Dirty Dubstep/Trap/Grime charts

Review: The 15-year anniversary of Coki's 'Goblin' is upon us and forms part of UKF Dubstep's UKF15 sreies, which also celebrates 15 years of UKF with multiple series of releases spanning drum & bass, dubstep and beyond. Now pressed to 12" black vinyl, and helming up an A-sider's stardom compared to the original Ringo Records 12"'s B-side, 'Goblin' gets the respect it deserves. Once famed and flamed for being one of "the tunes that spawned brostep" alongside 'Spongebob', 'Goblin' is a seriously impish impressor - its snagletooth lead line emblematic of Coki's signature noughts breakout sound - and the track has never sounded so especially powerful and puckish as it does now, with extra reverb and decay effects peppered in. And on the B, fast-riser producer Hamdi provides an asphyxiant B-side, contrasting the original's fanged sludge.

Review: These tracks have received some huge hype just from the plays they have been getting from DJs luckily enough to have them. Now they finally get a vinyl pressing so the rest of us can join in the fun. First up is a three way collab between a trio of well-regarded artists in the UK drill rapper Kwengface, master bass producer Joy O and techno's Overmono. 'Freedom 2' has cut-throat rhymes and two-step garage influences with low-end subs which will destroy the club. The original version features on the flip with a less club-ready and more drill-centric sound.

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: Previously flexing on Wheel & Deal and Artikal, London new-gen 140 talent Darkai now lands on another one of the most respected labels in the dubstep multiverse - Deep Medi. Like all the best 12"s it's a game of two halves as he serves up the rough and the smooth. 'Break Room' is a grizzly, distorted, contemporary hot mess as crushed up drums decay in spirals all around. Meanwhile on the B 'Ogun' goes for much more of a timeless dungeon bound groaner. Booming echoes and snake-like bass, slithering upside your chops. Mood, tension and dynamics all in full effect. High grade.

Review: Garage powerhouse Zed Bias is back with more old school garage brilliance with the new single 'Shell Them Again' featuring the vocals of Yung Saber and Brakeman. The original has plenty of retro signifiers from the low-end wobble to the withering synth effects, plus crisp hits and jostling drums. After the dub mix comes a remix from Zed himself alongside Safire which is much more dirty and raw. The beats are broken up so the track takes on a dubstep quality as the low-end oscillations bring the weight and drums hit with more force. Finally, the acappella closes out this fresh 12" on IFG.

Review: Restricted to a devilishly numbered 666 copies worldwide, this vinyl edition of Modeselektor's inaugural volume in the Modeselektion series is the one final tease before the full finished product drops on CD next week. Presented on crystal clear vinyl, this double pack features eight exclusive excursions into electronic excellence from some of the world's finest proponents. The brushed minimalist Burialism's of Apparat's "King Of Clubs" sets a standard that is maintained throughout. Dabrye's Tad Mullinix & Daniel Meteo adopt a cavernous bass approach to stripped back head nodders on "The Good Star" which is complemented by the short but sweetly demented hip-hop of Siriusmo's "Das Geheimnis". Housemeister breaks loose from the confines of BNR with the kaleidoscopic "Kristalle" which drops a multiplicity of lucid synths over ever mutating electro throbs. Equally "The Assistant Manager" demonstrates Feadz's talent when removed from the day glow environs of Ed Banger. Further tracks from Mala, Ikonika and Cylob lend this release an inimitable aura of must haveness.

Review: Following on from the monstrous rib-shaking beast from Czech Republic's very own ANS, another future dub creator makes for his debut 12" on Studio Rockers.
London based frequency tweaker Bionics steps up to the table with three bassbin quaking excursions. First up 'Dubcore' busts out the speakers commanding
mind and body from the off, robot vocals get warped and meddled into the mix as twisted synthesizers are pushed to the limits. As the bass rears its ugly head,
old skool jungle soaked snares weave their way in. Next up the infectious groove of 'Feist' comes along, pounding drums and vox stabs mesh in and out as
haunting pads heighten the intensity! Completing the outing with the low slung vibes of 'Kafka' Bionics shows his true versatility in sound design.

Review: Alex Green and Damon Kirkham's debut album has been a long time coming. It follows an action-packed decade that's seen them morph from drum & bass punishers to dubstep fusionists and, more recently, bass music experimentalists. With such experience behind them, it's perhaps no surprise that Resolution 653 is an eclectic set. What's more surprising is the expansiveness of their approach. Within the album's 13 tracks lies glass-clear electronic futurism, brain-warping acid tracks, murky dusbtep, slo-mo 4/4 sweetness, hard edged electro bounce, off-kilter IDM and, naturally, 140 BPM bass bangers. As a summary of where British bass music's at in 2011, it's unsurpassed.

