Macabre Unit founder Demon on Wheel & Deal with his first dubstep release since autumn 2013? Yes please! "Chronik" goes for the jugular with fast-paced industrial strength beats and a magic, lava-like flow. "Break Point" flips around a cool vocal sample axis. Twisting and turning with well-oiled prowess, there's a strong sense of dark funk throughout. "Salvation" tips a nod to the murkier, moodier halfstep foundations but does so with some really cruel twists on the fills. "Genocide", meanwhile, is a truly dark 4/4 composition that gives Beezy's conscious, thought-provoking sermon the space it deserves. Finally we hit the Biome collaboration. Last spotted together two years back with the massive "Incubus", they make up for lost time with a supreme halfstepper than munches dungeon motifs before spitting them back out in the most subversive way possible thanks to an almost psy-like synth arpeggio. Stupendously immersive.
DJ Muggs producer and self-styled woofer cooker, LA's 6Blocc enjoys an illustrious heritage, and a very exciting future. Fusing the best elements of jungle, ragga, bass music and dubstep, "Serious" flexes around a very well known horn sample and some guttural lyrics flows from Junior Demus. Four-version heavy, it ranges from the full-bodied, breakbeat-heavy original to the thugged-out Miami bass style 808 twist. "Give Love" takes the skank factor further to the fore as Demus gets sexy over a groove that teases with so much digidub pleasure it's likely to stick in your brain. Finally we hit "Jungle Stabbin." All rusty amens and mangled horns, it lives up to its title in every possible way. Lighter!
How Strange is Truth's fourth release on Tempa following last year's Devil Hands and Chicks & Drugs. The brass bell chiming title-track features the eastern-tinged vocals of female singer Bijou. Layered over the top of wobbly bass rumbles that create its lurching groove are keys similar to 187 Lockdown's garage crossover hit "Gunman". Two further tracks appear with the minimal yet heavy drum passages of "Justify" sounding like something that would be right at home on Deep Medi, while its vocals and synth work nestle quite comfortably into the Tempa aesthetic. For some deeper bass vibrations to bliss-out to there's also the icy cold and dusty "Yesterdays".
Marietta-based Drew Anthony stirs a unique brew. Steeped in trip-hop heritage, original dub and contemporary jazz just as much as it is dubstep, these cuts smoulder with real timelessness and groove weight. From the sleepy trumpets on "A Little Class" to the steel-foundry reverberations on "Side Effects" via the badman loopiness of the super-murked, slow-amen massage "Acid Vibes" and the hazy organ and horn flurries on "Soho Jam", this transcends standard stuffy genres. Ideal for deep floors and heavy headphone sessions, Drew's theory is a winning one.
In the wake of all this grime business blowing up at the moment, it seems an apt time be delving into this compilation of early Plastician jams from a time before Mr Hawtin forced him to change his name. Coming at the emergence of dubstep when it was also called sublow or sometimes just grime, it's a thrilling reminder of the possibilities that were opening up in gritty urban electronic music at the time. With a primal approach and that icy minimalism that made the early material so exciting, there's not a duff moment in earshot across the whopping 21 tracks included here, and they've all been remastered for maximum contemporary impact. What more could a bass lover ask for?
Three dank and dingy originals and one respectfully dark remix - if you like it deep and slimy, you've come to the right place. The title track is a real creeper; full of halfstep sludge, kicking at the shackle-like pads, it's a paranoid fusion that will hench a floor at 20 paces. "Abyss" gets the same reaction but via an unrelenting 4/4 groove that pounds through thick mystic atmospheres and elements. "Kingpin" is the heaviest of the set. Naked sub business with anchor-like kicks and well placed hand drums, there's a confident sense of stately space throughout. Remix-wise Konvex quadruples up the kicks to create an exciting dub techno groove that will find favour with the likes of Regis and Mills as much as it will dubstep DJs. Don't torment yourself - grab this now.
Some serious South Welsh sonic sludge right here, as Cardiff-based Sovex returns to his motherland's finest bass imprint with two breath-taking originals. "Voices" rides a treacle-thick sub line that purrs beneath a subtle breathy vocal. Careful now; those purrs quickly turn in growls throughout. "Submerged", meanwhile, is even thicker in dynamic as we flip from spares dynamics to a well textured rhythm and bass arrangement. Laced with some touching minor key chords, Sovex has created an unnerving sense of atmosphere throughout. Complete with two killer remixes from Dark Harmonics and Spacedrome, Abyssal have pull out every stop on this. Don't sleep on it.
Jay Cunning's Sub Slayers imprint has been developing a seriously strong repertoire across all discerning bass genres over the last four years. With a roll-call that ranges from Aswad to Ellis Dee, it's a repertoire with real roots and heritage, too. Here we find the label's third official mix collection. Dedicated to dubstep and curated by Schema, it's an investigative tour of every creative corner the genre has to offer; from the rolling, breakbeaty grooves of Jinx In Dub's "Shaka Sonics" to the muddy modern jungle nastiness of ID's "Tell Ya" and Serial Killaz "Man A Talk" via the more conventional savage midrange riff drop of Rack N Ruin's "Selecta Dub", all shades and styles of the scene are repped in full colour. Naturally, each one is guaranteed to slay all floors...
Ready for some serious ragga beats? Here we go...One track, three versions, one message. Audioheed and Skilf are badmen. Producing some of the most nuts hybrid dubstep out there, coming direct from the centre of everywhere (okay, Bedford, UK). Set to tear down venues across the country, "Bad Man" is the type of track that makes a night.
Columbian singer/songwriter and firm friend NoMad friend Estel Luz lays down a heartfelt story of seasonal sweetness on this release while emerging engineer Epi lays down a respectfully sparse and melancholic halfstep beneath. With a finish that will fit festivals and daytime airwaves alike, it's as catchy as it is weighty. Looking for more dancefloor pump? Jump on Graziano's UK funky style 4/4 blend. Retaining all the elements of the original while giving it go-faster groove stripes, Graziano has created the perfect counter-solution. Sweet as.
Subverting the creative flow from gritty trap badness of their debut self-titled release, here we find the Cali trio in a more cosmic mind-state. Showcasing a richer sense of musicality and depth, it's hard not to recall the likes of Bassnectar circa Mesmerising The Ultra. Highlights include the sombre, poignant chords and oriental influences on "Phuture Vintage" and the planet-bounding 808 clicks and snaps and alluring riff positivity of "Whispers". A highly accomplished EP, Slick Trilla have shown some serious class right here.
A lazer-bending fusion of big room and grime, Deckajam make their mission statement loud and clear: they've come to devastate the largest of crowds. With soul-stirring vocals from Laura Bayston and demonstrative rhymes from Voodoo Browne, "We Don't Care" is a heady blend that melts down genres as quickly as it hypes crowds. Remix-wise there are some really nice twists. Ice Cream legends Light Work and DJD both turn in UKG gold; the former gets rugged and raffish with a chunky 4/4 and time-stretched vocals while the latter weaves a spell-binding web of organs and lolloping two-steps. Prefer your bass of a more contemporary nature? Jump on NJC's spacious and steppy remix. Trust us, you will care about this one!