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Review: Well, we couldn't really be happier. In fact, there is almost nothing to say about this album apart from the fact that it is absolutely, downright essential. Originally released in 1986 on Rough Trade here in the UK, it has been reissued a few time over the years but has always vanished in the blink of an eye and reappeared on the EBay and Discogs circuits for big bucks. Finally, you can indulge in a beautifully remastered version on virgin vinyl. In what is seen by many cultic Russell fans as perhaps his biggest achievement, the LP drifts in and out of light and shadows with utter ease, truly portraying the genius of the man who paved much of the way for modern electronic music generally. From start to finish, it's an ethereal mixture of sparse beats, effect manipulations and folklore, charismatically told by one of the only artists in the history of experimental music to really combine and successfully bind so many unexpected musical terrains. We are only mere mortals, so we won't describe the music to you...just get yourself a copy and see...

Review: High school band directors used to press up their bands' performances to vinyl, & none made as much sweet noise as this "Texas Thunder Soul." Deluxe gatefold package as well as some previously unreleased live music, plus a bonus documentary.

Review: "Ruff Draft", originally released in 2003, is a sought-after album that remains the elusive key release in J Dilla's catalogue. This has freewheeling, in-your-face synthesizers, and an uncharacteristically sample-heavy approach that is as banging as it is experimental.

Review: "The Mix Up" is the new album by the Beastie Boys. For the first time every track is an instrumental. This spits hot fire! Mike D said that "even though The Mix-Up is a "post-punk instrumental" album, the Beasties have no plans to ditch vocals for good". In fact, they are currently planning another version of the album that will feature collaborations with "a pretty wide array" of "mostly newer" vocalists! Check, check it out.

Review: "45:33" was originally recorded by James Murphy (aka LCD Soundsystem) as a continuous album-length disco symphony. It is the result of Murphy's desire to create a piece of music outside the typical commercial constraints. Don't miss this DFA release.

Review: Gothenburg, Sweden, is a hotbed of diverse and escalating musical talent, now boasting the dynamic, organically soulful pop sounds of Little Dragon. Featuring radiant vocalist Yukimi Nagano and her close high school friends Erik Bodin (drums), Fredrick Kallgren (bass) and Hakan Wirenstrand (keyboards), Little Dragon stepped into the spotlight with releases on Peacefrog. "Little Dragon" is their debut album.

Review: Steel pan, disco and dub from the 1970s in Steel An' Skin's 'Reggae Is Here Once Again'. Yet another lost gem from EM. Ultra-postive consciousness from Afro-Caribbean London, circa 1979. Members of the legendary 20th Century Steel Band (one of Grand Master Flash's favourites) sailing Trinidad-wise over gratifyingly intricate African ritual rhythms. Strong vocals compliment reggae, funk, disco and soul influences to form a relentless groove machine. Steel 'n' Skin, a unit composed of young nightclub musicians born in Ghana, Nigeria, St. Kitts, Trinidad and the U.K., who once performed with Ginger Johnson's Afrikan Drummers, a highlife band under the tutelage of the late Ginger Johnson and played at Johnson's Iroko Country Club in Hampstead, London. Steel 'n' Skin began performed concerts and workshops in London schools, expanding nationwide to schools, prisons, psychiatric hospitals and summer festivals, including the world-famous Notting Hill Carnival. The group combined a mix of musical forms with community outreach, non-cynical and untainted by preachiness or "social work." Good feelings from good hearts. This EM reissue consists of Steel 'n' Skin's 1979 debut 12 inch single "Reggae Is Here Once Again", featuring "Afro Punk Reggae (Dub)", a fine disco-dub workout, plus 2 tracks from their 1984 LP ACID RAIN as well as one un-issued track. Also included is documentary DVD by Steve Shaw featuring commentary from Steel 'n' Skin's founder Peter Blackman, killer live and rehearsal footage of the band, workshop scenes (check out the 1970s suits and parkas!) and devastating views of inner-city Liverpool. Steel 'n' Skin soars above the 1970s ruins.

