In general, we'd say it was unwise to tamper with Chic & Sister Sledge back catalogue, especially such stone cold classics as "Thinking of You" and "Le Freak". That said Dimitri From Paris has a brilliant track record when it comes to breathing new life into familiar favourites and there's no doubt that he's hit the mark once again here. On the A-side, the veteran Frenchman stretches out "Thinking of You", subtly extending it using the multi-track parts, first for a sing-along, end-of-night vocal version and then a tasty instrumental take. On the flip, he tries the same with "Le Freak", brilliantly building up the action in layers before unleashing one of the most famous grooves of all time. Guaranteed dancefloor gold.

If you dig deep house - hell, electronic music full stop - then you should be rather excited by the arrival of Cerebral Hemispheres, the first Mr Fingers album for 26 years, and the first of any kind by the producer behind the alias, Larry Heard, since 2003. As you'd expect, the album is exceptionally good, with Heard's famous musicality and fluid keys-work coming to the fore throughout. While rooted in melodious, huggable deep house, Heard naturally uses the opportunity to veer off in the myriad of different directions, touching on jazz, dub, downtempo grooves, soul, samba, tech-soul, deep acid house and much more besides. It has the feel of a genuine future classic and could well be his strongest album to date. Given his track record, that's a bold claim, but Cerebral Hemispheres really is that good.

For his first release of 2018, Hiroshi Watanabe has reworked one of the unarguable highlights of his 2016 album Multiverse. In its original form, "The Leonids" was a soaring slice of futurist techno perfection rich in bubbly synthesizer melodies and sweeping strings. It's this orchestrated aspect of the track that's explored in greater detail on "The Lenoid Strings", a beat-less, neo-classical string quartet cover that heightens the original version's rush-inducing positivity. It's stunning and - as both Derrick May and Watanabe have proved in recent DJ sets - sounds great when dropped over the top of the album mix. On the flip, Watanabe dusts down the drum machines and synthesizers to deliver "In To The Memory", a poignant and melancholic chunk of sci-fi techno deepness.

It's been nine years since evergreen electrofunk DJ Greg Wilson last dropped a volume in the Credit to the Edit series. This third collection of personal re-edits and commissioned reworks is therefore long overdue. Serial Wilson-watchers may already familiar with some of the edits on show - particularly his epic tweak of Escort's Dillinger-inspired modern disco epic "Cocaine Blues" and a similarly lengthy, stretched-out take on T-Coy's seminal British house cut "Carino" - but there's naturally of plenty of lesser-known and unheard revisions to set the pulse racing. We'd direct you towards his teased-out, end-of-night version of Electronic's "Getting Away With It" (whose lyrics poke fun at Morrissey), a twisted version of Red Rack'em's "Wonky Bassline Disco Banger" and a chugging rub of Space's trippy Euro-disco classic "Magic Fly".

Maceo Plex clearly saw the commission to do a Fabric mix as an opportunity to flex his musical muscles. The Miami-based DJ/producer has delivered an impressively atmospheric and cleverly produced studio mix that cunningly shifts in different directions, opening with 20 minutes of superb deep electro jams (think Sebastopol, Carl Finlow and Jenson Interceptor) before unleashing the producer's more familiar tech-house, techno and new wave selections. From then on, it's a sweaty sprint to the finish with Plex building the tempo and intensity throughout. Along the way, you'll encounter no less than 13 exclusives and unreleased tunes, including a string of previously unheard Fabric dubs from the man himself.

When it comes to new boogie and synth-soul with an authentic flavour, you can't beat Chicagoan institution Star Creature. Predictably, their latest 7" should be another essential purchase for synthesizer lovers everywhere. It comes from Love's High, a collaborative project helmed by storied Israeli beat-maker Soul Supreme and vocalist Marlon Penn. "Love Generation" is a jaunty and colourful affair, with Penn's sumptuous vocal and hooky trombone motifs rising above waves of synth-bass and glistening electronic melodies. Turn to the flipside and you'll find intergalactic instrumental "Moon Bounce", which fittingly reminded us of Moon B and Dam Funk.

You'd expect a compilation curated by open-minded DJ/producer Hunee to be eclectic in nature, and Hunchin' All Night is just that and more. Marketed simply as "a collection of his favourite dancefloor cuts from the '70s until modern time", the CD is packed with obscure and inspired jams in a variety of styles. Compare, for example, the gentle but tribal rhythms and new age synthesizers of Carlos Maria and Nuno Canavarro's "Blue Terra" with the glistening, mid-80s Balearic jazz-funk brilliance of Stanislas Tohon's "Owhaaou" (as re-edited by Dutch digger Raphael Top-Secret), or even the Clavinet-heavy Highlife brilliance of Pat Thomas's "Yesu San Bra Disco Hi Life". And that's before we get to the acid-flecked techno madness of Villa Abo and Hunee's wonderfully dreamy and dubbed-out pulse of Mappa Mundi's "Trance Fusion".

Two years on from the previous instalment, Global Underground unleashes the eighth volume in their mix series dedicated to the "party after the party". Like its predecessors, After Hours 8 features two painstakingly put together studio mixes that flit attractively between atmospheric slow jams, seductive tech-house, gradually unfurling techno shufflers and woozy, up-all-night house. Musically, there are plenty of gems dotted throughout, including tipsy, mind-soothing favourites from the Black Dog, John Tejada, Porn Sword Tobacco and the Field (as remixed by Canadian deep synth-pop sorts Junior Boys), and prime get-up-off-the-sofa fare from Basic Soul Unit and Tuff City Kids (as re-imagined by Hot Chip's Joe Goddard).