Back catalogue: All genres

Review: The latest 45 from Durand Jones & The Indications, out on Colemine Records, brings together two tracks from their previous LP, Private Space. Now lovingly refitted for 7" play as only the best cinematic soul should, the A-side of this record contains the album's title track. It comes in the form of a laid back, string-strung, smoothened progression, on which guitarist Blake Rhein plays minimal but on-the-money strokes, and the ever falsetto'ing Durand Jones sings creatively of and in tribute to the many cordoned-off corners, hiding places and hind spaces of the world; the essential vectors of lovemaking. The flip shakes up the ambiance to a higher set of stakes, deploying an upper-tempo, flunkie disco-funk, to hearsaid but hopeful talk of seas of love.

Review: Yet another killer 7" from Durand Jones & The Indicators for Colemine; here we've a premiere condensing of two of the star cuts from their most recent, eponymous record, also called Private Space. First we've of course 'Private Space', a string-laden, refractive meditation on longing, separation and inaccessibility; there is a sense of this feeling having been engendered involuntarily, as a result of separation, between lovers, as is so implied in Jones' devastatingly high vocals. Then the B-side boasts 'Sea Of Love', at which point it seems as though the floodgates of separation have been opened, the sluice of passion lowered; here an unstoppable of torrent of pianified disco-soul opens into an amorous estuary of swing. But of course, there's no way an ocean can be privatised (we hope).

Review: In Waves is Jamie xx's second full-length solo album, and the patented thematic follow-up to 2015's In Colour. The former album marked the height of a certain formative summer in dance music history, in which the UK at large opened its eyes to the potent admixture of its various musical heritages and seemed to meld them into one (perhaps this was best represented by Jamie's membership of a chart-topping indie band, and nonetheless simultaneous indulgence of solo beatcraft and DJing, which saw to a technicolour crock of collaborations we never thought possible, such as with Gil Scott-Heron and Young Thug). In Waves, however, posits the question of where we might've gone since. Channelling as ever Jamie's essential "soft-rounded" drums and clean, yet sample-heavy embellishments sifted from various classic soul and funk records, In Waves nonetheless sacrifices the sentimental ballad-dirges heard on In Colour for a more club-bound portrayal of a comparatively disinhibited night out. Livelier than In Colour, we're transported right on back to a certain kind of dancefloor, one that we'd felt remiss of for almost a good half of the decade in between the two albums.