Search:just for fun

After a series of self-released vinyl singles, PM Warson emerged in 2021 with the album "True Story", combing elements of vintage R'n'B and Soul with an authenticity and energy that appealed fans and critics alike. Breakout single "(Don't) Hold Me Down" had surfaced initially among soul collectors, before finding a wider audience, first on a Fred Perry editorial, and then on mainstream European radio. Having tipped the album on his Funk & Soul Show, the BBC's Craig Charles also included the single on his popular "Trunk of Funk" compilation series. Not one to wait around, despite the various challenges of the pandemic, Warson returns, just over a year on, with his second offering: "Dig Deep Repeat".

While his debut record waited in line at the pressing plant, he began trying out ideas at a makeshift studio in an industrial storage space in Stoke Newington. As lockdown was lifted enough to bring in his rhythm section, a new set of tunes started to emerge. Despite a growing thirst following his first release, there was little opportunity to play live, with social and travel restrictions remaining in place on-and-off throughout the year. It became clear that his best way through was to make another LP. He expanded the operation, bringing in players, working to an 8-track recorder to forge a new record. Subsequent sessions at Gizzard Recording also produced a direct-to-tape session for Blues Kitchen.

On "Dig Deep Repeat" he further explores his vocabulary, with elements of 60s rock and soul, shades of New Wave, and some cosmic colors beneath the moody blues. It's a direct and focused LP, presenting an artist on the move, two albums deep, with time to make up for.

Two years and one pandemic after his previous release, the Italian, London-based solo project M!R!M is back with a new full- length album.

Inspired by the synth pop classics, as well as from cold and dark waves, multi-instrumentalist Jack Milwaukee has been releasing material on labels such as Fabrika and Manic Depression until his first record on Avant! ”The Visionary” back in 2020.

On April 22 his fourth LP ”Time Traitor” will be released and we’re excited to say this is Milwaukee’s most personal job to date.

If you are familiar with his work, you know the DIY/lo-fi approach of his first recordings was already gone with his previous LP but these new ten recordings dig even deeper, drawing the outlines of a fantasy world lost within the foggy memories of a collective childhood.

Possibly locked in his bedroom for the necessary time, Milwaukee has been able to recreate an imaginative realm of 80’s FM suggestions, scattering a number of acoustic clues from different parts of this parallel, yet so familiar dimension. It’s almost like M!R!M is sending us a message in a bottle with each of these new tracks and each message tells a different story.
Post Fight has a punchy pop-punk riff drove by solid synthwave beats, Faultless Pitch hosts a mellow, funky bass line over a solemn drum gate, Desert Love screams italo like nothing else and it was indeed composed four-handed with fellow artists Nuovo Testamento, Say Nothing features SDH singer Andrea Pérez’s backing vocals to invoke a dream-like scenario.
There is even a Turquoise Days’ Grey Skies cover that is just one more perfect example of Milwaukee’s ability to take a single item from the suitcase of the past and make it extremely current in a handful of minutes.

All this is adorned by semi-instrumental postcards with suggestive names such as Moody Moon, Peninsula and Goodnight Galaxie that will guide you through this journey across M!R!M sound-&-memory experience.

Reissued for the first time in over 40 years, Show the World is an unrated and realitvley unknown soul / reggae ablum from the caribbean. Having recently been sampled by Benny The Butcher, collectors and producers are starting to pay attention to what has been an overlooked gem until now. With the album ranging from sweet soul that sounds like it could have been released on Motown in its prime, to funky numbers that could be played in clubs, to reggae that could stand alongside some of the Studio 1 releases, this is sure to please many. No filler.

