Back catalogue: Funk/Reissues

Review: Pausa presents 'Big Band Jazz Vol 2', the 1983 lp from Bob McConnell & The Boss Brass. Nice big band bossa & jazz, including 'No More Blues'.

Review: Wah Wah presents another acid folk delicacy from The Village Thing catalogue. 'The Sun Also Rises' was recorded by Graham Hemingway (vocals, guitar)
and Anne Hemingway (vocals, dulcimer, glockenspiel, vibes, percussion). They were occasionally joined by John Turner (string bass, finger-picked & with a bow)
and Andy Legget (whistle on one of the songs). It features an amazing tapestry of acid folk sounds with great male/female vocal harmonies. On the sources of this
record you will hear echoes of The Incredible String Band, Comus, C.O.B and Tir Na Nog, but of course delivered with the own personality of this Cardiff duo, very
hippie sounding with a very trippy atmosphere. The album was originally released in 1970, and our reissue will include one bonus track not on the original release,
taken from a 1972 Village Thing sampler. Comes in beautifully reproduced artwork in nice matt finish. Not only a top listener, but also a beautiful addition to your
acid folk collection.

Review: This Heinz Von Moisy release on Wah Wah Records is limited to 500 copies! Don't waste any time, get hold of this funky classic while you still can.

Review: Re-issue. Rare grooves, funk thangs and breaks & beats.

Review: 28 of the most classic 50 Cent samples on a double LP!

Review: Having fulfilled his reggae ambitions, Snoop returns to the source with this incredible homage to the original funk that hip-hop spawned from. Referencing Bootsy Collins with his new moniker, he's teamed up with one of Stones Throw's most consummate funk purveyors Dam Funk. We don't need to tell you the result; authentic, sexy and smooth, it's a time machine that whisks us back to the late 70s and early 90s. From the dreamy textures and overdubbed harmonies of "1Question?", the shiny proto-R&B mothership moment "Do My Thang", everything about this screams class. Timeless funk made by two masters, we guarantee this will sound just as hot in 10 or 20 years.

Review: Brooklyn-based band 79.5 make music right now, rather than being some long-lost acts from the 80s as you might expect from the cover. The group consists of singer, songwriter and composer Kate Mattison, singer and rapper Lola Adanna, drummer Caito Sanchez, bassist Andrew Raposo and sax player and flautist Izaak Mills. Their self-titled album comes on Razor-N-Tape and captures the sound of New York City perfectly with soul and psychedelic melodies that are hard to match. From 70s underground disco to acid jazz to and sweet pop sounds, they draw on it all for this fine concoction of dancefloor gems, which also serves as a protest at the often all too male dominated world of dance music.

Review: 94 East's debut studio compilation, Dance To The Music Of The World features the late great Prince showcasing his multi-instrumental talents on drums, guitar, and synthesizer. Originally recorded in the summer of 1978 at Sound 80, Minneapolis, Minnesota, during the same sessions as 'Lovin' Cup' and 'Just Another Sucker,' the title track remained unreleased in its original 1978 form. Additional recording took place at Blue Wave Recording Studio, St. Philip, Barbados, by Pepe Willie, as with the other tracks featured on here. It is a great collection of funked-up sounds from the Purple one that remind of his untouchable genius.

Review: A Certain Ratio's core trio of drummer Donald Johnson, bassist/vocalist Jez Kerr, and multi-instrumentalist Martin Moscrop make ACR Loco a perfectly fluid and funk album. In fact, on this, their first album in more than ten years, the Manchester post-punk outfit are as funky as they have ever been. Their tried and tested sound gets nicely updated with modern beat driven sounds and plenty of redefines to today's political strife in the lyrics. There are plenty of smooth and cool synth led grooves like 'Get A Grip' and messages of unity on 'Family' that we can all relate to.

Review: Kamal Abdul-Alim is an accomplished teacher, bandleader, composer and trumpeter who has been making high class music for many years. It has taken him to gigs all over the world and to working with all manner of bands, big and small. Drawing on the post-box sounds of the 50s and layering in 60s free-form jazz with his own fine textures, he is a real underrated artist and master of improv. This record includes hugely sought after jazz-dance bomb 'Brotherhood' as well as four other lengthy classics.

Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.

