Red Island EP

This & That EP

Kool Down EP

Head On // Twisted Keys

Feelin' It EP

Agna Street * Words create vibrations

Our favorite releases from the past few weeks. At the forefront of dubstep.

StepFwdDubstep

STEPFWD RECOMMENDS #19 : New Delian Sound, Delikwe, Soa420, Subtala, subcor, Somebodyyy

فلسطين - For Palestine V/A Compilation

TSP-006

Toitū

SOLIDARIDUBS II ~ {DBHSTLDVA2} ~ a Gaza Skate Team Fundraiser Comp.

Hidden Yidaki

E Tu (Remixes)

ERROR001

Ayaluna X Qilin - Cognitive Dissonance

Hurryia for Gaza

SOLIDARIDUBS I

THX Assassin / Goose Step

Goose Step

فلسطين - For Palestine V/A Vol.2

للشباب For The Youth

DJVA001: Dysfunctional Junkies Vol. 1

Hurryia for Gaza III

Hurryia for Gaza II

THE UNITED TRIBES OF BASS

Once Bitten Twice Split ~ {DBHSTLDSPLT2}

Both of you are operating from Australia. Soundsystem culture seems strikingly strong there. How would you say it differs from what you see in Europe ?Dub Hustle : Because of our geographical position relative to where soundsystem culture originated (the Caribbean) and mutated (the UK), the local interpretation has been shaped in part by the specific communities drawn to the bass frequencies of dub and its subsequent subgenres. This brings me back to Aotearoa, specifically Bob Marley's landmark 1979 visit, which left a permanent impression on the Māori and Pasifika people present. While I can't map out the exact lineage of how it altered the music, it laid the groundwork for something entirely unique to this side of the world.Death Trap : The scene here has definitely grown over the years, and one major difference is the lack of strict genre borders within venues. For a long time now, it’s been common to have DJs playing short sets between live band slots, especially reggae and roots music at punk rock gigs. Down here, rude boy, punk, and skinhead subcultures served as the primary exposure and education for soundsystem culture. I never saw those specific scenes mixing like that when I spent time in the UK.Dan, you’ve been producing 140 for a long time now. How would you describe your sonic signature ?Death Trap :&nbsp;Yeah, Limb by Limb was my first production alias. I’ve been operating as Deathtrap for about seven years now. Sonically, my sound varies, but it definitely has to be as original as possible, sometimes even to the detriment of the track itself. If it sounds like what you expected, it probably isn't me. I’ve always held pretty militant views on production. I always avoided pre-made samples. This mentality definitely came from analog crate digger days.I also heard that you are a retired pirate radio operator. What was your motivation for doing that ? What music were you airing ?Death Trap :&nbsp;The station was called Irie FM, hijacked from the legendary Jamaican station. The main motivation stemmed from pure frustration with the lack of venues and spaces to properly build a culture. Wollongong, my hometown where the station was based, was incredibly middle-of-the-road and mainstream when it came to club music. I even tried going the legitimate route through community radio, but it was so choked by regulations and rigid standards that it was impossible to do properly. I saw no other way around it but to go pirate. We played everything from the culture that wasn't already represented out here: roots, ragga, dancehall, dubstep, drum &amp; bass, and hip-hop. It eventually ended when I was federally prosecuted, hit with a $4,000 fine, with warnings of max sentence in case of re-offense.Will, you launched the imprint to platform Australian and Aotearoa-based talent. Would you say there is a regionally specific sound developing there ?Dub Hustle :&nbsp;The high density of labels and soundsystems in Aotearoa has deeply shaped how these localized sounds evolve. Through the close links between our countries, those sonic identities are constantly imported and further cultivated by Kiwis living here in the Island Continent. If you listen to artists like Kōroto and Ayaluna, you can hear that regional specificity taking shape. I’m quoting Mokotron : “Māori Bass music [is] the logical next step in the evolution of dance music in this country and the ongoing cultural renaissance of our people.” “To be honest it’s already happening: We have Netana, Lakeboon, Akcept, Caru, Lady Shaka, Samara Alofa, Huia, Te Manu, Ngāio Matariki, Kommi, Ahirā / Kōroto, Diaz Grimm, Wear Pounamu, Riki Pirihi&nbsp;and hopefully others stacking up an arsenal of anti-colonial subsonic artillery.