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TNGHT

II

    Lunatic producer duo Hudson Mohawke and Lunice stare at the moon for too long, get abducted and return just in time to deliver their second EP ‘II’. Following the release of the mysterious “Serpent”, a lunar chart that was decrypted by fans in minutes and a dangerous Radio 1 Essential Mix, TNGHT’s crescent moon is appearing once again from behind heavy clouds. It has been seven years since Hudson Mohawke (Ross Birchard) and Lunice’s (Lunice Fermin Pierre II) prodigious debut which accidentally changed the sound of the pop music caught in its wake. The pair of bedroom-producers-cum-super-producers come from Glasgow and Montreal and have aligned once again on a record which aims to chew up and spit out every influence in an exhilarating 7 tracks. 

    Daniel Lopatin returns with his latest score for the A24/The Safdie brothers’ film Uncut Gems which is out internationally on the same day as it hits theaters. The film screened to rapturous response from critics and stars Adam Sandler (in an outstanding career-best performance) as well as NBA star Kevin Garnett, Lakeith Stanfield, The Weeknd, Julia Fox and more. The hypnotic crime thriller follows Sandler’s Howard Ratner, a charismatic hustler always on the lookout for the next big score, in a twisted odyssey through the New York jewelry market. This is the second collaboration between Daniel Lopatin and the Safdie brothers following his highly acclaimed work for Good Time, winner of the Best Soundtrack Award at Cannes Film Festival 2017 and also for the Best Original Score for a Feature Film at the Hollywood Music in Media Awards 2017. His other film works include Ariel Kleiman’s Partisan (2015), and contributions to Rick Alverson’s The Mountain (2019) and Sofia Coppola’s The Bling Ring (2013). 

    In the ten years since Danny Brown’s magnum opus XXX was released, he has permeated both underground and mainstream music culture with an authentic and ever-evolving persona and a sound wholly his own, transcending genres and any parameters the world around him might impose. He set the blueprint for many of today’s critical darlings and opened doors for so many following his personally audacious start. Today, Brown announces his long awaited and much anticipated return with his fifth studio album uknowhatimsayin¿, slated for a physical release on November 8th via WARP. Executive production is from the iconic rapper and producer Q-Tip of A Tribe Called Quest. Q-Tip’s involvement in uknowhatimsayin¿ marks the first time the legendary artist has executive produced an album since Mobb Deep’s The Infamous. Brown’s lyrics balance earnest storytelling with laugh-out-loud one-liners, especially apparent on “Dirty Laundry” as Danny raps about his sexual exploits and reminisces on his rocky path to stardom. Brown’s star turn as an artist and individual are both clearly demonstrated on uknowhatimsayin¿, the next stop on Brown’s journey and one that solidifies his reputation as an innovator and hip-hop’s favorite curiosity. In the truest sense, it is a modern classic that defies genre and reimagines what a hip-hop album can and should be in 2019.

    STAFF COMMENTS

    Matt says: One of the most recognizable voices in modern rap, and a flag bearer for Detroit, comes through with a new album. A tasty bunch of collaborators, Q-tip (!!) on production duties plus Brown's completely unique lyrical style mean this'll be a last minute entry to rap albums of the year. Check!

    FORMAT INFORMATION

    LP includes MP3 Download Code.

    As the series draws to a close, no Warp anthology would be complete without Seefeel, Mark Clifford, Daren Seymour, Justin Fletcher, and Sarah Peacock's iconic, post-rock-electronica group who would make a mark on the early days of Warp records. Bridging guitar-based dream pop and shoegaze stylings with the downbeat, ambient techno and electronica they'd form a unique and characterful landmark on the mid 90s horizon, signing to Warp after early murmurings on independent label Too Pure.

    This final volume of this epic Warp series digs the bands Peel session from 1994 and is comprised of "Rough For Radio", "Starethrough", "Vex" and "Phazemaze". Side A drifts through their fuzzy shoegaze electronica and into their slightly claustrophobic blankets of beats, instruments and texture wrought with blackened circuits. Side B opens with the mournful techno of "Vex" before the gloopy static swamp of "Phazemaze" completes the selection with an experimental piece worthy of John Peel's cult sessions....

    What a way to end the series! Pheewwwee. Gotta get 'em all!!


    STAFF COMMENTS

    Matt says: Like label mates Plaid, Seefeel's world is that of mystery, exploration blurred boundaries. Existing in liminal and hallucinatory plains yet guided by a humane and sympathetic outlook. This final edition of Warp Session finds the band in exquistive form.

    Brooklyn's Daniel Lopatin has had one hell of career, practically dominating the new synth experimental movement since his casette debut in 2007. For Warp's eighth release in the 'TX' series we skip continents to LA, with Oneohtrix Point Never's 2018 session for KCRW radio is documented here.

    As per the format now, four highlights are lifted from the session and presented here for our enjoyment. "Love In The Time Of Lexapro" is a long standing favourite live performance by our man, and this particular instance is a dream on the ears - musical, tectonic and cataclysmic all at once.

    "RayCats", taken from the "Age Of" LP is an experimental number comprised of rhythmic nuances such as singing bowls, wind chimes and 'perc frog' scrapes before being decorated with some skilled synthesizer work - bright leads, lysergic swirls and emotive washes all centering in on this wonderful slice of futuro-exotica.

    "Toys 2" shows off all dazzling flamboyance of 5D charisma of the artist's impressive synth array. Not a million miles away from James Ferraro's new new age masterpiece: "Farside Virtual", it highlights this transitional and momentous period, proto-vapourwave when Lopatin and friends were regarded as heroes of the Nu World, their bright optimistic synthscapes an escape from the hatred and separation that began to sweep through society. 


    STAFF COMMENTS

    Barry says: Whilst Lopatin's work has gone from filmic ambient synth work (Rifts, Returnal) to more glitchy, beat based mayhem (Garden Of Delete), he's always maintained a focus on richly textured layers of synth pads and a slowly shifting instrumental weight. This 2018 session perfectly displays his unbeatable grasp of the fine balance between dynamics and weight, balancing the impassable mountain of sound with micromelodies and barely perceptible atmospheric movement.

    Volume.... seven I think we're up to know in this thorough and expansive Warp 'TX' series - made up of sessions old and new from a plethora of Warp's flagship acts.

    Another newer addition to the ranks, Mount Kimbe records a brand new session for the label comprised of four tracks: "You Look Certain", "Delta", "Marilyn" featuring Micachi and "Made To Stray".

    A far cry from Dominic Maker and Kai Campos's dubstep-indebted beginnings, "You Look Certain" and "Delta" contain technicoloured, spiraling, almost psychedelic leads - buzzsaw synths, purring organs and motorik drums propelling the tracks forward at a rate of knots.

    "Marilyn", one of the duo's biggest tracks, is re-done achieving new levels of intimacy through a slightly stripped back and live sounding arrangement. Finally "Made To Stray" from 2013's "Cold Spring Fault Less Youth" closes off the EP with one of their more introspective, yet vastly gigantium pieces. 


    STAFF COMMENTS

    Martin says: Some of my favourite Mount Kimbe tunes all reproduced on this vital Warp session. These alternative takes are just as good as the originals making this set an imperative release for fans of this unique act.

    Stone-cold vintage Peel session here from early UK 'bleep-techno' pioneers LFO; whose 1990 visit to John's infamous studio forms the basis of this sixth volume of Warp's 'TX' series.

    Listening to "Take Control", you'll easily recognize the blueprint that would see Mark Bell and Gez Varley regarded as innovators across dance music. "To The Limit" combines space-aged synths with jack claps and diva vox then associated with the acid house scene taing over England.

    "Rob's Nightmare", an apt name for the creeping darkness opening the B-side, preceeded their first album, "Frequencies" and seems, to all intents and purposes to be receiving its first wax outing here - all rejoice!

    "Lost World" concludes the set with more idiosyncratic beats n bleeps from the Leeds pair. I have to admit I don't really know where this one begun itself, but it's sounding substantial in this Peel session occurrence.

    Essential stuff for any LFO devotee and another sterling addition to the Warp catalogue - check! 


    Flying Lotus

    Presents INFINITY Infinitum - Maida Vale Session

    We skip across BBC studios to Maida Vale for the next installment of Warp's TX reissue series.

    Four tracks from FlyLo's stupendous "INFINITY INFITITUM" session, recorded in 2010. Starting with "MmmHmm", suspended on elevated chords and with his punchy, meandering bass sound resplendent throughout; it's a celestial and urgent affair all at once.

    "Golden Axe" is a showcase of musicianship - with highly accomplished bass solos and moody brass journey throughout woodland moods and into enchanted realms.

    Side B sees dancefloor-ready cut, "Tea Leaf Dancers" skip over woodblocks and fluttering organ lines with Andreya Triana's distinctive and sensual vocal delivery more than bolstering the sum of the track's worth.

    "Drips", the most electrified and experimental of the set dazzles the listener with wide-spectrum synthlines, wild saxophone and rampant bass and drum interplay. Add a fully accomplished jazz group and you've got yourself a high watermark, free-jazz staple for the 22nd century.

    Detailing an artist mid-flow state and still in his ascention, this 2010 selection show us how skilled and inventive this new force of modern jazz was, and still is nine years later. Mammoth! 


    No. 2 in this essential series for Warp fans old and new. Star signing Bibio's idiosyncratic of pastoral electronic folk, peppered with hip-hop production and soulful vocals made a huge impact when he first came on the scene ten years ago.

    These four tracks, plucked from the artist's expansive discography, highlight the delicate and organic side to this producer beautifully, redolent of rolling green hills and the indelible English countryside, given a modern spin and electric hum. There's no one quite like Bibio, yet his vibrations and inflections are so joyous and accessible to all.

    "Lovers Carvings", surely the EPs highlight sets this tone perfectly - a song based on vocal harmonies that's make Fleet Foxes takes note, delicately picked guitar lines and a gentle percussive thrust carrying it ever forward and into the hearts and minds of its listeners. 


    STAFF COMMENTS

    Barry says: While Bibio has been moving more towards an effervescent distillation of disco and indie-electronics, this session for Warp includes some of his most airy, beautiful pieces, and needs to be heard by anyone with a passing interest in his music. If you don't like this, you don't like Bibio.

    Kicking off a tasty set of reissues from long running bastion of UK electronic music - Warp; comes this amazingly futurist Aphex session from 1995. Recorded for the infamous John Peel Sessions, the twelve contains four tracks culled from the session.

    Starting with the mutant cosmic disco of "Slo Bird Whistle" which in present day setting seems more than at home alongside the current slew of slow EBM music, albeit rife with AFX's child-on-acid hilarity and discord.

    "Radiator" sees that trademark foray into weirdness that would characterize much of this demigod's output through his career. Riddled with disonance, glitchy techno beats and staccato acid squelches, this is self coined 'Cornish acid', true to source.