Review: The cleverly deceptive genius Patrick Adams was born March 17, 1950 in New York City. Some people are just destined for greatness and Adams was one of those. He wrote his first song at 12, made his first record at 16 and produced his first track at 17. It would take several more years for the world to realize his genius. In 1966 Patrick joined a neighbourhood group and they immediately auditioned for a role in "Up The Down Staircase". The boys won the part of the high school dance band and are featured in a segment of the Warner Brothers film. Two months later the guys, now known as "The Sparks," were signed to Curb/MGM. But after failing to chart the label quickly dropped them. The Sparks continued performing and touring together for four more years. Patrick's next success came the following year (1967) when he wrote "You've Got To Learn Something" for the children's show "Sesame Street". In 1970 Adams left the group to take a job as A&R Vice-President of Perception/Today Records. During that period he also worked as a sideman with numerous artists like Astrud Gilberto and Les Variations. In 1974 Patrick teamed up with Peter Brown to form P&P Records. The label was distributed by Morris Levy's Roulette Records and housed the sub-labels Queen Constance, Heavenly Star, Jay Star, Chocolate Star Records and many more. He also started PAPMUS his own production company. During the next four years, as disco was merging, Adams became a key figure in its growth scoring countless hits including: "Atmosphere Strut" with Cloud One, "My Baby's Got E.S.P." with Four Below Zero, and "Lady Bug" by Bumblebee Unlimited. 1978 was Patrick's breakthrough year. The infamous song was "In The Bush". "I did not sit down and invent the phrase "Push Push In The Bush" in a moment of meditative genius. I was in the recording studio looking for a chant to put on the chorus of this last hot track for the Musique album. I was thinking out loud of my older brother and his friends. Sometimes they would chant - "To The Bush". This was a reference to a dance club that they frequented. A true indicator of how times have change, the first time Patrick played the cut for his label head honcho Marv Schlacther yelled, "Patrick, I can't put that out!" After some serious discussion it was decided that it would be included on the album but not promoted as a single. About three weeks later, the cover story on Billboard Magazine was that about 600 radio stations were banning some naughty record called "Push Push In The Bush!" exclaims Patrick. The rest as they say is history. Over the course of the next three years Patrick Adams racked up an impressive 22 hits. As the disco-era changed, so too did Adams. In the 1980's he would lend his creative genius to such notable acts as Salt 'N' Pepa, Keith Sweat and Carol Lynn Townes. In the 1990's he helmed recordings by Eric B. & Rakim, Paul Lekakis and Morris Day. Patrick has received the ASCAP "Songwriter Of The Year" award three times. He has multiple Gold and Platinum record awards and at last his very own 'Best Of' collection.

Review: Classic psychedelic rock singer Han Young-ae was a big deal back in the 80s and 90s, then disappeared before returning with a new album in 2014. This album, Vol 2, on C Sharp comes on limited transparent yellow wax with an insert and nine tracks that fuse her theatrical rock singing style with old school 90s rock licks and cold electronic drums on the opener then switch it up entirely for the sentiment soul ballad on track two. There are more soft rock pieces, 80s disco tinged rock, and many other weird and wonderful in between sounds from this cult artist. It shows she has come a long way since starting out with a folk band in the 70s.

Review: Les Disques Bongo Joe and DJ Tom B. have linked up for a second volume of their Africa Negra Anthology Vol. 2 series featuring 13 remastered tracks from Sao Tome and Principe's most celebrated musical group. The originals have been digitised from studio tapes by their tour manager and come alongside a booklet with updated liner notes and vintage photos. Africa Negra was founded in the 1970s by Horacio and Emidio Pontes and is renowned for their fine Puxa and Rumba fusion. This volume highlights unreleased sessions from 1979 and 1990 and showcases the incredible skills of lead vocalists Joao Seria and Sergio Fonseca. Following Joao Seria's recent passing, the group has reformed with Sergio Fonseca and new members for equally captivating live performances.

Review: This is a killer afro disco re-issue of hard-to-find self-titled "African Suite" album from 1980. It's clear from the get-go why this LP is so sought after by deep house and loft style DJ's around the world. This is excellent, unforgettable music.

Review: After forming from the ashes of a lauded jazz group in 1972, Sierra Leone's Afro National went on to release countless killer singles and albums that effortlessly joined the dots between jazz, highlife, funk and more traditional West African sounds. Here, the laudable Africa Seven label celebrates the band's legacy not by gathering together their most famous tracks, but rather cuts with the most insatiable dancefloor chops. The hits come thick and fast, from the punchy Afrobeat/highlife fusion of opener "Jokenge" and the rolling, low-slung goodness of "Mr Who You Be", to the jaunty, celebratory brilliance of the Juju-influenced "Sonjo" and fuzzy sweetness of the compilation's closing track, "Mother In Law" (which, incidentally, is far more enjoyable than any weekend visit from the in-laws).

