Back catalogue: Bass

Review: 'Raven' is the name of the largest species of crow in the corvid family of birds. It's also the name of the second upcoming studio album by Kelela, which comes a whopping six years after her debut Take Me Apart - making this a hotly-awaited LP to say the least. Describing the album as an expression of loneliness as a black femme working in the dance music industry, she's made sure to bring along plenty of company, making this a largely collaborative affair. You've got Kaytranada, LSDXOXO, AceMo and Fauzia on there, all working in ultra-glossy, emotive future takes on dancehall, breakbeat and ballad.

Review: The second studio album by Kelela is now out, coming a whopping six years after her debut Take Me Apart. Whereas beforehand we were hardly clued in as to its sonic and lyrical content, this deluxe 2xLP version provides us a full illumination. Whoppingly beautiful neo-soul vocals from the resident Big Dada/Warp artist glide across contemporary electronic dance production from collaborators from AceMo to Fauzia, making this a thorough testimonial of black women's experience in today's music world. 'Happy Ending' is the standout, skilfully weaving a heated picture of a complex, breakeat-backed love on the dancefloor.

Review: Romanian duo Khidja, known for their eclectic and adventurous blend of disco, krautrock, post-punk and psychedelia, lay down a fresh mini-album in the form of Transmissions Part 1. The first part of a series of releases to come via the label Malka Tuti, it's an impressive exercise in ricocheting, futuristic chuggage, recalling the krauty electronic janks of classic experimenters like Cluster, while bringing them to a freshly danceable, EBMmy context.

Review: Originally released digitally in September 2022, Kreed's debut album A Brief History enjoys a much deserved vinyl boost. A veritable soundsystem odyssey featuring vocals and links with a remarkable cast of vocalists from Rider Shafique to Killa P, Jman, Gardna, Charli Brix, Catching Cairo, here the Bristol producer goes all-in with the dot-joining and genre fusing. The end result sits somewhere between dub, soul, bashment, hip-hop, garage and dubstep. Warm, hypnotic and loaded with twists and turns, highlights include the garage-style shuffles and flexes of 'Weeper's Lament' and the digi-dub bubbler 'Ashes'. Vibe overload. The rest is history.

Review: After the massive impact of Vex'd in the breakthrough years of dubstep, it was big news when Jamie Teasdale chose to swerve in his own direction and emerge as Kuedo. Released in 2011, Severant was a bold statement of intent which didn't wholly shirk what had come before, but placed emphasis on the kind of romantic synthesis you'd readily associate with Vangelis and saw trap and other influences sneaking into the mix. In hindsight, Severant is typical of the times we live in, drawing on a glut of influences and presenting its own idiosyncratic vision, but above all that the emotion and intent of Teasdale's ideas make it an enduring, captivating listen.

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.