The always onpoint Echo Beach serve up a long overdue second edition of their Reggae Germany Downtown compilation. Some eighteen tracks deep, Echo Beach give a true representation of the Dub scene in Germany, pairing veteran artists like Felix Wolter (Dubvisionist, TVS), Seeed, and the Senior Allstars with rising talents such as Aldubb, Brain Theft, aDUBta, Symbiz sound and Chazzy Wezar (the son of Matthias Arfmann). Reggae Germany Downtown takes dub as it's starting point and veers in various musical directions so expect sub heavy dubstep (the Giotto remix of "Let There Be Dub" from Aldubb" is a highlight) downbeat skank, rude electronics and dancehall torch songs. Germany is Dubland"!

While the cover artwork may make Benton look like a moody former member of an R&B boy band, the music contained on Reflections is as robustly underground as you'd expect. Moving from Burial-ish paranoid atmospherics to deep dubstep-soul via a series of sparse, moody and emotion-rich soundscapes, it portrays the London-based producer as a man for whom the simple pleasures of form and function are just not enough. Along the way, there are growling, murky floorfillers (check the hissing "Herman's Hideout" and "Defect Mind"), dubwise steppers ("20/20 VIP") and occasional blasts of piano-laden beauty (the intricate "We're Both Lost").

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.

Some say the Devil's hands are manicured and sport the finest gemstones. Some say the Devil's hands have love/hate tattooed on them. Others - like us - say the "Devils Hands" are the epitome of beautifully deep, dark dubstep. "Devil's Hands" is a slurring, slab of haunted dub-soul while "I Belong" shows the trio at their softest, most emotional state with sexy subs and a purring vocal. Tempa nail it again? Ain't that the Truth!

North Welsh producer Feonix is pushing dubstep to its very extremes with this wonderfully dynamic ode to archaic bone-bashing riddims. Clicking and whistling through myriad found sounds, this is truly unique (a term that really can't be used very often in such an over crowded scene). "Night Creatures" is equally as immersive with breathy pads, heartbeat kicks and spacious clicks that build into an abyss-level sub drop and funky - if a little warped - two-step. One (Jurassic) step beyond...

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.

Making for a matching with hard-to-imagine results, Mala gets the remix treatment from James Blake in his Harmonimix guise and issues it forth on his own Deep Medi imprint. It's a bold treatment from Blake, who teases the track to life on a twee arrangement of music box chimes and tones, while a central vocal coos out the dominant melody. There's a mid-section with the only discernible slither of beat which sounds like familiar Blake territory, not least through the bluesy keys vibe that it carries. However, it's the monolithic brass-aping clarion call which comes steaming in to steal the show, trumping out its orders in a suitably epic fashion which is nothing if not rousing.

A large serving of aggression with plates of euphoria and filth on the side, sir? Coming right up... The mysterious AWE has cooked up a five track menu that reveals, as EP title suggests, his most free-spirited fusions of funk and fire. From rifle-like trap grooves ("Rust Lung") to concentrated star-gazing halfstep euphoria ("YYY") via utter bass chaos ("Jurassic"), every meal is as tasty as the last.

Doctor P and Flux Pavilion hand over the selection duties to familiar label faces Funtcase and Cookie Monsta for the second Circus set. A 25-strong banger compendium balanced between classics and exclusives, it oozes the perfect blend of bare-faced bass attitude and tongue-in-cheek humour. From Roksonix string-soaked jig jamboree "Music In Me" to Brown & Gammon's emotional audio rainbow "Dark Matter", the Circus sound is represented at its boldest, most characterful and, above all, fun. Not a dull moment in sight - check this and remember why we all got into dubstep in the first place.

No other label can rep dubstep like Tempa. Many would argue it was the first label to truly herald and nourish the sound. Here they explore their vaults and dust off some of the most genre-defining, idiosyncratic tracks that have helped shape the phenomenon we know today. From SPMC's paranoid murker from 2008 "Trust Nobody" to a whole series of Skream sessions such as "WTF", "Wibbler" and "Vacillate", the collection is a reminder of how influential Tempa has been, how talented their roster has always been and, most importantly, how slamming and stimulating dubstep can be when nourished and developed by the right label. Recognise.

