The Tree Knows Everything Revisited (feat Kirsty Hawkshaw) (8:04)
Circles Revisited (extended) (5:35)
Mother Earth Revisited (5:01)
Dirty Harry Revisited (5:34)
F-Jam Revisited (feat MC Conrad) (5:41)
Aromatherapy Revisited (6:57)
Review: Colours Revisited isn't just a nod to Adam F's 1997 Colours but a wholly reconstructed journey that blends the echoes of late 90s drum and bass with new layers of live instrumentation. Rather than dusting off the original, Adam F digs deep, pairing soulful grooves with UK jazz virtuoso Julian Joseph's keys and the rich textures of re-recorded vocals by Kirsty Hawkshaw. A standout, 'Metropolis' channels the Metalheadz-issued original's punch with a vivid, rhythmic pulse, while 'Music in My Mind' echoes Herbie Hancock's influence. The album pulses with both reverence and reinvention, casting classic tracks in a fresh sonic space where analogue warmth meets carefully layered modernity. This is Colours, all brilliantly retold for a new era.
Review: We've all looked skyward for inspiration at some point and now it's the turn of Pittsburgh-based d&b producer Alpha Rhythm. Michael Gorman, to use his real name, deals in the kind of introspective, ethereal rollers that suit rainy day reflection as much as the deeper part of a dance, and he applies that style to the celestial bodies of our solar system to great effect. There are notable vocal spots from Leo Wood, Natus and Gemma Rose which only add to the heavy load of feels pouring out of this expansive long player dropping on Fokuz.
Review: ASC's Reflections is a masterclass in drum & bass and ambient music. The album is awash with deep, melodic soundscapes and old-school 90s beats that will transport you to another world. From the gentle pace of 'Glaciers' to the more upbeat 'Prototype' each track on the album is a sonic journey that will leave you wanting more. ASC's production is impeccable, and his use of samples is nothing short of masterful. The result is an album that is both nostalgic and fresh, with a sound that is uniquely his own. Whether you're a fan of drum & bass, ambient, or simply good music, Reflections is an album that you won't want to miss. In addition to the stunning music, the album's packaging is also top-notch.
Review: Their first ever collaborative LP, drum & bass brilliants ASC and Aural Imbalance share Duality, consummating a long working relationship, which has also seen two 12" EP exquisites from 2023, 'Interstellar Transmissions' and 'The Other Side'. But, as this is their first full-length album together, Duality is less floor-centred and works in a relatively conceptual mode, tracking a strong but measured arc from left-right pad sculptings to designer breaks. The cosmic theme of both artists' music is omnipresent as ever, though there's an extra dash of titular spiritualism; we move from the literal celestiality of 'Sunset On Mars', into a B-side's figurative celestiality with 'Seraphim' and 'Prism Of Light'; a steady vibe-shift into angelic, alary buoyancy.
Review: At the edge of space, what lies there? Aural Imbalance returns in full force for yet another release on Spatial, with another interaural foil to upset our sense of equanimity and self-satiation. Though every tune on this octopod space-shuttle is ethereal to the Nth degree - its pads are like pulmonary slow-releases, as nice as heaven - that doesn't stop Aural Imbalance from living up to his own name, as he "taints" the mix with classic breaks, whose preserved textures command a candied timelessness about them. At any moment we like, we could be beamed back to their 70s sound-sources if we so wished. Best here is 'Neptune', a gas-giant of techstep submersions, and 'Warpcore', which seems to blur the feeling of speeding up and slowing down.
Straight To Your Heart (feat Philippa Hanna & Neon Tigers) (4:10)
Say It Ain't So (feat TRAC) (3:48)
Make Time (feat Catching Cairo) (3:47)
We Will Fly (feat Thomas Oliver) (3:36)
Forward (feat SYNGA) (3:20)
Gamble (feat Javeon & Abi Flynn) (4:08)
Never Too High (feat Solah) (3:25)
Stepping Stones (feat Tempza) (4:10)
Colours (feat Javeon & Abi Flynn) (3:26)
Review: BCee returns to Spearhead Records with These Are The Days, a fresh collection that showcases his continued knack for bringing vocal talent to the forefront. This time, he collaborates with thirteen different vocalists, drawing on some of the finest voices in the scene. Over the years, BCee has built a solid reputation not only as a producer but as a tastemaker, steering his Spearhead label to discover and nurture artists who have since skyrocketed - Hybrid Minds and Netsky being prime examples. The tracklist offers a wide range of moods, starting with the title track 'These Are The Days', featuring Zara Kershaw's uplifting vocals. BCee's knack for pairing the right voices with his productions shines through again on 'Imposter' with Degs and 'Lies' with Lauren Archer, blending emotion with groove. Elsewhere, 'Hurt Each Other' sees the soulful Liam Bailey stepping up, while Philippa Hanna and Neon Tigers bring a delicate balance to 'Straight To Your Heart'. Across two LPs, there's a sense of progression and cohesion - from the thoughtful 'Make Time' featuring Catching Cairo to the energised 'Gamble' with Javeon and Abi Flynn. BCee's beats are punchy, yet there's always space for the vocalists to shine. Tracks like 'Stepping Stones' with Tempza and 'Never Too High' featuring Solah maintain the energy, while still offering moments of reflection. This record feels like a celebration of the range of talent in modern drum & bass, with BCee curating the experience from start to finish, ensuring there's something for everyone.