Review: Carpark gives you 'Devotion' the second album from the dreamy pop duo from Baltimore, Maryland, Beach House. Includes original songs as well as cover songs
like 'Some Things Last a Long Time', by Daniel Johnston.

Review: Minimal Wave have done the right thing here and repressed HSTA by Das Ding, undoubtedly one of the most popular heavyweight reissues of their reign thus far. Das Ding is of course Dutchman Danny Bosten, active in the mid 1980s from his Southern Holland base releasing his pioneering brand of electro as well as his friends' music via his own Tear Apart Tapes cassette label. HSTA refers to the Highly Sophisticated Technological Achievement tape Bosten released on the STUM label from which Minimal Wave also took several tracks including the title jam, which you're likely to hear Funkineven dropping these days. It's worth investing in this for "Take Me Away" alone, which sounds likes its been beamed down from the future despite its three decade vintage (Weatherall's a big fan of this one) and the remaining six tracks are just as thrilling.

Review: Initially released in 2010, Minimal Wave's retrospective of obscure French '80s outfit Deux remains one of the label's most sought-after compilations. Here, it gets a deserved re-press, allowing a whole new generation of listeners to fall in love with the quirky works of the Lyon-based duo. The album's ten tracks, which were drawn from various obscure cassettes and seven-inch singles, effortlessly join the dots between moody electro, cold-wave, new wave and eccentric synth-pop, reflecting the pair's esoteric approach to wayward electronic pop. This second edition comes in a hand-numbered edition of 999 copies, with Minimal Wave's usual attention to detail present on the weighty packaging.

Review: Twenty nine years ago (can you believe it) Alexander Robotnick released his first album, Ce N'Est Q'Un Debut, featuring what's arguably his most defining track "Problemes D'amour" with the Harajuku-cute vocals of Martine Michellod. It's this album that has influenced countless French synth pop acts and a horde of old school electro lovers, and all this time later it's been repressed (again) by the label that first released it, Medical. Keeping the sacredness of this LP firmly intact by sticking with the keyboard-head artwork, Ce N'Est Q'Un Debut - along with Man Parish's 1982 self-titled debut - should be in all of our record collections.

Review: "Besides selling 40 million albums and winning 9 Grammys in less than
10 years, over the years Norah Jones has collaborated with dozens and
dozens of artists from across the spectrum of music. This album collects
Norah's favorite collaborations from 2001-2010 into one amazing
collection: legends like Ray Charles, Willie Nelson and Herbie Hancock,
rock artists ranging from Foo Fighters to Ryan Adams to Belle and
Sebastian, hip hop luminaries OutKast, Q-Tip and Talib Kweli. No
matter the genre however, Norah's enchanting voice is the common
denominator and while the partners are varied, she ends up owning
every song and this album is a wonderful collection that holds together
brilliantly. The album is a testament to Norah's status as one of the most
in-demand and tasteful musical connectors in music. This album will
be an amazing gift item for any Norah fan and will be hard to miss this
holiday season and then again for Valentine's Day.

TRACK LISTING:
1. Love Me - The Little Willies
2. Virginia Moon - The Foo Fighters featuring Norah Jones
3. Turn Them - Sean Bones featuring Norah Jones
4. Baby It's Cold Outside - Willie Nelson featuring Norah Jones
5. Bull Rider - Norah Jones and Sasha Dobson
6. Ruler Of My Heart - Dirty Dozen Brass Band featuring Norah Jones
7. The Best Part - El Madmo
8. Take Off Your Cool - OutKast featuring Norah Jones
9. Life Is Better - Q-Tip featuring Norah Jones
10. Soon The New Day - Talib Kweli featuring Norah Jones
11. Little Lou, Prophet Jack, Ugly John - Belle & Sebastian featuring Norah Jones
12. Here We Go Again - Ray Charles featuring Norah Jones
13. Loretta - Norah Jones featuring Gillian Welch and David Rawlings
14. Dear John - Ryan Adams featuring Norah Jones
15. Creepin' In - Norah Jones featuring Dolly Parton
16. Court & Spark - Herbie Hancock featuring Norah Jones
17. More Than This - Charlie Hunter featuring Norah Jones
18. Blue Bayou - Norah Jones featuring M. Ward"

