Back catalogue: All genres

Review: This third volume of instrumentals continues the faultless Isle of Jura label's deep dive into dub versions and beyond. Side one takes in references from UK street soul and reggae and features two late-'80s tracks by Howard Hill with machine-led rhythms, rudeboy reggae skank and soulful pads. Protek's 'I Love to Dance With You' is a proto-house gem featured in a Jura Soundsystem mix and here it gets a loving re-edit by The Nightlark. Side B includes an instrumental-driven track with spacey FX from The Cool Notes' and Ilija Rudman's 'Dub 4 Love' which is a knowing nod to acid house's golden era.

Review: UK disco sensation Glitterbox light the touch paper on another fizzy summer with four gossamer smooth edits of four seminal house classics. Gliding us through time to soulful house's golden era with a sassy, loose groove shine to each edit; Soulsearcher's 96 anthem "Can't Get Enough!" gets respectfully plumped, Shapeshifter's 2003 sing-along bomb "Lola's Theme" is stripped back to a stark funk groove while Johnny Corporate's 2000 hit "Sunday Shoutin'" gets flipped into slinky bassline wriggler. Finally one of the best covers Stevie Wonder has ever had gets a luxurious rub down as Cleptomaniacs' 2000 swoon-fest enjoys the full Packer treatment. Summer starts here.

Review: This delightful 7" features a collaboration between two Star Creature veterans from Northern and Southern California who deliver a raw, uncut boogie track. The wonderful 'Girl Ur Freaky' is both breezy and laidback but irritably dance. The vocal harmonies are heart-melting, the wispy synths bring cosmic cool and the drums and squelchy bass sit together perfectly. The vocal version really is where it's at with this one but if you want it more subtle then the flip-side instrumental is the one for you.

Review: Talking Drums return with Volume 8, another leftfield disco delight from the Manchester-based crew known for their genre-hopping, floor-filling edits. This latest 12" twists vintage grooves into fresh, club-ready energy, blending Euro-NRG, deep disco cuts and Balearic euphoria with their usual offbeat charm. The A-side, 'Fever Dreams', is a full-throttle, sweat-dripping workoutisequencers throb, horns wail and twin basslines drive the track forward with an unrelenting urgency. A cheeky vocal and a breakdown primed for peak-time chaos make this one irresistible for late-night mischief. On the flip, 'Too Hot' dials down the BPM but keeps the heat on, its laid-back disco strut laced with silky strings, funky breaks, and shimmering Rhodes keys. Then there's 'Maximum Balearic Dancer', a sun-soaked closer that takes a fragment of Swiss fusion and transforms it into a hypnotic, flamenco-tinged groove, complete with breezy synths and a soaring piano solo. With their latest releaseiexpect this one to become a secret weapon for DJs who like their edits playful, punchy and a little bit unpredictable.

Review: Tamati's Notte in Riviera EP on the ever-stronger young label Saint Wax is a perfect bit of Balearic house escapism. The title track, which translates as 'night on the Riviera', is just that - a humid late-night house cut with some erect female vocals. 'Tutto Un Deja Vu' cuts loose with freewheeling melodies and blissed-out pads, and 'Magica' then goes deep. Italian producer Franz Scala blends 80s vibes with modern sensibilities like few others as he shows on his remix of the title cut, then Sparkling Attitude and Gledd add their own fresh versions.

Review: This one is such an evergreen summer classic that it sells out whenever it reappears and gets reissued on a regular basis. Last time was last summer but now the rays are back in our lives we're glad it is available one more. Brazilian jazz vocalist Tania Maria is a true icon with a huge back catalogue of music behind her. Here, Soul Brother look back to her 1983 album Come With Me and lift a pair of pearlers for this vital 7". 'Come With Me' is a sundown slinker, with Maria's airy tone gliding over the sprightly piano chords while on the flip 'Lost In Amazonia' is a joyous, scat-powered slice of jazz funk with incredible slap bass flex. Essential summer grooves.

Review: Under the Tigerbalm alias, Rose Robinson has done a stellar job in crafting a trademark style that blends elements of boogie, nu-disco and proto-house with a variety of global musical influences - most notably African, Latin and South-East Asian sounds. On this welcome return to Razor N Tape, the London-based producer leans into the Latin inspirations, first via the colourful nu-disco breeze of 'Profunda Alma' (featuring regular vocalist Joy Tyson), and then on the 21st century synth-samba of 'Vem Ca' (featuring Jao Selva's honeyed vocals). Yuksek turns the latter into a club-ready Latin nu-disco gem, before rising stars Make a Dance deliver two rubs of 'Profunda Alma': a superb, warehouse-ready and TB-303-laden 'Acid Remix', and a percussive, spaced-out and decidedly delicious 'Tribal Dub'.

