The second 12” features two takes on album opener "Four Years and One Day". The first is a slow burning techno throbber from Marcel Dettmann, complete with concentric kick patterns and that Blade Runner growl and metallic flux that he's made his trademark over many years, hundreds of productions and literally days and nights behind turntables. Climaxing in a catastrophic explosion of iron girders and phosphorous explosions it pairs perfectly the visceral punk attitude of Mount Kimbie with the relentless anarco-techno ethos of the Berlin techno scene.
German house maverick Gerd Janson is enjoying an extended period in the spotlight at the moment, and rightly so, effortlessly conjuring an accomplished remix of "Four Years..." with a driving, fashionably close to EBM kinda sound that'll still work in the purist of house sets. Beautifully decorated with a tantalizing 303 line and angelic pad sequences and arranged with maximum elevation in mind, this is one track you're bound to be hearing on the big stages this Summer.
Finally, if you needed any more convincing, "T.A.M.E.D" gets drawn out into a mid-session techno romp by another German legend: Ellen Alien. Taking up the entirety of side B this is perfectly for those looong warehouse sessions when you need to give the lightning engineer summat to do while you enjoy watching the dancefloor slowly catch fire. Just the right side of proggy (read: druggy) and with mind melting, time shift vox flowing in the recesses of the mix, this is an impressive display of a producer with complete control of large, uninhibited crowds. Once the dancefloor hive mind gets locked onto this one anything's possible.
STAFF COMMENTSMatt says: Stupendously strong remix package this folks, one of the best I've seen for some time. Often high budget / max hype remix campaigns seriously disappoint but not this one; across both twelves there's been some really killer moments. Fully approved!
First up, Nina Kraviz mutates album favourite "Blue Train Lines" into an extended techno trip, with snippets of King Krule’s vocals circling the maelstrom while a piercing train tone roars through the mix. Ridiculously techy and playful, yet deep as hell and really quite advanced, it finds one of the world's favourite DJs in absolutely breathtaking form in the studio; more than matching her Berlin and global techno peers across a full remix and two extended tools (which are actually quite realized full tracks in their own right if you ask me). Great stuff.
STAFF COMMENTSMatt says: Feelin' this one folks... One for the Sonar crowd, a delightfully long, stadium busting slayer from Nina.
“Zen Drums and Dada Drums are two spontaneous pieces consisting of live drums and synthesisers. I asked my friend Timothy Donaldson, who is a type designer and action calligrapher among other practices, to work with me on the artwork. He is also an admirer of Zen and Dada, so it felt like a project that was personally relevant as a collaboration. Timothy designed the artwork for this release but also drew/wrote on every individual sleeve with a large brush laden with carbon ink. As a result, each and every one of the 1000 copies has unique artwork. I visited Timothy in Cornwall to video and photograph him working on the sleeves.”
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.
FORMAT INFORMATION12" includes MP3 Download Code.
"The Four Worlds" features a collection of underground poets and musicians including Colorado’s psychedelic heroine Space Lady on "S.O.S" and eighties cult radio artist Gregory Whitehead on "Come Let Us".
Mark Pritchard has been releasing music under different guises for nearly three decades (Global Communication, Reload, Africa Hitech, Harmonic 313, Harmonic 33, to name a few). Mark has become a figurehead in his field with artists such as Thom Yorke, Linda Perhacs, The Space Lady, Bibio, Clark and Wiley all queuing up to work with him. Luckily for long term fans, there's still bucket loads of underground spirit permeating through the album. "Glasspops" opens with one of his characteristic, growling sawtooths, paired with technoid perc and a steady incline it introduces the rest of the album's smaller missives perfectly, occupying most of side A and building the air of anticipation and drama perfectly for what follows - a haunting set of poems matched with sublimely astute sound design! From Gregory Whitehead's occultist delivery on "Come Let Us" to the instantly celestial hymnal of "The Arched Window", the air of otherworldliness and spirituality is omnipresent throughout. We're loving this concept here at Picc HQ - it's great to finally see some dramatic spoken word interwoven with sound design and sonic textures so well.
STAFF COMMENTSBarry says: The last outing from Pritchard gained a hefty following in the shop, and this one is set to do the same. Deep, rhythmic basslines, outsider electronics and snapping bitcrushed percussion all form together into a brilliantly engrossing whole.
