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Review: Over the years, Italian eccentrics 291out have proved tricky to pin down. While their releases are rooted in the spacey end of the jazz-funk spectrum, they also touch on film soundtracks, quirky electronica and meandering progressive rock.

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This time out they're operating on a Latin tinged jazz-rock tip, with crunchy guitars, fuzz-soaked horns, rubbery bass and eyes-closed electric piano motifs rising above a head-nodding groove. The band's included 'Alternative Version' is noticeably wilder and more intense, with a looser beat and a greater number of mind-mangling horn solos.

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In terms of remixes, you'll find Italian veterans Leo Mas and Fabrice at the controls. Their A-side revision sounds a little like a jazzier take on Italian Balearic rock merchants Almunia, while their flipside 'Alternative Remix' is a bounding, peak-time-ready jazz-house workout.

Review: Earlier in the month, Parisian producer Afshin joined forces with Kiss My Black Jazz and served up a brilliant, two-track missive of jazz-funk and blues-house reworks on G.A.M.M. Here they reunite for round two. This time round, they begin by reworking a shuffling, chant-along Afro-Brazilian gem of unknown origin, extending the carnival-ready percussive intro before unleashing the shuffling, sun-kissed samba rhythm and some of the sweetest vocals this side of a sing-along in a chocolate factory.

Over on side B they give a similar tune to a killer chunk of reggae-funk fusion rich in warm dub bass, bongo-laden beats, bluesy guitar solos, fuzzy horns and James Brown style guttural vocals. Review: Back in 2016, legendary Afrobeat drummer Tony Allen approached techno pioneer Jeff Mills with the idea of working together. A series of live gigs and off-the-radar studio sessions followed, with the first fruits of their joint efforts finally appearing on this must-have 10'.

As you'd expect, the duo's collaborative work combines Allen's traditional Nigerian polyrhythms, traditional Afrobeat instrumentation, and the far-sighted, sci-fi inspired electronic futurism that has always marked out Mills' work. The result is a quartet of cuts that could arguably be described as retro-futurist Afro-tech - all delay-laden beats, basslines and organs subtly sparring with gentle acid lines, Motor City electronics, beguiling deep space textures and shimmering, 31st century motifs. It's arguably Allen's stylistic contributions that dominate, but that's no bad thing.

Review: Take a listen to the four cuts that make up Jackson Almond's WotNot Music debut, 'Open Your Head', and you'll hear a myriad of influences and musical reference points. That the DJ/producer has managed to get them to compliment each other is particularly impressive. Check, for example, the jaunty U.S garage/jazz-funk/broken beat/Afro-house fusion of 'EEYE', for starters, or the sparkling opener 'Open Your Head', where glistening guitars and marimba style melodies ride a rubbery synth bassline and rich, life-affirming chords. Almond's love of layered percussion is once again evident on the piano-sporting, sun-kissed deep house shuffle of 'Common', while 'People, Places, Things in Spaces' sees him pepper a jazzy, off-kilter deep house groove with the kind of spacey jazz-funk synths that were once a hallmark of Herbie Hancock albums. Review: Some 18 months after it appeared on Amp Fiddler's ace 'Amp Dog Knights' LP, 'Keep Coming' is given the remix treatment by a quartet of hugely talented producers. The headline rework comes from Ninja Tune signee Jayda G, whose effortlessly soulful version not only makes great use of the Detroit veteran's brilliant vocals and keys, but also flits between smoky deep house and sweaty, percussive madness. Elsewhere, Jahn Cloud and Meftah offer up some sweet post R&B beats, Julian Dyne re-casts it as a Latin-tinged chunk of beatdown brilliance and Brenk Sinatra does his best impression of Motor City beat-makers Platinum Pied Pipers.

Review: This is Berliner Ant Orange's third release for Cologne's Karaoke Kalk and forms something resembling a trilogy for the label, while introducing more electronic ingredients and taking an increasingly exploratory approach to rhythm and composition. From the sexy and dusty late-night deepness of the dynamic opener 'Right There', the super lo-slung funk of 'Drunk In The Trunk', the evocative slo-mo soul of 'Comfort Zone' or the tense yet mesmerizing neo-jazz of 'Rudi Goes Offline' - this album truly marks a turning point in Ant Orange's sound. The name of the label comes from the 'Koeln-Kalk' district where the label started out. Over the past 20 years the label has amounted a superb catalog totalling well over 90 releases by a dazzling array of artists spanning the broadest possible spectrum of musical output.

Review: In 1996, Dreamscape's Ed Marshall donned a new alias, Aplomb, and delivered the first fruits of his new project to New Age House Records. Only one track was ever released on a limited label promo, 'Wondering'.