    "P-String" on side B displays his stadium-tickling, sound-art credentials as a pummelling kick and dark string converge on a monster mix that's full of foreboding and tension. Accompanied by the artist's iconic visuals, these are some of the pieces that would make his live show one of the most feverishly adored on the planet.

    Finally, we get the stoned, student-bedroom afterparty haze of "Pancake Lizard" which effortlessly drifts off into a chemically induced daydream; gentle strings manipulated against baggy breakbeats and a mid 90s grainy hue.... ahh the good old days.

    Classic AFX - back on wax - you know what to do! 


    STAFF COMMENTS

    Matt says: Top drawer Peel session from the Cornish acid pioneer. Kickin' off this monolithic Warp Sessions series in fine style.

    London's seminal electronica act Plaid are subject to Warp's 'TX' reissue series, focusing on their second Peel session from 1999.

    Sounding decidedly fresh and futuristic, even by today's standards, "Housework" kicks off the EP beautifully. Centered around a rotating sub bass, technoid perx accentuate the stereo field while tense synths occupy the recesses. Wet and wild electronix from Andy Turner and Ed Handley who would later go on to record under a variety of pseudonyms (The Black Dog, Atypic, Balil etc) before reforming as Plaid in more recent times. Here we see the duo's obvious love of the new techno sound emanating out of America and Europe, and keen for them to put their own mark on the genre.

    Downbeat, slightly melancholic and with a more dusty, sample-based palette; "Kiterider" amply demonstrates that the duo were also more that capable of making evocative downtempo soundscapes that perfectly sat alongside other UK acts like Boards Of Canada, DJ Shadow and the growing popularity of instrumental hip-hop.

    "Elide" seems unique to this session and I'm unable to find it recorded under any other instance, It's a quirky and frenetic outing which references Lemon Jelly and Air France in many aspects with its quick paced breakbeats and blue sky chord progression.

    "Lazybeams" is the last highlight to be lifted from the session; a slow-motion drizzle of electronic elements ricocheted and twisted through a series of complicated outboard processes as the duo show of their impressive technical abilities whilst still remaining true to their musical and mellifluous aesthetic. True excellence from this well celebrated British act. 


    STAFF COMMENTS

    Matt says: The intriguing and beguiling world of Plaid is thoroughly explored on this Peel session from 1999. There's no-one quite these cats, here you'll see why!

    Kelly Moran, one of the more recent and avant garde of Warp's signings eschews the dancefloor in favour of something more freeform and dare-I-say-it, thought-provoking on this new session.

    Recorded specifically for Warp's 'TX' series, the five tracks here show off the composer's multi-instrumental and classically trained ear perfectly. "In Parallel" and "Helic 2" are both transmitted acoustically, and demonstrate advanced skill on both harp and piano compositions.

    "Interlude 1" opens side B with a tranquil moment of eastern mystery, before "Love Birds" opens up a bouquet of staccato wind chimes. Enchanted and completely ethereal, it's like your stood in a magical mood garden full of Elven-sorcery and sprite-like figures.

    "Radian" concludes, a heart wrenchingly powerful solo piano missive with suspended organ drones as underlay.

    A breathtaking piece of modern classical mixed with atmospheric electronica and a standout piece from the series. Recommended. 


    STAFF COMMENTS

    Matt says: A really strong session from Kelly who shuns convention and delivers an arresting piece of modern classical greatness. If like me you know little of this artist, this is an excellent insight!

    Battles return with their fourth album "Juice B Crypts" on Warp Records to follow their complex, mind-bending predecessors "Mirrored", "Gloss Drop, Dross Glop" and "La Di Da Di". Their latest album is a sensory overload of information that throws everything you thought you knew about Battles into flux once again. John Stanier's percussive power drives the LP through motorik, jazz and post rock, while the cubist keyboard and guitar melodies of Ian Williams capture the fractal pop majesty the group have made their own over the past decade or so.


    STAFF COMMENTS

    Barry says: While Battles' previous outing definitely tread more through the math rock spectrum, and sometimes suffered cohesion losses through it's jagged momentum, 'Juice B Crypts'leans slightly more towards the free-jazz end of things, with loungey grooves and deep rolling basses keeping a solid backline behind their characteristic madness.

    FORMAT INFORMATION

    2xColoured LP Info: Indies exclusive transparent vinyl in gatefold sleeve.

    2xColoured LP includes MP3 Download Code.

    CD Info: Gatefold wallet with poster booklet.

    James McVinnie is known as one of the world's leading organists. His work as a performer encompasses music from the 16th century to the present day. He is a member of Icelandic record label Bedroom Community. He has collaborated with many leading figures in new music including Philip Glass, Angelique Kidjo, Nico Muhly, Martin Creed, Richard Reed Parry, Bryce Dessner, Darkstar, Hildur Guðnadóttir, David Lang, Sarah Davachi many of whom have written large scale works for him.

    The compositions were commissioned by No-Nation with PRSF for Music and debuted as ‘The Secret Life of Organs’ in 2016 with a run of live dates in the UK supported by Arts Council England. The original pieces have since been revised to make up "All Night Chroma". Performed at the Harrison & Harrison organ of the Royal Festival Hall by James McVinnie. Composed and produced by Tom Jenkinson of Sqaurepusher. 


    FORMAT INFORMATION

    LP Info: Numbered indies exclusive LP in black paper inner, in printed outer sleeve with silver foil number and 6 panel fold out poster.

    "Wallop", the band’s eighth LP, is another stellar addition to the wildly impressive catalog they’ve built over the course of nearly two decades and stands as a testament to their hardworking approach and ceaseless desire to push things further. Recorded over the past year in lead singer Nic Offer’s Brooklyn apartment, the band picks up where 2017’s "Shake The Shudder" left off, further exploring the fringes of dance music with a focused edge and a care-free spirit.

    "Wallop" sees friends from across the spectrum appearing on a number of tracks, including Liars frontman Angus Andrew, Maria Uzor of British dance aesthetes Sink Ya Teeth, and Glasser's synth-pop wizard Cameron Mesirow, who all join Offer and !!! co-vocalist Meah Pace on this barn-burning party of a record. With an array of producers lending a hand - including Cole M.G.N. (Ariel Pink’s Haunted Graffiti, Julia Holter), Graham Walsh (Holy Fuck), and longtime collaborator Patrick Ford - "Wallop" was eventually stitched together to reflect the colorful, body-moving tapestry that its end result represents.


    STAFF COMMENTS

    Barry says: It's not a party until !!! show up, and they've arrived just in time to soundtrack this new release week. Surprising twists and turns abound (exactly as you'd expect), lots of day-glo melodies and huge effervescent melodies bolstered with huge 80's 'verb. Textbook !!!.

    FORMAT INFORMATION

    2xColoured LP Info: Indies exclusive green and pink vinyl.

    2xColoured LP includes MP3 Download Code.

    Nearly 5 years after the last Flying Lotus album, the Grammy-nominated You’re Dead!, and Flying Lotus’ stock has never been higher. The interim years have seen him collaborating with Kendrick Lamar on the classic "To Pimp a Butterfly", directing and writing the Sundance-premiered Kuso movie, and producing much of Thundercat’s "Drunk".

    Flamagra encompasses hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM, the L.A. Beat scene, but it soars above a specific vortex whose coordinates can’t be accurately charted. Other than to say that it is a Flying Lotus record, perhaps the definitive one.

    Flamagra features (in order of appearance): Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi, Solange and more.

    STAFF COMMENTS

    Patrick says: Blurring genre boundaries as ever, Steven Ellison AKA Flying Lotus fucks with jazz, hip-hop, RnB, juke, soul and soft rock on his sixth LP. This time he keeps the interludes short and so so sweet, and invites the likes of Solange, Anderson .Paak, George Clinton and Thundercat to guest on his strongest songs to date. Sublime, beautiful and brilliant.

    FORMAT INFORMATION

    2xIndies Exclusive LP Info: Special Edition Limited Pop Up Deluxe Black Vinyl.
    2LP in mirriboard inner sleeves, pop up gatefold sleeve, packed in PVC sleeve.

    2xIndies Exclusive LP includes MP3 Download Code.

    2xLP Info: 2LP black vinyl, in printed inners, in gatefold outer sleeve.

    2xLP includes MP3 Download Code.

    Bibio returns in 2019 with ‘Ribbons’. Following his ambient atmospheric project, ‘Phantom Brickworks’, Stephen Wilkinson returns to the path of structured songwriting last explored on 2016’s ‘A Mineral Love’. Ribbons yields folkloric charm with an organic palette, incorporating a mostly acoustic-led approach exploring ‘60s and ‘70s psychedelia, soul, ambient, electronic and field recordings.

    The title ‘Ribbons’ is extracted from the most electronic-leaning track on the album, ‘Pretty Ribbons And Lovely Flowers’. On the track, haunting, processed female vocals illuminate a route through dark ambience and a repeating earthy distorted chord sequence. Referencing the endless ribbons of analogue tape and film used in his music, photography and cinematic work, the album artwork is designed by Wilkinson, where his portrait offers a window onto an English woodland scene with spring bluebells adorned with ribbons.

    Wilkinson’s folk influences span ‘60s and ‘70s styles from Britain, Ireland and America; he mixes influences of homegrown acid folk with the dreamy harmonies of its Californian counterpart. He also pays homage to his past J Dilla and Madlib-inspired works, this time drawing influence from the eras and records those producers sampled - such as ‘60s and ‘70s Dionne Warwick, Dee Dee Sharp and other soul artists - but rather than relying on sampling records, Wilkinson creates his homages from scratch with appropriate instrumentation.

    With this latest album Wilkinson oscillates between genres, pairing the unknown with the familiar and moving forward in a way that only he knows how to.

    STAFF COMMENTS

    Barry says: Bibio has straddled a wide variety of styles over his (almost) 15-year recorded output, from the lo-fi ambience of 'Fi', the syncopated folky pluckings of 'Silver Wilkinson' and 2016's pumping electronic odyssey, 'A Mineral Love'. This newest outing takes all those wonderfully accomplished but stylistically disparate outings and perfectly weaves them together into a languid but varied musical quilt for 'Ribbons'. Quintessentially Bibio but building upon his tendency for variety and creative expertise. Properly lovely stuff.

    Gaika presents his debut album, "Basic Volume" after captivating listeners with a blistering pair of acclaimed, self-released mixtapes "Machine" and "Security" and the Warp-released EPs "Spaghetto" and "The Spectacular Empire". The 15 track collection is co-produced by Gaika, with additional production from similarly forward thinking contemporaries, including SOPHIE, Dutch E Germ, Dre Skull and DADRAS, Aart as well as previous collaborators including Jam City, Nick Leon and Frank Ocean’s "Blonde" and "Endless" collaborator Buddy Ross. Speaking about the album, Gaika says, “Basic Volume" is collection of alchemical parables for all the Immigrants who wander the earth in search of themselves”

    FORMAT INFORMATION

    2xLP includes MP3 Download Code.

