Back catalogue: All genres

Review: UK disco sensation Glitterbox light the touch paper on another fizzy summer with four gossamer smooth edits of four seminal house classics. Gliding us through time to soulful house's golden era with a sassy, loose groove shine to each edit; Soulsearcher's 96 anthem "Can't Get Enough!" gets respectfully plumped, Shapeshifter's 2003 sing-along bomb "Lola's Theme" is stripped back to a stark funk groove while Johnny Corporate's 2000 hit "Sunday Shoutin'" gets flipped into slinky bassline wriggler. Finally one of the best covers Stevie Wonder has ever had gets a luxurious rub down as Cleptomaniacs' 2000 swoon-fest enjoys the full Packer treatment. Summer starts here.

Review: 'Ski Jacket 87' is a compelling slice of watery warmth and womblike wonder from Edinburgh's Jacksonville, the latest signee of the city's equally esteemed fast-riser imprint Chateau Chapere. A two-decade fixture of the Scottish scene now, the Hizou and Innershift affiliate evidences his production abilities inasmuch as he does a concern for the dancefloor also. Something between a funky French touch and Mr Fingers-esque dream house is built and or felt here, though this isn't the kind of dream house that can really be achieved or constructed in reality, rather more so accessed only through the sublimity of the sonic daydream.

Review: During her heyday in the late 1970s and early '80s, disco chanteuse Debbie Jacobs released some killer material (see "High on Your Love" and "Undercover Lover", for starters). "Don't You Want My Love", an energy-packed, orchestral disco smasher originally released in 1979 to promote the singer's debut album, is also up there with the best of her output. Here, the Paul Sabu produced original version gets the reissue treatment by Defected offshoot Glitterbox. Sabu's original club-length version sits astride the A-side, with Dimitri From Paris providing a "classic re-edit" on the flipside. His version sticks fairly close to the original, offering necessary nips and tucks here and there whilst steering clear of contemporary production trickery. Naturally, it's a rock solid rework from a true master of the scalpel rearrangement.

Review: This techno and house EP is a refined journey through futuristic themes, blending nostalgic echoes with forward-thinking soundscapes. Across its four tracks, the EP seamlessly intertwines elements of techno, trance and house, delivering a polished out of this world experience. Side-1 begins with 'Lucia', a melodic exploration that feels like a futuristic odyssey. Its nods to early 90s techno, trance and Italo house create a euphoric, spacey atmosphere. Following this, 'Solstice' offers a celestial take on techno, with shimmering tones and an air of serene beauty. Side-2's 'Orchid' is a standout, driven by a heavy rolling bassline and progressive house sensibilities. Darkwave and 80s electro influences infuse the track with dramatic tension, as its energy and melody build to a satisfying crescendo. Closing the EP, '00 26' is a smooth, uplifting piece of trance-inspired bliss, balancing beauty and subtlety with ease. Berkana EP is a example to JAVI's ability to craft tracks that are both nostalgic and forward-looking, perfect for late-night sets or introspective moments. Proper trance alert.

Review: It could have all been so different when you think about it. One of the UK's most critically acclaimed, celebrated and mourned bands, Joy Division, were originally toying with the idea of calling themselves Stiff Kittens after first getting together. This then changed to Warsaw, after David Bowie's track, 'Warsawa', and it's under this guise they broke into the common conscious, supporting The Buzzcocks, Penetration and John Cooper Clarke at Electric Circus in 1977. Reviews from that show - by music journalist leg-ends Paul Morley and Ian Wood - would ignite the hype. A debut album was planned for RCA Records, 11 tracks that would go on to be known simply as The RCA Sessions. Here they are now, as originally intended, some of which eventually made it onto Joy Division records, others didn't, but all clearly showing musicians defining their sound and place in the scene.