Bestsellers This Week

Review: If you judge a producer by their ability to successfully apply a winning formula to a variety of styles, Alix Perez is a master. While drum and bass remains his forte, there's enough on Chroma Chords, his second album, to suggest that he's growing as a producer. This EP discards with the synth-laden head nodders featured on the full album, though the four tracks here do still demonstrate the versatile nature of Chroma Chords. Thus the grimy hip hop of the Metropolis featuring "Blue Print" shares space with the soulful stepping action of "Playing Games" whilst the the excellent vintage Timbaaland does halfstep of "Shadows" (featuring breakout Eglo talent Strange U") joins up with the vicious "Burnout".

Review: 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"!

Review: Originally released spring 2012, Foamo's monstrously heavy bass chugger "Sherlock" gets the treatment from a variety of talented players. Kry Wolf drop the tempo slightly for a resonant UKG strut, Taiki & Nulight continue the garage vibe with a more uptempo, menacing bass motif, Millions Like Us add some cinematic breakbeats and shivering synth washes to the mix, My Nu Leng take a leaf out of Bassbin Twin's booty-bass book while LKid calms us down with a very neat, early 90s house version. A great spread and not a duff rub in sight.

Review: 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").

Review: Bang! There'd been hushed tones of this opus for well over a year, and at a whopping 29 tracks, it's been well worth the wait. Showcasing their widest repertoire, within the first trio of tracks we're already treated to Latino swing breaks, new jungle jiggery and dramatic dubstep. This wide-eared vibe embracement runs throughout consistently; "Hey Mr DJ" rattles a few electro-hop cages, "Countdown" is quintessential booty-bass heaven complete with delectable UK hip-hop rhymage, while "You Can Be My Night" shoots us up to planet D&B on a floaty carpet of rave heritage. A solid calling card to every party in town, it's time to get bouncing...

Review: 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.

Review: One important thing to note here Flowdan is on mic duties. With such a distinctive tone and menacing lyrical style, his flow suits Kaiju's liquid, slime-like sonics so well, they were made for each other; it's joined by the more spacious, eerie soundscapes of "Snagglepuss". Cute title, dark groove. Kaiju are on fine form right now.

Review: 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!

Review: Chameleonic Bristolian Kahn continues his peerless run of releases with a killer self-titled release for the Blackbox label that's filed alongside his Deep Medi and Hotline transmissions in our affections. The immediate standout track is undoubtedly "Badman City" which features the incomparable vocals of Flowdan, the Bug collaborator who was sampled on Kahn & Neek's superb "Percy". Whilst Flowdan's delivery on that Bandulu cut was lifted roughly from his barrelling live MCing, here he's in notably more menacing form. Rider Shafique and fellow Young Echo acolyte Jabu also provide vocals with the latter's delivery on "Snake Eyes" sounding somewhat akin to Tricky aping Mike Skinner. A bold release from one of the UK's most impressive talents.

Review: 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.

Review: 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.

Review: 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.

Review: Wrongtom Meets Deemas J's album In East London was met with some serious levels of hype when it arrived on the reggae scene last September. "The strongest modern reggae set to emerge from the UK for many years" said The Wire. High praise indeed. So "Superteng", the second single to be released from the roots-inspired LP, is a toned-down affair, groove-driven and minimal, letting the lyrics do the talking. Featuring a cool and collected remix by Scoop & Alter Ego & Rico and the bonus addition of jungle mashup "Jump + Move + Rock" remixed by the one and only Benny Page, you can't mistake the top quality of this release. If you're a fan, buy the LP too, it's a modern reggae masterpiece.

Review: 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.

Review: 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.

Review: Californian sound scientist Kial continues his experiments in the fields of ambience and dub with this mesmerisingly deep package. The title track rumbles and wafts with such far-away focus, it sounds like an old Orb B-side beefed with contemporary production values. "Konstruct 9" is much more dancefloor-focussed with its swampy halfstep and metallic layers of razor-sharp bass. "Laido" follows with a stumbling, trippy kickdrum and startling flashes of light that flicker of the menacing groove.

Review: Drumsound and Bassline Smith's mainstream D&B assault is well worth watching. Applying catchy pop sensibilities to their tonked-out bottom-heavy technique, they're nipping at Fresh and Sub Focus's heels with real determination. Remix-wise we see Northern Lights throwing down a big dubstep vibe that sizzles and snarls with metallic menace while Tantrum Desire switches up for a speedy spliced and diced technicolour D&B version. Big.