    What's left to be said about Richard James? One of the most spectacular and critically lauded producers in the world, a divisive musician and Delphic artist, nearing his thirtieth year in 'the biz' and his sound continues to innovate, experiment and enthrall. The David Bowie of electronic music - for some there is simply no parallel and every last artifact is to be feverishly collected and treasured.

    A new EP that somehow extended and builds on his idiosyncratic and highly flamboyant style, the first duo of tracks, "T69 Collapse" and "1st 44" are at once playful and majestic. The first exploring the typically smiley-Cornish-acid-tekno genre with aplomb while the second implores deep subs and his galloping drum sequences to create a wobbly and cerebral track that plunges effortlessly into modern 'half-time' business, merging the best bits of techno, glitch, footwork and IDM in a truly Aphex flavoured broth.

    Flip the disc and "MT1 T29r2" explores the darker and deranged sides of his persona - utilizing the Kork's MS-20 filter to maximum devastation while more peppery, skitting drum flurries explode out of the recesses of the mix. Finally, "Abundance10edit[2 R8's, FZ20m & A 909]" (phew!) sees James showing off with his world beating drum programming. Can anyone sequence beats better than AFX? No way hosay - as this final tracks sends us tumbling, flailing and spiraling into the speaker stacks like no-one else can. Still the king of electronic music? Youbetcha! Another essential addition from this acid overlord. 


    STAFF COMMENTS

    Matt says: Every time there's a new Aphex release I'm convinced I've grown out of him and won't like it. Time and time again I've proved wrong as this producer par excellence continues to be ten steps ahead of the pack.

    FORMAT INFORMATION

    12" Info: 12” in printed inner in printed outer sleeve. DL card insert (includes bonus track pthex).

    CD Info: CD in 4 panel wallet.

    Daniel Lopatin has never been to afeared to tread a relatively unfollowed path, with his ambient synth excursions of the early 00's sending many a mind into the outer reaches of the stratosphere, before his major label debut with 'R Plus 7' for Warp in 2013. His follow-up outing, 'Garden Of Delete'  pushed what was becoming his trademark glitched-out synth excursions into exciting new territories with fragented patchworks and overlapping collages of sound forming a solid but oft missed melodic patchwork. 

    The newest outing, "Age Of" is Daniel Lopatin’s most cohesive and richly composed work to date, weaving a tapestry of disparate musical histories — early music, country and folk balladry, melodic pop, computer music and much, much more — that demonstrate both the complexity and range of the artist's repertoire. With sounds that are unsettlingly familiar and uniquely his own, "Age Of" guides us through an unclassifiable new world. 

    STAFF COMMENTS

    Barry says: Oneohtric moves from strength to strength, with his newest outing eschewing the glitched-out cut/paste madness of 'Garden Of Delete' for a more refined, but still comfortingly bizarre robo-choral affair. I've been a big fan of Lopatin since the mid 2000's, and this continues the tradition of excellence. Killer.

    Daniel Rossen (Grizzly Bear)

    Deerslayer

      We are proud to announce the new single by Grizzly Bear & Department of Eagles member Daniel Rossen, to be released on 12” exclusively for Record Store Day 2018. It is the first official solo release by Rossen since 2012’s widely-acclaimed EP Silent Hour / Golden Mile (Warp Records). Those who have been lucky enough to attend one of Daniel’s rare but ever-spellbinding solo live performances of the last couple years may recognize the title track “Deerslayer”. As Rossen explains: “”Deerslayer” started as an imaginary dialogue with the hunters I constantly heard roaming around outside my place in upstate, NY. They were always heard but never seen, and a constant reminder that I didn’t really belong there. Stylistically this song doesn’t really fit with the rest of the material I am working with now, but it still feels true to the experience I had. So I’d like it to exist in the world, and record store day seems like a great opportunity to give it a special physical release.” The song is backed with a cover originally by Golden Suits. “”You’re Crossing A River” is a song by my old Dept. of Eagles bandmate, Fred Nicolaus, which he released as Golden Suits. I loved the lyric and Fred asked me to try a cover of it back when his last record came out. I tried to treat the song like I might have treated one of his tunes back in our Dept. of Eagles days, adding instrumental passages to mirror what’s going on in the lyric. If we were still making records together I would want to include this song.” Deerslayer will be released with original artwork by J. Penry on Record Store Day, Saturday April 21 on Warp Records.

      Five years after the release of Kwes' debut LP, he’s back with "Songs For Midi". Following collaborations with Bobby Womack, NAO, Solange, and Loyle Carner (not to mention mxing label mate Kelela’s debut album "Take Me Apart") the EP sees the producer return to making music solely for himself - free from the shackles of collaboration and producing free-form compositions full of experimentation but more importantly - FUN. Yes, you can almost hear the artist thoroughly enjoying himself through the course of the album, which pairs natural strings against synthesized sawtooths, digtal delays against meandering pianos and the odd flurry of randomized percussion. "Songs for Midi", even though mature in its sound, maintains that consequential childlike element upon which Kwes has built his repertoire. An ode to his two year old niece Midi; it’s an opus about childhood discoveries and the excitement a child feels in the ordinary and mundanity of everyday life, an uplifting comment on the effervescence of youth. Midi also designed the cover with a little help from Uncle Kwes. Perhaps the youngest ever designer in Warp’s near three decade history! Each track on the EP builds upon sounds including the gentle tick tock on "Blox/Connor" to the flourishing extensive synthlines and crescendos on "Midori" which call to mind the fragility of Arthur Russell’s "World of Echo".

      FORMAT INFORMATION

      12" includes MP3 Download Code.

      Iconic Warp mainstay Nightmares on Wax can now announce his long-anticipated return with new album Shape The Future. The marriage of soul, hip-hop, dub and timeless club sounds that N.O.W. has been mutating and perfecting for years finds perhaps its most fluid form yet on Shape The Future. Energized by globetrotting runs of studio sessions and DJ sets, this latest salvo is a masterpiece of contemporary and classic genre-blending that solidifies Nightmares On Wax’s place as an inspirational electronic music figurehead. This includes the shamanistic vocals of recent single Back To Nature, and in particular the the arresting voices of Mozez alongside Kanye West and Flume collaborator Allan Kingdom, as featured on brand new cut Citizen Kane. Nightmares on Wax is one of the most influential artists of a generation, his music has inspired many musicians and producers across the globe over his quarter decade career. As Warp’s longest serving active artist, he has broadened the sound of the label and paved the way for artists such as Flying Lotus, Hudson Mohawke and Mount Kimbie.

      FORMAT INFORMATION

      2xLP includes MP3 Download Code.

      Recorded at the band’s home studio in Brooklyn, produced by longtime collaborator Patrick Ford at Taaffe Palace, and mixed by dance luminaries Phil Moffa, Joakim and Matt Wiggins, the album features a cast of changing singers from Lea Lea, Meah Pace, Nicole Fayu, Cameron Mesirow and Molly Schnick.

      The album title is a fancy way of saying “shake it off and dance your cares away.” !!!’s post punk roots mean the band will always be pushing forward to new sounds but their tastes remain grounded in some form of funk and increasingly in various electronic dance styles. The idea for the new album was born from jamming in Barcelona, and spending months afterwards cutting those recordings into loops to form new songs. Back at home in Brooklyn, lead singer Nic Offer poured over his roommate’s disco breaks. To push their boundaries, the band implemented the policy of more liberal sampling techniques as well as using whatever keyboard was available with the attitude of “there's no such thing as a bad synth," using sounds they wouldn't ordinarily use. This also includes having multi-instrumentalist Rafael Cohen’s daughter featured on their song “What R U Up 2day” and the use of horn on “R Rated Pictures.” Thematically, "Shake The Shudder" reflects a band that has been together for twenty years. In the band’s early days, they had the typical punk attitude, pointing fingers at everything that’s going wrong in the world to cover up for their own inner turmoil. Now the band, older and wiser, are more comfortable with being more vulnerable, looking inwards instead of reacting outwards. To them you do this through friends, music, dancing, lovers… for "Shake The Shudder", the sound of protest can be a march or it can be a sick groove paired with some short shorts.

      STAFF COMMENTS

      Patrick says: Everyone's favourite punk-funk party monsters !!! return with more groove based fun on Warp, celebrating 20 years of off kilter disco riffery with an expansive and expressive set of bassy booty shakers. This time round the ensemble invite breakbeat and footwork into their polyamorous play-pen, ready to wreck romper suits the world over.

      From Mount Kimbie:

      “We're both excited to announce that our new album, 'Love What Survives' will be released on the 8th of September on Warp Records. It's been a fascinating process that has changed us as a band and we're feeling great about how it's come together. Can't wait to share our third album with you”

      “Love What Survives” is the long awaited third studio album from Mount Kimbie. It’s the most confident statement of intent from the boundary-pushing duo yet, and an embodiment of their career-long musical progression.

      ‘Blue Train Lines’ demonstrates the progression and evolutionary journey the band have embarked on since the release of 2013’s “Cold Spring Fault Less Youth”. The track centres on a motorik rhythm section, heightened and enhanced by long-time collaborator and friend King Krule’s jagged vocal bursts and pulsing synths.

      The album is the product of three years of intense creative development, continually honed by the duo writing and rewriting their ideas to form something wholly idiosyncratic and personal. It brings together the voices of their close friends and collaborators - who together represent a corner of the UK’s young artistic talent - James Blake, Micachu and King Krule, within the immersive, unique atmosphere of a Mount Kimbie album.

      The record’s expansive nature is indebted to the fact it was made between London where Kai Campos resides and Los Angeles where Dom Maker moved in 2016. The duo would travel back and forth to work together, cultivating ideas in intensive sessions. For Maker, putting down roots in a foreign city with its cultural differences and geographical vastness was alienating at first but it gave fresh perspective and inspiration.

      STAFF COMMENTS

      Barry says: On Mount Kimbie's first full-length outing since 2013's 'Cold Spring Fault Less Youth', we get their most raw and uncompromising outing yet. A Semblance of the gritty, energetic UKG aesthetic seeping into the fractured beats and subby kick, while electronic glimmers and low-fi punk influences from across the pond are smoothly and euphorically juxtaposed into audio gold by these talented producers.

      Oneohtrix Point Never

      Good Time - Original Motion Picture Soundtrack

      Oneohtrix Point Never returns with his new album Good Time Original Motion Picture Soundtrack out August 11 on Warp Records. Rapturously received by Cannes’ film critics, Good Time is directed by Josh and Benny Safdie and stars Robert Pattinson (in a widely regarded career best performance) and Jennifer Jason Leigh. The hypnotic crime thriller follows Pattinson’s Connie in a twisted odyssey through the New York underworld in a desperate attempt to get his brother out of jail ( watch trailer ).

