Back catalogue: Funk

Review: A vibrant homage to 80s electrofunk and disco, packed with lush grooves and melodic finesse. Side-1 kicks off with 'Freak', a shimmering track steeped in 80s-inspired electrofunk, blending sleek melodies with a polished, retro vibe. 'Last Days Of Cybotron' follows, maintaining the melodic theme with a funky, futuristic edge that nods to the electro era's pioneering spirit. On Side-2, 'The Chiller Thriller' slows things down with a cool, laid-back electrofunk groove, perfect for low-key moments. 'Radio Station P You' channels early 80s R&B funk and electro in the vein of the Gap Band, delivering a nostalgic yet fresh energy. Wrapping up the release is 'Sassy Strutt', an infectious fusion of funk and house with undeniable dancefloor appeal. This collection masterfully bridges the gap between vintage electrofunk and nu-disco, making it an essential pick.

Review: REPRESS ALERT!: Canadian go-slow master Eddie C is back with more of his sumptuous and sensuous grooves on the magnificent Funkyjaws Music. This new 12" kicks off with the emotionally intense and gospel-laced vocal sounds of 'Jesus Calling' with a passionate pastor lighting up the airways. 'Show Me The Way' is a more paired down sound this time with a raw soul edge and nice dusty drums, then 'Superior Disco' brings some lavish string stabs and funky basslines to some killer instrumental grooves. 'Loud Minority' closes out with some lovely jazzy organ work over more low-slung and dusty disco beats.

Review: The electrifying return of El Combo Batanga. The Afro-Cuban band and Ubiquity Records favourites descend upon us once more in a sallying storm of Isthmian lightning, bridging the spirit of classic Fania and Tico Records releases, and whipping them back around and through gales of Latin funk, son, timba and boogaloo. "Batanga" refers to the traditional Cuban instrument heard throughout their records, if you listen closely: new A cut 'La Cuota' brings an urgent, hyperbolic funk, while 'Darling' contrasts with nixie moods, a heart-burning Latin soul lament.

Review: Brian Ellis, known for his multi-instrumental work as part of Birdbone Unlimited on Star Creature, steps out with a solo release that channels West Coast flair into a bold reinterpretation of early 80s dancefloor energy. Revisiting Bobby O's production 'Love Is The Drug' for Roni Griffith's 1982 hit, Ellis transforms the original into a shimmering blend of Italectro and funk-driven electrobass, a proto-freestyle fandango filtered through Ellis' signature analog sensibility. A high-gloss, synth-laced homage results on orange gamboge vinyl; a replenishing source of sunny sonic vitamin D.

Review: Madrid-based collective Danzon El Gato channel the city's restless creative energy into a vivid fusion of jazz, funk and roots music. Formed within Madrid's experimental scene, the group revolves around Javier Adan and Santiago Rapallo, longtime collaborators whose past projects range from jazz fusion to avant-garde film scores. This latest release sees them sculpt a kaleidoscopic sound, pulling from North African, Latin American and Mediterranean traditions while staying locked into the groove with a rhythm section indebted to 70s library music and golden-era hip-hop. Across the record, they explore an array of moods and textures. 'Ronda' pairs intricate guitar lines with a propulsive swing, while 'La lucha'ifeaturing Marina y su Melaoileans into percussive Latin jazz. 'Twangy Morocco' lives up to its name, weaving surf-rock guitar into an East-meets-West instrumental, whereas 'Chapoteo' ripples with aquatic, freeform interplay. 'Amambay' and 'Fuimos invencibles' showcase their knack for evocative storytelling through sound, shifting effortlessly between cinematic tension and unbridled release. Danzon El Gato craft music that reflects Madrid itselfidense with influences, rich in movement and ambiguousiin the best way. Their sound captures a city in flux, where past and present collide to create something unmistakably fresh.

Review: Eramus Hall recorded their debut, and eventually only, album in 1980; the band was allegedly named after a building in Chicago, named "Eramus Hall", that George Clinton of Parliament saw in the street. The record evolved to become one of the most sought-after of the modern soul era, despite the flashpan profile of the band itself (as were many George Clinton P-funk offshoots). This owed in part to its clarion, crystalline production, held down by Clinton himself, and which served to spell out the nascent funk, soul and r&b sound bubbling over the broth pot's lip that was Westbound Records, Detroit. Now working from the original master tapes at the iconic 54 Sound studio in Detroit, the recordings have been restored and remastered, doing justice to a convergent, then not yet defined r&b sound.

Review: The Last Poets, pioneers of revolutionary spoken word and proto-rap, return with a powerful new album that blends their fiery lyricism with the infectious rhythms of Afrobeat. 'Africanism' sees the legendary duo, Abiodun Oyewole and Umar Bin Hassan, collaborating with a stellar cast of musicians, including the late Tony Allen, Prince Fatty, and members of Seun Kuti's Egypt 80. The result is a potent and timely exploration of social and political issues, delivered with the same raw energy and uncompromising spirit that has defined The Last Poets' music for over five decades. Abiodun revisits classics like 'When The Revolution Comes' and 'Gash Man', their messages of social justice and self-empowerment still burning bright. Umar's 'Niggers Are Scared Of Revolution' and 'Just Because' remain as potent and provocative as ever, their unflinching commentary on race and inequality cutting through the noise of contemporary discourse. The album's musical landscape is equally captivating, with Tony Allen's polyrhythmic drumming providing a driving force, complemented by the soulful melodies and intricate arrangements of the contributing musicians. A powerful reminder of the transformative power of music and spoken word.