Back catalogue:

Review: This third volume of instrumentals continues the faultless Isle of Jura label's deep dive into dub versions and beyond. Side one takes in references from UK street soul and reggae and features two late-'80s tracks by Howard Hill with machine-led rhythms, rudeboy reggae skank and soulful pads. Protek's 'I Love to Dance With You' is a proto-house gem featured in a Jura Soundsystem mix and here it gets a loving re-edit by The Nightlark. Side B includes an instrumental-driven track with spacey FX from The Cool Notes' and Ilija Rudman's 'Dub 4 Love' which is a knowing nod to acid house's golden era.

Review: To celebrate its tenth anniversary, Archeo Recordings breaks tradition with the release of a new series of exquisite EPs honoring past masters. This collection features reimagined tracks from the label's cherished catalog, showcasing the talents of contemporary artists. Among these, Pepe Maina's 'The Infinite', enhanced by Manu's tribal percussion and electronics, transforms a classic into a celestial slow dance. Roberto Aglieri's 'Danza N. 1' receives a vibrant reinterpretation from Daniele Tomassini, merging proto-techno rhythms with psychedelic flute melodies, perfect for day raves and moonlit gatherings. The EP also revisits Radio Band's Italo-boogie classic 'Radio Rap', given a contemporary twist by the enigmatic Radiomarc. Finally, Mushrooms Project breathes new life into Futuro Antico's 'Pan Tuning', creating a transcendent dance journey that blends ancient sounds with modern beats. This collection not only honors the label's history but also promises exciting future endeavors, making it a great time to reflect on the past.

Review: Tracey Hamlin's voice brings a richness and vitality to this collaboration with MasterFonk, riding atop an arrangement that radiates warmth and precision. Layers of rhythmic guitar, bold brass flourishes, and a commanding bassline work together to create a dynamic yet effortless groove. The instrumental cut offers a different perspective, stripping away vocals to highlight the interplay between melody and rhythm. It's a track that bridges the past and present of funk and disco, showcasing both genres' enduring power to move bodies and lift spirits.

Review: Medium Wave Band's 'So Tender' is a smooth, late-night jazz slow jam with sultry, soulful vocals that feel oddly familiar. The B-side, 'Games (Instrumental)' delivers a perfect example of Britfunk and UK jazz-funk with a bass-driven groove reminiscent of Elite Records releases. Surprisingly, this 7" was a private press by the band and not released on a label. The lineup featured Elliot Browne, Ron Lyseight, Andrew Proverbs, Tony Peart, Paul Snook, Linton Levy, and the stunning vocals of Jaki Graham, best known for her hit 'Could It Be I'm Falling in Love.' Only 200 copies were pressed, mainly sold in Birmingham, and so this is a cult classic for many and a welcome reissue.

Review: Descendant, minor key seduction-funk from Miracle Thomas, whose sucrose and fructose levels are indeed incredibly low. A-sider 'Sugar Free' is a remake of Jarry Barnes and Katreese Barnes' brother-sister duet of the same name, which they made under the name Juicy, in turn a "response record" to Mtume's 1985 hit 'Juicy Fruit'. Miracle's miraculous new version brings the original 1985 number a heck of a long way, effectively conveying the newfound, cold-turkey loneliness felt during the day, presumably post-breakup. The dub on the B is a rare disco-funk-dub version too, perfect for those DJs preferring to segue into the more cosmic outer reaches of things.

Review: Miracle Thomas and Rob Hardt bring new life to 'Sugar Free,' the 1985 hit by Juicy, just in time for the arrival of spring. The funky bassline and smooth vocal runs make this cover instantly catchy and memorable. Miracle's sultry delivery, paired with Rob's groove-heavy production, creates an irresistible blend of old-school soul with a fresh twist. The song's infectious chant and hook elevate it to a dancefloor favourite, while the chemistry between Thomas and Hardt is undeniable. This track will no doubt soar on the charts, earning its place on playlists and keeping listeners hooked for months. It's the perfect mix of nostalgia and contemporary soul.

Review: How many people are too many people to be in one band? The answer is certainly not ten for ten piece Melbourne funk crew Mondo Freaks, who now offer up their debut EP. This lot originally started as a concept band playing late 70s and early 80s funk classics and they have since backed luminaries like Leroy Burgess and Evelyn "Champagne" King. The band is led by session bassist Luke Hodgson and drummer Graeme Pogson and has five talented vocalists who all shine: tracks like 'Find A Way' with Jade McRae's uplifting vocals and the Harvey Sutherland remix of 'Bells Are Ringing' are particular delights. Overall though, all of these fresh funk flavours combine live instrumentation and great songwriting to create a sound that goes well beyond homage.

