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Review: Following 2012's fourth volume that celebrated the existential work of Tim Maia, here we find Luaka Bop exploring the legacy of William Onyeabor. A high chief and Kenyan diplomat who allegedly refuses to discuss his music, he self-released eight albums in the 70s and 80s and these are some of the many highlights. Stretching from the New York-influenced post-punk synth funk of "Good Name" to the most authentic Afro fusion of "Why Go To War", Onyeabor's range not only reflects his clear creative skill, but also the ever-developing international language of music during the fruitful period he was active. Who is William Onyeabor? Press play and find out yourselves...

Review: He's taken his time, but finally Norwegian nu-disco legend Todd Terje has delivered a debut album befitting his immense talents. While there are plenty of examples of his vibrant, synth-heavy dancefloor style on It's Album Time - see "Delorean Dynamite", "Inspector Norse", "Strandbar" and the Lindstrom-ish grandiosity of "Oh Joy" - what really makes it such an essential set are the curious turns and oddball moments. Samba, jazz and easy listening get the Terje treatment on "Alfonso Muskedunder", "Leisure Suit Proben" and "Svensk Sas", while there's a welcome dose of wide-eyed Balearica on the tweaked "Swing Star" (one of a string of previously released cuts on the album). Most interesting of all, though, is "John & Mary", a woozy, Roxy Music style cover of a Robert Palmer classic featuring the effervescent Bryan Ferry.

Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across three slabs of wax, there's naturally plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.

Review: Dope selection of reggae fire versions of classics..

Review: Fizzing all over the shop like an F1 winner's magnum, Frank Timm celebrates 20 years of Sound Stream with this outstanding slab of uncut floor jams. No messing around, just straight up disco house music. At points plain trippy ("Flash Back"), at others straight up sexy ("Love Remedy", "Get Down") but always unifying and obese in width and weight ("Disco Advisor" especially) Timm has cleared the board right here with the full range. Essential.

Review: Former Moloko singer Roisin Murphy proves with this new album she is still a force to be reckoned with. It bristles with dance floor kinetics and fizzing electronic synths that come laden with her outsider pop vocals. Roisin Machine is a collaboration with Sheffield producer Richard Barratt and the results include tracks that touch on feelings of frustration and romance, modern Britain and plenty more besides, all with plenty of his rugged production, bit also plenty of super sweet rolling grooves and funky bass riffs. The hip-swinging 'Murphy's Law' is a particular highlight from, this perennially underrated artist.

Review: BBE unearth another batch of rare and underexposed disco cuts on Off Track Vol 3. Compiled by the crate digging New York/Boston based duo Kon & Amir, the release gives an authentic representation of Brooklyn’s ghetto, funk and afro music scenes. Sophisticated tracks for real music heads

Review: Riding high on the buzz he has generated in the last twelve months, Max Graef delivers this album to Tartelet as a man very much in demand. His style, fuelled on the foundations of sampling funk and soul to a brilliantly modern end, has more space to breathe on this LP, but still the fundamentals remain. "Itzehoe" struts on a lazy jazzed-out sizzle of drums and beautiful Rhodes notes while "Tamboule Fudgefunk" punches its way through woozy synth work and a righteous beat and "Drums Of Death" struts on a perfect disco groove replete with live instrumentation, but there's a wealth of other tempos and styles all shot through with the homespun jazz charm that Graef has made his own of late.

Review: The final part of Dark Entries' long-running series of archival Patrick Cowley releases showcases tracks originally recorded for Afternooners, a late '70s gay porn film by director John Coletti. As with previous Cowley releases on Dark Entries, the double album also contains previously unheard material rediscovered from the Fox Studio archives. It's another essential collection of atmospheric synthesizer music in the producer's distinctive style, all told, with tracks ranging from the whistling cheeriness of "Hot Beach" and the sparkling, cowbell-laden throb of "One Hot Afternoon" to the dubbed-out, semi-ambient dreaminess of "Bore & Stroke" and the humid, upbeat "Jungle Orchid".

