Dubstep charts

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: Nova is a new signing for the Infernal Sounds crew and the artist has saved some of his best work for the occasion. He opens up with 'Bonafide,' a dark and heavy wobbler with a busy, oscillating low end that is full of menace while some subtle pitched up vocals hint at the rave. 'Single Fuse' is a noter one to loosen the bowels and melt your face with its lumpy, leggy rhythms and tripped out watery effects. It's 'Fivers' which then gets more tight and tense with an edgy synth hustling in the background while jittery snares keep you on edge up front. 'Intricacy' closes with a heavyweight bottom end and plenty of reverb to get lost in.

Review: Hyperdub kick off the vinyl side to their ten-year celebrations with this weighty four-tracker from some of the leading lights from the label's story. Mala is in a strident mood with "Expected, Level 10" carrying through that extra touch of melody from the Mala In Cuba LP. DVA cuts loose with the leftfield scattershot groove of "Technical Difficulties", reveling in tonal experimentation and jagged rhythmic flair to a stunning end. Still locked into the sci-fi trap tangent that characterised Severant, Kuedo turns out the haunting "Mtzpn" and Helix pops up for a remix of Kode9's "Xingfu Lu" that strips down to bare essentials with a little starlit soul rubbed into the framework.

Review: There was much talk ahead of the release of Darkstar's debut album as to whether the London based outfit could live up to the promise of their stunning breakthrough single "Aidy's Girl Is A Computer" on Hyperdub in 2009. The answer, in short, is yes. In the course of the past 12 months Aiden Whalley and James Young have morphed from a production team into a band, adding vocalist James Buttery along the way, and North, the fruits of their labour, is a fragile, delicate and beautiful record. Tracks like "Gold" and ""Dear Heartbeat"" showcase an 80s synth pop sensibility, forming the backbone of an album that is steeped in worry and melancholia. Buttery's vocal talents add an extra layer of depth to the music, particularly on the poignant, piano driven opening and closing track "In The Wings" and "When It's Gone". There is much to explore on North, which will go down as one of 2010's most affecting electronic albums.

Review: Deep Medi Musik continues on its mission to find the darkest, deepest and heaviest dubstep out there with a new bowel-rumbling release from Compa. It opens with the lurching drums and insistent stabs of 'Mind Control', a spacious wobbler with impossibly weighty bass. 'Emergence' then gets a little busier with zippy leads pinging about the mix and frosty static adding texture to the low end wub. 'Stronghold' is another bleak futuristic vision where all humanlike has been replaced by AI and 'Armada Bleeps' brings glassy texture, edgy chords and glitching breaks.

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: Finally! Grove's exceptional debut EP from last year sees the vinyl light of day. Sitting somewhere between breaks, drum & bass, hip-hop and IDM, their powerful delivery and black, queer perspective fires up an incredible cauldron that's visceral, physical and loaded with positivity. Highlights range from the subverted jungle head-twister 'F-I-U' to the bulldozer techno stepper 'Intent' with all kinds of flavours in between including a collab with Griz-O, a remix from Ur Worst Nightmare and exceptional life truths like 'Fuck Ur Landlord' and 'Ur Boyfriend's Whack'. Get sticky.

Review: From the eastern sorcerer who gave us 'Dying On Acid' a few years ago on Deep Medi comes 'Pusher Acid', one of the most beguiling EPs Gantz has cast our way in some time. Six tracks over two 12"s, there's a real measured pace and sense of tension running across the collection as we gradually build up to the pensive, fierce and well-chiselled title track. Elsewhere we have the eerie cinematica of 'Sleepless Elite', the left-footed lollops and slug-like bassline of 'Chiral' and the palpitating, slo-mo seduction of the vinyl-only cut 'Spineless'. Keep pushing on.