Review: Making their debut on Warp, Hudson Mohawke and Lunice proudly cross their beams to rain down a sick and slick kind of future-crunk, aptly demonstrated in in the introductory nature of bass-rich teaser "Top Floor" with its juke leanings and menacing posture. There's a detuned nature to the recognisable bleeps and wails on offer here while the beats remain crunchy and steadfast. "Higher Ground" is more overt in its use of juke to create a twisted kind of hype, while "Bugg'n" drips and drops in a loping vat of sub bass and slow-mo strangeness, leaving you with one of the oddest takes on the contemporary mess of electronic beats.

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: Ex-Roll Deep MC Trim is using his original tongue-twisting style to gain deserved popularity and support for his new sound. Joining the East London based Butterz collective, Trim presents "I Am" with two remixes from Preditah and LV. ''I Am'' is Trim on a more laid back vibe than usual, and it appears to be working as the EP receives vital support from names such as Benji B and Logan Sama. Trim's deep vocal patterns are scattered over a bouncing platform of rubbery modern percussion and sophisticated jazzy brass; almost a genre of its own, it's no surprise Trim is getting some serious attention. On remix duties are young Birmingham producer Preditah and Hyperdub / Keysound residents LV, who keep up the skippy vibe of the original. Finally, ''Notice Now'' on the flip is a new Trim vocal on D.O.K.''s ''Chemical Planet'' tune, which first appeared on Butterz in 2010.

Review: Katy B 'Lights On' ft. Ms Dynamite
Dubstep/UK Funky/Pop
12” RINSE006 (Rinse) £2.99
DEAL: 5+1 B/C: 0886978271310 13th Dec
* LISTEN: https://files.me.com/ammunition/cy6haw
* We already know her name of course – as Katy has made one of this year’s defining singles – the Benga-produced
smash ‘Katy On A Mission’ In its first week alone the video for the track clocked up over 100,000 views. The current total
is 7.1 million views whilst the single sat in the top ten for 6 weeks, and inside the top 40 for 11 weeks Not bad from a 21
year girl from Peckham.
* The first bona fide pop star to emerge from the dubstep and UK funky undergrounds championed by the newly-legal
Rinse FM, Katy B encapsulates the sound, spirit and unrestrained energy of British youth culture right now. Combining
the rhythms of a currently resurgent UK underground scene with a songwriting ear for the vernacular and songs that
celebrate the being young, staying up far too late raving and falling for the wrong boys, she’s a fresh new pop star that
really has it all.
* Katy B is a raw, fresh talent destined for great things in 2011. Confidently seizing the middle ground between the totally
on-point lyricism of Lily Allen and the swagger of Ms. Dynamite and Neneh Cherry, Katy’s killer combination of natural
pop sass, uniquely powerful voice and total immersion in London’s club culture makes her the perfect popstar set to go
clear in 2011.
* Katy now rounds off the year with the out-of-the-box dancefloor smash ‘Lights On’. Featuring Ms Dynamite and
produced by Rinse FM founder Geeneus, with remixes by Skream and GIRL UNIT. It’s a fabulously life-affirming
celebration of the joys of refusing to leave the dancefloor at 6am with the house lights up and sure to be the second
smash hit from this immensely talented star-in-waiting.
* TRACKLIST: A: Skream Remix AA1: Original Mix AA2: GIRL UNIT Remix

Review: It's not often we pass on much trappy EDM to listeners at Juno, but Eprom is a special case, having made a name for himself for pushing the glossy post-dubstep trap style that made many artists like him famous. At the same time, Barclay Crenshaw (Claude VonStroke) is another name in the EDM world whose direction isn't quite the same as Eprom's, but nevertheless shares a space with the former artist for having also remixed Yung Skrrt's wilfully trashy hit 'McDonalds' of late. As both artists have dropped their respective cuts in many a DJ set all over the world, Skrrt's label DIRTYBIRD have now orchestrated a meeting of the two minds - not least to mention this juicy vinyl compilation of the two remixes.

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: Get your 'Freak' on! White Peach are reissuing this doozy of 12" from Yoofee and not before time, too. Originally released in 2021, and still sounding years ahead of the pack, 'Calibration' takes the lead in all its bouncy, steppy glory. It's backed up by plenty more heat... The four-to-the-floor switches on 'Freak', the depth plunge subby funk of 'OK Cold' and the super creepy graveyard gravy finale 'Negative Released'. Positive release.

