Back catalogue: All genres

Review: Introducing the second volume of Super Biton De Segou's Afro.Jazz.Folk collection, led by Malian conductor Amadou Bah, also known as 'The Armstrong Malian'. Mieruba is thrilled to present this collaboration with Deviation Records, showcasing the diverse musical roots of 1970s Mali; combining Afro-Latin percussion, Mandingo songs, jazzy brass, and funky guitar. Segou is a crossroads between the Bambara, Peul, Mandingo and Somono cultures, and Super Biton has drawn on all these traditions to create yet another rich repertoire of rhythma-lyrical wonderment.

Review: This is the sound of Malian guitar mastery at its peak as Zani Diabate's Super Djata Band channelled raw magic on their 1981 album. Blending Wasulu hunter traditions, griot storytelling, Senufo dances and Fula and Mandingo sounds with psychedelic rock, blues and Afrobeat, the Bamako-based orchestra delivers a genre-bending sonic trip that more than stands up. This is where tradition meets wah-wah pedal wizardry across six electrifying tracks that blaze with intensity and infectious groove. It outlines a revolutionary sound forged for the people, by the people and in the 1980s, few bands matched their fire- could should still the same today, to be fair.

Review: It's been a while since we heard from neo-soul favourite Tom Misch, so we're happy to welcome him back on hearing of his latest release under the name Supershy, described as his 'electronic' alter-ego. Drawing from classic disco, contemporary house, and crate-digger soul, this debut mixtape hears Misch deliver ten club-ready numbers brushing up against disco house, French-touch, acid and more - all, as ever, underpinned with his unmistakably unique Misch-family musicality.

Review: There was much excitement when Pink Eye, Maurice Fulton's first album under the Syclops album for five years, first appeared online last month. In typical fashion, Fulton hadn't let anyone know it was coming. As with some of his other projects, it's now available on physical formats via German titans Running Back. As with previous Syclops albums, it's wonderfully bonkers and hard to pigeonhole, with the Sheffield-based Chicagoan combining mind-altering electronics, skewed drums, riotous analogue grooves and cheery piano and synthesizer motifs in a variety of hugely impressive ways. There are naturally some suitably filthy club workouts present - check the intergalactic madness of "Sarah's E Is Back", the druggy, afro-tech romp that is "Spin Cycle" and the sub-heavy insanity of "Kelly Is On Her C" - alongside loved-up compositions and productions that indulge Fulton's less discussed often overlooked jazz influences.

Review: This Kurdish/Syrian singer and bouzouki player began his music career in 1980 while studying nursing. After earning his degree in 1983, he moved to Raqqa, Syria, and formed The Al-Rabie Band, with whom he performed Kurdish, Arabic, Turkish and Western songs. In 2011, the Syrian war forced his family to flee after his son was killed by ISIS so he resettled in Ireland, where he used music to connect with the local community, performing at various events and collaborating with Irish artists. His album I Am Kurdish blends Middle Eastern and North African music and he says is a way of spreading joy, love and happiness.

Review: For deep house diggers, Soichi Terada has long been a source of inspiration. While he's still active, it's the early '90s material he released on the Far East Recordings label - an imprint he founded soon after his graduation in 1990 - that most excites. Following the 2014 re-release of his sublime hook-up with Nami Shimada, "Sunshower", Rush Hour has decided to put together this excellent retrospective. Compiled by self-confessed fan Hunee, Sounds From The Far East contains a mixture of hard-to-find Terada originals, collaborations, and tracks by fellow Far East Recordings artist Shinichiro Yokota, all in the label's trademark melody-rich, evocative deep house style.

Review: The Mellophonia label offshoot Fusion Sequence won us over with its well-presented and great-sounding first EP, and now a quick follow-up does the same. This one is another various artists affair that starts with some nice futuristic robot disco from Vanity Project. There is more organic and lush Balearic from Bobby Bricks and Pacific Coliseum follows that spine-tingling Ibiza sunset vibe. On the flip side, there is everything from late-night electronic house to lazy disco via Sorcerer's blissed out 'Just For Love' which would entrance any dance floor. There's as much quality as there is variation on this one, which makes it a useful EP indeed.

Review: In 2002, the Japanese government recognized bamboo flute maestro Hozan Yamamoto as a "living national treasure". It was in honor of his lengthy career in music, and in particular the way he championed a traditional Japanese instrument even when he was turning his hand to Western music. "Beautiful Bamboo Flute", an album first released in 1971 and almost impossible to find since, is a superb example of this. It sees him deliver haunting, emotional and life-affirming solos over funky jazz, big band and fusion backing tracks that tend towards the fresh and funky. It's an unusual blend, but also an invigorating and exciting one.