Sherwood has always preferred to operate in the shadows, where his creative integrity is least threatened by the all-corrupting ludicrousness of the pop mainstream. Largely left to his own devices, he has built up a colossal body of work, whose staggering diversity after launching off from reggae and dub, he duly innovated with electro, industrial noize, various world musics, and much else besides somehow never eclipsed his own identity, nor diluted his unique bass-quaking sound.