Recovering from a couple of week's of euro excess, words about my trip to Tresor up soon. But I got home and these made me forget how crap London can sometimes be....

Goldie himself is slightly long in the (gold) tooth these days, but his Metalheadz imprint is still going. Recent releases haven't been as radical as those early twelves. But nonetheless check the B-side 'Rebel': a track that actually sounded better at home than it did over Black Market's soundsystem.

In this excellent series of 12"'s from South London's Werk crew, a cheeky side order of piss-take laces exercises in bass weight, stop/start rhythmatics and all manner of tight edits.

A virtual of pot-pourri of styles: Volume 1 is the best, 2-stepping a disparate range of samples into submission. Initially quite silly, its complexity revealed upon repeat plays. Volume 2 brings half-time dancehall and breakneck breakcore biznizz to the fray with much gusto.

Volume 3's bass-heavy electro vibe doesn't go unnoticed, fierce and forceful but it's the weakest offering. Volume 4 moves into more unexpected territories; the A-side's alternating 8-bit b-lines and cough-ridden riddims are appealing in their quirkiness, the B-side wheezes and spurts like all the best Luciano.

If there's any justice in this world, this should be the summer soundtrack of South London. Inventive and insane in equal measure.

As the more inventive jungle producers take cues from the experimental end of the breakbeat spectrum (think Venetian Snares, Squarepusher, Aphex etc). Hybrid variants on the jump-step and rolling amen edits are increasing in number. Look past the cliched film samples and you'll find machine-abusive, weighed down breaks that jackhammer and writhe. The A-sides on both rule. Welcome to the sound of doomrush....

Absolutely no chance of getting analytical on stuff like this. The artwork and track titles are marginally more amusing than any of the gabba-hybrids on offer. Except for the intro to 'Ellesse Warrior' which is simply terrifying. Welcome to the sound of chavstep....

More welcome sequences in minimal dubstep; stripped down, bare and pretty fucking effective. 'War Dub' has a clever bit mid-way where isolated vinyl scratches mutate into rasping sub-bass. 'Alien Tongue' seems to take the same middle eastern cues as The Black Dog did on 'Spanners'. A 2-step shuffle jamming in the Sahara.

A bubbly, effervescent burst of dubstep from Kode9. Fizzling with analogue delays, filmic cymbal crashes and disjointed rhythms. Daddi Gee allows all these textures to filter through with his low-end, downbeat delivery. Reminded me of 'The Rastaboma' by Timeblind on the now sadly defunct Orthlong Musork label.

Easily one of the most astonishing 12"'s I'll hear this year, Burial takes four tracks, each differing in style, but somehow hanging together under the flexible banner of dub.

'South London Boroughs' is the one with real bite; a sustained B-line that never lets up means that dust-ridden rhythms and rave stabs have to work hard to get a look in. 'Southern Comforts' distant parping horns and slightly off-beat kicks recall the voodoo magic of the Sabres of Paradise's 'Wilmot'.

'Broken Home' is simply jaw-dropping; a clattering half-time pulse, altered afro-beat vocals and rain-soaked strings that really tug at the emotions. 'Nite Train' perfectly mapped my late-night journey on the tube from Brixton to Golders Green. It's definitely a London ting.