Back catalogue: All genres

Review: While he's not put out many re-edits of late, Luke Una has serious scalpel-job pedigree. Back in the 2000s, he and then DJ partner Justin Crawford released a series of largely disco-focused edit EPs on the hush-hush Electrik Souls series. Here he returns to the format with the first in a series of reworks focused on his popular, dusty-fingered E Soul Cultura project. He begins by teasing out and lightly toughening up a killer Caribbean cut from the 1990s, Ella Andall's 'My Spirit Is Music' - an insanely rare and hard to find number that the Sheffield-born DJ has naturally tweaked sensitively. Elsewhere, he emphasises the 'proto-house dub' feel of Slick Mission's early UK house number 'Time's Up', before going even dubbed-out and more percussive on Manu Dibango's lesser-known cover of Latin disco classic 'Jingo'.

Review: UK-based United Freedom Collective unites a throng of talents from Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul, emerging from a collective yogic and breathwork practice before mutating into a full musical outing. Debuting on Maribou State's Dama Dama label, they now return to Multi Culti for a psychedelic five-tracker documenting the euphoric somatic states reachable by the confluence of entheogenic therapy and progressive house production. A through-composed odyssey in many keys, 'Bright Patterns' opens the proceedings with piano-led vocal house, complete with sliding leads and oceanic feels, continuing in this way until a steel-panned sunriser takes form on 'El Yo', and 'Moonshine' brews its own blissful future garage vat.

Review: In classic jazz style, this collaborative three-way debut album brings together three musicians at the top of their game: SML members Gregory Uhlman (guitar and effects) and Josh Johnson (saxophone and effects), and sometime Louis Cole, Sam Gendel and Chaka Khan collaborator Sam Wilkes (bass and effects). Musically, what the trio offers is undeniably unique, with International Anthem describing the album as "a jazz-informed take on progressive electro-acoustic chamber music". Certainly, there's much to enjoy, from the tracked bass, guitar and sax loops and subtle changes of 'Mavis' and the dreamlike ambient jazz of 'Arpy', to the bubbling cosmic jazz of 'Frica' and a stunning, off-kilter instrumental cover of Magical Mystery Tour-era Beatles number 'The Fool On The Hill'.

Review: Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann, Josh Johnson and Sam Wilkes, a collective of three versatile improvisers, arrangers and producers whose work spans jazz, rock and experimental. Across 11 instrumental tracks, they explore a jazz-informed take on progressive electro-acoustic chamber music that brings beauty, melody and rhythm to the fore. The record was conceived during live shows and a home session in Los Angeles and features Uhlmann's mournful fingerpicked guitar, Wilkes' bass chording and Johnson's effect-laden saxophone. Their arrangement-minded improvisation results in some nicely otherworldly textures as they push their instruments to create a spacious, lyrical sound.

Review: Check classic dance music books of the 1990s - and even some later music texts, such as Richard King's The Lark Ascending - and you'll find plenty of praise for Ultramarine's work of the early 1990s, which added pastoral and folk-rock inspired sounds to the sample-heavy pulse of dance music. What you won't find is any reference to their final album of the decade, A User's Guide. Yet it may well be their best album. A conscious exploration of techno and IDM shot through with references to Detroit, Berlin and Sheffield (well, Warp Records at least), it reportedly took the duo almost two years to record. A largely unheralded British techno classic, it has been painstakingly remastered for this first ever vinyl reissue and boasts extensive contextualising liner notes from UK techno historian (and sometime Juno writer) Matt Anniss.

Review: It's been seven years since Freeform Jazz was released as a new frontier for Uyama Hiroto. Now hearing Japanese label Roph return to the jazz and hip-hop artist receive a second round of recognition, we get a thorough reminder of the directions in which jazz can be taken when not mired neither sophistry nor overcomplexity; the liners on this one remind us, likewise, of the reversals and flip-sides of every substance on Earth, that "If there is no movement, there is no stillness, and on the flip side, if there is no stillness, there is no movement." Hiroto's last record, Freeform Jazz, was his obverse side to Breath Of Love; one is duskier than the other, but the works are inseparable - so make sure you listen to the former too. Here though, we hear Hiroto synergise with participating artists Substantial and J Soul, both based in Virginia, as well as Marter and Reinaria; all the artists reign supreme over one wax side each, casting a healthful vocal light over Hiroto's otherwise impeccable recordings, as though they were each happily-ever-after kingdoms anointed in sound.