Silent Season have carried the music of Submersion and Mon0 independently before, but now the dub techno producers have teamed up to take their sound onto new plains of exploration. The sound palette is consistent with both their music and that of the label, but the familiar dancefloor tropes have been jettisoned in favour of a more meditative end result, leading in with the achingly beautiful tundra excursion of "Beginning Of The End". From there the album drifts with glacial motion through a range of finely crafted soundscapes, wielding a world of rumbling, harmonious noise in the middle distance without ever losing that seductive dub techno ambience.

Since its initial release on Warp Records in 1995, the Elecktroids sole album has become one of the most sought-after electro sets around, with original vinyl copies changing hands for vast sums online. This is with good reason, of course: not only is "Elektroworld" a brilliant album, but also the (un-credited) work of the late, great Drexciya member James Stimson. The set itself is a tribute to Kraftwerk, with Stimson and his mysterious associates delivering ear-catching blends of punchy, "Computerworld" style electro beats, funky basslines, spacey sounds, ear-catching melodies and, on some of the eleven tracks, vocals. It's much more "pop" than your average Drexciya-related project - in terms of its' richness, warmth and accessibility, at least - but still weighty enough to sound suitably heavy on club soundsystems.

As with many of Super Disco Edits recent releases, "Love Under The Apple Tree" was never released when Bill Brown and the Soul Injection recorded it way back in 1971. While the track was later re-recorded with a different vocalist and backing band, this is the first time soul and funk heads have been able to purchase Brown and company's arguably superior original take. Interestingly, it was recorded at a high-profile Hollywood studio and you can tell. Brown's lead vocal, the female backing singers and the assembled players - drums, bass, glistening guitars and hazy horns - all sparkle thanks to a genuinely high quality production. This isn't quite the case with the spacey and bustling flipside "Fool-ology", which sounds like (an albeit high quality) demo recording.

Norwegian jazz pianist and composer Bugge Wesseltoft rose to prominence in the late 1990s on the back of a string of records that joined the dots between jazz, techno and hip-hop. Since then he's collaborated with many electronic producers - Laurent Garnier and Henrik Schwarz included - so it's little surprise to see him joining forces with Scandolearic hero Prins Thomas. The eponymous set was recorded at Oslo's legendary Rainbow Studio, where the pair improvised for a couple of days before editing down the results. There's much to admire, from the spaced-out brushed percussion and sorrowful piano of "Sin Tempo", liquid ambient vibes of "Norte Do Brasil" and wonky kraut-jazz bubbler "Bar Asfalt", to the slowly building brilliance of 16-minute opener "Furuberget". File under "ambient jazz".

'We had drugs, we had booze' is what perhaps receives the biggest ovation on this live album taken from a 1976 Neil Young American tour. The 22-track album includes live recitals of all-time classics "Heart Of Gold", "After The Gold Rush" and "The Needle & The Damage Done", but sadly, no "Rockin' In The Free World" this time round. Neil Young devotees will also be pleased to learn of "No One Seems To Know", a number that has not appeared on any other official release. Just like a live concert too, the most entertaining parts of this album are usually heard between the songs, with Young joking that this could last as long as George Burns' cigar.

Calibre has been on fire this year, serving up two albums, a swathe of killer collaborations and a handful of fine solo singles. Here he rounds off 2018 in fine style with a pair of polished cuts on his own Signature Records imprint. A-side 'Taciturn" is as musically vibrant and expansive as you'd expect, with poignant piano motifs, sustained chords and breathtakingly beautiful, high register soul vocals rising above punchy breakbeats and warm but weighty bass. Flipside "Butter Love" operates along similar lines, with Calibre wrapping spacey electronics, melancholic strings and liquid synths around a snappy, bass-heavy groove. It's perhaps a little more sub-heavy than the A-side, though both tracks are equally as polished and glassy-eyed.

Since making his debut back in 2012, Iulian Bivolaru has giddily charged between labels, showcasing his tech-house wares on such well-regarded imprints as Visionquest, Infuse and, most recently, Constant Sound. Here the Romanian label-hopper adds another imprint to his belt via a tidy three-tracker on Subtil. There's something wonderfully wonky about opener "Imaginary Forms", a druggy but pleasingly melodious mid-tempo workout rich in snappy machine drums and skewed analogue electronics, though the more foreboding and trippy "Gateway" is arguably equally as inebriated. Over on side B you'll find the delightfully spacey "Timeworn", a hypnotic and chiming affair that sits somewhere between IDM era ambient techno and mind-altering late night tech-house.

Future funk king Temu lays down two deliciously juicy covers for Tugboat Editions. Synth-slapping, talkbox-tickling raw funk, first up is a cosmic twist on The Jones Girls 1981 soul jam with lavish lolloping beats and big woozy chord changes. Flip for the funkiest rendition Kraftwerk have ever experienced; listen to his expression and inflection... Few men have ever worked a talkbox with such finesse. Incredible.