Back catalogue: Reggae Classics/Ska

Review: Live At Roundhouse calls back to when New Zealand nu-dubbers Fat Freddy's Drop reserved their best tricks for London in the late 00s. Descending on time-honoured Camden venue the Roundhouse, the album captures the essence of one of their most renowned live sets, with energetic jamming seguing through seven original tune, showcasing their improv skills both as a band and as a dub production collective. The 15th anniversary edition here comes courtesy of Record Store Day and comes in an exclusive neon green sleeve.

Review: With their high tempo combination of ska, metal, punk, funk, reggae and soul, many elements of Fishbone can be compared to other bands, but the group themselves have always sounded quite inimitable. Consistently invoking good times, they garnered a truly cult following, drawn by their diverse influences (and membership), pithy wit and razor sharp social commentary. A Los Angeles troupe held very close to many hearts, Fishbone, a five track EP, defines all that hyperbole. It's energetic, engaging, fun, but unarguably accomplished lyrically and musically. Featuring 'All We Have Is Now', their first single featuring longstanding member Chris Dowd since 1994 (he was with the band from formation in 1979 then went on hiatus), here's more than enough proof they're still as irresistible as ever.

Review: Kuchu: The Best Of Fishmans was first released in 2005 as the indie-label (Pony Canyon) follow-up to Fishmans' first best of compilation; the blue to Universal Music's orange, this compilation was first issued on CD only, and charted at least 20 tracks' worth of both greatest hits and rarities, neither of which could possibly all fit on a single vinyl record at the time. That all changes with this retroactive vinyl reissue of the compilation, which cuts things down to just a dozen selections, hand-picked by drummer Kinichi Motegi, from the dreamy Shibuya, dub and experimental band's discography. Held in high regard for all too long, we're very happy this one's made a comeback.

Review: The Fishmans are a Japanese band who were very ahead of their time. Formed in 1987, they mixed reggae, dub and psychedelia into their live ensemble. If that wasn't groundbreaking enough, through the 90s they also added elements of ambient, synth pop and shoegaze. This double album, originally released in 2005, is now available on vinyl for the first time. Standouts include the live version of the shimmering 'A Piece of Future', the spacey lullaby 'Weather Report' and the rocksteady 'Magic Love'. The charm of the band is immediately understood after one listen to this album - one of our favourite Japanese vinyl transfers of the year so far.

Review: Built on two decades of collaboration between drummer Sam Hobbs and bassist Neil Innes - no relation to the Monty Python and Rutles man of the same name - the pair's new ATA project blends rootsy Jamaican groove with the syncopated strut of New Orleans funk. Though technically a new release, it's more a continuation than a debut: the lineup includes jazz organist Bob Birch and session guitarist Chris Dawkins, drawing from deep wells of soul, rocksteady and r&b. Tracks like 'Grafter' and 'Bust Up' land squarely in the crossover zone between Studio One and The Metersiraw but slick, with a tight pocket and loose-limbed flair. 'An Autumn Sun' leans sweet and sentimental, while 'Strong Fish' pays organ-heavy homage to Jackie Mittoo's Hot Milk-era work. Elsewhere, 'Power Cut' and 'Night Bus' arrive with horn motifs that seem tailored to I Roy-style toasting, and 'Tough Swagger' is a heavy-lidded jam that could've wandered in off a Bunny Lee tape. But it's 'Iron Fist' that best captures the group's method: groove-first, melody-second, built on intuition and the friction of mismatched rhythms. Despite the vintage touchstones, it never feels like pasticheithe record balances reverence with invention, keeping one foot in Kingston and the other in Treme. For a group with so much history, it sounds impressively fresh.

Review: Claude Fontaine's latest album, La Mer, transports listeners to an idyllic, mythical island envisioned by the artist, situated off the coast of France, a fantasy realm graced with a blend of French and Portuguese influences, fragrant air and Lapis Lazuli-coloured waters. The stone citadels of this timeless place house people living in a velvet eternity. Fontaine's music is the soundtrack to this utopian paradise, merging 60s French ye-ye pop, slinky Studio One reggae, and Brazilian tropicalia into a seamless fusion. The album's first single, 'Vaqueiro,' tells the story of a rugged gaucho who grapples with love and solitude on a remote ranch. Fontaine's voice, reminiscent of Jane Birkin and Francoise Hardy, intertwines with lush instrumentals to create a wonderful atmosphere. Produced and co-written by Grammy-winner Lester Mendez, known for his work with Grace Jones and Shakira, the album boasts an impressive roster of musicians. Guitarist Tony Chin, bassist Ronnie McQueen of Steel Pulse, and percussionist Gibi Dos Santos from Sergio Mendes' ensemble, among others, contribute to the album's rich, textured sound. Ziggy Marley's drummer, Rock Deadrick, adds further rhythmic depth. La Mer is Fontaine's ambitious follow-up to her self-titled debut, promising a romantic collection of songs that blend diverse musical traditions into a dreamy, interconnected world.

Review: Frightnrs are considered one of Daptone's best artists but they have put out any new music since 201 after the tragic passing from ALS of the front man, Dan Klein. That wrong is righted here with Always, a new posthumous long player that comes on black wax as well as a coloured version. As fans would expect, it is a raw and soulful offering from the Queens-based reggae outfit that has been built around vocal stems that Klein recorded before his death. It forms a fitting final album from this outfit who also did more than reggae revivalism by adding elements of Motown, doo-wop, Blues and gospel.