Back catalogue: Bass

Review: Following mesmerising Marseilles mutations from the likes of Syqulone, Kabylie Minogue and Lisa More, Cain ? Muchi return to Gros:Oeuvre with their remarkable debut album. A heady tagine of grime, beats, techno, global bass and contemporary electronica with a title that either refers to famed Moroccan popstar or, far more likely, relates to meaning as 'universe', Dounia is a beguiling clash of western electronics and eastern bars, lyrics, and vocal harmonies. Fractured and macabre throughout from the distorted hardcore bass highs of 'J'wadi' to disarming vocal cries of 'Majdouba' this post grime, pre apocalypse opus is a trip from edge to edge.

Review: Since 2018, the Marble Elephant duo has been colliding drum & bass, deep dubstep and future garage into suns that are both physical but rife with emotion. Truth is a full length which goes deep into their style and shows how versatile they can be. There are atmospheric, immersive sound worlds like the title cut next to glitchy, skeletal garage workouts with sunny melodies like 'Believe', ambient jungle soothers like 'Serenity' and Burial-esque late night cuts like 'Discovery'

Review: Given the hype that surrounded the release of the first Moderat set back in 2009, we can surely expect more of the same for this second outing from Apparat and Modeselektor. Those familiar with the first album's woozy blend of IDM, Thom Yorke indebted vocal dreaminess, porchlight techno and post-dubstep rhythms will immediately feel right at home. Online reviews have focused largely on II's atmospheric warmth, and the way in which the Berlin-based trio seems to have refined their sound. Both are valid critiques; certainly, there's a maturity and musical complexity to the album that betters much of their previous works. It's not much of a dancefloor set, but that's entirely the point; this is locked-in headphone listening for the wide-eyed generation.

Review: Cry Sugar is the all-new album from long-time Warp mainstay Hudson Mohawke. It is yet another powerful statement that looks to mix the profane with the spiritual across some thrilling club tunes. The record is said to be inspired by "90s John Williams, film scores and spectacular soundtracks" and runs a gamut of emotions with plenty of dance floor euphoria served up in an array of innovative rhythms. HudMo himself says it is "a demented OST to score the twilight of our cultural meltdown." We say - we love it.

Review: Mount Kimbie's journey of self discovery continues with the next instalment in the MK3.5 series. Whether this really is a new era for the pair, or not is of course besides the point - Kai Campos and Dom Maker have displayed real evolution on the road to get their two-man project to this point, and at this point it really shows.

Dom's side is an altogether more colourful and varied affair in the sense it opens with sultry piano-driven late night drinks electronica via 'dvd', featuring the perfectly suited vocal cuts of Choker, before edging into rainier territory with 'in your eyes', welcoming everyone's favourite UK MC with loads to say, slowthai, and Danny Brown . Sparse but technically astute, Campos opens his lot with clubbier tones, namely the muffled crunch-house of 'Q', quickly moving through broken filter bass ('Quartz'), and warm, laidback beats ('Satellite'), among other vague descriptions.