Review: Tooflie's latest offering dives into the allure of French pop's vocal sensuality that weaves intricate production with global influences. The opener, 'CS VG,' anchors the release with its half-step beat that flows through grainy tonal shifts and rhythms, twisting familiar elements into something new and magnetic. Its dreamy, almost spectral feel is offset by sharper, more defined edges, creating an engaging dynamic that keeps the energy fluid yet charged. As the record progresses, 'BLORN' introduces a more laid-back groove, combining minimalist funk with a sense of melancholic soul, perfect for late-night listening. The flipside continues to surprise, with 'KRLE' and 'JUWRK' fusing breakbeat elements with soft digital textures, offering a distinct and refined energy. Tooflie expertly blends the experimental with the accessible, crafting a release that's both bold and sophisticated, ready to ignite the most discerning dancefloors.

Review: Pretty much does what it says on the tin this one - a lovely slab of vinyl packed with high-octane, main room club bangers. Torpedo is a master of that form and has proven it repeatedly over the last 30 years. He kicks off here with the steamy, sizzling and low-slung house of 'Red Killer', 'Fascinating' then has a chunky Kerri Chandler style bounce to it and 'Bonkaz' brings warm and silky deep house depths to a classic Dizzie sample. 'Renegade' is the raved-up closer that will get hands thrown skywards.

Review: Transport's Move Your Body is a thrilling rediscovery from a once short-lived Portland outfit, featuring members from Ural Thomas' 1960s band. This eleven-piece disco-funk powerhouse recorded an album's worth of gems in 1978, but they remained buried for over four decades. The steady groove of the A-side captures their original essence, yet it's their dynamic rendition of 'Always There' that steals the showiarguably the finest cover of Ronnie Laws' classic to date.

Review: LA-based band ASHRR picked up plenty of new fans with their recent Sunshine Low album and now they're back with the sixth single from it and it comes with some seriously heavyweight names on the remix. Chicago house pioneer Ron Trent does his thing to 'Please Don't Stop The Rain' by going super deep, spine tingling and heady with some lush arps and distant guitar twangs adding a Balearic feel. Dub treatments come from the Prescription boss himself, while ASHRR's alter ego, ASHRR Soundsystem, offer up an instrumental and a remix that lay down dubby house drums and lush chord work. This one keeps the summer vibes going well into winter.

Review: The finger-click-clap is a staple of nu-disco, and doesn't Turbotito flaunt it on their latest EP. The artist has been dubbed an electronic-slow-disco artist, never swooning to the indulgent high of a tempo above, say, 120bpm. This approach allows the categoric glitz and sparkle of disco extra time to shine through; 'Time Starts Moving Slow' kicks off the EP as a sort of slow-disco manifesto, seeding ideas of a phonic slow food movement; high-pitched synth plucks and pickled, finger-picked guitars come clearly apiece, as the artist sings, untethered to any effect save for long-tailed reverb, on top. 'Breaking 84' contrasts with a talkboxing groove which soars past the A's establisher tempo, but still, necessarily, goes steady.

Review: Dan Tyler and Nick The Record's third installment in the Mr Bongo Edits series brings a bold twist to Cuban classics with three tracks that are equal parts cosmic and dancefloor-ready. On the A-side, Tyler extends two Juan Pablo Torres tracks from his reissued 1978 'Algo Nuevo' and 1977's 'Super Son.' First, Tyler reimagines 'Cacao,' a standout track from Torres' LP, giving it room to breathe and intensifying the percussive climax with swirling synths and spacey dub effects. It's a track that thrives on a big system, building tension as it goes, and works wonders in the right environmentijust ask anyone who caught it at La Paloma in Barcelona. Next, Tyler dials into 'Pastel En Descarga,' turning the Latin-funk fusion into a punchy, trippy dub with delay and drama, keeping the track's energy while taking it further into spacey, cosmic territory. On the flip, Nick The Record tackles Grupo Los Yoyi's 1977 'Paco La Calle,' taking a 2009 edit and expanding it into a longer, more hypnotic piece. The percussion pushes and pulls as the psychedelic synths swirl, creating a dynamic and ever-building groove. The 2025 version is elevated with new synth lines courtesy of Tyler, deepening the track's psychedelic richness. A cosmic whirlwind of reworks that bridges the gap between '70s Cuban innovation and modern dancefloor sensibilities.

Review: Dimitri has been very generous with his edits this year, having unleashed some of his finest DJ weapons in the form of the "Brooklyn Edits" EP and this refreshed trilogy of classic Salsoul revisions. They need little introduction as we take off with the iconic harmonies and horns of "Ooh I Love It" land with the incredible soul fusion of Love Committee's oft-covered (never bettered) feels odyssey "Just As Long As I Got You". With trips to New York for silky disco with Skyy and a synth boogie freak-out from The Jammers, it's once again another reminder that no one does edits quite like the man from Paris.