Craig Bratley’s sophomore album has been a little while coming. Titled “Return To Bass”, sonically it, largely, takes his lead from the 2021 single “No In Between”. A magnetic marriage of digi-dub and bluesy sleaze produced in collaboration with with NYC diva Amy Douglas that quickly went on to become a sought after classic. The title track, for example, bumps and grinds to a post-Soul II Soul break. A blend of 90s ethereal pop and digital dons Steely & Clevie, wth an E-ed up aesthetic, but its TB-303 B-line growling, ragga, beneath a bright horn hook and recalling the “Balearic” of The Beloved, Smith & Mighty and Tim Simenon’s techno take on lovers rock. “Ahnedonia” is moody and Massive Attack-esque, with another, bigger, acid work / freak out, while “S.A.W.” is slow, low, raw slightly menacing electro. Roland’s machines, 303 and 808 doing battle to some Jahtari-like robotic skanking.

“Plasticine Dub” shakes its stuff on similar sensual, bottom heavy beats. Swells of romantic, cinematic strings, snake charming synths and a mysterious Middle Eastern siren serenading the song’s roots “love and unity” lyrics. Mixing in echoed timbales and soundclash desk effects, the results respectfully resembling both Jah Wobble’s Invaders Of The Heart and Andrew Weatherall’s Sabres Of Paradise, and providing a soundtrack suitable for a stoned Hashshashin’s horny, harem dreams.

Rhythm-wise, however, there are a couple of outliers. “Everybody Pushing” shuffles to funky drumming, jazzy flutes, bleeps, and house piano. Thomas Gandey’s angelic vocal topping off something more akin to the pill-popping indie-rock of Balearic bands such as If? Energetically and enthusiastically constructed, building bit by bit, “Thanks For All The Fish” is skipping, NYC-styled house, that could easily pass for early X-Press 2. Swapping the reggae for raise your hands.  

Craig Brately’s Return To Bass can be pre-ordered from Juno.