Review: New York's incomparable edit king, and a hugely prolific one at that, Danny Krivit aka Mr K returns with some elongated reworks of a couple of Stevie Wonder's most timeless tunes. First up is his version of 'Master Blaster' which was originally the sound of Stevie paying tribute to Bob Marley. In his hands, it has a big intro and drums ready to rock. Flip it over and you will find 'I Was Made To Love Her' which has big r&b overtones and the sort of breakdowns that really build a vibe in the club. Adding in lashings of signature soul and you have two more steamy and effective tributes from the one and only Mr K.

Review: For the first time since their 1981 release, Alicia Myers' iconic tracks 'I Want To Thank You' and 'Don't Stop What You're Doin'' are together on one vinyl, making this a double-header that's hard to resist. Both songs, produced by Kevin 'Mr Groove' McCord, highlight the peak of his career, during which he also played a key role in Al Hudson & The Soul Partners and One Way. McCord's influence spans r&b, funk, disco and boogie, with these tracks standing as prime examples of his craft. I Want To Thank You has become a timeless classic, a staple at block parties, particularly in Brooklyn, where it's known to kick off the festivities with its unforgettable groove and Alicia's smooth, heartfelt vocals. Meanwhile, Don't Stop What You're Doin' carries its own legacy, having been famously sampled by J Dilla for Slum Village's 'What It's All About' featuring Busta Rhymes. This release from the South Street family is fully licensed, remastered and essential for any collection, encapsulating a pivotal moment in music history. Both tracks are a reminder of the joy and energy that defined the era.

Review: TLM celebrates its 50th vinyl-only release with an exceptional offering of jazz-lounge house intonations. Legendary Canadian Mike Perras knocks down the first domino with 'Life Goes On', a jazzy house cut driven by a captive Rhodes groove. Craig Bratley follows with a deep houser featuring Tim Hutton on trumpet, while Mark Turner honours the legacy of Blaze on the A. The AA, meanwhile, introduces DFRA Experience Jazz Band from Argentina with 'Isolation', a smoothened pure jazz cut composed by Diego Ruiz and featuring Pablo Raposso on piano, Hernan Cassibba on double bass, Gonzalo Rodriguez De Vicente on sax, Joaquin Muro on trumpet, and Bruno Varela on drums. 'Sober' by Markus Enochson closes things out on a double bass boomer 'Sober', effecting a truly loose bonhomie.

Review: Pantechnicons of Philadelphia soul, Harold Melvin & The Blue Notes reached their musical peak with Teddy Pendergrass between 1972 and 1975. Their 1975 album Wake Up Everybody hears Pendergrass' last vocal contribution to a band before he went solo; the record is filled with thought-provocations and gnomic lyrics, and became famous more by way of its covers than its originals. Returning the favour, 'Wake Up Everybody' was later covered by John Legend & The Roots, while 'Don't Leave Me This Way' became a disco classic thanks to the vamping vocal verves of Thelma Houston. This 750-copy 50th anniversary repress now comes with a special bonus: a rare 11-minute remix of 'Don't Leave Me This Way' by remixing pioneer Tom Moulton.

Review: For their first full-length reissue, Canopy Records brings new life to Oppressor, a rare 1987 album by Nigerian artist Myke Moul. Long a cult favourite due to its genre-blending style and hard-to-find status, this remastered edition corrects past audio issues and gives the album the sound quality it always deserved. From the opening notes of the title track, Oppressor sets a tone that's both breezy and politically aware, a mid-tempo groove riding on synth-reggae rhythms with a soulful message woven in. The album, shaped in part by reggae icon Majek Fashek and later reimagined in France with a roster of versatile session players, stands out for its seamless mix of styles: island-leaning reggae, glossy boogie, and moments that feel like they could have soundtracked a Mediterranean sunset. "Shadows in the Rain" dips into an 80s synth-funk groove, while "Heading for the Top" is a shimmering, bass-forward boogie cut, setting the tone for a collection that flits back and forth between reggae, funk and boogie.

Review: Label affiliates Mytron and Zongamin make a combined return to the ever-on-point Canadian stable Multi Kulti, delivering an extended selection of typically off-kilter, genre-bending sonic mastery. In what appears to be a match made in the leftfield heavens, the duo join forces to explore dance-ish music's outer reaches, blending tribal motifs with 8-bit sampling and all manner of wonkiness. From the blissful bells of Conjunction With Reality to the bass-heavy throb of GHX, there is unsurprisingly plenty to savour here. Opening cut '08932168' blends enchanting lead melodies with rolling polyrhythms and dubbed-out effects before the equatorial percussion of 'Calliope Omniglot' makes way for the wiggy atmospherics of the collection's title track. Highly recommended.