Dubstep Recommendations May 2011

Review: In between brief dalliances with Swamp81 and 3024, Addison Groove shows some hometown support with this essential twelve for Pinch's Tectonic imprint. "This Is It" could only come from the sonic palette of Tony Williams, with steppy juke heavy 808 riddims ripping out of the speaker cones at 138bpm amidst a barrage of expertly spliced vocals and rubbery rave bleeps. Amidst the rowdiness, there's a distinct progression to the track which makes it a worthy successor to last year's triumphant "Footcrab". "Make Um Bounce" slips down the tempo scale a notch or two for a more standard 4x4 flex that's brimming with enough bass and rasping percussion to find a place amidst Jackmaster's forthcoming excellent mix for Fabric. Big tip!

Review: Irish imprint Naked Lunch continues to career impressively between tempos and genres with their first release in 2011 shifting the focus towards Canada. Toronto based producer Kevin McPhee is at the helm for his debut release, delving in a thick gloopy sound that's akin to a drunken Mount Kimbie getting their freak on. Opening with "Get In With You" McPhee demonstrates a real talent for micro managing percussive elements, whilst the delicate piano sounds provide the perfect backdrop to delicate yet indecipherable vocal yearnings. "Bridges" proves to be just as impressive, with off key rhythmic elements swamped in a delightful bubble bath of sonic textures which somehow combine to provide a narcotic swinging effect. The B Side is handed over to Hyperdub acolytes LV who reposition the mellowness of "Get In With You" for the dancefloor by submerging that vocal lead deep beneath a truly memorable bassline flex.

Review: Mala's Deep Medi Musik imprint hasn't put a foot wrong in 2011 with some weighty relentless steppahs from VIVEK and Tunnidge getting the collective thumbs up from the Juno review staff. The label maintains the momentum here - finally unleashing the VIP version of Truth's 09 pressure "Fatman"! Fatalist dread vibes abound though it's the crushing weight of the sub bass that truly captivate. Truth complements this update with the B Side steez "Dreams Never Come True" which churns through heavily chopped machine rhythms and left of centre sampledelica with dizzying ease - making for a track that is probably difficult to dance to, but easy to appreciate!

Review: Demonstrating his penchant for riding the crest of hype with aplomb, SBTRKT's second release for Young Turks arrives with the bombastic antipodean tones of Zane Lowe bellowing "Hottest Record Of The Week" in it's honour still reverberating around the airwaves. "Living Like I Do" is fully deserving of such accolades too - not least for further evidence of Sampha's real talent as a vocalist, his fragile soulful tones expertly aligned to warm subterranean bass that forms the backdrop to a crisp next century garage flex full of velvety orchestral drama. This is complemented by Machinedrum's remix of "Look At The Stars" - SBTRKT's previous collaboration with Sampha - which opts for a woozy, stripped back approach notable for the choppy drum beats that sound like they've sampled a faltering clock.

Review: Drum and Bass artist Distance set up UK label Chestplate with the intention of showcasing his crunching and growling records. Eleven releases on, and the Falling EP featuring Alys Be on vocals does just as he set out to do. "Falling" kicks off with a hazy and dense beat, grabbing your attention instantly as the vocal drones with "Falling for you" and merging nostalgia with the dark and heavy musical elements within. "Malice" is brittle and rough in contrast; fuelled with drama and tension via distorted strings and screaming bass lines. The beat pushes ever forward as the melody gets deeper and more obscure. 'Falling' displays two opposing and equally artistic sides to Distance and his Chestplate label.

Review: Marcus Intalex has to be one of the most well known names within Drum and Bass. The Soul:R label owner stands out for his dense yet sparse style, laying bare the unique and highly refined elements within his work. "Dusk" is the ultimate proof of those aforementioned Intalex traits. Spacious, dreamy and low slung, "Dusk" makes the spaces between the beats are just as captivating as the beats themselves. Vocals stream along, warm keys are drawn out and as bass line drops and brings a groove to the table, it somehow manages to add to the ambience and soulfulness of the record at the same time. Juno pick this hands down as our Ep favourite. The B-side is "TB or not TB?" moving slightly away from the soul and putting its energy into a more twisted atmosphere. Deep reverbed bass and throbbing sound pockets lay underneath dramatic keys. Its electronica cuts to the core, chugging and metallic - this is Intalex's proof that he's still a heavy and moody soundscaper, despite Soul:R and his personal reputation for laid back beats. Either way you look at him or his label, both are quality through and through via either characteristic.