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: Zha brings together element 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: Almost 20 years have passed since Australian duo's debut LP Alleys To Valleys landed in our collections. Now we see these valleys from the flip perspective as they creatively scale us to the very summit of Mirror Mountain, their most ambitious body of work so far. Sitting somewhere between Booka Shade, Four Tet and Chemical Brothers, there's a vibrancy and energy that they've only ever hinted at before. From the soaring euphoria of 'Promises' to the emotional, cinematic breaks of 'Golden Hour' and the gentle lament of 'Tides Of Time', the pair weave a beguiling narrative through their work that really brings the album to life. Stunning.

Review: After making a big impression with his first 12" on Senaker Social in 2019, Low End Activism is back with a superb full length. It finds him 'sum up the conflicting emotions attached to memories of home' as he explores his own sonic roots through the prism of future-rushing soundsystem sonics. The tracks are wrought with street level tensions and urban and suburban gimme, with darkness adn frustration. But there is also home and solidarity in these sounds which are sure to unite people of all backgrounds on the world's dance floors.

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: Few labels have been as important to the development of deep dubstep over the last decade than the Deep Medi Musik crew. Here comes another of their fine transmissions, ready and waiting to rattle your ribs and test your bowels. Somah is at the buttons for the four cuts and kicks off with 'Irked' which has inky bass and haunting late night leads over a heavy but deft bottom end. 'Mirrors' pairs more eerie empty space with echoing hits and distant sirens and 'Cold Chain' has a warmer, even slightly soulful sound thanks to the pad work. 'Unmarked' closes with a clatter of percussive menace.

Review: The Indicator label is launching with a real bang this month as it drops its first three EPs all on the same day. This is the second one and it lays out a sonic vision that is rooted in bass and grime. These tunes are lifted from a previously lost CD that hasn't been seen for some 20 years. The music has been newly mastered for this vinyl release and it finds Great Ezcape in ferocious form. These heavy cuts sound future today despite their age as they mix up fizzing synths, sleazy bass and grimy bars.

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: This is how it all began! Coco Bryce and Saturate take us back to 2011 with this deliciously wacky 80bpm halftime couplet. 'Honeymoon' takes us on a wonky MIDI mission with stacks of drama and feeling while 'Wonk' is pure off-the-wall bleep art. Never before released on vinyl, both cuts carry a certain sense of late 2000s nostalgia while remaining so unique they still bump hard today. Feel the love!

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: Causa and Pharma link-up for one of Locus Sounds' rare vinyl outings and the vibes are set as high as ever. Two originals from both, each one remixing each other's tunes, Causa kicks off with 'Kreamy', an industrial weight growler that's given a dubby touch by Pharma on the rub. Meanwhile on the flip, Pharma heads in an easterly direction with the intense pressure and swagger of 'Shift' before Causa charges the groove up with a bulbous, funk-oozing bassline. Kream if you wanna go faster.

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: Sustrapperazzi is from the coastal town of Hastings and we last heard from him when he served up some nice hip-hop joints for the Ilian Beat Series with a nice 12" back in November 2021. He now dips into the world of deep dubstep, trap and grime with a new EP that comes in super limited numbers on Astral Black. 'Gospel Trappin' is exactly what it says in the title, which is a fine feat to pull off. There are also more traditional trap sounds with screwy bass and pitched-up vocals, booming 808s on the sample-heavy 'What's Wrong', and another treat cut full of yearning churchy chorals on 'Rationale.' Fresh for sure.

Review: Saturate continue to delve deep into the electronic hinterland and find those sweet spots between myriad genres and multiple flavours. Unclassifiable delights designed twist melons and screw faces, highlights can be found in the Justice-meets-Black Strobe arpeggiated hypnosis of Tobacco Rat's 'Madlien', the 22nd century trap tension of Title's 'Guitly MFs' and the dreamy, woozy sonic slime of Seaweed by none other than Starkey. All this and stacks more, this was originally released in July 2021 and we've waited over a year to get our hands this limited purple vinyl. Impossible to sleep on.

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: Even before you hear the first beat, there is something incredibly exit about seeing the names Male - a pioneering beat master and pivotal figure in the early emergence of the dubstep sound - with Joe Armon-Jones, talented musician and master keys man. A Way Back comes on Aquarii, Armon-Jones's own label with him on keys and synths, Mala on drums and bass and Maxwell Owin featuring on 'Oh Lord'. It brings back memories of the golden dubstep years with cavernous bass and heavy weight drums all finished to perfection with Armon-Jones top lines.