Review: Research Records once again hooks up with Melbourne's Big Yawn who return with fourth full-length NGBE. Known for their intricate rhythm sections, catchy basslines and playful sampling, the quartet delivers their most sophisticated work to date here on a record named after their cherished but lost warehouse space, the National Gallery of Brunswick East, where much of the album was recorded. It finds them exploring a diverse range of soundscapes with mutated drum 'n' bass, subtle grime, rap, and dub influences all enhanced with rich FX. The nine tracks also hint at a subtle evolution both in the studio and on stage as best highlighted by the collaboration '2Stroke' with Melbourne's Teether.
Review: Billian hails from Bosnia and Herzegovina and is and film and game music sound composer currently working on the Scorn game and his first film, Fugitive. He has also found the time to craft this new full length on the Vision (drum & Bass) label land it comes on nice green and blue marbled vinyl. He draws heavily on his work making sounds for films and manages to cook up an array of evocative soundscapes that play out like a mental movie. The likes of 'Uncanny Valley' are kinetic, tightly woven affairs alive with static, and 'Different Eyes' has a more serene feel with swirling pads and distant melodies hinting at a brighter future. Great stuff.
Review: .Apocalyptic fusionistas Blood Of Heroes return to complete their trilogy of albums with Nine Cities. Every bit as powerful and abrasive as previous long players Remain and The Waking Nightmare, once again they take the dark imagery and intention from the original 1989 film and surge it into an unclassifiable and somewhat bewitching brew which has strong notes of IDM, metal and drum & bass. Highlights include the reflective dubby waves of 'Skara Brae', the high voltage tension of 'Lower Atlantis' and the skin-exfoliating 'Jerush-A-Salem'. Bloody good.
Review: Charlie Bierman returns with his fifth studio album and all is well with the world - The Digital World, that is. Featuring the likes of Singing Fats (RIP), Charli Brix, Fox, Lorna King, Liam Bailey and SP:MC, it's an exercise in how to smash every shade of full vocal d&b without losing a spec of focus from the dancefloor or the underground essence of this music. It's the sound Break has been carving diligently for many years now but honed and refined even more. From the most subtle of soulful pieces (the trembling sounds of 'Lost') to darkest of damagers (the gully grizzler 'Box Clever') this is an exceptional body of work from one of drum & bass music's most prominent benchmark setters.
Review: Drum & bass's most unique gentleman Calibre plunders his vaults to compile a new collection of unreleased gems through the ages. As you'd expect, the end result is a timeless assault of lush grooves, soulful sonics and sweet skippy riddims. From the soft jazz insistency of "Honey Dew" to the hollowed harrowed bass tones of "Bellamee" via the harder, rave-referencing "Sagan" and the deep bass gurgles and DRS's reggae-style vocals on "Eschaton", the only issue here is the fact Calibre hasn't released them sooner. Unarguably incredible.
Review: While Calibre's studio albums are invariably superb, his periodic Shelflife compilations of unreleased tracks and tried-and-tested dubplates are often even better. Predictably, this fifth volume in the series not only hits the spot, but also contains some genuinely grade-A material. Many will naturally gravitate towards high-class DRS hook-up "City Life" and the sought-after Marcus Intalex collaboration "Bluesday" (a typically warm, melodious and soulful affair), but there are plenty of other highlights amongst the 12 tracks on. These largely tend towards the more sun-kissed and breezy end of the D&B spectrum, though there are some tougher and darker workouts (see the low-slung sci-fi growl of "Jaboc") amongst Calibre's waves of dancefloor positivity.
