Cerca:peas

Classic edits that place the funk upfront. Da Breaks brings that familiar flavour with a twist of Boom-bap, these timeless reworks are built for DJs. Trimmed, tightened and ready to mix.

Psychedelic art-punk with garage roots.
The sound is characterized by gritty tones, guitars saturated with fuzz, warped delay effects, and tight rhythms.
The music is both raw and dreamy, consistently played at high volume and delivered with love and passion.

Die großen Hitalben von den Black Eyed Peas erscheinen neu auf Doppel-Vinyl. Mit dabei sind die Alben
”The E.N.D” und ”Behind The Front”, ”Monkey Business” und ”Elephunk”. Hier sind unter anderem die
Chartsürmer-Singles ”Boom Boom Pow”, ”I Gotta Feeling” sowie frühe Singles wie „The Way U Make Me
Feel“ zu finden.

Das zweite Album ”Bridging The Gap” der Black Eyed Peas mit den Singles „Weekends“, „BEP Empire
und „Request + Line“ ist jetzt als schwarze 2LP-Vinyl erhältlich.

Woo, formed in 1975 by brothers Mark and Clive Ives in London, is known for its experimental blend of folk, jazz, ambient, and electronic music. Their sound, characterised by the delicate integration of acoustic and electronic elements, has earned them recognition in ambient and healing music spheres. Over decades, the duo has produced over 1,500 tracks, evolving a unique style that evokes dream-like atmospheres and a meditative, soothing quality perfect for moments of reflection.

Dedicated to intertwining the serene beauty of music with the nurturing process of planting seeds when the first new signs of life emerge in the growing season. A carefully crafted collection of ambient & minimalist soundscapes, occasionally branching into the new age. A soundtrack for quiet moments of sowing, nurturing, & witnessing the slow reward of growth.

Each artist will release a recycled cassette and digital format. We plan to release one cassette each month from November through June, aligning our releases with the ideal growing period. Each physical release will precede its digital counterpart by a few months, allowing the music to be experienced in its intended form first, with the tangible connection of a cassette and seeds before becoming accessible to a broader audience in the online sphere. This staggered release allows listeners to engage with the music more profoundly and intentionally, akin to the patience and care required in gardening. Best get that portable cassette player on eBay!

Each release will serve as a soundtrack to quiet moments of sowing, nurturing, and witnessing the slow, rewarding growth process, both in plants and in the listeners' lives. Whether tending to a window sill garden or simply seeking a peaceful retreat in sound, "Music to Watch Seeds Grow By" is an invitation to pause, listen, and cultivate.

Early DJ support including Tom Ravenscroft, Deb Grant, Vladimir Ivkovic,Ruf Dug, Eva Geist, Domenic Cappello, Fergus Clarke & Sofie K.

Die großen Hitalben von den Black Eyed Peas erscheinen neu auf Doppel-Vinyl. Mit dabei sind die Alben
”The E.N.D” und ”Behind The Front”, ”Monkey Business” und ”Elephunk”. Hier sind unter anderem die
Chartsürmer-Singles ”Boom Boom Pow”, ”I Gotta Feeling” sowie frühe Singles wie „The Way U Make Me
Feel“ zu finden.

Deep mining the crates for another super strong 4 track pass - The HOT PEAS 'N BUTTER crew deliver each and every time !!

No.6 brings another selection of certified diverse and dynamite floor-filling jams from the extended family.

Time machine tear-ups from the golden era, as likely to be heard on Mom & Pops' turntable as they were rattling the cones on the home-made block party stacks or basement sound systems.

100% DJ material - and available in VERY short supply...you snooze, you lose !

Hand stamped vinyl only 12" series

The working DJ's votes are in and it's unanimous - HOT PEAS 'N BUTTER is all that !


Time machine tear-ups from the golden era, as likely to be heard on Mom & Pop's turntable as they were rattling the cones on the home-made block party stacks or basement sound systems.

100% DJ material - and available in VERY short supply...you snooze, you lose !