&nbsp;I want Māori Bass to exist in my lifetime.”What are your future goals for the label ?Dub Hustle : Maintaining a wide range of distinct creative expression from the music to the art &amp; animations. One of our fundamental driving forces is to raise funds for first nations solidarity &amp; self-determination. (West Papua &amp; Palestine so far). I’m willing to continue raising funds for Palestine, and later Iran or Lebanon &amp; Syria.Could you tell us more about the curation and track collection process for the SOLIDARIDUBS VAs ?Dub Hustle : I was deeply inspired by people like Dan 'Death Trap,' who encouraged Dub Hustle to become a vessel for social good,as well as by established fundraiser compilations like those from Phrex&nbsp;as well as&nbsp;Ome, Yasseen Faik, and Causa. Track collection was a mixture of putting out the call via social media to producers who were following the page, connections via friends, and for several artists, just gut intuition that they would be keen to support the cause. Other people hit up the DMs to donate tracks of their own volition. I have a love for the album format, so the intended listening experience for the SOLIDARIDUBS series isn't so much 14 tracks of separate DJ tools, but rather a cohesive journey. That is where the real challenge lies for me: to glue together these different tracks—from artists who are already well-established to others who've had their first label release on this series—across multiple bass music &amp; ambient genres.I knew from seeing what Ayaluna posted about that she was a strong advocate for First Nations communities She (Aya) was keen to be involved for 'SOLIDARIDUBS I' &amp; suggested donating a track from her project with Harry Townsend, called Geomystica which ended up being the introductory tune for the compilation.&nbsp;Ayaluna is Spanish Lebanese, the latter influence of which can be heard intentionally in the Geomystica project.&nbsp; Ayaluna also recruited friend Kōroto who is a madd talented First Nations (Māori) Aotearoan bassd producer. I reached out on social medias to producers that were following the page, i.e. Zonae, Snoe &amp; Kapha &amp; Ortovis (big up Bodywarmer Records &amp; happy 1 year shelling out sound system magic). I got connected with Vyla through a friend of hers (via our mutual speaking out about Boiler Room Main Objective).&nbsp;LSN, I just had some gut feeling to reach out to them. That's also how I got connected with luvparty &amp; Nullmeridian, and even Death Trap !&nbsp;Runaaki donated 2 tracks that were originally going to be on this wrap-up project release&nbsp;Naxx Lost Dubs&nbsp;(the interlude tracks on SOLIDARIDUBS I &amp; II).&nbsp;He then along with SKECH of the Malaysian Dub Tings crew &amp; Sir Dub Muzik submitted tracks for SOLIDARIDUBS II.&nbsp;Similar story overall for how SOLIDARIDUBS II tracks came together.&nbsp;Naturally it made a lot of sense to ask Phrex if he was interested to be a part of SOLIDARIDUBS as in my mind he inspired the dubstep community (Ome, Causa, Yasseen - myself - Bassweight Cuts) to advocate, speak-out &amp; raise funds for Palestine &amp; subsequently the greater SWANA region (Lebanon).&nbsp;Some people I approached like BURNINGBUSH again knowing that he was an ally of First Nations solidarity movements Other people hit up the DMs to donate tracks of their own volition.&nbsp;Some folks I wasn't sure what their personal opinions were initially about Palestine but took a roll of the dice as to whether they'd he interested being involved or not.&nbsp;A friend helped get franki &amp; ADS1 involved.&nbsp;The best story from SOLIDARIDUBS II was that I was hanging with a friend in the local skate shop &amp; the guy who runs it is in his 50s I think from Ireland originally. We got chatting, he had mentioned he DJd previously &amp; I'd listened to some of his mixes, this time he told me had remixed a track for a friend who thought the version Pascal (Redize) had made was way too long &amp; weird.&nbsp;I loved it (acid techno) sounding like it was straight from the early 90's. So I asked if he was keen to have it as the outro tune for SOLIDARIDUBS II &amp; so it was that we had the first local artist release on the label. Large up Sumo Skate Shop !

Full files from the Dub Hustle Records showcase our Subtle Radio, with Dan "Death Trap" on the mix. Full interview and more related music.

