Micky More & Andy Tee's Groove Culture delivers a fresh spin on jazz-funk classics with a new 7-inch release. The Side-1 features a dj-friendly cover of Lonnie Liston Smith's 'Expansions,' blending disco and house with a funk-driven bassline, soulful vocals, and beautiful keys. On Side-2, it offers a high-energy remake of Light Of The World's 'Time,' featuring Angela Johnson's powerful diva vocals. This track shines with its lively disco vibe, sax intro and dancefloor appeal. Both tracks encapsulate the essence of fun disco and soul and should appeal to a wide range of dance music fans old and young.

Despite his years of dedication to the Balearic scene - not to mention a string of fine albums under the Cantoma alias - Phil Mison doesn't get nearly enough recognition for his achievements. Perhaps his latest album, the undeniably gorgeous See The Sun, will finally provide him with a wider breakthrough. Whether it does or not, it's a genuinely wonderful album that sees Mison wrap his usual uber-Balearic instrumentation - samba-soaked acoustic guitar chords, Flamenco style classic guitar solos, kaleidoscopic synth sounds, sweet male and female vocals, lilting French horn motifs and so on - around grooves that range from slow motion shufflers, and Latin tinged headiness, to organic house rhythms and luscious nu-disco beats. All of Mison's Cantoma albums are excellent but See The Sun really could be his best to date.

The Diffraction EP on Polychrome Audio Records is a journey through diverse techno and house sounds, crafted for dark, intense dancefloors. On the Side-1, Hong Kong's Xiaolin opens the EP with 'Yonggum,' a progressive house track that sets an ambitious tone with its flamboyant and dynamic beats. Following is Barcelona's Iro Aka with 'Psy Sights,' a hypnotic techno cut that deepens the mood with its driving rhythm and introspective groove. On Side-2, it features Lyon's Desire with 'Psy Against Men's Tears,' an electrifying psy-infused track that blends pounding beats with ethereal melodies. Dublin's Dylan Forbes wraps up the EP with 'In Tongues,' a progressive anthem that delivers a burst of energetic rhythms and vibrant energy, perfect for lighting up any floor. Diffraction EP is a wide range of influences and sounds for those looking for adventurous techno.

Furious Frank makes his "all killer, no filler type biz" Kalahari Oyster Cult return in cheeky, slapstick, neo-breaks wideboy fashion. As is characteristic of the label on which no artist ever quite takes themselves too seriously, Frank moves from musings on 'Photosynthesis' to acting the 'Raving Lunatic' in quick succession, betraying an interest in flora, then psychopathology. The former track is the most measured, its alarming lead line churning forth like a desperate message in fungal morse code, while 'Lunatic' and 'Blue Meanie' hark back to relatively earlier days, eschewing bonhomie for a relatively devilish two takes on UK hardcore. The 3AM Acid Mix of 'Wize Guy' does similarly, though it also indulges an ecstatic free-party-rave-at-night feel; transcendent pads, all-important crescendos, even a few kinesiological bongos for good measure.

Aussie mash-up maestro and re-editor DJ Agent '86 first made his mark two decades ago and has periodically delivered killer cuts ever since. Of those, the most celebrated is undoubtedly 'All About The Money' - a cannily constructed party jam that first dropped digitally at the tail end of the noughties. Here it finally makes it to wax. It's a simple idea, expertly executed, with the Australian producer peppering a jaunty reggae-disco groove (built mostly from a late 70s disco cover of Pink Floyd's 'Money') with a variety of cash-money related rap samples. Over on the B-side he works his magic on Blondie classic 'Rapture', adding in subtle elements from other cuts early on before building energy via the familiar groove and well-used effects.

The Alexander Technique is the most intimate album to date from Rex Orange County in that it truly reflects his personal and artistic evolution. Initially intended as an exploration of new writing perspectives, it evolved into a deeply confessional and heartfelt work that combines stripped-down r&b and indie-folk and Rex's signature orchestral richness to mark a pivotal shift in his career. Described by Rex as a personal diary, it captures his growth and the complexities of life since his 2022 release, WHO CARES? with a longer duration and diverse musical styles. The Alexander Technique is Rex's most candid and ambitious project to date.

Natasha Bedingfield is celebrating the 20th anniversary of her debut album Unwritten with a special vinyl re-release and a London show. The album, which topped the UK charts upon its release in 2004, features hits like 'These Words,' 'Single,' 'Wild Horses,' and 'I Bruise Easily.' The title track, 'Unwritten,' recently experienced a resurgence after being featured in the rom-com film Anyone But You, entering the charts for the first time in 19 years and peaking at Number 12. Bedingfield expressed her joy at the track's resurgence, noting its use in the film and its popularity as an anthem over the years. Originally released as the third single from the album, 'Unwritten' became the theme song for MTV's "The Hills" in 2006 and reached Number Five on the Billboard Hot 100, earning Bedingfield a Grammy nomination for Best Female Pop Vocal Performance. The song's recent viral success on TikTok further underscores its enduring appeal.

Dark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band's earliest material. Pegged as early pushers of the Australian underground industrial scene, Severed Heads emerged in the wake of a former project also shared between three members, Tom Ellard, Richard Fielding and Andrew Wright: Mr. And Mrs. No Smoking Sign. The edgier name Severed Heads was also, conveniently, snappier, and the sonic result of this resignal act would soon prove it a good decision. Though they say they aimed simply to take after forebears like Throbbing Gristle or Suicide, Ear Bitten proves much more than the simple fact of stylogeny. The 22-track record was born of an anarchic assemblage of found domestic and street-larked objects (as well as specialist musical instruments) blurring the lines between the two: using every sound-making tool from cassette deck, to rare Korg or Kawai synth, to proverbial pots and pans, to open-reel (and thus implicatively fuckable-with) dictaphones, Ear Bitten offers a diabolical vision of the sheer, wordless length of the post-punk deserts parched by their 70s, New York precursors.