FORMAT INFORMATION2xLP includes MP3 Download Code.
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 COMMENTSPatrick 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.
FORMAT INFORMATION2xColoured LP Info: Transparent vinyl, includes a download code.
“I don’t believe in ghosts but I do believe places can be haunted by meaning. Places change, not always for the better and not always by natural, benevolent or politically sound means. A place can be charged with atmosphere because of what it has been through or what it has been.
“‘Phantom Brickworks’ is a collection of mostly improvised musical pieces, that for some years now, have provided me with a mental portal into places and times - some real, some imaginary, some a combination of both. Human beings are highly sensitive to the atmospheres of places, which can be enhanced or dramatically altered when you learn the context of their history. Echoes and voices can sometimes be heard, in some way or another. Places sometimes have things to say.” - Bibio.
STAFF COMMENTSBarry says: From 'A Mineral Love's grooving, disco-tinged synth-heavy body-movers to this haunting suite of stretched drones, tentative piano and dusty strings. It's quite a leap, but with a producer this skilled, it's no surprise it's as hypnotic and well made as anything else he's ever put out. Completely different, but just as brilliant.
FORMAT INFORMATION2xLP Info: Double LP in 5mm outer sleeve with brown paper inners and download card insert.
CD Info: CD in kraftboard inner wallet in 3mm spine printed outer wallet.
“Do It Differently. Fly on Your Own Wings. Rave Voyeurism Is Not A Crime”
“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 COMMENTSBarry 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.
FORMAT INFORMATIONColoured LP Info: Independent retailers exclusive on white coloured double vinyl with gatefold sleeve and digital download card.
Originally inspired by punk, pirate radio, East London soca parties and above all Detroit techno, the B12 sound has inspired generations of electronic artists and the tracks are still played out at underground clubs around the world.
"Electro-Soma II" is a companion volume compiled by B12 of other early B12 Records track of same vintage, deep cuts, rarities - on vinyl for the first time.
All tracks have been remastered from original sources and the package includes track-by-track annotation, a new essay about the early years of B12 by Ben Murphy, plus archival photos, flyers and other memorabilia from the period.
Originally inspired by punk, pirate radio, East London soca parties and above all Detroit techno, the B12 sound has inspired generations of electronic artists and the tracks are still played out at underground clubs around the world.
All tracks on the reissue have been remastered from original sources and the package includes track-by-track annotation, a new essay about the early years of B12 by Ben Murphy, plus archival photos, flyers and other memorabilia from the period.
This 2CD collection also includes Electro-Soma II - a companion volume compiled by B12 of other early B12 Records track of same vintage, deep cuts, rarities.
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 COMMENTSBarry 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.
Ded Sec - Watch Dogs 2 (OST)
Record Store Day release of Hudson Mohawke’s acclaimed soundtrack to Watch Dogs 2, available for the first time on vinyl, it features fifteen brand new tracks written to accompany the open-world hacking game.
Stylistically 'Ded Sec - Watch Dogs 2 (OST)' casts a sound now synonymous with Hudson Mohawke. The album harks back to his earlier work fusing electronics and hip hop - but hints towards Hudson's love of Tomita, John Carpenter and Vangelis.
Released digitally in Nov 2016 and available for the first time on vinyl for RSD, ‘Ded Sec - Watch Dogs 2 (OST)’ perfectly rounded off a year that saw Hudson praised for his writing and production credits on ANOHNI's Mercury Prize-nominated album ‘Hopelessness’, as well as his production on Kanye West's 'Life of Pablo'.
Artwork by Alma Haser, a continuation of her work for Clark that began with the cover for his eponymous 2014 album.
STAFF COMMENTSBarry says: Clark has long been a love/hate relationship for me, I've been disappointed at points with what I now believe I just didn't understand, but THIS is another matter. Full of the same sort of spine-tingling seismic shifts that made 'Growls Garden' such a standout track, Death Peak is an absolute stormer. Future leftfield genius this, classic Clark.
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 COMMENTSBarry 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 INFORMATIONLtd CD Info: CD in four panel digi printed with silver pantone. Ltd to 200 copies.
As those who have been paying attention will know, Shobaleader One debuted back in 2010 with the Demonstrator album, and it's seven years later with Elektrac that they really show off the power of their combined skills.
