedback to soaring synths and intricate drum patterns, each element is sculpted with precision, revealing his ability to capture both intensity and subtlety. Teeming with soul and engineered to perfection, this release highlights the producer's unique approach to 170 BPM, offering some of his finest work yet. The album is a masterful exploration of sound and rhythm, with attention to every detail, which is a hallmark of Brendon's meticulous fine tuning of dance music.

Review: Woof! Hyperdub bring together two of the most recognisable and enigmatic artists of recent times on this 10", as Zomby and Burial square down ahead of the former's new album for the label. Zomby's Ultra LP is undoubtedly one of this year's most anticipated albums and "Sweetz" suggests it may be a very moody affair indeed. Whilst rooted in UK dance, Zomby and Burial do look elsewhere for inspiration too. Just under seven minutes long, "Sweetz" veers through various sub-heavy soundscapes with intermittent rhythmic patters and a distinctive looped vocal sample whose pitch changes with dramatic effect.

Review: One of the most interesting artists to have emerged from the Czech and Slovak based crossbreed movements that dominated the first decade of the century on the harder side of d&b, Forbidden Society has evolved and morphed with the times to a much deeper, emotionally-wrought but still hard-assed sound. This seventh studio album (released on Noisia's iconic Vision imprint) is the best version of his fusions so far. From the dark industrial strength dubstep swagger of 'Wish' to the sci-fi hurricane of cuts like 'Deception' and 'Reaching Zero', this is an incredible body of work from an impressive and unique craftsman.

Review: ZamZam Sounds present the latest release from esteemed dubstep illusionist V.I.V.E.K.. The label are quick to note him, amongst a select few others in the OG dubstep pantheon, as one of a few apostolic names to shine an especially novel light on the scene, notably perhaps due to his hosting of the much-loved System club night series. Now building on the accrual of over 20 years' worth of dubstep experience, comes 'Illusions', which self-admittedly goes to the "bedrock of soundsystem music" to deliver a power-stepper of galactic proportions. The title track gleams with exceptional understanding of the dubstep genome, its expositional 16 bars echoing early Deep Medi in not immediately privileging huge snares or snaggletooth mid-basses, but rather miring the listener deeply and accessibly into a simple kick pattern and mesmeric droplet synth, proving dubstep's malleability. The raw version amps this up even further, adding a master sonic blacksmith's ear to the snares and hats, and bringing crazed, quicksilvery tail modulations to the drum design as though the DAW were a floor-fired crucible.

Review: Six barnstormin' mutant cuts from West London's enigmatic Tutu Ta, traversing half time Muslimgauz-y techno abstraction, Gastian 4x4 steppers, syrupy synth funk, and cavernous UK roots destruction. 'The Shrine' sees Tutu further refine their bassbin-bothering sonic footprint, with a concise platter of smogged, hypnotic klang. Standouts include the heavy-browed opener, on which Tutu Ta's hollers semi-intelligible phrases over a beat that sounds like Adrian Sherwood produced a Three Six Mafia record, the silken plod of 'You Funky Devil', and the menacing metallic clank n' roll of the evocative 'Smoke Coming From The Steel Mill'. Definitely one to watch!

Review: The release of dc15 in 2002 by Mike Schommer stands as a defining moment in the annals of dub techno, a genre that has shaped and influenced countless artists since its inception. Now on vinyl for the first time is some of the most exciting news in the genre in some time. Recorded in the Crown Motel on Woodward/McNichols in Detroit, this album is more than just a collection of tracks; it is a sonic snapshot of a specific time and place, a testament to the transient and often overlooked corners of Detroit that inspired its creation. Schommer, co-founder of the influential DeepChord label alongside Rod Modell, was instrumental in pushing the boundaries of electronic music in the late 1990s. DeepChord quickly became synonymous with the second wave of the Basic Channel sound, achieving cult status among electronic music enthusiasts worldwide. The label's unique approach to dub technoimelding the gritty, urban soundscapes of Detroit with the echoing, reverberant textures of dubiset a new standard for the genre, one that many have tried to emulate but few have truly captured.

dc15 exemplifies this approach. The album was crafted in a motel room, with Schommer allowing the environment to seep into the music. The result is a deeply introspective and atmospheric experience, with each track carrying the weight of its surroundings. The ambient sounds of the motel, the distant hum of traffic, and the subtle movements of transient life all find their way into the fabric of the music, creating a body of work that is both haunting and immersive. The recording process itself was as much about capturing the mood of the environment as it was about producing music, a holistic approach that has become a hallmark of Schommer's work.