Hand-stamped vinyl only 12" series

Lower the drawbridge, raise the gates. Texas-based composer Graham Reynolds (A Scanner Darkly, Before Midnight, Hit Man) returns to the world of The Portcullis with a brand-new LP of music. This deluxe edition brings together the original album and The Portcullis Expansion Pack across two LPs, housed in a die-cut slipcase.


Following the original album’s release in May 2026, the Expansion Pack ventures deeper into a medieval world of knights and merchants, almoners and thieves. Percussive medieval textures, fretted guitars, brass fanfares, atmospheric strings and piano reshape dungeon synth into something vividly Reynolds’ own: an imagined soundtrack steeped in folklore, fantasy and adventure.


What began as an investigation into Reynolds’ family lineage, tracing his name back to Launceston Castle, has grown into a world extending beyond the record.



Released via Fire Records as part of the Weird Walk Record Cult, the deluxe edition arrives alongside an expanded dice game and a special Portcullis porter created with Skipton Brewing Company.


“One of the most unique and addictive albums of 2026 so far” - Loud and Quiet


“Of all the RPG-infused dungeon synth, medieval ambient records released this year, Graham Reynolds’ will be the finest.” - Loud And Quiet


“Ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” - The New York Times


“A work of great scope, subtlety, and powerful suggestion. (…) Prepare yourself for an immersive experience, full of color and personality.” - Time Out


“Quite extraordinary” - ---- Uncut

Wewantsounds is proud to present the first official release of a legendary 1977 concert capturing Don Cherry, Collin Walcott, and Leon Thomas in their only documented performance together. Recorded live on March 5, 1977, at Pease Auditorium in Ypsilanti, Michigan, the performance featured the three musicians playing an immersive hypnotic set, joined for part of the evening by the rest of Oregon. Long circulating among a few Don Cherry fans, the full concert is now available as a deluxe, remastered 2-LP gatefold set featuring Moki Cherry artwork and new liner notes by Jason Weiss—licensed by the Don Cherry Estate and producer James Quinlan.


Don Cherry’s huge influence has steadily grown over the years, as fans and new generations of listeners continue to uncover the vast breadth of his global musical vision. Sunrise captures Cherry during a particularly fertile late-1970s period, when the American jazz trumpeter blended global and Eastern spiritual concepts into his "Organic Music" philosophy, drawing deeply from Eastern and African traditions. Moving fluidly between trumpet, the West African doussn'gouni (a traditional hunter's harp from Mali), bamboo flutes, percussion, and vocals, Cherry creates a deeply resonant world music soundscape.
Recorded live on March 5, 1977, at Pease Auditorium in Ypsilanti, Michigan, the show took place just a month after Don Cherry participated in the recording of Collin Walcott's ECM album Grazing Dreams. With Walcott playing alongside Cherry and vocalist Leon Thomas, bringing his unmistakable yodel-style vocal approach—and joined for part of the night by the rest of Oregon (Ralph Towner, Paul McCandless and Glen Moore)—the performance stands as a stunning, hypnotic forerunner to the formation of CODONA. The newly remastered audio is so vivid and intimate that it feels as though you are sitting directly in the room with the musicians.
The release also serves as a vibrant homage to Don and Moki Cherry’s creative partnership, featuring a reproduction of Moki’s striking 1975 Mandala tapestry on the front cover.
The concert was produced by James Quinlan, a central pillar of the U.S. Jazz and World Music scene who worked as a sound engineer for Carla Bley, booked Fela Kuti’s major U.S. tour in the 1980s, and went on to direct the Creative Music Studio and found Miami’s Rhythm Foundation. In the album's liner notes, Quinlan reflects in conversation with writer Jason Weiss on the surprise magic of that night:
"Don brought Leon Thomas with him... as a guest, unannounced. It was not part of the advertisement or contract... I don't know of any other time that they recorded or performed together. So, that was completely unique... The audience had no idea what was coming... It was a sound that was just mesmerizing, almost like a mantra."
Licensed by the Don Cherry Estate and James Quinlan, Sunrise is available as a deluxe 2-LP gatefold set featuring new liner notes by Jason Weiss—an essential document in the rich, ever-evolving Don Cherry musical journey.