World Building's Ari Goldman, who previously put out a compilation of Marshall's work as Dreamscape, is a fan and has decided to rescue it from obscurity via this single-sided 12'. The track itself is hard to accurately pigeonhole, combining as it does dense, carnival style drums, female scat vocals, warm bass, dreamy deep house chords and synthesizer flourishes reminiscent of early '80s jazz-funk. Either way, it's a sunny and groovy chunk of obscure house positivity that's well worth a place in your collection. Review: From his early releases for the mythical Greta Cottage Workshop, outsider house specialist Arnheim has come a long way, and his own Barbara Recordings is now on its way to ruling the downtempo game! In fact, Arnheim's sound are more on the inside than the outside, if this new EP is anything to go by; 'Get On With The Looking' is on a Mahogani Music tip, while 'Do You Know' stutters its off-kilter groove with magnificent elegance, and 'Becoming Welcome' breaks out some fine jazz melodies in what sounds like a truly well-balanced piece of music that sits outside of the generic 'club' atmosphere. Quality assured.

Review: At first glance, the pairing of Forest Hill resident Andrew Ashong and Sound Signature boss Theo Parrish would seem strange. But the duo have worked together previously with the Ghanaian born vocalist (and supposed owner of a vinyl collection that would make most record shops look like a car boot sale) lending his soulful tones to Parrish's excellent nine minute plus translation of the Hot Chip and Spiritualised affiliated About Group. Whereas that collaboration was more about Ashong's voice being just one element of a production that was undoubtedly Parrish, the three tracks present on the Flowers EP look to showcase what a talent the Londoner is. Those trademark dust filled stacatto rhythms are present in the opening title track, but they never swamp Ashong's killer vocal delivery, while 'Take It Slow' is bonafide D funk of the highest order. After the brutal, divisive nature of Theo's kung fu experimentalism on the Any Other Styles EP, these three tracks show him in a wholly new light and hopefully Parrish and Ashong will be making much more music together. Review: Despite not releasing all that much in 2018, Canadian nu-jazz combo BADBADNOTGOOD's reputation continued to rise.

That was in no small part due to their eye-catching collaboration with Little Dragon, which resulted in the digital release of 'Tried' back in September. Now the track has been given a deserved seven-inch single release by Ninja Tune.

With LD lead vocalist Yukimi Nagano doing her best to channel the spirit of Minnie Riperton, 'Tried' has a similarly languid, jazz/folk/soul fusion feel as some of the best works by Rotary Connection. BADBADNOTGOOD's admiration of the Charles Stepney-produced band comes through loud and clear through the choice of instruments and arrangements. For further proof, check the accompanying flipside instrumental mix. Review: Back Pluwatsch, or simply Bajka, is an Indian-born, South-African raised singer with diverse catalogue of music, and an equally compelling set of vocal chords. Aldo grasso storia della televisione italiana pdf to excel 2016. Her voice was first picked up by London's Jazzman circa 2005, and has travelled across other like like Ubiquity, Raw Tapes, and even on NYC house-techno conglomerate, Ibadan. Philophon feels like a much more natural place for her music to prosper on, a label that's been on our radar since day one, and always comes heavily recommended.

'The World' is a true pearl of a song, charged and catapulted into the ether by a deep, raw percussive sway and, of course, Bajka's singular voice. 'Invisible Joy' is a similarly deep and tropical, but here the tone is much more jazzy, reminding us of Sun Ra in places. All in all, this is some pretty killer material.

Review: Blacks & Blues is a new name to 2000 Black, but the people behind the project are label stalwarts: Dego, Kaidi Tatham, Matt Lord (AKA Lordamercy) and vocalist Obenewa Aboah. With such talent on show, it's unsurprising that opener 'Spin' - a cracking slab of broken-beat/soul fusion rich in military style drums, jazz-funk keys and summery vocals - is rather good. While dancefloor-friendly, the track feels loose, languid and tailor-made for outdoor parties.

'Don't Know Why (Chant For Love)' is an even more lo-fi broken soul excursion (very Fatima), while 'You Know The Feeling' recalls the jazz-funk-fired soulful club cuts of early 2000s broken beat heroes Bugz In The Attic. Review: Boddhi Satva's highly tribalistic strain of house music has been at the top of our minds for a while, and riding high on our digging radars. This is because the artist has managed to tell his own story and detach himself from momentary scenes or fashions. Instead, tracks like 'Ngnari Konon' use the house formula only as a backing rhythm, and with the help of Africa's Oumou Sangare, Satva produces what is more of a world music piece.

The same goes for 'Nankoumandjan', but 'Benefit' strays closer to something like UK bassline thanks to its jump-up beat and r&b-style vocals by Omar, while 'Fighting Spirit' is what you would call a classic 'bass house' joint, filled with gargling low-ends and plenty of sweet tribalism. Review: Astonishingly, Boogaloo's re-make of Pharoah Sanders classic 'You've Gotta Have Freedom' is now 24 years old.

It was originally included on the B-side of the jazz-loving Swedish hip-hop outfit's 1995 EP 'Humongous Steps (Back Down To London)', but arguably became more widely known when it was reissued by G.A.M.M. On 12' in 2003.