20 years ago, US heavy and hard rock titans Mos
Generator took the heavy (stoner) rock music scene by
storm with the release of their first self-titled album. To
celebrate this special anniversary in style, the band’s
charismatic frontman Tony Reed himself has revised and
remastered this vinyl reissue of their pathbreaking debut
album.
 Mos Generator - who formed in 2000 in Port Orchard,
Washington from the ashes of a ten year off and on
collaboration between its three members, all of which
are long time veterans of road and studio - have inspired
the heavy music scene since decades. The band have
released nine full length studio albums, two live albums
as well as several singles and split albums over their
impressive career by labels as Stickman, Ripple, Heavy
Psych Sounds, Roadburn, Small Stone and Listenable.
 Touring has been just as important to the profile of the
band as making records has. Over the years Mos
Generator has shared the stage with many big heavy
rock names across Europe and North America including
extensive tours with Saint Vitus, Fu Manchu, Melvins,
Pentagram, Elder, Spirit Caravan and Atomic Bitchwax.
They have also played prestigious festivals throughout
the world, fusing soul with doom metal into a great loud,
funky and psychedelic concoction of heavy rock.
 Their 2002 debut album was the starting point, and this
hand-numbered clear vinyl 20th Anniversary edition of
‘The Mos Generator’ release is a must have for fans old
and new.
 For fans of Orange Goblin, Fu Manchu, Sheavy, Mind
Funk, Kyuss, Mountain, Nebula, Black Sabbath and
Monster Magnet.

“‘Delilah’ is one of the best singles of the year: its combination of urgency, dissonance, vocal phrasing, lyrical empathy and a formidable rhythm section add up to something that’s incredibly powerful and instantly addictive.” - The Sunday Times (Breaking Act)
“Anorak Patch and fellow female-fronted acts such as Wet Leg are here to shake up the maledominated post-punk scene” - The Independent

Aged between just 15 and 18, Anorak Patch have been quick to grab the attention of tastemakers across the UK, and now they finally announce their debut EP, ‘By Cousin Sam’, released via Nice
Swan Records.
‘Cousin Sam’ is about burying your cousin at a funeral - a bleak topic that isn’t a reference to anything, set to an almost psych slow tempo with haunting vocals that end up erupting together. Effie’s vocals have been compared to that of The Pretenders, Blondie and even early Bloc Party.

The Nitecap EP is the first collection of music created by jazz multi-instrumentalist Marquinn Mason and FWM Entertainment mastermind Stefan Ringer. This 6 track EP is striking to say the least. One can tell from the artwork this is something different.

The stand out track for the DJs is “The Light”. This one is straight forward space funk in a dance track. It has that big room sound reminscent of “Sexual Obsession”. The title track “Nitecap” has to be the true stand out. Mason’s jazz influence stands out over the organic broken beat rhythm section. The tone of this one is deep and introspective. “Pulling Closer” and “Falling Notes” are both unique cuts in their own right.

Both tunes really show a different take on rhythm, bounce and energy and how those elements interact with melody to create something unlike most music you hear in the dance music space. The last two cuts, “Tiny Keys” and “Cocomango” are down tempo grooves with some soul and sauce thrown in. Perfect for background vibes for a kickback or just listening around the house.

We're all unabashed fans of Steely Dan so we take Steely Dan covers seriously. Mainly "why bother"? You can't improve on perfection right? However, when we heard Deep Heat's scintillating version of "Do It Again" we changed our minds. A totally brilliant funkier version of Steely Dan's first-ever hit which stands loud and proud in re-interpreting this classic song into something much more appropriate for today's more sophisticated dance-floors.

Originally released on the tiny Detroit label, Cu-Wu, original copies soon ran out. There is currently just one available in the entire world for $1000 and that'll be gone in a blink. The smart money says hold on for a mint reissue on the original label.

A great socially-conscious flip too, the uptempo funky "She's A Junky (Who's To Blame)". All in all, this is a killer double-sider and will also appeal to Steely Dan collectors and enthusiasts across the board. Expect strong demand. I mean who wouldn't want this within their collection? Absolute banger. Both sides!

One of the most rewarding things about this business is when we get the chance to re-release some true works of art which were previously hindered by their lack of availability. Plus, you KNOW that we LOVE every Willie Tee record we come across anyway. This time we're delighted to make available another double-sided slice of New Orleans niceness.

"Concentrate" is Willie at his mellow best with the Gaturs on this incredible 1980 recording, which really highlights just how great he was. On the flip, is a brilliant piece of New Orleans Mellow Funk which matches the sound of Roy Ayers for pure quality. Original copies of this record are not currently available anywhere for any amount of money. That's how ridiculously rare the original Gatur copies are. We have a great track record with Willie Tee and long may it continue! One of the best double-siders you'll ever be likely to hear and an absolute gas to get to reissue. Spread the joy. Another biggy!