Rosa Balisteri was one of the brightest stars on the Italian folk scene of the 1960s and 1970s, certainly far too little known given her talent and expressive power. Her life story is marked by a tormented nature, punctuated as it is by traumas, anguish, injustices, and wounds that forever scored her turbulent existence. Through her songs, Rosa relives the suffering and despair for the devastating challenges and trials of her harrowing life. The archaic and expressive power of her dialect stirs the emotions, exuding anger and pain, but also love and devotion. Through her, all of Sicily sings as well, that of the marginalized people, of peasant struggles, of miners, of cart drivers, and of war. The significance of her protest places her alongside the similar experiences of the historic voices of American blues, the great folk singers of the 1960s such as Odetta and Joan Baez, and the social commitment of two South American heroines like Violeta Parra and Mercedes Sosa. The edition includes a 20-page booklet that tells the story and features the lyrics.

First published in 1978 by Cetra, in this work Antonio Infantino continues to express his ritualistic and shamanic relationship with the musical traditions of Southern Italy. The recordings focus on the mystery of death and the sacraments, the light of the spirit and the divine that descends and conquers souls. The phenomenon of Tarantism is still strong, the power of dance as a symbol of transformation and revolt, a therapeutic process of final healing. Folk music celebrates a deep sense of community, the memory of a peasant world that no longer exists but is still alive in the collective memory. Behind the tight and insistent rhythm of the percussion, the voices of the people, the colours of the squares and the scratchy string arrangements always emerge. The magical sound of the bagpipes is lost in the alleys of the villages. Infantino sings of minor cultures, the poor and oppressed classes, who share joys and sorrows, dance and music as secular forms of liberation.

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

(Late Nite Tuff Guy & Farley 'Jackmaster' Funk Remixes)

An ‘80s dance classic from the legend John Rocca, gets a fresh new take from Aussie edit king Late Nite Tuff Guy alongside a remastered reissue of Chicago house royalty Farley 'Jackmaster' Funk’s 1987 Hot House Piano Remix.

The main man behind jazz funk favourites, Freeez, John Rocca took to the studio in ’84 and whipped up an electro-fied steamer in the form of ‘I Want It To Be Real’. Tantalizing synthwork, beefed up basslines, gated snares and pure ‘80s vocals, it’s a melting pot of influences with a catchiness that caused a serious stir.

This special double header of remixes kicks off with a brand new mix from Late Nite Tuff Guy. He builds up the brilliance with masterful effect, keeping the vocal in the back pocket till the final frontier whilst adding in some buttery new synth magic and deft filtering to the mix.

On the flip, Chicago house don Farley 'Jackmaster' Funk’s 1987 remix homes in on those blissful piano and vocal stabs for a dubbed out ‘Hot House Piano Mix’. Spiritual keys laid down with passion that will be sure to get any dancefloor hot under the collar.

DJ Feedback:

OPTIMO/ JD TWITCH
Nice! The Farley mix is an all time classic. Lovely version from LNTG.

GERD JANSON
I have love for this.

GRAEME PARK/ THE HACIENDA
I vividly remember playing this record the day it was released while working at Selectadisc in Nottingham like it was yesterday. I played it the same night at The Garage club not long after I started DJing there. It brings back some great memories and this superb remix is just wonderful. Its made me get all bleary eyed and tingly. Absolutely tremendous stuff.

AXEL BOMAN
Love this

KAI ALCE / NDATL
This is a HOT EDIT from Late Nite Tuff Guy!

A LOVE FROM OUTER SPACE/ SEAN JOHNSON
Killer - love it

NORM TALLEY
I love this!

CROSSTOWN REBELS
Nice one!!

