Back catalogue: Funk

Review: This second instalment in the Spring Revisited seriesia collaboration between Acid Jazz and Ace Recordsioffers two expertly handled edits from across the Atlantic rooted in the fertile legacy of 70s New York soul. London's modern disco institution Dave Lee reinvents The Joneses' 'Love Contest' with his trademark finesse, giving the track a full-bodied groove-up without losing its bittersweet heart. The strings soar, the rhythm section locks tight, and Lee's decades-deep knowledge of disco and boogie shines through in every detail. On the flip, New York-based Coleen 'Cosmo' Murphy brings lush new life to Street People's 'I Wanna Get Over'. With sun-drenched keys, crisp hand percussion and subtle delays, she transforms heartache into late-night liberation. Both sides feel like love letters from DJ to danceflooriclassic soul refracted through contemporary ears, pressed on wax that looks and feels like it just time-travelled from 1979.

Review: Two popular tracks from the highly rated and MURO-curated compilation Diggin Victor: Deep Into The Vaults Of Japanese Fusion / AOR are now made available for the first time on their own standout 7". Originally released as a limited item at an anniversary event, these rare gems are magically escapist sounds that blend library music, jazz, soul and Balearic mindsets into a pair of tropical heaters. The Kumi Sasak A-side is a real melodic noodler with meandering bass and a whimsical, carefree spirit as it heads nowhere in particular in hypnotic fashion. Side-B has 'Kimono' by Tetsuo Sakurai, which is a more rhythmic sound with funky bass riffs and 80s broken beats and a lush vocal.

Review: The third full-length from London nine-piece Soul Grenades distils over a decade of performance into slick, high-impact modern funk. Their sound - sharp brass, syncopated rhythm, deep-pocket bass - owes as much to the horn-driven grooves of the Meters as to the tightly orchestrated grit of early 2000s revivalists. But it's the band's songwriting, honed through years of gigging, that carries the weight here. 'Dopamine' is an instant opener, kinetic and bright, while 'Jealousy' draws from vintage soul drama with horn stabs and raw vocal flair. On 'Star Gazin'' and 'Be Mine', they shift into a softer register without losing rhythmic tension. 'Death At The Disco' ups the stakes, laced with cinematic flair, and 'Suga Mama' punches through with high-speed strut. Elsewhere, the slow-burn closer 'A Better Day' leans into gospel-funk catharsis, building tension in restrained waves. Everything is dialled in - arrangements tight, solos concise, vocal harmonies blended without fuss. While earlier records mapped out the group's energy on stage, this one moves with the confidence of a studio band in full control. As far as raw pleasure goes, they've hit the brief.