New album from the South African musician + creative visionary, known for her vibrant, inimitable style + affirming lyricism. Full Moon is a collection of 12 songs which displays Sanelly's unique sonic fingerprint, joyous attitude, distinctive vocals + genre-bending hits. Recorded in multiple locations while on the road, Full Moon is an introspective yet kinetic display of her versatility. "I can make any genre, I have fun creating music because I'm not limited," she says. Its club-ready beats oscillate between electronic, afro-punk, edgy-pop, kwaito, + hip-hop sensibilities.

Tougher Than Love is the debut album by singer-songwriter Diana King. The album peaked at #179 on The Billboard 200, #85 on the Top R&B/Hip-Hop Albums chart and #1 on the Top Reggae Albums chart. It features the four hit singles, "Shy Guy", "Love Triangle", "Ain't Nobody" (a cover of the Rufus & Chaka Khan song from 1983), and "Treat Her Like a Lady." Diana King is a Jamaican singer-songwriter who performs a mixture and fusion of reggae, reggae fusion and dancehall. She was born to an Indo-Jamaican mother and an Afro Jamaican father. She is best known for her hit 1995 single "Shy Guy" and her remake of "I Say a Little Prayer" which was featured on the soundtrack to My Best Friend's Wedding.

Nkrumah Jah Thomas is one of the great Deejay voices of Jamaican music. Through his Midnight Rock label, he is also known as a formidable producer – making important records with the likes of Anthony Johnson, Early B, King Tubby and Super Cat. Acid Jazz group label Roots Records has worked with Thomas since the late 1990s, and is set to release the first ever collection of his vocal work on 16 August 2024.

This double-disc set from Trojan includes classic ska, rocksteady and reggae tracks from Desmond Dekker & the Aces, Jimmy Cliff, Lee Perry & the Upsetters, the Melodians, Toots & the Maytals, Bob Marley & the Wailers, Ken Boothe, John Holt and many others. Though there are quite a few Jamaican classics missing from this history of the music, all the tracks included are quite solid.

As the 70s drew to a close, the roots and dub sounds that had dominated the Jamaican music scene for much of the decade gave way to dancehall, a style that continued to find favour with reggae fans until the onset of the digital revolution of the mid-1980s. Aimed squarely at satisfying the demands of live audiences, songwriters largely abandoned the conscious lyrics that had typified the music of the preceding years, focusing instead on subjects which with their Jamaican audiences could readily identify.