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2025 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

DJ Support: Louie Vega, Dave Lee, Mousse T, The Brothers Macklovitch, Folamour, Bellaire, Moonboots, DJ Spen, Terry Hunter, Michael Gray, Dr Packer, JKriv, The Shapeshifters, Moplen, Melvo Baptiste, Saucy Lady, Tedd Patterson, John Morales, Maurice Joshua, DJ Minx, DJ Dove and DJ Disciple.

Big Love return with EP 7 in the A Touch Of Love vinyl series. Label head Seamus Haji kicks off proceedings with his popular ‘Disco Dreams’ feat Chicago legend Mike Dunn on vocals given a fresh new lick by Toronto’s jackin’ house master Hatiras. Shawn Christopher‘s 90’s house classic ‘Don’t Lose The Magic’ gets a sublimely soulful update from Chicago’s Emmaculate. On the flip side we have 2 French House veterans with Art Of Tones serving up the Chic inspired disco beauty ‘Hoping For Another Chance’ followed by Yass feat the vocal powerhouse Michelle Weeks on the disco driven gospel stormer ‘Hallelujah’.

By popular demand, Far Out are delighted to present Estatica- remastered edition of the classic 2010 album from the original Rio beach boy Marcos Valle
Evoking his Carioca sound - where expansive orchestral sweep meets beautiful melody and complex harmony - Valle mixes perfect romantic bossa-pop with cinematic brass and strings. This recording explores a six decade career that has swung between pop, bossa nova, delicate psychedelia, jazz, and funk. Responsible for bossa classic 'Summer Samba (So Nice)' Valle has collaborated with Leon Ware, Sarah Vaughan, & Chicago, seen his track 'Ele E Ela' sampled by Jay Z for Blueprint 3, and his songs recorded by the likes of Frank Sinatra and Bebel Gilberto.

We present an EP from two house masters Artem Stan & Matpri on Analog Concept records.

This record was born like in the classic 90s from jam sessions in the studio, when musicians caught the groove and connected their deep universes, showing true love for house music. Everything is combined here - the sound of drum machines 909 and not only, atmospheric acid impulses of 303, classic pads that paint these paintings bright and filled with deep meaning, as well as much more. Amazing two sides and four compositions, each with its own story.

The Midnight Seduction track opens the telling of these stories on side A. From the first seconds, immersing in the atmosphere of synthesizer temptation, the analog bass line combined with the default drum section and elements of bright metal claps quickly gain the necessary energy and immerse in the images of a closed nightclub with long corridors and hidden dance floors. The light plume of the classic M1 organ and the accentuating Acid lead maintain balance. Secret nocturnal seduction, light ecstasy and an atmosphere of love.

French Kiss - everything is great here, as soon as you listen to the harmony of accordion-like synthesizers and deeply addictive pads, you are instantly transported to the image of Parisian streets. Elements of bells, a rhythm section filled with unpredictable percussion, acid inclusions and an unexpected immersion into a broken beat in the middle of the composition, a real deep French kiss.

Matpri is known for its sophisticated approach to music and is rightfully the guru of micro and minimal house. Having created the maximum sound quality of the rhythm section and the deep bass that was addictive from the first seconds, mixing old-school vibe, while not losing touch with his minimalistic sound image, he filled the House Template track with the smallest details and percussion, which is confidently based on the B-side.

Four certainly high-quality compositions were created in the studio of Artem Stan in the mountains of Krasnaya Polyana and one of the tracks on the B-side - "Nasha Polyana" - is dedicated to this location, it conveys a certain playful atmosphere of a mountain village with a vibe of complete freedom and daily carefree. A complete release with decent house music.

Nach ihrer gemeinsamen Interpretation von I See A Darkness mit Perfume Genius kündigt Anna Calvi die neue EP Is This All There Is? an, die am 20. März erscheint. Die vier Songs versammeln Kollaborationen mit Perfume Genius, Iggy Pop, Laurie Anderson und Matt Berninger.

Eröffnet wird die EP von God’s Lonely Man, in dem Calvi Iggy Pop die Stimme eines zerstörerischen inneren Monologs überlässt. Der Song ist von nervöser Energie getragen: kantige Gitarren, antreibende Drums, eine direkte Konfrontation mit emotionaler Stagnation. Pop verkörpert dabei genau jene rohe Präsenz, die Calvi für die Erzählung suchte.

