14 days

Review: 1983's Rive Gauche by Philippe Chany has been lost in the depths of time and, until now, many greedy second-hand sharks have been keeping its price way up high. This little synth-pop marvel is a sampler's dream, containing beautiful riffs here and there, and what is most alluring about it is its total detachment from any one genre. In fact, there are noticeable touches of all things Balearic in here, and many of its tunes could the perfect accompaniment to disco, boogie or even expansive DJ sets. With a little subtle nod to funk, Chany's album is one of those veritable one-offs, the sort of albums that are in a category of their own. A stunning reissue, once again, by Dark Entries.

Review: Released back in 2003, Rounds was the third LP from Kieran Hebden as Four Tet and perhaps the first long player that widely established him as a pioneering voice within electronic music. Though it doesn't feel like a decade since it was released, Domino celebrate the album's tenth anniversary in requisite fashion here, reissuing it in double LP format and slipping in a CD of Four Tet performing live in Copenhagen in 2004. Listening back now, it's easy to understand why Rounds is viewed as an early classic in the Four Tet canon, transferring his love for free jazz records to a beat template that's more palatable on the ear (Fact pickers might want to know that Hebden recently revealed to Pitchfork the LP was made entirely from samples) "She Moves She" still sounds absolutely haunting too!

Review: There's much to like about Andreas 'Andi' Otto, not least his passion for playing a "unique, sensor-extended cello" known as a "fello". There was also much chatter online about the quality of his first single as Andi Otto, March 2016's Bangalore Whispers. That track kicks off VIA, a fine album of evocative, if occasionally fuzzy, downtempo grooves. It's a set that contains much "fello" action, alongside pleasingly wonky electronics, off-kilter drum patterns, krautrock style vintage synthesizers, and a range of exotic global influences. The album also contains nods to all manner of musical styles, from experimental hip-hop and IDM, to lounge music, Bhangra, and Persian grooves.

Review: Given the wide-eyed, largely downtempo nature of their music, it's perhaps a little surprising that it took Late Night Tales this long to ask Royksopp to mix a volume in the long-running after-hours series. Royksopp are, of course, old hands at this kind of thing - they delivered an impressive Back To Mine comp back in 2007 - and use the opportunity to mix-up a typically heady selection of stoner soft rock (Little River Band, FR David), sparse dub-rock (Tuxedomoon), cinematic soundscapes (Johann Johannsen), psychedelia (Prelude), well-worn favourites (Acker Bilk) and folksy Balearica (John Martyn). Fans will be pleased to see a sprinkling of unreleased Royksopp fare, including intensely beautiful opener "Daddy's Groove".

Review: The initial clear blue vinyl issue of these reworks of the Marlena Shaw classic from Cold Busted regular Akshin Alizadeh sold out swiftly last month. This new all black edition from the label is now ready for those who were too slow to indulge, and aesthetic differences aside you really need to check it. "Woman Of The Ghetto" was granted a whole new audience when it was sampled by Blue Boy back in the late '90s, and it's nice to see how Alizadeh works with the source material here. Dominated by a neat little beat and some heavy sax vibes, it offers a nice different vibe to a classic track.

Review: You have to admire Leon Vynehall's ambition. Although he built his career by delivering atmospheric, otherworldly club music, his first set for Ninja Tune is a sprawling, largely ambient - or at the very least hazy and horizontal - concept album inspired by the story of his parents emigrating to New York. Thus, the ten tracks that make up the album - crafted from a combination of field recordings, sound effects, orchestral instrumentation recorded at Konk's studio in New York and his own sublime electronics - were produced and sequenced to tell a story. It's epic stuff, all told, but crucially also incredibly good. It proves, without any shadow of a doubt, that Vynehall is a producer with talent to match his widescreen vision.