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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.


2xLP includes MP3 Download Code.

Bibio returns with a new album titled ‘Phantom Brickworks’. The nine track collection demonstrates a more atmospheric side to the Warp wunderkind. ‘Phantom Brickworks’ is an eerie reminder of industries past, a tour of desolate buildings where nature has taken over man-made dereliction.

“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.


Barry 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.


2xLP 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.

Lorenzo Senni

XAllegroX / The Shape Of Trance To Come

Following on from last years critically lauded “Persona” EP Lorenzo Senni can now announce the release of XAllegroX / The Shape of Trance To Come . The release is a unique and personal perspective into the mind of one of dancefloor-orientated music’s most heterogeneous minds. Exploring his deep seated influences of punk hardcore straight-edge via basslines and sudden breaks , the two tracks serve as a musical mechanism into rave music’s darker sides, a never-reaching euphoria through non-conventional musical elucidation.

“Do It Differently. Fly on Your Own Wings. Rave Voyeurism Is Not A Crime”

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.


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.


Coloured LP Info: Independent retailers exclusive on white coloured double vinyl with gatefold sleeve and digital download card.



    One of Warp’s original signees B12 reissue their cult classic ‘Electro-Soma’. Originally released in the early 90’s, a key era for hugely influential electronic music. With its gleaming surfaces, supple rhythms and utopian strings, B12’s Electro-Soma is among the most distinctive albums of this time. B12 went from anonymous figures on the fringe of the dance scene to emblems of techno and IDM. The duo were also involved in the Artificial Intelligence series from which this was the fourth edition, other releases included Aphex Twin (under the Polygon Window guise), The Black Dog and Autechre. Electro-Soma was a compilation hand picked by Warp founder Rob Mitchell from the tracks he loved on early B12 Records 12"s, with a few pieces made specifically for the album including ambient opening theme ‘Soundtrack of Space’

    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.


    2xLP Info: Gatefold 2LP with 4 panel foldout 24” x 12” insert and download card.

    One of Warp’s original signees B12 announce the reissue of their cult classic "Electro-Soma". Originally released in the early 90’s, a key era for hugely influential electronic music. With its gleaming surfaces, supple rhythms and utopian strings, B12’s "Electro-Soma" is among the most distinctive albums of this time. B12 went from anonymous figures on the fringe of the dance scene to emblems of techno and IDM. The duo were also involved in the Artificial Intelligence series from which this was the fourth edition, other releases included Aphex Twin (under the Polygon Window guise), The Black Dog and Autechre. "Electro-Soma" was a compilation hand picked by Warp founder Rob Mitchell from the tracks he loved on early B12 Records 12"s, with a few pieces made specifically for the album including ambient opening theme "Soundtrack of Space" 
    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.


    Electro-Soma I & II

      One of Warp’s original signees B12 reissue their cult classic ‘Electro-Soma’. Originally released in the early 90’s, a key era for hugely influential electronic music. With its gleaming surfaces, supple rhythms and utopian strings, B12’s Electro-Soma is among the most distinctive albums of this time. B12 went from anonymous figures on the fringe of the dance scene to emblems of techno and IDM. The duo were also involved in the Artificial Intelligence series from which this was the fourth edition, other releases included Aphex Twin (under the Polygon Window guise), The Black Dog and Autechre. Electro-Soma was a compilation hand picked by Warp founder Rob Mitchell from the tracks he loved on early B12 Records 12"s, with a few pieces made specifically for the album including ambient opening theme ‘Soundtrack of Space’ 

      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

      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.


      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.

      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.


      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.


      2xColoured LP Info: Transparent vinyl, includes a download code.

      Hudson Mohawke

      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'.

        Bibio has undergone a variety of stylistic changes throughout his career, from the drifting ambience of 'Fi' or 'Ambivalence Avenue' through the flickering folky vibes of Silver Wilkinson, to his most recent foray into neon 80's synthery and thundering plate reverbs on 'A Mineral Love' it's been a scintillating journey, but it isn't over yet. Beyond serious begins with a hefty kick drum and crackling glitches forming into a cohesive patchwork of disparate elements all rolled into one dancefloor thumper. There are let-ups in the flow, but serve as palate cleansers before bursting into a re-energised magnification of the original theme. 

        'Beyond My Eyes' is a little bit more towards the synthy neon vibes of his most recent full-length but stops just short of the soaring vocal flourishes by masking the voices with distortion, bit-crushing and filtering (and probably a whole host of other studio magic), leaving the listener to focus on the sumptuous electronic scree pinning the whole thing together. 

        Flip over, and things take a somewhat darker turn, bringing squelching drums and echoing metallic tines before being embellished with snappy vocal cuts and sliding 303 action before undergoing a gradual redux into the trancey pitched synths and hi-passed vox of 'Fix This Thang' 


        Barry says: Brilliantly exciting musical developments from Bibio with his (brilliant) take on trad. 'tron. Thumping 808 kicks, sliding 303's, bit-crushed squelches and swirling pads form into a dusty and dirty journey through Detroit and beyond. Superb.