Review: A true lesson in Afrobeat right here as Miguel Toro, Gyver Hypman and Augusto recreate some of Tony Allen's classic rhythms and deliver them as neat, funk-coated instrumentals. Perfect for DJ sets and sampling alike, a huge amount of musicianship and thought has gone into these. From the super mellow rim shot riddim of "Niaja Breaks" to the more thriving frenetic flavours of "Afrobeat Jam" (a beat that's found favour with the likes of Toddla T et al in recent years), this is a fine revisitation and a genuine education.

Review: Recently, Svert has released a swathe of Olli Ahvenlahti reissues, giving a new generation of listeners a chance to get acquainted with the Finnish jazz great's best work. The Poet was originally recorded and released in 1976, and saw pianist Ahvelahti collaborate with a wide range of musicians on a set that looked to the U.S jazz-fusion and jazz-funk scenes for inspiration. It's perhaps most famous for the break-digger's favoruite "Grandma's Rocking Chair" - famously turned into a 16-minute percussion epic by Kenny Dope back in 2001 - but there's plenty of other highlights to enjoy. The smooth "Aura", which sounds a little like Bob James jamming with Azymouth, is particularly potent.

Review: The Dutch musicians around DJ and producer Phil Martin
(The Jazzinvaders, The Houdinis) and musician Ton van der Kolk
play an enormous groove establishing their own version of afro-funk.
'Afro Soul System' by Aiff is out on Unique.

Review: Following Hot Casa's reissue of his second album The Black Isaiah Of Africa in 2017, here comes the long awaited repress of Kingsley Aigbologa Bucknor's incredible debut album. Rarer than hen's teeth, known to pass hands for triple figures and so vibrantly freeform and longform; both extensive 15+ minute tracks take up a side each as Kings and his 16 player / 10 backing singer Afrodisk Beat 79 troupe lay down two crisp Afrofunk trips. Singular.

Review: Akin Nathan's Ijama is one of those rather mythical artists that related just one album, but an album that has endured through time and remains a classic to this day. It was a band formed from Akin Nathaniel, Big John Oaikhena, Didi Lead, Frankie Ntoh Song, Geoffrey Omadehbo, Johnny Woode and Yakubu Daniel and their 'Sweet Country' came in 1982 in their native Nigeria. It's a lush tapestry of sounds from across the world, all with an Afro twist - funk, soul, world and country all feature next to boogie and Afrobeat with plenty of hooky vocals.

Review: Also known as the Heads Funk Band, Akwassa were a Nigerian afrobeat ensemble who only produced a few LPs under that particular moniker, but they're ones that have lasted well in the memories of collectors worldwide. La'lla was their 1975 debut, originally out on the Afrodisia label, and we have it here once again in reissue format by PMG out of Austria. "Funky Girl" kicks the party off with a groove that is might difficult not to like - upbeat vocals meet funky synth lines and quirky organs to make a true summer blazer - but the rest of the album follows in a similarly excellent style. "Orule", for example, is one of the best undiscovered afro bombs we've heard in time, those sweet soulful vocals riding high amid a fast-paced percussion rhythm, while others are deeper still and evoke the true spirit of African soul. Very highly recommended.

Review: Kalita has a fine record of unearthing holy grail records and reissuing them to rabid fans around the world. The latest is a real corker even by their standards - an unrelated album of soul, gospel and disco songs from Al-Dos Band. It is part of the first drop for Record Store Day 2021 and immediately melts the heart. 'Don't Come Smiling Back' is a deeply emotive slow jam with an impassioned vocal and pained chords, while 'Your Presence' is a much more rapturous and uplifting bit of musical worship, 'Some Things Don't Mean A Thing' is a robust and rugged bit of strident disco with magic funk riffs, and 'Love Jones Coming Down' is a real dance floor heater.

Review: RECOMMENDED
It was two in two for Alabama Shakes when they first unveiled this bonafide swamp rock masterpiece. Released in 2015, Sound & Color took the blueprint laid out with Boys & Girls and then kicked up into fifth gear. It's soul. It's blues. It's sweat-soaked funk. Most importantly, though, it's the kind of record that keeps giving the more you listen, sounding equally at home in the 1950s as it does the 2010s.