Review: Longstanding White Peach fam MOREOFUS returns with this ferociously wide-armed four-tracker. 'Too Far' and 'Okay Look' go hard from the off with big spiked out riffs and sacks of swagger. Real brute force 140 jams. Need a little more sweetness and swing? Flip for 'Blame' and 'Sixteen'. The former a sassy piece of dark garage with occasional flurries into unapologetic electro bassline. The latter a walloping slab of steppy techno that sites somewhere (quite breathtakingly) between funky, garage and breaks. Sweet.

Review: Grime might now be one of the biggest sounds in the UK music scene, but it arguably might never have been without the much earlier work of scene forefather Dizzee Rascal. The Londoner broke through just after the turn of the millennium and onto the international stage with his in-your-face bars, mashed-up dance sounds and big samples. Quite possibly his best work is Boy In Da Corner, the stunning Mercury Prize winning long player on XL that is now 20 years young. It gets a special reissue for the occasion with all the big ones like 'Fix Up, Look Sharp' present and correct, as well as a load of fine instrumentals.

Review: Kevin Richard Martin, known for pushing the boundaries of sound as THE BUG, unleashes his latest full-length, Machine. The album, released via Relapse, is his first solo instrumental work under the moniker, following a series of self-released EPs on PRESSURE. Each track is a sonic barrage, merging futuristic dub with crushing electronic elements, heavy bass riffs, and industrial weight that recalls his earlier work with Techno Animal and King Midas Sound. Machine takes the listener on a journey through dense, dystopian soundscapes, where each beat feels like a seismic event, making it perfect for oversized systems in sweat-drenched clubs. Tracks like 'Buried' and 'Bodied' epitomise this, with the former dropping tectonic bass lines over heavyweight beats, while the latter smoulders with industrial doom. Martin's signature "ice cold and dystopian" sound is at its zenith here, blending visceral sub-bass pressure with masterful production. It's a brutal yet nuanced record, one that demands to be felt as much as heard.

Review: The latest EP by EVA808 is a bold departure from their emotionally intense past work. This new project, released on Exit Records, channels an eccentric, energetic vibe designed specifically for the club scene. The opening track, 'Let's Be Havin U,' defies easy categorisation, blending a unique tempo that feels both slow and fast. It caught the attention of Exit's Darren aka dBridge, who eagerly signed it, much to the artist's surprise and delight. Inspired by observations of club-goers too out of it to enjoy the music, the artist aimed to create tracks that make a statement on dancefloor culture. Tracks on this EP were road-tested in Reykjavik and Bristol, where their dynamic impact became cleariespecially during a memorable performance at Thekla, where the intensity of the music literally made the ceiling leak. The EP's sound is crafted using a mix of hardware, outboard gear, and creative sampling techniques, and from resampled teeth biting to gum chewing, the artist brings a tactile, unconventional approach to percussion and textures. Recommended.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


These tracks have received some huge hype just from the plays they have been getting from DJs luckily enough to have them. Now they finally get a vinyl pressing so the rest of us can join in the fun. First up is a three way collab between a trio of well-regarded artists in the UK drill rapper Kwengface, master bass producer Joy O and techno's Overmono. 'Freedom 2' has cut-throat rhymes and two-step garage influences with low-end subs which will destroy the club. The original version features on the flip with a less club-ready and more drill-centric sound.

Review: Heavyweight global fusion... This vinyl only release began on a South African label (Sneja), was composed by a Colombian artist (IAM JDP) and is now being remixed by two respected German producers Sascha Muller and baze.djunkiii. That's before we even get to the actual sonic melting pot. Spacious and intoxicating, doffing its cap to Jamaican soundsystem, US footwork sounds, Latin Baile and South African gqom elements in the percussion and fat dollops of Bristolian bass; Sascha and baze have cooked up something super special here. Limited and unifying.

Review: Peddling heavy, sweet subs that ooze out of the scoops like syrup, Portuguese low end maestro 3WA makes his debut on Infernal Sounds with four utterly stinking brouhahas. 'Scavenger' starts the commotion on a deep but stern note and things get more and more twisted throughout the EP... 'Minotaur' grunts and growls with a over-sized toxic bassline while 'Mutt's flips from cosmic and percussive to straight-up deranged. Last but not least 'Wandering' finishes the EP on a last lingering groan. Refreshingly woozy.

Review: Say a big hello to the new Modez label here while getting lost in the hard hitting first release from Modelle. It's a bold barrage of bass, Baille funk and dubstep across six sizzling cuts. 'Pursuit' opens up with lithe broken beats wired up with electricity and percussive hits. 'Dum Dumb' is built on a distorted low end with hard-ass raps and brutal drum breaks, 'Razor Rex' arrests the attention with its pulsing bass and bleeping modular synth sequences while 'Petrie's Rage' is a hyper-speed cosmic banger. 'Jeff On God' (feat Parkinson White) shuts down with more low end energy and this time jungle breaks provide the power source.

