Back catalogue: All genres

Review: American songwriter and composer Patricia Barber's marked her breakthrough with Modern Cool, an album driven by her captivating take on The Doors' 'Light My Fire.' Her performance of the album at The Jazz Standard caught the attention of Blue Note's Bruce Lundvall and lead to a celebrated run of releases and international acclaim. Modern Cool became an audiophile favourite thanks to Jim Anderson's meticulous recording and Barber's sharp songwriting and artistry, and it still sounds super here as reissued by Impex on VR900-D2-pressed 180-gram vinyl. It's the perfect way to enjoy a real jazz classic.

Review: The first recorded meeting of Pierre Bastien (compositeur Parisien) and Casper Van De Velde's (Belgian drummer known for his outings on Qeerecords) documents two days of lowkey live-performed regalia at Werkplaats Walter in Brussels. Set up by Blickwinkel, the residency saw Bastien's "miniature mechanical orchestras" - trumpets, motors, Meccano arms, all of which make up the former artist's trademark live machinic draw - click into orbit with Van De Velde's loose-limbed, textural percussion. Both artists work in detail and gesture before volume, moving gently but unpredictably, index finger tracing part-clockwork, part-creature pattern cuts.

Review: This 1968 debut from UK guitar visionary Jeff Beck still lands with the force of a revelation. Backed by a then-unknown Rod Stewart on vocals and Ronnie Wood on bass, it fused blues standard interpretations with proto-heavy rock swagger, laying groundwork for what would become metal. 'You Shook Me' and 'I Ain't Superstitious' are molten blues workouts, while 'Beck's Bolero'-a wild, multi-sectioned instrumental co-written with Jimmy Page-remains a startling piece of production and arrangement. The soulful grind of 'Let Me Love You' and the stretched-out ache of 'Blues De Luxe' show off Beck's ability to balance touch with raw volume. Reissued here on remastered orange wax, it's a reminder of a time when British blues rock was at its most electrifying.

Review: Recorded live at Brooklyn's Glasshaus in front of just 100 guests, Live at Glasshaus captures a one-night-only performance from Philadelphia-born vocalist Bilal, reinterpreting material drawn from a two-decade discography. Backed by an ensemble comprising his long-time creative circle, the set revisits early breakthroughs like 1st Born Second, cult favourite 'Love For Sale' (still never officially released), and later highlights from Airtight's Revenge and his collaborations on Common's Like Water for Chocolate and Resurrection. At 78 minutes, the session moves between stripped-down soul and expansive jazz-schooled improvisation, with appearances from Questlove and Common woven in. 'Soul Sista', 'All Matter' and 'Funky For You' get fresh treatment, while interludes lend a loose, intimate feel. First pressing gone; second underway with global shipping across 15 territories.

Review: A four sided selection of remixes of the goth kingpins' widely acclaimed and long awaited latest album Songs of a Lost World. From the moment Paul Oakenfold's 'I Can Never Say Goodbye' rework opens proceedings i lush strings, half-submerged vocals, and a cinematic pace i it's clear that curation, not just contribution, has shaped the form. Orbital turn 'Endsong' into a glistening spiral of sequencers and tension, while Sally C's raw house take on 'A Fragile Thing' ups the pulse without disturbing the gloom. Smith i still unmistakably the same outsider from Crawley, West Sussex i guides things with restraint, letting the space speak louder than the noise. Four Tet's version of 'Alone' closes the first disc like a forgotten lullaby, cracked and glinting. You don't get every remix i the more textural, post-rock turns are gone i but you do get a sharp cross-section that keeps faith with both atmosphere and momentum. It's the kind of record that feels designed for the night: not to lift it, exactly, but to sink into it willingly, track by track.

Review: E-bony's Digital Dawn album is about "defining his identity as an artist" and it comes through INDUSTRIAS MEKANIKAS. This 12-tracker welds together electro and techno with plenty of personal sound perspective and dark textures that keep it decidedly underground. Collaborating with Noamm on four tracks, their creative synergy adds depth and elevates the record's complexity with the likes of 'Matrix Kod' getting gritty and eerie, 'Aurora Noir' bringing snappy kicks and coruscated acid lines and 'Data Delight' fizzing with pixelated synth sugariness.

Review: "The defining hardcore record of the century so far" said Las Vegas Weekly. While punknews.org commented on the "undeniably earnest lyrics and blistering, relentless pace." Make no mistake, Have Heart made a big impression in 2006 with The Things That Carry, their debut full length. Following on from two very well received EPs, the record cemented the band's status as leading lights in a nascent positive hardcore movement. Screaming out of the starting blocks, the music is angry but the messaging looks to celebrate ideas such as love, inclusivity, tolerance, difference and social consciousness. The group would only put out one more official LP after this one alongside a live album after they broke up, but their energy and ideas remain as relevant and vital today as they were back then.

Review: It's a remarkable statistic that Payfone - the long-serving production partnership of Phil Passera and Jimmy Day - have not released an album before, despite building up a killer catalogue of singles over the last 12 years. The vinyl-only Lunch, then, is a genuinely significant release .- and, happily, a rather brilliant one too. Featuring an impressive roll-call of guest vocalists and musicians, it sees them deliver six excellent riffs on their analogue-rich, hybrid house/Balearic/nu-disco sound. The plentiful highlights include the dubbed-out, low-slung and atmospheric opener 'Movin' On', the infectious, spaced-out boogie of 'Joan of Arc' (whose chorus will be stuck in your head for days), sensual jazz-funk jam 'Spend The Night' and the warming, sun-soaked delight that is 'Pony Bar'.

Review: After breakout success in 2008 with radio-blitzing singles and a global tour, Salford duo The Ting Tings have spent five albums dodging repetition. Home marks their latest obliquity; written and recorded in a wooden-decked studio using analogue gear, the album trades digital punch for coastal ease. It's a love letter to the crisp songwriting of Fleetwood Mac, Supertramp and Christopher Cross, designed for long drives with salt air and rolled-down windows. Tracks like 'Song For Meadow', 'Goodbye Song' and 'Mind Thunder' lean into harmony, space and wistfulness, with Katie White and Jules De Martino easing into a more reflective, groove-led mode.