It's hard to really put into words the level of husky, pained, heart-on-sleeve musicality at the core of this record. Brittany Howard's voice might never again sound as utterly distraught and reflective, pained and somehow filled with hope for a brighter day. Individual readings aside, this is among the finest blues records to land this century, and ranks up there with some of the greats of the 20th, so don't sleep on this edition complete with closing tracks recorded live at the legendary Capitol Studios.

Review: Much like the rest of the labels who have re-released Alessandro Alessandroni's material over the last three or four years, Four Flies Records have understood what this Italian maestro represented to the wider electronic movement. Sadly, the man passed away almost one year ago, but he has left a dynasty for years to come, and this is made all the more true given that this latest release, Lost & Found, has never even seen the light of day, until now. Branded as a soundtrack, this is a perfect representation of what the man did, and that was to produce music with a vision and a theme in mind, regardless of whether it truly existed or not. In fact, these gorgeous slices of exotica would certainly make for a delightful OST, with everything from ambient to disco, jazz and funk featuring across its 17 masterful tracks. This is inimitable gear - and warmly recommended.

Review: Sonor Music here present the complete and previously unreleased soundtrack of 1976's Italian erotic comedy cult La Professoressa Di Scienze Naturali, which was directed by Michele Massimo Tarantini. With Italian sexy symbol Lilli Carati and filming done in the beautiful Ischia island, it's an incredible film with a score to match. Filled with cinematic sounds, library music and flirtations with funk, jazz and soul, it's in part funky, occasionally break-y, and always hugely erotic. This majestic downtempo soundtrack will bring spice to any listing session and features artwork designed by John Henriksson.

Review: The magnificent Luaka Bop label has been showcasing the work of Alhaji Waziri Oshomah - a master of Afro sounds and rhythms that cut deep - for a while now across several albums and compilations. He hails from Edo State in southern Nigeria and is known for holding sermons of the religious as well as musical sort. After various volumes of work and the superb World Spirituality Classics 3: The Muslim Highlife Of Alhaji Waziri Oshomah record comes this new series of gems that show off his unique take on international rhythms across four long, ever evolving and always engaging grooves.

Review: How often does a superstar band leader hand his band over to his drummer, while he steps back to become a sideman? That's what Fela Kuti, undoubtedly the coolest, hippest, best known African musician on the planet, did in 1975. "Afro Disco Beat" is the complete seventies anthology of the drummer and music director of superstar Fela Kuti's band Africa 70, the creators of a new style called 'Afrobeat', one of the (if not THE) hippest rhythmic music styles of the seventies. Tony Allen was an incredible drummer of whom Fela Kuti said "he sounds like four drummers".

Review: On its' original release in 2002, Tony Allen's HomeCookin album was arguably a little overlooked. Like its' predecessor, 1999's Black Voices, the set updated the legendary drummer's Afrobeat sound for a new millennium. As this timely reissue proves, it was a particularly successful exercise. The album's genius lies in the Nigerian sticks-man's combination of traditional elements - most notably his loose, skittish polyrhythms, guitars and punchy horns - with elements of future-jazz, modern soul (see the brilliant Eska collaboration, "What's Your Fashion") and hip-hop. British rapper Ty excels himself on a number of killer cuts, though it's a more traditional Allen style dancefloor workout - the sublime "Crazy Afrobeat" - that really stands out.

Review: Since its release in 1999, Tony Allen's Black Voices album has earned a reputation as an overlooked modern classic. While a scaled-down reissue appeared on Kindred Spirits in 2014, this edition marks the first "full repress" of the original double-album version. The Doctor L-produced set remains hugely alluring, thanks largely to the warm and attractive mixture of Allen's loose and languid Afrobeat rhythms, fluid jazz and jazz-funk instrumentation and vocals that recall the legendary drummer's work with Fela Kuti. Like the original set, you'll find a number of tasty dancefloor reworks nestled on the second disc, with the fuzzy and disco-fied PsychojujuMix of "Ariya" - complete with rubbery bass and sweaty drum solos - standing out.

Review: Kindred Spirits get a big, heartfelt hug from Juno for their Tony Allen reissue series, in which they lovingly restore and repress 12"s from the master of afrobeat. The No Discrimination EP was first recorded in 1978, shortly after Allen ended his decade long collaboration with Fela Kuti. The silky funk of the title track suits the message of peace contained within the lyrics; flip over for the awesome "Ariya" - a reminder, as if we needed one, that Allen is truly one of the finest drummers in existence. Those already enamoured with the percussive charms of irresistible rhythms of the Nigerian's work will be all over this - for those of you yet to succumb to this man's singular talent, there's no better place to start.