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: Mancunian Walton heads to Munich label Ilian Tape for anther of his cutting edge EPs. No stranger to esteemed labels like Hyperdub and Techtonic, this soundsmith once again draws on ambient, techno, bass and IDM across six immersive and cinematic tracks. The first two are largely wide open, cavernous, ambient affairs in which to allow your mind to wander. The inventive rhythms and powerful drums then arrive on 'Dread II' and remain throughout the skittish synth energy of 'Rewind Riddim' and automated factory floor sounds of 'Overload Destruction.' 'Unknown Territories' ends on a more far gazing vibe with pensive pads over scattered kicks.

Review: Encrypted keep the vinyl heat on lock with this precision triptych from Kodama. Hot on the heels of his recent Infernal outing, here the Barcelona badman flexes three special bass treats. Each one laced with strong musical elements and threads, 'Westly' is a dreamy two-step delight, 'Murphy's Song' is a big old jolt of euphoria while 'Glimpse' concludes the EP with a poignant, harp-plucking emotional adieu. Stunning.

Review: Koma returns to the scene of the crime, finishing off what he started in 2018. First there was ENV 018 with massive tracks like 'Uncle Sullivan' and 'Moonlight'. Then came some very cheeky unauthorised versions in 2020 which most definitely weren't on Encrypted (the release was even called NOT-ENV to prove this!) Now he returns with ENV 018.1, another stately slab of wax comprising three smouldering 140 jams... The purring 'Dialtone', the militant march and thundering bumps of 'Flick' and finally the woozy swagger and eerie tension of 'Untitled'. Each one as heavy as the last, rumour has it he'll be back with an album. We can't wait.

Review: Following his soundtrack to the Roki game and appearances on the likes of Monstercat, Aether returns to his spiritual home Fent Plates for the first time since 2017. The wait has of course been worth it as 'Fragments' takes us back to the Scottish deepsmith's finest elements; stirring, poignant chords, foggy, disarming textures long lingering-but-tender notes. From the opening airy pads and trembling keys of 'Luna Awaits' to the final slo-mo plod and echo of the finale 'Worlds Apart', it's Aether doing what he does best; conjuring up emotions you didn't even know you were feeling while making you feel like you're in an impenetrable bubble. Beautiful.

Review: The dream team of East Man and Walton are back together for another collaborative single on Hi Tek. Things kick off with the tough as teak 'Screw Face', which does just what it says on the tin. It's a square wave banger with a big bad bass that cannot fail to make you jump. Flip it over for something more hard and steppy despite the fact it moves as a slow and icy pace. 'Don't Speak' layers off kilter percussion and booming sub bass that makes for a meditative sound that will get all the head nodders lost in their own world right by the speaker stacks.

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: Released right at the very end of 2019, Stormzy's much-trumpeted second album, "Heavy Is The Head", is one of the most significant releases in recent times. Made with a gigantic cast list of producers and guest vocalists - Aitch, Burna Boy, Headie One, H.E.R, Tiana Major9, Yebba, Fred Gibson and MJ Cole included - the set includes some of his most thoughtful and incisive lyrics to date, as well as some particularly ear-catching mutations of grime that will further solidify his place as one of Britain's most important artists of the 21st century. Yes, it does include more nods towards pop music - he's a Glastonbury headliner after all - but the beats remain tough.

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: 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: 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: 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.

Review: Sir Hiss is a Bristol-based bass head who has had a fine recent outing on Idle Hands' City Road label 32A but now steps out with a three-track solo effort on Innamind. 'Uderzo' is some seriously weighty post-dubstep tackle with grinding and tough synth sequences over lurching drums with crisp hits up top. 'Sleep Paralysis' is a tripe mix of what feels like sound effects from a video game over icy beats with distant chord vamps adding some flesh to the bones. Last of all is 'Till The End' which features slow and precise drum loops under a hypnotic vocal wail.