      Oneohtrix Point Never received the prestigious Cannes Soundtrack Award at this year’s 70th anniversary edition of the festival for his visceral original score for Good Time . The artist was in competition with the likes of Jonny Greenwood, Jed Kurzel and Ibrahim Maalouf and took home the celebrated prize. Previous winners include Cliff Martinez for The Neon Demon (2016), Lim Giong for The Assassin (2015) and Howard Shore for Map to the Stars (2014).

      An original song by Oneohtrix Point Never composed for the closing theme of the film, “The Pure and the Damned” features a guest vocal and lyrics written by Iggy Pop. Iggy’s voice is rich with uncomparable weight and wisdom on this stunning closer.

      Daniel Lopatin aka Oneohtrix Point Never and the Safdie brothers became close collaborators through a shared love of cult genre movies and music, and their level of collaboration here has a rare depth of symbiosis of picture and score. Mundane events become dramatic, montages become mini operas.

      With the soundtrack to Good Time, Oneohtrix Point Never has created a genuine listening experience rivalling the very best of his landmark studio albums. It also holds some of his most striking and complete individual moments; in addition to “The Pure and the Damned” “Leaving The Park” takes the classic arpeggio-laced crime scores of the 1970s and lends it the unique Oneohtrix Point Never stranger-beauty. Throughout the soundtrack, diegetic audio is interspersed and mutated in a natural foundation of Garden of Delete meets Rifts -era Oneohtrix Point Never sound palettes.

      STAFF COMMENTS

      Barry says: Never one to shy away from an off-piste melodic moment or two, the great Daniel Lopatin returns to his Oneohtrix guise for a beguiling foray into ambient soundtrackery, liberally smeared with his unmistakable echoing synth business. This might be even better than that time he live-tweeted commentary on Billy Corgan's 24-hour synth jam. Superb stuff as ever from Lopatin.

      Gonjasufi announces a new collection of remixes, covers and original music, aptly titled "Mandela Effect". This release shows the producer expanding on his stark message from "Callus" with support from a diverse cast of musical peers and local collaborators. The Mandela Effect is a recent phenomenon in which experiencers claim to be living in a reality slightly different from the one they remember. These differences, manifested in literature, movies, logos and even people themselves, constitute the evidence of an altered reality for ‘Mandela’ believers. The term was coined after large groups of people seemed to ‘misremember’ that Nelson Mandela had died during his imprisonment in South Africa. Guests include Massive Attack’s Daddy G, Shabazz Palaces, Anna Wise, Ras G, Innsyter, Moor Mother, Perera Elsewhere, King Britt and a crew of Gonjasufi’s San Diego brethren.

      Sprawling across two discs and chock full of content, the album throws normal structural constraints and long player tradition out of the window. All the tracks have either been remixed or collaborated on, some even appear a number of times with different mixes. Gongasufi has put his own ego on the backseat and lets the best possible version of the songs come into fruition completely natural. As you'd expect, it veers from desert fried sike, to rambunctious breakbeats and back through a massive cross-section of electronix and hardware. These are merely signposts on a heavily psychedelized and noxious journey, and parts of the album will leave you scratching your head for words. Fans of Dean Blunt / Hype Williams / Babyfather, Ras G etc are gonna love this - fearless experimentalism through electronics, punk spirited vox and cranium busting grooves. 


      STAFF COMMENTS

      Barry says: Never one to shy away from breaking a few preconceptions, future-electro-drone nutcase Gonjasufi gets a host of well known collaborators to deconstruct, reconstruct and generally mess about with their art, and to great effect. As unhinged as a door awaiting a major repair, but thoroughly standout.

      FORMAT INFORMATION

      Ltd CD Info: CD in four panel digi printed with silver pantone. Ltd to 200 copies.

      Autechre

      Tri Repetae

      This is when things started to go full robot. Mechanical mutations with driving rhythmic percussive shudderings, synthetic melodies fight alongside scrathed synths. 

      Opener 'Dael' is a prime example of this, pulling jungle drum loops click around the stereo field, fighting warped vocal samples and distorted thuds then slow down into clear-cut basses and reverberated gleaming melodies. 'Leterel' is a thumping and dystopian joy-ride through neon far-futures, full of robotic hordes and gloomy social undercurrents. 'Rotar' gives glimpses of standard rhythmic structures and sane melodic flourishes, acting as a sort of relief before the anthemic techno-funk of 'Stud'.

      'Eutow' is fittingly, quite the antithesis of this, a high-passed static filled percussive piece laiden meaningfully but sparsely with 1/2 time bass swirls and solar-flare squeals.  

      By the end of Tri Repetae, the robotic hordes have invariably come forth, bringing with them scraps of decimated drum machines and fractured near-melodies. It's not easy being a robot but at least they have their theme tune.

      STAFF COMMENTS

      Barry says: The third in the most recent trilogy of reissues, and almost definitely the most characteristic sound we have come to know and love from Autechre. Glitchy, beautiful and devastating.

      FORMAT INFORMATION

      2xLP Info: 2LP in widespine sleeve with download card and bonus live set.

      ‘Callus’ is Gonjasufi’s third album for Warp Records, the most challenging and raw recording of his career. Across nineteen tracks, created during the last five years and in three studios across two US states, Gonjasufi exposes the scars of a lifetime, digging beneath the surface coat of a callus to strike nerves and expose his reality.

      If the earliest Gonjasufi records suggested obstacles to overcome, the scowling violin drone and electronically mangled vocals of ‘Poltergeist’ and colossal riff and crushing rhythm of ‘The Kill’ make it clear that he’s now facing them, without fear or hesitation.

      During ‘Maniac Depressant’ he lashes out like some industrial warrior, his screams charging against gnarled guitar. Over the big, head-rattling beat of ‘The Conspiracy’ he rejects the complacence of unquestioned belief systems.


      FORMAT INFORMATION

      CD Info: CD presented in 6 panel digipack.

      A new album from Brian Eno is always something we look forward to and upon hearing it, 'The Ship' is possibly one of the finest solo works from this pioneer yet. Opening with the truly otherworldly experience of title track 'The Ship' Eno carefully lays down a twenty minute plus blanket of slow moving, but fully immersive synths that start off sounding like the blurry jet lag memories of the morning after a night in his 'Music For Airports' departure lounge. The track builds with a delicate, constantly evolving '77 Million Paintings' style drone before his deeply lead vocals chime into the mix, this could honestly be an update on a lost recording from the B-side of 'Low'. The rest of the album follows in a similar stance but over a three-part "musical novel" and takes in oceanic waves of sound to spoken word transcripts and ends on a tear-drenched cover of The Velvet Underground's 'I'm Set Free'. Large parts of 'The Ship' will be tugging at memories of Eno's previous work notably 'Airports' and 'Another Green World', but it remains new and offers much to explore, the end caps on the words "I'm set free, to find a new illusion" and after 'The Ship' we can't wait to hear where he sails to next. Unmissable stuff.

      ‘Under The Sun’, Mark Pritchard’s first solo album in five years, is designed to be listened to in one sitting; the unique atmosphere of the album has led from Pritchard’s exploration of the timeless production and mixing techniques of the 1960s and 70s.

      Having previously produced - both collaboratively and as an individual - under various pseudonyms (Global Communication, Africa Hitech, Harmonic 313, Harmonic 33, to name a few), he has now begun to release all music under his own name.

      The record draws influences from ambient, psych and folk and, with help from vocalists such as Thom Yorke, Linda Perhacs, Bibio and Beans (ex- Antipop Consortium), creates a sort of sonic utopian landscape, complemented completely by the artwork of Jonathan Zawada.

      For fans of Atoms For Peace, Brian Eno, Fennesz, Jane Weaver, Ryuichi Sakamoto, Jon Hassell.

      STAFF COMMENTS

      Barry says: Pritchard releases his dazzling new album for Warp Records. Featuring serene electronic trills and sweeping ambience, mixed with acoustic guitar pieces and the vocal talents of a perfect selection of guest artists, this is a varied and engrossing selection of electro-acoustic masterstrokes.

      Mark Pritchard / Bibio / Clark

      A Badman Sound / Heath Town / Inf Inf Inf Inf

        THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        Record Store Day rave 12” from Warp mainstays Mark Pritchard, Bibio and Clark.

        Mark Pritchard kicks off the 12 with throwback jungle anthem ‘A Badman Sound’; the classic Amen break gets laced with rave stabs and intermittent dub sirens.

        ‘Heath Town’ is the opposite of what you’d expect from Bibio. In particular, the second half takes stylistic cues from ‘A Badman Sound’ and features the popular, euphoric James Brown-produced ‘Yeah Woo’ sample.

        Clark winds down with ‘Inf Inf Inf Inf’, a more ambient sound that brings in broken beats and is reminiscent of early Aphex Twin.

        2016 is an exciting year for all three artists:

        In May, Mark Pritchard is releasing his first album under his own name.

        In April, Bibio releases his fifth album on Warp, A Mineral Love.

        And after releasing his most successful album yet in late 2014, Clark returns with ‘The Last Panthers’ record, inspired by his score of the Sky Arts drama series of the same name.

        For fans of: Aphex Twin, Autechre, Special Request, Om Unit

        Vinyl 12" in 3mm spine sleeve with centre holes (in Warp house bag).

        Limited to 500 copies.

        Battles

        Gloss Drop

          New York six-legged rhythmic juggernaut Battles are one of the most exciting and respected alternative bands of recent years and they return with their second album ‘Gloss Drop’.

          The album ranges from lead track ‘Ice Cream’, a “grunty, squelchy, jubilant freakout” according to the NME, and Radio 1’s The Hottest Record In The World - a calypso tinged rhythmic juggernaut powering through the airwaves of Radio 1, XFM and 6Music, through to denser, more industrial tracks (‘My Machines’, featuring Gary Numan, is a prime example) – at times playful, at times hard-edged, but always unmistakably Battles.

          Outgoing member Tyondai Braxton’s vocals have made way for a host of guest vocalists, ranging from Numan to Kazu from Blonde Redhead and Eye from Boredoms.

          FORMAT INFORMATION

          2xLtd LP Info: 2LP in printed inners in gatefold sleeve, poster insert and digital download card.

          Broadcast

          Work And Non Work

          Vinyl re-press of the 1997 album from Broadcast.

          This was their first album on Warp, a handy compilation of three singles released on various different lables; 'Accidentals' on Wurlitzer Jukebox, and 'Living Room' and 'The Book Lovers' EP on the Duophonic label.

          These early tracks showcased the early rumblings of their evocative blend of 60s pop, film soundtracks, psychedelia and avant noises.


          FORMAT INFORMATION

          Ltd LP Info: 1 x LP in printed inner sleeve in printed outer, with download card.