        Clark's "Death Peak" drops on Warp, a concept the esteemed producer has been working towards since August 2016. Contrasting jagged and smooth textures, working on ancient rhythms beamed from the future and intertwining euphoric melodies and visceral rhythms of warehouse rave with new vocal and choral elements; Clark sets out a distopic and environmentally degraded world, where space station groans meet ghosts of cyborgs and radioactive new life forms. The record deftly weaves together the various threads of his extensive work exposing the tension in Clark’s musical vocabulary. Grandiose and chamber like in its sound, this could well soundtrack church rituals on new planet systems, and is as vast as it is impressive.

        Artwork by Alma Haser, a continuation of her work for Clark that began with the cover for his eponymous 2014 album.


        Barry 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.

        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. 


        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.


        Ltd LP Info: LP in 3mm spine sleeve printed with silver pantone
        with digital download card insert. Ltd to 200 copies.

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

        Having used his talents as a virtuoso bass player to turn drum & bass & electronica on its head with a series of mind melting albums for Warp, Tom Jenkinson or as most people now him - Squarepusher calls on the help of his allies Strobe Nazard, Company Laser & Arg Nution to take a second turn on what amounts to possibly his most ambitious project yet, Shobaleader One.

        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.

        Children of Alice have been quietly producing amorphous and intoxicating soundscapes as part of the Folklore Tapes collective for a number of years now, beginning in 2013 with Harbinger of Spring on the shared Ornithology release. This poetic conjuration of rebirth and new growth was the first unfurling of post-Broadcast creation from James Cargill, one half of the personal and artistic relationship at the heart of that epochal and increasingly feted band.

        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.


        Barry 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.


        CD Info: CD in 6 panel mirriboard digipak.


        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.


        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.


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

        Incunabula was in many ways a turning point for electronic music, full of housey chords and classic techno drums but woven together in a way that only Autechre could. After the inauspicious beginnings of the bizzarely titled 'Kalpol Introl', 'Bike' is a whimsical and throbbing tech-house number, full of dynamic analogue sweeps and dusty phasing, paddling arps taking the lead role for most of the piece beforebeing driven along by a shuffling 909-hats and smooth kicks. 

        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. 


        Barry 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.


        2xLtd LP Info: 2LP in gatefold sleeve with download card. Includes redemption code for album & bonus live set.

        "Atrocity Exhibition" is an album of Danny Brown’s typically vigorous rap, paired with challenging production inspired by the work of Talking Heads and Joy Division. It sounds like nothing else from the past or present. Brown began work on "Atrocity Exhibition" in the summer of 2014, linking up with producer and frequent collaborator Paul White on the bulk of the album’s cuts. Other contributions come from producers like Evian Christ, Petite Noir (who also lends vocals to the world weary clang of ‘Rolling Stone’), Black Milk and the Alchemist, who lays down the beats for the masterful "Really Doe". Joined by Kendrick, Ab-Soul and Earl Sweatshirt, Brown goes wild over a killer rhythm track, resulting in the LP's stand out moment. 


        2xLP 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.

        ‘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.


        CD Info: CD presented in 6 panel digipack.

        The Aphex Twin 'Cheetah EP' uses digital sound generation techniques combined with wave sequencing technology to bring you sounds with movement and depth rarely found on records today.

        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!

        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.


        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


          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.

          Bibio returns with his fifth studio album on Warp, ‘A Mineral Love’, a record that draws influences from across several decades, coloured with texture and detail that only a seasoned and ceaselessly inspired producer can create.

          ‘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.


          Barry 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.


          2xLP Info: 2xLP in gatefold sleeve with printed inners

          2xLP includes MP3 Download Code.


          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.


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


            The Last Panthers

              ‘The Last Panthers’ features music from and inspired by Clark’s mesmerising score for the Sky Atlantic crime thriller of the same name.

              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.


              LP Info: LP with printed inner in 3mm spine outer sleeve and digital download card.

              Deluxe CD Info: Each CD comes in a casebound hand numbered sleeve with a silver foil stamp applied to the back cover.


              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.


              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.


              12" includes MP3 Download Code.

              Originally released in limited numbers on American imprint Mush in 2005, "Fi" introduced Stephen James Wilkinson's Bibio project to the wider world. Not only did this assured debut catch the ear of major influence Boards Of Canada, but it also won him plenty of fans at UK electronica bastion Warp, who've supported Bibio ever since. This reissue will certainly help fans join the dots between then and now, with ambient and folk still being his main crossover point, just as it was a decade ago. Highlights on here are the looped and layered banjo workout of "Bewley In White", the sombre acoustic expressions of "Puffer" or "Cantaloup" (the latter sounding like it was recorded on a broken tape machine and to interesting effect) and the creepy lo-fi ambience of "I'm Rewinding It".

