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WRWTFWW Records releases THE GENTLE PEOPLE - The Peel Sessions, available on vinyl for the first time ever, in conjunction with the worldwide expanded reissue of the group's Soundtracks for Living. Lounge/Chill Out music reborn !

This is an exclusive 4-song EP recorded in 1997 on BBC's Peel Sessions, as The Gentle People were doing the rounds for the release of their legendary debut album. These live versions have never seen the light of day before - a must have for all the gentle fans !
When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's The Gentle People : music that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.

'The Endless Dance' is the first collaborative album from Northern Irish producer and composer Hannah Peel and Chinese percussionist Beibei Wang. The record is grounded in the strength of ancient concepts, but comes alive with the joy and freedom of play as together, Peel and Wang travel through the 24 solar terms of the Chinese calendar with a cornucopia of sound in tow – synths and prepared piano alongside traditional and unconventional percussion.

The album is collaged together from recordings made over five days at legendary rural studio Real World, a setting which aligned with the duo’s inspiration from the natural world creating a permanent record of their shared musical landscape, informed by the flora and fauna that emerge and retreat through the seasons.

Both genre-defying, storied artists in their own right, Peel and Wang met while working on Manchester Collective’s 2023 album NEON and 'The Endless Dance' certainly represents a step-change from the duo’s shared classical backgrounds – but their knowledge and training is also the foundation of its freewheeling audacity, giving them the confidence to trust their instincts.

The album is produced by Mike Lindsay LUMP, Tunng, Guy Garvey, Jon Hopkins who, with free rein, brings added energy and creativity to the album, whilst Peel & Wang are also joined by Hyelim Kim on Daegeum, a Korean flute with “colourful overtones on every note”.

Track to track, 'The Endless Dance' is unpredictable and unexpected, which is in part due to the genuine curiosity and outside perspectives that each player brought to the sessions. “I am so familiar with Chinese heritage, but I don't see how it can present in electronics, for instance,” says Wang. “Hannah comes in with that direction, to imagine what the sounds could be together.” The characterful richness of the album stems from the commonalities they found in the sessions. “We both come from cultures where story is really important,” explains Peel. “The attention to detail comes from telling a story, and one note can set that off in a different direction.”

'The Endless Dance' is a major work from two accomplished, singular artists - but it’s also the sound of mutual curiosity and shared fun, or as Wang puts it: “Two women talking in totally different language that had a wonderful chat.”

LP, Printed inner sleeve with "Peel Session" art, lyrics & credits

Out of print 1994 EP "The Real Janelle" b/w the first vinyl release of Bratmobile's "Peel Session."

From Japan, Tokio Ono presents a stunning collection of fourth world & ambient dub explorations!

Yokohama multi-instrumentalist Tokio Ono eases into the Accidental Meetings' family with an array of Japanese folk tinged avant-dubs, drenched in beautiful texture.

The elusive artist has spent much of his life in his hometown with a view of the Yokohama waters, before settling into a new environment in Tokyo where Peel gradually took shape. The essence of a given situation emerges as you peel it away, these tracks were inspired by the accumulation of days and flashbacks of memories: layers to peel joyfully from our lives, while offering a slightly shifted and refreshing perspective on one’s surroundings. It's a dreamy journey from open to close, Ono's world engulfs you in a blissful dubbed out wormhole. Featuring a flip from the sound system royalty of Seekers International to top it off, Peel is a unique and exquisite piece of work.

Sleeve artwork created by artist Kana Ueda.

Stabbing Westward's 1996 album Wither Blister Burn + Peel is a defining release in the industrial rock genre. The album features a dark, aggressive sound with intense lyrics exploring themes of pain, heartbreak, and inner turmoil. The standout singles "What Do I Have to Do?" and "Shame" propelled the band into mainstream success, thanks to their haunting melodies and heavy guitar riffs. Produced by John Fryer, known for his work with Nine Inch Nails, Wither Blister Burn + Peel blends harsh electronic elements with raw emotion, creating a brooding atmosphere that resonated with fans of alternative and industrial rock. The album solidified Stabbing Westward’s place in the 90s rock scene, offering a perfect balance of angst and melodic hooks. For fans of industrial rock, Wither Blister Burn + Peel is a must-listen, capturing the dark energy of the era. Wither Blister Burn + Peel is a release on black vinyl.