Here it appears on 7' for the first time, with the band's vocal version - a positive, life-affirming delight that brilliantly flits between sections faithful to Sanders' version and rapped section underpinned by live hip-hop breaks - being accompanied by an equally impressive instrumental take. If it's not already in your collection, this edition should be an essential purchase. Review: Bruno E has plenty of history in the field of future jazz and downtempo, and now he's been snapped up by D3 to deliver some of that cold-chilling lounge business with some interesting remixers on board. Pat Van Dyke is up first, creating a blissful version of 'Ventos De Outono' that feels as cosy as a warm fire and a glass of whisky on an autumn evening.

The original version of the track is actually a peppier affair with a broken beat lilt that wouldn't sound out of place alongside the Dego and Kaidi Tatham crew. Kirk Degiorgio is a natural fit for another remix given his jazzy roots, and his swirling techno treatment is the perfection lotion to pour over Bruno E's excellent original ingredients.

Review: Theo Parrish's Wildheart imprint has seriously impressed since its first release last year. The label's aesthetic is simple: good music. While the previous two releases have featured established artists such as Tony Allen and Dego, this latest EP comes from Living Proof-member, Budgie. Having established himself as an eclectic selector up until now - his boogie-centred sets causing quite a stir on the dancefloor each time we've seen him play out - he comes through with his debut productions for the London-Detroit label.

There's no real way to describe this release, where shreds of funk, hip-hop and soul are mashed up so tightly that they've grown a life of their own. In fact, when you hear it through, it almost sounds like one full track; a vibrant and grooving mass of crunchy beats, mesmerising harmonics and devious little samples. We're certainly looking forward to hearing Budgie's upcoming blends of neo-soul. Heartily recommended to fans of most cuts on Stones Throw or PPU.

Review: Captain Over (real name Greg Surmacz) rather brilliantly describes himself as an 'intergalactic skengman' who crafts 'broken beats out of space debris'. Here he makes his label debut on Darker Than Wax with his first fully instrumental EP (much of his previous work featured grime MCs). He opens the 12' strongly via the shuffling broken beats, alien electronics, warm chords and eight-bit melodies of '4D', before skewering the drums further on the wonderfully bass-heavy and out there 'Deep Blue'. Over on side B, 'Mind's Eye' is an off-kilter chunk of spacey bruk positivity, 'New Life Forms' boasts some sparkling synths and bleepy 'space debris', and 'Take It Too Far' is an on-point broken beat roller rich in Sinclair Spectrum beeps and rich, jammed-out chords. Review: This tasty release is the first instalment of BBE and Soul Clap member Eli 'Bamboozle' Goldstein's 'House On 45' series. The basic idea is to offer up rare and hard to find house cuts that have only ever been released on seven-inch singles.

To kick things off, Goldstein has selected Derrick Carter's 2017 'DC Nu Vox Dub' of his 2002 classic 'Squaredancing In A Roundhouse', an insatiable version of a killer cut rich in bluesy samples, bumpin' beats and scat vocals. Equally as impressive is George Alexander and Big John Whitfield's 2009 cover of Joe Smooth classic 'Promised Land', a warm and musically expansive affair that adds superb new flute and electric piano parts to one of house music's most celebrated songs. Review: Casbah strikes again with a powerful homage to the NYC foundations with this juicy, insatiably funky piece of disco soul. Driven by a belting vocal from Angela Goode, there's a strong sense of timelessness, honesty and raw funk that smacks with authenticity and one of the funkiest slap-bass breakdowns you'll hear all year.

Chicago's Rahaan takes the remix duties with a pumping contemporary disco cut while Casbah strips things back himself for the essential DJ tool that is the percussion edit. Feel the love. Review: If you've yet to succumb to the charms of Children of Zeus - and there can't be many out there who haven't - then this 'odds and ends' LP offers a neat introduction. Five of the seven tracks have been plucked from the Manchester crew's previous full-length excursions, while the other two - seductively soulful two-step garage reworks of 'Vibrations' and 'Slow Down' by fellow Manchester resident Zed Bias - have previously been almost impossible to get hold of.

Setting aside the club-ready remixes, what 'Excess Baggage' proves is that Children of Zeus are one of British music's most essential outfits right now, delivering sensual and life-affirming cuts that brilliantly blend the best aspects of hip-hop, R&B and modern soul. Review: Originally released back in 2009 in its' epic 13-minute original form, 'With More Love' remains one of Joaquin 'Joe' Claussell's most endearing tracks - a gorgeous chunk of sun-kissed spiritual house rich in fluid piano solos, sunset-ready classical guitar solos, undulating bass, non-verbal vocal harmonies and the producer's bouncy Afro-Latin house beats.

Happily, Clausell has decided to reissue the track, offering up two scaled-down versions that fit on one tidy seven-inch single. On the A-side you'll find the 'Special 7' Edit', a six minute blast of ultra-positive dancefloor bliss that's about the most positive thing we've heard in ages. Turn to the flip for a previously unreleased instrumental take that strips the track back further, allowing the gorgeous piano solos and busy bass guitar more room to breathe. Review: One third of Azymuth and an all-round legend Ivan Conti is set to drop his first solo album in over 20 years next year.