          Lafawndah’s first release on Warp takes influences from wide-ranging genres such as zouk, kizoma, salsa, cumbia, dubstep and grime, creating an exciting sampler of what’s to come next from this defiant and inspired artist.

          “Out of this world music… the perfect expression of our globalised culture” - The Guardian · Lafawndah is somewhat of a global citizen, having lived in Paris, Tehran, New York and Mexico City and coming from an Egyptian / Iranian / English heritage.

          Listening to her music, a fusion of regional subgenres from different corners of the world, she has evidently a certain porosity when it comes to digesting sound, taking snippets of different influences as souvenirs to use in her own work. · The songs on ‘Tan’ are at the same time relaxed and playful, bold and confrontational. The combination between strong narrative, clarity of expression and seamless transmutation is reminiscent of early Björk, Missy Elliott and Grace Jones.

          Co-produced by L-Vis 1990 and ADR. Executively produced by Lafawndah.

          For fans of Kelela, Leila, Muslimgauze, Mira Calix.

          FORMAT INFORMATION

          12" includes MP3 Download Code.

          !!! return with “As If”, the band’s sixth studio album. 

          Combining punk abandon and tightly-coiled dance music has always been bonded into the band’s DNA. It’s this core that has seen them outlive the mid-2000s indie-dance / punk-disco tag and has allowed them to consistently grow lyrically and sonically from album to album. “As If” is their most consummate collection of songs yet.

          Soulful female vocals layer “Freedom! ’15", a self-described disco odyssey, with the band stretching out their live roots. The R&B tinted house track “Sick Ass Moon” follows in the footsteps of “All U Writers”, their April Record Store Day release, bouncing along with a thumping kick to carry the album’s opening. 

          "Each album we've made has gotten closer and closer to our live set and this, we're proud to say, is the closest we've come yet. We were heavily influenced by current dance music - Nina Kraviz, Moodymann, Paranoid London, Rrose and Delroy Edwards were frequently referenced - and philosophically by the early 90's house records we love on labels like Trax and Dancemania and by artists like Romanthony and Green Velvet. Those records sound great because they're fairly raw attempts to use the technology of the time to ape the New York and Philly disco records that those producers loved. We figured, if those old house records sound like they do because the artists manipulated disco samples with MPC's, why couldn't we just sample ourselves and manipulate the tracks with Ableton Live? The more raw it came out the better it felt, not only because that's what excited us about those old records, but because it felt felt more punk, which always feels good." - !!!

          ‘Hinterland’ (literally “the country behind” in German) conjures impressions of decayed Manchester outskirts and reclusive inner landscapes obsessively throughout the record, as Lonelady's Julie Campbell continues her fascination with the post-industrial ruinscape.

          As with her 2010 debut 'Nerve Up', on 'Hinterland' Campbell continues to pay homage to the post-punk era. I can hear many influences in her punk-funk style - A Certain Ratio in occasional basslines, Viv Albertine (the Slits), Nile Rodgers (Chic) and Andy Gill's (Gang Of Four) guitar sound (skeletal, harsh, chiming) , dark and brooding drones, cello and synths (Joy Division, Nico etc), but Lonelady transcends all these reference points to come up with her own sounds. Crucial to her elevation above mere pastiche is Campbell's agile, urgent vocals and her ability to come up with pop hooks that weave their way through the tracks, from the edgy, fidgeting 'Bunkerpop', via breakout disco-not-disco single 'Groove It Out' to the low-slung sleaze-funk of title track 'Hinterland'.  

          In Campbell’s words: “It’s channelling Parliament / Funkadelic, Stevie Wonder, Rufus, Prince, Arthur Russell… among others. A strange - but nonetheless real - meeting of funk and… me from Audenshaw, Manchester.”

          STAFF COMMENTS

          Andy says: That rare thing: an album that unites everyone at Piccadilly! Superb stuff.

          FORMAT INFORMATION

          LP includes MP3 Download Code.

          Broadcast

          The Noise Made By People

          Vinyl re-press of debut album from Broadcast, originally released on Warp in 2000.

          "After being mired in the studio for nearly three years, Broadcast returned with their first proper full-length album, The Noise Made by People, a collection of more shimmering, weightless pop that is nostalgic for yesterday's visions of the future but remains on the cutting edge of contemporary music. Where their early singles (collected on 1997's Work and Non-Work) painted small, quaint portraits of their retro-futurism, The Noise Made by People delivers their sound in widescreen, filmic grandeur. Richly layered yet airy pieces like the album bookends, "Long Was the Year" and "Dead the Long Year," seamlessly blend symphonic, electronic, and pop elements into smoky, evocative epics, while synth-based interludes such as "Minus One" and "The Tower of Our Tuning" present Broadcast's more detached, scientific side. Likewise, Trish Keenan's air-conditioned vocals sometime suggest a robotized Sandie Shaw or Cilla Black, but her humanity peeks out on "Come on Let's Go" and "Papercuts." "Echo's Answer" and "Until Then" are two of the other highlights from the album, which despite all of its chilly unearthliness, is a noise made by (very talented) people." - All Music.

          STAFF COMMENTS

          Sara says: This record brings back very fond memories of first moving to South Manchester with my other half in the early 2000's. A lovely, whimsical, leftfield pop album by a unique band who are sadly missed.

          Philippa says: Evocative and influential alt-pop from the year 2000. Broadcast's exotic blend of 60s pop, film soundtracks, psychedelia and avant noises can be heard in the music of Jane Weaver, Cate Le Bon, Charlie Hilton and many more.

          FORMAT INFORMATION

          Ltd LP Info: 1 x LP in paper inner in gatefold sleeve with 12” size booklet insert, with download card.

          Broadcast

          Broadcast And The Focus Group Investigate Witch Cults Of The New Age

          Vinyl re-press of 2009 collaboration between Broadcast and their longtime sleeve designer Julian House (also co-founder of the Ghost Box label) to create a unique mini-album pulling in both collaborators' unique sense of melody and love of library music and film scores.

          From their beginnings in Birmingham in 1995, Broadcast's aesthetic has remained a combination of their love for film, library music and electronics with psych-pop colour – a style which has gained them an enthusiastic fanbase including musicians such as Flying Lotus, Tim Gane from Stereolab, Grizzly Bear, Atlas Sound and DangerMouse. Long time friend of the band and renowned artwork designer Julian House (aka The Focus Group) is co-founder of the Ghost Box label, which in the last few years has birthed a cult of its own with releases reflecting its creators' obsessions with library music, English folklore and the eerie feel of vintage programmes for schools and colleges. His music as The Focus Group offers some of the most enchanting distillations of all the above, instantly complementing Broadcast's own long-standing aesthetic. As well as being a long-term visual collaborator with the band, House has provided visuals and artwork for Stereolab amongst many others.

          FORMAT INFORMATION

          Ltd LP Info: 1 x LP in paper inner in printed outer sleeve.

          Ltd LP includes MP3 Download Code.

          Broadcast

          HaHa Sound

          Indietronica, post-rock, avant? Whatever, this is clever and moving stuff from this arty Birmingham 3 piece. There's krautrock, psychedelia, clanging minimalism but it wouldn't matter a jot if it wasn't for singer Trish Keenan's beautiful voice. Weirdly empty yet endearingly childlike, too, she floats over and amongst the occasionally languid, often chaotic music. It's like a dream: a late 60's and Tomorrow's World 70's vision of an electronic future that never seems to arrive. Out of time, out of place. What could be better?

          Vinyl re-press of the second album by Broadcast, originally released in 2003.

          FORMAT INFORMATION

          Ltd LP Info: 1 x LP in printed inner in tip on style outer sleeve, with download card.

          Broadcast

          Tender Buttons

          Vinyl re-press of the third album by Broadcast, originally released in 2005.

          Blending their trademark influences of 60s pop, film soundtracks and psychedelia and avant noises, "Tender Buttons" stands out from their previous work in terms of its stripped back simplicity and emotional boldness.

          FORMAT INFORMATION

          Ltd LP Info: 1 x LP in printed inner in printed outer sleeve, with download card.

          Vinyl re-press of 2006 double LP collection of 18 tracks taken from rare and limited edition singles, EPs and compilations spanning Broadcast's 10 year career. Since their debut 7" release in 1996, Broadcast have released four full length albums plus numerous EPs and singles. This fantastic album showcases some of Broadcast's most beautiful songs, combining vocal and instrumental blends of 60s pop, psychedelia and electronica with the playful world of European library music and radiophonic arrangements.

          FORMAT INFORMATION

          2xLtd LP Info: 2 x LP in printed inners in printed outer sleeve.

          2xLtd LP includes MP3 Download Code.

          Aphex Twin

          Computer Controlled Acoustic Instruments Pt 2 EP

          After bursting back onto the scene last year with the suitably brilliant "Syro", Cornwall's favourite son is back with his second release in as many years, upping his release schedule by about 9000%. "Computer Controlled Acoustic Instruments Pt 2 EP" situates RDJ right at the centre of the mad scientist's lab, cooking up a baker's dozen of rhythmic breaks out of tuned percussion, detuned piano and unhinged doors. Situated somewhere between the faux hip hop of "I Care Because You Do", the disorienting moments of "Drukqs" and Pierre Schaeffer's "Musique concrète" this latest Aphex release matches the cryptic and accessible perfectly.


          After announcing his return with a suitably outlandish PR blitzkreig involving a cryptic Deep Web post, a giant blimp over London and a clandestine listening event at Warp HQ, Richard David James returns with his first Aphex Twin album since 2001's "Drukqs". As is befitting of Cornwall's most willfully perverse musical genius, though expectations are sky high, no one has any idea what to expect from "Syro". Blissful ambience? Demented drum & bass? Uncompromising acid? Glitch-fuelled IDM? Funky mollusc? Well, this LP is a complex blend of all those things (except funky mollusc) held in perfect balance by the outrageous musicality and production wizardry of Aphex Twin. Album opener "Minipops 67" offers us a gentle reacquaintance as Aphex balances beefy breakbeats with glistening melodies, sensual sine waves and the skewed and vocodered vocals which return throughout the LP. "XMAS_EVET10" and "Produk 29" follow on in a similar vein, balancing melodic fragility with the slouching funk percussion and wriggling basslines. This tranquility doesn't last for long though, with James ratcheting up the tempo and the pressure through "4 Bit 9d Api+e+6", "CIRCLONT6A" and "Syro U473t8+e" delivering the kind of skitterish and acidic machine funk he unleashed on the best of the 'Analord' series. Lurking mischievously amongst thatt mid-album bunch is the deranged breaks of "180db_", a straight up floor mover indebted to "Funky Drummer" and "Energy Flash" equally. After a brief moment of calm via the restrained beauty of "Fz Pseudotimestretch+e+3" we get thrown right back in the deep end as Aphex drops more batshit breaks on "CIRCLONT14" before indulging in some brain scrambling junglism on "PAPAT4" and "S950tx16wasr10". So far so diverse, but what about the bliss and beauty of "SAW" I hear you ask? Well, RDJ saves the best for last, closing the LP out in sublime fashion with soothing piano of the Eno-meets-Satie "Asiatsana".

