Review: When Eskimo Recordings approached Bill Brewster with the idea of putting together a compilation exploring his epic record collection, the acclaimed journalist and DJ decided to take a widescreen approach. The resultant collection is vast and predictably on-point, with each of the CDs gathering together tracks on a loose theme ('Post-Punk', 'Balearic' and 'House'). As you'd expect, it's a hugely impressive and eye-opening set, with Brewster serving up largely obscure or long-forgotten cuts that range in scope from trippy, dubbed-out post-punk disco, jaunty jazz-funk, synth-heavy boogie and heavily percussive Afro-disco grooves, to saucer-eyed European synth-pop, the dub techno of Maurizio, Swag's early UK tech-house and the East Midlands deep house bump of Charles Webster's 'A Love From San Francisco' project. In other words, it's a cracker from start to finish. Review: If you were judging Kieran Hebden's 11th Four Tet studio album merely on the way it's presented, you'd immediately think he'd spent the last two years immersed in early '90s ambient house albums.

Occluded-*w Stationary •. Powerful winds leave their mark. Cosmetic Surgery. FOR HEN ft WOMEN. • Breast enlargement • Collagen for Wrinkles. CINN, LEMON OR RASPBERRY. Jewish Hard Rolls. ASSORTED VARIETIES.

While it's unlikely he's done that, it's fair to say that New Energy does owe a debt to classic electronica sets from that period. For all the exotic instrumentation and subtle nods to post-dubstep 'aquacrunk' experimentalism and chiming, head-in-the-clouds sunrise house, the album feels like a relic of a lost era. That's not meant as a criticism - New Energy is superb - but it is true that his choice of neo-classical strings, gentle new age melodies, sweeping synthesizer chords and disconnected vocal samples would not sound out of place on a Global Communication album. Review: Venezuelan groovesters Los Amigos Invisibles have been infecting the house music world with the Latin-flavoured disco and funk since the 90s, and still their sunkissed sound resonates with younger generations. On this occasion it's Balearic operation Apersonal that turn to brighter days with the six-piece, riding high with original jams 'Stay' and 'Rio Porque No Fue Un Sueno' on the A side.

Meanwhile on the flip Ray Mang turns out remixes of the original versions that keep the feel-good ingredients intact, providing you with some surefire heat well in advance of the summer months. Review: Jules Etienne has been skirting around labels such as Apersonal Music for a few years, but here makes a strong statement with a new record for CockTail D'Amore.

'Triangle Des Bermudas' is a swinging yet cosmically inclined jam powered by warm synth arpeggios, which regular collaborator Massimiliano Pagliara then nudges up into crafty deep house territory. 'Cuban Omlette' is a delicate affair that interweaves pattering percussion and nagging synth lines to make a particularly heady brew before 'John's Job' finishes the record off with a richly layered drum track that should have DJs across the board getting tricky in the mix. Review: Following the excellent reissue of Aither last year, Emotional Rescue return to the dreamy, decidedly tripped out sound world of French-Persian outfit Vox Populi! With this enchanting collection of early rarities from the early to mid 80s. There's a range of moods on offer here, sounding very much of the era with dashes of On-U dub colliding with kosmische and the worldly outlook of Byrne, Eno, Hassell et al. It's a varied listen and a wonderful introduction to a band that could have so easily been more widely appreciated if they had managed to break out of the French underground. Review: Mark and Clive Ives have been prime examples of the second life reissue culture can give previously under-appreciated artists, and Emotional Rescue have been one of the key labels to support the enigmatic brothers from London.

As with previous reissues, 'A La Luna' presents the delicate, naive yet deep sound of Woo across a long form album that invites you on a curious journey of discovery. With a melodic instinct bordering on exotica, and unique range of instruments in the sound palette and a dreamlike approach to processing, there's nothing out there that sounds quite like Woo, and as ever it's a joy to delve into their sound world and leave more earthly familiarities behind.

Review: Having cruised around labels such as La Luna, Tusk Wax and most tellingly Back To The Balearics, Maricopa has already left a trail of smooth-sailing breadcrumbs behind him, and now he drops anchor in a harbour which may yet prove to be his spiritual home. 'Is It Balearic?' Is a question that hardly needs to be asked when you're drifting out to sea on the blissful tones of 'Benthos' or reveling in the expressive ripples of 'Deer', but it's safe to say these jams would go down smooth with a Mediterranean sunset and an Aperol Spritz. Review: Is It Balearic? Started the Uber sublabel up a few years ago, but 2017 has undoubtedly been the strongest year so far for the imprint. Following excellent stints from Serene, Wawawiwas and Bonnie & Klein, Max Manetti makes a debut appearance with a self-titled EP loaded with just the kind of slick, instrument-led island grooves we've come to expect from the Uber stamp.

From the dense tropical trip of 'Jungle Prayer' to the laconic guitar licks of 'Dub Macumba', the cyclical mysticism of 'Changuinola' on to 'Garrison' with its considered piano chops and stiff breaks, this is an EP of proficient musicianship and eclectic funk for all manner of situations. Review: Crown Ruler Records co-founder Jeremy Spellacey is highly regarded within the crate-digging community, primarily for his ability to sniff out copies of obscure - but, naturally, high quality - boogie-era disco records from Africa and the Caribbean. On this fine compilation, Spacetalk has offered the New Zealander the opportunity to showcase some of those finds, alongside a smattering of better-known favourites and more recent cuts (see Mike Fabulous's overlooked modern boogie gem 'Wang East'). Predictably, Spellacey has delivered the goods, serving up humid, exotic and loved-up gems galore, including the fluttering brilliance of Stimela's 'I Love You', the marimba-laden Balearic boogie of Feladey's 'Forest Music' and Devon Russell's impeccable reggae-soul cover of Curtis Mayfield's 'Move on Up'. Review: Following on from the impressive opening statement from Modern Manners, the second installment from the hitherto unknown outfit sees the sonic remit reaching out to other influences while retaining that poised lounge attitude that made the first record so instantly endearing.

'Research' is a dub track in essence, sporting ample space in the mix, the odd conga roll and sparse chords calling out into a field of reverb and delay. 'Can Maneras' is a more shuffling kind of smooth jazz that aligns with the classy licks of St Germain and the like. 'Serate Cosmiche' finishes the EP off on a melancholic tip that puts the synths at the front of the mix for the first time. Review: Emotional Response brings together two esteemed artists as they continue to celebrate five years of top-drawer releases. Alexis Georgopoulos and Jefre Cantu-Ledesma aren't necessarily household names, but their respective careers have touched on many a respected project in a variety of fields.

Here, the pair turn in some wonderfully expressive compositions played out across all manner of organic instrumentation. The richness of the production and the highly developed ideas embedded within this gorgeous LP should resonate for a long time to come, not least because the pieces are all so easy on the ears. From Steely Dan precision to Balearic lilt, this is proper players music played by proper players. Review: Out 2 are the product of a New York-based partnership between Jeremy Campbell and R. Crimson Skies Windows 7 Download there. Zanzibar, who are just the kind of cult operators that Emotional Response so dearly love.

