Micky More & Andy Tee's Groove Culture delivers a fresh spin on jazz-funk classics with a new 7-inch release. The Side-1 features a dj-friendly cover of Lonnie Liston Smith's 'Expansions,' blending disco and house with a funk-driven bassline, soulful vocals, and beautiful keys. On Side-2, it offers a high-energy remake of Light Of The World's 'Time,' featuring Angela Johnson's powerful diva vocals. This track shines with its lively disco vibe, sax intro and dancefloor appeal. Both tracks encapsulate the essence of fun disco and soul and should appeal to a wide range of dance music fans old and young.

Despite his years of dedication to the Balearic scene - not to mention a string of fine albums under the Cantoma alias - Phil Mison doesn't get nearly enough recognition for his achievements. Perhaps his latest album, the undeniably gorgeous See The Sun, will finally provide him with a wider breakthrough. Whether it does or not, it's a genuinely wonderful album that sees Mison wrap his usual uber-Balearic instrumentation - samba-soaked acoustic guitar chords, Flamenco style classic guitar solos, kaleidoscopic synth sounds, sweet male and female vocals, lilting French horn motifs and so on - around grooves that range from slow motion shufflers, and Latin tinged headiness, to organic house rhythms and luscious nu-disco beats. All of Mison's Cantoma albums are excellent but See The Sun really could be his best to date.

Star People by the legendary Miles Davis stands as a distinctive piece in his extensive discography, marking both beginnings and endings in his career. Notably, it introduces electric guitarist John Scofield, who was recommended by saxophonist Bill Evans, and features bassist Marcus Miller on several tracks. The album also signifies the final collaboration between Davis and longtime producer Teo Macero, as well as his last work with the renowned Gil Evans. This album showcases Davis's innovative spirit, particularly on the 18-minute title track, where he plays trumpet and Oberheim synthesiser simultaneously, creating an expansive blues composition without overdubs. The rhythm section, featuring guitarist Mike Stern, drummer Al Foster and percussionist Mino Cinelu, complements Davis's explorations with a dynamic groove. Star People also features live recordings like 'Come Get It' and 'Speak,' highlighting the energy of Davis's performances while pushing the boundaries of the LP format. The album's front cover, adorned with Miles's own artwork, and liner notes by jazz critic Leonard Feather, add depth to this unique release, and for fans of Davis's work from this era, Star People is a compelling listen with the innovative appeal of his late-career experiments.

Unlike Esperanto - the somewhat abortive, yet very real attempt to synthesise a universal language out of PIE and Latin roots - the classic drum & bass production outfit Universal Project has other ideas. To put it another way: rather than stooping to lowly attempts at attaining universal harmony through an actual invented language, this artist prefers the somatic language that is wicked techstep and/or drumfunk of the tonkest variety. Quoting not Zamenhoff nor Kant but Bob Marley in the liner notes of this one, "music is the one that is the hero. It is the universal language, and we carry a certain message." We open with Jubei's remix of 'Bleach' and 'Funk'd Up', both of which cram mega-echo'd rugger shouts and niggling sawbasses between essential jump-up pumps; meanwhile, Zero T's remix of 'Glock' and 'Zero DB' both err more minimal but are no less heavy, with the latter especially recalling the oversaturated drumwork of the legend Dillinja not least.

FLASHX 26 delivers a potent collection of techno tracks, featuring five different artists on Flash records, out of Germany. Side-1 opens with Mython's 'The First Of The Old,' a track that combines airy, expansive techno with heavy, dominating dub chords, creating a sound that feels both vast and powerful. Jonas Xenon's '2019' follows, unleashing a punishing, sci-fi inspired piece of machine music that hits hard with its relentless energy. On Side-2, Karenz's 'Ground,' is a strong, energetic builder that drives forward with unwavering intensity. Morgenstern's 'Orinoco Opiate' adds a deeper, tribal groove, pulling listeners into its rhythmic embrace. Closing the record is Idu Berg's 'Spool B,' a track that ventures into alien territory, adding an intriguing and otherworldly edge to the compilation. Pressed on a striking limited splattered vinyl 12", FLASHX 26 is a showcase of diverse, high-quality techno, each track bringing its own unique flavor to this compelling release.

Iam8bit US brings the beloved RPG's soundtrack Sea Of Stars to vinyl with striking Solar Orange and Lunar Blue discs. Composed by Eric W. Brown and featuring contributions from Yasunori Mitsuda, this release distills the game's full musical range into the most captivating melodies and themes. The album art by Bryce Kho enhances the package, adding a visual delight that matches the audio's whimsical and emotive highs. This slimmed-down selection not only showcases the best of the game's music but also marks its first vinyl appearance, making it a must-have for fans and collectors alike who wish to experience the game's acclaimed soundtrack in a new, tangible format.

Aloha Got Soul is pleased to announce Bitta Attack, the newest release from Jah Gumby. Based in Palolo Valley, Honolulu, the producer and multi-instrumentalist brings shimmering musical diversity and crate-digging sensibility to his four-track EP. Two high-energy, progressive reggae tunes, 'Dine An' Dash' and 'Influencers.m.h.', trace a link to his 2018 release Humility: The Vibes of Jah G, a double LP that presented Gumby's masterful ability to craft rich arrangements with overwhelming instrumental density. Continuing this tradition, Bitta Attack hears an expansion of Gumby's galaxy, introducing listeners to his love of freestyle music, the electronic New York dance genre made popular in the late 1980s and early 1990s. Both tracks derive heavily from freestyle's rhythm, cadence and synth-heavy production, though it fuses this with Jah Gumby's already established yet unique style, resulting in something unlike anything you've ever heard before.

Longtime synthpop, future dance and "washed-out" musician and DJ Teen Daze (Jamison Isaak) presents Elegant Rhythms, his latest and most personal album to date. After several years of exploring music made for a dancefloor, Elegant Rhythms is more indebted to the singer songwriters of the 70s, the sophisti-pop sounds of the 80s and the vaporwave sounds of the 10s. Negating the showoff approach - of artists gloating of how little time it took to make a song or record - Isaak does the opposite, drawing attention to the album's four-year making, and its production in parallel to other releases that do not share its scale and sense of personhood. An album developed with the express purpose of expressing personal development - facing trauma, growing older, holding true to questions of purpose - something resolute wafts from its autotuned falsettos and prismoid reflections of R&B, soul and electronische musik, the mercurial highlights of which have to be 'We're Out Of Phase Again' and 'HST Underwater'.