Chris Korda is an internationally renowned multimedia artist, whose work spans thirty years and includes electronic music, digital and video art, performance and conceptual art, and culture jamming. Chris pioneered the use of complex polymeter in electronic dance music, and invented a unique MIDI sequencer in order to explore polymeter composition techniques. Chris composes and performs music in a variety of genres, and has released many albums on labels such as Perlon, Mental Groove, and Gigolo Records. Chris also worked as a computer programmer for thirty-five years.

Her new album "Passion For Numbers" is one of the very few album in the world entirely composed in complex polymeter, meaning that each pieces of music uses several prime meters simultaneously. A unique way to compose music with a new generation of musical algorithmic, inside which Korda injects the DNA of neo classical, ambient and jazz music.

This refreshing album will please you whether you are into complex musical composition, experimental music or just seeking for a beautiful, emotional and accessible musical moment. This is a "In your hearts not the charts" album, as Irdial Discs once said.

Pleases read an extract of Chris Korda's letter about Passion For Numbers, included as insert in its entirety in this vinyl release:

This is an album of piano music, but I wrote it without a piano. Not having a piano turned out to be constructive, because I had to rely on my brain instead of my fingers, and particularly on my imagination and inner hearing. The album belongs to a category called phase music, and it’s also algorithmic, or more precisely rules-based generative music.

I don’t write music in the usual sense of the word “write.” I build kinetic sculptures, and the sculptures generate my music. My sculptures are virtual, meaning they’re invisible machines that exist only as data within my home-grown software.
My process is related to the work of a relatively obscure early 20th century artist named Thomas Wilfred. Like me, Wilfred was an engineer-artist, and built machines that generated art from phase shift.

My music is in complex polymeter, meaning it’s not just in odd time, but in multiple odd time signatures, and not one odd time signature after another sequentially, but all of them running concurrently. Most music isn’t constructed this way, which is why I needed to develop custom software in order to compose my music. My software is called The Polymeter MIDI Sequencer, and you can easily find it on the Internet. I also use music set theory, change-ringing and gray code, explanations of which can be found in Wikipedia.

Chris Korda

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

The Jamaican reggae and dub musician Linval Thompson's career began around the age of 20. He has done much work to shape the reggae music during the last centuries. He collaborated with many of the greats of Jamaican music recording. I Love Marijuana was his first self-produced LP in 1978 and featuring some of his well-known tracks, like the title song, the funky 'Dread are the Controller' and 'Just Another Girl.' One of the nation's best bands, The Revolutionaries, is backing him up. It's one of the finest recordings by Linval, before he moved on to become a prominent record producer.

I Love Marijuana is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

Fueled on pizza and the spirit of dance music, Chef Sam O.B. has lovingly cooked up four courses for our aural connoisseurs to enjoy: "Just A Slice."

Like any good pizza, it all starts with the dough, and "Making Dough" gets us right on track. Borrowing elements from house classics of the past, it rises on a jackin' groove complete with a funky fermented low-end and dashes of vocals from the chef himself.

"Le Sauce" offers a tangy burst of flavor atop our dough foundation; a sort of subtle and seductive palate that only the most refined of sauces can provide. Twists and turns await as the layers of seasoned live instrumentation unveil themselves (best enjoyed past dusk).

Next, as you might have expected, is "Cheezin'" - many people's favorite part of a pie. This one is sharp; bursting with mouthwatering umami energy and, like any good chef, O.B. has added just enough to leave you wanting more of the catchy interwoven melodies and rhythms sprinkled within.

Finally, it's time to grab a piping hot "Just A Slice" out of the oven - an amalgamation of all groovin' ingredients added thus far and the title track. A bubbling and elastic bassline pairs with the percussion of various textures and savory synth lines, combining for a well-balanced meal sure to keep your senses engaged.

A satisfying listen, "Just A Slice" would do, but feel free to indulge in multiple spins.

Lance Ferguson is back for a killer follow-up 7" to his second volume of classic re-works and re-imaginings, Rare Groove Spectrum Vol. 2 - released on Freestyle in late January on LP, CD and digital formats.