JACQUES RENAULT / LETS PLAY HOUSE
LOVE the classic Farley piano mix and the LNTG version is a fun take too!

OSUNLADE/ YORUBA
LOVE THIS!!

DANIELE BALDELLI
Love this classic, and now more love for both new remixes

DANNY TENNAGLIA
I really like this remix

DANNY KRIVIT/ BODY & SOUL
Nice

DJ KEMIT/ ARRESTED DEVELOPMENT
An incredible beefed up edit of an international dance floor classic. 10/10

HELENA STAR / NTS
Amazing record, those chords!!

LOUISE CHEN/ NTS
I’d love to play this.

ERIC DUNCAN/ RUB N TUG
This ones cool.

MAKE A DANCE / BEN
Yes yes yes pease love the original so much.

HOT TODDY/ CRAZY P
The Farley mix is a total winner which is a new one on me, LNTG mix is pretty tasty also

TERRY FARLEY
Yes please. A big early House lesson for me BITD

SUB CLUB HARRI
Realy diigin this.

GROOVE ARMADA / TOM FINDLAY
Love this, production is so good!

Moulded By Industry is William D Drake's six album, his first for ten years and a return to the richly layered sonic texture and epic production of his majestic Briny Hooves. He is joined by long time collaborators James Larcombe, Dean Gaisburgh-Watkyn and Steve Jackson, with the addition of a new crew member, singer Treana Morris. Moving on from his nine years of pianistic and compositional duties in Cardiacs, Drake's solo work has been known for its synthesis of Mellotron-driven grandeur with a surreal playfulness.

But the deep heart of Drake's work is in its powerful evocation of the landscape of the countryside and its connection with love, longing and loss. To this end, his own enigmatic lyrics have rubbed shoulders with poetry drawn from across the centuries. From obscure sources such as Samuel Spree to the poetry of Thomas Hardy and Rupert Brooke, his settings make old words shimmer with human emotion. The texture of his music also reflects an inspirational lack of concern for distances of time. The earthy breath of his harmonium is interwoven with tones teased from archaic instruments by James Larcombe – hurdy-gurdy, dulcitone and melodeon.

But Drake's sound-world is no museum. Here, ancient words and the timbres of ancient instruments become one with the rush of a moment's emotion. Moulded By Industry brings this approach a new sonic depth, intoxicatingly shaded by Treana's lush vocal harmonies and underpinned by Steve's rhythm. Dean's evocative guitar textures give an oceanic sense, tinged with Americana, recalling his work with Drake in their alt country band Nervous. These many layers of sound are drawn together into vivid soundscapes by the painterly mixing of producer Ott. Renowned for his work in electronica and dub, Ott's two decades of experience working with artists such as Sinéad O'Connor, the Orb and Brian Eno bring an organic touch here, more akin to the elemental forces of land and sky than grid electricity. More than any of Drake's previous albums, Moulded By Industry reignites the emotional urgency of old texts. The gorgeous single The Flickering Shade, haunted by glimmers of lost possibilities, is set from words by Thomas Ashe. Turtledove's heady evocation of the blissful madness of love sets the words of an anonymous 17th century ballad. above all, the album is a testament to Drake's love of John Clare, 'The Northamptonshire Peasant Poet'. Clare wrote as the centuries old process of enclosure, in which wild and common land was appropriated commercially, was accelerating.

His works, rather than representing simple sentimentality, are passionate love poems to the landscape and cries from a soul reeling from the creeping unfamiliarity devouring it. This sense of the tension between passion and ill-ease has its most potent expression in Green Shadows. The brooding, slow-tempo energy of Steve's drums drive a horizon-wide lament, alternately lulled by Treana's vocal textures and made restless by James' plaintive hurdy-gurdy and the emotive pull of Dean's slide guitar. The present moment is also a time of enclosure, both metaphorically, as our lives, memories and emotions are drawn into the commercial space of social media, and literally as land and water are swallowed by vast data centre developments. Moulded By Industry celebrates a regained sense of being in the moment in the landscape, in life and in love. The album closes with the utterly delightful single Love In The Universe. The kind of song that could make a cynic use the word 'joyous' without irony, this Harry Nilsson-esque romp reassures us, with a wink, that 'in an infinite universe everything has its place ... even the human race'.