And here's a wee teaser with three on-point versions from three exceptional soul craftsmen: Max Graef goes on the cloud hopping dreamy jazz tip, allowing Ivan's brushed drums to shimmer in the all the right spaces, Contours flex hard on a classic bruk vibe where the main players are Conti's swing and the juicy fruit bassline while Glenn Astro gets lively with a heavily shaking afro rhythm and sweeping p-funk chords. Bring on the album. Review: Given that Tom 'Contours' Burford has spent much of the last year making collaborative cuts for Banana Hill that draw on tropical rhythms and native African musicianship, it's probably unsurprising that his return to Shall Not Fade should also feature some of the same influences. It's nominally a deep house EP, but the set's three original tracks are much more nuanced and open-minded than that. Check, for example, the layered hand percussion and polyrhythmic instrumentation on the jazz-funk influenced deep house brilliance of 'Lisbon' and the tropical-tinged, intergalactic sci-fi house of '5th Planet'. The B-side boasts two versions of 'North West': the lilting horns, music box melodies and soft-touch percussion of Burford's original, and the Herbie Hancock inspired bruk-up business of Kaidi Tatham's superb revision.

Review: Given the popularity of Todd Terje's 2012 nu-disco anthem 'Inspector Norse', it's a bit of a surprise that we've not seen more cover versions over the years. By our reckoning, this is only the second, following the release of The Gene Dudley Group's heavy funk take in 2015. Cruisic's version is very different in tone, re-imagining the Norwegian's spiraling dancefloor epic as a shuffling jazz-funk workout where Terje's spiraling synthesizer lead lines are replayed on electric piano and flute. There are plenty of synths involved, but it's an altogether warmer and looser take on the anthem-like original. Slowly provides the obligatory B-side remix, turning Cruisic's version into a jaunty summer synth-dub workout with a touch of dub disco flavour.

Review: Damon Garrett Riddick offered a fine addition to the DJ Kicks canon with his 19 track DaM-Funk selection earlier this and in time honoured tradition his exclusive contribution gets a vinyl release backed with a rather special remix. In a nod to his cache and love of classic deep house, Riddick has coaxed a Mr Fingers remix out of Larry Heard resulting in a sublime take on 'Believer' that would have gone down a treat at Broken Beat haven Co-Op back in the day. Instead of the original version of 'Believer,' the flip features another Riddick original from the DJ Kicks mix - his killer Nite Funk collaboration with fellow LA synthesizer enthusiast Nite Jewel. Review: Under the Danced Til Midnight alias, DJ Andy Anderson has always produced music that eschews easy categorization. His two previous 12' singles successfully blended elements of funk, soul, disco, hip-hop, house and Afrobeat. This madcap, all-that-counts-is-the-dancefloor feel is continued on 'She Can't Love You', which laces Ijeoma's soulful, R&B style vocal over a backing track that variously doffs a cap to fuzzy funk, boogie, breakbeat and disco-house.

Similar could be said about the more breakbeat-minded 'Maxx E', which feels like a reworked instrumental dub of the title track. Speaking of reworks, the EPs's highlight is arguably Egyptian Lover's punchy electro remake of 'She Can't Love You'. Review: UK legend Dego and killer keys-man Kaidi Tatham have been in a rich vein of form of late, dropping brilliant EPs on Eglo, Sound Signature and Rush Hour (the latter under their 2000Black alias). Here, they return to Eglo with four more slices of warm, rich, soul-flecked fluidity. As with previous outings, much of the material has a laidback jazz-funk feel, particularly 'Orbiting Uhara' and the delicious 'The Vault Descends' (think bustling bruk rhythms and darting boogie synths).

They also offer up some tougher, synth-laden bruk-funk in the shape of 'Man Made', while 'Black Is Key' sees them unfurl a head-nodding vocal roller. Review: Yes Eglo! Alex Nut and crew turn to two elder statesmen of London beat science in Dego and Kaidi Tatham for a killer induction into the art of crafting 'broken beat bullets'. For those who don't possess the necessary knowledge, Dego is the most familiar handle of Dennis McFarlane, founding member of 4Hero and responsible for so much good music over the years, and Tatham has an equally important role in the whole Broken Beat movement, being an integral member of the Bugz In the Attic collective. The pair have worked together previously on numerous occasions and they are on top form here with lead track 'Ankle Injury' demonstrating a perfect balance of melody and crafty rhythm. Imagine Theo and Floating Points collaborating and your heads in the right spot to enjoy this track and 'Acting Up On That Shit Don't Count' which is the sort of music you could imagine RAMP to be making if they were on the rise today.

