Back catalogue: All genres

Review: Robert Smith has always treated remixing less like revision, more like ritual i a habit that's followed him since his days in Crawley, West Sussex and then surfacing officially on the first Cure remix album, 1990's Mixed Up. This triple-disc release of reworkings from the band's latest LP Songs of a Lost World feels assembled with obsessive care, mapping out every possible mood lurking beneath the surface. There are club-ready flips, yes i Sally C, Danny Briottet and Gregor Tresher all push the rhythm forward i but they sit beside glacial pieces that feel more like haunted sketches than reworks. Mura Masa's take on 'All I Ever Am' is disintegrated almost beyond recognition, its vocal a flickering memory. Mogwai's 'Endsong' feels like the end of the world in slow motion. Even Chino Moreno turns in something striking i 'WarSong' morphs into a sludgy howl with heat-warped edges. But it's the sequencing that surprises: these aren't bolted together, but grouped in arcs, as though Smith were arranging the bones of an old idea into something still alive. Four Tet's version of 'Alone' is a high point i deeply textured but featherlight. Like all The Cure's output, what really matters is the feeling of being drawn somewhere, and Smith's hand never letting go.

Review: As they prepare to squabble, rock out and reprise their infamously hooky riffs at a series of sold-out reunion shows, Oasis have decided to reissue their official best-off collection, 2010's Time Flies...1994-2009. Now presented in remastered, souped-up form, the two-disc set showcases all 27 of their UK singles (including non-album cuts 'Whatever' and 'Lord Don't Slow Me Down') as well as a hidden bonus track ('Sunday Morning Call', which appears two minutes after the final cut on disc two). While plenty of high points and fan favourites are missing, it does a great job in reminding us that Oasis were, at their very best, an iconic indie-rock band - as highlights such as 'Supersonic', 'Cigarettes & Alcohol', 'Some Might Say' and the epic 'All Around The World' emphatically prove.

Review: This exciting new compilation is a richly layered celebration of reggae's instrumental foundations. The second chapter in the Roots Architects project, this dub album gathers over 50 of Jamaica's most revered session musicians to breathe new life into rhythms rooted in reggae's golden era. Produced by Swiss keyboardist Mathias Liengme and dubbed by Roberto Sanchez, the record is a journey into the sonic textures of Kingston's legendary studios during the late 70s. Each track pulses with the timeless craftsmanship of players like Lloyd Parks, Fil Callender and Earl "Chinna" Smith. The dub treatments are both spacious and inventive, recalling the spiritual haze and echo-drenched brilliance of King Tubby and Lee Scratch Perry at their peak. Sanchez handles the desk with deep respect and balances fidelity with creativity. From Dub 'Til Now is a historical tribute of reggae's enduring history.

Review: First released three years ago and now receiving a deserved reissue, I Am A Tree I Am A Mouth is undoubtedly one of the most magic albums by Australian-American sprano and composer Jane Sheldon - an artist famed for her unique, voice-based works. While the album is not entirely made up of layered vocals and vocalisations - Sheldon employs long, languid ambient drones and textures throughout - they're naturally the focal point. Most of the lyrics (mostly sung, but some spoken) are taken from Rainer Maria Rilke's 1995 tome The Book of Hours (meaning Sheldon largely sings in German), and these are delivered in all manner of inspired ways. The results are uniformly dazzling, blurring the boundaries between chamber music, neo-classical and ambient music's experimental fringes.

Review: Back in 2008, Jethro Tull performed a now legendary set at the Basel Festival in Switzerland. Their "powerful and passionate" performance - as the accompanying press release puts it - was previously available on DVD, but this double-CD marks the first time the soundtrack has been made available as an audio release. It naturally stands up to scrutiny, with the effervescent Ian Anderson (switching as ever between vocals and flute) leading the way on a memorable trawl through their epic back catalogue and its notable blends of folk, progressive rock, jazz, hard rock and neo-classical movements. Expect to hear fine versions of 'Aqualung', 'Living In The Past', 'A New Day Yesterday', 'Locomotive Breath' and much more besides.