Review: Anyone who avidly follows Dominick Martin's output as Calibre knows the man is insanely prolific. When you get past the sheer volume of his released work, there's also the oceans of unreleased exclusives from his sets throughout a monumental career, which is where the Shelflife series comes in. As you can tell by the triple-vinyl heft of this eighth entry in the series, the man is sat on an incredible amount of heat. Running the gamut from soul-soaked uplifters to atmospheric dreamers and on to sharp-angled, techy monsters, this is Calibre quality through and through.
Review: Ceephax Acid Crew's Exidy Tours album was first put out on Firstcask Records in 2003. More than 20 years on, it has only grown in stature among lovers of eccentric electro. Says the artists, who has plenty in common with peers like Squarepusher, Aphex Twin and DMX Crew, the album was "a selection of my styles and ideas at the time, ranging from drum n bass, ambient to acid." The tracks are mostly short but all make a massive impact in that brief time, with acid driving from most synths as the thrilling drum programming sweeps you off your feet.
Review: NRG 4 is the latest instalment in drummer and producer Chiminyo's boundary-pushing series and it captures the raw improvisational spirit of London's jazz-adjacent underground.The album is a communal outpouring of pure energy that was recorded live at the iconic Ronnie Scott's with no rules, no scripts, just spontaneous creativity and featuring a powerhouse ensemble including James Akers, Marysia Osu, Daniel Casimir, Lyle Barton and Tile Gichigi-Lipere. The set moves between frenzied burners like 'Levitate' and serene pieces like 'Sonder.' With surprise guests like BAELY and Regis Molina, NRG 4 is a genre-defying celebration of live collaboration and musical intuition that's electric, ephemeral and deeply alive.
Review: London's Clive From Accounts is back with his most expansive release to date in the form of this bumper full-length, amusingly entitled 'The Best of'. The album features the energetic lead single 'Save Me' which is packed with organ stabs, soulful vocals, steel pans and a touch of acid to get things going off. The second single, 'Heavier' delivers a dark, weighty club track with Riko Dann's toasting and other highlights include the melancholic 'Konsumu Suru' featuring Japanese vocals by Maya Kuroki and violin by Jessica Roch, the Middle Eastern-inspired 'It Began' and the classic drum & bass vibes of 'Spectrum.' Versatile stuff from Clive.
Review: There's just no stopping Coco Bryce, who casually drops his third LP of the year on MYOR like it's no big deal. As low-slung opener 'High Commander' demonstrates, this isn't a one-trick jungle dump, but an album proper with nooks and crannies to get lost in. There are of course plenty of dazzling breakbeat excursions to savour - this is Coco Bryce after all - but even then his style has a refreshing, dynamic quality which makes for listening music as much as shockout juice. The low tempo beatdowns are just as incredible, full of vibe and bursting with inspiration, proving, as we already said, there is NO stopping our bredda in Breda.
Review: Here comes an exemplary slice of dub/drum & bass hybridization from Congo Natty, who has been helming up slick fusions of these genres since the early 1990s. His first album in eight years, 'Ancestorz' as a title should be indicative enough. The LP explores the indigenous roots and influences of jungle music, from its historic use of African rhythms to samples of Native American flutes. Collaborations with artists as far-flung as Eva Lazarus, Blackout JA, Akala, Maverick Sabre, Courtney Melody and Shabaka Hutchings are all in tow, showing off Natty's love for contemporary bass music and maturer sounds in equal measure.
UK Allstars (Congo Natty Meets Benny Page mix) (4:57)
Revolution (4:55)
Get Ready (5:21)
Jah Warriors (Congo Natty Meets Vital Elements mix) (4:48)
Nu Beginingz (3:53)
Jungle Is I & I (Congo Natty Meets Vital Elements mix) (4:11)
London Dungeons (Congo Natty Meets Boyson & Crooks mix) (4:49)
Rebel (4:35)
Micro Chip (Say No) (5:24)
Review: Congo Natty celebrates a decade of revolutionary jungle music with this anniversary reissue of a classic. Originally released in 2013, this album remains a cornerstone of the genre, blending reggae, hip-hop, and jungle influences into a powerful sonic tapestry. With timeless tracks like 'UK Allstars' and 'Jungle Souljah,' Congo Natty captures the spirit of the underground rave scene with infectious beats and socially conscious lyrics. This anniversary edition breathes new life into the record with remastered tracks and additional content, reminding listeners of the enduring legacy of jungle music and Congo Natty's vital contribution to its evolution.
