Back catalogue: All genres

Review: Say She She bring soulful magic to the holidays with two tracks that effortlessly combine tradition and originality. Their cover of Marvin Gaye's 'Purple Snowflakes' brims with soft, tumbling melodies and an understated psychedelic charm, while 'This Wintertime' radiates with the heartfelt warmth of their first original Christmas tune. Lush harmonies and thoughtful arrangements define both tracks, reminding us of music's power to connect and uplift. This festive 7" single captures the spirit of the season in Say She She's signature style.

Review: This marks a first 7" from bassist and composer Shay Hazan playing alongside his quintet in their native Tel Aviv, Israel. The a-side is a dedication to a giant of the Israeli jazz scene and a sometime mentor of Hazan, saxophonist Albert Beger, with uptempo chord work and swirling drums that make you want to spin around like you just don't care. After that bit of joyous but sophisticated jazz comes 'Old Tart', a more slow burning tune that builds through big horns, spare but dramatic chords and tumbling percussion until you are in raptures. This is likely the start of big things for this crew.

Review: The man with the Masterplan returns to Daptone after last year's "Casual Encounter". Once again it's a two-sides-two-vibes situation as the 30-year-standing funk veteran flexes his strengths. "Get With The Program" lives up to its name with total boogie badness, falsetto fire and a bassline so juicy Dapton's vaults have been flooded. "Heads Or Tails" flips to reveal Shorts' smoochier palette. Rich, honeyed vocals and a steamy message: everyone's a winner.

Review: We know you're not supposed to because it's often said to be a cheap marketing gimmick but frankly, we love a good anonymous new producer to get wondering about. And here we have just that in the form of Skat who opens a new series with a one-sided 12". 'Skat 01' is a worthy tech cut with minimal drums loops and brushed metal surfaces all wound up into a tight groove and overlaid with some rudely vocal raps. It's the sort of tune that brings a unique character to any set and is sure to get the crowd demanding its ID.

Review: Since debuting a decade ago, Sleep D has refused to settle on one specific style or sub-genre, though in recent years the duo seems to have settled on a sound that prioritises hallucinatory, TB-303-driven sounds, weighty techno grooves and nods towards mid-90s ambient techno. These elements are much in evidence on the Australian outfit's latest EP, though there are also audible nods to neo-trance and the formative years of the psy-trance movement. They first join forces with Ivy Barkakati and Furious Frank on the constantly rising, mind-altering neo-trance throb of 'Border Control (Ahora Si)', before reaching for seriously trippy electronic motifs, creepy chords, metallic-sounding electronic bass and sturdy house beats on 'Post Pump'. Closing cut 'Bass'd in Berlin', meanwhile, immerses us in ambient electronics and mutilated choral samples before introducing a seriously pulsating, trance-style groove.

Review: Three generous portions of blissful beats on the Electric Shrine imprint, kicking off with the downbeat (in BPM terms) but lively 'Solar Visions' coming on like a dub mix of a lost Chic classic, 'What You Love' more like prime-era John Carpenter remixed by a mischievous Orb and 'Un Amore Supremo' a slow motion (one of the slowest we've ever encountered) reverb-fest, designed for more eccentric chillout rooms. And that's all before the opera singer pitches in.

Review: Spring has sprung and Statues bring some positive vibrations to IIB. Clear skies is a shimmering Alan Parsonsesque cosmic groove beaming out into the atmosphere Coyote soften the OG into a fading twilight reflection. The Vendetta suite create a mesmeric ambient gem The Creek continues the kaleidoscopic feel with a soothing dreamlike trip towards a lovely vocal finish. Nothing but clear skies all round.

Review: 500, 12" 180g, hand stamped, individually numbered records, single press only.