Dub Hustle Records special : label picks, Aotearoa + Australia tour, charity compilations

DIME011

Aerials EP

Crevasse

Sentiment Series Vol.17

Kicking off this feature, Carrés's imprint Fast at Work is back. Building on the previous Up Too Late EP to further explore the intersection of techno and 140, the label this time welcomes steppers master Stones Taro. The Crevasse EP focuses once again on balancing 4x4 straight kicks with more half-step grooves and snares. Stones Taro brings to this concept an atmospheric fusion of stripped-down steppers and dubby techno that perfectly aligns with FAW's spirit. We then shift our focus to the new Mode Recordings release by Tenshu, a proficient producer also known for running Size Ten Records—an imprint we know well for unleashing high-quality minimal &amp; meditative tunes. Tenshu's latest contribution to Mode seems to follow the direction of his imprint : stripped-down in the mid-range - even sometimes nodding to ro-minimal techno - and always anchored by a powerful snare on the third beat. Rather than strictly sticking to classic half-step, he also explores on-the-grid rhythms on Aerials and Honestly, deploying meditative minimal atmospherics and subaquatic basslines across tech-house-leaning grooves. The third recommended release is from Kakeru. An artist we already featured here for his Raw Courage EP on Shaw Cuts, he returns to the label for volume 17 of their Sentiment Series. Kakeru confirms his talent for producing intricate kinetic basslines and stripped-down soundscapes&nbsp;that blur the line between digital synthesis and organic textures. Last but not least, we are highlighting the latest Dimeshift release, this time from Fearless Dread. The 4-tracker sticks to the label's curatorial ethos with historically accurate proto-dubstep. It is a fitting appearance, as Fearless Dread's previous productions were already deeply rooted in OG dubstep. The duo delivers their take on the historic roots, with percussively rich 2-step inexorably drawn towards half-time metrics—both on Mook's remix and the final section of The Engineer—serving as a heavy reminder of what this experimental UKG movement eventually became.

STEPFWD RECOMMENDS #18 : Stones Taro, Tenshu, Kakeru, Fearless Dread

Vision Pro Dubs

Endless Rolling

Tape / Golden Dub

Between Moments EP

The first notable release from the past week is a massive two-hour VA on Comic Sans Records, an imprint returning in full force after a prolonged hiatus. Curated by the elusive label head and Lyon bass key figure Sleek Fata, Vision Pro Dubs introduces 20 artists, mostly hailing from France, united by a forward-thinking approach to dub-infused, low-end-oriented music. Cutting-edge sound design merges seamlessly with OG dub sirens and spring reverbs. As expected, the compilation covers all tempos and intensities, spanning harmoniously from ambient to half-time 160 rollers. 140 heads will want to start with Sabla’s deeply unsettling Vibrations (resonance mix), before moving to Sòn du maquís's rooted skanker and Stacktrace’s dark stepper. Once warmed up, things get serious with Gillielove’s stripped-down, sluggish infra-bass exploration, and the vibe culminates with Warzou’s Comic Dub Serif—a minimal, snare-on-the-three cut ambiguously situated in the liminal space between dub and dubstep, shadow and light. The full compilation is a wonderful celebration of the intersection between dub-infused bass music and psychedelic rave sounds.

Another French-led compilation has been unleashed by Durum Records and gathers the vanguard of the new wave of bass music. Featuring local heroes such as the rising duo Cwtch, the discreet sound sculptor RM Estali, and steppers heavyweight Marino2, the VA is first and foremost a demonstration that the 'psychedelic low-end' scene—mostly flourishing in France—is currently the leading source of innovation in dubstep. More notably, the VA bridges the gap with another thriving scene on the opposite side of the globe, welcoming Aotearoa-based dubstep powerhouse Ayaluna for a minimal, dark roller. The title of the project, Endless Rolling, announces the musical philosophy uniting all these contributions: favoring rolling&nbsp; half-step structures over traditional drops to progressively build pressure and percussive grooves. Each artist then deploys this concept in various directions, contributing to an arsenal of tracks that can fit both strict 140 nights and deep, genre-agnostic raves in the woods.For its seventh EP, Size Ten invites contactghost, confirming the impeccable quality of the imprint's curation. The UK-based fast-rising producer builds on the trajectory of the label's previous releases, delivering three meditative and minimalist cuts that elegantly revisiting the blueprint of dub techno-leaning 140: shuffling hats, echo-drenched atmospheric pads, and a massive amount of space in the mid-range. The opening track strictly sticks to this formula, while the second cut introduces uncharted, subaquatic sweeping elements. Fittingly, the final track, Today’s Today, ends the project by fusing both aspects, reaching maximal ethereal heights without sacrificing infrasonic pressure.
Last but not least, we highlight Kami-O's latest project, a self-released two-tracker focused entirely on 4x4 140. Building on recent innovations from artists like Mia Koden, Kami-O delivers his own take on this powerful fusion of techno, steppers dub, and darker dubstep aesthetics. The opening track is driven by a fast-oscillating infrasonic pulse that heavily pressurizes the room, keeping the mid-range completely scooped out to grant full impact to surgical, stripped-back percussive elements. It is a lethal weapon that has likely already secured a special place in the USBs of 4x4 dubstep spearheads. The B-side track brings a more nostalgic vibe, where a hypnotic, old-school melody commands attention alongside dreamy pads engineered for deep meditation.