Review: Heroic Nigerian drummer Tony Allen put out this landmark album in 1984, but the sounds bare all the hallmarks of his best 70s material. The grooves are super chunky and many say the title track here is one of Allen's best ever tunes. It has a punchy hook and political sentiment that really resonates while the rest of the tunes are not too shabby either. There wired up with electronics next to the trumpets, drums and percussion and have a super cool Celluloid Electric Africa vibe as a result. A regal and dub version is included of that title track meaning this reissue won't hang around for long.

Review: Comet Records continue their Afrika 70 reissue series with more from the pioneering and visionary Tony Allen and The Afro Messengers. It focuses on his best material from the late 70s, remasters it all and presses it nice and loud. The No Discrimination LP is as relevant now as ever in terms of its messaging, and musically it also holds up. The lyrics are socio-politically charged. The drumming is tight as hell and though this marks Allen's first solo album away from Fela's band, it finds him in fine form as he takes afrobeat into the future.

Review: Boom: three years, three albums. No biggie for Bristol duo The Allergies, Jalapeno's biggest success story since Kraak & Smaak. Each album shows them getting deeper into the groove, creeping away from the cheeky samples and sculpting their own pedigree funk originals. With Ugly Ducking Andy Cooper onside through the mix from the wild ride vibing "Fade Away" to the white knuckle lyrical fire of "Run It Back", there's a real band feeling to the whole album as familiar voices thread throughout the jams... including that of UK hip hop legend Dr Syntax.

Review: Is there a more hard-working pair of party-starters than the Allergies' Rackabeat and DJ Moneyshot? The Bristol-based duo have been prolific over the last few years, yet the quality of their work seemingly hasn't suffered. Promised Land, their fifth album, is another invigorating, thrill-a-minute ride through hip-hop/funk/soul/rock/breakbeat fusion, where almost every cut is ripe for dancefloor plays. Highlights include the bluesy breakbeat bustle of 'Working On Me', the scratch-happy, Fatboy Slim-esque fun of 'Jumping Off', growling Dynamite MC hook-up 'Lean On You' (which reminded us a little of Plantlife), soul stomper 'Love Somebody' and 'Are You Ready', where Ugly Duckling's Andy Cooper and singer Marietta Smith both make their mark.

Review: The Allergies' debut album introduced the world to the way they effortlessly fuse funk, soul, disco, hip-hop and breaks into dancefloor-ready nuggets of ear candy. Taking classic sounds and reshaping them for the modern age is the signature that won them plaudits across the globe. Not ones to rest on their laurels, it hasn't taken long for them to deliver more of the goods on their second full-length album. As well as taking the successful formula of the first record and expanding on their sound, the band enlisted two giants of underground hip-hop to bless mics on the album as well. After a hugely successful collaboration on their debut LP, once again the dynamic lyricism and production skills of the inimitable Andy Cooper (Ugly Duckling) are present and correct in this new collection.

Review: Fresh from her LP with leftfield French beatsmith Debruit, Alsarah joins The Nubatones for an equally unique lesson in timeless funk. Munching through cultures and continents with alluring grace, the fusion of eastern and western sounds here is instantly captivating and wholly of its own. From the bluesy guitar slaps of "Nuba Noutou" and "Yanas Baridou" to the lolloping ghostliness and poignant harmonies of "Bilad Aldahb" via the heartfelt croons and gentle accordion squeezes of "Wad Alnuba", this is an exceptional listening experience. Highly recommended.

Review: Jasper Verhulst's burning passion for Turkish folk and psychedelia led him to found the Atlin Gun band. Gece is their second album from 2019 and arrives in the same month as their third, Yol. It showcase a real understanding of the dynamics of his chosen soul but laced with contemporary flourishes and plenty of great musicianship that touches son Anatolian rock and folk as well as colourful synths capes and psyched out meanderings. Steamy, bright and brilliant, this is a fine reminder of what makes Atlin Gun so damn irresistible especially on the vocal laced 'Anlatmam Derdimi' which is dripping with cool.

Review: Nestor Alvarez, known for his vibrant fusion of sounds, brings forth Melting Pot - an album embodying his diverse musical influences on the always good value Original Gravity label. It finds Alvarez delve into the core essence of his music, capturing the raw energy and authenticity that define his sound across eight party ready cuts. From Latin rhythms to electronic beats, Alvarez seamlessly blends several genres, creating a trip that transcends boundaries and eras. Some are fiery and upbeat, others are more slow burning funk but all of them are testament to Alvarez's innovative approach to music production and showcase his ability to craft dynamic compositions that resonate with audiences worldwide.