Review: James Blake's debut album is undoubtedly one of 2011's most keenly awaited releases, and its arrival via his own (major label funded) Atlas imprint ensures their is no lull in momentum for a producer who enjoyed a watershed 2010 with releases on Hessle Audio and R&S. The results here differ wildly from his previous sonic excursions - gone are the shimmering R&B soaked melodies of "CMYK" and the sheer experimentalism of the Klavierwerke EP, which saw the young Londoner depart from the confines of the dancefloor and enter a realm where there was only a passing reference to rhythm-based music. Instead we are treated to Blake's own yearning, raw voice, delicate pianos and an underlying sense of melancholy. Ubiquitous single "Limit To Your love" and the crackly sonic terrain evoked on "The Wilhelm Scream" are among the most immediately pleasing moments, but there is much to explore here. It's a fascinating opus and surely the catalyst to a long and fruitful career at the top.

Review: This Soul Jazz release is a definitive collection of New Orleans funk featuring acknowledged masters of funk (The Meters, Eddie Bo, Professor Longhair) next to some of the earlier artists who shaped the meaning of funk. The album is also filled with many rare, sought after and undiscovered funk tracks. It covers the period from the emergence of New Orleans funk in the early 1960's through to the mid 1970's. The album comes with a 40 page booklet presenting a historical explanation to how and why this music came about, and with lots of information about the people involved.

Review: Anyone lucky enough to have caught James Murphy and his entourage of highly talented musical friends live will attest that it's here LCD Soundsystem truly excel. And whilst this London Sessions album recorded in the aftermath of such a performance at last year's Glastonbury Festival does not replicate such an elation filled experience, the chance to hear some of the band's best tracks recorded live makes this worth investigating. It's basically a showcase for how tight a group of musicians Gavin Russom, Pat Mahoney and Nancy Whang are, most notably on "Get Innocuous" where Russom really goes to town on the synths and "Daft Punk Is Playing At My House" which gets embellished with a liberal dose of tightness, tautness and spikiness. The band has such an all encompassing back catalogue that you could spend all day dissecting which tracks they should have included here, and it's a mark of the aforementioned tightness that even the somewhat risible "Drunk Girls" sounds markedly improved here.

Review: Judging by the overcrowded sweaty scenes in Dalston for the launch party of Justice's second album, the iconic French duo still retain a core number of fans - who will no doubt be eager to snap up this deluxe version of said album. Audio Video Disco comes in gatefold, silver embossed sleeve, holding both the double vinyl and CD versions of the eleven track album. Musically, this is an album that delves deeper into Gaspard and Xavier's passion for prog, marrying the jagged harshness of the 07 era when they ruled the roost with stadium sized ambition. It's probably one of this year's most divisive albums, but then Justice have always liked making a noise.

Notes: A good delay was an essential part of the classic analog synthesizer sound. More often than not, that delay came from a tape-style echo machine until affordable digital delays were created. The Monotron Delay is an analog synthesizer optimized for sound effects. In addition to its analog oscillator, filter and LFO, it also provides a space delay that's indispensible for swooping, cosmic sounds. The monotron Delay even reproduces the pitch changes that occur when you vary the delay time, just as though you were using an analog tape echo. This fat and warm delay will add an authentic edge to your analog sounds.