Review: The late great Cosmic AC's vast catalogue again yields some posthumous treasure with part two of the For Now album. It's another record that is as sophisticated as it is adventures with plenty of painstakingly crafted but effortless smooth breakbeats on 'Larvy' topped with pensive synths. Elsewhere there are logic-defying rhythm structures on 'Snood', hooky synth shimmers and more raw textures on 'Wisconsin Desert' and jazzy, cosmic motifs on the wonderful 'Setting Sun'. This is a high-class mini-album full of next-level sound designs and turbo-brain drum patterns. It makes for a compelling listen wherever you may be.
Review: Amon Tobin's debut album under the Cujo alias is a sprawling, complex work that spans 21 tracks and blurs the lines between multiple genres. First released in the mid-90s, it introduced a unique blend of live instruments and innovative sampling that would go on to shape Tobin's entire career. This is first time all the tracks have been compiled together, providing a complete version of the album that had previously been scattered across different editions. From the moody, atmospheric 'Cat People' to the intricate jazz influences in 'The Brazilianaire', the album captures Tobin's knack for combining breakbeats with more experimental sounds. There's an almost cinematic quality to the compositions, with moments of ambient calm giving way to punchy, layered rhythms. The sheer variety of ideas packed into the album is remarkable, from the driving percussion of 'Traffic' to the rich, textural complexity of 'Cruzer.' Even now, nearly 30 years on, the album still feels fresh and ahead of its time, illustrating Tobin's pioneering approach to electronic music. This reissue is a fitting reminder of the innovative work that laid the foundation for a remarkable career.
Review: Vinyl Fanatiks release their first EP for 2024, celebrating their 6th year of repressing incredible UK music from the early to mid-90s. Kicking things off is a veritably sordid slice of jungle heritage from Hyper Records, DJ Panik & DJ Freaky 'In Da Jungle', featuring the incredible vocals of Sleepy Ranks. Backed on the B by 'Higher', which also appeared on the original EP, both trax here are utter badboys, bringing a casual MC's heat and inimitably classic-raw sound to the mix.
Review: Dom & Roland's Industry set new standards when it was released on Moving Shadow in 1998. This was a vision of d&b as a cinematic vessel like never before, pushing the limits of sound design in a style which has been standard practice ever since. Steely and intense, it's as fresh and relevant now as it was when it first laid waste to the scene in a blizzard of industrial strength drums and dystopian moods. Newly remastered and now spread across five plates (compared to the still considerable four it originally arrived on), this is a landmark slice of drum & bass history given the ceremonious reappraisal it deserves.
Prayer Wheel (Left You Fi Dead) (feat Killa P) (4:40)
Heatmap (feat Emz) (2:38)
Inside The Box (4:53)
Amnixiel (3:30)
Review: Etch returns with a seismic new release, diving deep into sonic world-building that spans dubstep, jungle, garage and hip-hop influences. On Scream of the Butterfly, Etch assembles an eclectic cast to explore darker shades of club music, starting with the thunderous low-end on the opening track, which signals this album as more than just club fodder. J-Shadow's footwork flair on 'Star Fallen' and Lee Scott's unmistakable flow on 'Not Surprised' add to the atmosphere, while E.M.M.A's ambient touch on 'Stepford Lives' creates an eerie midpoint. Each track veers from intense bass to atmospheric experimentation, making this a masterclass in evolving bass music.
Review: We already knew what a talented and innovative producer FFF has proven himself to be, but on his new and much awaited album Eternal Mind he finds new heights even by his own high standards. He wastes no time in sweeping you off your feet with some electrifying synth work and almost juke like drum programming on the opener 'Axehead' and from there explores all manner of drum & bass sound worlds, from minimal steppers like 'Magnetic Mountain' to cosmic future funk workouts such as 'What We Once Where' and on to ice cold and warp speed gems like 'Curve of Forgetting.' Sensational work.
Review: One of the most interesting artists to have emerged from the Czech and Slovak based crossbreed movements that dominated the first decade of the century on the harder side of d&b, Forbidden Society has evolved and morphed with the times to a much deeper, emotionally-wrought but still hard-assed sound. This seventh studio album (released on Noisia's iconic Vision imprint) is the best version of his fusions so far. From the dark industrial strength dubstep swagger of 'Wish' to the sci-fi hurricane of cuts like 'Deception' and 'Reaching Zero', this is an incredible body of work from an impressive and unique craftsman.
Review: If there is a more hyped artist in the world right now than Fred... again we aren't sure who it might be. The lad who grew up close to Brian Eno and has since worked with him in the studio is a global star who has also collaborated with Four Tet and Skrillex, played all over the world, won various awards and dropped several albums now presses up his acclaimed USB to gatefold double vinyl. It is a collection of his early singles that captures his lo-fi, lived-in, diaristic sounds across a range of experimental electronic styles.
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