Review: Gbubemi Amas is hardly Nigeria's most famous musical export. He began his career at the dawn of the 1980s, enjoying a certain level of success with debut album Grill. That set, reissued here for the first time since, was in many ways typical of developments in Nigerian popular music at the time. Amas was one of a new generation of artists moving away from the Afrobeat and Highlife styles that had dominated Lagos in the 1970s, instead laying down punchy, pop-tinged cuts heavily influenced by both American dance music (and in particular disco and boogie), and AOR rock. Highlights include the tasty disco-boogie of "Slow Down", the horn-heavy dancefloor sweetness of "For You", and the atmospheric synth-pop of closer "Listen".

Review: Initially released in South Africa in 1982, Gyedu-Blay Ambolley's sophomore set is now regarded as a boogie-era Highlife classic. Here issued on CD for the very first time via Mr Bongo, the album features the Ghanaian star brilliantly joining the dots between driving disco-funk, jazz-funk, intoxicating slow jams, calypso, dub reggae and his beloved highlife. Highlights come thick and fast throughout, with standouts including heavy percussion jam "Simigwa", the boogie-dub skank of "Adwoa", the down-low grooves of "Walking Down The Street" and the killer disco highlife anthem "It's High Life". Simply essential.

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: Anduze is a new school vocalist with an old school soul sound. He has that rare quality of being able to bring to mind greats like Marvin Gaye and James Brown while also having his own sound. He reimagines the greats on this new album that was written during the pandemic and blurs the lies between jazz, soul, funk, R&B and pop similar in fashion to the likes of Prince or Lenny Kravitz. Raised on the native land of St. Croix in the US Virgin Islands, Anduze draws also on reggae sounds on the deep cut 'Helen' while picking up the funk on cuts such as 'How To Love A Good Man.'

Review: Freestyle Records reissues The Apples Kings a full decade and a half after its first release. This version has been fully remastered and re-cut for an even more dynamic sound to remind why the landmark album was so special. It was a first for the band who crafted it with specific collaborators in mind and worked with funk legend Fred Wesley and Israeli world music icon Shlomo Bar In fusing elements of The JB's funky foundations, soul, dub, and Middle Eastern influences, they cooked up a genre-defying mix filtered through The Apples' unique decks-horns-bass-drums lineup. These unmistakable, floor-shaking grooves are just as potent today as they were in 2010.

Review: Blue Foundation returns with another lush and immersive album that deepens their signature blend of dream pop, shoegaze and ambient electronics. Crafted over three years by the much loved Danish duo Bo Rande and Tobias Wilner, Close to the Knife explores themes of melancholy and introspection through layered textures and haunting vocals from Wilner and Nina Larsen. Guest appearances from Scarlet Rae, Helena Gao, and Sonya Kitchell enrich its emotional depth, while contributions from Chinese experimental noise band Wang's Xie Yugang and drummer Federico Ughi add complexity to this shapeshifting soundtrack.

Review: ** Repress **The elusive, highly sought-after Accadde A was penned by renowned Italian pianist Luciano Simonichi. Largely famed for his film and TV score work, you can hear exactly why he excelled in this field across each of these 12 lush instrumentals. Translating to 'happened', each cut was recorded in different places around the world, giving each track a certain sense of location and sense of identity. This especially relevant in "A Belfast" as bagpipes echo shyly in and out of the mix, and the flute-heavy "A Harlem" where, for all its massaging and mesmerising, there's a strong undercurrent of urban funk. A gorgeous piece of instrumental history, this repress is limited so make sure you grab it today before reverts back to connoisseurs' hushed tones.

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: The talented Joe Armon-Jones has been at the centre of some of London's most exciting musical developments in the jazz world in recent years, not least as co-founder of the mighty Ezra Collective. He is a prolific creator, keyboardist, singer and producer who draws on dub, pop, hip-hop and electronica to foment his own style and once again that shines through with this, the first part of his new album on his own Aquarii Records. It is full of standouts like the Afro-leaning drums and summery melodies of 'Kingfisher (feat. Asheber)' with life-affirming lyrics. 'Show Me' has a darker downtempo energy with crashing hits and drums and 'Hurry Up & Wait' ends on a tender note with introspective keys and feathery drums.