On this second, more expansive sampler for his forthcoming album Spaces & Places, Kerri Chandler treats us to tracks inspired by - and by the wonders of mobile recording technology, produced inside - clubs including Dublin's District 8, Glasgow institution Sub Club, Lux of Lisbon and NYC's Output. Of course, the standard is uniformly high throughout - it's classic Chandler from start to finish - but our picks of a very fine bunch include the soulful piano house shimmer of 'Change Your Mind', the thrusting, bass-heavy pump of 'Subbie (Rattle The Subbie Mix)', the effortlessly slick and soulful 'Tenacity (Full Vocal Mix)' and the ludicrously sub-heavy snap of 'See The Light (Dub)'. To borrow an old cliche, this is very much, 'all killer, no filler'.

As part of the 2016 Ghent Film Festival, the first ever 'greatest hits' album for Ryuichi Sakamoto's soundtrack work was released. This retrospective LP compiles the best selections from the entirety of his career, from Merry Christmas Mr. Lawrence to The Revenant. Now reissued 5 years later by Silva Screen, the album sees a wider, exclusive white vinyl edition, capturing the swelling pangs endemic to Sakamoto's music for screen.

Brooklyn heavyweight Your Old Droog is one of the most prolific rappers in the game right now, and following up quickly on his Time LP (which featured the likes of Doom and Edan) comes this sure shot. As ever the beats sport a maverick touch where major label rock gets squashed into a funk and the drums slip and slide around seriously loose grooves. The ideas just spill out of this guy, and he's brought some co-conspirators along for the ride. Look out for Lil Ugly Mane and Billy Woods on 'Meteor Man' and Nickelus F on 'Mojito', all weighing in on another gold standard drop from a supreme mic man and producer extraordinaire.

Original Gravity Records breeze through their quest to 'gravitate to the centre of the universe' on the intergalactic magic carpet that is soul and reggae - their latest comes in the form of 'You Gotta Set Me Free', two incredible 45" cuts for the dancefloor and reinterpretations of the same song by vocalists Raye Cole and Rachel Maxann respectively.

Roger Webb was an accomplished composer and songwriter in the 60s and 70s who wrote for the likes of Shirley Bassey, Johnny Mathis, and Bette Davis, but he also turned his hand to some outstanding library works such as this bright and breezy LP from 1971. With vocals from Barbara Moore (also noted for working with Jimi Hendrix, Elton John, Dusty Springfield and Tom Jones), Vocal Patterns is a mixed bag that veers from kitsch 60s pop to melancholic reflections and more besides. If you want a portal back to a different era, this record will sweep you off your feet and land you right back there.

Mike Dred's contributions to acid and rave culture overall are monumental, although he's largely operated outside any specific scene trends (perhaps excepting the misfit community orbiting Rephlex Records). In 2013 he dropped a fresh salvo of lysergic bombs in the form of Overmind, which has been dutifully scrubbed up for a fresh pressing on silver wax courtesy of De:tuned, one of the labels keeping the braindance dream alive. From the jacking 303 workout of 'Sociosexual' to the wet-as-you-like mutant electro of 'Psychoatomic', this is a collection which manages to be both immediate and utterly idiosyncratic. No one does it quite like Mike Dred.

US downtempo label Cold Busted welcome another global exchange between Cologne's Midan and Kochi, Japan's AHNAMUSICA for a supremely laid back trip through crisp hip-hop beats and smoky jazz samples. The EP leads in with the funked up slinker 'Cool Jazz Lovers', which tells you everything in its title. 'Trying To Find' nods to Bossa Nova in its Brazilian percussion and dreamy female vocals, and 'New Beginnings' strikes a mellow mood for when you want to turn the lights down low. If you're thirsting for the smoothest of grooves, this record has everything you need.

Light Touches Records does what it says on the tin - it 'retouches' and sheds 'light' on old 'records', with a focus on rare groove and Latin music. They're unorthodox, though, in that they don't credit the original artists behind these 'classics', throwing the question as to whether these are legitimate originals - or just clever emulations - up in the air. That shouldn't deter you, though, because 'Cheeky' and 'Weeping Funk' are still killer slices of hypnotic funk: "cheeky chaka" goes the refrain on the samba-esque A, while track two is instrumental, resting squarely between the mournful and the upbeat.