It also features Korg's class VCF filter for full control over your sounds. The distinctive tone of an analog filter (VCF) can dramatically alter and enrich the sound. The Monotron Delay uses the same highly acclaimed VCF circuit as Korg's classic MS-10 and MS-20 semi modular synthesizers. Originally released over 30 years ago, these instruments are still coveted today for their aggressive, dynamic filters. The VCF Cutoff knob sets the frequency or tone of the filter; the VCF Peak knob adds emphasis. A powerful filter is an essential aspect of any analog synthesizer, applying dramatic tonal changes to the sound, and projecting an intense personality that will stand out in any live performance.

Create classic sounding analogue tape delays to add warms and new dimensions to your synth sounds. Also included is Korg's fantastic enhanced ribbon controller keyboard, while a mini jack input also allows you to run any external audio, such as a Kaossilator, digital piano or guitar, through the Monotron Duo. As standard, the Monotron range comes with a powerful built-in speakers and is battery operated for the ultimate portable experience.

The Low Frequency Oscillator (LFO) waveform used to modulate the pitch now offers a choice of waveshapes, which is a new square wave plus the traditional triangle wave. Both the rate (speed) and the intensity (depth) can be adjusted independently. In addition, a trimpot on the back panel can continuously adjust the shape/direction of the triangle wave or the pulse-width of the square wave to deliver even more versatility. Used in conjunction with the delay, the LFO can create dazzling effects and provide unique possibilities for embellishing your songs.

The Monotron Delay's ribbon controller keyboard features a wide, 4-octave range. This design allows the pitch to be controlled even more aggressively and dynamically, making the Monotron Delay a great weapon for a DJ to get the floor moving with irresistible sound. The reversed white keys and body adornments glows under black light illumination, making the monotron Delay ideal for delivering a striking visual impact in nearly any club environment.

The input jack (AUX input) built into the Monotron Delay's compact body allow you to place any audio source into the Monotron Delay's signal path, directly before the analog filter and delay circuit. This provides a great way to connect a Kaossilator, a guitar, or a digital audio player to the Monotron and enjoy tone-bending filter and delay effect.

A miniature speaker is built into the Monotron Delay. Along with the battery operation and compact size, this feature allows you to enjoy the share the Monotron Delay's analog synthesis sound with your friends, anywhere, at any time. There's also a headphone output that you can use when practicing in private, creating sounds at home, recording, or for connecting to an amplifier or PA system.

Review:  "It's not really house, more electronica - like a proper album," John Talabot said of this album. . It's an apt description. Fin is clearly rooted in house - and the kind of melody-driven, atmospheric tackle that the Barcelona-based producer excels at - but it's certainly not a dancefloor-focused set. There are off-kilter downtempo moments, slo-mo compositions and twisted beatscapes that recall the impossible-to-pigeonhole antics of Hyetal (circa "Broadcast"), Sepalcure and Instra:mental. Then there's closer "So Will Be Now" (one of two collaborations with Pional), a near-genius chunk of future garage/deep acid house fusion that's so beautiful it almost hurts. As transformations go, Fin is stunning.

Review: Originally released back in 2011 in conjunction with Scion Audio/Visual now repressed by Omar S on his FXHE label "Who's In Key" features Theo Parrish!

Review: Having initially sprung into life back in 2005 to provide an outlet for dubstep productions by members of Bristol's bass music community, Tectonic has since developed into a must-check hub for heavyweight floor fillers across a range of bass-fixated genres. The label's shift in recent years is amply demonstrated by this latest Tectonic Plates collection, the first since 2009. Demonstrating label boss Pinch has lost none of his deft A&R skills, this quadruple vinyl has some relatively traditional dubstep from the likes of Tunnidge and Ginz rubbing shoulders with typically juke influenced 808 pressure from Addison Groove, while Goth Trad indulges his inner acid. Elsewhere Hoya Hoya alumnus Illum Sphere brings some electric warmth with "Promise A Secret" whilst 2562 and Kevin McPhee continue their efforts to frustrate the genre police with excellent results.