The album's packaging was as unique as its contents. Released as a limited edition CDr, dc15 was made available exclusively through the DeepChord website on February 15, 2002, as a preorder for a short time. Limited to just 50 copies, the original release came in a simple white cardboard sleeve with a clear sticker containing black-and-white artwork affixed to the center. Each CDr was individually numbered, with a digital print on the clear plastic part of the disc. This meticulous attention to detail in both the music and its presentation further solidified the album's status as a coveted collector's item, a true gem in the dub techno world.

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: The much-lauded Jamie XX rework of Gil Scott-Heron's 2010 album I'm New Here finally arrives, and it's pretty darn good. In truth there's little quite as gorgeously ambitious as the strangely anthemic teaser single "NY Is Killing Me" (included here), but that doesn't stop it being an excellent listen. Not so much a set of remixes as a total reproduction, We're New Here places the veteran beat poet's distinctive vocals at the heart of a heady, other-worldly soup of eclectic beats (think dubstep, hip-hop and wonky house), booming basslines, sparkling house riffs, blissful melodies and paranoid late night atmospherics. A near perfect 33 minutes, all told.

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: 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: The return of the Heartless Badboys... Numa Crew smash the cork off a dank bottle of 2020 with a one way trip to "Babylon". Rolling deep with Riko Dan, this certified heavy hitter takes you back to where you came from with broadsword bars and thumping 808 grime beat. Savage, tense and dramatic, it's supercharged on the flip with the skank-packed Steppa remix. Move like bloodclart magicians to this.

Review: Blimey, if this isn't major meeting of musical Midas minds then we don't know what is. Alter Echo, E3 and Headland all collaborating with legendary dub flautist Diggory Kenrick. "Temple Duel" sets the scene in deep underground chambers, untouched by the sun. Reverb space is our only guide and ritual combat is the only way out as we make our way through subsonic 808 bass foundations, a near-industrial mid-range bass guitar groove, stiff snares, stick-fighting percussion and Diggory's torchlight melody. A truly fluid hypnotic narrative that arcs through the dark, if you're looking for an even foggier route flip for "Temple Dub" where the torch is extinguished and you have nothing but your sonic wits to take you home. Only Diggory knows if you make alive or not...

Review: Kahn & Neek return to local hub Peng Sound for some self titled double plated dubplate action under their steppahs project Gorgon Sound, housed in a rather lovely stamped gatefold sleeve. Although primarily known for their incendiary grime bangers on their own Bandulu imprint, and the dancehall sounds of last year's Backchat single, Kahn & Neek's steppahs-influenced Gorgon Sound project is a chance for them to expand on Bristol's rich legacy of dub, reggae, and soundsystem culture. Since the pair decided to begin the project in 2010, Gorgon Sound has since evolved into a full dubplate DJ operation, with a show made up of entirely their own material. Last year saw the Gorgon Sound project see its first vinyl release, in the form of "Find Jah Way", which featured on the debut released from Bristol's Peng Sound; this double 12" release presents a more expansive take on their steppahs sound, featuring four cuts of West Country bassweight with guest vocalist spots from Brazil's Junior Dread and Bristol's Guy Calhoun.

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: French producer Moresounds delivers a simple nine-tracker of rather advanced and pleasing trap beats, upending the idea that any beat as such needs an MC to survive. It's a miracle that this kind of music can emerge from the French countryside. Deep drops and wonky hat triplets abound, nodding to the deep dubstep tropes heard on international labels like Innamind, but retaining the clean production Moresounds is known for.

Review: After the massive impact of Vex'd in the breakthrough years of dubstep, it was big news when Jamie Teasdale chose to swerve in his own direction and emerge as Kuedo. Released in 2011, Severant was a bold statement of intent which didn't wholly shirk what had come before, but placed emphasis on the kind of romantic synthesis you'd readily associate with Vangelis and saw trap and other influences sneaking into the mix. In hindsight, Severant is typical of the times we live in, drawing on a glut of influences and presenting its own idiosyncratic vision, but above all that the emotion and intent of Teasdale's ideas make it an enduring, captivating listen.

Review: Zha brings together elements of dubstep, grime and trap on his latest 12" for the Naan crew. It is his first outing of the year following solid slabs of wax for the likes of White Peach and this label dating back to 2015. This one kicks off with 'Spice,' which has bass tones pinging about the mix with big hits, snatched vocal yelps and dusty drums all keeping you on your toes. 'Grief' is darker and dirtier thanks to the filthy great oscillation that rips up the swaggering rhythm and 'Harm' gets deep on some pensive pads and intoxicating melodic sounds. 'Two Rumours' closes down with sub so warm and cuddly it's like being hugged by a new duvet.

