The Oakland spiritual jazz group Sons and Daughters of Lite finally see their cult 1977 recording 'Let The Sun Shine In' arrive on 7", nearly five decades after it first appeared as a private press release. It remains every bit as alluring as its reputation suggests. Part one joins the fray through warm instrumentation and subtly persuasive vocals, all carrying a sense of easy optimism. Flip it over and part two opens up with gradually welcoming bright horn lines that expand the frame. Nearly 50 years on from the original release, it remains remarkably luminous.

Detroit's John Beltran has got many different sounds in his locker, from hi-tek Detroit techno soul to jazzy breaks to ambient and film scores. This essential compilation brings together long-lost, hard-to-find Motor City classics, including five 90s originals and two brand new remixes from 313 players Detroit In Effect and Terrace. There's bonding big room techno top open on 'Aquatic', more atmospheric soundscapes and lush string work on 'Earth & Nightfall' and more than eight minutes of deep analogue and soft-acid laced techno bliss on 'Bisous Au Revoir'. The sort of record that immediately improves your collection no end.

It's been a while since Fila Brazillia's astonishingly good debut album, 1994's Old Codes, New Chaos, has been available on wax - some 24 years, in fact. This delicious, triple-vinyl reissue is therefore long overdue. Reflective of their journey as producers in the first part of the 90s, the set blends wavy, kaleidoscopic and sample-rich ambient interludes with tactile, loved-up and utterly gorgeous cuts designed for dancefloor play - the likes of glassy-eyed early UK deep house gem 'Mermaids', the percussion-laden funk/breaks/house fusion of 'Brazilification', the deep and languid stoner funk of 'The Sheriff', the all-action breathlessness of 'Pots and Pans', and the frankly astonishing, 17-minute epic that is 'Fila Funk'. Simply essential.

Archeo Recordings take a deep dive into French house history here, offering up a fresh edition of 1990 gem 'Bang Bang' by one-single wonders Dynamix (Emmanuel Kupper and Louis Corte). Sample-rich, Euro-house-influenced hip-house with lyrics in both English and French, the duo's loved-up and tactile original is showcased via two original mixes on side A: the cut itself (track one), and the Bang The Party-ish 1989 acid house-goes-hip-house flex of the accompanying 'house' version. Hear & Now member Marcoradi provides two fresh, 21st century revisions on the flip. The Italian producer delivers a tougher, more percussive and more sweat-soaked 'remix 'to begin, fully utilising the duo's acid bass and glassy-eyed chords, before delivering a gorgeous 'ambient mix' that recalls the loved-up colour and atmosphere of early Italian dream house.

Some 14 years into the label's story, Mike Sharon and Sem Marini's Ultra Knites outlet continues to offer up must-check missives. The latest comes courtesy of rising star Eva Lansberg, whose previous outing on the imprint, last year's Music E.P, was a digital-only affair. It's an impressive collection all told, with Lansberg first wrapping ghostly, mutilated vocal samples and tight organ stabs around dubby sub-bass and swinging deep house beats ('Only Forward'), before gently leading us into deep and spacey tech-house territory on the chunkier 'Don't Give Up'. The dreamy and loved-up tech-house vibe continues on the acid-flecked dreaminess of 'My Mood', while 'Snowy London' is a melody-rich affair blessed with gorgeous chords and a memorable bassline.

Chord trails fan out and ember away like fireworks, lending Van Bonn's latest EP - and Kontakt's 50th ever - its own unassimilable character. The artist and label associate as far back as his 'Dunning Kruger' EP, immediately striking a deep, chord-driven cord. 'Detached' takes on the A and leaves behind 'Trails' on the B, which gets the remix treatment from Luigi Tozzi in two versions, a full remix and a Rephase. The A-side originals read like sputtering fire followed by a dousing of water, while Tozzi's versions are arid; techno caked in quenchless dirt.

This is the third time this EP has been repressed, following two sold-out editions in March and May. Darwin Chamber is the man behind it and many other prog classics over the course of his 30-year career, and it was inspired by an acid trip in San Francisco. That plays out in the vibrant colours and 303s of the opener that snake through the hefty drums, while a whispered vocal also repeated the word acid to add to the psychedelic atmosphere. 'Never Coming Down' is more dark and paranoid with a pressurised low end and textured percussion and then the 'The Acid Test' pulls back for a more introspective and roomy sound that allows the soft acidic pulses space to breathe. Two final cuts play around with intensity and tempo to complete a varied EP.

London saxophonist Sean Khan first made his name as one of broken beat's early pioneers, leading cult outfit SKradicals before exploring the many corners of contemporary jazz. On this offering, he steps beyond his signature roots and isn't afraid to stretch his legs with with a warm blend of disco-laden house and jazz-funk. Featuring Omar's unmistakable vocal, 'What Do You Want?' is a warm, jazz-flecked house workout rich in live keys and burrowing grooves. Alex Attias then reshapes the cut into a punchier disco-house affair on remix duties, with closing number 'As The Tree Grows' finding a jazz-flecked sway with plenty of soul in the seams. A thoughtful fusion with one eye on the dancefloor.