          All things considered Aphex has delivered an album overflowing with an abundance of melody, tone and texture which combines the finest moments of "SAW", "Surfing On Sine Waves", "Analords" and "I Care Because You Do". It's been a long time, but the master is back.


          FORMAT INFORMATION

          CD Info: CD comes in six panel fold-out digipack with booklet insert.

          A new collaborative album from Brian Eno and Karl Hyde. The album is comprised of nine songs, composed and sung by Eno and Hyde together with a highly distinguished cast of supporting musicians, including Tessa Angus, Nell Catchpole, Marianna Champion, Will Champion, Kasia Daszykowska, Don E., Darla Eno, Fred Gibson, Georgie Gibson, Andy Mackay, John Reynolds and Chris Vatalaro. The release was produced by Brian Eno with 20 year old Fred Gibson, continuing an ongoing collaboration between Karl and Brian which sees the two together on a complete album for the very first time.

          Pulling in a variety of directions, 'Someday World' takes in the the esteemed duo's previous incarnations and ambient, rock, electro and techno producers, and then goes about meshing all those ideas together. Opener 'The Satellites' is anthemic stadium tech-house with a motorik rhythm and blasting synth horns. 'Daddy’s Car' offers busy indie-dance. Hyde's poetic vocals are front and centre on 'A Man Wakes Up', which combines highlife guitars and jazz-rock rhythms. Featuring choppy 'Virginia Plain' piano, uplifting chord progressions and spoken vox 'Witness' is sure to be another festival winner. Aiming for the home listener 'Strip It Down' gives minimalism a pop twist. Brooding and beatdown, 'Mother Of A Dog' sounds like an outtake from 'Mezzanine'. 'Who Rings The Bell' brings to mind 80s rockers the Blue Nile. 'When I Built This World' switches between angular, arty jazz squiggles and propulsive krautrock, leaving 'To Us All' to fade us out on a tide of dreamy soft rock uplift...

          Brian Eno:
          “A lot of the nicer cities I know are cities built on hills, and the cities are beautiful because the buildings have a challenge to adapt to. They have to mould themselves around the geology that they've formed upon. And that always makes for very interesting buildings, because they can't just be blocks, they have to somehow morph around the environment. A lot of the constructions on the album were deliberately irregular and awkward. I had a big collection of 'beginnings' sitting around waiting for something to galvanise them into life, to make them more than just 'experiments'. That something turned out to be Karl Hyde.”

          Karl Hyde:
          “It's a bit like being nine years old again. You have no idea what you've just been given, the record button has been pressed and you're on. And then these unlikely patterns start to happen. The biggest surprise was discovering we both had a love of Afrobeat, Cyclical music based in live playing. When Brian played me these early tracks it was, 'Oh my god, this is home! Can I borrow a guitar?”

          Simon Pyke

          Universal Everything & You - Picture Disc Edition

          Warp Records are pleased to announce the release of ‘Universal Everything & You’, a 20 minute piece by Simon Pyke (Freeform), built upon the soundtrack to the exhibition Universal Everything & You, which has been running at the Science Museum, London.

          Designed by Matt Pyke of Universal Everything, the release consists of a deluxe one sided, screen-printed heavyweight 180g vinyl pressing featuring one of four randomly available prints depicting images taken from the exhibition.

          Simon Pyke is a Brighton based musician and sound artist. He’s previously released music through Warp and Skam records and toured extensively with electronic musicians including Autechre. Pyke has worked on a range of commercial projects including rebrands for SkyTv, MTV, and S4C Wales, and audio for the launch of the 2012 Olympics logo and MTV music video awards.

          Universal Everything are a UK based digital art and design collective who work with a global network of designers, artists, musicians, producers and programmers. Past artworks have been exhibited at MOMA New York, V&A London, Central Academy Of Fine Arts Beijing, Garage Centre for Contemporary Culture Moscow, and La Gaite Lyrique Paris.

          Warp have a long relationship with Simon and Matt Pyke, having first released Simon’s music as Freeform 17 years ago (‘Prowl’). Through designing this sleeve, Matt was introduced to Warp and subsequently The Designers Republic, for whom he went on to work. During this time, and since launching Universal Everything, he has designed many Warp record sleeves, plus the Warp.net and original Bleep.com websites.

          Limited to 100 copies, exclusively available to independent retailers.

          Following the success of his mixtape, Jae is now set to release his ‘Dirty Collections’ 7”s, a series of three 7” singles, each customized with Jae’s own sketches / drawings.

          Imagine the crate-digging of Madlib merged with the crash experimentalism of Aphex, the dream-telling feel of a Flying Lotus record, and the quirky and haunting imagery of vintage David Lynch. That, all bound with a sense of universal truth a la Sun Ra and Lil’ Wayne’s stream-of-consciousness abandon” - Resident Advisor

          In 2007 Jeremiah Jae was noticed by producer Samiyam, who passed on his ‘Lunch Special Part 1’ to Flying Lotus. Not long after, Jae was flown to LA to work with FLyLo and was signed to Brainfeeder where he released his 1st EP and album.

          This year, Jeremiah Jae signed to Warp and released his ‘Bad Jokes’ mixtape, which sent waves over the online music community from tastemakers like Pitchfork to the hip hop savants at SBTV and rapidly climbed the ‘dat piff’ chart in 24 hours.

          Mentor Flying Lotus (aka Captain Murphy) has included his track ‘Evil Grin’, which was produced by Jeremiah Jae, on the biggest ever game release, ‘Grand Theft Auto 5’ (on the Fly Lo FM channel).

          ‘Shields Expanded’ is a two disc CD set and 18 track digital album which features the original ‘Shields’ record along with the eight additional B-Sides.

          ‘Shields B-Sides’ features 5 never before heard tracks, three of which are demos recorded in Marfa, Texas before the band officially began track listing the album in New York and Cape Cod. The Marfa Demos include the hypnotizing new single ‘Will Call’s’ plus ‘Taken Down’ and ‘Everyone I Know’ as well as two beautifully constructed bonus tracks, ‘Smothering Green’ and ‘Listen and Wait’. The ‘B-Sides’ also includes three remarkable remixes of tracks from the original ‘Shields’ including the Nicholas Jaar remix of ‘Sleeping Ute’ (which was released as a limited edition 12’’ for Record Store Day earlier this year) the Liars Remix of ‘A Simple Answer’ and Lindstrom Remix of ‘Gun-Shy’.

          Mark Pritchard - a true pioneer of UK electronic music, and the man responsible for releasing ground breaking albums under aliases including Harmonic 313, Africa Hitech and Global Communication - releases the third in a series of beautifully presented 12”s under his own name. This record is the final in a series of three.

          Each 12” comes wrapped in a special obi-strip and features four tracks and is limited to just 250 copies in the UK.

          'Make A Livin’' cleverly deposits 20th Century Steel Band's much-used 'Heaven And Hell Is On Earth' "Everyone’s Got to Make a Living” vocal sample in a skittering footwork rhythm. Fast on top, slow underneath. 'Fabulous Fred' is a jittery analogue electro breaker. 'Jack' combines more of those lively footwork 808 / 909 rhythms with Belgian rave stabs. 'Natty' wins it with spliced and diced old shool junglist riddims and a muffled bass throb that sounds like a woofer trying to escape the confines of a hot hatch boot.


          Following his eponymous album release earlier this year Jamie Lidell  drops remixes of album favourite ‘Big Love’ PINK 12” vinyl .

          Riding high on the release of his new album 'Vapor City', Machinedrum (also of Sepalcure, Jets, OM Unit and Dream Continuum) delivers a tough steppers version that combines early dubstep rhythms, acid synths and snapping 808 percussion. Next we have Lidell band member Lorenz Rhode combines 80s electro-funk synth riffs with a tougher 2013 sound. On the flip multi-talented Detroit-based electronic producer, designer and photographer, Jimmy Edgar hits us with a wicked 80s proto-techno / electrodisco version. Crackboy goes his own way with a slammin' house refix of other album track ‘You Naked’, which pitches Jamie's vocal down for a sleazy robot soul style.


          FORMAT INFORMATION

          12" Info: Limited pink vinyl pressing.

          Warp Records are pleased to announce the release of Oneohtrix Point Never's 'R Plus Seven'. The album contains many familiar sonic touchstones for listeners who have followed the acclaimed electronic music composer’s development over the last half-decade, his Warp Records debut is a major departure from his previous work. Lopatin’s experimental inclinations lurk behind the scenes - in the concepts and procedures he adopted to create the tracks - while the music itself comes as close as he's has ever got to anything resembling traditional song structure. Which, for the producer, is only so close: The work is full of overlapping, abstract musical through-lines, puzzle-like pieces that, taken together, might allow you to glimpse an overarching tableau.

          The Brooklyn-based artist has always deftly balanced the experimental with the accessible: He has released several albums under his Oneohtrix Point Never moniker on various independent labels - including the 2013 3-CD/5 LP 'Rifts', a compilation of his early work - as well as amassing a large catalogue of mini-album tape releases. His most recent disc, 2011’s 'Replica', was built around samples of television commercials.

          OPN has built live soundscapes at the Museum of Modern Art; collaborated with Montreal-based ambient electronic music composer Tim Hecker on the largely improvised 2012 'Instrumental Tourist'; and recast the title track from his 2010 disc 'Returnal' as an elegant and emotive piece for piano, featuring the otherworldly voice of Antony Hegarty. Advertising powerhouse Saatchi & Saatchi tapped Lopatin for an installation event at the 2012 Cannes film fest and Sofia Coppola’s longtime cohort Brian Reitzell invited him to create original music for Coppola’s The Bling Ring.

          'R Plus Seven' is disruptive and hypnotic in equal measure, and the fun of it lies in trusting Lopatin as he guides you past - and often through - its succession of walls and mirrors.

          Jackson And His Computerband

          Glow

          "‘Glow’ is a game of musical obsessions and rageous pleasures. I've made it driven by feverish moments of revelation and sharing them with my friends” - Jackson Fourgeaud

          Eight years since the critical acclaim of his first album, Jackson And His Computer Band finally returns with a new masterpiece, ‘Glow’.

          Teaming up with amazing engineers like Phillipe Zdar and vocal collaborators like Planningtorock, the Parisian producer has expanded his sound to higher scopes, taking his sound into his own psychedelic universe. Heading in several different directions, 'Glow' takes in proto-pop ('GI Jane'), 60s songwriting ('Memory'), west coast disco ('Vista'), fierce electro bangers ('Arp £1', 'Pump') and even a homage to gabba ('Blood Lust').