Review: School Daze is a killer compilation put together by the Dark Entries label and the Honey Soundsystem crew, collating some of the early recordings produced by Patrick Cowley in the years between 1973-81 and were later used as soundtrack material in two gay porn films. You will probably know Cowley for his Hi-NRG output or 'that' Donna Summer remix or his behind the buttons work on Sylvester tracks. Be prepared for a surprise (well quite a few as the 'explicit content' warning on the cover lives up to its billing) as this collection presents Cowley as a producer capable of many styles and moods. The closest School Daze comes to the sound Cowley is most identified is opening track "Zygote" and from here the collection runs through primitive electronics, short bursts of wave and more with a few extended gems that highlight Cowley's talent for arrangement. One of the compilations of the year!

Review: Soundway's latest essential collection successfully shines a light on synth-heavy South African music of the 1980s, chronicling local musicians and producers' attempts to create their own hybrid forms of boogie, synth-soul and bubblegum pop. Naturally, compilers Miles Cleret and DJ Okapi have done a brilliant job bringing together killer cuts that showcase the best of South Africa's '80s synth sounds, while at the same time ensuring a high ratio of rare and hard-to-treats. While some of the tracks genuinely sound like they could have been made in New York, London or L.A, there are plenty of others that include multiple instrumental nods to a diverse range of contemporaneous South African sounds. Crucially, the music is superb throughout.

Review: The first installment of Late Night Tales' After Dark was that rarest of things: a DJ mix that retained a smoky sense of early morning, home listening atmosphere while retaining an open-minded focus on the dancefloor. This follow-up - once again compiled and mixed by Bill Brewster - offers more of the same. Musically it's pleasingly varied, moving from the string-drenched downtempo beauty of Typesun's "Last One Home", to the heady Balearic rock of General Lee, via Justus Kohnke, the soulful post-bruk smoothness of As One, and the sprightly analogue electronics of Emperor Machine's remix of Paqua's "Late Train". There's also a bunch of previously unreleased tunes to enjoy, including killer contributions from the Mang Dynasty (AKA Ray Mang), The Gino Fontaine (Chicken Lips man Andrew Meecham) and - most surprising of all - The Grid and Robert Fripp.

Review: DJ Hunee afro monster gets an official repress for Hot Casa in France. Calling it massive would bit an understatement.

Review: Ritmo Fantasia is the name of this superb 21 track selection, and it has been curated by Berlin-based, Venezuelan-born producer, DJ and record obsessor Trujillo. As the name suggests, this is music plucked from the outer fringes of the Spanish electronic scene from the 80s and 90 with plenty of proto sounds from the worlds of bleep, hip house, electro, boogie, Iberian pop and plenty more. It is a treasure trove of obscure but essential grooves for Balearic heads and music lovers alike. The artwork alone is worth the cover price, so big up Soundway for this one.

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:  "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: 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: Just when you think that the well of obscure music from around the world has run dry, Analog Africa returns to put the record straight. Pop-Makossa shines a light on a glorious but largely overlooked period in the story of Cameroonian makossa, when local musicians began to replace funk and highlife influences with the rubbery bass of classic disco and the sparkling synth flourishes and drum machines of electrofunk. The resultant compilation, which apparently took eight years to produce, is packed full of brilliant cuts, from the heavily-electronic jauntiness of Pasteur Lappe's "Sanaga Calypso" and horn-totin' Highlife-disco of Emmaniel Kahe and Jeanette Kemogne's "Ye Medjuie", to the dense, organ-laden wig out that is Clement Djimogne's "Africa".

Review: Two years ago New Guinea joined forces with Early Sounds Recordings to offer up a killer compilation of rare 1970s and early 80s disco, jazz-funk and electrofunk recordings from Napoli, the Italian city they call home. Such was the success of the set that they've decided to offer up this equally impressive sequel. Amongst the mostly ultra-obscure, little-known cuts you'll find a wealth of highlights, from the high-octane disco stomp of Tonica & Dominante's "Babilonia", the spacey boogie business that is Ara Macao's super-sweet "Reflection", the languid AOR-funk of Maria Kelly's "Dimme" and the low-slung jazz-funk brilliance of Tony Iglio's "Luci Di New York".

Review: The result of three years of digging through tapes of "strange music" in the Radio Mogadishu archives and restless research to find the musicians involved, Analog Africa's latest compilation shines a light on Somalia's previously undocumented dance music scene. It features tracks recorded between 1972 and '91 by a variety of unknown artists, with the assembled music touching on disco, psych-funk, Moog-laden club-focused instrumentals and heavyweight, Bob Marley-inspired reggae rhythms. It's a hugely vibrant and entertaining set of off-kilter and unusual Somalian translations of American and Caribbean music styles, with the bumper accompanying booklet offering up a wealth of little-known information.