Review: Black Radio is a future landmark album that boldly stakes out new musical territory and transcends any notion of genre, drawing from jazz, hip-hop, R&B and rock, but refusing to be pinned down by any one tag. Black Radio also features many of Glasper''s famous friends from the spectrum of urban music, seamlessly incorporating appearances from a jaw-dropping roll call of special guests including Erykah Badu, Bilal, Lupe Fiasco, Lalah Hathaway, Shafi q Husayn (Sa-Ra), KING, Ledisi, Chrisette Michele, Musiq Soulchild, Meshell Ndegeocello, Stokley Williams (Mint Condition), and yasiin bey (Mos Def).

Review: Hot Chip jumped ship yet again, releasing their fifth studio album In Our Heads via the esteemed UK imprint Domino Recordings. The eleven track album was self produced by the band members (along with some behind the boards help from respected studio engineer/producer Mark Ralph) and recorded in London, presumably in the spare time between the various band members other musical commitments that include 2 Bears, New Build and About Group. It stands up alongside their previous long players, with certified pop gems littered among a heady mix of synthy electo and downtempo romantic jams such as the irrepressible "Look At Where We Are".

Review: Joe Mount of lovable scuzz pop outfit Metronomy mans the latest volume in the long running Late Night Tales, a series who always seem to get the best results out of an unexpected cast of participants (Belle & Sebastien, MGMT, Trentemoeller and Midlake being recent inductees). It's hard not to get sucked in from the sugar sweet opening of Outkast's "Prototype", which is the first of several tracks that demonstrates Mount has a penchant for slow bumping R&B and outsider hip-hop with Tweet, Sa Ra and a Dr Octagon classic also appearing. A typically far reaching approach to genres applies here with the cosmic jazz of Chic Corea happily mingling with Autechre and Two Lone Swordsmen, and American synth oddities Geneva Jacuzzi and Appaloosa mingling for attention with The Alan Parsons Project and Herman Dune. The de-rigueur cover version arrives with a Metronomy rendition of Jean-Michel Jarre's "Hypnose" while Paul Morley ends the selection with a spoken word piece. This vinyl edition has 18 of the tracks spread separately across two plates as well as the mixed CD and a booklet!

Review: Pitched somewhere between the gritty, propulsive beats of Los Angeles, and the exploratory jazz of Cosmogramma, Flying Lotus's fourth album, Until The Quiet Comes is arguably the most delicate record he's ever produced. Described as a "collage of mystical states, dreams, sleep and lullabies", it steers away from bigger moments, choosing instead to present an understated patchwork of breezy jazz samples, dusty hip-hop beats smeared vocals seemingly inspired by DMT hallucinations. While previous efforts were wildly futuristic at times, Until The Quiet Comes is confidently classicist - and seals Flying Lotus's position as one of our generation's visionary producers.

Review: "Hello. My name is Ohama, and I live on a potato farm in Western Canada" went the memorably deadpan opening to "The Drum", Ohama's contribution to Minimal Wave Tapes Vol 2 earlier this year, and it's also the opening track on this full length exploration of the Canadian producer's work from Minimal Wave. What's most striking about The Potato Farm Tapes however is the sense of paranoia and detachment that Ohama clearly felt recording these tracks from his studio basement beneath his parents' potato farm in Rainier, Alberta, during the latter stages of The Cold War. Intriguingly, Ohama's lyrics are heavily focused on technophobia and the subversive power of television and mass media which stands in stark contrast to the techno centric nature - with keyboards, drum machines, vocoders and analogue reel tape all utilised to create complex productions that blended found sounds with audio lifted from TV. Some of Ohama's earliest recordings from his first cassette only release Midnite News form the basis of The Potato Farm Tapes along with rare tracks that previously appeared on compilations. Furthermore, the label have printed a must read interview between Ohama and Brandon Hocura on the inner sleeve that offers some brilliant insight into this collection.