The unconscious element to the conscious process.

The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective.

I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal.

These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines.

After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox.

Dub:

The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards.

Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken.

Push the mixer into the red.

Amp that noise up from the tape delay cos it sounds sick.

Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely.

Spam the send knob into the delay units now, now and now.

Carelessness.

Noise:

Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them.

Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music.

This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart.

Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice.

The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator.

I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended.

-Miles

The world is ending, and rent is due. The empire is crumbling, and you’re late refilling your meds. War is ceaseless, pandemics go unchecked, billionaires poison the well water and cops abduct neighbors while wildfires burn… but here at the hot dog stand, relief and joy are yours for five buck ninety-nine.

This is PEASANTS REVOLT, the latest album from trans folksinger Creekbed Carter Hogan. Playing the part of court jester in the halls of a dying empire, Hogan croons, hollers, and grins in the face of despair as we feast together on one last humble supper before everything falls apart.

A rollicking medieval-Americana manuscript, Hogan’s new work anchors itself in transitions. PEASANTS REVOLT was written living and moving between the North and the South; sung by a body both pre- and post-trans affirming healthcare; and recorded during a time of genocide, federal occupation, and workers’ uprisings. Decorating its margins are influences spanning time and medium. Here, 14th century king-killer ballads sit next to Appalachian strike songs. Labor and union songs find kinship with Ethiopian jazz records. Hogan’s work echoes with historical struggle, too, from the Haitian Revolution to the struggle for trans rights to the surreal futurism of Rio Grande Valley writer Fernando A. Flores. This album takes the entwinement of the personal and the political seriously, a path often walked by everyone from Hazel Dickens and John Prine to ANOHNI. The 10 tracks of PEASANTS REVOLT are themselves endlessly transitioning, hinging on mid-song shifts and building into wildfires that crackle and sputter with the courage of momentum and catchy hooks. By centering this work so deeply in the tumult of change, Hogan illuminates all of capitalism’s attempts to isolate us — and the power that we regain when we refuse to face our lives and our selves alone.

Fust’s first record "Evil Joy" was a bitter domestic drama obsessed with the kitchen-sink passage of time measured by moments of leaving and returning. With "Genevieve", we find a different kind of leaving: leaving behind, leaving one’s old ways, starting anew, a small life together, in “Family Country.” Thus, Genevieve: an historical name for both the saintly and the ordinary, the peasantry and the family, the community and the wife, extreme devotion and absolute forbearance. While sonically and instrumentally louder than Evil Joy, Genevieve is thematically more quiet about its pains—more settled in its ways. It is a collection of pathetic love stories written in dedication to “small life,” moving from gentle exceptions (“I can take the late hours if you’re with me”) to pitiful admissions (“I’m never going to change when I leave…”). What comes with a quiet life? The highest forms of beauty, but we also find here songs of unspeaking companions, the sublime dread of having children, the balance of humility and humiliation, playing the fool for the greater good, and… budget birthday parties. With these stories of possible growth, "Genevieve" can’t help but also feature tried and true examples of crisis and repression: seeking a bygone lifestyle in an old friend who hasn’t changed much over the years, pissing contests, search parties as the form of community for melancholics with no clue what they’ve lost, old flames you won't let go and dying flames you won’t admit. "Genevieve" was recorded throughout 2021-2022 (mostly) at Drop of Sun studio in Asheville NC by Alex Farrar. The painting by Sasha Popovici is exactly right: a domestic scene yet unfinished. Many friends helped to make it much better than it was without them—Xandy Chelmis, Michael Cormier-O’Leary, Indigo De Souza, MJ Lenderman, Courtney Werner.