The Greek economy may have had a kicking but its dubstep scene is still thriving in a major way. Represented by both Camelorg and UZZI, they've developed quite the reputation on the international circuit over the years and here they collide for a feisty sub-slaying five-pack. The results are deeper than you'd expect with cuts like the title track and "Doghouse" both rolling with a slimy, stank dungeon vibe. Looking for some funk in your halfstep and wobbles? Head for "Doomsday". Looking for some audio napalm? Head for "Sonic Boom".

Variety is the name of the game as Berlin's Tim Eliot unleashes a quad of uncompromising bass compositions. It all kicks off with "So Loud", a glittering, wafty, dreamer of groove with warm kicks and psychedelic twists. Things get much darker from here on: "Experiment" is a crunchy, industrial halfstepper while "Go Offline" is fractured and more fearless again, sounding akin to an alien invasion circa Hollywood late 60s. "Gear Up" ends us on a more of a classic metallic stabby bass style. Loud, gritty and nasty: just how we like it.

With plenty of heat and hype building from the underground and streets, the talented singer/rapper Zee Musiq gets the full club remix treatment for her latest single 'High'. With support across Radio 1xtra and Rinse she looks set for big things and these cool and classy remixes from the likes of DJ SKT make for a really nice soulful house moment, bringing plenty of summer vibes. Her songwriting and smooth vocals flow effortlessly with the housey flavours, and there's also a very of-the-moment UKG mix from Crezza, as well as a big room cut from Tucka. All bases covered on this solid release, and we are tipping Zee Musiq for big things this year. Lock in and get to know!!

To do "Disrepresentation" a disrepresentation would be to call it a happy, feel-good track. To do it further disrepresentation would be to call it a banger. No siree, we're talking moody, cold, subby and dark. The bass drones with a slight hollow timbre, giving all the drama it needs through understated means. "Data Touch" is a little more upbeat thanks to some very nifty double kicks but the vibe is still as icy and unforgiving as you want it to be. Don't do yourself a disrepresentation... Jump on this today.

A lesson in how to make it in the industry, Teddy smoothly spits out the rules of the game over a dramatic hook. With a style that's not dissimilar to the Footsie Newham General, he puts forward a convincing case for ears well beyond the grime scene. BassBoy jumps on the remix scene for a sexier, stripped back blend with heavy nods to R&B and classic UKG.

Bournemouth badmen Aquasky have been peddling their own distinct blend of uncompromising, hard-as-nails bass music for nigh-on 20 years. And still they keep delivering. Joining the dots between their own breakbeat bass science and dubstep, Bring The Ruckus is one of their noisiest, most hectic compilations to date. And here are two mighty remixes to compliment it. Funtcase's rub adds a walloping sense of wobbly drama and loin-girding 4/4s while Genetix's rub comes across like Justice's "Waters Of Nazareth", had they written it on a really bad day. While someone's punching their dog. In a nutshell: nasty.

How many styles and genres can you throw into one tune? Well LA producer Ruckus Roboticus is having fun discovering just that. With drum machines and samplers at the ready this EP has a wicked DIY quality that leans back to the days of mashing things together on outboard equipment. Across the EP, disco rings pretty loud, and the title track 'The Phantoms Theme' showcases exactly that with a hectic arrangement of fills and drops and plenty of cheer and smile raising twists that will keep a fun vibe and the floor moving. Louis Roche strips it back and goes in a bit harder for his remix that has a cooler edge, and opens up to wider range of sets. Also worth checking out is the Unix UK remix of 'The Phantom of The Disco'. Lots of fun had making this no doubt, and just as much dancing to it.. Check it out!

Audio Animals recruit some exciting new talent in the form of Manchester's award-winning D&B-turned-dubstep dude Nothing To Lose and the 14 year old Subkill. The former gets all emotional and anthemic with his halfstep rumbles while Subkill weaves myriad low-end screams and gurgles to pay tribute to the VST no dubstep DJ could do without. Very clever.

Gigantic stadium-level epicness here from New Zealand outfit MT Eden. Lighter-waving sways of halfsteps and warping bass make the perfect bed for Freshly Ground's awe-inspiring vocals. There's a great range of remix flavours on offer, too. Ta-Ku is all clicky, trippy Burialesque two-step. Araabmuzik adds a walloping hallow resonance to the bass. Tommie Sunshine and Live City end with a switch-flipping EDM headtwister. We don't use the term 'gigantic' for nothing...