With one foot in classic Talking Heads inspired funk variations and the other in the catch-all stylistic melee of the modern age, this is highly developed party music for well-read rug cutters to bust out shapes to. Just check the gorgeous synth violin styles on 'Fire' or the heavy dub beatdown of 'Rubber Hour' - these cats know what they're doing. All new-no-minimal-wave lovers take note! Review: Over the years, DK has been responsible for some of Antinote's most ear-pleasing moments. Even so, we can't think of many as breathtaking as 'Keyboard Study', the Steve Reich-with-synthesizers track that kicks off Distant Images, his fourth vinyl excursion for Zaltan's lauded imprint. It superbly sets the tone for what follows: a stunning selection of synthesizer-heavy soundscapes variously inspired by American minimalism, Greek new age ambient and Vangelis's widescreen electronic soundtracks.

It's the sort of record that sounds like it could have been made in the early '80s and reissued by Music From Memory, only better (and that's saying something). Review: Bonnie & Klein can often be found cruising round labels like Music For Dreams and Leng, imparting tender touches of Balearic finery for those who like to cruise on the slinkiest of 80s flavoured jams. They're on cracking form for this return to Uber, kicking off with the sultry 'Tones Of Ballad', which gets a subtle beefing up from Drifts Projects on the remix. 'Pretty Lake' is the cut for those who want to achieve pure transcendental bliss by way of canned slap bass and sustained chords, and then 'Snowdrifts' finishes the EP off with a thoughtful piece shaped out by sweet piano and stirring strings. Review: Mehmet Aslan and Miajica represent some of the finest operators in Basel, and their Fleeting Wax label is on hand to represent what's good in the Swiss scene and beyond. On this latest release they turn to Eva Geist, who has previously been spotted on Macadam Mambo and Elestial Sound with her beautiful mix of synths and vocals, striking a chord between noirish synth pop and heads down club music.

'Blumareciano' is a wonderfully seductive, slightly spooky stew of a track which San Proper then injects with his usual freaky energy to make for a more uptempo party version. Then Geist's 'Begum' stretches over the B-side in a bubbling blend of delayed voices, tribal percussion and general outernational surrealism. Review: Having previously impressed on Argot and Home Taping Is Killing Music with her blends of evocative deep house and floor-friendly Chicago rhythms, The Black Madonna tries a different approach on this debut for the recently launched Night Owl Diner label. You could certainly describe both tracks as 'Balearic', and there's a real air of wide-eyed positivity about the tumbling melodies, swirling synth-strings and mid-80s pop production of head-nodding deep house cut 'Stay'. It's pretty darn tasty, all told. Almost as good is 'Requiem', which appears to be built around a loop lifted from Cherrelle and Alexander O'Neal's 'Saturday Love' (with, of course, additional synths and tuneful electronics). Review: Roberto Aglieri is a noted Italian flutist and composer, and his 1987 album Ragapadani stands as one of his finest achievements.

Archeo Recordings are ever hip to the finest treasures hidden away in the folds of esoteric music, Italian or otherwise, and have done a great service in reissuing the album so that it might reach a wider audience. Aglieri's flute sounds haunting and evocative over the range of delicate synth treatments, largely orbiting the minimal realm but with a naive charm that makes the music wholly accessible at the same time. Soothing, thoughtfully crafted music for tender times.

Review: Internasjonal's refreshingly worldwide focus continues apace here with a comprehensive label debut from Belgrade-based musician and producer Nenad Markovic. Despite high profile names like Mark E, Hunee and Mano Le Tough appearing on the label, Internasjonal has largely been a platform for unheralded talent to shine and Markovic certainly does that with Kayto.

This seven track album presents the eminently talented Croatian to have a true mastery of his instruments and a production style that is effortlessly contemporary in it's approach to disco. The bugged out jazz house of 'Theme' and the Balearically inclined 'Weather' are standouts on a fine debut release. Review: Back in the mid 1980s, Jun Fukamachi decided to establish his own label, Nicole. It didn't last very long. In fact, the imprint only ever put out one record: a promo-only collection of untitled instrumentals called '86 Spring & Summer Collection: Instrumental Images.

Here, that hard-to-find set gets the reissue treatment for the first time. Heavily influenced by mid-1980s film and TV soundtracks, contemporaneous new age ambient and expressive experimental jazz, the synthesizer and drum machine heavy collection sounds like it was designed to showcase Fukamachi's library music credentials. Crucially, though, it contains some superb, life-affirming compositions that should thrill those who have been enjoying the previous reissues of both WRWTFWW and Holland's Music From Memory. Review: If you want hugs on the dancefloor deep into the night, Late Night Tough Guy's (formally DJ HMC) 'Bless The Rains' is the perfect drug. The Adelaide based luminary rehashes Toto's 'Africa' in a heavily pitched down and simple edit fit for any fromage-laced discotheque. Skirting around the throbbing bassline and triangle hits of 'My Body On Fire' is a vocal that will have some train-spotters pulling their hair out in frustration, while 'Not In Love Anymore' will have both Warren G/Nate Dogg and Michael McDonald fans bumping and grinding to excess. Review: Tommy Guerrero is a constantly insightful figure in the downtempo scene.

In fact, everything about the man protrudes good vibes and a chilled, leaned-back sort of mood. As an important side note, he was one of the original skateboarders back in the 1980's, running wheelies and exporting the culture to mainland Europe, along with his connection to lounge music. Soul Food Taqueria is a 2003 album, originally out through the mighty Mo Wax, and now reissued finely on Be With. We love everything about this album, form its positive TOV, to the artwork and its seamless blend of hip-hop and ambient, a cocktail that still tastes more than fresh as of 2017. TO be honest, this is foundational gear, and it wouldn't be unfair to say that this sound has not progressed a whole lot since albums like these first dropped in the UK. Review: Malka Tuti continues to be a hotbed of oddball, outernational wares for adventurous dancefloors, and the Israeli label reaches a new milestone as it presents its first full-length album release. Die Orangen is a project headed up by prolific Australian artist Kris Baha alongside Angelo Cruzman and Dreems, and following a single on Malka Tuti last year they come good with an album of psych-out brilliance that should have a broad reach from Balearic heads to wave-minded disco dancers.

'To The Top Of Gloucester' shows they're happy to embrace experimental moods as much as direct hitters, and the loose, live band approach to the music binds all the different styles together perfectly. Review: Roberto Aglieri is a noted Italian flutist and composer, and his 1987 album Ragapadani stands as one of his finest achievements. Archeo Recordings are ever hip to the finest treasures hidden away in the folds of esoteric music, Italian or otherwise, and have done a great service in reissuing the album so that it might reach a wider audience. On this limited white marble edition of the album, Aglieri's flute sounds haunting and evocative over the range of delicate synth treatments, largely orbiting the minimal realm but with a naive charm that makes the music wholly accessible at the same time. Soothing, thoughtfully crafted music for tender times.

Review: The most famous whistler in cinema (so arguably the most famous whistler in the world), Alessandro Alessandroni has contributed to cinema, TV and music with as much influence as his old friend and collaborator Ennio Morricone. He was also making some incredibly innovative electronic compositions on the side, it would seem. These four variations were found in an old archive in his African home and have never, before now, been heard before. From the densely-layered spaghetti-flavoured 'Afro Voodoo' to the soft sultry swoons of 'Afro Sentiment' by way of the sheer dancefloor pump of 'Afro Discoteca', this is a truly remarkable find for Four Flies. Made all the more poignant due to his recent passing, too. You know what to do.

