Most of us will, at some point in our listening life, have a love affair with music compilations. Maybe it's a hot short-lived fling, maybe it's a long-term communion or maybe it was just, y'know, a thing.

Disclaimer: I've got a lot of love for compilations. They'll never replace the intentional flow, narrative or feel of a concept or themed EP or album, but capturing a point in time via careful selection of tracks or sharing new musical discoveries can be just as rewarding.

Collections of songs, remixes and edits have been around since the technology to cut and paste was available: 8 track pirate tapes in the 1970s, mixtapes in the 1980s (Home Taping Is Killing Music, kids), an explosion in compilation CDs and the invention of the shuffle button in the 1990s, or more recently, via apps like 8tracks and the reappearance of mixtapes in digital format.

Even with the almost infinite resources available today, creating a compilation of music that makes a listener sit bolt upright or that can be played straight for hours without any skipping necessary is still a skill in itself.

Practically putting out a gold standard compilation with every single release for over twelve years, Late Night Tales - with the help of guest curators including Nightmares On Wax, Four Tet, Midlake, Röyksopp and Belle and Sebastian (twice) - have reset the bar when it comes to delivering incredible multi-genre playlists with style.

Established British producer and musician Bonobo, with his contribution to the latest in the LNT series (#33), joins the dots between jazz, funk, downtempo electronica, soul, classical and rock via truly inspirational song choices and sequencing apparently handed down from the heavens by Apollo himself.

As with most of the Ninja Tunes and Tru Thoughts artists, Bonobo - real name Simon Green - is fearless and ambitious in his pursuit of innovation in music. Beyond that though, is a hugely varied and acute understanding of the vast musical landscape around us, as demonstrated across a stack of albums, EPs, remixes, compositions and collaborations to date with artists such as Amon Tobin, Erykah Badu and British vocalist Szjerdene.

On the producer's reinvention of 'Get Thy Bearings', exclusive to this release, it's the sweet husky voice of the latter (a regular vocalist on Bonobo tracks) that paired with vinyl crackles, jazzy drums and low bass delivers one of the many highlights on what is a thoroughly bewitching record.

Creating the sound a three-way between Morcheeba, Kruder & Dorfmeister and Zero 7 might deliver now in 2013; this soothing deep otherworldly jazzy take on the track, originally written by Scottish folk hero Donovan, is sleek, sensual and warm.

Aside from the inclusion of stunning tracks like opener Dustin O'Halloran's 2012 'An Ending, A Beginning', the Eastern-influenced lo-fi of 'A Calf Is Born In Winter' by Texan trio Khruang Bin, and Darondo's 1972 soul classic 'Didn't I', the grouping and arrangement on offer is near faultless.

It's not just the flow of the deep slo-funk and untouchable delivery from Nina Simone in her outstanding 1978 Randy Newman-penned song 'Baltimore', pouring seamlessly into stirring brass and hip hop in 'Flipside' by Chicago's bouncing Hypnotic Brass Ensemble.

Nor is it all in the shift of the rhythmic percussion-driven groove of Andrew Ashong's superb 'Flowers' into Romare's dirty four-to-the-floor electro track 'Down the Line'.

No, this is a compilation that is the sum of its many enchanting parts, concluded in exquisite style with the three track outro of Peter and Kerry's upbeat makeover of Amerie's smash hit '1 Thing' that gives way to Brooklyn singer-songwriter Eddi Front's teary break-up song 'Gigantic' and ending with the achingly beautiful modal composition 'Peace Piece' from the hugely influential jazz pianist Bill Evans.

Incorporating a handful of obscurities and giving a wink to practically most broad music genres of the last fifty years only serves to seal this pick and mix as easily one of the best LNT releases ever. This, my friends, is how the compilation is done

Suffice to say you'll recognise a master at work when you hear it. Prepare for a long love-in with this album; it's the real thing.