These ultra heavy industrial metal tracks were recorded over two sessions at the iconic Maida Vale studios: 28th April 1991 and 30th March 1993 and were sourced directly from the BBC Archives (with thanks), with careful remastering for CD and vinyl. The 1991 session was recorded during the same period as "Industrial" (Deaf Records / Peaceville), with the 1993 session recorded around the time of "Desensitized" (Earache). "If you look on your PITCHSHIFTER albums you will see that we always credit John Peel. He was instrumental in getting the band out there and often played our music on the radio when no one else dared. The 'Peel Sessions' we did were a great honour and every time I met John he was always such a great guy... a legend" (JS). Founded in Nottingham in 1989, PITCHSHIFTER's early style was heavy industrial metal, being cited as one of the originators of the genre along with Godflesh - a style which they termed "Death Industrial". These sessions and albums mark the end of that classic period, before a shift towards the more commercial, beat-driven Industrial style from the mid-90's onward that they are still known for.

These ultra heavy industrial metal tracks were recorded over two sessions at the iconic Maida Vale studios: 28th April 1991 and 30th March 1993 and were sourced directly from the BBC Archives (with thanks), with careful remastering for CD and vinyl. The 1991 session was recorded during the same period as "Industrial" (Deaf Records / Peaceville), with the 1993 session recorded around the time of "Desensitized" (Earache). "If you look on your PITCHSHIFTER albums you will see that we always credit John Peel. He was instrumental in getting the band out there and often played our music on the radio when no one else dared. The 'Peel Sessions' we did were a great honour and every time I met John he was always such a great guy... a legend" (JS). Founded in Nottingham in 1989, PITCHSHIFTER's early style was heavy industrial metal, being cited as one of the originators of the genre along with Godflesh - a style which they termed "Death Industrial". These sessions and albums mark the end of that classic period, before a shift towards the more commercial, beat-driven Industrial style from the mid-90's onward that they are still known for.

Unearthed from the neolithic tar that eventually swathes all history, Aerial M"s early-98 Peel Session is once again among us. Compared to the studio takes, played strictly and singly by Aerial/Papa M-astermind David Pajo, these versions swing from the necks of road-burned players, breathing more bestially than their canonical cousins, glinting "pon the dark metallic roots that fed all of Pajo"s best guitar lines, winding thru time immemorial.

Stabbing Westward’s 1996 album Wither Blister Burn + Peel is a defining release in the industrial rock genre. The album features a dark, aggressive sound with intense lyrics exploring themes of pain, heartbreak, and inner turmoil.

The standout singles “What Do I Have to Do?” and “Shame” propelled the band into mainstream success, thanks to their haunting melodies and heavy guitar riffs. Produced by John Fryer, known for his work with Nine Inch Nails, Wither Blister Burn + Peel blends harsh electronic elements with raw emotion, creating a brooding atmosphere that resonated with fans of alternative and industrial rock. The album solidified Stabbing Westward’s place in the 90s rock scene, offering a perfect balanceof angst and melodic hooks. For fans of industrial rock, Wither Blister Burn + Peel is a must-listen, capturing the dark energy of the era.

Wither Blister Burn + Peel is a limited edition of 1500 individually numbered copies on red and black vinyl.

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

For those of you who"ve mislaid your history goggles, this archival release recalls an ancient time in the world of recorded music. Yes, back in the dinosaur days of the 1990s, a creature known as Aerial M walked the earth, before evolving into Papa M and PAJO and beyond and back. Even then, the music of M had a next-wave vibe, walking upright among the knuckle-draggers (and having drinks in the evening with others of its genetic detatchment). It was too much to last very long, of course - but some things end up lasting forever, don"t they? Fuck! So it is today that Drag City, an organization largely set up to bring you the best of all available M recordings, is proud to be there for the release of the only Aerial M session ever recorded for John Peel"s BBC Radio One show, as it was originally recorded on 3rd March 1998 and broadcast on 2nd April of the same year. The studio versions of these songs, which appear on Aerial M"s S/t album (DC114) and Papa M"s Hole of Burning Alms comp (DC231), were played by "M" himself (now revealed to be David Pajo!), which makes this album a rare alternative view of the canonical M, played by an actual Aerial M band who, all too briefly, embodied the sound for a year or so before Papa brought a brand new bag. This Session found them fortuitously roadburned from several weeks in the European Theatre. So much the better for our archival ears, as OG-M"s signature minimalist long-fuse sizzle is thrillingly intact here; in fact, even more so, as the tunes are jammed out past the studio versions" originally delineated borders, reaching rudely across the table in moments of liveness that the studio-bound project might have decided against when conferring only with the walls. For fans of their epic version of "Turn Turn Turn", this is more sweetmeats from that raucous old skull - but if you"ve not been down this road before, be prepared: the taste will set you slowly aflame. And then, before you know it, the band is dined and dashed - just like the band that Aerial M was, all too briefly amok on the earth that was too.

