We Actually Like #10

Flying Lotus – Until The Quiet Comes LP. 
Flylo moves further into the jazz territory of his heritage, still full of rusty off kilter percussion – but less head nod/hip hop than anything previous and more introspective. The whole album hangs together like a single piece of music, with similar organic textures throughout. I don't like a lot of the glitch hop nonsense that comes out of LA, its usually musically horrendous, but Flying Lotus has always appeared on a different level and with this LP I get the sense he's maturing into an artist proper, who'll stand the test of time and outlive the current fad for LA beat music.  (Joe)

Skull Snaps – S/T
Recently I've been digging into the funk and soul scene's rich history and this gem of an LP from 1973 has barely left my record player since I picked it up. Sampled by a whole host of producers, including Jazzy Jeff, DJ Shadow and The Prodigy, the album has plenty of stand-out tracks, but the pick of the bunch of me is the thumping Northern Soul stylings of opening track 'My Hang Up Is You'. Soaring strings driving percussion combine with effortlessly smooth vocals to create something special. Patrick

Hercules & Love Affair – New Look (!K7)

Not been feeling a great deal of what has been bestowed on my lucky ears… but this column isn't about being negative so I'm plumping for something from last week. Praise be for the ever dependably great hand of  Andy Butler and a remix he's done with Mark Pistel of his Hercules & Love Affair Release. Part of the !K7 27 celebrations it's FREEE too.  Grab it here. Keep the love, enjoy the weekend. Love man, love. (Wil)

Lee Gamble – Emu (Diversions 1994-1996)

Constituted entirely by his collection of Jungle mixtape cassettes, this mostly glides through cavernous expanses, largely beatless but full in its protuberances and recesses. A memorializing sample-collage with occasional jolts of that distinct, arrhythmical, percussive frenzy (especially on 'Dollis Hill') often associated with the genre thats profoundly evoked here. It may take a little time for it to reveal itself completely but when it does its time well spent.

Cut by Rashad Becker (who seems to 'cut' anything remotely decent) with artwork by Kathryn Politis (who also did Vessel's latest – review here), this comes out on Bill Kouligas' PAN label, which judged on the basis of this release, demands further listening. (Tim)