Review: DJ, curator and producer Dave Lee (fka. Joey Negro) continues to celebrate his 30-odd year long career in music with his second curatorital comp release. The 'Produced With Love' series charts all of Lee's original productions in soulful house and disco, and this second edition includes choices songs by the likes of Destiny II, Leroy Burgess and Andreya Triana. Always collaborative and with effortless attention to funking detail, Lee brings it once again.

Review: Limited edition, hand-stamped white label 12"s from Smoove, reworking as though each of its remixed originals were axiomatic expressions of sonic perfection. 'Dance', for example, has a well known 80s classic reworked to stomping, heavyweight perfection - stretching its vocals to breathy ecstasy. Meanwhile EWF's 'Can't Hide Love' and 'Playing Your Game, Baby' by a certain Mr White, unite over a similar subject matter; there's no point in hiding your love. All aboard the underground love train.

Review: The Grasso is greener in Bologna: home to two of the most well-connected collectors in Italy. Suppliers to the likes of Kenny Dope, Phil Asher and Dimitri, Gino and Federico have carved their crate craft to insane levels over the last 30+ years... As shown on this detailed, widescreen boogie, funk and disco collection for BBC. Splattering the vibrant collection with a handful of their own edits (TB Funk's salubrious struts on "Free Blow", fly-by boogie falsettos on Living Color's "Plastic People"), the Grasso bro's have put together a package that's eye-opening, enlightening and damn fine to party to. See you on the other side.

Review: Glossy disco beat maker and silky synth-smith Purple Disco Machine really leans on the OG pure one, Prince, for the opening track on his Soulmatic album. It's filled with electronic funk, twisted vocoder vocals and big licks that will work on a wide range of dance floors. Elsewhere his collab with Boris Dlugosch, 'Love For Days' is a dazzling vocal house anthem thanks to the seductive sounds of singer Karen Harding and 'Devil In Me' feat Joe Killington & Duane Harden is a cover like you have never heard before. This special Record Store Day reissue is limited in numbers and sure to fly off the shelves.

Review: Andres, or DJ Dez, is a beat-maker extraordinaire. His Cuban heritage and background as a hip-hop DJ for Slum Village mean that he comes at house music from a slightly different perspective than most. Couple that with a vast record collection and next-level ear for samples and he rarely turns out a dud tune. Enter Address V, his latest album on Moodymann's Mahogany label and another masterful one that straddles moods and grooves with effortless ease and rare style. There are crisp house kickers like 'Cybermate,' heavyweight funk beatdowns like 'Funky 2Step' and slouchy and low-slung joints like 'Detoxfromtheworld' amongst dirty hip-hop jams and so much more. Another timeless album from a Motor City great.

Review: Mr Bongo's crate-digging compilation series - described by the imprint as a "chance to champion tracks we've been playing in our sets" - returns and, predictably, this second volume is every bit as good as its predecessor. Naturally, there's a fair amount of Brazilian and African gems present, as well as a wealth of little-known disco, soul and funk cuts that will have DJs scrambling to find copies of the original 12" or 7" singles. Highlights are plentiful and include - but are not limited to - the punchy disco-funk of Dee Edwards' "Put Your Funk on the Line", the South African bubblegum brilliance of Kiru Stars, the sun-soaked peak-time samba of Tomu Dito and the Meters-go-to-Nigeria vibes of "Harari" by the Beaters. And that's just for starters.

Review: A really cool concept from Expansion here; one side is a reissued seminal classic, the other is a contemporary version. And what a way to start the start the series; hard bop hero Johnny Hammond influenced pretty much every soul, jazz, rare groove and funk artist who've followed in his path, and the joyously unpredictable "Los Conquistadores Chocolates" is one of his best. Naturally Japanese jazz outfit Quasimode are an ideal remix choice. Known for their wildstyle riffage and signature switches, they've paid the utmost respect to Hammond.

Review: Edits don't come any more legendary than these highly sought after (and barely/if-ever pressed) extensions from the veritable don that is Danny Krivit. Bringing the dance magic out of any record and fuelling our focus on the most essential element of the original's groove, each of these edits is a schooling in version science from the lavish emotions of his "Runaway" to the epic, DJ secret weapon percussion frenzy at the end of "Victorious". Essential.

