Back catalogue: Funk/Reissues

Review: Germany's funk collective expand their sound on this release, recorded live at the MPS studio in the Black Forest. The raw, break-heavy foundation remains, but the album ventures into jazz, soul, and psychedelia, capturing an organic energy that feels both spontaneous and precise. Tracks like 'Open The Gate' blend punchy brass with intricate rhythms, while 'Spinning' layers folk-psych guitar and cinematic horns, creating a fluid dialogue between the musicians. 'Back And Better' highlights Nichola Richards' soulful vocals, adding depth to the sparse beats. The album also explores playful experimentation, with 'Sparks of Joy' embracing a swampy groove, and 'Phantom Power' introducing an electric phin, nodding to world jazz influences. Carlton Jumel Smith's performance on 'Can't Stop This Fire' and the gospel-tinged 'Homebound' anchor the album, grounding its expansive journey. The result is a cohesive and evolving soundione that truly captures the clearly audible joy of collaboration.

Review: German funk heroes The Mighty Mocambos continue to prove that their funk is an ever-evolving force, navigating between the worlds of gritty, organic soul and cinematic experimentation with unapologetic energy. Their latest offering marks another step forward, refining the groove-laden formula that's earned them global acclaim while pushing into new territory. The opening track hits hard with orchestral flair on 'Road to Earth,' where the legendary Peter Thomas's arrangements lay the foundation for a full-on sonic odyssey. As they move through the album, tracks like 'It's the Music' and 'Hot Stuff' groove like a classic, with Afrika Bambaataa's presence lifting the energy and ensuring a tight vibe. But it's not all about party anthems. 'Not Get Caught' from DeRobert tells a story that's as gritty as it is soulful, capturing a narrative of crime with a raw, undeniable swagger. Even more dynamic is the standout 'Catfight,' which melds mysterious Eastern flavours with a tripped-out break, displaying a versatility that refuses to be boxed in. This is an album of triumphs, not just in the power of individual tracks but in the overall cohesion of sound and spirit, and by taking a step further into uncharted waters while keeping their infectious funk roots firmly grounded, The Mighty Mocambos challenge expectations and push boundaries. A showcase of a band in full flight, steadily rising.

Review: The turn of 1980 saw limited quantities of Salty Miller's lone album, a hidden gem of the beach music scene of the Carolinas, after which the properly named Beach Music Records names itself (they monopolised the scene early on). Miller's album blends soul, disco, and mid-tempo steppers, perfect accompaniments for the shag, beach music's signature dance. Though an 80s classic in its own right, Album 1 was made after Miller took extended time away from releasing: his masterwork heard a noble North Carolinian cast, including members of fellow The Embers, then join him on backing duties. Oceanic soundscapes and emotive string arrangements contrast with a local joviality; 'One More Time', 'Music Makes Me High', and 'The Fox' are standouts, though the peak sensation 'Happy Is The Word' has to be our highlight, bringing boardwalk-strutter soul and pitchy electric organs to a well chorused mix.

Review: The Modulations released their album It's Rough Out Here in 1975, not only impressing both industry and laity with the singles 'Rough Out Here and 'I Can't Fight Your Love', but also spurring the considerable career of a funk quartet whose merit outdoes their reputation alone. The Modulations recorded extensively with MFSB, the house band of the famed record label Philadelphia International; these sessions yielded this album, one considered a gem of 1970s soul music. Exemplary of the long, wistful titles of the Philly funk era and beyond, the titular roughness of the record is also nonetheless embedded in a sea of audible Romance; the Modulations' hard knocks don't exclude the necessity of letting emotion in, with 'Head On Collision With Heartbreak' being an indelible example of this sense of being swept up in one's own emotions in the face of heartbreak, away from the perseverance aesthetics of "gritty" realism one might expect from a title like this.

Review: Sol - the new album from Paris-based Venezuelan music artists Raul Monsalve y Los Forajidos - hears the band merge Venezuelan rhythms, jazz, Afrobeat, psychedelic funk, and experimental electronics into an utter boundary-piercing hyper-stimulater. For fans of George Clinton, Herbie Hancock, and Nyege Nyege Tapes, the album plants some roots and uproots others, with next-gen collab explorers Emanative, Kiala Nzavotunga, and Gustavo Ovalles using the passed-down torch to both burn old bridges and light the way over new ones. Drawing on old Venezuelan ecclesiastical traditions such as the Saint John the Baptist festival, the album opens with 'Fuego al campanero', blending Venezuelan chants with futuristic sounds, and burns into 'Como el Sol' and 'Machete no hace piquito', devling into themes of strength and perseverance.

Review: Pique is the remarkable debut solo album from Dora Morelenbaum, a key figure in Brazil's burgeoning music scene and a member of the talented band Bala Desejo. Following her initial EP Vento de Beirada, Pique marks Dora's ascent as a significant solo artist, blending boldness with grace, bridging Brazil's musical heritage with contemporary grooves, incorporating funk, MPB, disco, soul, r&b and jazz, all infused with an indie pop sensibility thanks to co-producer Ana Frango Eletrico. Opening with the sun-kissed 'Nao Vou Te Esquecer,' Pique transitions into the infectious funk of 'Venha Comigo' and 'Sim, Nao.' Tracks like 'A Melhor Saida' and 'Petricor' offer a more relaxed, introspective vibe, while 'VW Blue' showcases virtuosic jazz-funk, and the title track delivers radiant MPB. The drumming is crisp and swung, the horns and strings are meticulously arranged, and the basslines groove with a funky energy, complemented by strutting guitars and vibrant production flourishes. Dora's hands-on approach to the albumifrom songwriting to arranging and producingiensures a cohesive vision. Supported by a talented ensemble, including her Bala Desejo bandmates and her renowned parents, Paula and Jaques Morelenbaum, Pique merges tradition with modernity. An endlessly listenable album, poised to become a future Brazilian classic, blending the spirit of legends like Gal Costa with a fresh, innovative edge.