Do check the sumptuous piano and Rhodes vibes on final cut 'Carrots & Sesame'!! Review: Somewhat confusingly, the two Al Dobson tracks featured on this must-have 12' are not taken from his superb Rye Lane LP, but rather a CD of possible album tracks the producer gave to Rhythm Section International last year. Both cuts are typical of his dusty, rhythm-centric sound, and are particularly sparse. This, though, just makes the remixes even more remarkable. Polish producers PTaki turn 'Santiago Black' into a midtempo chunk of analogue-sounding midtempo house, complete with drifting vocal samples and a wonderfully dubby bassline. Arguably even better is Ruf Dug's eccentric version of 'Kirton Street', which wobbles, pulses and darts with chiming melodies, rough sub bass and hissing, cymbal-laden percussion, while retaining the blazed feel of Dobson Jr's original.

Review: Soul auteur Jonathan Diggs Duke returns to one of his older EPs for a timely reissue. Originally released in 2015, just after his critically acclaimed debut album on Giles Peterson's Brownswood, the three tracks catch Diggs at his most flighty and free-thinking; 'Ambition Addiction' jumps and rolls like a tightly coiled jazz spring before hurling us into the deep harmonic soulful blue of 'Welcome' and 'Funky Overdose' lives up to its name with its off beat magic, tightly plucked guitar and staccato vocals. Review: Those who pay attention to these things know that Poland's EABS (short for Electro Acoustic Beat Sessions) are one of the hottest jazz combos in the world right now - an accolade earned not only via their incredible playing, but also their willingness to fuse elements of classic Polish and American jazz with hip-hop, soul and funk influences. Here, the fast-rising septet joins forces with 22a regular Tenderlonious (who provides flute and soprano sax solos) for two epic workouts. A-side 'Kraksa' is something of an epic; an ever-changing 13-minute jazz journey that brilliantly switches from floor-rocking goodness to horizontal bliss midway through. 'Svantetic', meanwhile, wraps fuzzy rock guitars and hammered-out piano riffs around a sweaty groove that just grows in intensity throughout.

Review: In 1976, French band Edition Speciale released their debut album, 'Allee Des Tilleuls'. While much of the album saw them explore progressive rock and jazz-rock territory, it did contain one suitably groovy and life-affirming trip into jazz-funk territory, surprise LP standout 'Mr Business'. Here that cut gets a single release for the very first time courtesy of the dusty-fingered diggers at Pepite. You'll find the little-known band's languid, Clavinet and synthesizer-heavy original version on side A, with Aroop Roy's tidy contemporary rework on the B. Aroop sticks a rocket up the track's bottom end, underpinning the original song with peak-time-ready drums while wisely emphasizing his own killer bassline and catchy vocals.

Review: It's been five years since Truth & Soul's octet gave us the incredible Wu Tang version album. It's been two years since they last dropped a single, too. However the band is back and their trademark cinematic soul is richer and more emotive than ever. From the instant the trembling flute and guitar open with the cuddly, ultimately positive 'Kiddy Ditty' we're whisked on a largely instrumental journey that flings us through the wild west ('Little House'), soul's early JB chapters ('This Song For You') and straight up NY low-slung funk ('A Little Sloppy'). Climaxing with a Lee Fields featured 'By The Time I Get To Phoenix', Loose Change is a kind reminder of just how accomplished and creative El Michels Affair are.

No change there, then. Review: Ever since their first record launched on Futuristica Music, back in 2008, Emanative have been quietly shaping the contemporary jazz-dance landscape - an achievement for which they are rarely accredited to. Hopefully, we can change some of those misconceptions by telling you just how special this new EP for Jazz45 is sounding!

The opening 'New Day' features the soulful vocals of Ahu over a rolling, breaks-centric groove with plenty of melodic quirks and, of course, the unstoppable euphoric power of the flute; the flipside's instrumental allows you to get even closer to the music constructed by Emanative, which is undoubtedly the outfit's long-running forte. Review: New Zealand funk and reggae troupe Fat Freddy's Drop call on the man Theo Parrish to rework 'Mother Mother' from last year's third LP Blackbird on the first of two planned remix 12' singles - watch out for the second featuring the handiwork of Cosmo, Yam Who and Ashley Beedle. In original form, 'Mother Mother' was already quite a long track, clocking in at just under nine minutes and though this new rendition from the Sound Signature boss is not that much longer he does add his signature (sorry) twist to the track. There's also an instrumental on the B Side for those that aren't partial to Joe Dukie's distinctive tones but love the Parrish production.