Made up of eleven covers of classic Squarepusher tracks, what is most striking about Elektrac is that each piece retains the funk that is such a singular part of the Squarepusher originals, the core elements get translated into new forms that show familiar traces, yet are strikingly new.
For instance, the 96 drill & bass jazz of Squarepusher Theme in the hands of Shobaleader One gets mutated into a cool robotic funk number, while the Hard Normal Daddy classic Coopers World becomes almost disco, a track that expels so much funk it's hard to not start bopping along the second it starts.
On Elektrac, Shobaleader One paint eleven excitingly vivid new landscapes with unmistakably familiar colours.
The name Children of Alice was chosen as an act of tribute to the late Trish Keenan, for whom Alice in Wonderland and in particular Jonathan Miller’s summerhazy 60s idyll of an adaptation, was a presiding inspiration. The name invokes her abiding spirit and also creates a sense of continuity with the evolving Broadcast soundworld, which became more concentrated and individual as it refined itself and adapted to new configurations. The group (or perhaps we should call them a collaborative triad, since they occupy island territory far removed from the familiar shores of rock, though still keeping it in vision on the far horizon) consists of Cargill along with his former bandmate Roj Stevens (who played keyboards in Broadcast) and Julian House, co-founder of Ghost Box records, whose distinctive graphic design work also gives the label its signature look, and hidden prestidigitator behind The Focus Group.
This LP brings together their entire output to date, on their first widely available release.
STAFF COMMENTSBarry says: Dense, nuanced synth workouts, fractured ambient passages and found sound collages from two members of Broadcast and Julian House of Ghost Box fame. Unlike anything they've created before, but clearly influenced by the same ethos, Children Of Alice is a force unto itself, a brilliant, fascinating cosmic force.
FORMAT INFORMATIONCD Info: CD in 6 panel mirriboard digipak.
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 COMMENTSBarry 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 INFORMATION2xLP Info: 2LP in widespine sleeve with download card and bonus live set.
Fast-forward to 'Autriche' and there is a slightly lighter ambient number, comparable to the more off-piste moments of their lauded second album, before launching into the glitched footwork-esque truncated snare hits of 'Basscadet' ; ducked percussive slaps and snarling basses click and bounce into a rhythmic agreement, if not in complete harmony, at least fighting together in some sort of gritted-teeth cease-fire.
There is more than a glimmering of Autechre's later trademark sound on build-fall-build numbers like 'Doctrine', moving elements into the mix before fading out into a smoking pile, destroyed and fastidiously rebuilt.
Though this was but a start for Autechre, it came to define the sound that so many loved ; crackling and devastating electronic passages interspersed with moments of shining musical lucidity. Often emulated, but rarely bettered.
STAFF COMMENTSBarry says: It's the sound of a generation this, dancing along in their wacky footwear and lovely warm hoods in some sort of dystopian shed/warehouse affair. Glitched out rhythms and shining slivers of light drop into tribal breakdowns and snappy snares. Triumphant and formative futuristic space dance.
FORMAT INFORMATION2xLtd LP Info: 2LP in gatefold sleeve with download card. Includes redemption code for album & bonus live set.
FORMAT INFORMATION2xLP Info: Double LP in printed inners with 5mm spine sleeve and digital download card.
CD Info: CD in 6 page digipak with 20 page booklet.
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 INFORMATIONCD Info: CD presented in 6 panel digipack.
To assure you that your 'Cheetah EP' will give you many years of enjoyment, please be sure to read the owners manual carefully before attempting to operate the 'Cheetah EP'.
If you wish to experiment and create some sounds of your own, first try editing some sounds we’ve already made for you, before attempting to create a patch from scratch.
We sincerely hope that having battled through the programming of the 'Cheetah EP', you have not become familiar with the exceptional potential of this record.
Have fun programming, and if you create any superb patches and tones which you feel deserve to be appreciated by other 'Cheetah EP' buyers, send a MIDI System Exclusive Dump of them, on a disc to us at Warp and if we also think they are superb, you could be rewarded for your efforts. Try us!
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 COMMENTSBarry 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.
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.
‘A Mineral Love’ is Bibio’s most varied album yet, drawing at times from 1960s rock to 1970s experimental folk and 1980s funk and soul.