Review: Coming to life on a hazy cloud of natural instrumentation and meditative composition, Modern Manners tap into the appetite for delicate new age musings beautifully on this debut release. 'Amor Y Odio' is laced with Spanish guitar musings that spiral out over a simple but effective drum break that harks back to classic downtempo, while 'Running With Me' edges towards a more sprightly lounge headspace while retaining the rich musicality felt on the first track. 'Instant Illusion' is propelled by a bassline that wouldn't sound out of place on a house track, but here its punching out in a subtle, laid back environment that aims to get you horizontal in the most sophisticated way possible.

Review: Private Agenda are a Berlin-based crew of smooth cruising Balearic sailors that have previously shored up on International Feel. This new record for Nunorthen Soul leads in with the mellow, reflective 'Dusk', a jam bursting with musicality from every bar. 'Dawn' places the piano at the forefront of the mix, curling out a beatless ballad loaded with Mediterranean romance which Faze Action dutifully scoop up and spread over a steady pulse of laconic house music. Ron Basejam takes the track and creates a funkier beatdown for it, while Ian Blevins creates the most club-minded version on the record, without sacrificing the dreamy tone of the original. Review: Originally issued back in 1998, Mezzanine remains the most commercially successful album released by Bristol troupe Massive Attack, thanks in no small part to the Liz Fraser-featuring 'Teardrop'.

This third album signalled a change in sonic direction that played more explicitly on the darkness and tension that was always an undercurrent of their much loved debut Blue Lines and successor Protection. After numerous bootlegs over the years, Virgin have done the right thing and presented this official reissue of Mezzanine to appease fans of Massive Attack and it's clear the LP has lost none of it's bewitching power. The Quincy Jones and Isaac Hayes sampling 'Exhange' and 'Exchange' remain a delight in particular. Review: Leonidas and Hobbes are old studio buddies. The duo's first collaborative release landed back in 2013 and they've been putting out occasional joint missives ever since. The Rags Of Time EP may well be their best 12' yet, though. Check, for example, the jaunty analogue nu-disco shuffle of opener 'Web of Intrigue', where lo-fi synthesizer melody lines, Mexican horn samples and decidedly Balearic guitar solos wrap themselves around a gently bouncing groove.

Or, for that matter, the 'Acid Rain' mix of 'Heavy Weather', a cheery triple-time workout built around clicking drum machine hits, thrillingly dusty synth stabs and tipsy electronics. The slightly jauntier and dreamier 'Dawn Mix' of the same track is also rather tasty. Review: REPRESS ALERT! Spearheaded by Stuart Leath, Emotional Rescue is a label committed to unearthing forgotten gems and giving them the exposure they richly deserve, with all releases officially licensed by the artist and remastered in full.

This 12' sees two classic tracks by the world music collective Suns of Arqa take pride of place. Incorporating elements of raga and dub, 'Brujo Magic' is a much more straightforward dancefloor number than its description would suggest, with its rolling bassline and vocoder effects fusing irresistibly with its psyche-rock styles. On the B-Side, 'Ananta Snake Dance' combines traditional Indian percussion and harmonium with conventional drumming to create something completely unique. A strong start to what will no doubt be an indispensable label. Review: Say yes! The definitive gossamer Italo floor fuel of Ida No and Johnny Jewel's Glass Candy outfit enjoys an expanded reissue here on sexy lavender vinyl after over a decade out of print.

Nothing but synthetic positivity as both the title track and 'Drumm' stride with an almost marching feel before 'Where Time Sits Still' plunges much deeper into moody new romantic cinematics. Elsewhere other highlights include the slinky poignancy that lingers from every spacious bass pluck on 'City Lights' and the trembling ambience and pressurised atmosphere of the finale 'Sanctuary'. Review: It's time to step onto the veranda. Just to the side of the heaving dancefloors Melbourne's Griffin James has been attracting for several years with his powerful deep house blends, it's a space for more consideration, introspection and levitation as we tether our feet to the ground and let his most experimental, freeform compositions whisk us beyond the stars. Ambient, wavey, tender, Balearic; this is Francis Inferno Orchestra beyond the decks and disco as tracks such as 'Mer Morte' and 'Potential Of We' lap gently at our toes, slowly consuming us from the feet up.

Elsewhere molten machines such as 'Allodynia' bubble and froth into cloud-bursting crescendos and the gradually rising, barbed chords of 'The Sweetest Embrace' wash over you like an epiphany. Breath-taking and innovative, Francis Inferno Orchestra has burnt right through any difficult second album cliches right here. Review: Say yes!

The definitive gossamer Italo floor fuel of Ida No and Johnny Jewel's Glass Candy outfit enjoys an expanded reissue here after over a decade out of print. Nothing but synthetic positivity as both the title track and 'Drumm' stride with an almost marching feel before 'Where Time Sits Still' plunges much deeper into moody new romantic cinematics. Elsewhere other highlights include the slinky poignancy that lingers from every spacious bass pluck on 'City Lights' and the trembling ambience and pressurised atmosphere of the finale 'Sanctuary'. Review: Soon, DJ Harvey will release The Sound of Mercury Rising, a compilation themed around some of the music championed at his summer residency at Pikes Hotel, Ibiza. This four-track taster 12' not only acts as a sampler for the CD version, but also offers the chance to own four excellent and hard-to-find gems. You'll struggle to find a more Balearic disco cut than Danish outfit Tore's 1979 killer 'She's a Lady' - think the Bee-Gees with Flamenco guitars - while Elkin & Nelson's 'Abran Paso - Aboa (Enrole)' is a spiraling chunk of flamenco-psychedelia fusion.

Elsewhere, Van McCoy & Soul City Symphony's 'Spanish Boogie' is a jaunty disco number full of crunchy Clavinet lines and rising horn lines, while Tony Esposito's 'Danza Dell'Acqua' is as eccentric and wide-eyed as they come. Review: Given his impressive track record, hopes are naturally high for Bonobo's sixth album, Migration, which is his first full-length since 2013. Happily, it's a majestic affair, with the producer delivering another sumptuous set of tracks.

It was partly inspired by an extended period musing on the nature of personal identity, and the role that nationality plays in that. This concept is translated via thoughtful lyrics, and songs that draw musical influence from the four corners of the globe. It's not a big stylistic leap, of course - his bread and butter remains yearning, emotion-rich downtempo music built around gently jazzy grooves and impeccable live instrumentation - but given that few artists do it better than Bonobo, we'll forgive him for that. 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: Mary Anne Hobbs has been waxing lyrical about this sophomore collaborative set from Arovane and Hior Chronik, and it's easy to see why. The album's genius lies in the duo's atmospheric combination of crackling field recordings, lucid electronic instrumentation, and the melancholic poignancy of classic piano motifs. While they're naturally more at home delivering atmospheric, slowly unfurling ambient pieces - and there are plenty scattered across the album - the production pair's more up-tempo efforts are generally equally as impressive. Tracks such as 'Lightbeams', 'Perpetum II' and 'Eines Klein Lied', where their beautiful music is underpinned by bustling and bubbly machine percussion, are particularly impressive. Review: Udacha just gets better and better with every release, branching out into ever more exciting shapes and styles beyond their house and techno foundations.

