Neo tech-trance ravey breaks thang with Clavia electro keys and chuffing acidic arpeggios for the psy-breaks massive. 48K growls it up.

Recorded at Portishead's studio and with a nice wide-panning cinematic vibe to the deep-focus backdrop, whilst Klash & K9 swap their knowledge. Top class.

Alt.dub troubadours Dreadzone have their 1996 hit mangled through a conscious fax machine and readied for 2011 dubstep zones at festivals this summer.

Much like R&S, Aus has benefited greatly from the divergence of the "dubstep" canon: Ramadanman, Appleblim and Midland are all great cases in point. Here, George fits nicely into the Aus stable with more synth-heavy, gently syncopated house. 'Silhouette' continues to push his melodious, synth-fronted style, and is at odds with the frankly awkward and mildly bonkers John Roberts remix. Yet it's the loopy modulations of 'Reset' that really get the synapses firing. Big, fleshy house music.

This is already an insane dream team from the get-go, but throw in an ultra-rare remix from the legendary DJ Harvey and another from Caribou's Dan Snaith under his Daphni guise, and this becomes the house music equivalent of the Travelling Wilburys. Moody and magnificent, the original version is a stunner - a vintage bassline and two-way vocals blended to devastating effect. Harvey's version throws in Balearic guitar licks, while Daphni's injects a smattering of free jazz sax alongside itchy beats and another chopped female vocal. Frankly, it's little short of miraculous.

Every now and then, a piece plays through the speakers and literally slays your sub woofers and subconscious simultaneously, as soon as it drops. This is one of them. Sounding like Camo & Krooked with full face hoods on and mischief on their minds, 'Terror War' is an epic masterpiece of melee combat. Rumbling basses, grinding, vibrating synths and anarchic alarms are all thrown in at once in a delightfully chaotic blend. Supremely energetic and worth twice the money.

Yet another cheery and unpretentious musical missive from the Super Furry Animals frontman. Most will recognise 'Honey All Over' from the recent 'Hotel Shampoo', but the real highlight of this EP comes in the shape of the previously-unreleased b-side 'Xenodocheinology' (a word used to describe a person's love of hotels and inns, apparently!) which is a brilliant piece of slow, bouncing, quirky, feel-good pop.

The first single from this wonder group's eagerly-anticipated debut album effortlessly traverses the fine line between basshead appeal and mainstream saleability. Classic lovers-rock reggae vocals courtesy of the great Johnny Osbourne (of 'Murderer', 'Water Pumping', 'No Ice Cream Sound' etc) are modernised and injected with speaker-crushing fervour. As the vocals and traditional reggae elements playfully reverberate, dragon-slaying sawtooth synths and rapid fire melodic bleeps add a future feel. Backed by a d&b speed flipside, where wondrous energy takes over.

Featuring an appearance from none other than Euro-dance legend, Haddaway, this rather extrovert pastiche of the genre gets a release from disco/cosmic/Balearic revivalists, Permanent Vacation. Making this rather sugary disco tune a little easier to swallow are the additional production talents of Bulgaria's KiNK and Danny Wolfers under his fantastic Legowelt guise. KiNK drops a chunky, FM bassline under a compressed house thump, whereas Legowelt opts for some of that eerie, primitive synth nostalgia.

A maudlin, reflective selection of emotional female vocal snippets is given a surreal, supple feel through a late-night rolling blend of long, drifting far away bass, '80s-inspired dark electronica touches and a hypnotic, lively double snare drum pattern. 4:30am flavour. Flip for more psychic soul, where the most enormously powerful, smooth-but-serrated bass challenges your preconceptions and distinctly Numan-esque synthesisers add a moody, pensive feel to a very cool rollers drum. On the night shift.

Spectrum main man Pete Jordan steps out on Westway for the first time with a filtered disco hip-house thing that's going to sound great in Ibiza this summer. Cut La Roc's mix is pivoted around a swinging old skool Balearic bass groove, while the Visionaires go for the classic Defected circa 2000 feel (ATFC, OnePhatDeeva etc). Kid Chameleon turns in a great jungle breaks mix with a speed garage bassline, utilising pared-down old skool breaks superbly, and Misk - aka Splitloop's Phil - comes up trumps with another stuttery ghetto electro slab. Finally, Killaflaw use Justice-y synths that embed in yer brain at hip-hop tempo for a surprisingly different overhaul.

AI are all about anthems, and here's two goodies. Very strong pieces here that can be seen as 'organic' d&b. Slow growers, which as a result, have long-lasting quality-ridden flavour as opposed to fast, immediate gratification that soon dies out. Both are solid floor favourites. 'Finest' rather than 'Value' range.

It's all about the dark micro-glitch on 'Flux': super-subtle programming and a climatic finish. Just like great sex.

Cyber punk war. You know the drill, soldier. Ominous, uncertain future chords serve to initially present this abstract canvas of rising dismay and imminent aggression. Come the drop, feel free to slobber as aggressive vocal snatches bounce around mech-robot maelstroms of bass madness that sounds like Transformers and Decepticons hurling abuse and laser gun fire at each other. You simply can't help but to let yourself go. A little traditional, but still does the job.

Szare! The prince of dark techno is back, this time turning to Bristol's Idle Hands label for a release. Nothing as catchy as last year's incredible 'Snake Care' on this 12", but the emphasis is all on the atmosphere, the grooves shuffling like mummified bodies awakening from their gazillion year sleep. There's even some notes at one point in 'Action Five' that sound exactly like the opening of 'Next Hype', which is a bit odd for obvious reasons.

A six-track EP oozing with quality and multiple flavours. The robotic flow of 'Time To Do' is a hardstepper's acidic dream, 'Conquest' is for Amen rollers, where classic dark rave stabs accelerate proceedings like a Formation Recordings classic, and 'Rampage' is a Detroit techno-inspired stomper with simply evil, warping bass. Then, 'No Time' harks back to Roni Size's back-to-basics days and 'Ghetto Sounds VIP' is Grooverider-esque under his Codename John moniker. All your Christmas presents rolled into one!

Showing absolutely no sign of running out of ideas, Bottin showcases some of his favourite esoteric disco tunes. Essential cover-ups are the very macho/very camp 'Adriano' and the almost vaudeville 'Stefania'.

Fans of Noisia, plot your coordinates and steer your craft to this quadrant. With the confidence to traverse galactic boundaries rarely seen with human eyes and mapped even less, 'Basic Memory' is a gen-mod roller made to a strict standard where a juddering, jagged-but-smooth drum is the basis for a keyboard extravaganza of futuro-sounds and menacing, atomic mecha-sub basses. Female android-type statements - "music", "rhythmic" and "do it" complete this fine example of microchip euphoria.

Crikey. There's deep, and then there's what Safari Electronique main man Arnaud Le Texier has turned in here for D'Julz's Bass Culture imprint. Did we mention it was deep?

A generous slice of tuff-city unadulterated floor pressure that lovers of Playaz Records or Silver & Lutin on V will enjoy immensely. Sharp stabs balance a frantic drum that's peppered with vocal snatches of the title, while super-low subs vibrate below and throttle your breathing. Just as strongly spiced on the flip, where movie speech in the same style as Hazard's 'Machete' tells a story of vengeance, while staccato drums and alarm screech bass attack. Gonna see you sweat.