New releases last four weeks: All genres

Review: Chicago label Future Rootz is a collective of mix media DJs who all play and rework global roots, tropical bass, world electronic and Latin house. Who better to do that than Detroit's Dez Andres, a deep-diving DJ, house head and producer with Cuban roots. He goes first here with 'El Trombone', which has a signature low-end thump with sunny Latin vocals, joyous horns and florid melodies. He then slows things down with one of his trademark remixes of AfroQbano's 'El Bucanero', which has noodling bass and poolside charm.

Review: What began as a beloved underground party two decades ago now steps into a new chapter as Rock Tha House Traxx, a vinyl-only label helmed by veteran Chilean selector Camilo Gil and Mario Flores in Mexico City. Shifting from the dancefloor to the turntable, the label sets out to document and reimagine the musical movements that shaped its roots. After a hothousing debut featuring Romania's Mihai Popoviciu and Swiss mainstay Quenum among others, we've a new sonic tort from the label's very own Gil, solidifying the Western SA nation's place in said conversation. Squeezy reso-basses, stupid-hard breaks, zany lifters: Gil has us covered.

Review: Former Paper Recordings artist Sophie Lloyd apparently started working on "Calling Out" whilst gripped by the January blues. Her intention was simply to make "happy music". To that end, she turned to her gospel roots. The results, shared here on 7" single for the first time, are little less than spectacular. With collaborator Dames Brown in tow, Lloyd's vocals - accompanied by a gospel choir, of course - simply soar above a jaunty, piano-heavy track rich in live instrumentation. It sits somewhere between traditional gospel, house and disco, with a flipside instrumental brilliantly showcasing the quality of the instrumentation throughout. The piano solos, in particular, are breathlessly good.

Review: Generously filtered, aerated and pressuristic, Alton Miller's latest, and third overall, record for Rawax is a rare breed of sci-fi sonority. 'Feels So Good' starts on an unassuming note before slowly evidencing a dark-horse talent for harmony and piano playing, with 'Next 1' bringing a fusion of French house frisson and sound-designed sunstroke synths; it's only by the undulant depths of 'Can't Master' that we chance upon piquant piano flourishes and standout retrosynth swells. Echoes of 70s dub converge on two versions of the B-side's 'Feel So Good', across which a beckon-calling MC maunders astep an effortless 4x4 flow.

Review: Fresh from the release of her collaborative album with UK house and disco legend Dave Lee, one of Motor City vocalist Maurissa Rose's back catalogue classics - an Alton Miller production first released on Theo Parrish's Sound Signature label in 2017 - is given a string of fresh new revisions. Miller handles side A, delivering vocal and instrumental takes that wrap a punchy and perfectly programmed groove in undulating synth bass, colourful chords, twinkling piano motifs and lilting solos. San Fran man CoFlo handles side B, offering up vocal and instrumental takes rooted in the intersection between deep, soulful house and sun-splashed nu-jazz.

Review: Owen Ni invites us on a sonic exploration with this ten-track release, a journey through the realms of ambient electronica and deep listening techno music. 'Beyond Flyhigh' sets the tone, its expansive soundscapes and hypnotic rhythms drawing the listener into a world of introspection and wonder. The Raytek remix injects a pulsating energy, transforming the original into a dancefloor-ready odyssey. Elsewhere, tracks like 'Mover' and 'Arqs2600' delve deeper into hypnotic textures and intricate sound design, creating a sonic experience that's both arrestting and thought-provoking. 'We Are Here' and 'S7lverbox' offer moments of quiet contemplation, their delicate melodies and atmospheric soundscapes inviting a sense of peace and reflection. The release closes with 'Epilog', a fitting conclusion to this immersive journey through sound and emotion, leaving the listener with a lingering sense of wonder and possibility.

Review: Motor City great Omar S is not just a don when it comes to programming drums and laying down his irresistible synth lines and heart aching melodies. He can also play a wide array of instruments, and in fact does just that here as he plays all instruments played you can hear across all three cuts of this new one on his FXHE label. Things kick off with the wonderful 'Featuring Omar S (instrumental)' and then 'Sayoungaty Nig' is a hazy, lo-fi ambient sound with occasional synth smears and a barely-there rhythm implied by the odd kick drum sound. 'Featuring Omar S' is a signature deep house joint with bristling metal hi-hats, rickety drums and edgy drones that keep you on edge as more soulful chords rise up through the mix.

Review: Dan Piu and Grant's Theory of Movement project has served up gold for lovers of heady tech and minimal. After something of a hiatus, it is now back on When The Morning Comes with more of the sort of tuneage that is going to quickly sell out and soon become the ID request du jour at your favourite underground parties. These are of course sophisticated sounds from the silky house bumps of 'Now & Then' with its seductive vocal allure to the throwback 90s sounds of 'Over Time' (Acid Mix). 'Basis' (Foundation mix) is another immediately classic house sound with analogue and dusty drums and zippy melodies next to more smooth chords. 'Motion Of Objects' shuts down with a more zoned-out vibe and widescreen melodic architecture for late nights.