The first in a series of archival releases from Cranes, the band’s John Peel Sessions are collected for the first time.

John Peel Sessions (1989-1990) will be available on black vinyl with a worldwide pressing of 500 copies.

Artwork by feted 4AD/v23 sleeve designer Chris Bigg (Cocteau Twins, Pixies etc)

Formed in mid-1980’s Portsmouth by the brother & sister duo of Jim Shaw (drummer, keyboardist, guitarist, programmer) & Alison Shaw (vocalist, guitarist, bassist), Cranes first appeared in 1986 with Fuse, a self-released & now highly sought-after cassette of demos.

Their debut album Self-Non-Self followed in 1989, catching the attention of legendary DJ John Peel, who invited them to record two sessions for his show in 1989 & 1990, the second seeing Mark Francombe (guitarist, keyboardist, bassist) & Matt Cope (guitarist) join ranks to form the line-up who would go on to record multiple albums for Dedicated including the much-loved album, Forever, which enjoys it’s 30th anniversary this year.

Cranes are releasing John Peel Sessions (1989-1990) on their own Dadaphonic label. The first in a series of archival releases, this compilation features original artwork by fêted 4AD & v23 sleeve designer Chris Bigg (Pixies, Cocteau Twins, The Breeders

Chunklet Industries is proud to announce a breakthrough in broadcasting technology. For the first time, the BBC working hand-in-hand with intergalactic audio pioneers Man…or Astro-Man? present to you seven volumes of their famed U.K. radio sessions. The band’s third session for famed DJ John Peel is their first with Dexter X from Planet Q. And for completists, "Welcome to the Wicky Wacky World of John Peel" is credited that way in the BBC archive, but we all know it's "The Wayward Meteor." For John Peel, who was one the earliest, most visible and most vocal supporters of the band, all four songs that were recorded are being released on this sixth of seven singles.

When Sean Cimino and Isom Innis were getting ready to work on what would become Acid Star, the full-length debut of their syrupy electronic rock group Peel, they started by tapping into the music that they liked as kids. That is, the music they gravitated toward before they had "any taste or judgment," as Innis puts it. The results are an album that swirls dance-music paint onto a rock canvas. Inspired in part by genre-bending Creation Records bands like Primal Scream and Madchester groups like Happy Mondays, Acid Star gives a modern spin on a classic formula.

"This new song "Citizen X" does vibrate with the weird aura of a live show; there's a sense of disorientation and detachment, and Cimino's vocals--which are reminiscent of Paul Banks' in Turn on the Bright Lights--are like a guiding light." FLOOD

Chunklet Industries is proud to announce a breakthrough in broadcasting technology. For the first time, the BBC working hand-in-hand with intergalactic audio pioneers Man…or Astro-Man? present to you seven volumes of their famed U.K. radio sessions.The band’s debut session in Maida Vale 3 was also the first time they stepped foot on English soil. It all started with Birdstuff sending a postcard to John Peel insisting that he not play the band's music and it led to December 1993, at the special request of the legendary, who became one the earliest, most visible and most vocal supporters of the band on English soil, five songs were recorded and three tracks are being released on this initial single.t to you seven volumes of their famed U.K. radio sessions.

Hannah Peel's viel beachteter Score zur sky orignal Science-Fiction-Serie 'The Midwich Cuckoos'. Nominiert für den Music Producers Guild Award in der Kategorie "Original Score Recording Of The Year".