Review: On his fourth exploration of the world of global "Adult Oriented Rock", French crate-digger Charles Maurice focuses on the period between 1977 and '86. That means a greater emphasis on synthesizers, dusty drum machines and the kind of sparkling melodies that would once have drifted from daytime radio at an alarming rate. There's much to enjoy throughout, from the dewy-eyed synth-soul of Arlana's "When You Call My Name" and the breezy boogie of Omega Sunrise's "Too Hip", to the sparse Balearic bliss of Isabelle Mayereau's "Orange Bleue", the flute-laden easy listening hum of Fernando Toussaint, the sax-happy '80s sleaze of Special Occasion's brilliant "Flyin' To Santa Barbara" and the jaunty Latino jazz-funk of "Mellow Out" by Pacific Dreams.

Review: Favorite Records take us direct to the source: a disco gem of holy grail proportions, Sunshine is Byron's only album, OG copies go for over L500 and it's chock-a-block with dancefloor gold. From the in-your-face physicality of "Galaxy" or the planet-kicking line dance feels of "Space Cowboy" by way of the ultimate 80s sleaze synth boogie of "Heart To Heart Sensation", this was Byron in his prime with so much promise and latent funk, and led to one of disco's ultimate bombs "Dance To The Music". Essential.

Review: Library music maestro and original member of The Shadows Brian Bennett has a raft of sought-after records to his name, but this is surely one of the most prized. As with the best library music, the execution of the compositions is impeccable - like slipping on silken luxury leisurewear for your ears. The record has been a rich source for sampling over the years, so half the joy is in spotting licks and loops from your favourite tunes, but equally these disco-fied delicacies funk all on their own. Lovers of the Black Devil Disco Club vibe will be more than happy getting down to these tasteful cosmic groovers, unbelievably repressed for just the first time on Isle Of Jura since the original release in 1978.

Review: House music exploded in the UK in 1987 and continued to blow up in the ensuing summers. But with all the high energy parties and ever more visceral rave sounds, people needed a break, and so it was that in February of 1990 the KLF invented new slowed down after-sounds on their Chill Out mix. This collection gathers best sub 100bpm cuts form that time, as assembled by Saint Etienne's Bob Stanley. Fun fact - the artwork for the LP is a picture from the new book on acid house by photographer Dave Swindells which is well worth copping if you can.

Review: Earlier this year, Acid Jazz signed a deal with soul legend Leroy Hutson to license his vast catalogue of work. Having already reissued a number of key releases, the long-running London label has now put together this retrospective of his solo work. It contains material from albums and singles recorded between 1972 and '84, plus a couple of cuts that were previously unissued before they appeared on wax earlier this year (most notably the brilliant "Positive Forces"). Naturally, there are plenty of must-haves present, including classics such as "Cool Out", "Lover's Holiday", "So In Love With You" and "Closer To The Source", making it a near perfect introduction to Hutson's sensual musical world.

Review: Archeo know how to hunt down a rare jam and give it the kind of reissue it deserves, so who better to handle this job? Tonica & Dominante was a studio project conceived by Antonio Iglio and Antonio Moxedano, which yielded a couple of singles and an album at the end of the 70s. It's a warm, organic sound before Italo disco swerved hard towards synthesisers and drum machines, and you can see why anyone digging for the rarest grooves would go crazy for the two tracks on this previously rare-as-hell 7". This new Archeo version ports the original tracks onto 12" and folds in two tasteful, clubbed-up dub mixes from Leo Mas & Fabrice.

Review: You might well have seethe new Glitterbox documentary. It was two years in the making and is all about the communities and friendships formed through dance music. Taking its title from the Alison Limerick classic, it now lends its name to a two part compilation of tunes that featured in the story. The second volume is packed with extended mixes of plenty of cornerstone classics. There is raw as you like stuff from Mike Dunn, glossy sounds from Horse Meat Disco and party starting tunes from the likes of Mousse T whose full flavour house mix of Powerdance's 'Power Dance.' is a real doozy.