Review: 2013's trap attack continues unabated and the mysterious UZ is leading from the front. "Trap Shit V12" takes a series of warm, belly-punching 808 bleeps and bruises while processing the well-known "I Know You're Going To Dig This" vocal beyond recognition, while "Trap Shit V13" strips the vibe even further back into the ghetto thanks to some menacing counter melodies and throat-slicing snare rolls. Meanwhile in remix territory we're bombarded with a cavalcade of genres; Audionite takes us into peaktime techno territories, Justin Martin massages the perfect dosage of funk into the mix while Clicks & Whistles remind us where trap came from in the first place. No shit here; just raw, undiluted 808 science.

Review: There are MCs who hype the dance and there are MCs who are poets in disguise. Beezy is most definitely the latter; spitting acidic anti-establishment wit with clarity and venom, he fits RDG's paranoid sub-shuffled perfectly. RDG's own tribal remix of "Skin Out" flips for a much more carnal, body-inspired groove. Cruising with layers of nagging hand drums, there's a shamanistic riddim to this that can't fail to lock your floor down. Knowledge is power!

Review: 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.

Review: Dropping that purple funk like only he knows how, Joker is back on Kapsize for another bout of pimped out steppers laden with synths and a strong whiff of boogie. Opening track "Zim Zimma" proudly rips out some hair metal guitar licks over dramatic piano stabs, and even chucks a jungle break into the mix towards the end of the tune. "Gully Side" is more devoutly aggressive in its demeanour, grinding on a mid-range buzz and a slimline beat of just a few key parts sharply honed for guaranteed floor-flattening. "Handz Up" has a cheeky dose of trance worked into the emotive chord progressions, while the beat even sneaks into 4/4 in places before switching back into a steppy stance. "Newham Generals" rounds off the EP with the most lairy of all the tracks, channelling all the strengths of the previous tracks into one bold and bashy beast of a track.

Review: 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...

Review: No other MC has made the transition from performer to producer as well as SP:MC. Hinting promise since his early forays with Breakage almost eight years ago, he's shown the utmost versatility and creativity. Back to the future and his skills are still more than evident. Ranging from icy, sheet metal beats ("Declassified") to skippy, steppy minimalism ("Kenshin"), this is one of SP's broadest, most accomplished EPs to date.

Review: Anyone can knock up a screaming wobbler, but to give it funk and enduring appeal is another thing all together. Suffice to say Nasha Experience member Squarewave has nailed that tricky task on "Home Alone". The seesaw bass cuts through with menace yet seeps like a filthy liquid. "Rising Sun" lollops with much more of a traditional digidub flavour. "Restricted Area" returns to the darker side of the dance. More confrontational than "Home Alone" but not without its cheeky sonic spirit, it's aggy without being unnecessarily icy. "The Heist" brings us to a dramatic, cinematic climax with a great orchestral sample and awesome pranged out sighs and shuffles.

Review: Space soul superstar Deft defies the assumption that all Croydon boys are gnarly dubstep champions with this startling exercise in genre defying. "Let's Hook Up" is a warped and weirded out love song with spooky processed vocals and a well textured, off-beat groove. "Lucid/Overline" is a dreamy, sludgy 4/4 slug-out while "Loqux & Past" rides roughshod on some very trippy drum works. Going through the motions? Then cheer yourself up and go through "The Motions".

Review: A huge release for Manchester's Midication crew as Virus Syndicate studio/turntable monster MRK1 gets lively across a range of vocal and instrumental joints. Highlights include the Old Spice style string drama of "Renegade", Roll Deep affiliate Jamakabi's fast-tongued chatter on "Deeper Than You" and the dancehall harmonies of "Badman" - a perfect example of how autotunes should be used. Still not convinced? No stress; there's an instrumental on offer too.

Review: Brand new label Nauseous Vibez flings themselves into thick of things with a huge 18-track launch release. Highlighting at a family-like tightness amongst their talent, Syndicate unites dubsteppers from across the globe with a consistent, well-polished range of depth, body and groove. Highlights include the soul-stirring piano tickles on "Coded", the muscular menace of UZZI's "Blackout" and the skippy slo-jungle breakism of Artroniks' "Hidden". A fine way to launch a new label... Nauseous Beats peddle in some seriously sick audio (literally).

Review: Mala's Deep Medi imprint seemingly stands alone in their efforts to ensure the founding principles of dubstep are retained, while not being afraid to release music that will smudge the boundaries of people's expectations. The label's latest release encapsulates this perfectly, with Butterz alumnus Swindle debuting in style with the bizarrely brilliant "Do The Jazz". If you've been tuned into the more tuned on shows on Radio One you have probably heard this track as the likes of Mistajam and Toddla T have been big supporters, but for those coming to this twelve with fresh ears don't be alarmed by the jazz licks of the opening bars; when that bass line rips through devastation will unfold. The deranged approach to the dancefloor with the piston driven sounds of "Under The Sun" while "If I Was A Superhero" realigns the Mothership Connection to a 140bpm flex.