Review: Given the critical reception rightly afforded to Tahliah Barnett's superb debut album as FKA Twigs, it makes perfect sense for Young Turks to rustle up a swift reissue of FKA Twigs, the four track 12' that announced her to the pop music world last year. This EP was the first instance of Barnett's ethereal vocals weaved in amidst production work from Arca that was at times floating, others crushingly pressurised. Naturally the effects of the music are heightened when combined with Jesse Kanda's mind bending videos ('Water Me' especially) but late comers to the magic of Twigs will be all over this. Do check 'Papi Pacify' as Arca is on some 'Cry Me A River' era Timbalaand tip. Review: Having co-founded the now mythical Eglo Records, Sam Shepherd aka Floating Points has, more recently, begun to release his music through his own Pluto label, an imprint with a clear vision from the music to the artwork. Moreover, the label also gives Shepherd room to explore outside of his more traditional housey framework, and the majority of the releases on Pluto have consisted of wild and diverse shreds of broken beat and nu jazz. 'Kuiper' is his latest excursion and it's a psychedelic journey through high-powered percussion and airy synth experimentations all wrapped up in a suave jazz coating.

'For Mamish (part 2)' is something altogether sparser and less concrete, but there is still plenty of movement amid Shepherd's crystal sounds and Balearic riffs in what sounds like the perfect new age sort of amalgamation. Review: Gerardo's first new material since last year's album Movement, the 'Olympia' EP sees the Milano musician return to his club roots with five of his most floor-focused cuts.

From the Shiffrin-style guitars and Jorge Ben licks of the dramatic cinematic title track we head deep into the dance by way of the cadent Latin soul of 'Tin Tin Deo', the Hammond-squeezing 'Talking Sticks' and the percussion-primed heads-down Arabic charms of 'East Breeze'. We climax with 'The Obsession', a thumping drum-focussed samba number that tips a big nod to the likes of Master At Work. Review: The last Rhythm Section release came from Vancouver man Local Artist, but number 6 sees Peckham man Bradley Zero actually looking to local artists in the shape of FYI Chris. The production handle of Chris Watson and his namesake Coupe, this Peckham duo have already impressed with the No Hurry stealth drop on Church late last year, but it's clear they've learnt a few new tricks since then.

Nestling snugly into the SE London beatdown sound Bradley has been cultivating through the label, Back In The Millenium is pleasantly hard to pin down with bits of house, hip hop and acid thrown into the mixer. We are quite impressed by 'Jeru' which desiccates a famed '90s Primo sample with some dextrous MPC work, whilst MCDE fans will be all over 'Need I Say More'. A big 12' Nik! Review: This self-released EP features two newly recorded compositions from the much lauded saxophonist, composer and bandleader Nubya Garcia. She stated that inspiration came from producers such as Ben Hayes, Tom Misch, Joe Armon- Jones, Jake Long and Maxwell Owin (whom she has recently surrounded herself with) and that this release feels like a positive evolution from her last EP. There was an electronic vibe that she wanted to explore and that is rather evident on When We Are. The record also comes with B-side remixes from two generations of London's finest producers: K-15 and Maxwell Owin.

The record offers a snapshot of the artist she is today and the organic musical languages she continues to form with her long term collaborators Femi Koleoso, Joe Armon-Jones and Daniel Casimir. A trademark fusion of gospel, soul, broken beat, Afro-Caribbean and Latin styles that Garcia has deftly crafted into her own. Review: Dirg Gerner is the faux mysterious side project of Chilean producer FlaKo, who now resides in London after a stint in Berlin. The blue eyed crooning of Gerner was first seen on Eglo offshoot Ho Tep in 2011 and he's subsequently appeared on Kutmah's Worldwide Family compilation for Brownswood Recordings. Fresh from a successful graduation at this year's RBMA in NYC, FlaKo ascends to Eglo under the Dirg Gerner banner with this self titled six track EP that's sung and produced entirely by the artist himself and expands gracefully on the woozy, soulful approach previously seen on that Ho Tep release. It seems that Gerner's the latest London dweller to be welcomed fully into the Eglo fold with hints that he's been fully involved in the forthcoming debut album from label muse Fatima.

Review: Tom Kerridge's Girls Of The Internet project is back after a successful debut via WNCL Recordings, landing on the excellent Ramp Recordings with an aptly rampant four-tracker that's just in time to catch the rest of the summer heat! 'When U Go' is a super-chilled, super-vibing deep house sketch with a marvellously sexy wave of female vocals, then remixed into something more 'tech' by FYI Chris. On the flip, 'Running' wins our hearts over as the killer tune on this EP, not least because of its painfully soulful vocals and mild-mannered elegance on the instruments and groove beneath it; The rework, from Finn, once again adds a lot more of a tech-house vibe to the arrangement, and a whole load of bass on top of that. Review: Back in 2015, jazz/electronica fusionists GoGo Penguin wrote and performed a live soundtrack to Godfrey Reggio's cult 1982 documentary 'Koyaanisqatsi: Life Out of Balance'. It was such a success that they have since performed the soundtrack live all over the world, and here deliver a fine mini-album inspired by their original 're-score'. It's as vibrant, emotion-rich and stirring as you'd expect, with opener 'Time-Lapse City' providing a dazzling mixture of intensely positive and restless pianos, bustling jazz drums and smooth double bass, 'Ocean In A Drop' brilliantly growing in intensity throughout thanks to a superb new arrangement and closer 'Nessus' sounding every bit as poignant and tear-jerking as it did when they first performed the score. Review: Matthew Halsall's Gondwana label is seeing a busy August what with the imprint flooding our jazz charts with reissues and, of course, new releases such as this wonderful collaborative effort from The Gondwana Orchestra and Dwight Trible.

