Back catalogue: Deep Dubstep

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: Peaky Beats is a great name for a label that serves up such irresistible house and garage jams as it has so far over its first eight EPs. This ninth outing is no less desirable, coming from the in house production team in collaboration with Breakfake. 'Life In Stereo' hits a perfect note between kinetic drums and soulful, jazzy chords deigned to melt the heart. 'Rat City' is more filthy - a warped bassline screws about beneath more sleazy broken beats. 'Chapel Town' brings low end dubstep wobble to the party and 'Dub The Acid' is another filthy dirty skanker with echoing hits and mutant bass.

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: 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: 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: Bassnectar goes deep into his own take on dubstep here with a new album The Golden Rule on Amorphous Music. It comes across a triple selection of coloured vinyl and wastes no time in getting heavy. 'The Golden Rule' rides on saw tooth synths and slapping synths with 'Unlocked' (feat Rye Rye & Jamalski) bringing some vocal energy and 'I Am Another Yourself' then gets all screwy on some mad bass mutations. Elsewhere Bassnectar collaborates with Rebelwise on the exotic sounds of 'Prayer Song' and Hyper is peak time and maximal jump up for rave times only.