Back catalogue: Funk/Reissues

Review: The UK's Robin Lee is one of the members of much-loved disco gang Faze Action but also he's behind Andromeda Orchestra who return here with an album that offers a cosmic fusion of jazz-funk and disco. It's been put together with Moogs, clarinets, Rhodes and rich analogue textures that make for a mix of nostalgia and sonic richness that sinks you in deep. Blending nostalgia with innovation, Lee creates deep, immersive soundscapes. There are widescreen odysseys like 'Mythical', loved-up bunkers such as 'Thinking About Your Love' and a rare Nick The Record remix of 'Get Up & Dance' that overflows with cosmic melodies and lush, life-affirming strings.

Review: The multi-talented Joe Armon-Jones is back in the game with his most ambitious and self-defined solo work yet. All The Quiet (Part II) is a colourful collision of jazz, funk, dub, hip-hop and soul that was entirely written, produced and mixed by the man himself. His work as part of Mercury Prize-winning Ezra Collective is what established Armon-Jones, but his evolution as a solo artist on his own label, Aquarii Records, has been just as essential. This follow-up to 2019's Turn To Clear View features collaborators like Greentea Peng, Yazmin Lacey, Hak Baker and Nubya Garcia and is a deeply personal sound that veers from expansive and cosmic to more intimate and tender.

Review: A shape-shifting force from the American South, Bela Fleck & the Flecktones rerouted genre boundaries with their early 90s experimentations-none more so than this landmark second release. Built around banjo, bass, keys and Future Man's custom SynthAxe Drumitar, the quartet's playing here is deft, joyfully off-kilter, and quietly revolutionary. Their self-coined "blu-bop" style hits full stride, blending bebop's angular shifts with bluegrass warmth on 'Turtle Rock' and the dizzying 'Blu-Bop'. A woozy take on 'Michelle' and a surprisingly reverent reading of 'The Star-Spangled Banner' show off their melodic instinct without sacrificing invention. The telepathic interplay and tonal sharpness-especially in the low-end counterpoint of Victor Wooten's bass-make it clear how this group managed to top jazz charts while looking nothing like a traditional jazz outfit. It's a sound not pinned to any one era or idiom, but to pure creative glee.

Review: Cosmic disco and spaced out Brit funk and pop fusion outfit Jamiroquai celebrates 20 years of their landmark Dynamite with a new limited edition reissue of what was their sixth studio album. Originally released in 2005, the album fused their signature funk, disco and electronic flair into smash radio hits like 'Feels Just Like It Should,' 'Seven Days in Sunny June' and '(Don't) Give Hate a Chance.' This anniversary edition comes pressed on exclusive coloured vinyl and also included is a replica promo CD sampler featuring pre-release single versions, an extended mix of the title track, and 'Black Devil Car.'

Review: Scandi curveballer Leoparden first shook up Oslo's experimental scene with a funky twist of disco, electronic pop and irresistible grooves. After his 2019 debut single Boliglan and a solid album on Lyskestrekk Records in 2019, plus a couple of singles, he vanished for a bit. Now, he's back and cranked up the dial, diving deeper into shimmering synths, punchy drum machines and dancefloor-ready beats. His lyrics casually capture everyday Oslo life with a breezy vibe, while the music keeps you moving with its playful vibes. Though rooted in Norway's capital, Leoparden's sound is a global invite to dance that transcends time, space and place.

Review: Bobby Lyle's 1977 classic jazz-funk album showcases his well-renowned keyboard mastery with standout tracks like the inventive title cut, 'The Genie,' which is a wild groove-driven journey through multiple shifts. His rendition of 'Night Breeze,' previously recorded by Ronnie Laws, is another highlight and the mystical 'Mother Nile' features deep rhythms while the dreamy mid-tempo roller 'Pisces' soothes. Up-tempo 'Magic Ride' and atmospheric 'You Think Of Her' showcase Bobby's rich vocals and a stellar lineup including Roland Bautista, Babatunde, Victor Feldman, Ernie Watts, and Donnie Beckhelp make this it's a definitive jazz-funk fusion gem.

Review: Recorded in 1975 with the classic lineup, Live At Great American Music Hall, San Francisco is the long-overdue live album that showcases The Meters at their peak. Art Neville, Leo Nocentelli, George Porter Jr., Zigaboo Modeliste and Cyril Neville all showed top form in a performance highlighting tracks from 'Rejuvenation' and previewed its follow up, Fire On The Bayou. The nine-song set features extended jams, some nearing 20 minutes, with the band blazing throughout. It has previously circulated only as a rare bootleg, so this official release offers a complete, well-mastered version on coloured vinyl, making it the ultimate edition.

Review: This third collaborative album between Scream & P. Rock takes inspiration from a trip to Brazil, where they collected samples in Rio. As such the sounds blend Brazilian grooves, bass synths, live percussion, funky drums, guitar solos and vintage breaks with raw, experimental touches into an album full of life. The duo's signature sound is a fusion of their own DJing and music production and is ever more refined, having been crafted over the course of a year. Cinematic arrangements and a fresh approach to sampling make this another great chapter in this duo's musical story.

Review: Zamrock pioneers WITCH continue their remarkable second act with Sogolo, a suitably fuzz-driven follow-up to their 2023 reunion album Zango. Recorded in Berlin during a rare break in their busy touring schedule, the album peers confidently into the future (its title drawn from a Zambian word meaning just that) without losing sight of the raw psych-funk energy they helped define in the 70s. Lead single 'Queenless King' sets the tone: perky, funky and full of bite, with frontman Jagari Chanda's powerful energy driving the band forward. The track explores the fallout of a bad marriage, anchored by a sublime bassline from producer Jacco Gardner and spaced-out synths from founding member Patrick Mwondela. WITCH are still pushing forward, turning decades of invention into something timely, vital and completely their own.

Review: Zambian psych rock trailblazers Witch - formed in 1971 and led by Emmanuel Chanda - endured decades of dormancy but enjoyed a new lease of life over the past few years. This follow up to their 2023 reunion album, Zango, sees them continue their blossoming relationship with the Desert Daze festival's label arm and Partisan Records, which is the label that broke Fontaines D.C. A notable producer of the album is Finland's Jacco Gardner, who has dabbled in myriad projects including an impressive solo career and what he's been able to oversee here is remarkable. The rabble-rousing garage rock opener, 'Kamusale' sees fuzz-laden guitars intertwine with Chanda's raw, energetic command as a frontman and we are quickly cast into their spell. Another highlight is the eye opening 'Queenless King' where a kraut-funk bass groove sets off a free-spirited psychedelic tapestry, bursting with bright ideas and soulful charm.