When British prog rock band Babe Ruth recorded 'The Mexican' - a low-slung funk-rock workout that came complete with weighty bass and killer drum breaks - they could have had no idea of the impact it would have during the block party phase of hip-hop's evolution (or, for that matter, that Jellybean Benitez would record a Latin hip-hop cover in the early 80s). It's the track's significance within hip-hop that inspired these revisions from break-digger Mister Mushi. Both of the producer's 'Special Edit' versions - vocal on the A-side, instrumental on the flip - make the most of the track's prototype hip-hop breaks, restless bassline and Latin-tinged fuck-rock guitar licks. They're basically the breaker-friendly revisions the dancers want and need.

It's the album that redefined ambient music, not least for a generation of parasympathetic ravers. Aphex Twin's Selected Ambient Works Volume II marked a stylistic shift away from the first edition in the infamous ambient LP 'series', Selected Ambient Works 85-92. Volume II differed substantially; this time, there would be no 'techno' addendum to 'ambient', and all tracks thereupon would lack the usual indulgence of beats, however easy-on-the-ears these had been beforehand. Known for its many numbered tracks - which on the original edition, rather than track names, denoted references to images of natural forms, textures and geologic readymades, all bathed in orange, and from which fans had to infer the written names - this expanded edition stays faithful to this origin. Even so, it adds two unreleased D. Jamesian treats - 'th1 [evnslower]' and a reversed version of 'Rhubarb' - as well as a the previously vinyl only '#19'.

Canada's hottest topic breaks, edits and golden era DJ, DJ Pump, links fellow firestarter Jim Sharp for a new collaborative add to a multifarious backlog of digitals and records. As ever, Pump and Sharp build on a predilection for soul and hip-hop edits, and craft an impressive two-track 7" from the sources so tapped. Both 'Haayaa!' and 'Oh My' revolve around distinct period cuts from 90s a la Missy Elliott or Ludacris; plus an encyclopaedic knowledge on the part of both artists makes itself manifest on the B-side's 'Oh My!', which particularly samples Tweet's 2002 'Oops Oh My', priming it for the wonkiest reinterpretive play.

Sade's 'The Safest Place (NYC Dance Remix)' is a masterful blend of her signature smooth vocals being used for an infectious tribal groove. Originally from her 2010 album Soldier of Love, this remix seamlessly incorporates Sade's enchanting voice into a rhythm that pulses with energy, perfect for dancefloors. The track's production enhances its danceability, showcasing her ability to resonate with the dance community. It's a testament to her timeless appeal and adaptability, proving once again why she remains a beloved figure in both pop and dance music. Sade often finds her way into underground house and techno mixes. This might be one of the best.

We imagine "Neonicle" - judging by the affixes of the name alone - would likely mean something like "new instance of a half-biological, half-mechanical monstrosity, capable of lamellic self-regeneration when mortally wounded". Think of Terminator, grey goo or The Thing. Whatever idea the producer behind this alias had in mind when coming up with the name, you cannot deny that this nominal vagary still conjures up a certain set of (grisly, technological) images when paired with such solemn, fatal electro sounds. Machinic desecrations and vocal litanies abound on A-siders 'Kagome' featuring Julia Marks and 'Dirty Sanchez', both of which portray a tarred, oiled and feathered sound, as of an unstoppable automaton setting about a new reformative mission. Then 'Train' and 'New Culture' go on to utterly usurp and displace the old narrative, with the hip cyber electro of the latter - modifying the laryngeal emissions of vocalist Dyroplane - extending this robotic coup d'etat to lay down a new, sinister futural law.

Bureau B present the very latest full-length LP from art-synth auteurs Propaganda, aka. Ralf Dorper and Michael Mertens. Emerging almost two decades on from their last release, this record is nonetheless remarkable as it is their first and only self-titled record, suggesting a sense of culmination and timeliness - in Bureau B's words, Propaganda (the LP) explores "fresh sounds and styles, and (reflects) personal and societal changes since their last outing". The excesses and lacks of boom-bust capital exhaustion and planetary-systemic fatigue are heard in full sway here; both themes alloy themselves starkly against the understated EBM and dark synth influence that permeates the record, a sound otherwise distinctly connoted as 80s and retroistic. Through their crystal-clear productions - their techno-Arcadian visions in composition, and passionate lyrical musings on machinic desire by way of collaborators Thunder Bae and Hauschka - Propaganda synthesise a yet new subliminal message, one that charts a line out of the past and into the present.

Sudden Records debut Les Hommes' latest LP Si Cosi, describing the record as a set of "pulsar-driven groovetronics, folky modalisms in waltz time; dreamvitations to the cine-lounge." The three piece combo known as The Men have been an active force on the easygoing London underground, having first made their debut in a tiny club in Soho in 1994. They've since occupied the proscenium of lounge and club, relaxedly dropping three LPs and four EPs since then. This fourth LP brings the latest face of lounge music to the fore, with a set of eleven more careful but languorous compositions. Deploying instrumentation from Lowrey organ to bass clarinet to electric piano, the sensibility throughout is one of disbarred ease, best felt on the most muted among the cuts, such as the cricket-chirping modal jazzer 'Veronique'.

After six years away, Rebelski returns to All Day I Dream with 'The Sirens', an EP that marks a compelling re-entry into the ambient fold. This collection of six tracks showcases the producer's ability to craft expansive soundscapes, each layered with intricate melodies, lush instrumentals, and hauntingly soft vocals. From the opener 'Cascading Waves' to the titular 'The Sirens', each track conjures an immersive atmosphere that feels simultaneously vast and intimate. 'Memory Loss' and 'Jupiter' continue this journey, pushing the listener into deeper introspection with their hypnotic rhythms and subtle shifts in tone. Side two offers even more to explore. 'Under Your Spell (feat Caroline Sheehan)' brings a delicate yet powerful vocal performance into the mix, perfectly complementing Rebelski's ethereal production. 'Polarity' follows, balancing soft textures with darker undercurrents. The EP closes with a Tim Green remix of 'The Sirens', which adds a touch of dancefloor energy while retaining the meditative quality of the original. Much like the otherworldly vibe that Rebelski has become known for, 'The Sirens' EP transports the listener to a realm where time and space blur, offering a serene yet complex auditory experience.