If you want a snapshot of where London’s more cultured soul boys and girls are at these days then tune in.

insistent acoustic motifs twist in on themselves, hypnotising all those within earshot before fading out to let the drone have its moment in the sun and show off it's lysergic charm.

“Chrysanthemum” goes all suitably flower power, paving the way with petals for the title track’s creamy acid-folk

there’s a distinctly lounge music vibe running throughout, albeit a cosmic kitsch one

a natural foil to the minimal instrumentation and processed sounds that are artfully collaged into detailed soundscapes

if languid, somewhat wistful, subtly electronic injected folk with earthy, relatable tales are the order of the day then Great Horned Owl will see you right.

if you need a dose of instrumental soul and funk with a real deal '60s and '70s golden age vibe straight from analogue heaven in Cincinnati, Ohio then look no further

“Circle of Dust” sprouts muted beats and even vaguely euphoric synth pads amongst the ambient dubiness, before the track morphs into the soul infused abstract machine haziness that they do better than most.

Jazz fans get straight over to this album, it’s like the good old, bad old days all over again.

drops the dance floor designs for a lovely warm Sunday morning vibe, even daring to venture north of the border on “Favela“ to pay respects to the care free bossa sounds of their neighbours.

a stunningly constructed blend of field recordings, minimal piano and ambient textures that will keep the attentive headphone clad listener busy

the LP with a bang and an insistent groove, with Garwood’s one man jazz funk horn section, haunting guitar atmospherics and spoken words conjuring a swampy, noirish jazz blues vibe, something of a recurring theme

Perhaps he’s mellowing with age, but those beats have been left in a club somewhere, replaced with a decidedly modern ambient sound, that still retains a cultured ethereal sensibility.

The album is a start to finish meditative joy, a welcome return from Guidry and an auspicious start to her label.

Purkins and The Co-Operators more than do their part, laying down deep warm roots riddim after riddim with all the right amounts of Pablo blessed melodica, countryman flute, righteous horns and choice effects.

introducing his new found guitar chops with some thoughtful picking that sets a warm tone before introducing some cosmically inclined ambient synths and sax to make smooth jazz cool again

he’s just released this eye opening snapshot of the British folk underground, and when I say underground I mean it.

Just as you think he might be laying his hat in more folky terrain he's off on an electroacoustic, voyage full of precision placed and played micro-sounds that gives folktronica a cosmic Americana injection

her music is restless and hard to pin down, veering from minimal piano to club ready beats and all sorts of ambient experiments.

This new LP sees him descend from the new age stratosphere for a somewhat more grounded release, his usual wispy, well meaning electronica part exchanged for the more gravity beholden autoharp, upright piano and vintage Yamaha keyboard

twists up a serious dub meets dancehall cone, before Tiiu Helinä drops a heavyweight ethereal floater to remind reggae’s digi-misfits that they’ll always have a home in Lepzig.

Dadaman, with his innate Afro-funkiness and vision, squeezes every ounce out of his gear to turn up the bounce, swing and party potential to eleven

Whether it’s her original compositions or tributes to less heralded greats, Glass just digs that bit deeper and twists those familiar sounds that bit more

Mycelial bioluminescence takes just what’s needed from real world instruments and distributes the micro-samples where required, and so it continues, track after blissful track