Back catalogue: All genres

Review: Cultural icon Don Letts joins forces here with the masterful musician Greg Foat and producer James Thorpe to make a new entry into the Relatin project series. It is one where artists engaged with Latin musical roots from another era and update them for the here and now. Here they bring plenty of heavy dub vibes and great special awareness to a tune by Venezuelans Un Dos Tres. Greg Foat & James Thorpe also step up with a remix that is just as heavy and summery.

Review: While he's not put out many re-edits of late, Luke Una has serious scalpel-job pedigree. Back in the 2000s, he and then DJ partner Justin Crawford released a series of largely disco-focused edit EPs on the hush-hush Electrik Souls series. Here he returns to the format with the first in a series of reworks focused on his popular, dusty-fingered E Soul Cultura project. He begins by teasing out and lightly toughening up a killer Caribbean cut from the 1990s, Ella Andall's 'My Spirit Is Music' - an insanely rare and hard to find number that the Sheffield-born DJ has naturally tweaked sensitively. Elsewhere, he emphasises the 'proto-house dub' feel of Slick Mission's early UK house number 'Time's Up', before going even dubbed-out and more percussive on Manu Dibango's lesser-known cover of Latin disco classic 'Jingo'.

Review: Universal Cave set out on a brand new cosmic spelunk. Flipping a pair of raucous Latin disco pancakes on a searing summer lowrider bonnet (in lieu of a non-stick pan), these free-range disco ovules pack much underfoot promise for the discerning dancefloor. The Philly collective kicks things off with the spry 'So Soft So Sweet', with an elusively sourced sing-along hook, blazing synth-gasms, and impulsive drums. 'Mishugina Mambo', on the other hand, gleans its inspirations from the classic Sofrito Specials series: bold horns fly in the face of relentless percs, urging everyone and your mother to get moving.

Review: "The message was clear: this was not necessarily music for dancing - even though the rhythms were compelling enough. This was music for the thinkers." When it came to the music of Celestine Ukwu, from where was this message communicated? In his case, it was the coalescing of his fashion sense and performance style, which combined unorthodox dress for highlife musicians - turtlenecks and drab coats - with a polyrhythm-focused, less intense highlife sound. With his bands, most notably The Philosophers National, Ukwu pioneered a more pensive and slow-burning version of the West African style, earning his place in musical history and this compilation of his greatest works.

Review: Four Flies thrillingly reissues Piero Umiliani's soundtrack to the 1969?giallo thrille Orgasmo (curiously retitled Paranoia in English speaking countries), the firstof three erotically charged? ilms directed by Umberto Lenzi and starring cult siren (and Oscar nominee) Following the first ever release of this OST in 2020, this follow-up version hears Four Flies top up the release with a fuller restoration, after some serious detective work in the composer's archives revealed a post-hoc salvaging of the original tapes, where they where first thought to be lost or unusable. Bringing Umiliani's score back to life for all to enjoy, Orgasmo perfectly captures the stylish and sleazy vibe of Lenzi's film, its acid-drenched visuals, and its themes of sick psychological mind games (courtesy of the devious characters played by Swedish enfant terrible Lou Castel and?French beauty?Colette Descombes).

Review: Black Truffle presents a formerly unheard live album by rudra veena master Ustad Zia Mohiuddin Dagar, recorded in the North Indian city of Vrindavan at the Druhpad Samaroh festival in 1982. Dagar was a nineteenth-generation descendant of the musical Dagar family, famed for their meditative approach to the tradition of Hindustani court music. The rudra veena is a large and low-pitched string instrument amplified by two huge, hollowed-out gourds, and Dagar became the first modern dhrupad musician to perform with it as an instrumental soloist. True to form, in this recording of Dagar, in which he performs the night raga 'Yaman Kalyan', we hear all manner of frozen tanpura stasis; twisting, hovering drones; gracefully bent notes. Dagar weaves a complex web, bringing the recording to a fitting, measured conclusion, in contrast to the unrestrained virtuosity rounding off most performances by his contemporaries. This edition is adorned with beautiful archival photographs of Dagar taken by Swedish percussion legend Bengt Berger and accompanied by detailed notes from Bradford Bailey.