Lindsey Stirling brings her futurist world of electronic big beats fused with violin, dance, and animation to London s Forum Theatre. Filmed live during her Shatter Me World Tour, the 90 minute live show features her smash single Shatter Me along with several other tracks from her sophomore album which debuted at #2 on Billboard s Top 200 album chart.

To fans of U.K. bass music culture, the idea of a collaboration between legendary dub/post-punk producer Adrian Sherwood and dubstep originator Pinch (Rob Ellis) sounds like a recipe for pure soundsystem devastation. After Pinch invited Sherwood to DJ at London super-club Fabric in 2012, the duo released two singles in 2013, followed by the 2015 full-length Late Night Endless, which had moments of brilliance but was somewhat uneven overall. However, their 2017 follow-up, the amazingly titled Man vs. Sofa, is nothing less than a supernova. Here, the duo have honed their sound into something trippy and experimental yet deadly precise and direct. This is futuristic dub that sounds tense and paranoid rather than sluggish and laid-back…

Since his 2007 debut, this young Glaswegian producer’s peak-time club spin on mainstream R&B and rap has, in an intrepid fashion, grown increasingly hyperactive, thrill-oriented, and indulgent. On Glass Swords, Rustie continues to integrate the currently hip and terminally unhip - garish probes of ‘80s synth rock, beaten-to-a-pulp dance-pop, ‘90s rave, and bass music, to name four of several drawing points - all for the sake of a rush. Integrate is a light way of putting it, though; the method is more like slathering, layer after layer, with no concern for restraint or tastefulness, though each track is shaped into a songlike structure…

In the same way that the genre "techno" is applied to both the tasteful Derrick May and the garish Scooter, the term "dubstep" had been divided into two camps once the "mall kids" and "punters" got hip. Love it or loathe it, that glitzy "wub wub wub" sound championed by Skrillex and such is a far cry from the texture-rich music of Burial, Benga, and Digital Mystikz, that last name being the South London duo with whom producer Mala broke through. Purists will argue that the Skrillex crowd is so far from the spirit of the original dub reggae that they should abandon that part of the term, and as such, Mala in Cuba was announced as "an intention of realigning dubstep with soundsystem culture,” which it does, splendidly. This glorious album was also constructed from a set of raw tracks recorded in Cuba while on a beat-finding trip with DJ Gilles Peterson…

As with his 2012 debut full-length Mala in Cuba, Mirrors finds the dubstep originator taking up residence in a different land (namely Peru) and integrating its musical traditions with his own style. As ever, his productions are vast and spacious, letting the bass flow out over the carefully paced beats. These tracks incorporate native instruments created from animal bones and dried pumpkins. They also incorporate pan flutes and acoustic guitars, and they manage to completely sidestep any resemblance to the unforgivably corny fad known as "tropical house." His excursions seem like the product of a genuine quest to return to his roots, not an attempt to be trendy. Therefore, his old-and-new blends seem natural and fluid, and the songs are spirited and graceful…