Seht und hört "God´s Lonely Man" HIER.

Is This All There Is? bildet den ersten Teil einer geplanten Trilogie, die Identität als etwas Veränderliches begreift, geformt durch Nähe, Liebe und biografische Brüche. Ausgangspunkt ist Calvis eigene Erfahrung des Mutterwerdens, die ihren Blick auf Sicherheit, Verantwortung und Möglichkeiten verschoben hat. Die EP kreist um grundlegende Fragen moderner Existenz: Wie lässt sich Intimität neu denken? Was bedeutet es, sich wirklich verbunden zu fühlen? Und wann fühlt man sich wach?

Neben dem bereits veröffentlichten I See A Darkness interpretiert Calvi gemeinsam mit Laurie Anderson Kraftwerks Computer Love neu. Mit Andersons Stimme im Zentrum und choralen Arrangements entsteht ein Stück über digitale Nähe und emotionale Distanz. In ihrer Gesamtheit wirkt die EP wie ein zusammenhängender filmischer Bogen – vier Songs, vier Perspektiven, eine fortlaufende Erzählung.
Is This All There Is? versteht Kollaboration nicht als Zusatz, sondern als Strukturprinzip: Die Stimmen der Beteiligten werden zu Figuren innerhalb eines gemeinsamen Klangraums, in dem Fragen offen bleiben dürfen.

2026 Repress

French DJ/producer Mathys Lenne's artistic vision is rooted in his deep connection to rhythm. Telling stories with his sounds while drawing inspiration from poetry and cinema and blending hypnotic textures with raw intensity, his music is widely supported across the scene via labels like Mord, Hayes and more. Across five vinyl cuts and three digital bonuses, the four-deck wizard keeps it deeply atmospheric with his label debut on SHDW's Mutual Rytm imprint, combining elements of psychedelic rock, unique voice samples and saturated synths to create a sound that feels immersive and unrestrained in contrast to the fast-paced, visceral techno he has become known for.

'Detlev' opens up with hefty kicks that demand you quicken your step, while industrial effects and creepy design brings the detail that makes the track pop. The classy 'Natural Born Killers' rides on firm kicks with loopy percussive details tightly coiled, ensuring you are forever on edge as the drums march on. 'Choose Your Pill' is a stripped-back and pulsing deep techno cut with deft synths that peel off the groove, before 'Untidy Echo' delivers a cavernous sound with sparse hits and low-end rumbles that place you in the centre of an underground cavern. 'Enfer ou Ciel' featuring D.E.S brings a sense of melancholy in the occasional string sounds and watery droplets that float over more frictionless, meditative beats - while the trio of digital bonus cuts brings moody subterranean rollers ranging
from snaking and dubby to more drum-led and eerie tones.

Mean Field Mutation is a thermodynamic phenomenon occurring just below the vaporization point of voracious growth. It relies on the debris of false and almost forgotten narratives. Astral residue of consumer angst, echoes of obsolete newspeak and oscillations of promotional imbecilities collide with free floating particles hovering under the radar of the megamachine. In steady intervals, this results in a meltdown producing random waves of reconfigurations driven by cryptic but sanguine naivety.
Released on Lustpoderosa, Mean Field Mutation is the first musical output by Des Coda. Written and produced by Piero Scherer during the pandemic winter of 2021 in his bedroom studio in Zurich. Moving between playful
serenity and feral distortion, it was produced by layering sounds from field recordings, radio and TV clips, as wellas sequences from drum machines and analogue synthesizers. Taking a stance against commercial copyright, all stems of this production are available for download free of charge and ready to be reappropriated.
Des Coda is an open field for collaborative, cultural experiments beyond the conventional understanding of authorship and representation. It engages with an artistic position that defines the creative process as an interplay between context and concept. The resulting work is not a rigid product of authoritarian ingenuity, but a sensitive, living organism guided by the tensions between society and individual. Des Coda is the zestful curiosity rummaging through the rubble of the present in search of future aesthetics.

