Back catalogue: Funk/Reissues

Review: Brooklyn producer Gerard Young aka Ge-ology has always championed intricacy in his original house productions, preferring to survey and purpose-build from the ground up, not prefabricate. His Versions series through Hot Biscuit has been going since 2025, with a higher-than-usual number of deep cuts (usually six in total for each 12") all given names like "Extended FeelTheFire Mix", "From SideToSide", "CapricornTribe Mix" and "Raw Stripdown Version", evidencing a sense of literary licence and playing on otherwise boxed-in remix titling traditions. Janky sampled refuse of disco-soul and gospel replay over 'Keeep The Beat' like trash-humped radio components larked from wreckage - our fave track here by far.

Review: Vivi Hernandez Y Su Conjunto's 'Tocando Macizas' emerges as a coveted collector's item, limited to 100 copies in a bespoke silkscreen sleeve. This 7" release captures the raw essence of 1971 Mexican funk, offering a tantalising glimpse into a pivotal moment in Latin music history. The A-side's infectious rhythm and bold instrumentation are perfectly complemented by Grupo Caverna's 'Caverna' on the flip. This rare pressing stands as a testament to the enduring appeal of vintage Latin funk, promising to be a prized addition to any discerning vinyl enthusiast's collection.

Review: Step inside the world of Ginger Root with Shinbangdumi, Cameron Lew's third LP and Ghostly International debut. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his unique blend of handmade yet polished synth-pop, alt-disco, boogie and soul since 2017. Drawing inspiration from 1970s and '80s music, particularly Japanese City Pop and its Western counterparts, Lew creates a sound that is singular and modern. Shinbangumi translates to "a new season of a show" and reflects Lew's personal and artistic evolution. The album's track arrangement, influenced by feedback from his live band and collaborator David Gutel, is designed to take listeners on an exhilarating journey, starting with the infectious 'No Problems' and its catchy basslines and guitar riffs. 'Better Than Monday' transitions from lo-fi to hi-fi splendor, humorously addressing the universal dread of Mondays. The album balances referential and refreshing elements, with tracks like 'There Was A Time' and 'All Night' showcasing Lew's melodic strength. 'Only You' delivers a true City Pop anthem, while "Giddy Up" channels The B-52s and Devo. 'Kaze' evokes the Tin Pan Alley sound of Harry Hosono, recorded in a Tokyo karaoke bar. 'Show 10' stands as the album's spiritual heart, reminding Lew of his commitment to delivering his best to fans. With Shinbangdumi, Ginger Root presents a wealth of nostalgia and innovation with their version of synthpop.

Review: Shinbangumi is the third LP from multi-instrumentalist Lew, marks a significant evolution for the Southern California artist Ginger Root. Seamlessly blending 70s and 80s influences like Japanese City Pop, Philly Soul, and French Pop, Lew's sound is a sophisticated mix of synth-pop, alt-disco, boogie, and soul. Shinbangumi stands out not only for its musical strength but also for its conceptual narrative, continuing from the 2022 EP Nisemono. Tracks like 'No Problems' and 'Better Than Monday' exhibit Lew's knack for combining catchy melodies with clever production. 'There Was A Time' and 'All Night' highlight his ability to craft both introspective and dance-worthy tunes. 'Only You' delves into true City Pop, while 'Giddy Up' channels the quirky energy of The B-52s and Devo. 'Kaze,' recorded in Tokyo, adds a unique texture inspired by Yellow Magic Orchestra's Harry Hosono. Lew's dedication to his craft and his fans is more than evident here.

Review: This latest offering is a testament to Guts' curatorial flair, stitching together rhythms from across the globe. Each track is carefully chosen to highlight soulful grooves and infectious melodies, all while maintaining a sense of discovery. The release moves effortlessly between vibrant Afrobeat, laidback funk, and hypnotic Caribbean influences, creating a natural flow that feels like an intimate DJ set. This is music with heart and authenticity, a celebration of the dancefloor's rich diversity.

Review: ***B-STOCK: Sleeve damaged, record slightly warped***


Brion Gysin was a true original who left his mark on modern culture when he introduced William Burroughs to the cut-up technique, but he also recorded a swathe of experimental, funk-fuelled releases including the 1983 single 'Kick/Junk'. That single has been expanded into this album for Wewantsounds, which features Don Cherry's trumpet work on 'Kick' amongst many other talented players. It's a freewheeling listen which takes its inspiration from many places, finding space for tender folk experimentation with an African twist on 'All Those Years' and embraces jazz as a vessel for sonic and rhythmic exploration when the moment calls for it.

Review: Disco creator T-Groove has received high praise on both the domestic Japanese and international scene. What better motive, then, to trade on his newly gilded name than to pair up with street drummer George Kano for a transformative set of grooves, in the form of 'Let Me Ride', 'Midnight Lady' and ensuing tracks? That's just what T-Groove has done on his latest record here for P-Vine, incorporating a fusion-like style exquisitely crossing between jazz, rock, Latin and quiet storm. A testament to the chemistry shared between T-Groove and Kano - drummer-and-producer-dyad extraordinaires - this is a well-cooked slice of late night urban fusion and groove.