We just couldn't resist putting this take on Pucho & His Latin Soul Brothers cover of Gladys Knight's Got Myself a Good Man on a 45. Keeping true to the source, yet somehow simultaneously sounding like no-one else, this version is 100% guaranteed to put a spring in the step of any crowd as the sun starts gradually to come out from hiding. Aside from the faithfully executed and expertly recorded drum-track, which sits pretty higher up in the mix than it's precursor, the star of this particular show comes midway through when Lance's lilting and sun-kissed guitar solo comes gliding in. If you can't move to this, even just a little bit, then you might actually be lacking a pulse. Backing things up is the undeniable latin-funk strut of Mandrill's Mango Meat. Given an instrumental work-out here with Remco Keijer's Flute and Daniel Mougerman's keys putting in work over a heavy-as-lead rhythm section, those delectable salsa-inflicted horns upping the spice levels.

Lance's work across the Rare Groove Spectrum series can often be looked on as something akin to a "live re-edit" on the originals, at times switching up sections or extending the groove. These two choice cuts however are a masterclass in subtly teasing out some of the original elements on the tracks that really make them work on a dance-floor, and bringing those to the fore while retaining 100% respect for the OG arrangements.

After just over a year-long hiatus from the Earthly Tapes series – the 3rd Chapter is finally upon us. Offering more mind-altering tracks to the series, we welcome 6 new members to the Earthly Measures familia!

We kick things off with ‘Comets (part I & II)’, the first release by ORSO, the new musical project from Jean Dasso AKA Yeahman, stepping into club and drum music. Alongside faster rhythms, with influences of UK Break music, African dances and traditional instruments, we’re taken through a two-chapter journey led by modular melodic loops, old traditional voices samples and ORSO’s own recordings.

Up next is a trip to Argentina as we welcome Balam to the EM family, join him as he takes you on a daydream across the Latin-American rainforest where synthesizers and nature collide to create the perfect mix, guided by a voice from the deep jungle. ‘Ensueño’ is a dance-floor tool fitting for both the start and end of the night.

Japanese native Mamazu steps up the tempo for the third track ‘Tombi’. Transporting us to a hypnotic and hedonistic state as delightful aerophones sound with the exotic chant, delivering the feeling of a dry breeze from the unseen frontier. Another dance floor ripper!

The B-side starts with ‘Voces’, a track inspired by the music that Chilean artist DJ Raff’s mum listened to when he was a teenager making beats in his bedroom. He used to take her records and tapes to sample and make boom-bap beats. Voces is influenced by both Spanish and Chilean 70’s music, although deconstructed to make an amazingly catchy melody. .

Ditti takes us through an ever-twisting groove as we swim upstream, spot a wave and take off... welcome to ‘Poly Party’. The soundtrack to a carnivalesque funked out ballad on a Polynesian beach shifting between the rhythms of a guitar & riding the surf, cutting synths & dripping flows.

We wrap things up with ‘Small Town Rebellion’, a story told by Scottish producer Kusht – this downtempo chugger reflects the story of a young man in a dead-end town with no future. He needs to break his fate and carve his own path by revolting and manifesting his own destiny.

A surefire Afro-Funk classic, long treasured by collectors across the globe, the fantastic self-titled LP from Ghanaian singing/percussion sensation Sidiku Buari nevertheless remains a criminally hard-to find gem. We're honoured to present the first ever officially licensed vinyl reissue of this undoubted masterpiece. Limited to just 500 copies.

Originally released on RCA in 1975, this is, quite simply, a ridiculous record. This super-rare album boasts an all-star cast of top funk instrumentalists playing alongside Buari as he blends heavy African rhythms with American soul-funk grooves. The arrangements and the playing are incredibly tight and the album is stacked with killer tracks including "Advice From Father" (sampled brilliantly by Kenny Dope) and "Ku Ka Maria", with its intense, neck-snapping breaks and funky drumming from legend Bernard 'Pretty' Purdie. Purdie is in the pocket for the entirety of this stunning LP - the drumming is just straight out of hand; so varied yet so precise.

