Back catalogue: Funk

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: Fifty years into his career, Gary Bartz continues to produce powerful spiritual jazz. In 2020, he collaborated with London band Maisha for Night Dreamer Direct To Disc Sessions and in 2021 he teamed up with Ali Shaheed Muhammad and Adrian Younge for Jazz Is Dead 6, both of which prove that. Now we get a special new pressing of his Live In Bremen 1975 album recorded during a European tour and capturing Bartz's groovy quartet with Chris Mims on keys, Curtis Robertson on bass and Howard King on sticks. The set revisits classics like 'Celestial Blues' and 'Uhuru Sasa' while showcasing Bartz's soulful sax and thoughtful compositions.

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: Lotti Golden's debut is a fearless dive into the chaotic, electric world of late-60s New York, where countercultural misfits and street prophets populate her genre-warping narratives. Opener 'Motor-Cycle Michael' sets the pace with its freewheeling energy, while 'Gonna Fay's' drifts into bluesy psychedelia. The sprawling 'A Lot Like Lucifer (Celia Said Long Time Loser)' shifts between swaggering rock and theatrical storytelling, mirroring the unpredictability of its characters. 'Who Are Your Friends' leans into funk-driven introspection, while 'Get Together (With Yourself)' and 'You Can Find Him' push her vision further, blending soul and gospel-inflected harmonies. Golden's distinctive approach, combining raw honesty with a complex musical palette, firmly establishes her as an artist who reshapes the boundaries of pop and rock. Born and raised in Brooklyn, Golden was drawn to music from an early age, nurtured by her parents' passion for art and culture. At just 16, she caught the attention of Bob Crewe's Saturday Music, signing as a staff writer. But Golden's vision reached beyond writing for othersishe was determined to tell her own story. With vivid lyrics that captured her experiences in New York City, her debut album chronicles youthful defiance, introspection and transformation.

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.