Still no easier to label, the celebration and combination of urban and/or exotic club music continues to excite DJs and dancefloors in all corners. ‘Global Bass’, ‘Global Urban’ or whatever the hell you want to call it is offering up plenty this month.

Having blipped on the radar last year, a number of acts are stepping up the hype in anticipation of dropping releases in the coming months. Munich’s Schlachthofbronx have carved a well-deserved niche, developing a very unique sound in a scene that all too frequently provides a refuge for the unimaginative. Their blend of dubstep, soca-house and kudro hops from a brooding skank to jump-up, swing-something-around-your-head frenzy. Check their remix of Madera Limpia’s ‘La Lenta’ with its frenetic percussion and Latin vibes for a taste of what’s to come on their forthcoming ‘We Run This’ EP on On The Brink records. This is the same label that gave an early home to Dubliner Detboi who himself has an EP forthcoming on Cheap Thrills. ‘Wine Yuh Body’ is the standout track, deftly incorporating more of a Caribbean beat than we’d expect from him and a hype ragga sample that nicely completes the carnival feel.

A different Caribbean vibe has probably caused the biggest noise on the blogs this month as the first of the tracks from Diplo and Switch’s Major Lazer dropped. ‘Hold the Line’ hits the right buttons. A strong riddim (which, although, strangely reminiscent of 2007’s ‘Wipeout’ stinker, piles on enough ‘Ring up me Cellie’ style phone samples to break up the surf guitar) supports Lexxus waxing lyrical about conversing with different named females via the medium of mobile phone. Satigold’s vocal does better on this track as a fleeting sample than a full verse. The full ‘Gun’s Don’t Kill People, Lazers Do’ album is out in June on (surprise, surprise) Mad Decent. It features the fruit of a 10 day recording session at the legendary Tuff Gong studio in Kingston with some of dancehall’s brightest and best and features some surprise guest producers. From what is available, it would seem that this project is solidly rooted in reggae and dancehall sensibilities as opposed to the more electronic sounds the two are famous for. Although there are clear innovations, it’s no surprise that dancehall fan Diplo stayed close enough within the Jamaican style. But remember when Switch remixed Santigold’s ‘Shove it’ last year, he produced a solid dub-reggae beat. From what’s leaked so far, it seems that the two are suitably deferential to the rich musical heritage they are tapping into.

It seems like it’s not just Lexxus and the Lazer crew that are dazzled by the wonders of mobile telecommunications either. This is a theme that seems to be creeping into the London funky scene, much like the fad for basing dances on children’s rhymes earlier in the year. LJ and L.Cos pay homage to their network prefix on ‘079 me’, an effective but somewhat silly number (!) that’s bound to divide opinion:

Meanwhile, Maxwell D, formally of Pay as You Go fame (see: Wiley’s first big break) is cementing his return to the UK urban big leagues with ‘Text, Text, Text’ on top of a tight Sticky production and this beauty of a freestyle:

‘Blackberry Hype’ is quickly turning from an off-the-cuff joke about updating his various social networking sites via his new toy to a possible release. It’s not clear, however, whether Lil Silva who produced the beat has sanctioned it. She is definitely a funky producer to watch with her ‘Funky Flex’/ ‘Seasons’ white displaying a keen ability to trace the techier side of the genre. Likewise MA1’s ‘Waterfalls’ has recently surfaced over the interweb and, unlike last year’s ‘I’m Right Here’, it eschews the girly vocal for soaring synths, grounded by the tough beats.

Interestingly, taste-making label Domino seems to be picking up on the funky thing, signing up DJ NG, producer of late 2007’s ‘Tell Me’ to touch its latest release by hip-hop duo Yo! Majesty. These two have proved that there’s much more to them than the novelty of being proud lesbians in the macho and frequently hetro-sexist world of rap music. On past tracks like ‘Club Action’ they have consistently demonstrated an ability to tread that fine line between backpack appeal and dancefloor nous. NG has added his trademark atmospheric touch to ‘Don’t Let Go’, which on top of rolling block percussion really combines nicely with the vocal:

In a similar vein but different, Ill Blu has well utilised Shystie’s MCing on the bassline smash ‘Pull It’ to fashion a likely funky hit, while Geeneus has taken the rather staid Laidback Luke remix of Robyn S’ classic ‘Show Me Love’ to the next level.

In terms of hip-hop, some quality releases are raising the stakes state-side. ‘UGK 4 Life’ has surprised many by striving to be a posthumous album of the kind that Pimp C would have made were he still alive. Avoiding any ‘RIP’ clichés, the album serves up solid tracks with guest appearances including 8 Ball &MJG, Too $hort, Snoop and Ron Isely (of Isely Brothers fame). Bun B himself guests on the forthcoming album on Def Jam from Method Man and Redman, ‘Blackout 2’, on a track entitled ‘City Lights’ which leaked last month. If this tune is anything to judge the album by then it’s certainly a return to form for the two. Red drops tongue-in-cheek one-liners, topped off with an ironic shot of auto-tune, whilst Meth plays it more straight with added drawl in deference to the guest, while Bun finishes it off with some double-time bars. The production is a pleasing crunk beat with synths noodling effectively.

Certainly a more solid collaboration than this month’s reject: Dizzee and Armand’s ill advised ‘Bonkers’. No doubt chasing down the success of ‘Dance With Me’ or Van Helden’s competent genre-hopping on his Baltimore offering ‘Shake that Ass’, this tune does neither any favours. The production is frankly tacky, the sort of track that Crookers might delete off their hard drive, while the lyrics just try too hard to conjure a sense of abandon. The biggest tunes in ‘Global Bass’ continue to be those that innovatively combine elements of disparate but relevant genres, there’s no room for falling back on big names or hype alone.