Review: Originally released in 1996, Aphex Twin's fifth album in as many years meant business from the very moment the wild and whimsical opener "4" scribbled it way through the speakers. With jaunty jams such as "Cornish Acid" and "Fingerbib" running amok mid-set, Richard D James Album acted as a fine mission statement to expect the unexpected and never anticipate formula or form. And it still carries that very same message today. Essential.

Review: It's been a while since we last heard from Tosca (three years, in fact), and even longer since they released a record that pricked the consciousness of downtempo dub connoisseurs. Thankfully, Odeon is something of an unlikely return to form. Opening with the atmospheric ambience of "Zur Guten Ambience", Richard Dorfmeister and Rupert Huber move through their entire repertoire of spine-tingling, horizontal sounds. Along the way, they touch on folksy iciness ("What If"), alien dub-house ("Heatwave"), Roxy Music-ish art-pop ("Jayjay"), bluesy dub ("Mexiner") and, most notably at all, post-punk funk-pop ("In My Brain Prinz Eugen"). It is, of course, pretty smooth, but that's all part of their stoned charm.

Review: Originally released back in 2001, there's a reason why Strut have reissued Nigeria 70: The Definitive Story Of 1970's Funky Lagos so many times; it's superb and totally lives up to the title! if you've not yet indulged in the compilation, this 2012 triple vinyl pressing is the even more definitive edition. With the vinyl now pressed on heavyweight 180g wax, this makes for the perfect introduction into the vivid story of 1970s West African funk. Well done Strut!

Review: The KVB are Klaus Von Barrel and Kat Day, a hugely prolific duo who eschew thoughts of sync bait or best new music columns in favour of the next gig and the next record. Having made some notable appearances on the Downwards label, the pair makes a further illustrious step up with Immaterial Visions, a collection of music released on the Minimal Wave sub label Cititrax. Veronica Vasicka has been a staunch champion of their music of late, regularly slipping The KVB tracks into her weekly EVR show so it makes for little surprise that she'd look to put out their music on Cititrax. The subsequent eight tracks make for the boldest, most confident statement thus far from The KVB, demonstrating their palette reaches beyond the shoegaze tag they are regularly adorned with in the music press. The previously released "Dayzed" and "Old Lines" in particular are superb.

Review: Dilla's "The Shining" serves as a testament to the fact that legends never die. On February 10th, 2006, the world of hip hop lost J Dilla aka Jay Dee. James "J Dilla" Yancey leaves behind an impression on hip hop that will last the test of time. A bridge between hip hop's underground and mainstream, Dilla's contributions ranged from single handedly defining Detroit hip hop as a founding member of Slum Village to providing his production talents to Common, D'Angelo, Busta Rhymes, Erykah Badu, A Tribe Called Quest, The Pharcyde, The Roots, Janet Jackson and Macy Gray. "The Shining" marked the reunion of J Dilla & BBE, who had released "Welcome 2 Detroit", J Dilla's debut album. "The Shining" serves as showcase of J Dilla's talents which features him not only as a producer, but also as a rapper, singer and musician. Featured guests on this album include Busta Rhymes, Common, Pharoahe Monch, D'Angelo, Madlib, Black Thought, Medaphor aka MED, and Guilty Simpson.

Review: 32 years on from the release of their debut album Speak and Spell, Basildon's finest drop their 14th full length. While there are echoes of their eyeliner-wearing, synth-bothering futurist past (see the glitchy "My Little Universe" and early New Order-ish "Broken", where Dave Gahan sings about 'dreaming of the future'), for the most part Delta Machine finds them in grinchy synth-rock mode, presumably shaking their fists at passing youngsters like a gang of grumpy old men. Thankfully, they're still capable of great things - "Soothe My Soul" has echoes of "Personal Jesus" - and there's enough to suggest there's some life in the old dogs yet.

