On this second, more expansive sampler for his forthcoming album Spaces & Places, Kerri Chandler treats us to tracks inspired by - and by the wonders of mobile recording technology, produced inside - clubs including Dublin's District 8, Glasgow institution Sub Club, Lux of Lisbon and NYC's Output. Of course, the standard is uniformly high throughout - it's classic Chandler from start to finish - but our picks of a very fine bunch include the soulful piano house shimmer of 'Change Your Mind', the thrusting, bass-heavy pump of 'Subbie (Rattle The Subbie Mix)', the effortlessly slick and soulful 'Tenacity (Full Vocal Mix)' and the ludicrously sub-heavy snap of 'See The Light (Dub)'. To borrow an old cliche, this is very much, 'all killer, no filler'.

As part of the 2016 Ghent Film Festival, the first ever 'greatest hits' album for Ryuichi Sakamoto's soundtrack work was released. This retrospective LP compiles the best selections from the entirety of his career, from Merry Christmas Mr. Lawrence to The Revenant. Now reissued 5 years later by Silva Screen, the album sees a wider, exclusive white vinyl edition, capturing the swelling pangs endemic to Sakamoto's music for screen.

It could be argued that Larry Heard's first album as Mr Fingers, 1989's Amnesia, was the first full-length to show the rich musical potential of deep house. It was certainly the greatest house album of its period and remains - as this reissue proves - a timeless classic. Now pressed on three slabs of wax rather than two to make it more DJ-friendly, the set pairs stone cold Mr Fingers classics such as 'Mystery of Love (Dub)', 'Can You Feel It' (presented in its arguably superior instrumental form) and 'Washing Machine', with lesser-celebrated treats such as the breathlessly jacking and percussive 'Slam Dance', the lusciousl;y kaleidoscopic 'Stars' and the early morning delight that is 'For So Long'. It's an album every house head needs in their life.

It's difficult to understate the originality running through everything Tim Buckley wrote, played, and sang. Tragically invited to join the 28 club back in 1975, in the nine years he was actively recording and touring he offered some of the most forward thinking folk music of that time. Which, considering just how busy that scene was then, is certainly saying something. Goodbye & Hello is an archetypal example, because in many ways it feels so anarchic.Yes, this is definitely a product of its day, but in the best possible way. Sending ferocious rock 'n' roll crescendos crashing into country-hued journeyman stuff, traditional folk, jazz, psychedelia and so much more. A testament to just how fertile the decade was, it's remarkable that today his name is often only referenced by the most devoted music historians and back catalogue diggers. So, if you're new here, this is an introduction you should not turn down.

Drawing on influences like The Byrds, Buffalo Springfield, and The Beatles, East Village were a little out of place, arriving as they did in the mid-1980s, a time in which the sound of the mid-late-1960s was just recent enough for it not to have come back in fashion yet (cultural cycles being just that little bit longer than today, when perpetual revisitation rights are handed out every five minutes). Nevertheless, the four-piece from England stuck to their guns and garnered a cult following, peaking with their one and only album, 1993's Drop Out, which arrived with the Heavenly imprint acting as a stamp of assured quality. Back Between Places was their second short outing, released through Sub Aqua back in 1988. And it certainly lives up to our introduction, offering harmonious and emotionally-charged indie rock that's heavy on the light touches.

Originally released in 2020, Drums, to abbreviate the title, actually has its roots much further back in the life and times of James Asher. The artist fell in love with the instrument at an early age, and played the percussive parts in school bands as a teenager. Going on to train as a sound engineer, a stage that afforded him a keen understanding of how to manipulate and experiment with sound, and the opportunity to explore the myriad directions in which music can be taken, the diversity of what's here is easy to understand. Counterbalancing his Shaman's Almanac: Didge outing, while the didgeridoo is still very evident here, the focus is definitely on drum rhythms, with time spent working alongside artists like the great Sivamani and equally incredible Sandeep Raval clearly having at least some influence. A trippy all night dance around a desert campfire until dawn, it's part spiritual, part rave-y, and all highly infectious.

American musician, photographer, graphic designer and 12k record label founder Taylor Deupree has certainly created quite the mythology, and garnered a stellar reputation for himself. Having worked with some of the most forward thinking names in synthdom - Ryuichi Sakamoto, Marcus Fischer - and laying claim to the title of President d'Honneur of the fifth Qwartz Electronic Music Awards in Paris, to some extent you should know what to expect here. Sophisticated and classy stuff with a conceptual grounding. Built on the idea of marrying technological sheen with the imperfections of nature, combining the raw and the processed, perfect and beautiful, in many ways Deupree's work, which here sits in a gorgeous ambient sonic plateau, hits the nail on the head when it comes to this century's opening decades. A time when ideas around what could be achieved and what's happening, where we're going and where we want to be, and - crucially - our difficulties figuring out where we fit in, are omnipresent.

Cult TV buffs will no-doubt pick up on the 'Shatterday' reference here, name of the first episode of the first season of the 1980s reboot of The Twilight Zone. In turn, that borrowed its title from a collection of short stories by Harlan Ellison, which arrived at the beginning of the same decade, which contains the tale 'Jeffty Is Five', once voted as the finest short story of all time. Agree or not, the programme and publication go some way to preparing you for the sounds on this expansive Kinetik Greece release. Still none the wiser? Simply put, these are tunes that have one foot in the future, and another in the past, specifically the last time culture in general was as obsessed with what could be coming in the next half century. 1980s hues saturate many parts of here, somewhere between coldwave, downtempo synth, experimental electro, and movie score.