Back catalogue: All genres

Review: Ninja Tune favourite and sometime lo-fi house pin-up DJ Seinfeld continues to prove he was always about so much more with a new collab alongside Confidence Man that he describes as "quirky, naive and an ode to all the summer flings out there". It came about after the pair hung out a few times and enjoyed each other's company and the tun itself has already been something of a mini classic during festival season. As well as the original with its catchy drum loops, pop leaning vocal hooks and lush strings, there is a cheeky UK garage version that has even more irresistible bump and a Carlita remix that reworks into something different but equally essential.

Review: Turkish-Italian DJ and producer Carla Frayman aka Carlita's debut album Sentimental comes on Ninja Tune and the lead single, 'The Moment,' features English producer SG Lewis. Sentimental reflects Carlita's musical evolution in recent times and offers a new dimension beyond her club-focused tracks. The album includes collaborations with DJ Tennis, Sicilian artist Orofino and peers like Mascolo, Elderbrook, Julietta and Cleo Simone. Carlita describes the creative process as both challenging and rewarding and aim to surprise listeners with her diverse musical expression. The track 'Time' has already become a crowd favourite and the rest of the album likely will too.

Review: It's astonishing to think that two decades have now passed since the Cinematic Orchestra first unveiled Every Day. While not their debut studio set - 'Motion' appeared three years before - it was undoubtedly the album in which Jason Swinscoe and company perfected their widescreen, string-laden and ultra-atmospheric blend of neo-jazz and downtempo. As this re-mastered and lightly expanded anniversary edition proves, the album remains a timeless classic. It's peppered with genuine highlights, with our picks including Fontella Bass hook-up 'All That You Are' (a slow-burn, emotive, downtempo jazz gem), the jazz-funk influenced dancefloor workout 'Flite' (also featured in bonus 'original mix' form), head-nodding hip-hop-goes-jazz gem 'All Things To All Men' (featuring Roots Manuva in his pomp) and 'Man With The Movie Camera', which started life as a new soundtrack to a classic silent movie.

Review: It's certainly true that Ma Fleur represented a pivotal moment for The Cinematics. The outfit came to fruition, or at least hit the common conscience, in the haze of late-1990s post-trip-hop comedowns, a time when we were all still going harder, faster and stronger in clubs but wanted something cosy and velveteen on the after party hifi at 10AM rather than ketamine techno. Far more innocent times to say the least.

This 2007 record broke from the well established mould of the troupe, though, landing five years after its predecessor (Every Day) and opting for a more direct approach to loveliness. A kind of grab you by the throat and make you feel nice type remit that leaves the subtleties of the past behind in favour of more traditional big room, show stopping song craft.

Review: Given the rise in popularity in new school jazz in recent years, it seems a fitting time to welcome back Ninja Tune stalwarts The Cinematic Orchestra. "To Believe" is not only their first album in some seven years, but also one of their strongest releases to date. Opening with the poignant neo-classical/soul fusion "To Believe", the set sees Jason Swinscoe and company attractively saunter between jazz-electronica fusion (Roots Manuva collaboration ("A Caged Bird/Imitations Of Life"), pastoral jazz epics (the sunset ready epic that is "Lessons"), gentle downtempo songs ("Wait For Now/Leave The World"), ambient jazz ("The Workers Of Art") and slowly unfurling dancefloor workouts (killer closing cut "A Promise"). In a word: stunning.

Review: Given the rise in popularity in new school jazz in recent years, it seems a fitting time to welcome back Ninja Tune stalwarts The Cinematic Orchestra. "To Believe" is not only their first album in some seven years, but also one of their strongest releases to date. Opening with the poignant neo-classical/soul fusion "To Believe", the set sees Jason Swinscoe and company attractively saunter between jazz-electronica fusion (Roots Manuva collaboration ("A Caged Bird/Imitations Of Life"), pastoral jazz epics (the sunset ready epic that is "Lessons"), gentle downtempo songs ("Wait For Now/Leave The World"), ambient jazz ("The Workers Of Art") and slowly unfurling dancefloor workouts (killer closing cut "A Promise"). In a word: stunning.

Review: 20 years have now passed since The Cinematic Orchestra unveiled their soundtrack to experimental, Soviet-era silent documentary film The Man With The Movie Camera. As this deluxe, deliciously packaged anniversary reissue shows, it remains one of J Swinscoe and company's most timeless and on-point works - an effortlessly atmospheric affair that blends neo-classical strings and deep, smoky jazz instrumentation with subtle electronics, swelling ambient chords and nods to contemporary music. This time round, the album - which boasts highlights including the fan favourite title track, the dancefloor-ready 'Theme De Yoyo' and the stirring 'All Things' - has been pressed to coloured vinyl and comes accompanied by extensive new liner notes.

Review: Amon Tobin's debut album under the Cujo alias is a sprawling, complex work that spans 21 tracks and blurs the lines between multiple genres. First released in the mid-90s, it introduced a unique blend of live instruments and innovative sampling that would go on to shape Tobin's entire career. This is first time all the tracks have been compiled together, providing a complete version of the album that had previously been scattered across different editions. From the moody, atmospheric 'Cat People' to the intricate jazz influences in 'The Brazilianaire', the album captures Tobin's knack for combining breakbeats with more experimental sounds. There's an almost cinematic quality to the compositions, with moments of ambient calm giving way to punchy, layered rhythms. The sheer variety of ideas packed into the album is remarkable, from the driving percussion of 'Traffic' to the rich, textural complexity of 'Cruzer.' Even now, nearly 30 years on, the album still feels fresh and ahead of its time, illustrating Tobin's pioneering approach to electronic music. This reissue is a fitting reminder of the innovative work that laid the foundation for a remarkable career.