Back catalogue: All genres

Review: The Scepters, formed in 1967 in Paraiso by guitarist Celso Spencer, were a popular Panamanian band known for their energetic performances across military bases and high school dances in the Canal Zone. Alongside Lionel Best and Jose James, they covered Top 40 hits and iconic rock bands like Santana and Jimi Hendrix. They released two 45s, including 'Message,' which debuted at Panama's first National Soul Music Festival in 1971 and features next here to a jam from Conjunto Raza, another project led by Agustin Leiro, this one with rotating musicians. They released a single 45 on Onda Nueva in the mid-70s and it blends Zonian and Panamanian talent with aplomb.

Review: Discodelic and Groovie Records unveil a pair of rare 1970s Panamanian gems here with forgotten tracks from The Meditators, and Los Misticos. Originally recorded for radio and left in storage, these Latin psych funk bombs capture the underground spirit of Panama's vibrant music scene from more than 50 years ago. Licensed through Tamayo Records, these songs have been beautifully mastered and now the long-lost recordings, which barely made it to vinyl the first time around, become available for all who are keen to drop the heat and learn about Panama's hidden musical treasures at the same time.

Review: 'Beat Me Till I'm Blue' is a wonderfully funky classic by The Mohawks presented under the M Hawk alias, the Hawk in question being none other than KPM Music Library overlord Alan Hawkshaw, who wrote the themes from everything from Grange Hill to Countdown. It was a real cornerstone of the late-1960s library and soul-infused grooves of the sort that diggers still fawn over today, and sample fiends still search out. The track delivers Hawkshaw's distinctively driving Hammond organ riffs, tight drum breaks and irresistible rhythms, all of which have made it a favourite among DJs for decades. Two versions are served up here, one with the iconic horns and one with them stripped away, and both offer plenty of energy. .

Review: Matching breezy, Bossa nova-tinged sophistication with softly spiralling psychedelia, Testbild! arrive in the Quindi lounge as though they've always been there. Bed Stilt is their latest, anagrammatic album, on which the Swedish collective cast their minds back over their entire careers, all the way back to the earliest days of their 25-year trip through sweetly mysterious pop-not-pop, rendered in warm tones and shot through with surrealism. At once nostalgic for the sleepy neo-psych rock realisations of 90s Malmo - yet also unconsciously nodding to the potents of an incarnation of the sound yet to come - the likes of 'And Her Eyes Are Red', through to the farmyard dream scenario of 'Soft Winged & Frail' and finally absurd bemusement 'Water On The Moon', meet us with an unconscious flight of fancy, teeming with psychic quirks and happily irresolute instrumental combinations, from banjo to Mellotron Mikro to vibraphonette.

Review: Australian combo Tama Impala has always been hard to pin down, with their two studio albums to date displaying a keen desire to capture a trippy, psychedelic vibe, whilst refusing to settle on one easy-to-categorize sound. Currents, their fourth album, continues this trend, toning down some of the psychedelic rock elements in favour of nods to blue-eyed soul, woozy dream-pop, cheery summery pop (see the radio hit in waiting "The Less I Know The Better"), and even the head-nodding rhythms of hip hop (which, incidentally, prove the perfect backing for the morphine pop wooziness of "Past Life"). It's a blend that re-casts the band as baked, inter-dimensional travellers with a neat line in enveloping, sun-kissed downtempo pop.

Review: Kevin Parker is a real enigma of a musician. The brains behind the rightly celebrated and ever-surprising Tame Impala, he's never one for delivering quite what you expect, while still understanding that one of the most important things in music is striking a balance between the familiarity disciples need, and the expressive exploration that can prick the ears of the previously uninitiated.

Album number four, "The Slow Rush", certainly adopts a different outlook to previous undertakings. It also more than lives up to its name. It's smooth, tripped out (perhaps not so surprising on the latter front) and strikingly void of those highs that seem to offer the aural equivalent to some opiate-amphetamine blend. But we don't miss out. Instead, we're given permutations of soul, prog rock and acid house, perhaps making for the most expansive record this guy has been responsible for.

Review: Tame Impala's breakthrough album 'Lonerism' celebrates its tenth anniversary with a special edition reissue. Through tracks like 'Elephant', 'Feels Like We Only Go Backwards' and 'Endors Toi', the album is known for introducing psychedelia to a new generation of hungry music fans in the early 2010s, and features Kevin Parker's distinctive falsetto vocals and intricate guitarwork throughout. The reissue here includes various bonuses, demos and "assorted sketches", casting renewed light on an important record for both the music-loving public, and an Aussie band/project destined for stardom.