Trible's voice is like silk, running up and down the delicate waves of melodies from the collective, with 'Colors' and 'The Creator Has A Master Plan' both capable of making the toughest of audiences feel utterly uplifted. On the flip, 'Love Is Everywhere' shines bright amid a flurry of flutes and intricate drum percussions, while 'You've Got To Have Freedom' rides off a much smoother, deeper sort of vibe that's got a little funk at its core.

Review: OYE crew and Berlin purveyors of dusty, hip-hop inspired deep house make their major label debut for Ninja Tune and good on them. It really is their time at present, what with their Money $ex and Box Aus Holz imprints going from strength to strength. 'Magic Johnson' inspires the greatness of the song's namesake. All dusty jazz breaks, dreamy rhodes and xylophones and whirring organs are the perfect soundtrack for a Sunday stroll through Prenzlauer Berg after a night of clubbing on no sleep, finishing off in Mauerpark for falafel and record digging. Want something moodier and sleeker?

The pair are on hand with the dubbed up 'Tape Johnson' take on the B Side. Review: Manchester's Gondwana Records, run by Matthew Halsall, has been a constant source of good vibes and inspiration. Leaning on a jazz note, most of the material is centred away from the dance floor and yet there is always plenty of movement and joyous rhythm, particularly from Halsall's appearances. Here, we have a reissue of 2015's 'Journey In Satchidananda', a majestic wave of jazz flutes, seductive piano keys, in what is an altogether dreamy sort of setting, which is further evolved on the supremely euphoric waves of the unbeatable 'Blue Nile'. At last, some contemporary jazz on 12' that has left us blown away.! Review: They may not have released many records, but samba/soul/jazz fusionists the Han Litz group have been mainstays of the Dutch scene for a decade. Here they return with a wonderfully breezy, samba-soaked collection of cuts that's remarkably their first ever outing on wax.

The A-side begins with two warm, afternoon fresh tracks that sound like authentic Brazilian samba jams from the 1970s, before Litz and company indulge in a little flute-heavy jazz ('Preludia') and Afro-tinged broken beat/jazz fusion ('Yemaya Olodo'). Also impressive is closing cut 'Epiphany', which has been transformed by Yoruba Soul man Osunlade into a sumptuous shuffle through deep house/samba fusion complete with Flamenco style Spanish guitar solos. Review: The first release from the Axis Audiophile Series. Jeff Mills has formed an electronic jazz fusion band and this 12?

Is a recording of their recent performance in Kobe during the TodaysArt.JP Festival. Mills manages the decks, drums and percussion and is joined Detroit legend and Underground Resistance stalwart Gerald Mitchell (Los Hermanos/Galaxy 2 Galaxy), keyboardist Yumiko Ohno and bassist Kenji Jino. 'Eventide' has the same kind of urban, uplifting soul as anything Kaidi Thatham or Mark de Clive-Lowe have made and isn't bad at all! On the flip 'Happy Gamma Ray' features uplifting keys and emotive chords backed by funk bass and one of Mills' unmistakeable 909 drum machine workouts. It really seems that there's no limit to this Motor City legend's creativity which has spanned nearly 30 years and we're excited about this new chapter in the Wizard's sonic universe. Review: Under the K15 alias, Kieran Ifill has been responsible for some wonderful deep, expansive and soulful music on Eglo, Wild Oats, Lo Recordings and WotNot Music.

Here he returns to the latter for the first time in four years. He hits his stride straight away with 'Be Glad You Create Anything', a sparkling, mid-tempo shuffler that wraps darting, Kaidi Tatham style jazz-funk synth motifs around loose and languid beats and a suitably warm and attractive bassline. Ifill's love of fluid piano lines, eyes-closed electronics and dreamy chords once again comes to the fore on 120 BPM deep bumper 'Communion', before the producer treats us to the deliciously loved-up, poignant and sumptuous head-nodding bliss that is fine closer 'You're Alive (There's Still Time)'. In a word: superb. Review: Eglo Records' 10th birthday celebrations are in full swing.

They've already notched up a riotous birthday party that got rave reviews, and later in the year will release a brand new compilation of previously unheard treats. It's this collection that's being trailed here via Kieran 'K15' Ifill's 'Devotion', a dancefloor-focused chunk of soul-flecked broken beat that Ego co-founder Alexander Nut recently described as 'music for the mind, body and soul'. Over on the flip there's a vinyl-only exclusive in the shape of Ifill's remix of Patrick Gibin and Javonntte's recent jazz-funk fired soulful house workout 'Cloud 9'. Ifill opts for a heavy bruk-up flavour, wrapping soulful musical elements from the original around punchy, loose-limbed beats and speaker-bothering low-end pressure. Review: Dave Aju, Alland Byallo, Kenneth Scott and Marc Smith joined together as KAMM, resulting in a mini-album called Kick Drunk Love for marcel Vogel's Amsterdam based label Intimate Friends.iDescribed in a press release as being influenced by the artists' 'love of early '90s MoWax era laid-back beats,' it features Barrite on lead vocals (with Byallo and Scott also contributing vocals), Smith on guitar, Byallo on trumpet and Scott on Moog synth. There's a couple guest appearances as well: Damian Schwartz plays some bass on 'Sidewalks' and Eureka provides 'a hell of a vacuum rev' on 'Stage Left.'

