Mash-up maestro, bootleg remix king and talented beat-maker Jim Sharp launched the Soul By The Pound label last year to offer up sneaky re-edits of classic soul and funk jams from the '60s and '70s. Here he finally delivers the imprint's second-single, delivering some Blaxploitation-era goodness that should tickle the fancy of all those who like their funk energetic and enthusiastic. A-side "I Got It Funky" more than lives up to its name, with call-and-response vocals, wah-wah guitars, tasty Hammond licks and rising horns riding a snappy, breakbeat-driven groove. He switches focus a little on flipside "Trippin' Out", adding bouncy hip-hop beats to a dewy-eyed, string-laden slab of Curtis Mayfield style soul.

Long-serving Swedish producer Joel Mull, previously best-known for his club-focused techno sets, first started work on Nautical Dawn, his first album under his occasional Damm alias, over a decade ago. Inspired by the natural phenomenon of 'nautical dawn' - that point when the sun is not yet above the horizon, but bathes the sky in vivid colours - he wanted to make music for the break of dawn that combined home-made field recordings with suitably drowsy, opaque electronic motifs, slow-burn ambient chords, tactile aural textures and, when the mood took him, horizontal and hypnotic beats. It may have taken him a while, but the resultant set is little less than inspired: an evocative set of enveloping compositions that tease and tingle the senses.

2020 marks the 30th anniversary of Allen "Aubrey" Saei's first 12" release as Panic. Because of this, it seems a fitting time for the long-serving techno producer to return with his first solo single for two years. He begins by wrapping delay-laden synth stabs and tipsy chords around a heavyweight bassline and crunchy machine drums on "Sleeze Funk", before further exploring dub-tinged alien techno pastures on the similarly impressive "Break". B-side opener "Jazz Sunrise" expertly combines driving drums and insanely weighty bass with drowsy deep house chords and jazzy synth flourishes, while "Buddy's Groove" is on off-key trip into strange (but brilliant) loop-house/deep techno fusion.

Malin Genie's purple patch continues to yield more delights with this latest drop on his self-titled label. This time around the prolific Dutch artist is delving into smoky, hidden corners of house music where dub lingers thick in the air and rough textures scuff depth and character into the synth work. "Aventijn" has a purposeful drum machine tick but its utterly somnambulant in its execution, while "KIAR" lilts on a dusty groove and woozy clouds of funk. "Duppy" has a distinct dub techno influence, but it's still a steadfast house groover at heart, and "Amulius Numitor" ditches the beats for a pure interstellar exploration. With some bonus locked grooves for creative DJs, this is a versatile and imaginatively rendered EP with creative spark to match its usefulness in the mix.

Super Spicy Records it's the first Mexican label in the Disco bizz to put out release on vinyl! Label boss, Monsieur Van Pratt, opens the ball with "Forever Funk". Percussions and funky rhodes lead the way into this funky romper. Sexy sax stabs and some lean horn section trimmings.Igor Gonya and Crack D, two veritable Russian masters of Funk combine super powers and merge seamlessly to maximize the potential Funk output with "Two-Piece Orchestra".The Funk District follows with a boogie belter called "Watcha Gonna Do", that will cast you under its spell in a jiffy. Fast paced and rhythmically pound for pound, it grabs you in a gentle leading grip! Paul Older sports his flirting abilities with "Love". With caressing late- seventies vocals he takes the last dance. Equal measures of Love and Disco/Funk serves as main ingredients in this amorous conclusion to Super Spicy's first vinyl venture

Lumberjacks in Hell comes out with a milestone compilation to celebrate 10 years in business with an all star line up made of the likes of Detroit Swindle, Waajeed, PBR Streetgang and Lumberjacks founder Marcel Vogel himself, alongside Tim Jules and Javonntte. You are used to quality from this label and quality it is.

The King & City label is the subject of three 12" reissues, starting with One Blood's classic Lovers Rock take of William DeVaughn's soul anthem, Be Thankful. Taking the influence of reggae from the Caribbean diaspora within the cultural melting pot of 70s London, the birth of Lovers Rock, often-dubbed 'romantic reggae', is a uniquely black British sound, developed against a backdrop of riots, racial tension and sound systems. A style suited to the London scene, it represents an apolitical counterpoint to the then dominant conscious Rastafarian sound and continued the soulful and commonly love-themed rocksteady style. Active during the scene's peak, King & City was launched by Neville King and Lee Laing to champion the sound and alongside other producers like Dennis Bovell, created genre-defining hits. Formed in 1979 One Blood was made up of the 5 Robinson brothers - Errol, Jerry, Lloyd, Trevor and Paul - and recording at the legendary TMC studios, went on to release two albums and countless singles. Be Thankful pays homage to DeVaughn's original, with smooth vocals gliding atop tight drum and bass, vocal jumping up dub pom acapella to summer perfection. The tapes here passed to cohort Lexx, crafting a wonderful discodub that is all groove, expertly cutting back and forth...diamonds in the back, sunroof top.

Burnski and Michael James ignited their Relic collaboration last year with a classy drop on oge, and they're back again on Constant Black with some devastatingly bumping minimal tech house. There's a hi-tech finish to this whole EP, from the moody lead cut "D" to the slippery, funkified "E". The mix is clean as a whistle and maximized for every little production wriggle and shapely bassline to cut through on any system, even in the hazier clouds of pad hovering over "F". Don't skip over the B2 though - as with all the best EPs there's gold to be savoured in the crafty machine shuffle and rubbery b-line of "G".