Breakbeat charts

Review: The Cult had their fair share of phases from the inception in the early 80s, with Ian Astbury and Billy Duffy forming the nexus of the band through various line-ups. Their self-titled album (known as Black Sheep to the band's devoted fanbase) from 1994 captures them shortly before breaking up for the first time, when Astbury and Duffy were at odds with each other and recording their parts in separate sessions. You wouldn't know to hear this cohesive, clear-sighted slab of early 90s rock, where detectable grooves sneak in amongst the hooky riffs and Astbury's gutsy delivery. It's also one of the most personal albums for the singer, tackling some deeply personal subject matter and making for a unique point in a perennial band in UK rock history.

Review: French house duo Cassius are undersung stars of the genre. Their cuspate millennial smash 'Cassius 1999' marked out well the fervour of the time, fizzing against our ears with its liminal "don't" vox, creep-in bass, brushup rides and stinger Morricone chords, which all build to a laggard but crucial French house wahher. A full-length album followed, exploring the same themes: and now the duo share a new "tool" version of the record, which pares the each of said debut LP's tracks to their barest bones. An "homage to our early experiments with endless loops", 1999 DJ Tool celebrates the long-form, live set cutup approach necessitated by their many European tour dates during the early noughts.

Review: Whatever you were expecting from an album named 'Superflous', forget it. An exploration into all the many paths of light that refract from the prism of house music, Bagarre commands the dancefloor with every track, placing specific emphasis on keys - a side of the genre that the mainstream has fallen out of love with in recent years. The silky smooth jazz house of 'Espirit Coubertin', a more classic NYC brand of vocal house (beset with 80s synth phrases) in 'Truman Flow' and a divulgence into some driving piano acid house with chopped up vocals in 'Annees Folles' to even a more modern, turn of the century approach with the big hit 'Eurovision' - I could go on. A wonderful and tight package, this LP almost feels like a compilation for how varied and versatile the tracks are. The packaging being one of the selling points of course, the carbon impact of the vinyl production promising to be compensated by a French organisation. You certainly don't have to feel bad about dancing to this now.