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: 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.

Review: Remarkably surreal club reconstructions from Uruguayan ur-producer Lechuga Zafiro. 'Desde los oidos de un sapo' ('From The Ears Of A Toad') is a truly elastic entanglement of designed sound refit for the floor, though we'd not be surprised if a private laboratory set aside for the safe containment and study of sonic bio-anomalies would hope to acquire this one too. Zafiro flexes his hylid hamstrings on this wriggling wet lurch through post-Baile sonics and field recorded club jamborees, emphasising the naturalistically percussive and fretfully textured. Basing his musical identity on field recordings of hard materials - metal, wood, rock, glass - as well as, somehow, animal tissue - from toads, birds, sea lions and pigs (let's hope they were at least taxidermied first) - these seven cochlear leapfrogs make for a highly exploratory sonic escape; Zafiro dares to define the next applicative generation of sound design for the dance.

Review: Way back in 2016, Fent Plates offshoot White Peach offered up a killer collection of instrumental versions of some of its most popular made-for-MCs releases - a heady mixture of grime and dubstep workouts that reflect the label's London roots. Eight years on, they've finally got around to dropping a sequel. Featuring 26 killer cuts stretched across two CDs, it boasts a wealth of genuine standouts, from the deep, suspenseful shuffle of 'Bardo' by Cadik, and the delay-heavy, string-laden punchiness of Glume & Phassa's exotic 'Hatchet', to the slow motion, spaced-out weirdness of Koma's 'Arrival', the Japanese-influenced jauntiness of Ourman's 'Windy', and the ghostly, sub-propelled heaviness of 'Red Handed' by Mr K.

Review: Apocalypto! Foreign Beggar PAV4N lays down some hard hitting truths with the hard hitting Truth and the results are sizzling in moody futurist fusion. 'Brave New World' (with Saskilla) marches us slap bang into the middle of a 23rd century war, 'Pythons' slithers with so much attitude you can feel squeezing you, softening you up for Pav's lunchtime treat. 'Online Overdose' (with Ashez) hurls us into a neon swing, pinging through the arpeggiated sci-fi swagger before 'Pyrex Jackie' goes straight up Universal Soldier. Metal jacket tackle.

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: A vrooming new V/A comp from London's bass music bacchanals 1985 Music, following up a sellout show at the Roundhouse earlier in 2024. Helmed up by pensive liquid purveyor come bass musical all-rounder Alix Perez, the label now compile several star tracks from throughout the year, setting them side-by-side on wax for the first time. Including trax by Perez, Drone, Cesco, Visages, Hijinx and Onhell, the general movement is from sociopathic grimescape though to bear trap tricksiness, shortly tied up in an extended jungle and d&b coda on the B; Paige Julia's 'Indisputable' is as brazenly fearless as Flowdan's opening flows are, though a continual liquefaction occurs therefrom; the best element heard towards the end has to be the erratic bubblegum cutups heard on Visages' 'Dol Guldur'.

Review: Old Clarty pants Spooks switches up his brand for a new heavy hitting series of club jams. Kicking off with 001, there's a very distinctive bite to this ghost's bark as he goes in on the heavier tear-out vibes with 'Shark Attack'. Deeper into his ocean we plunge as 'Quiet Storm' sucks us down into the sand and 'Sitting Bull' flips for an upbeat early 2000s breakbeat garage type of mission. 'Gas Mark' brings this bloodclart bake-off to a tasty but very messy finish. Sheesh what a set. Spooky never misses but this is some serious Bizzle even for him. Essential.

Review: Skream has shown over the years he was never content to just rest on his reputation as one of the pioneers of dubstep's early days. His swerves into house, techno, disco and other sounds have been determined enough to push him into the position he holds today as a multi-genre maven free to indulge any tempo or style he pleases, and Skreamizm Vol. 8 celebrates that in no uncertain terms. There's plenty of the man's swagger on the production, while guest bars from the likes of Trim up the ante in terms of party-starting prowess, but there's also space for vulnerability on the likes of 'Not Ready Yet'. If the Skreamizm series has always been a marker for where the artist is at, then get ready for a heavyweight update.

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..