Review: Mala's album project comes to light with a healthy amount of expectation. The DMZ / Deep Medi Musik main man has always carried a reverence amongst the dubstep scene for his unfussy approach, staying true to the sound he helped forge in the nascent days of the genre while avoiding over-exposure or buckling to hype and trend where so many of his peers succumbed to change. As such this project sees the man well outside of his comfort zone as he tackles a specific album project whilst sticking his head more clearly overground to work with Gilles Peterson on an adventure in Cuba working with local musicians. This is most definitely Mala's music, and the spiritual, tribal nature of his productions to date only gets enhanced by the influx of Cuban folk sounds. This is no simple case of ripping samples and dropping them for token effect though; the percussive patterns and licks of piano, guitar, horns and voice are completely interwoven into the South London pressure as if they were always meant to be. It's testament to the pure approach Mala takes in the studio that he manages to balance these unlikely bedfellows to such fluid effect. Undoubtedly there will be naysayers who will argue that in doing an album of this nature Mala is diluting his purist vision for dubstep, but in truth the approach and end results he has managed to conjure up bring a revitalising, fresh angle to the genre, which is what it needs in abundance. There's maybe a lack of the "shock of the new" factor as Cubano music is not exactly a stranger to UK dance music forms, and Mala isn't exactly switching his own stance too drastically, but ultimately that doesn't matter. The whole album is direct and immensely satisfying to listen to, capturing the alluring spirit of South American folk tradition and empowering it with the transcendental nature of dubstep in its finest form.

Review: With the ripples emanating from their bass music concoctions spreading ever wider, dynamic trio Dark Sky make the move to Tectonic to nudge that very label's remit into new territory. With their previous form on 50 Weapons and Black Acre amongst others, "Confunktion" sounds like a logical next step in limber but deadly accurate electro stylings. They don't lean on obvious tropes of the genre, bringing a more modern bass music slant to the synths and fully employing studio skills to make for an addictive, head-snapping beast of a track. "Double U" heads into a freakier domain defined by globulous synth drops and a tribal groove as fruity as it is funky.

Review: Entitled simply Grime 2.0, this mammoth release sees grime originators sit next to a new breed of artists, all compiled by Big Dada label boss Will Ashon and journalist Joe Muggs. Documenting grime's continued development over the past ten years, its track selections also demonstrate that it's still a vibrant and flourishing genre. Some 35 tracks deep, the compilation sees Ashon and Muggs securing exclusive, previously unheard material, with notable grime figureheads such as Youngstar, Wiley and MRK1 contributing alongside current stars in Royal T and Preditah as well as an international cast of emergent new talent, with Local Action artist and Grimetapes documenter Slackk featuring too. Essential!

Review: This one is a bit of a whopper. With 43 unmixed tracks to choose from and two bonus DJ mixes from curator Jay Cunning, there's plenty for fans of 140 BPM plus bass music to sink their teeth into. The tracklist reads like a who's who of the breaks, jungle and breakbeat garage scene, with stalwarts Ellis Dee, I.D, High Rankin and DJ Twista joined by a welter of lesser-known artists (601, Aries, Gella) for an all-out assault on the senses. From hardcore revivalism and early jungle roughness to bhangra-flecked beats and electro-breaks madness, Bass Selection Volume 1 has it all - if you're looking for speaker-shaking heaviness, you really can't go wrong.

Review: Serial badman and international dubstep superstar Skream presents the seventh (yes, seventh) volume of Skreamizm, a much lauded and highly influential series that's been cited by many as one of those iconic milestones in the rise of Dubstep as we know it. Purists and newcomers alike will find something of appeal here, as the Croydon label done good flexes his address book muscle on the opening track "Copy Cat" where deftly placed beats sit perfectly with the polished, seductive and slightly husky vocals of US vocalist Kelis. Elsewhere, cuts such as "Vacillate" provide a stark contrast with the jarring synths and punishing snares in a heavy, pressurized soundscape. Watch out for "Scrooge's Revenge" with its heavy, wub-wub sound, as well as the deeply hypnotic "Junkyard Dispute" with its eerie wailing and buzzing basslines. Excellent from start to finish.

Review: By now, all those of a deeper dubstep persuasion should know what to expect from the Smokin' Sessions series; intricate, ear-soothing fare bolstered by zippy low-end rhythms. Inamind Recordings regular Geode is the latest to the step up the plate, alongside Earl T and C Tivey. For those keen on twinkling melodies, warm pads and decidedly cloudy atmospheres, there's plenty to enjoy, from the wide-eyed beauty of becalmed opener "Ode", to the almost impossibly warm chords and organic drums of "Phi". Our pick, though, is "Ruh", a snappy, dubwise roller peppered with spinetingling blasts of mournful piano.