Back catalogue: Funk

Review: "Of all the many noble attempts of the prog rockers to create a grand compositional style which blended elements from classical music with rock, none, in my view, ever reached the intensity, complexity and raw savage excitement of the great Magma masterworks." When you make music that feels like the love child of a rock & roll musical, gospel choir, Frank Zappa and Ziggy Stardust, why should anyone expect you to be even remotely humble when describing your own back catalogue. Magma's 1974 epic is nothing short of batshit crazy in the true sense - bordering, perhaps sprinting well beyond, the point of genius and capable of rendering any room speechless. A stunning example of how wild, exploratory and experimental the music industry was once so proud to be.

Review: Charif Megarbane, the Beirut-based multi-instrumentalist and composer, stretches his sonic vocabulary on this sprawling new full-length, a genre-hopping journey that draws as much from the Lebanese coast as it does from the wider diaspora. Where his earlier work painted intimate portraits of local life, this one looks outwarditoward cultural entanglement, exile, and exchange. 'Hanadi' kicks things off with a sax-led, Somali-inspired groove, while 'Dreams of an Insomniac' drifts through hazy keys and fluttering violin. 'Al Dollarji' recalls his signature Mediterranean funk, full of ornate strings, but 'Al Bahriye' disrupts the flow with hip-hop motifs and vocal samples. Collaborations feel purposeful: 'Helia', with Swedish composer Sven Wunder and the Stockholm Studio Orchestra, layers lush cinematic strings into Megarbane's idiosyncratic palette. Even miniature pieces like 'Sfiha' or 'Preamble to the Conclusion' feel essential, punctuating the record's narrative of displacement with clarity and warmth. It's a collection that resists linearity, folding nostalgia and innovation into a rich, borderless soundian informal transmission between traditions, cities and moods.

Review: Produced by renowned Chicago producer Clarence Johnson, the Michigan Avenue album is getting its first-ever vinyl reissue. This sought-after release includes standout tracks like 'Special Kind Of Love,' known for its upbeat melody, and smooth soul classics such as 'Don't Take Me For The Ride' and 'All That Matters,' perfect for sampling. The album also features the soulful 'Can't Get Enough' and revered covers like the Flamingos' 'I Only Have Eyes For You' and Baby Washington's 'That's Heartaches Are Made.' Additionally, two new songs have been added to the original tracklist to make this reissue extra special and unique.

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.