Championed by the likes of Phil Asher and Mark Force, it's an excellent four tracker, the standouts being the Karizma-style title track and ‘Keep It Moving’, both sticking to stripped down breakbeat-driven beats and basic-but-effective old school rave riffs. But don't pass over the bass-heavy deep house cut ‘Right Beside You’ and ‘My Getaway’, with an excellent spoken word vocal from Tim'm West.

Another spoken word track to check is Charles Dockin's ‘I Gotcha Back’. Out on More House, it comes with fairly run-of-the-mill tech-house remixes but it's the original version which shines combining simple piano chords, an addictive running synth line and a driving house beat, punctuated by live drumming breakdowns.

The Muthafunkaz have a pretty decent cover of War's classic ‘Galaxy’ out on Code Red. It's not exactly a major departure from the original but none the worse for that. It comes with two dub mixes focusing respectively on the horn and piano elements, a space sounds FX DJ tool and two rather forgettable mixes by Spellband.

Sticking with the jazz disco theme, ‘Nightlife’, the debut release on Future Soul records (which seems to be a vinyl only outfit for now) is a slab of midtempo jazz funk soul from John Arnold and Jeremy Ellis (also known as Ayro). The bass and electric piano of the original recall Lonnie Liston Smith's ‘A Chance For Peace’ while the electric guitar riff brings to mind James Mason's classic ‘Rhythm Of Life’. On the flip is an absolute monster bruk disco cut courtesy of Daz I Kue, who emphasises the strings and takes the tempo up a notch.

The man from Atlanta also pops up on Ajabu with two remixes of Cecilia Stalin's ‘Afro Blue’. ‘Introduction’ retains the Latin jazz flavour while the more dancefloor orientated Future remix beefs up the drums. There's a more downtempo afrobeat influenced mix by Drew Beats while Soulparlor's too short interpretation adds strings 'n things.

Soulparlor keep up the broken boogie pressure with ‘Back Up Train’ on the German outfit's first release for Raw Fusion. It features strings, vibes, boogie bass synth and vocal keyboard harmonies reminiscent of Herbie Hancock's ‘I Thought It Was You’. ‘In Harmony’ is a midtempo jazz house groover while ‘The Outer Rims’ ventures into broken techno territory. Recloose channels Carl Craig to deliver an epic Detroit twist on the latter.

Detroit's Exchange Bureau Music have an excellent compilation out on limited CD. ‘Assorted Good Vol. 1’ covers the gamut of current Motor City music styles with Brownstudy and Octane's hip-hop, Blackstone's p-funk, Andy Toth and Billy Love's nod to 1980s Prince. Uptempo cuts include the simple but hypnotic Pat Nice dub of Midnite Jackers' ‘If You Only Knew’ and Ibex's ‘Phoenix’. Daz I Kue's otherwise great remix of Exchange Bureau's own ‘The End Of Me And You’ is marred by really naff autotuning of the vocals but Alton Miller's ‘Inner 8’ is a gorgeous slice of afro-broken deepness.

Senegal's Funkanala see their ‘Be There Tomorrow’ retooled on Here And Now. Nigel Hayes comes up with a reasonable afro-house track but it's the Yam Who? rework which really takes it in a fresh direction marrying the original's afrobeat with disco and boogie, their signature synths and electric guitar surprisingly complementing the African chants.

Joey Negro's ‘Man At War’ has been on promo at Traxsource for a while and is now available on full release from Z Records. Yam Who? again add their 1980s influenced magic to ‘Everything's Gonna Be Ok’. The title track is decent enough but only comes to life in the hands of The Idjut Boys who use Pete Wilson's vocal more sparingly and conjure a space disco monster, mainly from the breakdown sections. Probably the most interesting track on the EP is ‘After Dusk’, where Dave Lee displays his unerring ability to capture the spirit of classic tunes to create something new. The main template is Maze's cult 1984 tune ‘Twilight; but there are also slowed down hints of Strafe's ‘Set It Off’ in the drum pattern. The piano adds a Balearic angle which is accentuated by the echo-laden breakdown.

Even though IG Culture's recent remixes are still doing the business on the dancefloor, Reel People's ‘Outta Love’ sees yet another remix, this time from Fresh Minute's Souled. It sounds like this might have been rejected originally as the production on it is identical to ‘Bike Chain’ from Souled's 2008 EP but sounds, if anything, better this time embellished with Omar's vocals. It's not the first time a rejected remix turns up in a different guise, Farley and Heller's ‘Ultra Flava’ started life as a remix for Ultra Naté's ‘How Long’ and Masters At Work's classic ‘Bounce’ was originally a remix of Incognito's Everyday.

After a long hiatus - his last track of note being the excellent but unreleased remix of Erykah Badu's Honey last year - Seiji's back with a stormer of a remix of Waxolutionist’s ‘Dance With Me’. Out on Austrian label Sunshine Enterprise, it picks up where ‘Honey’ left off in combining techno and dubstep with broken beat.

Returning from an even longer hiatus of six years is Swedish artist Chuck Cogan who has a pair of releases on Sole. ‘Satellites’ - clocking in over 10 minutes - is an epic deep house track featuring lush instrumentation and percussion that wouldn't sound out of place on Osunlade's Yoruba imprint. There's a more concise edit from label boss Stevie Sole while the third track ‘Stargazer’ (not a cover of the Dexter Wansel classic) keeps the Yoruba records theme, its squelchy synth riff among other things, similar to Afefe Iku's classic ‘A 30 Minute Boat Ride To Lamu Town’ from last year. The second release, ‘No More Heroes’ works more of a Detroit influence while the excellent ‘No More Time’ pushes the early 1990s old school button with nice pads, skipping crunchy snares and a big bouncy bassline.