14 days

Review: For a brief period in the early 1980s, Colored Music - the duo of Atsuo Fujimoto and Ichiko Hashimoto - burned brightly. They released one critically acclaimed album on Japanese avant-pop label Better Days before vanishing into obscurity. Individual Beauty draws together previously unheard of alternate versions of the duo's eponymous 1981 EP, unreleased tracks and a handful of archival solo productions. It's an eclectic and hugely enjoyable affair, with the Japanese duo flitting between experimental ambient soundscapes, heavy no-wave proto-techno ("Heartbeat (Unreleased Version)"), mutant funk ("We Are Only Dancing"), head-in-the-clouds hypnotism ("Ambient Discotheque") and more raucous, post-punk disco insanity (the decidedly crunchy "De To Ri Mi").

Review: DJ crew Jazz 'N' Palms are probably best known for their association with Ronnie Scott's in London, where they can regularly be heard warming up for bands. Their new vinyl venture explores the more Balearic side of their musical personality, with EP one featuring re-edits of tracks often played poolside at Pikes Hotel in Ibiza. That means a mixture of languid, Pat Metheny-ish Mediterranean jazz-fusion ("Coastal Highway"), Latin-fired jazz-funk ("Going East"), sumptuous Rhodes-laden soundscapes ("Chica"), humid Afro-Cuban jazz ("1492"), afternoon-fresh Flamenco-jazz fusion ("St Martin"), and the kind of relaxed, louche fare that Bob James would probably enjoy ("Strings of Spring").

Review: Some three years after he emerged in the misty heights (or depths) of Witch House's short lived notoriety, the amusingly spectral named oOoOO delivers his debut album Without Your Love. Evidently no longer aligned with the Tri Angle aesthetic, this eleven track set comes via the Nihgt Feelings label the San Franciscan producer runs with a "couple of local gravediggers" and expands on the approach shown on his two EPs for Robin Carolan's label. No longer called Witch House, oOoOO is now embraced as the point where post modern R&B song writing meets queasy, spacious musical arrangements, so expect auto tuned vocals floating over ethereal ivory blessed soundscapes and crust laden MPC beats. The stuttering detuned Atlanta hip hop of "The South" and the suite of Burial-esque cuts that follow are standout tracks.