With Lau Ro’s debut solo LP arriving next month, we revisit Wax Machine’s 2023 album, a useful point of reference for the Brighton musician’s forthcoming work. Prior to stepping out under his own name, Ro was already pulling together a wide range of influences encasing jazz, funk, bossa nova, rock and folk traditions from across the globe into something distinctly his own.

Masayoshi Takanaka’s All of Me, originally issued in 1979, gathers material from the guitarist’s early solo run into a remarkably fluid sequence. Reissued for 2026 Japan Record Store Day and newly remastered at Abbey Road, the collection still moves with startling ease: polished AOR, tropical fusion, bossa drift, and instrumental pop unfolding in long, sunlit lines.

South London, early 1983. On For a Reason, Charles Bullen and Julius Cornelius Samuel pull away from the tightly wound scaffolding of This Heat into something slower, heavier, and more open-ended. Basslines circulate, rhythms drift, and dub space begins to overtake the frame. Forty years later, the record still feels uncannily present after dark.

Recorded in 1974, the album is the nexus of the musical and spiritual philosophies of Jamaica’s own heavyweight saxophone colossus, Cedric IM Brooks. Over the course of his career, Brooks divined a sound that combined Jamaican musical traditions and jazz that stood on its own ground amid the full bloom of reggae and dub in the 1970s, while also traveling a parallel route alongside the kindred ensembles of Fela Kuti and Sun Ra.

For 37 years, John Peel worked as a conduit, pulling unheard voices out of the static and setting them loose across the BBC dial. In 1977, one of those voices was This Heat, formed just a year earlier in a Camberwell rehearsal space. Frayed at the edges, with clipped rhythms pushed straight to broadcast, they didn’t sound like a band adapting to a Maida Vale studio so much as one ignoring the usual expectations of a radio session.

Like an unwavering sonic horizon, Orange delivers a vibrant and jangly collection of songs that weren’t just merely worth the wait, but feel like just the right amalgamation of musician Tim Presley’s prolific career to date. The first White Fence record in over seven years, the chiming guitars and Ty Segall back behind the drum kit and console convey a warbly and mysteriously optimistic guiding light. Hence the record’s namesake, the record offers a clear-eyed and bullish vibrancy in contrast to the downright foggy greys and blues of yesteryear.

If The Way Out of Easy marked the emergence of the ETA IVtet as an entity separate from the site of the band’s origins, Happy Today serves as another milestone: It’s the first ETA IVtet record taped somewhere other than Enfield Tennis Academy. Capturing a 2025 set at the much-larger Lodge Room, the third album from guitarist Jeff Parker, saxophonist Josh Johnson, bassist Anna Butterss and drummer Jay Bellerose shows a band with more room to move and more space to listen.

Three years and as many live albums have passed since Setting’s debut album. In that time, the trio of Nathan Bowles, Jaime Fennelly, and Joe Westerlund have sharply fine-tuned their form of exploratory electronic Appalachian drone music, and their new, self-titled album finds them on a heightened plane. The chemistry built between these three players over the last few years comes alive here in an even richer hue of their cosmic arboreal vision.