On this album from Indoor Plants, wild fourth world visions collide with hardware processes in a dazzling display of transcendental music for those who like their thought-provoking tunes to pack a punch. The likes of 'Targitaus' deconstruct club music conventions in a quest for new rhythmic purpose, and yet the soundsystem pressure is expertly sculpted out of the daring shape of the music. Elsewhere there's surrealism in abundance, as on the wonderfully weird 'Hunch', and that's just scratching the surface of this truly essential LP. Review: REPRESS ALERT: Fresh from 1986 - and recently re-edited by John Talabot - documents do not get any more Balearic than this. Spanish trio Ishinohana's debut album is rich in cosmic attitude. At points daydreaming while the sand laps at its toes (the lilting nylon strings and soft padded hand drums of 'Lucia', the overlapping guitars and galloping refrains of 'La Flor De Piedra'), at others a much darker, more spacious star-gazing affair (the Arabic dreams of 'El Beso Negro') and at others a heavier rhythmic, floor-minded approach (the lolloping bass and reggae-wise strums of 'Variacion 23') this is a timeless document that befits situations and sceneries that existed long before this record was conjured up. And will remain so for generations after.

Review: Danish electronic fusioneer OG Anders Remmer returns with his first album since 2009's Sorry and Music For Dreams is the best possible place for his return. A label that encourages arrestingly immersive soundscapes and experimentation, Hello Ambient Wash is perfectly at home here; the fluttering baroque arpeggios on 'Sine Song 5', the breath-taking choral synth textures on 'Wow', the cosmic sunset twinkles on 'LTL' and the soft pops and plucks on the pastoral sojourn 'W30' are just some of the many charming highlights on this highly impressive comeback album. Come say hello. Review: Uber always knows the right kind of moody, heads down Balearic throb to get stone-cold chillers nodding their heads in approval, and so it goes on this latest transmission from Wawawiwas. 'Sadness Of Being' is a perfect introduction to this duo, with the dub tropes turned up to full and the bassline grooves as slinky as they come. In between the heavy delay and reverb there's a real sense of stride about this track, which Max Essa capitalises on when dropping the more beat driven remix on the B side.

The broad premise of the original remains intact, with just a little more emphasis on the synthy side of things. Review: Since shifting his focus more towards atmospheric, Balearic-minded sounds a few years back, Tornado Wallace has delivered some of the most deliciously humid and glassy-eyed music around. Hopes are naturally high, then, for this long-anticipated debut album. It picks up from where his sublime ESP Institute, Beats In Space and Second Circle releases left off, delivering a warm, evocative, sun kissed blend of shuffling Balearic grooves, horizontal soundscapes, gentle tropical workouts, and rich, synth-laden explorations. There's a pleasing haziness throughout, with live percussion and instrumentation rubbing shoulders with glistening synthesizers, ear-pleasing electronics and pulsing drum machine hits. In other words, it's a fine debut album.

Review: More quality grooves from Washington DC label specializing in reissuing obscure and unknown 70s and 80s dance music. This time around is Dreamcast who are Davon Bryant in conjunction with Swedish guy Sasac aka King Al. 'Liquid Deep' is sexy late night deep funk the way it was always intended and Bryant's smooth as silk vocals are just like. So with Dreamcast on the vocals and Sasac on the beat, we are hoping there's more things on the way from this trans coastal duo in 2017. 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: There's a reason that Massive Attack's Blue Lines frequently appears in 'greatest albums' lists. To put it simply, it's brilliant, and arguably remains the Bristol-based outfit's finest work to date (though some would argue that the dark and paranoid Mezzanine is possibly better). As this weighty vinyl reissue proves, it's lost none of its hazy, dub-propelled trip-hop charm. All-time classics such as 'Unfinished Sympathy', 'Safe From Harm' and 'Hymn of the Big Wheel' have lost none of their soulful, mood-enhancing brilliance, while lesser celebrated cuts such as 'Five Man Army' and 'Lately' still sound great despite their vintage.

Review: Last year, Music From Memory released an EP containing a handful of tracks from previously forgotten Missouri outfit Workdub. On the back of that, interest in their hard-to-find back catalogue rocketed, hence the appearance of this handy compilation on Left Ear. Subterranean (1889-95) contains material from each of the fluid collective's full-length excursions (one album and two cassettes) and is as evocative, imaginative, loose and enjoyable as the tracks previously showcased by Music From Memory. Stylistically, the material is thrillingly hard to pin down, though we can hear clear nods to dub, post-punk synth-pop, electro, Balearica, electronica and ambient amongst the ten superb selections on show. Review: Since first emerging at the tail end of the '90s, Simon Green has become downtempo music's most marketable star, appealing just as much to occasional listeners and 40-something housewives as underground heads. Throughout that time, he's carefully shifted his sound to take in current trends and musical developments, whilst retaining a certain picturesque aesthetic.

This fifth full-length, his fourth for Ninja Tune, continues that trend. Amongst the usual shuffling beats and twinkling melodies you'll find garage-esque vocal cut-ups, rubbery dancefloor rhythms, Floating Points style neo-jazz, string-laden two-step and some seriously wonky soul featuring vocals from Erykah Badu. Review: Some may already familiar with Tokyo-based Brit Submerse, whose annual albums on Project Mooncircle have become must-haves for those who enjoy warm, sunny and life-affirming blends of off-kilter instrumental hip-hop, sensual future R&B and kaleidoscopic Balearica. There's naturally plenty of gentle and colourful loved-up goodness to be found on Are You Anywhere, his fourth full-length excursion.

While there are occasional deviations from his usual blueprint - the Onra style electrofunk/hip-hop fusion of 'Can We Go Back', the Dam-Funk synthesizer warmth of 'Driving With Cosmopolyphonic' and future jazz-funk quirkiness of 'Splash' - for the most part it's a saucer-eyed romp through his distinctive trademark style. Review: Out Of The Blue, Phil Mison's first compilation for some time, was apparently inspired by his first few trips to the White Isle of Ibiza, and specifically the unlikely set of circumstances that led to him filling in for Jose Padilla at Cafe Del Mar.

Musically, it's reflective of the story, joining the dots between impossible-to-find rarities (see the loved-up instrumental jazz-rock of 'Jelly' by The Cactus Rose Project and the life-affirming fusion business of Christoph Spendel Group's 'Forever', for starters), huggable Balearic synth-pop, flamenco-inspired sunset gems, and a smattering of head-in-the-clouds Italian dream house killers. Given Mison's heritage and status as one of Balearica's top selectors, it's perhaps unsurprising that Out Of The Blue is undeniably brilliant. Review: Much to the surprise of many house enthusiasts, Joe Claussel's Sacred Rhythm imprint delves into plenty of different genres and styles, all of them bound together by a recurring thread of percussive delight.

Paul David Gillman debuts here, coming through with three gloriously loose slices of kinetic ambient fuzz, with the terms 'new age' and 'balearic' coming through vividly. The opening 'Red Earth' is a supremely jazzy whirlpool of sonics and harmonic delight, which evaporates neatly into the much vaster planes of 'Installation III'. 'Winter's Moon (excerpt)' washes away all the fury and energy of the previous two tracks to end up somewhere desolate and calming, offering a beautiful piece of soundscaping for the ambient fans.

Review: New York City based Wonderwheel are excited to release the debut album by El Buho. UK born Robin Perkins is now based in Paris but spent the last two years living in Mexico City where he's working, playing and producing music.

