Zomby's just about to release a new album, so it feels pretty apt to look back to his first, the incredible Where Were U In '92, released on Werk Discs back in 2008. Zomby's music is ephemeral like exhaled weed smoke, snakes around like a night bus on diversion, this track, 'Tears In The Rain' is wrenching, evocative, ghostly vocals samples collide with rave horns, underpinned by an echoing beat, like your neighbour having a party next door, and his paper thin walls providing little protection from the strange, guttural sounds.

Buy Zomby's new album, Dedication, on iTunes

A Tribe Called Quest's debut album was crowned by the Lou Reed sampling single 'Can I Kick It'. It was though, a bitty, slightly immature effort. With most of the vocal duties taken by Q-Tip, Phife's equally expressive flow was relegated to the odd guest spot. So it took their second album, The Low End Theory, to really bring the group's style to maturity. More cohesive, TLET went against the grain of the dominant sound of late 80s / early 90s hip-hop. Instead of, for example, Dre's menacing g-funk on The Chronic, with its pulsing tonality, drenched in the LA dichotomy of sunshine and gunshots, or the highly political and claustrophobic beats of the East Coast scene expounded by the likes of Jeru, Public Enemy and KRS-ONE, ATCQ developed this a broadly jazz influenced, downbeat and pensive style.

This is exemplified in two singles from it, 'Jazz (We've Got)' and 'Scenario'. Jazz is pretty straight up, flipping between Q-Tip and Phife, yet showcase their downtempo, bass heavy sound. 'Scenario' is far more lively, made even livelier by a guest spot from a young Busta at the end. Possibly his greatest ever.

Hudson Mohawke started off in the much maligned genre (usually with good reason) of turntablism, being the youngest ever finalist of DMC at 15. Yet from his youthful dalliances he's grown into a brilliant producer, and those early experiments have led to HudMo to develop a gorgeously deconstructive production style. Switching and tripping on beats across some ludicrously lucious mix of hip-hop and jazz. Here he's lending his talents to everyone's least favourite rapper, Chris Brown, who probably doesn't deserve it, but it's still fantastic. Strictly bootleg.