STEPFWD RECOMMENDS #17 : Comic Sans Records, Dürüm Records, contactghost, Kami-O

Deep Harbour ft. Alfa Mist

RAFA.wav - AND SUDDENLY EP [LDHD044]

BBB EP (feat. Killa P)

Velvet / Telamon Dub

This week's selection :&nbsp;Velvet / Telamon Dub is the third release on Amplitudes, a label championing a cross-disciplinary approach to contemplative and ethereal sounds, spanning the space between dub techno and 140. This third lathe cut welcomes Breez for two melodic dubwise tracks. The first is a weightless, pad-heavy 140 cut that actively subverts the genre’s notoriously dark aesthetics, injecting a luminous atmosphere driven by a buoyant lead melody. The second is a weightier digi-dub stepper that builds a more spacious, delay-drenched atmosphere while keeping a similar sonic palette. Following our recent feature on Guido’s latest drop, we’re happy to push this one forward as part of the broad family of tunes that add light and warmth to the genre, while still being deeply rooted in the sound and built for mighty sound systems.

Black Acre celebrates its 100th release milestone with a bang. Two pillars of the label's roster collide: the elusive dubstep don Commodo and celebrated jazz composer Alfa Mist. The lizard king's affinity for live instrumentation has been demonstrated on previous Black Acre releases, such as the punk-infused Deft 1s or the weighty, cinematic Loan Shark, not to mention the rework of his own Hot Pursuit by Bristol jazz band Waldo’s Gift. This new collaboration is thus a smooth and welcome continuation of his process: field recordings and Alfa’s odd chords are meticulously intertwined to create a dark, urban soundscape in which the weightiest basslines flourish.
The original track and its melodic bassline give space for Alfa’s keys to bring an uplifting and colorful edge, walking the tightrope between shadow and light. Meanwhile, the Misty Bay&nbsp;mix is a stripped-down, harsher, and dystopian reinterpretation in which Commodo expresses his full leftfield palette.
On the flip, Anz steps up with two rebuilds that promise more direct results in the club. The first is a weightless 2-step reinterpretation where Anz's airy pads successfully bring brighter emotions to the melodic structure. The second is a radically minimal, techy heater in the vein of early Hessle Audio releases that we fully expect to hear dominating London’s legendary dubstep nights. While one might initially be apprehensive of buying four versions of the same melody, the trio successfully develops four distinct, complementary musical ideas that make perfect sense on a single piece of wax.&nbsp;

In the same vein as Commodo’s production style, RAFA.wav's newest release on Liverpool’s LDH Records exploits what could be defined as doom-laden, unsettling soundscapes and sluggish basslines aimed at setting pressure and dread in the dance. Purists of the harder side of the sound will be pleased by the first track, which definitely offers a traditionally weighty drop. Meanwhile, rhythm diggers will gravitate toward the techno-infused second track.&nbsp;It starts as a stripped-down stepper before the snare placement evolves, leading the groove into more syncopated realms. The title track features a more sophisticated build-up that expands across the first half, ingeniously cultivating a sense of danger before a devastating, classic low-end oscillation erupts. All in all, the entire project is a clear label highlight thanks to RAFA’s meticulous sound design and bold arranging.

To close things out, the forward-thinking Grid Records is back with a five-track exploration of Killa P's vocals by Hedo Hydr8 and its remixers. Each cut brings a profoundly modern touch to a voice we usually expect on more traditional dubstep heaters. The label pays homage to the open-minded post-dubstep mutations of the 2010s, where techno hybridizations and colorful sounds collided with the standard darker palette, perpetuating the genre's ever-innovating spirit.
The original mix is fast-paced, with a relentless kick making it a sharp tool for direct damage in the club. The VIP is the definitive highlight of the release. It is built around the striking contrast between modern, contemplative melodic pads—reminiscent of 2010s US rap instrumentals—and Killa P’s lyrical fire, all anchored by a strident, stripped-down dubstep pattern. Finally, the remixes bridge the track with dembow and techno realms to cover the full spectrum of the label's sound.