On this album the former "Chasing Clouds" have accumilated into the eponymous "Black Sky"; these drifting soundclouds have swallowed a bulk of Sepalot´s sunny nature; his trademark relaxed attitude gave way to instrumental melancholy and pugnacity. "Before I started recording I listened to lots of The Doors songs. I found the suicidal aspect in their music very exciting. I totally inhaled it." Sepalot reports. "The breakage, the grid, the dirt - that was my inspiration. I was thirsty for the energy of pureness." In order to capture this roughness Sepalots first production steps were drafting soundsketches - often more than 100 in a row. This is then is followed by a sorting procees with many drafts going immediately into the trashcan. The survivors create the first basic draft.
There is something waiting in the wings. Don´t fear the storm, come outside with us... "Black Sky" is here.
Clemens Brentano: "These sounds are a wonderfull living breath of darkness"

We Release JAZZ is very happy to announce the limited vinyl edition of Obad’s powerful new album Suspended, a vivid document of the Tehran ensemble’s endlessly evolving sonic universe — now available as a limited LP housed in a heavyweight sleeve with an Obi strip and featuring original artwork by Iranian painter Sadra Baniasadi.
Suspended is a superbly spontaneous, improvisational blend of exploratory jazz fusion, progressive funk-rock, and transcendental groove. Built from lived experience and shaped by Tehran’s pulse, Obad’s music is kinetic and intuitive — an ever-morphing dialogue between rhythm and texture, emotion and message.
With Farid Farzian Pour on drums, Siavash Karimi on electric guitar, Kiarash Radmehr on bass guitar, and Hamidreza Keshavrpajuh (aka Pajuh) on tenor saxophone, Obad creates a soundworld where hypnotic basslines meet thunderous, free-flowing percussion; where searing guitar motifs coil around saxophone phrases that move from whispered invocation to explosive catharsis. Suspended captures the quartet at full creative stretch: alive, unguarded, and deeply attuned to one another.
Sadra Baniasadi’s striking cover painting mirrors the album’s energy — bold, dreamlike, charged with movement, and extending Obad’s world into the visual realm.
Suspended stands as a major statement from one of Iran’s most compelling contemporary ensembles, marking Obad’s first release on We Release JAZZ and continuing the label’s commitment to boundary-pushing music born from profound listening, place, and collective intuition.

Todh Teri returns with a brand new record, and this time the spotlight falls on Hari Heart. The Return of Hari Heart marks the eighth release on Masala Movement Records and launches a fresh vinyl-only series that brings the mythical characters of Deep In India back to life in a bold new form. Todh Teri further expands his conceptual universe by focusing on deeper sonics & music explorations. Hari Heart guides the release with a delicious blend of nostalgia, analog warmth and a club-ready intentions - built for curious DJs (and listeners alike).

On the A side you will find Smriti (Remembrance) - a reimagined classic flipped into a peak-time driver - disco spirit, acid bite, and pure dancefloor release. Limited, loud, and made to move bodies. On the flipside we have ??a (Debt) - a deep, dubby slow-burn built around an evergreen melody which grows patiently - finally rewarding you with a sweet earworm.

The final tune on the record is Prem (Love) - a reinterpretation of a ’70s indie rock n roll gem. Unmistakably retrospective (if you know your history). Play it a bit longer into the dead wax, and you will catch a hidden acid sequence locked groove.

Art by Soju Aduckathil with creative direction from Masala Movement’s Manoj Kurian. This is the label’s eighth release, a vinyl-only exclusive, with more coming in 2026.

2026 Repress

Georgian powerhouse Yanamaste drops long-anticipated new EP on Mutual Rytm.

In-demand DJ/producer Yanamaste is a resident at Georgia's renowned Khidi Club and a key part of Amsterdam's Vault Sessions crew. His unique sound and fresh creative approach result in raw and visceral techno, reflecting his passion for pushing boundaries and showcased perfectly via his 'Dance' EP on Vault last year. Now, he returns with an EP born out of the creative process behind his live set with a debut appearance on SHDW's Mutual Rytm, 'Evil' - a collection of heavily-requested tracks that have already made an impact after featuring in his Boiler Room and Stone Techno Festival livestream.