Review: Ghetts presents a new album, On Purpose, With Purpose, which follows 2021's epic Conflict Of Interest and continues the ongoing artistic evolution of one of the UK's foremost rappers. Ghetts returns sounding sharper, more unflinchingly honest and boldly confident than ever before, expanding his sonic palette by reaching out beyond rap and incorporating wider genre elements such as soul ('Double Standards'), r&b ('Mine'), gospel ('Hallelujah'), Afrobeat and amapiano ('Gbedu', 'Blessings', 'Tumbi'). With every contemporary stylistic box ticked, Ghetts' purpose is made abundantly clear: to please.

Review: Make The Ting originated from Elijah's online writings on creativity, known as 'Yellow Squares' on Instagram and Twitter. The first post appeared on July 31, 2021, as COVID-19 restrictions were lifted in the UK and then evolved into lectures and broader explorations of his creativity. In summer 2022, Blay Vision's 'Cammy Riddim' sparked the idea of translating Yellow Squares into songs. Collaborating with Grime MC Jammz, the pair created the track 'Yellow Square' and during a Muay Thai retreat in February 2023, Elijah expanded it into an album that is presented here and emphasised speed and spontaneity, choosing final instrumentals the day before recording. It is a cutting-edge exploration of bass, grime and trap.

Review: Serbian crew Traka have been doing absolute bits on Yuku over recent years. Flexing between beats, experimental bass, grime and occasional excursions into drum & bass, the collective have a sound that defies tempo and template. Here they make their debut on FKOF and 'So' is the standout cut thanks to some absolutely savage bars from Rider Shafique. The energy is kept up top from the off; 'Shock Em Up' is an industrial funk-up, 'Shake Junt' melts with a warped Mo Wax feel while 'Silus' closes with a twisted hybrid of grunge and crunk. Stash it, bag it.

Review: Three years since this formidable French troupe turned lead to gold on their debut, Visages' alchemy continues to bubble over with this utterly exceptional sophomore. Spanning the whole rainbow of styles from neo soul to grime to dubstep and a pungent range of dnb strains, this really is a unique and beguiling universe of sounds, themes, brutalist moments and poignant motifs. Complete with lyrical guidance from the likes of Strategy, Verbz, Chimpo, Snowy and others, there's a powerful adventure to be had among these tracks from the furious futurism of the opener 'Transhuman Music' to the woozy jazzy echoes of the closer 'Kintsugi', this is nothing short of outstanding.

Review: UK imprint White Peach have served up all things dubstep since before you likely developed any sense of taste. That's because they made yours; 'Likesss' is the latest set of sonic fruits from rising producer Moreofus, and continues to convince us of White Peach's ability to sway our low-end-erring predilections. Through its ploddy trap, midrange growls, triplet transitions, riotous vocal textures, and pistol-whipping snares - B2 'Menace' coming as the night-bussed, heavy-deep drill highlight - Moreofuss seems set to rack up a lot of 'Likessss' indeed...

Review: East London MC Jus Rival teams up with Camden's Joe Fire here for a hard-hitting new track 'G.M.S (Gun Man Sound).' Following their previous collaboration on 'Dangerous Settings,' the duo builds on their undeniable chemistry for another explosive release with some serious low-end heft. Produced by grime heavyweight Spooky Bizzle, the brass-laced instrumental provides the perfect backdrop for both MCs to shine and Jus Rival opens with a catchy hook and sharp bars, while Joe Fire takes over with a playful, yet commanding verse. Accompanied by a slick visual directed by Honey JD,tihs one is defined by its dynamic delivery and relentless energy.

Review: Following mesmerising Marseilles mutations from the likes of Syqulone, Kabylie Minogue and Lisa More, Cain ? Muchi return to Gros:Oeuvre with their remarkable debut album. A heady tagine of grime, beats, techno, global bass and contemporary electronica with a title that either refers to famed Moroccan popstar or, far more likely, relates to meaning as 'universe', Dounia is a beguiling clash of western electronics and eastern bars, lyrics, and vocal harmonies. Fractured and macabre throughout from the distorted hardcore bass highs of 'J'wadi' to disarming vocal cries of 'Majdouba' this post grime, pre apocalypse opus is a trip from edge to edge.

Review: Given his rapid ascent from pioneering 'purple' producer to major player, it's perhaps little surprise to find that Joker's long-awaited (and much hyped) debut album sees the Bristolian youngster mixing typically funk-laden synth-step jams with moments of soaring dubstep pop and hip-hop funk. While it's the latter that have propelled his rise, it's the former on which he built his career. It's notable, then, that the best moments on The Vision are those that draw most from his early purple work; the contemporary P-funk of "Level 6", cyber-funk of "Milky Way" and gorgeous Herbie Hancock-does-Purple grooves of closer "Magic Causeway" are amongst the best things he's done.