Die sky orignal Serie 'The Midwich Cuckoos' basiert auf dem Science-Fiction-Roman von John Wyndham aus dem Jahr 1957 und erzählt die Geschichte eines englischen Dorfes, in dem die Frauen auf mysteriöse Weise schwanger werden.
Einzigartig und aufwändig produziert, harmoniert Hannah Peel's Klanglandschaft nahezu perfekt mit dem Sounddesign der sky-Adaption.
Mit analogen Synthesizern, Tonbandmanipulationen, Drones, Holzbläsern und Melodien, die den Gesang des Kuckucks widerschallen, schafft Peel einen Score, der ein perfektes Gleichgewicht herstellt zwischen den organischen Instrumenten und Melodien und der zunehmend düsteren elektronischen "Invasion".

Für ihren Score wurde Hannah Peel für den Music Producers Guild Award in der Kategorie "Original Score Recording Of The Year" nominiert.

- Ltd. Col. LP: (Transparent Yellow Vinyl)

RSD 2023

• Pre-Fuzztones
• Psychedelic tunes were where Tina Peel were at.
With a handful of songs that would re-emerge later on Fuzztones albums
• 3 colour black, white and pink vinyl
• Only 500 copies pressed
• Previously only issued in Italy 20 years ago
• Liner notes by Rudi Protrudi.

Mit seinem dritten Album als Peel Dream Magazine lockt Joseph Stevens in eine fabelhafte, zickzackförmige Welt, die er selbst entworfen hat. Auf Pad verzichtet er auf die unscharfe vorherige Glorie seiner Indie-Pop-Vergangenheit - hier zittert erst ein Vibraphon, stehen Streicher ebenfalls im Mittelpunkt. Der Vorhang hebt sich für einen opulentem Kammerpop und gibt den Blick frei auf Banjo. Glockenspiel. Farfisa. Und als er im Titeltrack des Albums ein Stöhnen ausstößt, wird klar, dass dies kein gewöhnlicher Auftritt ist. Pad ist ein konzeptionelles Werk über das Sich-Verlieren, wenn man nur noch sich selbst hat, und deutet auf eine aufregende neue Zukunft für Stevens' Pop-Song hin, indem es seine eigene Existenz neu interpretiert. Als Nachfolger des erfolgreichen Agitprop Alterna aus dem Jahr 2020 stellt Pad eine bedeutende soundtechnische Entwicklung für den 34-jährigen Songwriter dar, der im selben Jahr mitten in der Pandemie nach Los Angeles zog. Drumcomputer und Synthesizer aus den siebziger Jahren sind geblieben, aber er hat seine schnarrende Offset-Gitarre gegen eine Nylonsaite ausgetauscht und sich für einen sanften Barock-Pop-Sound entschieden, der von Bossa, Folk und seiner eigenen unheimlichen Mystik durchdrungen ist. Neben Vorbildern aus der Mitte des Jahrhunderts wie Burt Bacharach greift Stevens auf die kultisch geliebten Basteleien der Beach Boys aus den späten 1960er Jahren zurück und bietet eine surreale Melange aus alten Orgeln und gefundener Percussion sowie Harry Nilssons Songteppich The Point!von 1970. Pad klingt zwar wunderschön, hat aber auch eine gewisse Dunkelheit. Stevens spricht unsere generelle Ambivalenz gegenüber der Zukunft von allem, was wir kennen, an, teilweise beeinflusst durch seine Zeit in New York zu Beginn der Pandemie. In "Hiding Out" klagt er: Ich wandere an der Vernon Mall vorbei und hinauf zur Queensboro Bridge. Man gibt mir das Gefühl, zwei Fuß klein zu sein, aber das ist keine Art zu leben. Letzten Endes verfolgt Stevens einen Ansatz, bei dem der erste Gedanke der beste Gedanke ist, und lehnt sich an die fantastischen Elemente seiner eigenen Lebensgeschichte an. Pad ist ebenso archetypisch wie seltsam und verwischt genau die Grenzen, die es zu definieren versucht. Die Kunst ahmt das Leben nach, aber das Leben ahmt auch die Kunst nach - und die Ergebnisse können manchmal unvorhersehbar sein. Für Freunde von Sterolab, Beach Boys ca. Smile, High Llamas, Broadcast, The Lilys