It's not hard to fathom why these tracks have always been huge on the b-boy/breaking scene. Other standouts include the wonderful disco-tinged afro monsters "Karam Bani" and "Iro Le Pa" plus the cool laidback groove of "Them Yebtheyet".

With access to the original analogue tape transfers, Simon Francis' stellar mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

WHEN YOU'VE FINISHED LOOKING AROUND THE WEBSITE, YOU CAN FIND US ON THESE SOCIAL CHANNELS

Introducing Josh Caffe’s second single on Phantasy, ‘Do You Wanna Take Me Home?’ is a sensual yet gritty return, a keen document of just one of the many stories of desire always occurring in the shadows, just beyond the strobes. Produced in collaboration with Quinn Whalley, one half of Paranoid London, ‘Do You Wanna Take Me Home?’ also features a headsy interpretation from Steffi & Virginia, marking their first ever collaborative remix.

Inspired by the rawest shades of early Chicago house music, ‘Do You Wanna Take Me Home?’ finds Caffe in thirsty pursuit of pleasure and recognition, eyes locked on an unidentified but all-too enticing individual in the club. Whereas previous single ‘According To Jacqueline’ turned the heads of dancers with it’s outrageous sexuality, Caffe’s follow-up finds him switched by a different strain of lust, head down in a blend of analogue jack and vocal vulnerability.

Steffi & Virginia have long since established themselves as distinct individual forces in contemporary dance music. Here, reunited in the studio together in the first instance since 2019’s ‘Work A Change’ EP on Ostgut Ton, the duo transplant Caffe’s yearning invitation into a sensuous reverie that touches on the deeper, tripper ends of their house and techno heritage. Driven by creeping organ chords and a powerful shuffling bassline, the result is a sophisticated reimagining primed for the heat of the function.

Jacob Gorensteyn is an Israeli saxophonist and producer. Born in the USSR in 1980, his family emigrated to Israel when he was a child, with Jacob picking up the saxophone soon after. A long time member and one of the creative forces behind the well-known Israeli brass band Marsh Dondurma, he co-produced all seven of the band's albums, as well as a solo effort that was released locally in 2006. Over the years Jacob became well known in the Israeli music scene both as a potent multi-genre session player and a mixing engineer and music producer, lending his sound to many recordings over the last 20 years. His main focus in his solo work is funky jazz music, being influenced by soul, R&B and funk music, mostly from the 60s and 70s.

Wooden House is one funky record. It began, as many records did at the time, with a recording session arranged to not feel as useless during the early days of the pandemic, at a time when planned gigs and sessions were falling like dominoes, and most, if not all, working musicians across the globe were in a state of mild shock watching their creative outlets, as well as their livelihoods, crumble away. Jacob assembled a group of friends – all powerhouse musicians, and all some of the most favorite people in the world for him to play with – into a recording studio. Just before the pandemic, Jacob moved away from the city into a little wooden house in a village located in the picturesque Yehuda mountains near Jerusalem. The new location prompted some creative juices in the form of a string of funky tunes, written in his new project studio on the 2nd floor of that very Wooden House. Three of those were the tunes he brought into the studio that day. None of the musicians assembled, including Jacob, knew what the music they came out with would end up sounding like. The music was worked out during the session and then swiftly recorded, all of it live, all of it energetic and groovy. Two more similar sessions followed in the following months, often being rescheduled because of lockdowns. What came out became "Wooden House", a funky, brass-heavy instrumental album, a fun, instant mood improver. Put it on and groove with us.The album was recorded in 2020.

If your inspiration is Herbie Hancock's "Head Hunter", or any of The Meters or The Apples albums – This one is for you.