The record elaborates on certain sounds Bibio has carved out for himself throughout his career as a musician - from the playful guitar-picking of ‘Saint Christopher’ to the pastoral and nostalgia-flecked ‘C’est La Vie’ and ‘Wren Tails’.
‘Light Up The Sky’ is one of many elegantly structured songs on the album that demonstrate just how much Bibio has progressed as a songwriter since 2010’s ‘Mind Bokeh’. Collaborations with Gotye and Olivier St Louis (‘The Way You Talk’ and ‘Why So Serious?’) further create a variety in styles, anchored by vocal refrains and pop hooks that replay in your head days after listening.
“This album celebrates the sacred and precious struggles of human insecurities through many windows of familiar musical forms. It's also a celebration of my love of the craft of record making, drawing influences from many sources across all decades from the late sixties to the present. All these referential forms have a twist, some are more full on cocktails.
The album as a whole is an unashamed expression of my fondness of, and need for, variety... I feel this album is built more from those memories and an exposure to music of many styles rather than close analytical study of any particular one. I think that's why it all sounds like me, regardless of the deliberate references and nods to artists and records of the past. It is after all just a view through my stained-glass telescope.” - Bibio
CD in wallet with booklet. Double LP in gatefold sleeve with printed inners and digital download card.
STAFF COMMENTSBarry says: It seemed like this was one step too far. I wasn't angry I was just disappointed.. I had been listening to 'Fi' the day before. For the uninitiated, "Fi" was released in 2005 and it was Bibio at his most contemplative and pastoral. This is not pastoral, it is gutsy and danceable. "A Mineral Love" is, as the title (possibly intentionally) suggests, something innate. Something immovably natural, it is impossible to dislike. Funky and interesting, but deeply commercially viable. Appealing to those completely uninitiated to dance music of any type, but a treasure-trove to those who appreciate its other-worldy production qualities. Fun for all the family.
FORMAT INFORMATION2xLP Info: 2xLP in gatefold sleeve with printed inners
2xLP includes MP3 Download Code.
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 INFORMATION2xLtd LP Info: 2LP in printed inners in gatefold sleeve, poster insert and digital download card.
The six part series, co-produced by Warp Films (‘Southcliffe’, ‘71’, ‘Four Lions’, ‘This Is England’) and Haut et Court (‘The Returned’), stars Samantha Morton, Tahar Rahim and John Hurt and was descibed by The Guardian as “bold, smart and seductive.”
Clark approached ‘The Last Panthers’ soundtrack with the same ethos as his artist releases; combining sounds of the natural world with clinical, machine enhanced production and an experimental, exploratory attitude. Here he breaks off from his mainline discography to deliver this stunning project, meticulously edited and expanded from the original score into a coherent listening experience.
This new release from Clark forms part of a burgeoning movement of contemporary artists working in the soundtrack and composition world, including Mica Levi, Mogwai, Jon Hopkins and Ólafur Arnalds.
FORMAT INFORMATIONDeluxe CD Info: Each CD comes in a casebound hand numbered sleeve with a silver foil stamp applied to the back cover.
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 INFORMATIONLtd LP Info: 1 x LP in printed inner sleeve in printed outer, with download card.
“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 INFORMATION12" includes MP3 Download Code.
“Fi is a special album for me because it still reminds me of those happy days of discovery, where I had very little in the way of equipment or music production knowledge, but somehow managed to find a sound I could call my own,” - Bibio
"Bibio is the antidote to the modern laptopia of pristine electronic music, curing us with majestic drones, gnarly disintegrating guitars and warbling tape loops filtered through your parent's broken 1970's hi-fi" - Marcus Eoin, Boards of Canada
Musically the album contains a plethora of ideas spliced together seamlessly: great rushes of death metal and distorted R&B pop vocals, for example, all woven together with typically OPN broken chord synths and sleek sound design.
The album sees a continuation of the incredible cinematic sound for which composer / producer Daniel Lopatin has gained a reputation during his career. Oneohtrix Point Never’s consistently preeminent and original output is gradually taking him into the position of an elite electronic producer.
Through ‘Garden Of Delete’ Lopatin finds new inspiration in Ezra, an apparent eternally teen-aged grunge-loving alien figure and sort of new mascot for the record.
