Back catalogue: Funky/Club House

Review: Daft Punk's defining album comes directly from the horses' mouths, seeing a new vinyl edition in 2022 released via the ex-duo's own Daft Life Ltd. label. With no frills or fluff, every original track on their third album from 2001 appears here in crunching glory, not sounding an inch rougher or time-weathered. Aptly, 'Discovery' was described by the duo as a reflection of their childhood memories, when they listened to music with a more innocent ear; 20 years on, Discovery can certainly be said to have lived up to that original inspiration.

Review: The album that started it all for Daft Punk sure explains why they were one of the biggest acts in dance music for so long. Even now, all these years later, it is still a mind blowing work that blew electonic music wide open. Homework landed in 1997 and showcased astonishing production skills, a dizzyingly wide-array of influences and spawned plenty of stone cold dance classics such as 'Around The World,' 'Da Funk' and 'Teachers' which shouted out all of the French duo's biggest influences.

Review: French game-changers Daft Punk's tours are always some of the most iconic in all of dance music. They took the band around the world at the height of their powers and in 1997 they dropped a live recording from one of the shows in Birmingham on November 8th. It contains a 45-minute excerpt of recorded during Daftendirektour which the band themselves said was one of their favourite ever live gigs. Plenty of their biggest hits of the time make the cut such as Homework cuts like 'Da Funk', 'Rollin' & Scratchin'', 'Revolution 909' and 'Alive' but they all sound vastly different when played live.

Review: 'Alive 2007' is known as one of the most influential live albums ever, and this new reissue via Daft Punk's parent label Daft Life cements that influence. Performed at the French venue Bercy, we feel much harder, better, faster and stronger as we listen eagerly to the the pair's signature talkboxes, samples and hooks, this time drenched in crowd jeers and natural reverb. In this instance, Daft Punk manipulated their established material, transposing and deconstructing the structures of their studio tracks and paving the way for the future of live electronic music performance.

Review: Originally released in 2003, Daft Club was the first official compilation of any Daft Punk material, and they chose to gather together some of their most prominent remixes from the likes of The Neptunes, Cosmo Vitelli, Basement Jaxx and Slum Village along with a few other exclusives and obscurities like 'Aerodynamite' and 'Overture'. It's a must for any fan, especially now we know (or at least assume) there won't be any more DP material to come in the future. Repressed to fox the resellers, you can finally grab this one on wax once more, and you don't need to be told it's packed full of bangers.

Review: With each album, Daft Punk threw down something new for their mammoth fanbase to deal with. Never ones to repeat themselves or play it safe, Thomas Bangalter and Guy-Manuel de Homem-Christo ruffled feathers when they followed up the pop-tastic heights of Discovery with the rock-tinted stylings of Human After All. In hindsight, with the world-beating project brought to an end, the album sounds like Daft Punk through and through, not least on lead single 'Robot Rock', but full credit to them for not taking the easy route to give the fans what they want. As we reflect on the legacy of one of the biggest dance acts of all time, it's a fine time to revisit this album with a sparkling new pressing as part of the Daft Life Ltd series.

Review: The fourth and final studio album from the now disbanded French electronic duo, Daft Punk, Random Access Memory gets a re-release on Sony complete with an exclusive poster and 16-page booklet. This release pays tribute to late 1970s and early 1980s American music, particularly the sounds hailing from Los Angeles at the time. For this seismic album, the band developed and enriched the minimalist production style typical of their previous releases though collaborating with session musicians performing live instrumentation, limiting the use of electronic instruments to simple drum machines, a custom-built modular synthesiser, and their signature vintage vocoders. Spanning an impressive selection of genres from disco, to prog rock and pop, the album also boasts a serious list of chart-topping collaborators - from Nile Rodgers, to Pharrell Williams, to Giorgio Moroder. Featuring hit single, 'Get Lucky', this album is already considered a defining release of the 2010s pop/electronic landscape.

Review: Andy Smith's Reach Up - Disco Wonderland Vol. 3 continues his exploration of the "Discosphere" with 16 more and one again carefully curated tracks. Featuring artists like Buscrates, Trailer Limon, and Rena Scott, the compilation also includes stellar edits and remixes by Full Intention, Yam Who, and Skratch Bastid. Initially curated during pandemic lockdowns and inspired by virtual DJ sets, Andy continues to share his superb collection via the legendary BBE Music label and once again this triple vinyl LP offers a treat for DJs, collectors and audiophiles alike.

Review: Bristolian turntablist and crate digger Andy Smith has long been renowned for the depth of his funk, soul and hip-hop selections, though it's only in recent years that we've discovered the quality and diversity of his disco collection. He continues to flex those credentials on the third instalment in his Reach Up - Disco Wonderland series. While there's plenty of obscurity on show, as you'd expect, Smith has chosen to include contemporary nu-disco cuts and fresh re-edits alongside vintage picks. So, while we cuts from The Sunshine Band, the disco-highlife of Orlando Julius and some late 70s electro-disco courtesy of French outfit Quartz, we're also treated to fresher tracks and edits from BB Soul, Birdee and Nick Reach Up, Yam Who and Full Intention. Throw in a killer DJ mix of the same material by Skratch Bastid and you have a genuinely essential collection.

Review: Sabadell is a town in Spain that is renowned for its distinctive 1980s up-tempo, harmoniously synthesised take on disco. Known as the Sabadell Sound, it evolved from the pioneering and earliest Italo disco scene and featured key artists like David Lyme, Squash Gang, and Jules Tropicana. This two-sided vinyl megamix comes presented in vibrant orange vinyl and showcases the talents of DJ Funny and The Mixing Boys. In the iconic Spanish Max-Mix style, these mixes are true works of art and each side offers over 18 minutes per of hi-nrg and Eurodisco perfection that will bring great colour and charm to any party. his release is a must-have for fans both new and old of the Sabadell Sound.

Review: If you're looking for a bumper collection of chart bothering and ever-popular 80s disco then look no further than this. Blanco Y Negro has assembled no fewer than three whole CDs worth of the stuff and managed to include every sub-genre imaginable. Pop disco, hi-nrg, Italo disco, 80s house, nu-disco and plenty in between are all covered with aplomb. There are stone-cold classics like The Human League's 'Don't You Want Me', Grandmaster Flash & Melle Mel's 'White Lines (Don't Don't Do It)' and The Human League's 'Don't You Want Me' as well as a few equally fun but slightly less ubiquitous jams.

Review: LSD’s Remixes EP channels the group’s genre-blurring ethos into a collection that thrives on reinvention. Lil Wayne’s charged verse on ‘Genius’ adds grit without overshadowing the original’s playful intensity. MK’s remix of ‘Thunderclouds’ transforms its soaring vocals into a deep house anthem, all pulsing bass and late-night allure. Banx & Ranx’s reggae-infused take on ‘Genius’ radiates sun-soaked warmth, while Dombresky’s remix of ‘No New Friends’ packs a punch with relentless house energy. CID’s rework of ‘Audio’ dials up crisp, percussive beats that slice through its melodic core. Meanwhile, The Aston Shuffle injects ‘Heaven Can Wait’ with shimmering synth layers, balancing nostalgia with dancefloor readiness. Lost Frequencies’ remix of ‘Thunderclouds’ closes the record on a euphoric high, reframing its introspection with bright, festival-ready optimism. This is LSD’s universe expanded — familiar yet thrillingly unpredictable.