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: Khaliphonic represents a rich seam alongside sister label ZamZam Sounds, carrying forth vital modern iterations of dubwise music from switched on artists the world over. As such, compilations like these are a perfect primer on who's out there doing great things, whether it's Bristol duo Titus 12 & MTF, Japan's Undefined or West Coast veterans Systemwide. There are plenty of ideas and styles explored here, from melancholic synth steppas to trad-school echo chamber immersion, but the constant is a staggering high quality. If a label should be a trusted stamp of authority, then Khaliphonic have their role nailed. Essential sonics for any dub-minded explorer.

Review: Chad Dubz's Foundation Audio label outta Bristol remains a leading light in the bass, sound system and dubstep scene. This time out it is Kroomen and Somah who pair up for some mysterious late-night transmissions designed to rattle the walls. 'Kaba Rhythm' manages to be both light and airy yet dark and heavy all at once, with some Eastern melodies leading you ever deeper into the shadows. 'Sub 37' is all lurching kicks and skittish perc with twisted metallic textures and 'Heavy Smoke' is a slow and purposeful rhythm that takes its time to lure you in. It's golden-era dubstep that is as atmospheric as it is inviting.

Review: You can't have missed the hype surrounding Stormzy's new full-length - it's one of the most hotly-anticipated albums of the year. The question is: has it delivered on the promise? Yes - and then some. The grime superstar recorded the set on location with an extended group of trusted collaborators - Ms Banks, Sampha, Black Sherif, Debbie, Jacob Collier and NAO included - and the results are more sonically beautiful and soulful than much of his previous output. The distinctive flows are still there, though the subjects covered are often more personal and thoughtful than some may have expected, but Stormzy sings as much as he raps, and the accompany beats - often laden in strings, jazzy guitar flourishes and warming electric piano - are informed as much by R&B and hip-hop as the grizzled, sub-heavy East London vibes of grime.

Review: Longtime friend of White Peach, Lofty returns to Zha's label with four more pristine oddities and odysseys. Following where he left us with 'Foretold', 'Supernova' takes us back into the Berlin style of sizzling arpeggios and crisp futurism. It's backed up by plenty more heat from across the spectrum: 'Embrace' is a UK funky style twister, 'Joyless' nods at the Hyperdub style of UK bass with a strong nod to UKG while 'Daybreak' carries that cathedral-like euphoria up a notch to halftime pastures. Immense.

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: Yuku come correct with this special blue vinyl remix 12". Two vibes per side, both Traka and Granul go under the knife. On one side we have Serbian crew Traka under scrutiny as Commodo flips 'Yosai' into a menacing slab of tension while Muqata takes the Killa P-fronted 'Start Taking Note' into a brutalist sonic rainbow. Flip for two remixes of Turkish maverick Granul; Jtamul turns two-step inside out with stacks of eerie space on 'Deformity' while Iskeletor turns 'Interconnected' into the twisted, halftime heaver of your dreams. Stark sermons!

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: Skrillex (Sonny Moore) is back with a bang - or rather, two. Don't Get Too Close is his second album in as many days, immediately following the desirous Quest For Fire (it was dropped the following day, making up a duet of LPs). A similar cast of characters accompanies the acclaimed producer on his quest for creative innovation as 'Quest For Fire' - but this one is more introspective and eclectic, blending emo rap, urban pop, and memecore with Moore's signature bass-heavy production. A willingness to keep up with the times is clear, despite Skrillex's emergence in an older 2010s era: production collabs with Gud, Corbin, Lido, PinkPantheress, Virtual Riot and Danny L Harle accompany cameo features from drained starlets like Yung Lean and Bladee and regular Skrillex-adjacent favourites like Justin Bieber, Chief Keef and Swae Lee.

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: It's been a while since we last saw Sepia on Infernal Sounds but rolling deep with Rider Shafique, he fits right back into the groove with the sublime and title track 'Time Stands Still'. A fitting title for a dreamy vibe, it's backed up by a wide range of gems... 'Gatekeeper' is sludgy, gloom-coated creeper, 'Whispers' sees him teaming up with Ickle for an icy swagger while 'Trust' closes the EP on a gentle, woozy tip. Timeless.