Review: Though his career has taken many turns over the last decade, DJ Koze has remained that most illusive of creatures: a minimal-minded producer with an ear for a melody. This fourth full-length, packed to the rafters with big-name collaborations (Apparat, Caribou, Ada and Matthew Dear all feature), continues his move towards the home-listening sphere. So, while many of the heady rhythms and shuffling grooves hark back to his stripped-back past, Amygdala impresses with its woozy songs, genre-straddling fusions (see the modern soul meets deep house of "Homesick" or the steppy, tropical vibes of "Marilyn Whirlwind") and homely atmosphere.

Review: Released back in 2003, Rounds was the third LP from Kieran Hebden as Four Tet and perhaps the first long player that widely established him as a pioneering voice within electronic music. Though it doesn't feel like a decade since it was released, Domino celebrate the album's tenth anniversary in requisite fashion here, reissuing it in double LP format and slipping in a CD of Four Tet performing live in Copenhagen in 2004. Listening back now, it's easy to understand why Rounds is viewed as an early classic in the Four Tet canon, transferring his love for free jazz records to a beat template that's more palatable on the ear (Fact pickers might want to know that Hebden recently revealed to Pitchfork the LP was made entirely from samples) "She Moves She" still sounds absolutely haunting too!

Review: Given that it's been eight years since the last Boards of Canada album, Tomorrow's Harvest should, by rights, push Daft Punk's Random Access Memories in the hype stakes. Certainly, it's a fine set. During their sabbatical, Marcus Eoin and Michael Sandison have lost none of their power to amaze and impress. Chords drone, samples hiss, synths shimmer and beats swing. There are intense ambient moments and intoxicating, post-IDM dreamscapes. It is in turns icy, warm, introspective and blindingly picturesque. Throughout, Tomorrow's Harvest is impeccably atmospheric, conjuring images of windswept Scottish moors, becalmed Cornish bays and maudlin pagan ceremonies. As comeback records go, it's pretty darn good.

Review: Given the wide-eyed, largely downtempo nature of their music, it's perhaps a little surprising that it took Late Night Tales this long to ask Royksopp to mix a volume in the long-running after-hours series. Royksopp are, of course, old hands at this kind of thing - they delivered an impressive Back To Mine comp back in 2007 - and use the opportunity to mix-up a typically heady selection of stoner soft rock (Little River Band, FR David), sparse dub-rock (Tuxedomoon), cinematic soundscapes (Johann Johannsen), psychedelia (Prelude), well-worn favourites (Acker Bilk) and folksy Balearica (John Martyn). Fans will be pleased to see a sprinkling of unreleased Royksopp fare, including intensely beautiful opener "Daddy's Groove".

Review: Following up the runaway success of Crooks & Lovers was always going to be a daunting task for Mount Kimbie, and they've wisely taken their time to come back with a step forwards from a sound which gave rise to the more folky strains of the dubstep aftermath. Sounding fresh and invigorated on their LP for Warp, Kai Campos and Dominic Maker have built on their love of shoegaze indie and brought their component parts into a clearer vision where they used to hide them behind heavy editing and microsampling. There are plenty of reminders that this is a Kimbie record, not least in the winsome melodies that shape the LP, but the duo have succeeded in shearing away their self-conscious trickery to write full-bodied songs that hit on first listen, rather than ten spins down the line.

Review: Originally compiled by Adrian Croasdell in 1996, Kent Dance have re-released this great compendium on coloured vinyl. Searching the mod jazz genre's true meaning, the collection reveals the many twists and turns it took throughout the 60s. From Latin influences ("Tengo Tango") to rich, blues and soul influences ("I'm Ready") via straight-up rhythm and blues influences with barely any traces of jazz at all ("Whip It On Me"), Mod Jazz is a fantastic representation of one of the most divisive genres in 1960s youth music.

Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.