          FORMAT INFORMATION

          2xLP includes MP3 Download Code.

          Boards Of Canada, one of the most respected and influential electronic artists of recent times, return with their first album in eight years. What with pre-release puzzles, desert parties, mysterious videos, and limited Record Store Day offerings, the hype surrounding 'Tomorrow's Harvest' has been building to a fever pitch. You'll be pleased to know that the album holds up against this weight of expectation, delivering another seductively widescreen, sci-fi cinematic selection of electronica tracks that could only come from the studios of Sandison and Eoin.

          With accompanying sleeve / inner sleeve artwork featuring blurry images of secret American landscapes of atom bomb tests, peyote trips, religious sects and Area 51, the album opens with a short electronica piece that references the pair's fondness for the BBC Radiophonic workshop, or perhaps the incidental music from early 70s sci-fi films like The Andromeda Strain. Spidery arpeggiated synths and abstract choral washes lift tracks like 'Reach For The Dead' and 'White Cyclosa', which recall the horror movies of John Carpenter and Dario Argento. The woozy detuned analogue keyboards that became BOC's trademark arrive on the stumbling, stuttering 'Jacquard Causeway', while the beat-driven lushness of 'Cold Earth' could be seen as being a classic of the braindance era.

          This eerie and unsettling first half makes way for a more uplifting 'part 2', with tracks like 'Palace Posy' and especially 'Nothing Is Real' providing warm synths, while titles like 'New Seeds' suggest rebirth and hope in this lifeless landscape. Perhaps the soundtrack to a film that only exists on Boards Of Canada's minds, 'Tomorrow's Harvest' is an intense and rewarding listen.


          FORMAT INFORMATION

          2xLP Info: Double vinyl in a gatefold sleeve.

          2xLP includes MP3 Download Code.

          Rustie

          Ultra Thizz / Dreamzz

          Ahead of Rustie’s debut album ‘Glass Swords’ Warp drop this special limited edition 12” featuring the hotly anticipated album track ‘Ultra Thizz’ and new , exclusive track ‘Dreamzz’ - which is only available via this release. The flipside of the vinyl is etched with the ‘Glass Swords’ and ‘Rustie’ logo.

          ‘Ultra Thizz’ is impossibly catchy, interlaced with speaker-shredding electro-funk basslines, unpredictable bursts of red-lined synth twists and the kind of chipmunks-on-speed vocals that put happy hardcore in the shade. Keeping up with the current 90s trend, Rustie drops 4/4 rave number 'Dreamzz' on the flip. Pushing the compressed, shiny technicolour synths and luminescent arpeggios to the limited, this is dance music for the loud-phone-on-the-bus generation.

          It’s not surprising that press and his peers have all praised his phenomenal debut, with the likes of Skream, Oneman, Joker, Jackmaster and Bibio all going nuts for it.


          FORMAT INFORMATION

          12" Info: Limited one-sided etched disc in clear PVC sleeve.

          "Over the course of many long van rides and post-coffee verbal riff sessions", guitarist Mario Andreoni explains, "'Thriller' didn't merely represent the selling of a lot of records, it became synonymous with an artist(s) and/or genre(s) artistic high-water mark. INXS' 'Kick' is the Australian 'Thriller'... Alanis's 'Jagged Little Pill' is the Canadian 'Thriller'... Wham's 'Make It Big' is the blow-dryer's 'Thriller'... every recording by the 13th Floor Elevators is the dosed-man's 'Thriller'... 'Sister Ray' by Velvet Underground is the 'Thriller' of musical fever dreams. One day at the studio, Nic (Offer, vocalist) drew 'THR!!!ER' on a napkin and I liked it... Then we made our own 'THR!!!ER'." - Nic Offer

          Famous for their high-energy live shows and relentless touring schedule, the band have really focused their efforts on crafting an album with tighter song structures. To help with this, the majority of the album was recorded with Jim Eno, the drummer in Spoon and one of the key forces behind the boards for the band. Like many people, Jim was a fan of !!!'s live show, but he felt that they too often tried to capture these performances in the studio. Instead of trying to chase this feeling, Jim encouraged them to create a different type of excitement by using weirder sounds, inventing new dynamics within each song and introducing unexpected changes. "They had this working flow that was a little rigid and I wanted to break them out of it," says Jim.

          With the members spread out across the country, writing new music wasn't the easiest of processes. Andreoni offers that "In the past we just put albums together any way that works. That usually meant a lot of jamming on loose ideas." For 'THR!!!ER', !!! went into the studio with everything written and a strong sense of each song's shape. "We've never tried to make the same record twice, we might have accidentally, but we've always tried to push on. For this one it felt like we definitely shoved off from the shore," says Offer.

          STAFF COMMENTS

          David says: Walking a similar path to LCD Soundsystem, !!! confuse people. Are they indie? Are they dance? Are they (shudder) indie dance? The answer, obviously, is when a record gets down, like 'Thr!!!er' gets down, who really gives a f##k?

          The first new Broadcast music in three years, in the form of compelling music for 2012’s most acclaimed indie film ‘Berberian Sound Studio’.

          Peter Strickland’s ‘Berberian Sound Studio’, one of the most critically acclaimed indie films of the year, gained comparisons to the mastery of David Lynch and Francis Ford Coppola with The Guardian, The Telegraph and Metro awarding it five stars and Time Out saying that the “stylistically ambitious, morally radical, thematically complex work… deserves the highest praise.”

          This turns out to also be an apt description of the film’s sublime soundtrack, composed by Broadcast (aka Trish Keenan and James Cargill), before Trish’s untimely passing last year. On its own, the music sets a sinister and atmospheric tone that still exists well within Broadcast’s sonic universe.

          The record also represents the first new music from Broadcast since 2009’s ‘Broadcast & The Focus Group Investigate Witch Cults Of The Radio Age’.

          James Cargill wove in sound effects, screams and snatches of dialogue in order to bring elements of the film back into the soundtrack. The outcome is a rare piece of film music that not only enhances the visual, but exists on its own as an independent work, and one that is an invaluable edition to Broadcast’s inimitable history.

          James Cargill (Broadcast) on his inspirations: “Speaking specifically about Italian soundtracks I think it’s the sentiment and texture in the work of composers like Morricone, Nicolai, Cipriani, Trovaioli (too many great composers to mention) that I’m fond of… a lot of it crosses over into the pop and psychedelic music of the time and I like the way they develop strong musical themes and then play with the arrangements, which was what we tried to do with Berberian.”

          Wonder producer turned artist Kwes releases a concise mission statement of reconstructed, homemade and quintessentially English ‘Free Pop’.

          24 year old Kwes has always been ahead of his game when it comes to music. He’s produced material for Speech Debelle and DELS, collaborated with Micachu, Ghostpoet, The Invisible and more on the ‘Kwesachu’ mixtape series, worked with The xx on early demos, and Damon Albarn on the DRC Music project.

          ‘Bashful’, the lead track from this release, is a shuffle of disco, meticulously melodic and tinged with flashes of soul, R&B, lo-fi indie and house. 'Klee' is a euphoric, layered rush of wonkoid keyboard work. 'Honey' is the bare bones of a singer-songwriter ditty with a lo-res demo sound quality and hooks that will be stuck in your head for days... Lastly 'Lgoyh' combines a typewriter rhythm section, lush synthwave sparkle and another heartfelt vocal.

          Kwes simply describes all this as ‘Free Pop'... “A philosophy of creating popular music that knows no boundaries, shuns no eccentricity and values inventiveness over any kind of rules that have gone before”.


          STAFF COMMENTS

          Philippa says: Kwes calls his music ‘free pop', I'd call it 'quirky, lo-fi pop'. Soul, R&B, lo-fi indie, synthwave and house are all component parts to his joyous sound.

          ‘Satin Panthers’ is a new five track, bass-heavy post modern R&B juggernaut from Glaswegian uber-producer Hudson Mohawke.

          His musical skills have been requested by the likes of Tinie Tempah, Chris Brown, Just Blaze (producer for Jay-Z, Busta Rhymes, Usher, Notorious BIG, Kanye West, Eminem, Nicole Scherzinger, Lil’ Wayne, TI, The Game), Flying Lotus and Battles. As Just Blaze put it: “These are the chords I hear in dreams that I forget when I wake.” Hudson Mohawke is fast becoming the go-to man for some of R&B’s premier names, with Chris Brown also recently using a Hudson Mohawke track on his latest video online.

          The EP opens with 'Octan', a simple combination of arpeggiated top end and layers of mega, stadium-friendly synth chords to blow your head right off. 'Thunder Bay' hits us with some ultra-chunky wonky-hop - again those big fat synth chords are at the front with an almost random selection of beats underneath. 'Cbat' sounds like the 'Nutcracker Suite' remade by rather drunk robots. And some crunk mice. On the flipside 'All Your Love' combines chunky piano lines with thumping beats and pitched-up soul vocals, while 'Thank You' closes the EP with more of those crunching breaks and epic sun-blushed synths a la Boards / Bibio - anthem alert!


          LoneLady

          Nerve Up

            LoneLady AKA Julie Campbell is a self-styled writer, vocalist and tight guitarist.

            With little more than thorny determination and a shoestring budget, she built a secluded ramshackle studio in the belly of one of Manchester’s crumbling mills and created "Nerve Up" in the span of four weeks. 

            The aesthetics of this ex-mill were a pure joy for LoneLady and invoked the ghosts of bands she loves like (Joy Division, ESG, Wire, Grace Jones, The Fall, Suicide, PiL), grainy black and white images depicting the kind of spaces that have barely changed over the past thirty years, where ghosts stretch from the past and point to the future. 

            Co-produced by Julie and Guy Fixsen (My Bloody Valentine, The Breeders, Stereolab), LoneLady has delivered far more than just an assembly of songs in album form, but the outcome of a process of making something out of nothing, witness to the gargantuan task of forging a homemade recording studio in a crumbling corner of a dilapidated mill, as though it were hewn from the tattered remnants of some unnamed apocalypse.

            STAFF COMMENTS

            Darryl says: A post-punk soundscape that perfectly depicts the environment in which it was born; scratchy guitars, a Joy Division-esque rhythm section and superb vocals topping it all off. Urban fresh, despite the obvious late 70s influences.

            Seemingly out of nowhere (ok, it’s their third album, but you know what I mean!) comes a record so unique and exhilarating that Fleet Foxes have already name checked it as ‘the greatest album of the noughties’. Well “Veckatimest” does have a folky feel and the band is big on 4-part harmonies and even choral arrangements, but that is only half of the story. There’s a jazzy , open-ended vibe, gorgeous strings, Disney-ish, Mercury Rev style flights of fancy, and a melancholy Beach Boys love of melody. The band is also big on percussion and meandering diversions, but the song itself never suffers, it just takes a while for the full beauty of this album to unfurl. Named after an uninhabited island off Cape Cod, there’s a real sense of magic and mystery to Grizzly Bear’s sound. You can tell they were all music students though; there’s nothing obvious here, it’s full of surprises. Lovingly sequenced to be listened to as a whole, as this drifts, grooves, ebbs and flows, you’ll know you’ve been taken on a luxurious ride. Simply stunning.