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

Harrison BDP stands as one of the true masters of that off-world deep house sound. Easily one of the most consistent producers, so having the Welsh wizard launch the first 12” on Jupiter’s Depth is iconic. The EP delivers it all — from deep, trippy journeys to pacey dub-techno rollers. No question, another Discogs relic in the making — 300 press, so move quick.

Originally released in Feb 2011, next year it will be 15 years young and like every teenager it wants to make a racket. So, in February 2026 the band will be doing just that, with some very special shows celebrating their debut album. Tour Dates for 2026 : Exeter Cavern 12/02/26, Cardiff Fuel 13/02/26, London Lexington 14/02/26, Edinburgh Bannermans 20/02/26, Nottingham Rescue Rooms 21/02/26
"The gauntlet for best album of 2011 is being thrown down early!" Metal Hammer. // “Black Spiders are pure genius, AND, they go onstage on time!” Duff McKagan (yeah, him off Guns n Roses)..// “Their apocalyptic three-man axe assault is awe-inspiring“ Rock Sound..// “Another monolithic slab of thunderous rock. This Sheffield-based quintet have managed to harness the powers of Angus Young and priapic death punks Turbonegro and distil it into a brew fit for Odin himself” KKKK Kerrang. SONS OF THE NORTH was the much anticipated debut album by the United Kingdoms very own rock juggernaut BLACK SPIDERS. Quite literally ten tracks of galloping rock and thunderous roll, heads down, no nonsense, ear splintering, gut wrenching organic, melodic goodness. Classic Rock and Metal Hammer Magazines hailed them as ‘Ones to Watch’, Kerrang, Rock Sound, Big Cheese Magazines, Subba Cultcha and Thrash Hits all reviewed.

With ,We Do It Out of Love," acclaimed harmonica player Alex Rossi delivers a heartfelt and masterfully crafted tribute to jazz legend Toots Thielemans - one of the most influential voices ever to grace the chromatic harmonica. This album features a carefully curated selection of pieces that reflect the full emotional and musical range of Thielemans' legacy - lyrical, virtuosic, and deeply moving. Highlights include the evocative ,Waltz for Sonny," the tender ,I Do It for Your Love," and Pat Metheny's rhythmically vibrant ,Better Days Ahead" - all reimagined with fresh arrangements that honor the original spirit. Alex Rossi captures the essence of Toots' sound while adding his own voice, bridging past and present with stylistic sensitivity and precision. He is joined by a stellar lineup of internationally acclaimed harmonica players: Antonio Serrano, Gabriel Grossi, Grégoire Maret, Franco Luciani and Olivier Ker Ourio - each bringing their unique sound and deep respect for Toots' musical heritage. ,We Do It Out of Love" is more than just a tribute - it's a global celebration of the instrument Toots Thielemans elevated to poetic heights. A soulful, resonant homage filled with admiration, artistry, and, above all, love.

Red/Black marbled vinyl. With ,We Do It Out of Love," acclaimed harmonica player Alex Rossi delivers a heartfelt and masterfully crafted tribute to jazz legend Toots Thielemans - one of the most influential voices ever to grace the chromatic harmonica. This album features a carefully curated selection of pieces that reflect the full emotional and musical range of Thielemans' legacy - lyrical, virtuosic, and deeply moving. Highlights include the evocative ,Waltz for Sonny," the tender ,I Do It for Your Love," and Pat Metheny's rhythmically vibrant ,Better Days Ahead" - all reimagined with fresh arrangements that honor the original spirit. Alex Rossi captures the essence of Toots' sound while adding his own voice, bridging past and present with stylistic sensitivity and precision. He is joined by a stellar lineup of internationally acclaimed harmonica players: Antonio Serrano, Gabriel Grossi, Grégoire Maret, Franco Luciani and Olivier Ker Ourio - each bringing their unique sound and deep respect for Toots' musical heritage. ,We Do It Out of Love" is more than just a tribute - it's a global celebration of the instrument Toots Thielemans elevated to poetic heights. A soulful, resonant homage filled with admiration, artistry, and, above all, love.