Dem großen Publikum ist der Autor Max Goldt ein Begriff. Anders der Musiker Max Goldt, welcher in den 1978 über eine Kleinanzeige auf den Gitarristen und Songschreiber Gerd Pasemann stoß. Aus ihrer gemeinsamen Zusammenarbeit ist in den 80er-Jahren das musikalisch kontrastreiche Projekt Foyer des Arts entstanden: "Melancholische, manchmal resignative Stücke wechselten sich wie selbstverständlich mit komischen und surrealen ab", schreibt Max Goldt im Booklet zu seinem CD-Boxset "Draußen die herrliche Sonne". John Peel gefiel Foyer des Arts so gut, dass er nicht nur alle Stücke des Albums "Die Unfähigkeit zu Frühstücken" mehrmals in seinen Sendungen spielte, sondern das Duo schlussendlich auch als eine der wenigen deutschsprachigen Bands zu einer der legendären Peel Sessions einlud. 1986 erschien, mit zwei Jahren Verspätung, die "Unfähigkeit zu frühstücken", das zweite Album von Foyer des Arts, welches dem britischen Radio-DJ John Peel so gut gefiel, dass er in jeder seiner Shows ein Stück davon spielte. Schließlich wurden Gerd Pasemann und Max Goldt eingeladen, eine John-Peel-Session aufzunehmen, was für eine deutschsprachige Band eine seltene Ehre darstellte. Im Oktober 1986 reiste das Berliner Duo nach London und tat sich mit drei Mitgliedern der umtriebigen Formation "The Higsons" zusammen, die bereits viel Erfahrung als Sessionmusiker hatten und bei nur einer Probe die vier mitgebrachten Songs von Foyer des Arts rasch lernten, zwei von dem bereits erwähnten Album und zwei ganz neue, "Könnten Bienen fliegen" und "Frauen in Frieden und Freiheit". Die Aufnahmen fanden am folgenden Nachmittag in dem legendären Maida Vale Studio 4 statt, wo alle anderen John-Peel-Sessions ebenfalls entstanden. "Es war eine sehr entspannte Atmosphäre, und die Musiker waren exzellent", erinnert sich Max Goldt, "und hinterher traf man sich mit John Peel in "The Vine Bar", seinem Stammlokal". Im Jahre 2000 fragte Goldt bei der BBC nach dem Verbleib der Session Tapes und bekam die Auskunft, sie wären höchstwahrscheinlich gelöscht worden, was ihn nicht wunderte, denn die BBC war berüchtigt für ihre schlechte Archivierungspolitik. Die haben ja sogar komplette Dusty-Springfield-Shows gelöscht. Zwanzig Jahre später jedoch hat der Kölner Tontechniker Tom Morgenstern mit Hilfe einer Kollegin von der BBC die verschollen geglaubte Aufnahme aufgestöbert, und hier ist sie nun, 35 Jahre später, in alter Frische.

Die junge Britin Hannah Peel ist eine hochtalentierte und erstaunlich vielseitige bildende Künstlerin und Emmy-nominierte Komponistin elektronischer Musik, moderner symphonischer Musik sowie von Film- und TV-Musik. „The Unfolding“ ist ihre außergewöhnliche Zusammenarbeit mit dem Paraorchestra, einem in Bristol ansässigen Orchester professioneller behinderter und nicht behinderter Musiker, die über einen Zeitraum von drei Jahren entstand.

Das Ergebnis ist eine stimmungsvolle, zukunftsweisende Mischung analoger und digitaler Klänge, die einen über die Grenzen von elektronischer Musik, Jazz und Klassik hinweg tragen.

LP Black Vinyl, DL card. ‘Devasting, with slow, burning songs that shudder and wince’ NY TIMES. Peel Sessions is an essential nine-track set catching Boston’s mighty Come at the peak of their powers. The collection includes two sessions recorded for John Peel in both 1992 and 1993, plus a previously unreleased live track ‘Clockface’ from 1991, unwrapping the blueprint of their sonic idealism. Raw, loud and live, exactly where the band’s dissonant blues noise rock originates. 1992’s four track session is direct from their debut; but more mangled, strangled and abrasive. The follow-up set from a year later includes live favourite ‘Mercury Falls’ and ‘City Of Fun’ neither of which surfaced as studio recordings. The sessions feature the masterful guitar interplay of two central pivots of the post-post-punk and alternative noisnik underground, Chris Brokaw (Codeine, Pullman, Thurston Moore, Ryley Walker, Lemonheads) and Thalia Zedek (Uzi, Live Skull, solo). The session’s line-up is completed by the addition of Sean O'Brian and Arthur Johnson’s visceral bass and percussion, documenting an essential era for the band. Peel Sessions follows their recently released ‘Don’t Ask Don’t Tell’ reissue, part of Fire Records forthcoming reissue series for the seminal group