The Balance LP represents a meeting of different currents that make up Perkins' music: a fascination with the natural world (and its protection), with the rhythms/traditions of Latin America (Cumbia, Son Jarocho, Andean) and with modern electronic music and production aesthetics. Mixed with this is his idea of 'nature music' by using field recordings alongside synthesized sounds, Balance is also an album that celebrates community and collaboration; showcasing collaborations with 10 different artists from Latin America and beyond: producers, instrumentalists and singers. The message that sits behind this music is to value on the one hand the power of community, of collaboration and of our modern/globally connected world - but also the remembrance, protection and celebration of the very earth we depend upon for our existence. Review: In our eyes, it is no exaggeration to claim that Finis Africae's recent reissues on Japan's EM have been partly response for the recent resurrection of Balearic, exotica, and deeply textured ambient music. The last three reissues on EM have all seen great success in terms of copies sold and feedback from game-changers such as the Mood Hut mandem, and the label's close relationship with Honest Jon's gives this music an even higher send of cultural relevance to the scene of today.

Amazonia was first released in 1990 on Musica Sin Fin, and it very much sounds like it was made yesterday; this is timeless music that has the ability to please just about any ear, or any sort of digger. Containing gentle beats and harmonic patterns, Juan Alberto Arteche managed to create a world of his own, where time and space is lost, and the melodies and rhythms take us back to a primeval state. Yes, we like this a hell of a lot. Contender for leftfield reissue of the year? Perhaps, and it's only February! Review: When it comes to a reissue such as this it can't be understated just how arresting the work of Boards of Canada can be in the right situation. This EP, that came to light in between Music Has The Right To Children and Geogaddi, represents the enigmatic duo at their most powerful, channeling their energy into four long-form tracks that draw on all of their combined strengths.

'Kid For Today' is haunting and dark but utterly heartbreaking, whilst 'Amo Bishop Roden' heads into more mysterious territory. 'In A Beautiful Place Out In The Country' is eerie in its titular invitation to join a cult, and 'Zoetrope' tips its hat to Terry Riley et al in its looping phrases, but really there's no describing the magnificence of these gems, pleasingly reissued on vinyl to beat the Discogs chancers. Review: The Magic Forest dwelling record collectors better known as Psychemagik return to Claremont56 offshoot Leng with a new compilation Magik Sunrise which is essentially a vinyl shaped sequel to last year's well received Magik Cyrkles.

Though equally well presented as that compilation, Psychemagik refreshingly adopt a different sonic direction here, trading in the obscure Balearica and funk in favour of a wonderfully enlightening blend of African reggae, jazz-funk, prog rock, folk and New Age curios. Think David Holmes classic Essential Mix then crank up the weird factor to eleven and you'll have a good idea of what to expect from this fifteen track selection. The sensual twilight boogie of 'The Juggler' by Fox is a particular highlight. Review: Way back in the early '80s, Alec Mansion delivered a couple of albums that blended the sound of American electrofunk with a European synth-pop sensibility. Here, the most sought after of the two, 1983's eponymously titled effort, gets the reissue treatment. Featuring Mansion singing in French over backing tracks packed with squeezable synth bass, glistening guitars, wavy D-Train style solos, P-Funk motifs and hazy West Coast rock ticks, it's an album that should excite both boogie diggers and Balearic selectors. Certainly, there's a loved-up blue-eyed soul feel to some of the tracks, while others may notice subtle nods to classic Wings (the 'Band on the Run' synth sound is all over the album) and early '80s Fleetwood Mac.

Review: Anyone who's ever run a record label will happily tell you how it's rare to find musical gold amongst the many demos speculatively submitted by up-and-coming producers. Imagine Claremont 56 boss Paul Murphy's surprise, then, when he received these superb cuts from previously unheralded German musician Ferdi Schuster. Naturally, he snapped them up straight away. A-side 'Little River', in particular, is spectacularly good. Based around the sound of a babbling brook, sun-kissed acoustic guitar licks, vintage synthesizer solos and a languid, samba-inspired groove, it's a grade-A chunk of Balearic brilliance. While B-side 'Befreit' doesn't quite reach these dizzying heights, it's still a wonderful trip into sunrise-friendly downtempo territory. As debut singles go, it's little less than stunning.

Review: NuNorthern Soul take a brief respite from their BJ Smith series so boss man 'Phat' Phil Cooper can indulge his love for Ryo Kawasaki. Focusing on the period that the '70s met the '80s, Selected Works pulls together five delicious slices of Kawasaki bliss from a boundary pushing discography that spans writing, arranging, producing and playing. For an introduction to Kawasaki, this release is near perfect, taking in sublime jazz through heaving slabs of funk to out-there electronic vibes.

Extra context is provided in the extensive sleeve notes from Marc Rowlands that pull from his 2015 interview with Kawasaki. Despite being five tracks long, this still feels like a generous rifle through the Ryo archives. Review: 'This release is individually 200 hand-numbered limited edition CASSETTE (100 PINK and 100 SMOKE TRANSPARENT) with a sort of 'greatest hits' of (almost) all Archeo releases (AR001-AR011) + an unreleased bonus track from Roberto Aglieri (Ticino parte 4 - Il merlo), celebrating 3 years of the label, from 2014 to 2017 - selected with love by Manu•Archeo (AR001C).

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of predominantly Italian music but also all over the world of the 70s, 80s and 90s. All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images. Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time. All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.'

Review: It's been relatively quiet from Trujillo recently, but now the Venezuelan producer casts out a transmission from his Berlin base to let everyone know that all is well and we can get back to the business of smooth grooving. 'Everytime I Think Of U' speaks to the Balearic tendencies embedded in the producer's aesthetic, with a reflective vocal swirling amidst dreamy guitar chops and swooping synth warbles of a strictly blissed out nature. Telephones does a sterling job of remixing the original version into a warm and funky deep house jam peppered with organic delights. Review: When 'Nite' first appeared way back in 2006, Chromatics had yet to release their breakthrough album, Night Drive. Since then, the Johnny Jewel-helmed combo has gone on to bigger and better things, with each successive album bringing a fresh wave of success. Win Myanmar Fonts Systems Of Linear.

As this reissue neatly proves, their sound was a little different back then. While there are nods towards their later soundtrack-inspired sound (see 'Birds of Prey' and 'Sleepwalker'), much of the mini-album is split equally between fuzzy, guitar-heavy art-rock workouts and, more thrillingly, the kind of thrusting, muscular Italo-disco revivalism that Mike Simonetti's Italians Do It Better imprint once excelled at delivering.

Review: Here's something to set the pulse racing: an unlikely collaboration between celebrated Italian producer DJ Tennis and Fink, one of the longest-serving members of the extended Ninja Tune family. The latter's melancholic, heartfelt vocals are a perfect foil for Tennis's gentle and melodious backing track, which layers bubbling electronics, simmering orchestration and twinkling synthesizer motifs atop a sparse, undulating drum machine groove. If we had to tightly define it, we'd call it lilting outsider pop. On the flip you'll find the 'Club Mix', which wraps Fink's vocal and cascading pianos around a tactile, soft touch house groove. Review: Given Massive Attack's background, it was almost inevitable that they'd release a dub overhaul of one of their albums at one point. That time came in 1995, when British sound system legend Mad Professor - responsible for some of the greatest UK-made dub records of all time - put his distinctive twist on Protection.