STEPFWD RECOMMENDS #16 : Breez, Commodo ft. Alfa Mist, RAFA.wav, Hedo Hydr8 ft. Killa P

Bittersweet

Escape Route

Argo • Guillotine EP

OS08 Geoglyph - Hidden Frequencies

This weeks selection :&nbsp;-&nbsp;French dubstep don Argo's new release on 99cts is an EP filled with nostalgia and dread, yet colorful and innovative, true to the imprint's sound. The title track, 'Guillotine,' sounds like a darker, paranoia-infused mutation of the Youngstar's grime foundation 'Pulse X,' while other tracks take a dubstep direction with a disturbing low-fidelity vibe. Almost harsh to the ears but in a discreet way - reaching literal references to auditory fatigue in the last track, Accouphène&nbsp;- the project is reflective of the disturbing international political context: violent, but virtually softened by Western media.-&nbsp;Mia Koden returns with a new self-released EP in the lineage of their previously acclaimed Keep It Steppin'. It is difficult to say what makes Koden's productions so unique. Likely, it's the time spent building knowledge of the Afro-Caribbean roots of modern soundsystem culture. Maybe it's their innovative spirit and willingness to share this culture with a wider community. Whatever the recipe is, since their darker solo debut on Ilian Tape and the "Hot Take / I Did" two-tracker, Mia's sound has become softer and more melodic, while maintaining raw club efficiency. A fruitful evolution that we salute.-&nbsp;With the psychedelic bass movement in rude health, Geoglyph (Khey Mysterio and Alohn) unveil their Hidden Frequencies EP via Organic Signs. While it initially scans as a tried-and-true recipe of woodland soundscapes and mutating low-end, two structural ideas elevate the project. First, the precise use of "fractal echoes". Delay feedback loops are pushed to the edge of chaos, before being warped out into faster syncopated oscillations, acting as a crucial bridge between hallucinatory atmospheres and the rhythmic framework. Second is that very rhythmic architecture. Meticulously building tension, the tracks deploy raw, functional stepper kicks. Deeply rooted in soundsystem foundations, from the pure dubwise bassline on&nbsp;Mantra&nbsp;to the sliced-up jungle breaks of&nbsp;The Seed&nbsp;- Geoglyph insert cultural references that serve as landmark for the dancers.-&nbsp;Lastly we recomment the latest release on Zha's&nbsp;Fent Plates, welcoming&nbsp;Murphi's debuts on the imprint. Murphi is an artist that reportedly bridges "jazz, dubstep and drill" and we can only push for that. With the genres sharing strongly overlapping musical palettes, it is clear that every one who enjoys one of them could be brought into listening to the others. The overall tone is close from Antisocial crew's Purple Sound, dreamy and nostalgic yet powerful but with reinforced, more assumed jazz and hip-hop influences.&nbsp; While 90bpm trip-hop-leaning tracks such as&nbsp;Escape Route and&nbsp;They Warned You,&nbsp;seems to be designed for home listening, we'd definitely love to hear some of the 140 tracks such as&nbsp;Checkpoint in the club, preferably with a talented MC spitting bars on them. Hopefully something that will happen&nbsp;in future Fent Plates nights.

STEPFWD RECOMMENDS #15 : Argo, Mia Koden, Geoglyph, Murphi

Yoo Buddy / Rattler

FLR001

Soft Touch

Quiet Folds The Pressure Into Stillwater Hum

This week's selection: - A vital benefit compilation from Dub Hustle Records, with all proceeds directed toward civilian support in Gaza.- Two welcome label-launching V/As from Feeler Records and Poems. A promising start to pushing the boundaries of dub-infused bass music.- Meticulously designed sound system rattlers from Swiss producers Ortovis and Cutkachi via the fast-rising Bodywarmer imprint.- Purple dubstep don Guido returns to his own imprint with a class two-tracker.

STEPFWD RECOMMENDS #14 : Dub Hustle, Bodywarmer, Feeler, Poems, Guido