A must for all Thin Lizzy fans out there, "Selected BBC Peel Sessions" digs into the vast vault of the band's Peel Sessions to present the best of the best, and you know that's a lot when talking about Phil Lynott and his bandmates, known for being one of the best live bands (in and out of the studio) ever. 10 mind blowing tracks of pure Lizzy bliss ranging from 1973 to 1977, with amazing sound and beautiful art, what are you waiting for?

Reissue on vinyl of the 2006 collection of PJ Harvey sessions with the late BBC Radio 1 DJ John Peel, spanning recordings from the start of her career in 1991 up to 2004. Reissue is faithful to the original recording and package, with cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer John Parish.

Hannah Peel’s latest work "Fir Wave" contains re-interpretations of the original music of the 1972 KPM series featuring Delia Derbyshire and the Radiophonic Workshop.



The new album, a sonic shimmer of textures and pulses that switches between raw atmospheric edges and environments, arrives with a fascinating history. As Peel explains, “The specialist library label KPM, gave me permission to reinterpret the original music of the celebrated 1972 KPM 1000 series: Electrosonic, the music of Delia Derbyshire and the Radiophonic Workshop.” This process of re-generation and finding fresh inspiration in pioneering, experimental electronics from the early 1970s is at the core of the album. Peel has made connections and new patterns that mirror the Earth’s ecological cycles through music. Peel explains, “I’m drawn to the patterns around us and the cycles in life that will keep on evolving and transforming forever. Fir Wave is defined by its continuous environmental changes and there are so many connections to those patterns echoed in electronic music - it’s always an organic discovery of old and new.” As Delia Derbyshire revealed in 2000 to BBC sound engineer, journalist and academic Jo Hutton: “I like new things that don’t seem new . . . as though they’ve always been there.” Known more recently for curating and presenting on BBC Radio 3’s Night Tracks, the Northern Irish Emmy-nominated composer and producer’s work is ambitious and forward-looking, adapting and re-inventing new genres and hybrid musical forms.



Recent albums include the solo electronic and pop work of Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; the electronic ruralism of Chalk Hill Blue, an album recorded with the poet Will Burns; and the space and the unparalleled vastness of Mary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band. In 2019 she composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’.

2024 Repress

KMRU is the moniker of Joseph Kamaru, a sound artist, and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond he was listed by Resident Advisor as one of '15 East African Artists You Need To Hear' in 2018 and is a regular performer at the fabled Nyegenyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound that has been revered for it's ability to cross bordear with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient musics both captivating through it's textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: Why are you here, Well, Solace, Klang, Insubstantial and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens.

This is an essential part of the legacy of the White Stripes!

Seefeel, Peel Session, 27/05/94: Eine Liveband-Session von Seefeel aus der Phase ihres "Succour" Albums (1995) mit den exklusiven Tracks "Rough For Radio" und "Phazemaze", die nirgendwo sonst zu finden sind.

Zur Sommersonnenwende 2019 nahm Warp den Onlineradiosender NTS für ein ganzes Wochenende in Beschlag, um die Feiern zu seinem 30-jährigen Jubiläum zu eröffnen. Über 100 Stunden Programm mit Mixsets, Dokus, Live-Performances und Sessions des gesamten Warp-Artistrosters von Aphex Twin über Brian Eno bis Kelela samt Gästen wie Ryuichi Sakamoto wurden von hunderttausenden Fans weltweit live verfolgt. Jetzt knüpft Warp mit der Veröffentlichung der "WXAXRXP Sessions" an diesen Event an, einer Serie aus zehn 12" Vinylen mit Radiosessions aus 30 Jahren Labelgeschichte, von frühen Peel Sessions bis zum diesjährigen WXAXRXP x NTS Wochenende, allesamt in höchster Audio- und Design-Qualität. Feat. Boards Of Canada, Aphex Twin, Flying Lotus, Bibio, Oneohtrix Point Never, Mount Kimbie, u.v.a.