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: Element is a Kyoto-based producer who explores the experimental side of dub music. On his latest release, 'Particular Angle', he delivers two tracks that showcase his diverse influences and skills. On the title track, he blends new roots, grime and dub techno into a mesmerising soundscape that is both heavy and hypnotic. On the B-side cut 'Blurring Off Into Its Opposite' he creates an atmospheric ambient journey that draws inspiration from Gil Melle's soundtrack for The Andromeda Strain. All-in-all it is a stunning example of his original and captivating style.

Review: Oskar Allen and Luke Barnett are Glume & Phossa, but beyond that we dot know much about them, Musically this superb album shows that they bridge the gap between electronica, trap and hip-hop with plenty of slick and sleek minimal rhythms and glistening synths. There's a psychedelic edge to these sounds - hyper real melodies and warped vocal sounds - that makes it otherworldly and futuristic at the same tie as having the sort of nostalgic chords that remind you of a time you probably never actually lived. Brilliant stuff for either home listening or the dance floor.

Review: Contender for one of the biggest 140 tunes of the year, Halogenix and Strategy's 'PFTD' finally sees wax justice and sounds even heavier than it has before. Praying for the dead with every sharp Manny bar, Strategy works his lyrical magic over Halogenix's Lordel-style swagger, it's been a sure-fire festival favourite ever since. Comes complete with 'Bliss', another highly strung 140 piece laced with more tension than an elastic band testing factory. Halogenix has been on a roll this year.

Review: You ever danced with Josi Devil in the pale moon light? Well now is your chance! Making his debut on Innamind Josi (AKA Joe Dreamer) hits hard with three unique system shakers. 'Madnuss 2 Long' creeps out at the front, unhurried but very focused. It's backed up by two more heavyweight flavours - 'Sunk Still' is straight up dub with a clinically obese sub bass melting all over the kicks while 'Horn Switch' hurls in a bucket of warm, squiggly alien funk. Exceptional.

Review: Dark dubstep allstar Dayzero first came to out attention with 'Allca', where they pitted themselves alongside contemporaries Gantz or Coki in their unique displays of wonk and lo-fi production techniques. 'Pages' and 'Sen' continue this charge; watery, knocky and psychopathic, both tunes sound like a tank trudging through sludge. Militant and gritty.

Review: LEA is back up to his activities as he comes crashing back onto planet Sneaker Social with three beautiful broken beat fusions. All sitting around that dubstep/techno/23rd century garage axis, the focus is on the groove, the subs and that lean, timeless funk he's made his signature. 'Sent West' sounds like a dark B-side of a 2005 CoOp joint, all mean and minimal but suddenly opening up into a jazzy flourish. 'Neurosis', meanwhile, subverts the two-step vibe for a spacious dub jam that could work across a multitude of genres before the brilliantly titled 'Dry Chat Wet Rag' closes off with a slo-mo jungle breakbeat fix. Moist.

Review: Spooky brings some freaky good dub sounds here to a new 10" on Clarity's Dubs subs-label. The title track has a classic dub feel with happy organ chords lighting up the wobbly low ends. 'Hot Booty' then picks up the pace with party ready rework of some classic samples over a jittery and heavily percussive groove. 'Serenade Riddim' is another summer ready sound that role on big fat drums and has laidback string leads, while last of all is a dub of 'Sunshine' which leans heavily on the sounds of the Roy Ayres classic.

Review: Instra:mental's Nonplus imprint are set to unleash US based producer ASC's debut album, Nothing Is Certain next month but first deliver a three track taster of this highly anticipated LP. "Phobos" sets industrial noises and sparse, dramatic tones as its backdrop but entwines electronic grooves and micro samples over the top to create his unusual but wholly captivating sound. "Oort Cloud" drops out into some cosmic, downtempo atmospheres of weightless space before "Matter of Time" explores wind-like sounds and melodies, deep oceans of bass and his intriguing use of Oriental sounding percussion. Once listen to this will have you holding your breath for July's LP.