The main asset for the album campaign is a short film entitled ‘Sticky Drama’, a collaboration between Lopatin and artist Jon Rafman, who last year also produced the video for Oneohtrix Point Never’s ‘Still Life (Betamale)’. The film features a cast of over 35 children and revolves around the narratives of Live Action Role Play (LARP); it will be shown as part of Jon Rafman’s first UK art exhibition at the Zabludowicz Collection in Chalk Farm, which runs until 20th December this year.
STAFF COMMENTSBarry says: [Names Changed to Protect identities] - I trusted him.. we were colleagues, Friends. 'It's Just not very good... It's... MENTAL' 'Oh, That's a shame' I said 'I really like Oneohtrix Point Never'. Nichael insisted he was right, I believed him. Turns out he was wrong.. Yes it's challenging, no, it doesn't seem to make a lot of sense straight off the bat. It is undoubtably glitchy, frequently inharmonic, it is difficult.. but the more you listen, the more the shards of melody weave together. It is a veritable Pulp Fiction of music. Now I think it's great. Because it is. Nichael and I are still friends.
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." - !!!
FORMAT INFORMATION2xLP includes MP3 Download Code.
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 COMMENTSAndy says: That rare thing: an album that unites everyone at Piccadilly! Superb stuff.
FORMAT INFORMATIONLP includes MP3 Download Code.
"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 COMMENTSSara 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 INFORMATIONLtd LP Info: 1 x LP in paper inner in gatefold sleeve with 12” size booklet insert, with download card.
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 INFORMATIONLtd LP Info: 1 x LP in paper inner in printed outer sleeve.
Ltd LP includes MP3 Download Code.
Vinyl re-press of the second album by Broadcast, originally released in 2003.
FORMAT INFORMATIONLtd LP Info: 1 x LP in printed inner in tip on style outer sleeve, with download card.
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 INFORMATIONLtd LP Info: 1 x LP in printed inner in printed outer sleeve, with download card.
FORMAT INFORMATION2xLtd LP Info: 2 x LP in printed inners in printed outer sleeve.
2xLtd LP includes MP3 Download Code.
‘You’re Dead!’ features another set of genre-blending tracks from Fly'Lo, with fluid movement between hip hop, jazz-funk and electronica, often combining all three elements densely woven together. Across the album bassist Thundercat lays down some furious fingerwork, while the drum programming gives free jazz a run for its money. Elsewhere things get deep and spiritual, with the influence of his late aunt Alice Coltrane shining through. Flying Lotus provides vocals and rapping as alter ego Captain Murphy, and he's also joined by some to notch guest MCs (Snoop Dogg, longtime FlyLo muse Niki Randa and Kendrick Lamar - whose easy shift between spitting rhymes and a sung delivery works perfectly with the music). Other collaborations on ‘You’re Dead!’ include original jazz-funk pioneer Herbie Hancock and Dirty Projectors' Angel Deradoorian.
“Flying Lotus has become a standard-bearer for 21st century beat construction by looking forward and backward simultaneously and making music that feels like an exploration” - Pitchfork
FORMAT INFORMATION2xLP Info: Double vinyl pressing in embossed gatefold sleeve.
2xLP includes MP3 Download Code.
CD Info: CD in wallet with folded poster booklet
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.
STAFF COMMENTSBarry says: I need travel no further than the sleeve notes for this one to see the jaw-dropping list of hardware. Korg, Oberheim, a host of eurorack beauties, the list goes on, and whilst I could wax lyrical about the equipment used on Syro, it wouldn't matter a jot without the music to back it up. From the first song to the last, this is a towering achievement of ingenuity, melody and songwriting. Acidic breaks, pulsing bass, clicky snares, soaring synth melodies. This release has the lot, and an encyclopaedic gear-list to go with it. What else could you want.
FORMAT INFORMATION3xLP Info: Triple vinyl pressing in triptych gatefold sleeve.
3xLP includes MP3 Download Code.
CD Info: CD comes in six panel fold-out digipack with booklet insert.
In the short amount of time since the release of their highly acclaimed debut album ‘Someday World’, which also included an incredible ‘Later ... With Jools Holland’ performance, a Live From Maida Vale Session and an augmented reality iOS app, the creation of ‘High Life’ was written and recorded over a series of sessions. None of the music on ‘High Life’ existed before ‘Someday World’ was complete.