Review: Dora Morelenbaum is a fast-rising star in Brazil's new music wave and a member of the Latin Grammy-winning band Bala Desejo and Pique is her stunning new debut solo album. It comes after the early success of her first EP, 'Vento de Beirada', and sees Dora soar to new heights as a bold and elegant artist. The album blends aspects of funk, MPB, disco, soul, and jazz with an indie pop flair and has been co-produced by Ana Frango Eletrico. The tracks feature plenty of classy and sophisticated arrangements as well as a number of groovy basslines and intricate production flourishes. Across them all, Pique bridges Brazil's musical past and present and also calls upon contributions from fellow musicians and family members to help make it a standout in the contemporary Brazilian music landscape.

Review: Mork is a duo that hails from Budapest and works in a world where jazz and soul collide into something fresh. They make their usual sounds with an unusual mix of tools and have delivered them in climbing halls, tea rooms, living rooms and kindergartens, all to great acclaim and with support from the likes of BBC 6 Music and Jazz Fm. Still Dreamin is their new album and is a nice track dive into lush synth work, gentle broken beats, r&b vocal hooks and a great bend of old school nostalgia and fresh, future ideas.

Review: Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

Review: Muchamucham's Qantikala is a delightful surprise from this innovative Japanese band, offering a blend of funk, ambient, and dub with a distinctive island flavor. Released by Special 10 Japan, this album stands out for its unique fusion of Hawaiian and Japanese influences, creating an original and tradition-steeped sound. Highlights include 'Pulau,' which features a breezy island vibe, and 'Bing Long Moon,' where funk and ambient elements intertwine with nature sounds for a relaxing experience. 'Onsen Moku Moku' is an enchanting island love song, while 'Yunta Asadoya' delivers a light rock groove that adds to the album's diverse appeal. Qantikala is a refreshing instrumental collection that transports listeners to a serene and eclectic sonic landscape. This is such a refreshing sound!

Review: Mixed by Japanese producer and DJ Muro, who has a background in hip-hop, this connoisseur is never short on deep cuts and takes us on a journey through soulful, vintage AOR sonics from his home country. Whilst no two tracks are by the same artist, there's a cohesion to the tracklist thanks to Muro's ear in pulling out things that sit so well together. Asakawa Mak's 1988 cut 'American Night' is a smooth nod to sophisti pop greats Prefab Sprout; whilst Seri Ishikawa's elegant and lush number, 'Eternal 1/2', highlights how innovative she was in forging new sounds back in 1985. These two cuts are just the tip of the iceberg, yet this compilation is an ideal entry point to some of the finest Japanese music of the late 20th century. You can bank on Muro delivering the goods.

Review: Renowned DJ and selector MURO is a Jedi-level compiler and this new collection of his delves into Victor's extensive archives to spotlight a world of Japanese jazz, fusion and AOR. It take sin plenty of internationally known names like Yasuko Agawa on the sunset sounds of 'L.A. Night', Sadistics who offers the more psyched out guitar leans of 'On the Seashore', Yuji Ohno's neo-Balaeric bliss-out 'The Dawn of Seychells' and Hiroshi Fukumura's soul soothing Ry Ayres-style melodies on 'White Clouds.' These are luxurious sounds and timeless tracks with MURO's signature funky perspective making this a brillaint choice for brighter, warmer days.

Review: Fourth Wave's latest compilation feels like a musical postcard from Japan's vibrant underground, gliding through genres with effortless charm. Mari Nakamoto's 'Day Dreaming' sets a tranquil mood with her airy vocals drifting over soft, dreamy instrumentals. Yudai Suzuki's 'Midnight Calling' brings smoky sax riffs and laid-back grooves, perfect for late-night introspection. Yasuhiro Abe's 'Night Fish' dives into psychedelic waters, swirling with hypnotic melodies and unpredictable rhythms. Maki Asakawa's 'Kohi Hitotsu' radiates raw emotion, her voice rich with longing. Yuji Ozeki's 'Futaribun No Yume' blends traditional Japanese sounds with modern electronics, crafting a sound both timeless and futuristic. Jin Kirigaya's 'Matenro Monogatari' closes the collection with cinematic depth, its sweeping arrangement lingering long after the final note.

Review: The long-lost disco-soul-funk album You Can Be by the Music Makers Band is finally seeing the light of day on vinyl once more with new mixes from original multi-track tapes by Kenny Dope. Forgotten in a linen closet in Macon, Georgia since 1979, this reel-to-reel treasure contains recordings from the group that previously released 'Black Gold' as The Mighty Chevelles in 1977. By 1979, now known as Music Makers Band, they captured this disco-funk gem at Capricorn Studios and here each track shines anew thanks to the fine work of funk lover Kenny Dope's work.

Review: A lesser-known but electrifyingly slick city pop record (her fourth) by Junko Ohashi. 1979's Full House hears the Japanese singer's graceful but powerful contralto in full collaborative force, paired against the historic instrumental talents of her backing band, Minoya Central Station. Perhaps second only to Ohashi's timeless New York paean, Magical, Full House is yet another discographic dazzler that most likely contributed to the revival of the city pop genre after its retroactive but no less ironic recognition in the popular music sphere by the vaporwave subgenre, future funk. The mood throughout Full House is vital and joyful, suggesting something close to complete emotional fulfilment and idealistic glee on the singer's part - all part of the city pop's objective - its grand plan - to portray metropolitan life as an ultimate ideal.