21 years on, the set still sounds sublime: a radical translation that frequently bares only a passing resemblance to the Bristol band's original. It's packed with highlights, from the spaced-out, dub-house rework of 'Spying Glass' ('I Spy'), to the ricocheting percussion hits and twinkling pianos of 'Weather Storm (Cool Monsoon)', and creepy, delay-laden string surges of 'Eternal Feedback (Sly)'. Review: As much love has already been given to Larry Heard's late '80s and early '90s work, it's nice to see some of the Chicagoan's slightly later work getting a deserved reissue. Alien first surfaced on Black Market International back in 1996, and finds Heard exploring his sci-fi influences in a range of deep and emotive styles. So, there are forays into blunted hip-hop ('The Beauty of Celeste'), twinkling, starburst ambience ('Faint Object Detection', 'The Dance of Planet X') and Detroit techno-influenced melodic downtempo beats ('DNA-RNA'), as well as occasional moments of typically immersive deep house warmth (the wonderful 'Flight of the Comet').

In other words, it's a trip into space in the company of one of electronic music's finest exponents of melodic richness. Review: Gatefold 2LP ediiton: While their 50 Weapons imprint may be winding up, Modeselektor's Monkeytown imprint is still in full swing, releasing all sorts of interesting electronic music lately from producers as diverse as Robot Koch, Omar Souleyman and Howling. This time label head honchos Bronsert and Szary team up with good mate Sascha Ring aka Apparat for another session as well.

Moderat, of course! Highlights include the bittersweet and bass heavy pop inflections of 'Bad Kingdom' featuring Ring's powerful vocals, the epically future beats of 'Let In The Light' or 'Ilona' and the upbeat dusty deep house of 'Milk'.

Superb production on display throughout the album and don't forget to check out the killer remixes by Skee Mask and Benjamin Damage (amongst others) available soon as well. Review: **Repress** The Music From Memory label was launched by Redlight Records founders Tako Reyenga, Abel Nagenast and Jamie Tiller earlier this year, sporting a proud mantra of 'giving overlooked and unreleased music that we love a second chance'. The focus of attention for Music Of Memory's second release falls on the works of celebrated ambient composer Gigi Masin. Born in Venice, Masin's work has been sampled by the likes of Bjork and To Rococco Rot and his albums attract feverish acclaim, with Wind, Masin's privately pressed debut LP a desired rarity for the only the most well-heeled of second hand collectors. It's from this album and a selection of Masin's other released works that Music From Memory draw from for this stunningly meditative double LP retrospective Talk To The Sea, which also includes a healthy amount of unreleased material.

Review: Having first joined forces to DJ together under the Taloboman tag some years back, Axel Boman and John Talabot first got together in the studio for 2014's Sideral 12'. Three years on, the experienced duo has finally recorded a debut album.

It's naturally imaginative, eclectic and atmospheric in tone, effortlessly gliding between humid, Afro-influenced deepness ('Midnattsol'), dark and spacey dancefloor moods ('Samsa'), fuzzy epics ('Six Million Ways'), hushed tech-house ('The Ghosts Hood'), stretched-out wonkiness (the hypnotic 'Dins El Lit'), and a variety of intriguing downtempo explorations. It's largely left-of-centre and mostly not focused on the club, but that's not necessarily a bad thing. Certainly, it's a fine collection of music.

Review: Originally released in 1999, the cultish reputation of the mysterious Blindboy's sole offering to the world has attained it a high second hand value, and so Archeo Recordings have done the right thing and actioned a reissue. Ruckus In Lo Fi is steeped in Balearic guitar tones, downbeat hip hop cuts and forays into sumptuous jazz funk. There's also a remix from Joe Morris, who fashions a brooding, epic remix of 'I Dream' loaded with simmering tension without losing the funky warmth of the original.

With all kinds of mellow pouring out of this one, any stone cold chillers out there won't want to sleep on this one. Review: Cruise Control is being marketed as the Italians Do It Better 'Summer Sampler'. Compiled and mixed by head honcho Jonny Jewel, it naturally features rather a lot of beautiful, moody and life-enhancing music, the vast majority of which puts obscure vintage synthesizers front and centre. Of course, there are some fine curveballs dotted throughout, including the new-wave disco-pop of Twisted Wires's 'Struck Twice', the glistening but stripped-back electro-pop of Farah's 'Baby Girl', a killer chunk of Balearic boogie from Nite Jewel, and the muscular Italo-disco sleaze that is Glass Candy's 'I Always Say Yes'. In other words, it's a superb collection of cuts from one of electronic music's most consistently impressive labels. Review: Given his impeccable downtempo credentials, you'd expect Bonobo's Late Night Tales mix to be one of the finer installments in the series (and that's saying something). Predictably, it is.

Sweet, sensual and atmospheric, with plenty of unlikely gems and forgotten classics for the heads to enjoy, it surprises and impresses with each successive track. This vinyl edition features 17 of the tracks unmixed (naturally) and lifts out many highlights.

His own cover of Donovan's 'Get Thy Bearings' is particularly revelatory - string drenched, hazy, atmospheric and, of course, immaculately produced - but there are many other gems. Check Darondo's classic heart breaker 'Didn't I,' the smoky reggae-soul of Nina Simone's 'Baltimore', and the enveloping intimacy of Shlohmo's 'Places'. Do seek out Benny Cumberbatch's spoken word turn at the end too! (mp3 download code for the full release included).

Review: Once again, Music From Memory has dug deep for inspiration. Very few will have come across the original 1987 pressing of Ich Traume So Leise, a long-forgotten collaborative album that brought together trumpet player Heinz Becker, songwriter Karl-Heinz Stegmann, and poet Isabel Zeumer. Predictably, though, the tracks which the Dutch label has chosen to reissue are exceptionally good. 'Mein Tanzlied', for example, features Becker's meandering trumpet lines and Zeumer's eyebrow-raising spoken word vocals seemingly drifting over an intoxicatingly funky, mid-80s dancefloor groove, while 'Dir' is a seriously atmospheric chunk of beatless jazz poetry. Flip for the Balearic electro-funk of 'Der Schnupfen' and the languid, new age ambience of 'Abends'. Review: Nurtured by Mudd and owners of their own stunning live band, Paqua should really deliver more Balearic bliss than they have. As we wait tentatively for more heartfelt, organic sun-kissed soul, Claremont 56 have commissioned some incredible remixes.

'Late Train' gets a full cosmic treatment from the Idjut Boys while Emperor Machine takes it down a dark alley and roughs it up with a series of analogue synth slaps. Ray Mang, meanwhile, focuses on the dreamiest aspects of 'The Visitor' and rearranges and polishes them in a way that's reminiscent of a certain Andrew Ashong. Review: As he did to celebrate Claremont 56's fifth birthday, Paul 'Mudd' Murphy has enlisted the help of the Idjut Boys to mark the passing of the label's first decade. This time round, the long-serving dub disco duo has put together a spellbinding, two-disc mix of specially commissioned material. Of course, they've gone to town, blending the label's 10th birthday tracks with oodles of dub delay, all manner of trippy effects, and a swathe of their own specially prepared dubs, DJ tools and re-edits. These intoxicating, mind altering versions are showcased in unmixed form on disc three, following two discs of horizontal Balearic bliss, slow-dance goodness and the impossible-to-pigeonhole antics of Can founder Holgar Czukay. Review: Back in 2011, Nicolas Jaar joined forces with fellow Clown & Sunset contributor Dave Harrington for the Darkside EP, an impressive trio of untitled tracks that pitted the formers scratchy, near-paranoid production style against the latter's penchant for lo-fi indie-rock inspired fuzziness.

