The always cultured Emotional Rescue kicks of the first of what will be a series of reissue sou the music of young Michael Ashley aka Haile Maskel. He hailed from Trenchtown in Jamaica and grew up singing, learning guitar and bass, redoing under the tutelage of Bob Marley early on. Here his soul drenched reggae is offered dup with 'Crazy Kind Of Feeling', a unique track with horns and big bass but also a subtle disco energy. Next to a dub take, Patrick Billard aka DJ Duckcomb serves up a mix that embellishes on the disco elements.

Cigarettes After Sex front man Greg Gonzalez puts his lovely voice front and centre on this atmospheric dream pop record as he works his way through a series of different fantasies. The record features a number of rather out-datedly objectified women who add sensual sounds but if you can get past that there is some fine candour and shadowy textures on this noir-pop long player. The influxes of the 90s indie pop sound looms large over the record as objects such as anime porn come and go.

Recorded during lockdown - hence the rather apocalyptic title - and made in part using a different set of hardware and software tools than his previous work, Year of the Living Dead has a slightly different feel than John Tejada's previous full-length excursions. Of course, his fine grasp of mood and melody remains a major feature, as does his love of warming ambient chords and dreamy electronics, but these elements are twisted round a wider variety of rhythms (think mutant electro, post-dubstep UK bass, UK garage and dub techno), with warm, deep and rich sub-bass coming to the fore throughout. Tejada rarely misses the mark, of course, but there's a surprising freshness to the album that means you'd do well to sit up and take notice.

Dominick Martin AKA Calibre has made many fine albums in his time, but even by his standards Feeling Normal - his 17th solo set - is something special. While naturally rooted in the soulful, emotive style of drum & bass that he's become renowned for, the album's 13 tracks also incorporate rhythmic and musical elements drawn from two-step garage, the sub-heavy end of UK techno, ultra-deep house, dub techno and dubstep. As a result, the vast majority of the cuts on show neatly sidestep convention, delivering hybrids that gleefully celebrate the impact of soundsystem culture on the UK bass continuum while also offering something new, fresh, melodious, hugely listenable and exceptionally entertaining.

Over the last 12 months, Polly Jean Harvey has delivered remastered versions of many of her most acclaimed albums, while also releasing collections of demo recordings for each set. The latest to get this treatment is her critically acclaimed set Stories From The City, Stories From The Sea. Famously, most of the songs focus on love and relationships and were written while Harvey was living in New York City at the tail end of the '90s. As with her other collections of demos, most of the early versions showcased here feature little more than Harvey on guitar and lone or multi-tracked vocals. This raw and stripped-back approach gives new life to some songs, with highlights including the heart-aching 'The Mess We're In' and fuzz-soaked 'This Is Love'.

Over the last few years, Adrian Younge has spent a lot of his time working with Ali Shaheed Muhammad legends on the essential Jazz Is Dead series of collaborative albums. Here he finally steps out on his own once more - albeit with assistance from a range of musicians and vocalists - with a stunning set that he describes as "an unapologetic critique, detailing the susyem and malevolent psychology that afflicts people of color". Musically, it doffs a cap to the emotive orchestration of Marvin Gaye's What's Going On, with nods to jazz-funk greats such as Bob James, spiritual jazz and the jazzy hip-hop grooves Younge has long been associated with, while the artist's own spoken word vocals are conscientious, hard-hitting and thought-provoking. In other words, it's an exceptional piece of work.

This quadruple-vinyl extravaganza gathers together parts 30 to 33 in Rotterdam imprint Mord's Herdersmat series, which has been offering up intense, lo-fi and mind-bending takes on industrial techno since 2015. From track one - a buzzing and stomping effort from SHXCXCHCXSH - it's full-throttle almost all the way, with the compilation's warehouse-ready highlights including Temudo & Ribe's wonky, pitch-black 'Rite', the panicked, paranoid intensity of Razbibriga's 'Cicada', the arpeggio-driven mind-melt of Kaiser's 'And Yet Again', and the almost unfeasibly lo-fi fusion of Isolee-esque electronic motifs and distorted drums that is 'Confusion' by Anthony Doria. No-holds-barred industrial techno for those who seek darkness rather than light.

Duke Records' latest trawl through the vaults of Arthur 'Duke' Reid delivers another pair of gems featuring the legendary Jamaican producer's equally lauded backing band, Tommy McCook and the Supersonics. Side A's 'Live Wire (Take 1)' is - as the name suggests - the first recording of The Gladiators' 1968 single. It's a great cut all told, with glistening guitar motifs and the group's harmonic vocals dominating the mix more than the typically weighty groove. Turn to the flip for an earlier number voiced by Justin Hinds, 1965's 'Rub Up Push Up'. This is a leap-along ska number with McCook sneaking a few solos into the jaunty and energetic backing track while Hinds and uncredited backing singers belt out some strong vocals.