Sounds Of Sumo label bosses Kry Wolf return to their home imprint with a bold new sound in the form of Concrete; eschewing their usually lighter take on bass music, the title track is a dark combination of wobble bass and dub atmospherics, held together with some steely techno rhythms which comes across like Objekt's "Cactus", while "Bluffin" combines more abstract beats with ghetto house-inspired vocal samples and dubby stabs. Woz is tapped up to remix the title track, being considerably more sparing with the savage bass and rearranging its rhythms into something altogether more angular; Benton's remix of "Bluffin" is classic SOS, providing a bouncy piece of bass-heavy garage house.

Entering what seems like a new phase for Pinch's bastion of forward-thinking dubstep, Tectonic Plates reaches its fourth edition and brings in a raft of fresh producers and new angles on just what the genre might mean in these fractured times. Even the classic standard bearers such as Jakes are bringing curious 4/4 momentum in amidst the sparse, dread filled pressure, while Guido pivots off of the plush musicality of his album to create an utterly broken symphony on "State Of Joy". There are a lot of different ideas floating around the whole compilation, and yet everything holds together with the deep-rooted soundsystem mentality that has always defined Tectonic as a shining example of what dubstep has always meant.

The phenomenon that answers to the names 'footwork' or 'juke' has spread far and wide since its origins as a sped up fusion of ghetto, jackin' and hip-beats in Chicago. It's spread so far in fact, that French label, Booty Call, have taken it upon themselves to present this inspired compilation in an attempt to put the genre firmly on the musical map. They've got taste too, and highlights of these 12 prime cuts include: the deep synth fest of 'Access", the porno-hop frenzy of "Sex To Me" and the Kenny G on downers vibe of "My Sorrows".

Bristol's DJ Die has gone one better than signing Addison Groove to his Gutterfunk imprint, he's only gone and collaborated with him on both tracks here as well! The footwork-influenced side project of Headhunter, Addison Groove assumes charge of "Keyhole" - a stripped back excursion into sultry voodoo beats. Meanwhile on "Hydropump", DJ Die takes the lead steering this ship into breaky hip-house waters in the process.

Given Unknown To The Unknown's wide ranging remit, including bassline garage, Detroit electro and Chicago house, it was perhaps inevitable that a genuine 90s house record would find its way onto the label at some point. Originally released in 1992, OHM's "Tribal Tone" was supposedly the first tune to use the Korg M1 sound that was later immortalised by Robin S' "Show Me Love", and had considerable impact at the time, being championed The Shamen frontman Mr C, being licensed to R&S sub-label Global Cuts and US label Vibe, and finding itself remixed by the Sabres of Paradise trio. Here it finds itself with three similarly great remixes, a stripped-back, raw groover from Marquis Hawkes, a horn-heavy piece of 90s action from Capracara and a thundering mid-tempo effort from Northern Souls. Essential!

When 123MRK's Noname EP dropped in 2011 creating waves all around the dubstep and bass music scene. Moulding the sound of his generation into a style all his own, the Frenchman suddenly found himself held aloft as an innovator as well as simply a producer of sounds. This remixed release of his seminal EP was a lofty undertaking and the finished item features remixes from some of the future dubstep scene's brightest young stars alongside long-time innovators. From Liar's metalic, lo-fi flavours to Troy Gunner's understated clicks and swirls; ViLLAGE's heart-pounding house remodelling to Heblank's old-school twist, even the likes of Pixelord and ReSketch play their garage-influenced hands to create an all-new modern-day canvas of what exactly bass music is right at this moment. It can never be truly defined, but this is a pretty good encyclopedia.

Making their debut on Hot N Heavy, Motif & Ramu show themselves to be more than capable of creating bass heavy yet lightweight music for the floor; "Just You" is an effervescent combination of 90s house stylings and swung garage beats, with the kind of fizzy melodics worthy of a Jacques Greene production, while "See The Future" is a considerably darker number, pitching its vocals right down into a dub infused, bass filled soundscape which is nevertheless primed for maximum dancefloor effect.

No prizes for getting that it's house o'clock round Odessa towers (it's always house o'clock round there). This EP features five incarnations of the aforementioned house; all different but assertive in their own way. The three originals take in delirious, jackin', frenzied piano house ("Get Right"), filthy warehouse, bassline-y hip-house ("Put You Down") and (best of all) minimal and techy after hours darkness ("Tell Me"). Winning the best remix of the package award is Artefact who delivers a totally out there deep and brooding remix that features some the deepest sub bass we've heard in ages!

Russian producer Ishome has been bubbling away for years, checking in on myriad genres from dub to prog to techno. Here we find her in full dub mode, serving up some of her most sensual sonics to date. Flicking with finesse from cut n' paste starlight delight ("Adam") to swampier, more pensive pieces ("Sad Family") via ambient space baroque ("It Exists"), she shows maturity and rich depths throughout the full album. This should appeal to everyone from Trentemoller fans to Kokeshi lovers.

Utilising drum & bass siren Riya's silken vocals on a bass release might be this year's best idea yet. Weaving in and out of that house and dubstep and garage and footwork sound we're all so keen on right now, technical beats and lush atmospherics keep harsh synth stabs in check in the title track, while "Absense" and "Ruff" shake off their Mr Whippy soft sweetness and launch into an icy world of techy house and cool sampling perfect for late night dancefloors filled with long-haired girls and pastel strobes. For extra pop-quiz cool points, Kiri's remix of "Mindgames" was recently played in a Disclosure mix for Rinse FM. You're in with the Eton Messy crowd now, guys.

