Back catalogue: All genres

Review: Some may argue that Dimitri From Paris and Tom Moulton have already provided the definitive remixes of Ron Hall, the Muthafunkaz and Marc Evans' 2006 gem "The Way You Love Me". This Glitterbox 12", which features alternative versions of those two legendary reworks, proves that they're wrong. Dimitri's "Glitterbox Retouch" of his Philadelphia International-inspired TSOP Version is a little more focused and tightly edited than its predecessor, but naturally incredibly similar. It's Moulton's "Philly Regrooved Mix", though, that's the real stunner. A near perfect example of Moulton's classic mixing skills, it sees the original disco mixer give space to each instrumental solo before unleashing the now oh-so-familiar vocal. The result is 13 minutes of unashamed disco bliss.

Review: This one hits like a love letter to the raw energy of early warehouse nights. From a UK producer who's been around the block more than a few times, the EP drips with old skool DNA but never feels like a copy-paste job. It's gritty, sweaty and awesome. 'Moved (part 2)' kicks things off with a pounding rhythm and a melody that instantly pulls from the golden age of rave. There's something serious in its tone, dramatic even, with a warped vocal sample urging you to move. Think late nights with strobe lights, where records like 'Energy Flash' or 'Testone' were gospel. 'What Is Houz' flips the mood but keeps the intensity. This one rides a low, tracky groove, dipping into minimal and funky acid touches that feel tailor-made for a dark room dancefloor. Turn the record over and you're tossed straight into the breakbeat jungle with 'Satisfaction'. It's all rattling drums, big vocals and classic rave swagger. No subtlety here, just full-throttle. 'The Prowl' closes things out on a moodier note, with acid lines creeping through a dark, melodic structure that echoes vintage Belgium techno. It's the sound of someone who's been through every era and still knows how to light the fuse. This isnt a copy cat trip down memory lane. This really makes you feel like a movement could happen again with these vintage sounds.

Review: The MC was one of a kind. His legend lives on through his work which here gets served up on new label Doom in instrumental form. 'Saffron' (MF instrumental) is a silky late-night sound with warm melancholic chords and subtle boom-bap beats. On the flip, things get more jazzy with the expressive trumpets and more raw broken beat patterns of 'Arrow Root' (MF instrumental). It's a timeless and sophisticated sound that will woo any listener into a calming mood and comes on a limited 7".

Review: Yet another early Masters At Work proto-jungle cut gets released on the inimitable Kay Dee recs. 'Blood Vibes' (Demo Version) is a desirous gemstone whose best facets reflect reggae, hip-hop and party breaks, though each side can only partially bend the unmissable light that is Kenny Dope" Gonzalez's production touch. Built around elements of Junior Reid's reggae classic 'One Blood', 'Blood Vibes' came about amid the pose-striking ballroom craze in New York in 1991, and even now we can hardly prepare ourselves for the riot that ensues on the following B-side, 'The Madd Cry'.

Review: The Clergy Ten Year anniversary celebrations continue with a fourth special instalment of their various artists series. It's packed again with the sort of high-functioning techno that DJs always need to construct powerful sets, and that dancers will respond well to thanks to its detailing. Norbak opens with the moody minimalism of 'Sinto', Sciahri explore a more uptempo sound with grainy, gritty loops on 'Antartide' and Phara's 'Faint' gets more twisted with hellish effects and caustic textures all getting you on edge while the pummelling drums bounce out their muscular rhythm. These are evocative cuts for techno storytelling.

Review: Boston pair Soul Clap land on UK staple Crosstown rebels and bring their signature E-funk sound across a quarter of tunes that also draw on garage and deep house. 'Gone Stumblin' is effortlessly breezy with swirling, aloof vocals up top, a knotted bassline and dusty drums and percussion making a nice late-night vibe. The dub version is bigger, with twisted stabs and frazzled leads rewiring the energy and 'Unifying Force' is a swirling, gooey sound with an old school FM bassline and classic vocal sample bringing the heat. 'Gone Stumblin (bonus version)' is a second take on the original with some fun drum patterns and big raw snares to amp up the vibes.

Review: LA based Black Market Dub like to rework great artists of decades gone by through a new sound system lens. This time it is the great 80s pop duo Hall & Oates who get the treatment with six of their most well-known tunes all reworked at slower tempos, with natty guitars, horns and rolling rhythms bring a new and sunny perspective. 'Private Eyes' in particular sounds superbly laid back and sun kissed for Balearic sessions and 'Maneater' also does the business with the original vocals soaring over lazy chords and amidst oodles of echo and reverb.

Review: An exceptional, almost entirely unreleased jazz-funk LP from Roland Haynes Jr., previously known only for a single 45 released in 1983 (included here). If you're thinking undiscovered James Mason, you're on the right track. This LP is huge, even by the highest standards. Until now, that rare single was the only material trace of Haynes and his band. However, Haynes meticulously documented his musical journey, recording both packed-out live gigs and studio sessions. The tracks on this release come directly from Haynes' personal archive, offering an incredible glimpse into his unreleased, carefully crafted studio work.

Review: To mark its 15th anniversary, Hurts' debut album Happiness receives a long-awaited vinyl release as a rather special limited-edition picture disc. The synth-pop duo's breakthrough was originally released in 2010 and is revisited in full here with all the hits, featuring such as 'Better Than Love,' 'Wonderful Life' and 'Stay.' This debut vinyl pressing adds further value with a side of deluxe edition highlights including the festive fan favourite 'All I Want For Christmas Is New Year's Day' and Arthur Baker's remix of 'Wonderful Life.' It's a sleek and nostalgic listen that reminds of the moody glamour and melodic punch of Hurts' defining debut.