Here, the duo dusts down the Darkside alias once more for a first collaborative album. Predictably, it's an impressive set, offering a collection of downtempo tracks that shuffle between crackly, out-there atmospherics ('Sitra', reminiscent of much of Jaar's Space is Only Noise album), echo-laden alt-rock experimentalism ('Heart') and heart-aching fragility (the James Blake-ish 'Greek Light'). Review: Some four years after Swims brought the work of Dan Snaith to the attention of a whole new audience, the London-based Canadian artist returns with a sixth Caribou album entitled Our Love. Staunch followers of Caribou will know that Snaith tends to adopt different sonic approaches with every long player (compare the psychedelia of Up In Flames with the more spaced out Andorra) but this latest album feels like a natural development of the club influenced sounds of Swims. City Slang call it Snaith's most soulful set yet, and that's certainly helped by the presence of compatriot Jessy Lanza, and like all Caribou albums there is something new that appeals with every listen. Review: Here's a question for you: when is a 'soundtrack' album not a soundtrack? Windswept, Italians Do It Better man Johnny Jewel's latest impressive full-length, does contain some music commissioned for the soundtrack of the new series of Twin Peaks, but also material composed with no particular film or TV show in mind.

Of course, Jewel is a past master at creating emotion-stirring electronic music with a cinematic feel, so it's little surprise that highlights come thick and fast throughout. Check the tumbling synth-jazz of 'The Crimson Kiss', the angular hum of 'Strobe Lights', the glistening guitar passages of the impeccable 'Slow Dreams' and the creepy intensity of 'Insomina', an inspired fusion of experimental orchestral glissandos (see The Beatles 'A Day in the Life') and creepy sonic textures. Review: DC chill dons Thievery Corporation first released this LP 18 years ago. And, like all classics, it still sounds as timeless and immersive as it did when it first hit our ears. From the swooning chords and easy-groove bedrock of '2001' to the heavy tabla-induced meditation of 'Transcendance' via the ever-delicate breakbeat lullaby of 'Incident At Gate 7', Sounds From The Thievery HiFi spawned the first generation of hippies the 21st century ever saw. This album is many things; a lesson in chill, a lesson in sample magic, a lesson in long and languishing grooves. If you haven't got this in your collection yet, you know what to do.

Review: You'll probably already be acquainted with the name Manuel Gottsching - and you should be - but just in case you aren't, he was a pillar of Ash Ra Tempel's golden years and, among other of his contemporaries, was a pioneer of the genre that is often dubbed 'new age'. E2-E4 was a 1984 solo album from the man, and is certainly up there with the likes of Steve Reich's best minimal material, although it has often gone relatively unnoticed. MG Art from Germany have done us the favour of reissuing this monumental release, and we're utterly awestruck by how contemporary and fresh this album still is.

In fact, one could say that a tune like '31'38' is the basis for the sound championed by new labels like Mood Hut, where a significantly danceable beat is laid above placid, warm harmonics. Similarly, '23'00' is just as balearic and phased out but, once again, we just can't believe how great this music still sounds more than thirty years later. Warmly recommended. Review: Four years have passed since Maya Jane Coles' last full-length excursion (2015's set as Nocturnal Sunshine not included), so it's perhaps unsurprising that Take Flight is something of a long and undulating epic. Featuring 24 tracks stretched across three LPs and a string of eager collaborators (Chelou, Rachel Butt of GAPS fame and We Fell To Earth singer Wendy Rae Fowler being arguably the best known), Take Flight is little less than an extended showcase for the DJ/producer's particular bland of shuffling, tactile tech-house, tweaked to suit the demands of radio and home listeners. One reviewer recently described it 'love letter to dance music', and Coles' many fans will no doubt agree.

Review: Sounds Of The City has turned its attention to a new sublabel called Sounds Of The Streets, which supposedly focuses on the classic sounds of the 70s and 80s with one foot still tapping on the contemporary dancefloor. Wulysse is up first with Hotspot, and from the sounds of 'Still Runnin' this artist has got the stylistic approach down to a fine art. Where that track is all bubbly and feel-good, there's a hint of mystery in the sweeping chords of 'Hotspot', but either way the boogie funks hard on both tracks. 'Smurfin & Rappin', by way of contrast, allows some acid influence into the mix with absolutely crucial results.

Review: When they delivered their stupendously sample-heavy debut album, Since I Left You, back in 2000, The Avalanches were tipped for big things. For some reason, they failed to capitalize, all but fading from view. That album remains a much-loved listen for many people so there has been an expected degree of anticipation regarding this follow-up, Wildflower. Happily, it's something of a resounding success, with the Melbourne trio serving up another whirlwind trip through sample-heavy, hip-hop era psychedelia. At 21 tracks deep, and with more changes of direction than your average three-week cycle race, it's something of a beast. It is, though, well worth the effort, as repeat listens simply uncovers more layers of hazy, glassy-eyed goodness (be it bluesy trip-hop, slipped disco, dreamy acid-pop, folksy beat-scapes or baked hypno-rock).

Review: Warp's Boards of Canada reissue campaign reaches Geogaddi, perhaps the duo's most expansive (if not their most popular) record, presented here on a 3LP gatefold edition. Considerably darker than its predecessor Music Has The Right To Children, the claustrophobic sounds of 'Gyroscope' and sampled spoken word in tracks like 'Dandelion' and 'Energy Warning' present a somewhat dystopian setting, filled with unsettling sounds, such as the light but eerie melodies of 'Alpha & Omega' and '1969'. Undoubtedly one deserving of reappraisal. Review: Having delivered a seventh studio album of a long and productive career as Nightmares On Wax last year, George Evelyn has been treated to the full retrospective programme by Warp in 2014. Earlier this year the label issued a best of, artfully punned NOW Is The Time, this week has seen Warp reissue in deluxe format all of Evelyn's six previous and widely loved long players.

All of them are in stock at Juno and worthy of your time, though Carboot Soul is a particular favourite amongst the review team here. The Quincy Jones sample on opener 'La Nuit' never sounded so good! Review: Given his impressive track record, hopes are naturally high for Bonobo's sixth album, Migration, which is his first full-length since 2013. Happily, it's a majestic affair, with the producer delivering another sumptuous set of tracks. It was partly inspired by an extended period musing on the nature of personal identity, and the role that nationality plays in that. This concept is translated via thoughtful lyrics, and songs that draw musical influence from the four corners of the globe. It's not a big stylistic leap, of course - his bread and butter remains yearning, emotion-rich downtempo music built around gently jazzy grooves and impeccable live instrumentation - but given that few artists do it better than Bonobo, we'll forgive him for that.

Review: 1983's Rive Gauche by Philippe Chany has been lost in the depths of time and, until now, many greedy second-hand sharks have been keeping its price way up high. This little synth-pop marvel is a sampler's dream, containing beautiful riffs here and there, and what is most alluring about it is its total detachment from any one genre. In fact, there are noticeable touches of all things Balearic in here, and many of its tunes could the perfect accompaniment to disco, boogie or even expansive DJ sets.

With a little subtle nod to funk, Chany's album is one of those veritable one-offs, the sort of albums that are in a category of their own. A stunning reissue, once again, by Dark Entries. Review: The late Jorge Reyes was a leading figure in Mexican experimental music, and this album recorded with Antonio Zepeda is one of his earliest and most striking works. Originally released in 1986, A La Izquierda Del Colibri is a worldly product of the era in the same way as the work of Jah Wobble and Brian Eno, rich in new wave funk but reaching to a higher plane thanks to all manner of sonic devices. From treated jungle sounds to swooping pads, the whole album feels like an exotic trek through the heat and mystery of Central America, at times leaving the Western world far behind and at other times embracing it.

