Back catalogue: All genres

Review: On 'Heavennnnnn', Detroit vocalist and producer Deon Jamar evinces soul salacity like no other, following up his last Altars LP with a three-tracker of shimmering thymic neo soul, tempered by electronic smoothening and fine motor skills from recording to fine-tuning. Again released on the experimental and newly inaugural Black Music label - conceived as an "art exhibit, concert, and party series founded by Deon and Brian Oscar" - these are soul stopovers to contrast the earlier three-parter's drastic Detroit breakdowns. The title track has a Rhodes line to die for, its trembling amplitude constructively interfering with any sense of forestalled time we might've brought to the listening experience beforehand; 'Salvation Steps' and 'Little James Birthday' provide further versatility over understated percussions and G-funk slapping radio leakage. A promising continuation in sound by a label you'd best keep your eye on.

Review: Born and raised in Chicago, Durty Truth Records founder Darryn Jones delivers a couple of corkers for North-East England re-edit imprint Hot Biscuit Recordings. A-side 'In The Bush' is a thrillingly heavyweight jam - an Afro-funk meets Afro-disco version of a track made famous by US disco and boogie outfits, which Jones has expertly extended and rearranged in all the right places. B-side 'In The Know', meanwhile, is a take on a more classic-sounding slab of Afro-disco that boasts a superb "walking bassline", extended electric piano solos, sultry strings and a fine male lead vocal.

Review: Though they've trodden remarkably different paths through music so far, the coming-together of UK singer-producers Allysha Joy, Hidden Spheres and Finn Rees makes for a latent talent condensation of the "of course!" kind. Solina hears them freshwater rock pool their shared ear for groove and space, weaving motifs of Balearic house, jazz, broken beat and 90s street soul through a vivid whole; long after each artist's works across in veins of future beats, chillwave, deep house and UK bass. From the tremulous Rhodes overwash of 'Promised Me Love' to the sophomoric sunstroke 'Trust The Feeling', Joy's vocals usually only appear lately, like a vocal forest spirit peeking its head out on the ecotone between wood and sea. Not a showcase of chops, but a case of layered restraint, unfurling unhurriedly.