The lengthening days and the long beautiful evenings: it must be time to treat yourself to this wonderful (and highly limited) 10” single from Julian Cope’s Dope feat. Fuck Authority. Consisting of two 20 minute tracks, main track ‘666’ is a Deutsche sing-a-long from beyond the grave, replete with martial side drums and cacophonous orchestral strings. With raised steins, our gruff-voiced male choir recounts their bolshie nursery rhyme – a beguiling tale of a mysterious tree that predicts the future. Simultaneously traditional and avant-garde, ‘666’ will remain in people’s heads long after the vinyl has been ejected. Meanwhile, awaiting listeners on the other side of this epic release is Dope’s most overtly psychedelic offering thus far. Off-kilter and raging, this non-LP B-side is entitled ‘1381’, after the year of Wat Tyler’s Peasant’s Revolt. Unbalanced? U-Betcha! As Fat Paul’s cataclysmic FX and Holy McGrail’s Space Echo obscure and overwhelm Fuck Authority’s vast stereo bass guitar, one can only praise the poor technicians who captured it all on vinyl. Yes, with its fabulous packaging and earworm chorus, this unlikely 10” release must be a candidate for Single of the Year surely?

Wenn drei visionäre Köpfe der elektronischen Musik aufeinandertreffen, entsteht ein Sound, der Grenzen sprengt. Demise Of Love ist das Projekt von Daniel Avery, James Greenwoods Ghost Culture und Working Men’s Club – eine Kollaboration, die aus gegenseitiger Wertschätzung und dem Streben nach neuen Klängen entstanden ist. Demise Of Love verbindet rohe Energie mit klanglicher Präzision. Das Ergebnis ist eine Fusion aus industriellen Klanglandschaften, pulsierendem Acid-House und melancholischen Melodien. Ihre Musik fordert heraus, fesselt und bleibt haften. Die EP, abgemischt von Alan Moulder, bringt das Beste der drei Musiker zusammen: Synthesizer, die den Raum aufbrechen, intensive Refrains und eine Soundästhetik, die sich nicht einordnen lässt. „Strange Little Consequence“ wechselt spielerisch zwischen Acid-Groove und monumental anmutendem Rock-Refrain. „Carry The Blame“ fängt die Weite des Detroit-Techno ein, „Be A Man“ verbindet Industrial-Punk mit düsterer Melancholie, und „Like I Loved You“ hebt mit hymnischem Gesang in elektronische Höhen ab. Auch inhaltlich geht die EP tief: Texte über Entfremdung, Kontrollverlust und die Suche nach Verbindung verleihen der Musik zusätzliche Schwere. Zeilen wie „Dead peasants excite you / Rewards of the plight fall / Into your hands“ aus „Strange Little

Consequence“ oder „Your ways are antiquated / And I’m bored now“ aus „Be A Man“ spiegeln das Unbehagen unserer Zeit wider. „Demise Of Love“ ist keine bloße Zusammenarbeit, sondern eine Verschmelzung dreier einzigartiger Klangwelten zu etwas völlig Eigenem. Hier trifft Innovation auf Emotion – kompromisslos, intensiv und von zeitloser Eleganz.

NOW is pleased to announce the next addition in the Millennium series NOW –the ultimate celebration of the finest pop hits from the 2000s . NOW – Millennium 2008-2009, bringing the first decade to a close – out September 27th! Available on STD 4CD set and a special edition 84-track 4CD set is housed in ‘hard-back-book’ packaging, including a 28-page booklet summary of the years and a track-by-track guide and 30 tracks across 2LP’s, pressed in a Gorgeous Gold and a White Vinyl, showcasing some of the most iconic sounds of the noughties!

