New releases last four weeks: House

Review: The summer is almost here which means this is exactly the sort of record we want to be reaching for. It's a lush and tropical work of idealised disco grooves, deepest house, Balearic, smooth jazz and Mediterranean cool that cries out to be played loud while you sip on cocktails and dream of being somewhere utterly blissful and classy. Dreamy textures define each cut with nice fresh rhythms, glistening chords and lush melodies all sprinkled with delightful percussive detail. Big up to A Vision Of Panorama for serving up a beautiful album that is sure to soundtrack the warmest months of the year for many.

Review: Magic Number is Ross Hillard, a downtempo and orchestral composer whose engineering and bass playing can be heard on an array of releases, most notably for the likes of his own house favourites including Louie Vega, DJ Spen, Kerri Chandler, Lay-Far and Atjazz. Now debuting his first record on the latter artist's eponymous label, Badly Written Songs sounds like a slice of humble pie, but it's actually well-thought out title: in Hillard's own words, "(it's) a tongue-in-cheek reference to how transient electronic music can be." Thus, writing songs in this genre might not have been the most sensible and sustainable idea - but we all love house music, so we put everything into it, hoping that people don't discard it too soon. True to an engineer's tastes, the album is ultra-dynamic and bright throughout, serving up a consistent guest-vocal steeze reminiscent of Charles Webster or Herbert's gravitas.

Review: Broken beat hero Kaidi Tatham steps forth with the first in a series of all-star remix albums of the Reel People Music back catalogue. Over an impressive ten tracks, Tatham sashays between syrupy soul slo-jams, virtuosic broken beat trips, almost UK funky-esque live jams, and acoustic boom bap beats. Percies include the sweeter-than-molasses opening flip of Sebb Junior's 'All My Life', his sassy, stripped-back version of Daz-I-Kue and Hadiya George's 'Pedigree' and a dazzlingly technical re-run of the Monkey Brothers' 'Losin my Head.' With this anthology, Tatham proves that London's broken beat scene continues to flourish, and his boundary-hopping style is as relevant as ever.