Back catalogue: All genres

Review: The Guy Ritchie-penned film The Gentlemen centres on Mickey Pearson (Matthew McConaughey), an American in London whose luxurious lap founders on the back of a lucrative but prone marijuana empire. As he plans to retire and sell his business, a web of schemes, blackmail, and betrayal unfolds as rivals plot to seize his fortune. British composer Chris Benstead's soundtrack is elusive and sluicing, incorporating Charleston-inciting bass undertows, ticking clocks and finger-clicking inquests, as of a main character's paranoia threatening to make truly manifest.

Review: Funk and soul album don't come much better than this. Chocolate Milk's Action Speaks Louder Than Words is a 1975 classic and an essential piece of New Orleans music history. Discovered and produced by the legendary Allen Toussaint, the band's debut blends tight grooves, sharp horn lines and socially conscious lyrics with the rich musical heritage of their hometown. The standout title track is a rare groove classic still sampled and revered decades later. With polished arrangements and undeniable rhythm, this album firmly established Chocolate Milk as a force in 70s funk and remains a superb boogie-infused release that is as vital and infectious today as ever.

Review: Dom Salvador's 1969 album is pure Brazilian jazz magic. This piano maestro effortlessly fuses samba, bossa nova and hard bop into one smooth and moving groove. Tracks like 'Samba do Malandrinho' and 'Tio Macro' show off his slick chops and inventive style as he mixes tight rhythms with wild improvisation. It's a vivid trip to somewhere Brazilian heat meets American jazz cool. Fresh, funky and full of soul, Dom Salvador isn't just playing music here, he's rewriting the rules of jazz fusion, which is why this record is a classic of its genre and a vital reissue.

Review: 2002's Hooverphonic Presents Jackie Cane always felt like the odd jewel in the Belgian outfit's catalogue i part concept album, part theatrical detour, wrapped in lush strings and Bond-theme bravado. The 2025 reissue brings it back into focus, and it's certainly worth revisiting. There's drama i torch songs, twisted pop, and trip-hop filtered through a cinematic lens i but also a tangible sense of melancholy beneath. Tracks like 'Sometimes' and 'Human Interest' still land with weight, while the nocturnal psychedelia of 'Jackie's Delirium' and 'Shampoo' adds hallucinogenic depth to the collection. It's all very stylised, but that's part of the charm. You can hear the ambition, the restlessness. Not quite cool, not quite kitsch, but somehow it works.

Review: There's more to US funk god Rick James than just 'Super Freak' and this sprawling retrospective proves it. Across four sides, the Buffalo-born musician's full-spectrum funk is on glorious display i from the righteous bounce of 'You & I' and weed-soaked romance of 'Mary Jane', to the hard-grinding grooves of 'Ghetto Life' and 'Give It To Me Baby'. The hits are all here, but so are deeper cuts like 'She Blew My Mind (69 Times)', 'Cold Blooded' and 'Can't Stop', showing off James's twisted humour, whip-smart arrangements and genre-bending instincts. Highlights like 'Glow', 'Dance Wit Me - Part 1' and the Temptations-featuring 'Standing On The Top' cement his reputation as a psychedelic soul innovator who consistently defied convention. Even the closing Busta Rhymes flip of 'In The Ghetto' feels earned i a nod to his lasting influence on rap and r&b. This isn't just a greatest hits i it's a flex, a time capsule and a reminder that Rick James could outplay, outsing and outfreak almost anyone.

Review: Studio album number 11 from legendary French outfit Magma, now reissued on 180g vinyl, marking a vital return to new composition after nearly three decades. Written by founder Christian Vander in the early 2000s and performed live for years before recording, the material fuses operatic vocals, rigid minimalism, and the band's signature invented language, Kobaian. 'Ekmah' and 'Teha' move like liturgical invocations, while the choral repetitions of 'Les Hommes Sont Venus' sound as if channelled from another realm entirely. Vander's drumming is restrained but authoritative, a quiet force guiding the momentum beneath 'Zahrr' and the ecstatic climax of 'Felicite Thosz'. There's a sense of ritualised propulsion throughout, as Magma treat rhythm not as groove but as mantra. It remains singular music: hermetic, alien, and undeniably spiritual - a rare return from a band that have always existed somewhere outside of time and genre.

Review: Peter Hook's post-New Order venture with David Potts resurfaces after 25 years with Monaco, the duo's second and final album, finally seeing a vinyl pressing for the first time. The self-titled LP followed Music For Pleasure and leant into Hook and Potts' foundational fondness for rock-dance hybrids, with the buoyant 'I've Got A Feeling' and the moodier 'See Saw' among the stereo-steroidal standouts; we've everything from Brit-pub rock whimsy to club-shuttling indie house respectively. This UK-only edition lands as a deluxe gatefold double crystal clear wax; with a four-page booklet and a deluge of bonus tracks, this is the first proper physical revisit to a project that closed the 90s in the shadow of Hook's better-known bands.