            With a career that started out in drum and bass on Moving Shadow, you might not expect Tim Exile to have made this album. It's a sprawling dark electro-pop / electronica masterpiece, drawing on baroque and industrial influences, as well as demonstrating his knack for great hooks and sonic experimentation. Like some kind of off the wall IDM Depeche Mode, "Listening Tree" has Exile collecting together all his past production ideas and sounds (D&B, electronica, glitch-laden beat-fests) and using them to create proper songs, with vocals and everything.

            Tracklisting
            1. Don't Think We're One
            2. Family Galaxy
            3. Fortress
            4. There's Nothing Left Of Me But Her And This
            5. Pay Tomorrow
            6. Bad Dust
            7. Carouselle
            8. When Every Day's A Number
            9. Listening Tree
            10. I Saw The Weak Hand Fall

            FORMAT INFORMATION

            2xLP Info: Double LP also includes whole album on CD as a bonus!

            Squarepusher follows his acclaimed 2006 album "Hello Everything" with "Just a Souvenir", a kaleidoscopic work that retains the spirit of this uncompromising, highly inventive maverick whilst experimenting more with raucous instrumentation. By Tom's own admission the album 'started as a daydream about watching a crazy, beautiful rock band play an ultra-gig', a vision realised with live drums and scuzzy bass, purveying the result of what his ultimate super-group would sound like, though his inimitable trademark sound is still wholly apparent. A stunning, expansive album that explains why Thom Yorke, Andre 3000, Flea, Sofia Coppola and Mike Patton can all be counted amongst his legions of fans.

            Prefuse 73

            Vocal Studies + Uprock Narratives

            Prefuse 73's debut Warp long player, "Vocal Studies + Uprock Narratives"'s 16 tracks can be listened to as one 50-minute piece of experimental ambient hip-hop (hiptronica as we call it these days!). Atlanta-based producer Scott Herren uses a richly varied palette to create the album's warm, subtle sound collages. Sliced-and-diced rap and vocal performances play a key role on a number of these sonic constructions. "Blacklist", featuring MF Doom and Aesop Rock, is an exception. Herren doesn't mess with the MCs' raps and the relatively straight-up track nicely contrasts with the CD's hip hop abstractions. The producer does subtly manipulate the mellow vocals of Sam Prekop (Sea and Cake) on the lovely "Last Light".

            Mira Calix, former record shop manager, DJ and boundary-blurring songwriter presents her third album. It's beautiful and delicate, hypnotic and uplifting - It's out-there, but it's in-here too. "Eyes Set Against The Sun" features a melee of sound including strings, piano, a glockenspiel, buzzing beats, ghostly voices and a children's choir multilayered with field recordings of birds, leaves, water and snow melting. There's even the sound of an old bamboo xylophone slowly crumbling apart. Such aural enjoyment invites the listener to conjure up personal visions of the landscapes and colour that inspired this magical album. Just as the pauses between and during the songs are elegantly arranged, like oxygen allowing the music to breath and come alive, so too are the three spaces, like three silent beats, used in the title of the record, "Eyes Set Against The Sun".

            Squarepusher

            Music Is Rotted One Note

            With sparkling Rhodes keyboard work, speed-fuelled jazz breaks and fluid basslines, Squarepusher's 1998 album pays homage to his jazz-rock roots. These sounds are woven into the fabric of IDM electronica album in true Warp style.

            Boards Of Canada

            Trans Canada Highway

            Using the sun-kissed "Dayvan Cowboy" as its starting point, Boards of Canada's "Trans Canada Highway" mini album / EP follows on from last year's "Campfire Headphase" album. At just under 30 minutes, it's a six track hallucinogenic road trip of isolation and exploration. Neatly, the EP ends up almost where it started, with a moody, twilight distillation of "Dayvan Cowboy" courtesy of cLOUDDEAD's Odd Nosdam.

            Aphex Twin

            I Care Because You Do

              With recordings made between 1990 and 1995, "I Care Because You Do" brings together another fine collection of Cornish electronic experiments, including the single "Ventolin", and features a scary Richard D James distorted 'devil face' sleeve.

              Boards Of Canada

              The Campfire Headphase

              Cult electronic pioneers Boards Of Canada return with their long awaited third album, "The Campfire Headphase". Closer than ever to their love of psychedelic and mushroom bands that have influenced them, the album reflects the fact that they have been living deep in the country, with the rhythms being those of nature rather than those of the city. Whilst the album is warm and spacious with layers of live instrumentation, it also contains many of the Boards trademarks that people have come to love - wobbly electronics, melancholic synth washes etc. With the sleeve referencing their classic "Music Has The Right To Children", and the music expanding on previous sounds, "The Campfire Headphase" doesn't disappoint.

              Broadcast

              Tender Buttons

                Broadcast return after a two year absence with a stunning new sound. Blending their trademark influences of 60s pop, film soundtracks and psychedelia and avant noises, "Tender Buttons" stands out from their previous work in terms of its stripped back simplicity and emotional boldness.

                A new album for 2005 from Prefuse 73 which sees the prolific producer move further onwards into uncharted sonic territories. Prefuse 73 is one-man production powerhouse Scott Herren and "Surrounded By Silence" represents 'the radio station of his mind', featuring a constellation of stars from hip hop and indie royalty he met while touring and producing during the last two years. They include GZA, El-P, Kazu (Blonde Redhead), Ghostface, Masta Killa, Aesop Rock, Beans, Tyondai Braxton and Broadcast. The resulting material makes for an amazingly diverse, totally unique and yet completely accessible body of work, all securely underpinned and melded together with Prefuse 73's visionary production.

                Broadcast

                The Noise Made My People

                  Following their mini LP, "Work And Non Work", Birmingham's Broadcast delivered this fantastic debut full length album in 2000. Stylistically fusing together everything from 50s torch songs, film noir atmospherics, kraut rock, 60s Moog experiments and pure pop, these tracks are cut through by Trisha Keenan's crystal clear detached vocal. Includes "Echo's Answer" and "Papercuts".

                  Nightmares On Wax

                  Car Boot Soul

                  George Evelyn AKA DJ EASE took four years to follow up "Smokers Delight", but it was worth the wait as he came up with another seductive LP full of downbeat delights and dreamy instrumental hip hop gems, which, as the title suggests, is a sample-heavy session for sofa-surfing. Includes the Ibiza sunset classic ‘Les Nuits’.

                  STAFF COMMENTS

                  Martin says: Possibly the crowning moment of George Evelyn's career, an easy glide through a stoned soul summer and one of the defining records of it's genre. A lot of wax was scratched in the making of this, but the bass, drums, guitar, vocals and keyboards are all live to wrap yourself in. There to turn any frown upside down.

                  Broadcast

                  Haha Sound

                  Indietronica, post-rock, avant? Whatever, this is clever and moving stuff from this arty Birmingham 3 piece. There's krautrock, psychedelia, clanging minimalism but it wouldn't matter a jot if it wasn't for beautiful singer Trish Keenan's voice. Weirdly empty yet endearingly childlike, too, she floats over and amongst the occasionally languid, often chaotic music. It's like a dream: a late 60's and Tomorrow's World 70's vision of an electronic future that never seems to arrive. Out of time, out of place. What could be better?

                  FORMAT INFORMATION

                  Ltd CD Info: A limited edition housed in deluxe gatefold card sleeve with a booklet.

                  Ten year's worth of AFX remix work spread over two CDs, proving just how frighteningly far ahead of the game he's always been. Includes a previously unreleased track - "SAW2 CD1 Trk2" as well as mixes of Seefeel, Gavin Bryars, Gentle People, Jesus Jones, Philip Glass, Kinesthesia, Nobukazu Takemura, Curve, Nine Inch Nails, DMX Krew, Wagon Christ etc.

                  Nightmares On Wax

                  Smokers Delight

                    Reissue of the 1995 magnum opus - a defining statement of intent in the development of the Nightmares On Wax sound. Moving away from the bleeps and breaks of their first album, ‘Smokers Delight’ presents a post-club comedown journey which experiments with elements of jazz, dub, soul and hip hop.

                    If you don't own a copy of this LP, you should get one right now because it's one of the best LPs of the 90s. Originally out in '95, it's a defining moment of the 'trip hop' genre and ranks alongside LPs by Portishead and Massive Attack from the same era. Pure schmokers downbeat sounds!

                    Boards Of Canada

                    Music Has The Right To Children

                    THE PICCADILLY RECORDS ALBUM OF THE YEAR 1998

                    Outstanding debut album for Warp from Scotland's Boards Of Canada. Taking influences from Aphex Twin, 'Artificial Intelligence' era Warp releases and laid back hip hop rhythms, then twisting those ideas through a sun-refracted kaleidoscope of lush ambient sounds, Scottish brothers Mike Sandison and Marcus Eoin came up with a much copied sound all of their own. This was Piccadilly Records album of the year in 1998 and is an unsurpassed collection of melodic electronica tracks. You need this!

                    STAFF COMMENTS

                    Darryl says: From 1998:

                    Martin says: A thing of eerie and absolute beauty, which manages the rarely accomplished and apparently mutually exclusive task of creating deep emotional connection through electronic music. Haunting intervals punctuate primitive, meditative reflection throughout; summoning wistful echoes of an ominous, half recalled childhood summer.

                    FORMAT INFORMATION

                    CD Info: Comes in digi-pack sleeve with extra track "Happy Cycling".

                    Boards Of Canada

                    Geogaddi

                    Four years on from the massive 'Music Has The Right To Children' Boards Of Canada arrived with triple album epic 'Geogaddi'. It features 23 three tracks of haunting, spooky, exquisite unique electronica. Instead of just repeating the formula of its predecessor, the Scottish duo pushed their sound in a darker direction. However, all of the qualities with which Boards of Canada are identified are still present. Their melodies ooze and whoosh, in an out, rarely repeating and rarely staying true to key or convention. Their timing is startling and impeccable, laying down the biggest of beats in the smallest of places. Syncopation and clipping are not as prominent on 'Geogaddi' as they were on 'Children' but their subtle and frequent presence is crucial to each song's character and presence. Their production is painstakingly attentive to each detail, and it pays off. Every kick of bass drum is perfectly symmetric, crisp, and full.


                    FORMAT INFORMATION

                    3xLP Info: 3xLP in gatefold sleeve. 140g pressing recut by Noel Summerville from original DAT master. Includes etching on side F. Includes sticker sheet with hexagon die cut stickers.


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