A captivating listen. Review: By the time they headed into the studio to record Protection, Massive Attack were still riding high on the success of their peerless debut album, Blue Lines.

While the resultant set, released in 1994, does quite hit the same dizzying heights, it remains a thoroughly great album. Of course, we all know the highlights by heart - the stoned bounce of 'Karmacoma', evocative downtempo bliss of Tracey Thorn hook-up 'Protection', string-drenched lusciousness of 'Sly', and the gentle dub-house soul of the Horace Andy-voiced 'Spying Glass', for example - but even the forgotten album cuts (see 'Weather Storm' and 'Better Things') have aged remarkably well.

If you don't own a copy on vinyl already, you definitely should. Review: Ludovic Navarre aka St Germain requires no introduction, and the French house legend has literally seen and done it all ever since his first productions began to surface and influence other house artists back in the early 1990's golden era.

The majority of his music has been released on F Communications, but his latest studio album drops on EMI's Parlophone sublabel. The self-titled St Germain is a proper LP, not a mere collection of house tracks put together helter-skelter. Inside, you'll hear many of Navarre's influences and inspirations, from Afro tribal melodies, to jazzy influences and even Middle-Eastern chimes.

It's a house album in structure, but much more than that beneath the surface.as it always was from the legend of French dance music. Review: Following Magik Cyrkles and Magik Sunrise, Psychemagik start their concluding mix series trilogy with the first part of Magik Sunset. A sumptuous compendium of painstakingly dug and licenced oddities and rarities, each one sandy-toed and languishing in clear blue cosmic sonic seas, the whole journey guarantees sounds that have previously been the sole preserve of private presses or highly limited runs. Two of the many highlights include the Donovon-esque lollops of Nathan Perkins Band's 'Soul Keepers' and the planet-leaping disco abandon of Al Dos Band's 'Doing Our Thing With Pride'. Truly beautiful. Review: Whatever you think of their original productions, there's no denying the continued quality of Psychemagik's compilations. Their latest epic exploration of member Danny McLewin's epic record collection, Ritual Music, is split into three parts.

This volume, Love, predictably includes some genuine thrillers, from the new age electronica of Man Parrish's 'Water Sports', and the global mysticism of 'Amram' by The Rias Orchestra, to the breathy sleaze of Jeanette's 'L'Amour Jove Au Viol', and seductive guitar solos of Bobby Lyle's jazz-funk classic 'Makin' Love'. We could go on. Suffice to say, there's barely a duffer in sight, and more intriguing twists and turns than your average sci-fi murder mystery. Review: Given the hype that surrounded the release of the first Moderat set back in 2009, we can surely expect more of the same for this second outing from Apparat and Modeselektor. Those familiar with the first album's woozy blend of IDM, Thom Yorke indebted vocal dreaminess, porchlight techno and post-dubstep rhythms will immediately feel right at home. Online reviews have focused largely on II's atmospheric warmth, and the way in which the Berlin-based trio seems to have refined their sound.

Both are valid critiques; certainly, there's a maturity and musical complexity to the album that betters much of their previous works. It's not much of a dancefloor set, but that's entirely the point; this is locked-in headphone listening for the wide-eyed generation. Review: It's been a while since we last heard from Swedish combo Little Dragon. Aside from a few remix singles, they've not released anything of note since acclaimed 2014 full-length Nabuma Rubberband. While that set was apparently something of a struggle to complete, Season High - their fifth album in total - feels spontaneous and life affirming. With James Ford handling production duties, the album offers a gleeful romp through hook-laden, high quality synth pop with nods to the likes of Prince, Pet Shop Boys and Janet Jackson along the way. Of course, there are a few chunks of skewed electronica thrown in to mix things up, but these are nowhere near as thrilling as their unashamed pop works.

Review: Despite a career in electronic music that stretches right back to the mid 1990s, this album marks the first time that International Feel boss Mark Barrott has released music under his own name. That's a surprise, but then the whole project - quickly recorded and mixed during a period spent living in Ibiza - has a delightfully spontaneous feel about it. Exotic, humid, atmospheric and richly immersive, Sketches From An Island sees Barrott in full on Balearic mode, laying down a series of instrumental soundscapes variously influenced by Tangerine Dream, Brian Eno, Robert Fripp, Peter Green and the Orb. It's pretty darn good, too, sounding like a sassier, more cultured version of his 2007 Future Loop Foundation set Memories From A Fading Room. Review: Quiz any Balearic enthusiast, and they'll likely speak of Kenneth Bager in hushed tones.

The Danish DJ/producer is famed for the quality of his selections, a facet that makes his occasional compilations essential listening. There's naturally plenty to admire on Balearic Biscuits Volume 2, from the sped-up African insanity of Bufiman's 'Bassdrum Party', and Mehmet Aslan's fine rework of Kaprov Not Kaprov's 'Mechanical Turk' (think Arabic synth melodies and rolling grooves), to the loved-up, hands-in the air brilliance of Tabu Ley Rochereau's 'Hafi Deo', and Grooveman Spot's low-slung 'Fork Power'. Review: Zaltan's admirable Antinote label has been one of the most consistently surprising imprints of the last five years, boasting a catalogue that veers from blissful, synth-heavy Balearica and crusty modular noise, to hands-in-the-air rave madness and grouchy, experimental electronica. That on-point eclecticism is much in evidence on anniversary compilation Five Years Of Loving Notes, which boasts 14 previously unheard cuts from Antinote's growing roster of artists. Highlights are plentiful, from the slow burning Balearica of Dominique Dumont's '371', the deep space analogue weirdness of Stephane Laporte's 'Timbuktu' and rush-inducing summer cheeriness of DK, to the dense tribal drums of Lueke, throbbing post-Italo drug-chug of Tolouse Low Trax and dubbed-out ambient haziness of The Simplists. In other words, it's a superb collection.

Review: Is It Balearic.? Continues to challenge our perception of what makes the perfect island breeze jam, this time around welcoming emergent producer Kimopots to the table with a track that is just crying out for a choice cocktail in a weathered hammock.

'Synthetic' is anything but, riding on a bed of hand-played percussion and capturing an innate warmth in its melodic content that feels utterly natural, even if it has been played on synthesisers. Ilija Rudman steps up with a fat old bassline and some eerie strings and chimes that make his remix a thoroughly worthwhile one, and then Robot 84 makes a more drastic turn towards peppy deep house for an audacious revision that frames the original in a whole new light. Review: It's been well over a decade since Pete Herbert last released an album. On that occasion, he was collaborating with Phil Mison, as Frontera. This tine round, Herbert has been joined in the studio by keyboard wizard Martin Denev.

Made in the Shade naturally encapsulates all that's good about both producers' work - think colourful synthesizers, loved-up pianos, dreamy chords, rich analogue synth-bass, Italo-disco style arpeggio lines, disco cowbells and an saucer-eyed Balearic mindset - while delivering a string of superb, sun-fired tracks. Highlights come thick and fast, from the classic Italo-house surge of 'Washed Up' and T-Coy-does-nu-disco cheeriness of 'Night Boat', to the soul-flecked tingle of Robert Owens hook-up 'Pass Me By' and groovy, acid-flecked deepness of proto-house shuffler 'Time'.