Review: Over the course of 2012, LA based producer Gabriel Reyes-Whittaker aka Gifted & Blessed aka GB has been stealthily responsible for some of our favourite releases at Juno, be it the self released and brilliantly presented EP The Provider or his return to All City with the vintage Detroit electro flex of Seven In Twenty Four or the all too on point Eglo emission The Abstract Eye. The Steoples project done in collaboration with fellow West Coast musician A Race Of Angels surfaced earlier this year and glowered with the kind of resonating warmth you would expect when Reyes-Whittaker's music is complemented by the angelic yet fragile vocal refrain of his studio partner. Despite originally being restricted to the digital domain, tracks such as "Nature Of The Soul" seem tailor-made for sliding across a slab of wax so it's great to see The Steoples EP finally get a 12" release. Such delays haven't dampened the impact either, which is a clear sign of timeless music. Along with the aforementioned "Nature Of The Soul" - a scratchy concoction of house-not house rhythms, sweet keys and swirling basslines tailor made for the vocal - the duo preside over plump and wonderfully melodic analogue beatdown excursions which bode well for future material The Steoples are apparently working on.

Review: Christopher Sprains and The Strange Band recorded a whole heap of material in a hazy, drug-fuelled 19178, but their - surprisingly - never gained enough traction with the NYC disco crowd. Perhaps this work was too ahead of its time and, while it does share some qualities with the music of Rick James, it contains something dark, sexy, a little bit twisted and, of course, strange. The lead track "You" is a synth-heavy, electrifying boogie cut with a rugged percussion swing and an air of post-punk to its mix down, not to mention those utterly freaky vocals; our favourite, though, is actually "Space V", an insanely nutty electro cut that would have undoubtedly been on The Electrifying Mojo's playlist should it have landed on his lap. Totally recommended...

Review: Don't be fooled by the volume of soul and funk reissues we have in stock. This limited clear 7" single is a completely new and original track, courtesy of The Sure Fire Soul Ensemble, who blend raunchy horn honks and boxy percs to ultimately concoct a geniusly blaxploitation-inspired, modern funk classic. The San Diego band have secured a big ole' ensemble - fuzz guitar, harpsichord and flute included - to pull of this swinging sonic scene. Watch out for the woozily high B-side 'La Fachada' too.

Review: As the title suggests, this excellent collection gathers together tracks from three live sessions the Sisters of Mercy recorded at the BBC's Maida Vale studios between 1982 and '84, during the formative years of their lengthy career. The first session, recorded for John Peel in August 1982, contains a quartet of early live favourites, including their popular cover of the Stooges' '1969', while the second - a session for David 'Kid' Jenson' - boasts versions of tracks from the classic goth-rock EP The Reptile House (as well as a surprise Dolly Parton cover). Best of all though are the tracks from their 1984b Peel Session, which were laid to tape around the same time as the Leeds outfit was recording its debut album.

Review: Unabashed satirical wares straight outta Nottingham, Sleaford Mods somewhat charming embrace of British provincialism sees the semi-ironic nature of their music nestle itself in a space shared with Jamie T, Mike Skinner and Blackout Crew. Slightly wayward, political and patronising, their music can sometimes come off something like a scene out of Peep Show, though however tongue-in-cheek their commentary of the UK life can be, it's a gloriously proud album of cultural identity, and in among references to chip tune, bedroom produced beats, alternative Madchester-era sounds to rap and spoken word, it's a record embracing hoodies and trainers as much as it does anarchy and builder's tea. Oi!

Review: 'Music For People In Trouble', the latest missive from Norwegian singer-songwriter Susanne Sundfor, is a marked departure from 2015's 'Ten Love Songs'. Here, Sundfor omits euphoric synth-pop hooks in favour of a quietly confident dappled choral aesthetic. The ideas at work in this album are as varied as those in her previous work, but feel far more cohesive in their execution. Over two songs, Sundfor smoothly transports the listener from the fingerpicking country and western of 'Reincarnation' to an intimate solo piano ballad then to smoky jazz club noir in 'Good Luck Bad Luck'. Without ever feeling heavy-handed, this considered sense of movement and form - paired with Sundfor's at times heart-wrenching lyrics - is what makes 'Music For People In Trouble' so striking.