Despite the irreverent moniker, we reckon this Brighton act are just being coy - they probably spend ages perfecting their sounds really. Besides history is littered with warnings about what letting the machine do the work, haven't they seen Terminator? Anyway "One Love" is a big bear hug of a house record featuring a gruff voiced man spreading the love over some deep grooves and woozy key stabs. "Brighter Day" is a hazy, melancholic slice of early Chicago-style house and is a joy to behold.

Having made his debut on Prime Numbers earlier this year with his titular contribution to a split release alongside Truss and Massimo De Lena, Adesse is granted a full release with this all killer no filler Untitled Love EP. For someone who came to the fore with a version of Theo Parrish's "Sky Walking, it's unsurprising that the title track here has a rugged charm reminiscent of the outspoken Sound Signature boss - it's all about that thumping snare son! Meanwhile "Supernal" veers into deep steppers territory and contains some ingenious looping of a Laurie Anderson standard, whilst "Metachemistry" highlights Adesse's talent for loose, freeform arrangements.

Tony Tokyo debuts on Roska's Kicks and Snares imprint with "More Than A Fantasy", and rather than the flexing UKF the label is usually known for, his style is more that of the bassy, swung house of the Hypercolour camp, combining swung rhythms, dubby stabs and a cascading vocal sample. RKS regular Tickles provides his own take on the track, delivering a streamlined, techy version of the track which adds screaming synths and bouncing percussive tics.

Bringing further evolution in the realm of footwork, one of the scene's heavy hitters DJ Earl drops this self-assured EP which lets a little heart and soul into the manic machinations of his chosen discipline. Opening track "I Feel It" embraces full-bodied vocals and warm melodies, while "I Need You" gets deep into a Rhodes refrain, all the while twitching away at the heightened BPMs of classic footwork. "Alive N' Well" goes as far as to reach for some chunky Detroit chords, while "Ambienttt" somewhat ironically represents the feistiest cut on the release with a more head-nagging refrain that seems more in line with classic Chicago juking.

They say that Tuesday's child is full grace. It's certainly true of the productions of Tuesday Born, aka multi-instrumentalist Gabriel Benn. This release sees him leave behind his previous fascinations with Africa and South America to a slightly more traditional North American sound. The quality doesn't suffer though, as "Wake" is a strong take on the Stateside RnB ballad and is successful thanks to a deep and jazzy female vocal. Remixes come from One Inch Punch (shuffle-step) and Pale (broken micro-garage).

A contemporary of Dance Mania artists DJ Deeon and DJ Slugo in the 90s, RP Boo is credited as a founding father of the footwork genre; his Ol' Dirty Bastard sampling track from 1997, "Baby Come On", is widely regarded as the track responsible for spawning the genre. Having released footwork albums from Young Smoke and Traxman in recent times, Planet Mu look to this godfather for their latest full length project. Even within the small footwork scene Legacy is a unique album; taking the sample wizardry to far out, often abstracted places, RP Boo nevertheless grounds his experimentalism with easily recognisable samples (Justin Timberlake, Queen), making his productions as raucous as they are idiosyncratic. Essential stuff.

It's been three years since Peverelist released anything on his own Punch Drunk label; of late his productions have come out primarily on the Livity Sound imprint he runs with Kowton and Asusu, or on Hessle Audio. Here he returns to Punch Drunk in triumphant form, using the truncated Pev name to drop two versions with fellow Bristolian Jacob Martin, best known for his solo productions as Hodge, and his work as one half of Idle Hands house duo Outboxx. Entitled Bells, the single sees two takes on the same track; given both Martin's house credentials and Ford's dubstep past and recent forays into slower rhythmic terrain it's no surprise that both tracks are steady, mid-tempo house imbued with Bristol's bass-weight heritage. "Bells (System Mix)" employs syncopated kicks and dub chords over its tunnelling bass, while "Bells (Dream Sequence)" is a more linear Chicago-inspired house cut with distant chimes and abstract synth textures, sounding not unlike some of the dreamier fare released on MOS Recordings.

The unprecedented rush that's met each upcoming funky-house-garage-bassline producer in recent months has plastered the pillars of the bass music spectrum with the tags and new sounds of a scene that's forging itself before our very eyes. Debian Blak has already caught the attention of BBC Radio 6 and has created a stir with previous remixes and bootlegs. This, his first ever full length release, chronicles his musical journeys on his very rapid ascent to bass music stardom. From the lush soundscapes and retro bleeps of "Dive" to the deep, contemplative tones of "Where You", Blak is a man intent on building his own structure on the never-ending tower that is modern bass music. God speed, Debian.

Luckybeard is both the artist and label name of Italian producer Francesco Barbaglia. Proudly 'devoted to electro, house, dubstep and bass music', it's no surprise then to hear his latest release comprises elements of virtually all of these genres. Production-wise, Barbaglia deals in controlled chaos, and he does so to totally bonkers effect on the frankly incendiary "Descending Love", the apocalyptic crescendo of which has to be heard to be believed.