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Review: Since the success of his breathlessly good debut album 99.9% in 2016, Kaytranada has become one of the most in-demand producers on the future R&B and leftfield hip-hop scenes. Here he takes a break from remixing Robert Glasper and producing Craig David records to drop three high-grade instrumental versions of tracks included on last year's U.S-only 'Nothin Like U' EP.

'Chances', a gorgeous mix of spacey chords, crunchy MPC beats, intergalactic synths and lilting melodies, sets the tone, before he reaches for the pianos on the low-down fusion of twinkling pianos, rolling beats and raw bass that is 'It Was Meant 2 B'. Closer 'Track 3', meanwhile, is a sparkling slab of unfussy positivity. Review: Glaswegian disco overlord Al Kent is particularly fond of dusty, hard-to-find records that combine great grooves with the kind of sugary, flowing orchestration that marks out some of the greatest late-'70s dancefloor records. It's these records that he tends to re-edit. He's at it again here on a surprise two-track GAMM outing. Check first A-side 'The Light Of You', a peak-time ready Stevie cover version disco cut that adds a myriad of instrumental solos to a heavily orchestrated backing track originally recorded by latin disco soul outfit LaSo.

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It's rather good, all told, as is the wild flipside Latin jazz-funk workout 'Sing A Song'. It's pretty sweaty and even boasts some serious eyes-closed guitar solo action (along with tons of authentic South American percussion). Review: Donnie Tempo has only appeared once previously as Knu Je', and that was way back in 2001.

Now the alias is revived on Sound Reflection in a shimmering, twirling expression of broken beat and boogie sensibilities for those who like their beats soul n' sun drenched. It's actually his Quad IBB alias that serves up the 'original mix' of 'Vocoder So Sexy', and it's nothing short of stunning. The rich layers of vocals cavort with the expressive key changes and sharply angled beats, making for a truly striking cut that sounds equally fresh in its instrumental form on the B side. Review: This compilation style outing from Southern African music enthusiasts Nyami Nyami is billed as 'an ode to the music of Zimbabwe past and future'. Side A boasts cuts from two Bulawayo-based 'Kwela' outfits: a terrific, heavily percussive future dub interpretation of Bulawayo Kwela's 'Mysterious Africa' by The Comet Is Coming producer Danalogue, and the sparse, sun-kissed acoustic bliss of Elliot Phiri's 'Nomalanga'. Turn to the flip for two versions of Hararre-based David Tapfuma's beautiful 'Magumba'.

There's the original version, where Tapfuma sings over a solo mbira melody, and a superbly glassy-eyed, synth-heavy 21st century club version by Auntie Flo collaborator (and hugely talented producer) Esa Williams. As good as the rest of the EP is, his version is worth the admission price on its own. Review: Hot on the heels of 'Mission' earlier this year, Shuya Okino's Kyoto Jazz Sextet troupe present another gem from last year's Unity album complete with a remix of the highest calibre. This time the cascading, Latin rhythm and frenetic horn leads of 'Rising' are given the midas dancefloor touch by none other than Ron Trent. Maintaining the wily spirit of the original while coating in warm organ blasts and subtly bumping kicks, it's a precision translation that brings the original into a whole new context.

Review: Le Recette cooked up a delicious five dish feast earlier this year in the form of their 'Towards Fulfilment' EP. And here are two sweet tasters on a limited 45 platter. Both cuts featuring Magic Malik, it's a broad tour across a very short amount of time: 'Breezin' studied at the school of both Stevie Wonder and Amp Fiddler.

Sleazy, jazzy soul in its silkiest form. 'Landing' takes a more abstract twist on ballad craft as the vocals almost melt over the lolloping beats and hazy flutes. Precision timed for the summer. Review: Dutch producer Larry De Kat has been spotted delivering an album to Lazare Hoche and sliding his wares onto SlapFunk and Dungeon Meat alike, but his Katnip label it the one to watch for some of his most personal wares. This new release finds him purring his way through downtempo, soul-inflected selections that open out a whole new dimension to this talented, versatile producer.

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Juno's vocals are the icing on a particularly funky cake on 'Do For Love', while 'So Damn Fine' is an instrumental beat worthy of D'Angelo (sadly not included). The jazzy licks pour out of this release like honey - Larry De Kat just upped his game yet again and we strongly advise you to take heed.