The Covid Pandemic hit Germany in March 2020 and by the 15th of March all of the public life was shut down. It was the same day where my son Rio was born.
For me, this early stage of the pandemic had something very intimate and private, since I was forced to stay at home with my young family for weeks. In Mai 2020 I started to leave the house, for other occasions then just going to the shop or taking a walk and that was the time I started working on “Hotel Solaris”. It was an intense creative rush: in 8 weeks the album was written, performed and produced in one flow. I had two days every week, where I could go to the studio for 4 hours and that time the album was done. It had a corpus in a sense that I
knew I wanted a faster or a slower track at points, but the whole hotel idea came when I saw photos of the old Hotel Arkada on the Croatian island Hvar, that my extremely talented friend Marcella Zanki shot on her holidays.
They show a well preserved socialist-brutalist hotel architecture in the middle of the beautiful Adriatic and for me it was like looking at pictures from a timeless place, without knowing where and when it exactly was, totally surreal.
I liked that idea of a hote that stands as an escape symbol from the real world, which was something everyone needed when the pandemic was building stronger and stronger. I decided to call it Hotel Solaris, inspired by the novel from Stanislav Lem, where Solaris is a planet covered by an ocean which triggers our subconscious mind to
become reality. It all fit at the end and “Hotel Solaris” was done.

To celebrate the tenth anniversary of the iconic HELP album a new generation of artists came together to create, at the time, the fastest recorded album ever. They recorded Help! A Day In The Life on Thursday 8th September 2005 which the record available for download just 32 hours later.Help! A Day In The Life is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict.

Hope was first released in partnership with The Daily Mirror in April 2003 as a response to the Iraq War, the artist community came together for War Child once more with some of the biggest names in music recording an album of exclusive tracks in just three weeks to raise vital funds to give hope to the children of Iraq. The vinyl release of Hope features alternate artwork using the original concept designed by Nick Robertson that has never been used before. Hope is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict.

Seabear return with a new album. After a hiatus of 12 years - the bands most 'recent' LP dates back to 2010 - the much loved Icelandic collective presents »In Another Life«, a mesmerizing collection of songs, oscillating between indie pop and classic singer-songwriter material.

Sometimes, a long break is all it takes. Seabear, the band featuring the talents of Guðbjörg Hlín Guðmundsdóttir, Halldór Ragnarsson, Kjartan Bragi Bjarnason, Örn Ingi Ágústsson, Sindri Már Sigfússon (aka Sin Fang) and Sóley Stefánsdóttir (aka Sóley), did exactly that. Producing an album takes up a lot of energy. You do promotion, you tour quite a bit and afterwards you... well, you just do different things. "We had all focussed on other projects", Kjartan Bragi explains. "Solo careers, playing with other projects, other forms of art, working 'normal' jobs to make a living etc. It's nice to finally come together again with old friends and make music." During the break, music has been an integral part of the members’ daily lives. Sóley started a remarkable solo career (she just released her fourth solo-album), as did Sindri, under the name of Sin Fang, while Guðbjörg worked with Sigur Rós. However, all this was made possible by the disarming folk music of their 2007 debut LP »The Ghost That Carried Us Away«.

"We stayed in touch all along", adds Sindri. "During dinners etc. one question came up again and again: What would Seabear sound like today? After accomplishing so much together, we were indeed thinking a lot about the past, how it all began. This is what sparked the reunion and is also reflected in the lyrics, resurrecting our youth, hopes and dreams."

Now, in 2022, the band is ready to set a mark in the musical landscape once again – with 11 new songs coming straight from the heart, aimed at all who value emotions, the warmth and intimacy of songwriting, big yet subtle soundscapes, capturing the smallest tones and feelings.

"We have all matured on our different paths apart. It's exciting to make something new", says Kjartan. "We are 6 friends coming together again 10 years later to make songs and have fun doing it. We are now in a more relaxed environment to compose the music."

The songs on »In Another Life« sound and come across like a musical diary of sorts. A diary found by accident, split across 11 records, without any further info and all details scratched out. There is just the music to speak for itself. Even if you are familiar with Seabear's previous music: the opener »Parade« will make you wonder who came up with this wonderful tune, full of assuring harmonies, delicate melodies and compositional surprises. Seabear once more are delivering the perfect soundtrack for all kinds of emotional states. With driving yet subtle drums, intimate, yet fleeting vocals and lyrics, an orchestral sense of production, emphasizing small details rather than counting on the big "studio bang". An approach which came naturally: "The album reflects our relaxed attitude when it comes to recording and exchanging ideas."

»In Another Life« indeed feels like the start of a new chapter. Full of hope. And hopefully, all Seabear fans won't have to wait as long anymore in the future.