Review: We're prepared to argue with anyone on this, but Universal Robot Band's "Barely Breaking Even" is one of the best boogie-era disco records ever made. Its title was also the inspiration for the name of BBE Records, so it seems fitting that the label's 500th release is an all-star re-recording that brings together NYC house hero Louie Vega and original creators Leroy Burgess and Patrick Adams. Vega delivers vocal and instrumental versions of two distinctive passes: a slick, smooth, soulful and string-laden "Boogie Mix" rich in warm electronics and subtle nods towards the early '80s original, and a rolling "NYC House Remix" full of twinkling Fender Rhodes solos and atmospheric chords. As you'd expect, Burgess' re-recorded vocal is superb.

Review: You can always count on Z Records to bring a deep-digging, dedicated approach to anything they put out, and that goes double for their flawless Under The Influence series. The 10th volume in the series sees them inviting the incredible Chicago-born DJ Rahaan to select some seriously headsy cuts from his collection, carefully cleaned up, de-clicked and remastered for the best listening experience. Given the nature of the series, don't expect the usual suspects, and instead savour the discovery of some of Rahaan's most treasured cuts, presented here on a double LP comp brimming with discoid magic.

Review: Four new originals from French Berlin-based singer and JD Stella Zekri, whose low-range, buzzing vocals are lent happily to a selection of cloudy electronic Latin beats. Produced and co-written by Ed Longo, it draws heavily on the post-zouk and disco styles endemic to the 80s French underground; our choice bit is the offbeat boogizm heard on the sonic ponderance: 'Pourquoi (Why)'.

Review: The superb Make Up series hits release number three and in doing so heads back to the trio that started it all. The combination of Chicago house originator Chez Damier, Adeen label head Camille and Italian talent Nico Lahs is a dream team indeed and they serve up some crucial edits that cover a wide sonic range. There are standout cuts on the first 12" such as 'Dance to Freedom' and 'African Bump' while jazzy grooves define 'Sunny' and 'Changes' is all about getting that dance floor vibing. This is another in-the-know musical voyage from this crew that more that deserves a spot on your shelves.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: Arthur Baker is the perfect host for this new series from Demon Music which focuses on the famous extended remixes of the 80s. Each series will be a multi-disc, various artist collection that is united by one remixer, and there can be few better to kick it off than the legend that is Shep Pettibone. He was a hugely in demand studio hand who reworked multiple genres and everyone from Pet Shop Boys to Duran Duran, New Order to Level 42, George Michael to Erasure. This ambitious, widescreen collection takes in all manner of golden remixes from the world of soul, pop, synth and more.

Review: At the tail end of the '80s, Sylvia Striplin quit Norman Connors' jazz-funk group Aquarian Dream in order to pursue a solo career. Joining forces with producers James Bedford and Roy Ayers, she recorded 1981 debut album "Give Me Your Love", a well regarded but largely overlooked set that has since become a sought-after item amongst soul collectors. This Expansion reissue presents the album on vinyl for the first time in two decades. As with many soul albums of the period, it sashays between jazz-funk, boogie and heartfelt slow jams, contrasting memorable dancefloor workouts (see stone cold classic "Give Me Your Love" and a stellar cover of Roy Ayers favourite "Searchin") with more saccharine, loved-up fare.

Review: Eary Sounds boss Pellegrino S. Sinchelotto founded the Zodyaco project two years as an umbrella for his ongoing studio collaborations with an ever-changing cast of musicians, vocalists and producers. Morphe, the project's second full-length excursion, continues in a similar vein to its predecessor, offering a similarly attractive mix of tracks that effortlessly blur the boundaries between mid-80s Balearic synth-pop, jazz-funk, zouk, Afro-cosmic, AOR disco and intergalactic boogie. With quality musicianship, colourful melodic motifs and accurately depicted period details to the fore, it's the sort of set that would now be considered a Balearic classic had it been released in 1885 rather than 2020. In other words, Morphe is an album you need in your life right now.

Review: Although the end is now finally in sight, we are still very much spending time at home, gazing off into the distance and dreaming of better times. Enter this sumptuous soundtrack from Hillside, whose Sunday In June album on the ever classy Claremont 56 is a perfect accompaniment to you lazy afternoons. The gorgeous record is utterly doused in sun, with sparkling keys, go-slow beats and lush strings all oozing cool yet bribing with warmth. It's the sound of perfect afternoon in the garden, or on the beach, with tropical grooves and Balearic bliss flowing freely from front to back.