Back catalogue: All genres

Review: A little-known fact related to Brian Jones is that the Rolling Stone and 27 club member once sorted the soundtrack for a cult crime film, 'Degree Of Murder'. The film stars his then-partner Anita Pallenberg in its lead role as Marie, who kills her boyfriend in self-defense. Now some 50-odd years on from its original release, Rhythm And Blues reissue some selected cuts from the soundtrack and press it to hi-def wax, showing off Jones' indelible riffing and shreddage. An innovative rock soundtrack, it features Jones on a virtuosic slew of self-taught instruments: sitar, organ, recorder, guitar, bass, banjo, dulcimer, Mellotron and harmonica. In 2012, his collaborator Jimmy Page said "Jones knew what he was doing... He was moving forward."

Review: Bristol trio Jabu returns with A Soft And Gatherable Star, their latest album on the Always + Forever label. Known for blending dub and Bristol's sound system culture, Jabu expands their sonic landscape while bringing songwriting to the forefront. Echoes of the city's landmarks and personal memories, like lost parents and youth, inform the album's narrative. Tracks like 'Oceanside Spider House' veer away from trip-hop, instead evoking the ethereal shimmer of The Cure and Cocteau Twins. 'Gently Fade' channels shadowy jazz ballads, while 'Seamills' flows with a slow, aquatic rhythm, enhanced by fuzzy saxophone notes from Lorenzo Prati. Rakhi Singh and Sebastian Gainsborough's fragile strings on 'All Night' create a dreamlike ambiance, and 'If I Asked You, You'd Tell Me' features Josh Horsley's cello, cloaked in texture and restraint. With influences ranging from ambient soundscapes to the delicate beauty of Mica Levi's work, A Soft And Gatherable Star feels organic, allowing songs to evolve naturally. Recorded between Bristol and Childs' mother's home, the album reflects on lost teenage memories and the eerie transformation of familiar spaces. It's a meditative journey, rooted in emotion and subtle, cinematic sound design.

Review: Undoubtedly one of the most unique and profounds records heard in recent memory, this third full-length album from the Montreal-Beirut, audio-visual duo, Jerusalem In My Heart, is an awe-inspired display of voice, electronics, buzuq instrumentation and Maqam shifts. The album collides Arabian musicology with contemporary extremes of experimental electronic production, and the sounds and socio, geo-political discourse it navigates, fathoms depths so deep it's impossible not to feel affected by its sentiment. With the 19 minute-long "Wa Ta'atalat Loughat Al Kalam" defining the release like a street call to pray, the fretted bumps and dancey grunge of "Bein Ithnein" to the guttural oral chants of "Thahab, Mish Roujou', Thahab", places Daqa'iq Tudaiq in a world of its own. Must Listen.

Review: Jonnine Standish delivers arguably her most intimate solo portrait yet, naming her latest project after her mother's maiden name - "the most haunted word I know". Maritz was allegedly born after Standish explored an abandoned high school in the hills of Melbourne, having found several bits of spectral musical detritus there including a glockenspiel, recorder, a metronome, and an "oddly tuned wooden string instrument" of unknown make. This sense of contextual musical salvaging lends the entire project a mood of 'clinging on', as Jonnine delivers her thinnest, folkiest and least electronic record to date for DJ Sundae's label.

Review: Just Mustard's second album is her first for Partisan Records. It is a coherent but widescreen exploration across 10 tracks that all add up to a great whole. Her magic vocals, scything guitars and brooding rock drums all make for intense and scintillant listening. Tracks like 'Seed' roll up and down on lumpy drums with gauzy guitar textures, while there is a more ethereal sound to 'Early' which floats up amongst the stars. 'In Shade' has a catchy post punk rhythm and 'Sore' is dense and caustic shoegaze style rock that drags you with it into a world of questions.