Back catalogue: Bass

Review: Having previously worked with SBTRKT, Kanye West, Drake, Jesse Ware and Frank Ocean, amongst others, Sampha is no newcomer. This, though, is the British singer, songwriter and producer's debut album, and it's something of an understated gem. One particularly enthusiastic reviewer called it "an R&B album for the ages"; while that may be pushing it a bit, there's no denying that Process is an impressive collection of tracks. The beats are inventive, the electronics crisp, the samples carefully chosen, and the musical touches pitched just right. At the centre of it all stands Sampha, delivering thoughtful, heartfelt and sometimes poignant lyrics in his wonderfully evocative voice.

Review: Last year Polish talent Satl returned to Lenzman's label The North Quarter with his most accomplished and wide-armed body of work so far. Now available on this beautiful triple vinyl format, he's back once again to take us on a trip through his influences and widescreen musical vision. Buckle up and be prepared to roll from full-on technoid d&b ('Hard Times') to bubbling, twisted funk ('Werk It') via smouldering, unclassifiable dark soul ('Ride Or Die') and dreamy breakbeats ('Standing By') With many other sides to his sound revealed throughout, this is an exceptional and very impressive album.

Review: SBTRKT has always been outlandish in the music he has made. His new album The Rat Road is another testament to that with its audacious sounds and adventurous electronic styles. This record from composer and producer Aaron Jerome - who for many years kept his real name hidden - is his first in some seven years and it mixes up everything from retro glitch to wiggling drum & bass, nimble bass to 90s-referencing rave cuts. Guest vocalists Leilah and George Riley add some hooky mainstream bait and all in all this is a welcome return.

Review: Composer and producer Aaron Jeromea aka SBTRKT returns with a new album, his first in some seven years. The Rat Road gives him full licence to flex his skillset in full experimental mode, encompassing glitchy styles, off kilter drum & bass, bass and 90s-referencing rave-iness. Guest vocals come from Leilah and George Riley, adding an oddly mainstream counter balance to the instrumental quirkiness happening beneath.

Review: Sarah Sommers' inaugural album HeartCore was captured live at Princess Tower Studios in Berlin. Clocking in at 74 minutes, it's a vibrant fusion of dance music genres fuelled by Sarah's profound passion for electronic beats that span various eras. From dub to techno, house to dubstep, and drum & bass to breakbeat, the record showcases all that and more across nine tracks extracted from Sarah's live sets and previously performed across Berlin clubs in 2022 and 2023. A testament to her lifelong love of the music, this LP epitomises authenticity and comes on lovely gatefold neon pink wax.

Review: The first release on SOS Gunver Ryberg's own imprint, Arterial Recordings, is a great example of how wrong assumptions and presumptions can be when based on labels. And no, we don't mean record labels. Ryberg is an award-winning sound artist, but what do we mean when we say things like that? Is it the dense theoretical and conceptual sonics designed solely as installations within the institutions of art itself, or something more tangibly recognisable as 'music' itself? Maybe it's neither. It can definitely be both. Spine proves that last point wonderfully. Yes, this is electronic music at the bleeding edge, strange aural worlds crafted from noises and gadgets that could be the controls of a space craft from the future for all the average person might know. But the tracks here are definite and deliberately designed to be heard as tracks, whether that's the serene, floating-past-the-cosmos ambience of 'Sensuous Sky', or the frantic breakbeat tension of the title track.

Review: Scottish fusioneer Stillhead follows up last year's album doublet Out Of The Loop with this exceptional wide-armed spread of sounds that flexes from UKG (the beautifully restrained hip-wriggling intro 'Sick Fing') to uncompromising juke jams (the pounding, loopy 'Girl Problems') by way of deep slithering, hypnotic dub ('Social Distance'). All weaves together with large servings of bass and some rather nifty (not to mention cheeky) samplecraft. Stillhead? Still bumping...