Review: With a current tour including a date at London's Brixton Academy, it's safe to say that this New Zealand seven piece are big news. This could have something to do with the universal good times vibes of their output. Here, the self-proclaimed 'heavyweight soul providers' are back with album number three and it sees them delve pushing their sound deeper into the realms of Afrocentric, dubby electronica. Highlights include the brassy, sunny ska of the title track, "Blackbird", the electro-funk of "Silver & Gold" and the pulsating digital disco of "Never Moving".

Review: This vinyl issue presents some of Edward Artemiev's finest soundtrack work, taken from Andrei Tarkovsky's classic films Stalker and The Mirror. The A-side is given over to four tracks from Stalker, with the haunting themes of the film's narrative explored in the title theme with chilling synth textures, pan pipes and harpsichord tones, while the prickly textures of "Train" and "They Go Long" offer tense introspection. "Exodus" and "Dedication To Andrei Tarkovsky" from The Mirror both offer that unique combination of monolithic scale and pastoral melody that makes Artemiev's music so intriguing.

Review: Few contemporary jazz songwriters have emerged with such demonstrative authenticity and clarity as Gregory Porter. Liquid Spirit continues where the prolific artist left us with Be Good and Water; soulful, funky and galvanised in honest emotion. Echoing foundation-setting singers such as Isaac Hayes, Curtis Mayfield and even further back to the likes of Sammy Davis Junior, Porter flings us from vibe to vibe with precision-written lyrics and emphatic delivery. Highlights include the double-bass slapping stomper "Liquid Spirit", the boogie-fuelled "The In Crowd", the Cullum-esque "When Love Was King" and the tear-jerking finale "Water Under Bridges." Beautiful business.

Review: Given that Four Tet's recent 0181 LP was comprised of material from Kieran Hebden's archives, and last year's Pink was largely compiled of tracks from the previous 18 months of 12" releases, it seems fair to say that Beautiful Rewind is his first proper album since 2010's There Is Love In You, and as such, it arrives with some degree of expectation. The past few years have seen the producer engage increasingly with the dancefloor, and these rhythms are most definitely present across the LP, particularly in the jungle breaks of "Kool FM", pirate radio-influenced techno of "Buchla" and hesitant dubstep style rhythms of "Parallel Jalebi". For the most part however Beautiful Rewind is as varied as the likes of Rounds and There Is Love In You, with the minimalist kosmische of "Ba Teaches Yoga", analogue gurgles of "Crush" and dawn chorus sounds of closer "Your Body Feels" all as beautiful as his most enduring tracks.

Review: A year shy of its 40th anniversary, Inspiration Information enjoys a reissue and it's still as sparkly and soul-laden as it was in 1974. Ranging from the guitar-twanging smoky blues funk of "Rainy Day" to the sultry, strutting title track, it's largely regarded as Otis's most comprehensive work of that time. According to legend it took him three years to create... 39 years later and it still sounds as good as this? We'd say that's time well spent!

Review: Widely regarded as Boards of Canada's finest hour, Music Has The Right To Children finds itself the subject of a well-deserved 2LP gatefold reissue from Warp Records. One of the most defining records of what was known for better or worse as IDM still sounds as timeless as it did in 1998, as the library tones of "Wildlife Analysis", thick downtempo rhythms of "Roygbiv" and out of focus melodies of "Olson" prove. Essential!

Review: First surfacing on Clone Jack For Daze back in 2011, Berlin-based Murphy Jax has taken a nomadic approach to distributing his raw and eminently danceable brand of Chicago House, gracing labels as diverse as Turbo, Hype Ltd, Exploited and perhaps most interestingly Lux Rec. His Lost Soundtracks Main Themes EP for the Swiss label dabbled in cinematic concepts and proved Jax was capable of more than straight up club tools. A debut album for the Chiwax label in the shape of Teleport: Echo City continues the producer's interest in conceptual themes, detailing the story of a "pre-apocalyptic generation of robots on a planet of machines" but don't be too worried as musically it sticks close to the styles Jax has explored previously. So expect Chicago House, Classic Deep House, Movie Theme style cuts and raw Acid workouts.