Back catalogue: Bass

Review: Skid Row is a carefully composed six-tracker of modern club and soundsystem oriented Bristol-influenced bass music. Believe it nor not, all basslines on this release are created by the same untypical hardware device, the Benidub DS71 Dub Siren. The tracks fuse grime and techno, picking up early reggae and 90s warehouse toasting - far from shiny algorithm optimization. 'Rictus' attunes the listeners to a playful, deeply swinging bassline embedded in reduced drums and comfy pads. 'Cockatrice' unfolds a technoid, almost trancelike impetus - dressed in broken beats and thoughtful vocal samples. 'Weedlot' sticks more to the funky side and cavorts with witty sonic effects, while the flip meets with 'Clodbuster': a conscious, truly demolishing badass tune in the spirit of only-the-rawest UK bass and grime; 'Suttree', finally, slows things down to a wide and wry space garnished with reggae horns and contemporary dance music samples. The record closes with growling drums, reverberant chords, tripping vocal snippets, and a sub-bass targeted on blurring your sight: 'Calico'.

Review: Following the deliciously titled single 'The Goat & The Night', NVST unveils her full Silence Itself Is Noise EP in all its genre-melting technicolour glory. Ranging from blissful moments of ambience to visceral shades of electro and techno, highlights include the crisp body funk of 'Monster Of Business', the acidic swagger and off-beat wonk of 'Tiny Mistakes Feeling Hot' and the woozy Weatherall-like charm of 'Silence Itself Is Noise'. Pray silence please!

Review: Always one to keep us on our toes, NVST follows up last year's Drum In The Bass Of Attention with another wide-armed display of power. From utterly savage, uncompromising breaks ('Filled With Oil') to the more deconstructed, experimental spoken word exploration ('Fourisfourisnoanswer') via funkier, more groove-based cuts ('Slack It Off'), she weaves between worlds with a fizzy balance of unpredictability and joyous danger. Nothing is off the table.