The experiment drew inspiration from the repetitive minimalism of composers like Steve Reich and Philip Glass and from the polyrhythmic music of Fela Kuti and funk, as well as continuing the work that Eno and Hyde have done separately.
The resulting album - six expansive tracks over 45 minutes - reunites Eno and Hyde with 20 year old producer / multi instrumentalist Fred Gibson, guitarist Leo Abrahams and drummer Chris Vatalaro.
“When ‘Someday World’ was finished I felt like we were still on a roll and I wasn’t ready to stop working and get into ‘promotional mode’ for that record. So I suggested we immediately start on another album, a different one, where we extended some of the ideas we’d started and attempted some of the ideas we hadn’t.” - Brian Eno
“I wanted to work with a stripped down set of equipment... For this album I was very keen for Brian to live process my guitar playing so that we would be affecting one another’s performance, bouncing off each other, inspiring new combinations of polyrhythms.” - Karl Hyde
FORMAT INFORMATION2xLtd LP Info: Available exclusively to independent retailers as a 2LP in gatefold sleeve with printed inner sleeves, download code and deluxe art print.
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...
“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.”
“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?”
George spent his youth b-boying his way around the streets of Leeds and Bradford as part of teenage breakdance crew the Solar City Rockers. After cutting some embryonic rave tracks with musical co-conspirator Kevin ‘Boy Wonder’ Harper, the duo signed to Warp and released debut ‘A Word Of Science’, becoming instrumental in the bleep explosion with tracks such as ‘Dextrous’ and ‘Aftermath’, which attained mythical status for a generation of clubbers.
George continued as a solo artist, still under the Nightmares On Wax moniker, going on to produce definitive albums ‘Smokers Delight’ and ‘Carboot Soul’ - both of which helped shape the burgeoning downtempo hip hop scene. Numerous tracks such as ‘Les Nuits’ became widely regarded as chillout classics.
Later albums such as ‘In A Space Outta Sound’ continue to be staple afterparty favourites, with the track ‘You Wish’ in particular featuring on numerous compilations, mixtapes and club sets. The most recent album, ‘Feelin Good’, weaves a musical thread through a plethora of styles that NOW have explored of the years, including hip hop, jazz, soul and funk.
FORMAT INFORMATION2xLP Box Set Info: ‘Deep Down’ box set edition comprises of a 12” casebound book including the 2CD, a double LP and a 24 page booklet enclosed in foil blocked and debossed sleeve - this 42 track special edition features brand new remixes by Optimo, Morgan Geist, Paul Woolford, Loco Dice and more.
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.
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 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’.
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.
The EP is an extension of their successful album, ‘Exai’, which was released earlier this year. The artwork to ‘L-Event’ continues this theme.
‘Exai’ followed ‘Oversteps’ (2010) and ‘Quaristice’ (2008), two of Autechre’s best-ever performing albums.
Limited UK quantity of 600 copies on 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 INFORMATION12" Info: Limited pink vinyl pressing.
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.
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 INFORMATION2xLP includes MP3 Download Code.
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 INFORMATION2xLP Info: Double vinyl in a gatefold sleeve.
2xLP includes MP3 Download Code.
‘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 INFORMATION12" Info: Limited one-sided etched disc in clear PVC sleeve.
Although the majority of my tracks get started and finished in my studio, I occasionally take things outside where I've found the process and the result to be refreshing. The recording of 'À tout à l'heure' started out in my garden on a gorgeous sunny day when it felt morally wrong to be hidden away indoors. I still had the urge to make music so I limited myself to a few bits of gear and set up in my garden: a 12 string guitar, an MPC sampler, a microphone and a cassette recorder. I drummed on objects in the garden, like a plastic watering can and 'snipped' garden shears for percussion parts. The guitar part was something I had been developing over some time in my head but it was this change of environment that led to recording the backbone of this song, which I then continued to build upon in my studio later. When I listen to the intro of that track now, I still hear the sunshine and the garden in it because for me it's like a photograph of that moment. No doubt the sunny outdoors inspired the lyrics too.
