Amoss Keeps It Dark and Deadly on ‘Cadence’ EP
Minimal, weighty and immersive, Amoss’ full debut on Critical Music delivers a release engineered for heads who value groove-driven drum & bass.
Minimal, weighty and immersive, Amoss’ full debut on Critical Music delivers a release engineered for heads who value groove-driven drum & bass.
For well over a decade, Amoss has been a force to reckon with in the drum & bass underground, consistently belting out the kind of groove-laden, funky, and fiercely technical drum & bass that is explicitly designed “for the heads.” How his sound evolved in parallel with drum & bass’ evolution over the years is a testament to how he keeps things fresh and forward-thinking. Releases on respected imprints like Dispatch Recordings, Flexout Audio, V Recordings, and 31 Recordings are proof of his prowess.
What truly sets Amoss apart is his staggering work ethic and the rare ability to churn out high-volume releases at regular intervals without ever diluting the potency or integrity of his signature sound. We say this because we are barely out of the first quarter of 2026, and Amoss has already delivered four massive releases, and for his next one, Amoss has made another solid mark with a release on Kasra’s Critical Music.
Stepping up for his full debut on Critical Music, Amoss returns with renewed intent on the ‘Cadence‘ EP. Having previously worked with the label for a single, the EP gives us an all-round exhibition of the sharper, heavier, and definitive drum & bass music Amoss is associated with. It’s a body of work that leans into his strengths: precision drum work and that all-important sense of groove.
The raw utility and structural brilliance make this four-tracker fiercely compelling. It is a set of tunes that are meticulously crafted for the true selectors, the working DJs, and the dedicated listeners who still deeply care about the intricate mechanics of groove architecture.
Take the first tune, ‘Ghost Signals’ from the ‘Cadence’ EP, for example. It’s a quintessential, steely Amoss-style roller, powered by a menacing, stripped-back bassline that sets the tone for the rest of the release. Legend has it that Amoss road-tested the track at a London show right after writing it during a creative burst, and Kasra (who was playing after him) almost immediately checked with him if it was signed to a label.
Next comes ‘HLM,’ which steps into the grimier, heavier territory. The track is built around the push-and-pull interplay between crisp percussion and distorted, warping sub-bass. It delivers that chest-rattling feeling while keeping the atmospheric, haunting dread dialed all the way up.
‘The Same’ featuring Lissa Grace comes in like a curveball. The warm, soulful vocal delivery from Lissa carries the track along with the layered breaks and lush pads. Importantly, it doesn’t go full “radio liquid,” there’s still a subtle darkness and depth underneath the melody that maintains the sharp Critical Music edge.
Closing things out, ‘Twitch’ fully lives up to its jumpy name, landing in heavier, jump-up-adjacent energy. The track leans into a weird and almost chaotic sound design, with snippets that are scattered throughout the tune. It may not sound hyperclean or polished in the conventional sense, but that’s intentional; it’s meant to feel a bit abrasive and unhinged, which gives it real dancefloor impact.
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