Haggerston-based production wizard Jeigo kicks off the year after a standout 2024 by serving his own label Fleurella Records' first release. For the occasion, he reissues his track 'Pearl Leaf' which sits in between the worlds of Bicep, Sasha and UKG. It has floating pads and airy, organic beats that carry you away on a melancholic mood with deeply buried vocals adding a blurry, heart-tugging hook. On the flip are two new and unheard jams. 'Headpains' is full of a flurry of breaks but is also laden with introspective emotion in the vocals and chords and 'The Days You Were Here' is a more downtempo cut with shimmering pads, pitched-up vocals and languid bass.

New York legend Louie Vega and Detroit icon Moodymannitwo titans of house with deep but divergent lineagesicollide again on 'Seven Mile', reissued here as a hefty double pack with remixes. Originally released in 2022 on Vega's Expansions in the NYC LP, this expanded edition gathers fresh reworks from trusted names across the house spectrum. Dennis Quin goes punchy and percussive, Kai Alce turns in a soulful NDATL roller, and Rocco Rodamaal teams up with Alex Finkin before offering two lush solo interpretations across the C-side. Vega's own instrumental demo mix adds vintage bounce, while Charlie Soul Clap, here credited as Charlie Levine, delivers an ecstatic final pairihis 'Wild Version' the most unhinged of the lot.

This staunch collection of songs compiled by Decca hears the very best works of jazz trumpeter Chet Baker "reimagined" by a varied selection of international talent, celebrating the legacy of one of American jazz's coolest ever piston-valvers. It's no surprise that Baker earned himself the name "Prince of Cool" as the concept of cool overtook the jazz world in the 50s and 60s; likewise, the artists chosen to reimagine Baker's many sweet treats here each epitomise that same offhand effortlessness which typified Baker's playstyle. Highlights include Dodie, who leads with a Latin percussive rekeying of 'Old Devil Moon', and mxmtoon, who brings equable guitar lurches to Baker's rather lost-his-cool confession of loving excitement, 'I Fell In Love Too Easily'.

Italian trio Colours shared only three singles with the world, and all were made in the hotbed period of 1985-86, when labels such as Discomagic monopolised the roost. 'Lonely Night' was their manifest magic trick; its poking, reverb-slurried lead is a slick staccato, upon which a lonesome vocal line by singer Mauro Santoro calls out into the night from the picture window. A kind of emo efflux is at play, where the 80s fascination with vulnerability is set to the brunt-borne, sublimated beat of the discotheque. Little is known about this band save for Santoro, making this a collectors item less concerned with band BTS or making-of shenanigans, and more the inherently appreciable shape of a sound.

Mad Season's singular studio effort weaves between raw grunge and introspective melancholy, a haunting exploration of the 90s alt-rock sound. Anchored by the emotive vocals of Layne Staley and the blistering guitar work of Mike McCready, the record captures a mood of somber reflection and hard-hitting release. Tracks like 'River of Deceit' pulse with dark, brooding energy, its aching delivery underscored by a gritty groove, while 'I Don't Know Anything' shifts between quiet introspection and explosive moments of intensity, embodying the turmoil of self-doubt. With Mark Lanegan's gravelly vocals adding an extra layer of depth, the album merges pained ballads with cathartic rock, evoking a sense of both isolation and raw emotion. Across the tracklist, the combination of delicate and forceful moments paints a portrait of a band fully immersed in their emotional landscape.

New York City was the early block city foment of The Fatback Band, who would, on the official account, see their names written into history as some of the pioneers of funk at large. Aside from their disputed four-to-the-floor point-sourcings with 'Oops Upside Your Head', The Fatback Band were equally known for many a hit, including 'I Like Girls' and 'Yum Yum (Gimme Some)', and the formula for such repeated successes has been expertly localised by some as resting in the charismatic wiles of one Johnny King, the founding member whose proud, biped posture and wicked vocals brought to the group a firm and charismatic leading presence to the group. This originally 2004 cut by working Master Kenny "Dope" Gonzalez hears us lean into the funkier ends of the latter's remix-craft, as 'Peace, Love Not War' is given a profound kneading and planing across an excoriating final funk beat.

This early '80s dancehall classic from Sister Nancy is an essential Record Store Day release for any serious reggae-head. One Two features the legendary anthem 'Bam Bam', which is still widely regarded as the most sampled reggae track ever, and features Nancy laying out her credentials as a female MC in a still very male-dominated world. Elsewhere, the killer tunes come thick and fast. It was originally only released in Jamaica, and this marks the first-ever UK pressing of the much sought-after album, for which Nancy only started getting royalties more than three decades after it was produced by Winston Riley and mixed by Soldgie at Channel One.

Reborn Italo-disco label Fulltime Production's ongoing remix series, in which contemporary producers tackle gems from the vaults, reaches its tenth instalment. Da Lukas steps up first, re-imagining Rainbow Team's lightly funk-fuelled, string-laden 1982 disco jam 'Bite The Apple' as an action-packed disco-house anthem, before long-serving Italian producer Massimo Beradi turns Michael Baker's 1983 workout 'Don't You Want My Loving' into a hybrid boogie-soul/deep house treat. Over on side B, Souls Groove successfully 're-vibe' Say When's 'Save Me', an early house era European synth-pop anthem (and yes, you'll know it), while GAMM regular Black Truffle's take on Ma Gi C's 'Shampoo' is a gritty disco-funk delight.