The Scandal of Time’ bookends a prolific period of experimentation for Sam Shackleton and follows a raft of collaborations (with Wacław Zimpel, Heather Leigh and Scotch Rolex this year alone) with what amounts to his first new solo album since 2021’s ‘Departing Like Rivers’. It might also be his most advanced, forward-facing work in years.

Shackleton’s been edging away from the dancefloor for about a decade now, exploring alternative tuning systems, modern classical sounds and non-Western rhythms. ‘The Scandal of Time’ works not just as a précis but a daring leap forward, mixing ghosted, traditional; German folk songs with heart-piercing basslines, xenharmonic percussion and open-ended drones, on what promises to be his last solo release for a while.

The eerie, hauntological world Shackleton has created here is a testament to his years of work on experimental bass music’s fringes. He’s managed to shepherd us through so many disparate musical styles that have here been finally sutured into a single, startling vessel