'Evil' kicks things off with perfectly rubbery, funky drum patterns and an urgent sense of movement that sweeps you off your feet. 'Lahante' is more percussive, with busy snares riding the rolling, forceful drums and stark synths arresting your attention. 'Dragonfly' is perfectly reduced via minimal drums intertwined with thunderous effects and ghoulish energy, while 'Modulation Detected' has a more cosmic feel as it journeys into the future with whispered spoken words and synths searching across the face of the groove. Last but not least is the irresistible broken beat goodness of 'Walking On Mars', with its swinging kicks and vast bassline spraying about the mix beneath hypnotic melodic patterns.

Two superb bonus cuts, 'Ohohoi' and 'Pwiu', are also provided for digital buyers, bringing further gems loaded with moody depths and compelling rhythms.

RENEGADE METHODZ presents ENACT

5 YEARS RM - MUSIC WITH THE FORCE OF FUTURE

Celebrating five years deep in the trenches of techno resistance, the Greek label presents ENACT, a Various Artists compilation that captures the ethos of Renegade Methodz in its purest form and collects together a carefully selected group of music that embodies the Renegade Methodz philosophy.

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.

French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.

Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.

Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.

Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.

Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

Somewhere between revelation and delusion, Euphoria Bound maps a familiar trajectory: the irresistible pull towards dissolution, the gradual erasure of memory, the self rendered irretrievable. It moves between states of consciousness where such distinctions of enlightenment or self-deception are erased.

Across ten tracks, the album constructs a spectrum of sound that is both ambitious and Uncompromising. The approach here is more direct than recent releases, with textures that accumulate and disintegrate with renewed urgency.

Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

Somewhere long ago in a vinyl galaxy near you We Play House Recordings released an E.P. called ‘This Is Still Belgium Vol 1’. The release was called like that because the music on it could only have been made by Belgians. Vol 2 never happened…until now. Label boss Red D has always been inspired by the rich Belgian club music of the 90’s and inevitably those influences have sneaked into his own productions, but never as clear as on the three tracks you are reading about now.

And so the original WPH series has been revived with WPH 024.5, aptly called ‘This Is Still Belgium Vol 2’. The music is situated somewhere between house, progressive house and early trance music, basically club music with soul & melody at its core.

On the A-side we find Red D teaming up with his friend Mona Lee, a soul sister who has been making waves in recent years in soulful house circles and who comes up with the vocal prowess to match Red D’s emotional trip of a track and heartfelt lyrics. Can you handle the break?

The B-side opens up with ‘Tides’, a deep hypnotic builder for late night eyes-closed dance floors and closes with ‘Papillon’, a track that came to life long ago in the minds of Telepaticos (Marcos Salon & Sandro Valcke). When Red D heard a demo version of this one the melody got stuck in his head and never really left him. Many moons later he rediscovered the parts of this one on a hard drive and got to work on his interpretation that features on this E.P. Safe to say the track holds a special place in Red D’s heart and we’re sure you’ll feel it as well!

Marcus Paulson returns to MOS with four cuts of raw, emotive jacking house from Manchester to Amsterdam. Carefully selected and road tested by Aroy Dee we got a mix of good vibe melodies with a proper 90s warehouse feel.

SuckaSide know how to drop red-hot edits that perfectly balance club-ready grooves with catchy samples from contemporary chart greats from across a range of styles. This time they bring some fresh amapiano and Afrohouse versions on their latest 45rpm. 'Pink + White' (remix) is first and has a mid-tempo sway with heartfelt and tender piano chords and a vulnerable vocal, all serving to get you in a smoochy mood. On the flip are more bubbly beats and jazzy chords, lounge vibes and Percy r&b vocal samples courtesy of 'What Do You Say' (remix). It's an intimate sound for low-lit clubs when the air is thick with romantic tension.

Renowned party DJ, producer and collector The Gaff deals in all sorts of global grooves and here links up with Caleb Hart, who was born in Tobago and is now based on the west coast of Canada. They collide their vast inspirations into a global bass banger inspired by years of crate digging. 'Let's Build' is a big sound with big drums, dark synth grooves and hooky future soul as well as a sleazy vocal. Calypso, bass house and a dark piano all collide in HD colour. The instrumental is no slouch either, and both of these are sure to bring the heat this winter and beyond.