When British prog rock band Babe Ruth recorded 'The Mexican' - a low-slung funk-rock workout that came complete with weighty bass and killer drum breaks - they could have had no idea of the impact it would have during the block party phase of hip-hop's evolution (or, for that matter, that Jellybean Benitez would record a Latin hip-hop cover in the early 80s). It's the track's significance within hip-hop that inspired these revisions from break-digger Mister Mushi. Both of the producer's 'Special Edit' versions - vocal on the A-side, instrumental on the flip - make the most of the track's prototype hip-hop breaks, restless bassline and Latin-tinged fuck-rock guitar licks. They're basically the breaker-friendly revisions the dancers want and need.

It's the album that redefined ambient music, not least for a generation of parasympathetic ravers. Aphex Twin's Selected Ambient Works Volume II marked a stylistic shift away from the first edition in the infamous ambient LP 'series', Selected Ambient Works 85-92. Volume II differed substantially; this time, there would be no 'techno' addendum to 'ambient', and all tracks thereupon would lack the usual indulgence of beats, however easy-on-the-ears these had been beforehand. Known for its many numbered tracks - which on the original edition, rather than track names, denoted references to images of natural forms, textures and geologic readymades, all bathed in orange, and from which fans had to infer the written names - this expanded edition stays faithful to this origin. Even so, it adds two unreleased D. Jamesian treats - 'th1 [evnslower]' and a reversed version of 'Rhubarb' - as well as a the previously vinyl only '#19'.

Fascinating Balearico-steppers from low-key production outfit and chillout band Puli, debuting for new Miami label Open Space. Responding to a flux of "musicians from the east side of Los Angeles" having "re-established the city of angels as the first city of Balearica", Swirling is one of many new records to find itself included in this newfangled niche. Its progenitors Puli are expert renderers of the sound, and all its members have many a bullet-point CV entry, the already eminent John Jones, Phil Cho and Damon Palermo laying among its core members. Drawing on the energies of local LA downtown parties - experienced in swungover, stark contrast to woozy Sunday eves spent munching on tacos - this coming-together of cool cats incenses us most with 'Cloudy' and 'Leech Seed Dub', both of which are mid-record tinkerers, satisfying the stereo field in as much as the mono centre is kept as hotfooted as a bare tread on a quick-drying pool patio. The serener moments are charming too; the B's 'Bongo Springs' and 'Swirling' up-and-down the proceedings to electro and psychedub territories respectively, rounding the record off on versatile notes of calm, irrespective of tempo.

Ilkay Yeler serves up a debut EP that explores a fresh house sound that is perfectly suited to the Mood Waves house sound. Up first is 'Donations Feed' which is a kicking tech cut with wispy synths lashing about next to snappy snares. 'Ghost House (Dyson dub)' then gets deep and freaky with a marching beat and meandering pads that bring a ghoulish vibe. There is more kick to 'Space Lounger' but no less depth with more cavernous pads and a turbocharged bassline. Last of all is the more sci-fi leaning 'Wait A Minute' with eerie cosmic energy and a grubby, unrelenting bassline.

Earthly Measures and Multi Culti have teamed up to create the collaborative label Cult Measures. Their debut release is an 8-track album that blends deep, cosmic, and experimental sounds with Afro percussion and jazz influences into something truly fresh. This versatile album is designed for both home listening and peak moments on the dance floor, not least the opener 'Submarino' which is a jostling fusion of Latin sounds and vibrant percussive energy. 'Belafon Balafon' brings summery steel drums and 'PushMePullYou' is a dense rhythmic workout. With its rich textures and unique fusion of styles, this project sets a strong foundation for the new label, highlighting a commitment to innovative, boundary-pushing music.

Drivetrain and Jani Ho share some impression of the production process behind their latest record 'Manufaktured', an inspiring (industrial) techno EP whose front cover plays up the cogged, gear-ground factorial themes undergirding much techno. Sharing a side each for two sonic extrusion mouldings per side, Jani Ho is the first to press go on both the machine apparatus and the workers' timeclock, with 'That Detroit' and 'Destination' invoking instant recollections of the city in which both the car and techno vinyl record factory were born, first through shuttering chord-pulse frontage, then a torrential bleeplectro rear ender. Jani Ho call-responds to the A1 with 'Ripple In Time', an ultrasonic sixteenth-note maddener, before 'Violent Delay' provides some much needed chordal relief; ironically the least violent track of the bunch.

Names You Can Trust introduces the third instalment of its Swing-A-Ling 'Now Sounds' 7" series, a limited collection celebrating the label's long-running Jamaican music event in Brooklyn's Flatlands. These records highlight unreleased or deeply underground gems and perfectly capture the spirit of the summer dance and cookout. This year's release arrives perfectly in time for the Halloween season and revives a rare treat that is a cinematic, early 70s dark masterpiece featuring horror-themed DJ toasting. At its eerie core is the haunted Hammond organ track by Vincent Price & The Young Spirits, a nod to classic horror vibes perfect for the season.

Since 2009, Hackney Colliery Band has redefined brass band music and captivated audiences with dynamic live performances and critically acclaimed releases. Now, 15 years into their career, the nine-piece collective prepares to unveil their sixth album, Collaborations: Volume Two. Following the success of Collaborations: Volume One, which featured world music icons like Angelique Kidjo and Mulatu Astatke, this new album shifts focus to vocal tracks alongside instrumental pieces featuring harp, guitar, cello, and conch shell. Frontman Steve Pretty and fellow composers say it was the joy of innovation that fuelled the album, which includes collaborations with DJ Yoda, Joe Armon-Jones and more.