En pakt med naturen is Tusmorke's first ever live album, recorded live at Oslo's biggest independent record store Big Dipper, as part of their 25th anniversary celebration last October. "We knew we had to do something special with Tusmorke. Benediktator and Krizla have since the early 2000s been building their record collections and releasing their own music simultaneously. We like to think the records we sold them in our store somewhat influenced their musical output, at least we know that the albums they released had a huge impact on us!" (Andreas Leine Jakobsen, Gerenal Manager, Big Dipper Musikk & Hi-Fi "Is this Folk Horror? Silly question, perhaps, but we need you to mutter certain phrases while listening: Bucoloc, acoustic, ancient, uncanny; acid, pagan, peasant, occult; wildness, wilderness, wildestness, Wicker Man. Ever since the start of Tusmorke, we've wanted to make an acoustic album. In Skien, Telemark in the 90s, we wanted to record in an ancient loghouse with an open hearth (årestue) in the local folk museum Brekkeparken. Years passed and line-ups changed. Then, when we supported Ved Buens Ende at Blå in the Autumn of 2021, we were joined by Åsa and Dauinghorn. They played some of the arrangements that we finally managed to record here, after several attempts to find a suitable time and place to make it happen. Again, time had passed and line-ups had changed, but the spirit of Folk Horror remained. We ask you to close your eyes and picture yourself in a windowless low dwelling, open to the sky through a hole in the roof. Acrid smoke curls upward and occasional sparks fly from the smoldering fire. Music wafts through the gloom in this serene scene of timeless primitivism. There is no electricity. There are no synthesizers. I won't even mention digital things, because they don't exist. There is only Folk Horror and you are in League with Nature." (Benediktator)

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

In 2019, Resistencia Sonora was launched as a collaborative project where urban resistances and ethnic-peasant rural resistances converge in the greater area of Montes de Maria, situated in Colombia's western Caribbean region. This initiative originates in one of the musical epicenters of ancestral sounds that have fostered a now global recognition for styles such as gaita, cumbia, bullerengue, son palenque and son de negro, as well as Sabanero accordion music like porros and pajaritos.

The aim of this extensive project has been to serve as a rare living archive of festive gatherings, conversations, knowledge exchange, and co-creative processes that have spawned specifically from the municipality of Ovejas, which sits in the Sucre Department of Montes de Maria. Resistencia Sonora's documentation in Ovejas is more than just a musical recording, rather an all-encompassing snapshot of a very real folkloric life within neighborhoods such as El Bolsillo, El Corea and La Ciudadela. The initial inspiration of the project can be credited to a specific call to arms from composer Andrés Narváez, who expressed the dream to record his own original compositions set amongst this region's local history. Andrés, like many leaders from the old sabanas beyond Montes de Maria, is a social leader and land-rights activist. He proposed not only to record his songs but also to invite other musicians and composers to take part in this documentation, an extended hand to uphold the legacies, knowledge, and traditions of the region's elders.

All songs recorded between 2022-23 on location in Ovejas and Bogotá, Colombia. Mixed in Brooklyn by Names You Can Trust and mastered by Frank Meritt at The Carvery, London. Limited Edition 250 vinyl press with included 12-page booklet and liner notes in English and Spanish.

Repress! Get On Down is bringing back one of the best James Brown funk compilations to vinyl. Funky People Part 1 features the top tier of artists from Brown's People Records label, including The J.B.s, Lyn Collins, Fred Wesley, and Maceo Parker. Some of the James Brown organization's all-time best material is collected here, including The J.B.'s "Pass The Peas" and "Hot Pants Road", Fred Wesley's in your face politics through funk statement "Damn Right, I Am Somebody", Lyn Collins' smash hit "Think (About It)" and many more. These songs have been sampled in countless hip-hop songs over the years. Newcomers and diehard fans alike continue to dig into the James Brown and People Records vaults, and the more they do so, the more they realize that it's a nearly never-ending source of truly next-level funk and soul music. Thanks to the exhaustive efforts of Get On Down, this aural goodness will keep flowing to the public.

it was one of the first albums in which captured the audience’s attention by means of double entendres in the songs. The release became one of the most eccentric and scandalous albums of its time and remains one of the most sought-after gems in the history of discography.