With the song 'Dye The Water Green' (my personal favourite off the album) I remember going into my brick-wall shed in the garden for a change of scenery and to capture the sound of rain on the tin roof, I remember recording additional musical ideas around a guitar riff I had previously come up with, capturing them to an old ghetto blaster. I remember feeling at the time that I wouldn't have come up with the same things if I was in my studio. I think putting yourself in different environments affects how you feel and act and essentially can lead to more variety."
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 COMMENTSDavid 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?
2 hours and 32 seconds of new music across two CDs or a special quadruple vinyl package.
The album is Rob Brown and Sean Booth’s eleventh full length album.
‘Exai’ follows ‘Oversteps’ (2010) and ‘Quaristice’ (2008), two of Autechre’s best-ever performing albums.
Both formats feature detailed packaging designed by longtime Warp collaborators The Designers Republic. The 2CD and 4LP sets are beautifully packaged in individual wallets and sleeves, printed in foil on the front and stickered on the reverse.
Initial UK quantity of the quadruple vinyl is 500 copies.17 tracks - 2 hours 32 seconds.
FORMAT INFORMATION2xCD Info: 2xCD, each packed in its own printed CD wallet. Housed in a CD slipcase made from Cairn Eco Kraft stock with clear foil block to front.
The band decamped to a house in the West Yorkshire countryside, secluding themselves from the distractions of London and writing as a trio for the first time. Ultimately, ‘News From Nowhere’ is a reflection of the time they spent together there. Says Young, “Every place warrants a story. There are moments in people’s everyday lives, no matter how subtle, that can be documented and talked about in great detail. The instances spiral and ascend and take on their own course, altering the perception of how even the slightest change in a day can be felt deeply.”
Eventually proceedings moved from the band’s makeshift digital studio in their house to producer Richard Formby’s (Sonic Boom / Hood / Wild Beasts) dusty studio enclave, full of tape machines and analogue synthesizers. The songs that had been inspired by English prog rock and obscure techno and created as loops based on the band’s affinity for hip hop production (“literally everything from Lex Luger to Geoff Barrow”) grew into sublimely arranged works. In the end, the album arrived at an altogether singular existence, delving into the moments between moments and elevating them to epic, kaleidoscopic heights.
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.”
Composed, according to Flying Lotus, as “a collage of mystical states, dreams, sleep and lullabies”, 'Until the Quiet Comes' has the distinct feel of this nocturnal trip. From the twitching descent into a subconscious state and the out-of-focus time-ether of the journey that follows, the sound is an unhinged, yet elegant evolution of the melodic and rhythmic interplay that is woven into the DNA of Flying Lotus’ aural personae.
All this stylistic mingling and genre-melting has contributed significantly to shift music in a direction that makes intellectual leaps without forsaking the all-important heft of a bassline or unimpeded ‘swing’ of a drum beat - the same way so many masters of soul music have infused their songs for lovers and dancers with brilliant and heady subtext for decades. 'Until The Quiet Comes' follows this tradition while clearing a path distinctly its own, which is a mark of a classic.
The album sees longtime FlyLo muses Niki Randa and Laura Darlington return, as well as Thom Yorke, Thundercat and the inimitable queen of leftfield R&B herself, Erykah Badu, whose turn on the epic rumble of ‘See Thru To U’ is one of many highlights.
FORMAT INFORMATION2xLP Info: • Double vinyl with full colour inner sleeves
• Download redemption code and credit sheet in wide spine sleeve
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 COMMENTSPhilippa 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.
DRC Music is a collective of producers that recorded an album in five days with Congolese musicians in Kinshasa, the capital of the Democratic Republic of the Congo, during July 2011. DRC Music is Damon Albarn, Dan The Automator, Jneiro Jarel, Kwes, Remi Kabaka, Richard Russell, Rodaidh McDonald, TEED (Totally Enormous Extinct Dinosaurs), Marc Antoine and Alwest. All profits from this record go back to Oxfam’s projects in the Democratic Republic of Congo.
The album ranges from upbeat celebratory anthems to atmospheric brooding soundscapes, a unique union of Congolese musicianship and the cutting-edge techniques of some of the most renowned producers in the world.
