This was the golden age of Adam & The Ants - for one or two of the more serious-minded post-punk fans from the early 80s at the very least. A BBC Sessions album that is a tribute to the great DJ himself, John Peel who, had it not been for him, many may never had been introduced to the band. Featuring many different versions of tracks that were included on the debut Dirk Wears White Sox (released later in 1979), these tracks seem even more adrenalin-fuelled that the versions we eventually heard on the fantastic debut that for many has never been matched by anyone since. The opening two tracks, however, come from the early 1978 session that were not part of the debut and opening track 'Lou' doesn't even feature Adam Ant on lead vocals. This track was performed by the band's then manager and punk icon Jordan and sits well with the rest of this impressive collection of recordings that could be classed as Adam & The Ants part one (of three different versions). These sessions link the first two versions of the band very well and are a world apart from the commercial and more successful songs that the band eventually wrote and released a few years later that eventually made them a household - and playground - name for the next decade.

Stockholm-based composer Isak Edberg's second release on XKatedral - arguably the finest contemporary classical label in the Swedish capital. This time round we're given two extended pieces, running towards 30-minutes each, both of which are instrumentals and focused largely on minimalist piano notes, meaning the use of space and emptiness is also prominent. The title track, which opens the package, sets the tone and pace well, with each key allowed to breathe, refrains hanging on by a thin echo fading into the deep expanse of nothingness that seems to sit behind the instrument itself. 'Vestiges' complements this perfectly, again ensuring there's plenty of what's not happening in between the staccato off-keys. Fully committing to a more experimental side of the new classical spectrum, it's one you'll want to keep revisiting again and again.

The Jazz Crusaders' Freedom Sound blends hard bop and soul-jazz in a way that feels both fresh and timeless. The band delivers a tight, energetic performance, with each member adding their distinct touch to the album's punchy grooves. The horns are sharp and emotive, while the rhythm section locks in with precision, creating a perfect backdrop for the solos. Tracks like 'The Thrust' showcase their ability to seamlessly merge complexity with accessibility, making this a standout album that defines their early sound. It's a work that thrives on its energy and bold experimentation.

Gracie Abrams's The Secret of Us gets served up as a special edition here and it marks her most expansive album yet. This ambitious project shows her growth as both a songwriter and vocalist and adds in already assured fan favourites like 'That's So True' and 'I Love You, I'm Sorry (Live From Vevo).' The record finds Abrams collaborating once again with Aaron Dessner and she also worked with her best friend Audrey Hobert on several tracks. Together they reflect the urgency of recounting a meaningful night to a close friend with live experiences over the past year shaping its narrative and sound. A nuanced pop album with plenty to explore.

Igor Jadranin returns with another interstellar EP that redefines genre boundaries. Blending boogie basslines, futuristic synths, vintage drum machines and lush flute, piano and vibraphone melodies, the producer delivers cosmic electro-boogie with a playful edge. Tracks like 'Gangster Electro' bring hard-hitting beats, while remixes from Byron The Aquarius and A Vision of Panorama expand the palette. Byron's haunting 'Midnight' mixes crunch with eerie vibes while Panorama's Nu-Balearic twist adds sunrise warmth to the original. It all adds up to a bold 12" from the much-loved Chicago label.

Ovatow is one of several aliases from the DJ, producer, graphic designer and Frustrated Funk label head also known as Klen. It is one he saves for dubbed out solo experiments and this EP first dropped back in 2007. It stands up now though as a tasteful Collins of electro, dub and techno. 'Flame' kicks off with wobbly synth hooks and ice-cold analogue beats. 'Visitation Dub III' then sinks down into a moody, grainy and lo-fi world of deepest dub and 'A Thought' flips the vibe again with a bright and busy electro workout. It pairs the coldness of machine hits with the liquid soul of some lush synth melodies. Classy stuff, for sure.

RTR returns to WeMe with more arresting weaponry and this time the producer puts a jungle slant on things, much like he did with the Xor album. It's an uncompromising approach that soon takes effect with 'Exelec' which marries brutal breaks with bright synth twitches and unrelenting percussion. 'Rtyp' ups the pace and goes into overdrive with manic snares and drum loops all run through with prickly acid madness. 'Line II' strips things back to a more skeletal but no less kinetic set of drums which explode and implode with scratchy textures and warp synth abstraction. 'Norm Code' offers a more soulful sound that journeys into deepest space.