New Jersey house don Kerri Chandler is rightfully lauded as a hero of the scene. He continues to pour his heart and soul into every record and imbue his music with real-world emotions that elevate his tunes. He is of course a master of a deep but driving sound that borrows from soul, funk and jazz in ignitible ways. The third volume of his Lost & Found EP series on his own label Kaoz Theory is packed with more gold, from the slinky depths of 'Let It (Give Me Back My Love)' to the soul staring vocal work of 'Another Dawn' via more paired back sounds on 'The Bassline' (Kerri Dark mix) and the percussive energy of 'The Breeze.' Yet another essential Kerri 12" for your collection.

Swiss producer and DJ Lea Lisa gathers together some of her favorite tracks to play out with in a double pack compilation for Favorite Recordings. As you might be able to tell from some of the artists and tracks on here, Lea likes her house music deep, tracky, sometimes soulful and verging on proper techno. Featured here are key tracks like 'Ekeyz' from Pure Science, the club mix of 'Be There' by Kerri Chandler and 'Blax Thanxs' by Abacus. One very desirable addition is the early 90s gem 'Emotional' by Think. This very strong gathering of deep house tracks may be one of the best this year. Act quick and grab a copy.

One review of All Born Screaming, Annie Clarks seventh album as St Vincent, described it as a "hard reset" - a return to the essence, if not always the aesthetic, of her earliest work, shorn of the overarching concepts and one-off themes that have marked out her work in recent years. So while there's no loose unifying idea behind the set, it does include a lot of rather good songs. For proof, check the low-slung, stripped-backed lo-fi rock of 'Broken Man', the gnarled alt-rock growl of 'Flea' and the fuzzy funkiness of 'Big Time Nothing', which joins the dots between P-funk and flash-fried funk-rock.

In recent interviews, Justice explained that fourth album Hyperdrama - the wildly successful French duo's first for seven years - was born out of the idea of getting elements of disco, funk and electronic music to "fight with each other" (rather than smoother co-existence). Given the forthright and sometimes abrasive nature of their work, it's an idea in keeping with their career to date. Musically, what we get is a mixture of their usual electroclash and rave-inspired riffs and motifs, and basslines, strings and other instrumentation rooted in black dance music of the 1970s and '80s. When the fusion lands - as it does much of the time - it's a unique and thrilling fusion. For proof, check Tama Impala hook-up 'One Night/All Night', the Italo disco/jazz-funk/electro-house fusion of 'Incognito', and the wonderful slow-boogie mutation 'Saturine'.

After more than two decades at the bleeding edge of German techno, Len Faki broke through to the album artist realm with 2023's knockout long player Fusion. Since then he's been exploring the depth, breadth and hidden potential of his tracks with extensive remix commissions, which continue apace with this heavyweight double pack. There are premier league billings such as Luke Slater, Ploy and Modeselektor appearing alongside urgent underground talent like Hardspace, Beste Hira and Amotik, all bringing additional angles to the thunderous impact of Len Faki's signature sound, whether it's psychotropic breakbeat or anthemic, melodic techno you're in search of.

While not one of Black Uhuru's most celebrated albums, Brutal is nonetheless a significant set - one that received a 'best reggae album' nomination following its release in 1986. In keeping with the period, it updated their soulful roots reggae sound for the 1980s by wider use of electronic instrumentation (synthesisers in particular), a high-profile collaboration with Arthur Baker (the grandiose, club-ready 'Great Train Robbery', which boasts many of Baker's production tricks of the period), a surprising amount of eyes-closed rock style guitar solos, and some proper bottom-end action courtesy of Sly & Robbie. Highlights include the reggae-boogie of 'City Vibes', the weighty and dubbed-out 'Dread In The Mountain', and the ear-catching closing cut.

First released in 2009, Let It Roll: Songs By George Harrison delivers a punchy career retrospective focuses not on his biggest hits (though naturally many are present), but rather what are considered his greatest songs. Naturally his three most celebrated Beatles-era songs are present - 'Something', 'While My Guitar Gently Weeps' and 'Here Comes The Sun' - albeit in the form of atmospheric live recording, but the bulk of the material comes from his prolific, post 1970 solo career. It is, then, a fine snapshot of a brilliant songwriter, with highlights including the sublime 'All Things Must Pass', the nostalgic 'All Those Years Ago', the string laden 'Isn't It a Pity', and the instrumental 'Marwa Blues'.

Laufey's GRAMMY-winning sophomore album, 2023's Bewitched, returns in freshly expanded form. Musically, the set is rooted in vintage jazz and classical music, though its perspective - not just lyrically, but in its approach to subtle musical fusion - is undeniably contemporary. It remains a brilliant set, with the Icelandic artist effortlessly flitting between 1930s style smoothness ('Dreamer'), string-laden acoustic jazz ('Second Best'), bossa-nova ('From The Start'), and tributes to the heartfelt works of Nina Simone ('Misty'). This edition also boasts a quartet of bonus cuts, including superb recent single 'Goddess'.