FORMAT INFORMATION2xLP Box Set Info: Double vinyl pressing in gatefold sleeve, with 14 x 300 x 300mm art cards housed in their own presentation
sleeve. All encased in rigid slipcase. Includes unique code to access download of the album plus three bonus tracks. Limited to 500 copies in the UK.
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!
FORMAT INFORMATIONCD Info: Digipack CD with gold foil printed sleeve.
FORMAT INFORMATION2xLtd CD Info: The second disc contains dub versions, B-sides and the 'Making Of Compass' short film (featuring Beck, Feist, Grizzly Bear etc).
Certainly these are further reaches into a musical space that Flying Lotus had hitherto been exploring, however other collaborators such as Erykah Badu and Outkast string arranger Miguel Atwood-Ferguson and guest vocalists Thom Yorke and a returning Laura Darlington (featured on "Los Angeles"’ epic closing track "Inifinitum") help deliver "Cosmogramma" to dizzying new heights. All this name-dropping, however, is not to detract from the genius of the wizard-like figure behind it all. The most powerful aspect of FlyLo’s output has always been its ability to communicate his boundless love and enthusiasm for music in all its forms and that is what is boldly on display here.
People speak about ‘important’ albums all the time, but rarely is it so apparent that person behind them is following their own, chosen path – Flying Lotus is one of those precious few artists. When one is presented with an invitation for space travel, it’s not something to pass up.
FORMAT INFORMATION2xLtd LP Info: Deluxe Vinyl Edition (exclusive to independent retailers): Double heavyweight 180gram vinyl, each disc packed in its own printed inner and outer card sleeves - 900mm x 600mm double-sided poster printed on Offenback ultra fine stock, folded within its own card sleeve - housed in printed and debossed rigid slipcase.
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 COMMENTSDarryl 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.
All Tomorrow's Parties: The Film
83 minute feature film
Commentary by ATP Promoters Barry Hogan and Deborah Kee Higgins
An option to watch full performances from 15 bands in the film including Shellac, Daniel Johnston, Portishead, Lightning Bolt and Mogwai
Slipcase, full colour booklet and cover includes: 10 years of ATP poster artwork plus curator introductions. Programme of artists in the film (short biography and photo). The DVD will act as a key for bonus content that will be housed online, and updated regularly moving forward. When put in a laptop the user registers and is then given access to a special area where the additional content is housed. This will include amazing ATP films from Vincent Moon, trailers, additional performances, and footage from future ATP festivals. The extras will be online downloads that can be updated, rather than additional content on a second DVD.
FORMAT INFORMATION7" Info: Limited indies only release. 7" with lyric gold embossed booklet. 100 copies for the UK. ONE PER PERSON!
FORMAT INFORMATION2xLP includes MP3 Download Code.
The Kids Are Sick Again
FORMAT INFORMATIONCDS Info: The CD single includes "Russian Dolls".
1. Don't Think We're One
2. Family Galaxy
4. There's Nothing Left Of Me But Her And This
5. Pay Tomorrow
6. Bad Dust
8. When Every Day's A Number
9. Listening Tree
10. I Saw The Weak Hand Fall
FORMAT INFORMATION2xLP Info: Double LP also includes whole album on CD as a bonus!
FORMAT INFORMATION4xCD Info: Deluxe 4xCD box set in hardback book style packaging.
FORMAT INFORMATION2xLtd CD Info: This limited edition double CD version is limited to 300 copies and includes a disc of unreleased material. This version is exclusive to independent shops!
FORMAT INFORMATIONLtd 7" Info: Limited edition blue vinyl in a numbered sleeve.
FORMAT INFORMATIONLtd CD Info: Ultra limited clear CD case with outer printed plastic sheath sleeve.
FORMAT INFORMATIONCDS Info: 500 copies only.
19 NEW ITEMS
205 NEW ITEMS
MorrisseyAll The Young People Must Fall In Love (Bob Clearmountain Mix) / Rose Garden (Live At The Grand Ole Opry, Nashville)
Various ArtistsA Disco Fantasy - Inc. Sylvester, Louie Vega, Amp Fiddler, Sweet Tooth T & Greg Wilson
Various ArtistsSpider-Jazz - KPM Cues Used In The Amazing Animated Series - That We Are Not Allowed To Mention For Legal Reasons
Mon 21st - 3:23
Mon 21st - 2:41
Sun 20th - 11:47