              “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

              Daniel Lopatin’s second album on Warp maintains the stunning production for which he has gained a reputation over the past few years, whilst at the same time exploring a whole new level of weird. Lopatin describes ‘Garden Of Delete’ as a “selfportrait.”

              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 COMMENTS

              Barry 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.

              !!! 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." - !!!


              2xLP includes MP3 Download Code.

              ‘La Di Da Di’ is a bold opus of post rock and virtuosic instrumentals, cementing Battles firmly amongst the most influential alternative bands of the 21st century.

              On their third album the rhythmic core of Battles is as full as ever. Opener ‘The Yabba’ is a gradual unravelling of math rock motifs that eventually explodes into the glitchladen ‘Dot Net’.

              The atypical ‘breather’ moment that comes with ‘Cacio e Pepe’ is an exploration in harmony anchored by Battles’ characteristic repetition, whilst tracks like ‘FF Bada’ and ‘Summer Simmer’ are examples of the thick textural richness that can be found throughout the album. ‘La Di Da Di’ humbly parades the many weapons of Battles’ musicianship for which they are so well revered.


              Deluxe CD Info: CD comes in gatefold wallet with poster booklet.

              The first AFX release since the mighty "Analord" series sees Richard D James and Warp Records go back to the old skool in a big way. From the fly-poster campaign and retro rave Designers Republic sleeve to the fearsome acid breaks held within, this release is a celebration of the days when Tangled was still at the Phoenix, City were still at Maine Road and Me and Piccadilly's Matt Ward were locked in our bedrooms playing Dungeons and Dragons (the early 90s). Going in hard from the get go, AFX fires up the 303, 808 and whatever else he's got lying around to deliver the bleeping, squeaking acid assault of "Serge Fenix Rendered 2". A simple beat holds things together nicely while the raucous acid lines, head spinning sequences and trippy out chords threaten to throw the whole thing off kilter. Next up, "DMX Acid Test" sees the producer weaving fluid 303 lines around an ever changing collage of breakbeats and tough snares, before "Oberheim Blacet1b" mashes your brain, blows the speakers and scares children as RDJ adds gloomy pads and hollow wood blocks to the rapid fire sequences and thundering drums. Speaking of thundering drums, if you were looking for a room wrecking percussion track for your next sally into a rave bunker, "Bonus EMT Beats" will suit you to a t. Opening the B-side in textbook Ronseal fashion, "Simple Slamming B 2" does exactly what it says on the tin, ramping up the LFO and LPF for truly murky bass while a drum track bangs out at breakneck pace. "Midi Pipe1c Sds3time Cube/klonedrm" sees RDJ in piss-take mood, utilising his synth set up to deliver some deranged pygmy polyphony perfectly suited to patchouli-scented after parties the nation over. From that strangeness we skip into the mid tempo headnod of "NEOTEKT72" a dense, bass heavy breakbeat cut in line with RDJ's hip hop inspired moments, before closing on the organic percussion of drum track "R8m Neotek Beat". 

              ‘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.


              LP includes MP3 Download Code.


              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.


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


              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.


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

              Ltd LP includes MP3 Download Code.


              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.


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


              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.


              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.


              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.

              Flying Lotus returns with ‘You’re Dead!’. At once reflective, restless, heart wrenching and joyous, this is a melodic ode to those who have died young, suddenly and unexpectedly, while also existing as a comfort to those mourning the loss of a loved one. ‘You’re Dead!’ serves as an exploration, a eulogy and a portal between the parallel domains of life and afterlife.

              ‘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


              2xLP Info: Double vinyl pressing in embossed gatefold sleeve.

              2xLP includes MP3 Download Code.

              CD Info: CD in wallet with folded poster booklet

              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.

              STAFF COMMENTS

              Barry 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.


              3xLP 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.

              Eno - Hyde

              High Life - Indies Vinyl Exclusive Print Edition

              The collaboration between Brian Eno and Karl Hyde, two of UK’s most highly respected and influential electronic musicians, continues with second full-length record, ‘High Life’.

              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


              2xLtd LP Info: Available exclusively to independent retailers as a 2LP in gatefold sleeve with printed inner sleeves, download code and deluxe art print.

              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?”

              Nightmares On Wax

              N.O.W Is The Time (Deep Down: Remixes & Rarities) - 2xLP Box Set Edition

              George ‘EASE’ Evelyn, AKA Nightmares On Wax, has released a range of records over 25 years that have been integral to cultural movements and electronic music. This album comprises of the best of tracks from Nightmares On Wax ‘By Day’ and ‘By Night’ over the past 25 years, plus rarities and remixes.

              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.


              2xLP 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.

              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 and original 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.

              Autechre, one of the UK’s most renowned and forward-thinking electronic groups, release a new mini album - 26 minutes 04 seconds of new music, available on CD and vinyl.

              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.

              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.


              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’ 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').


              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.


              2xLP Info: Double vinyl in a gatefold sleeve.

              2xLP includes MP3 Download Code.


              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.


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

              Note from Stephen Wilkinson (aka Bibio) on the album: "I don't usually have a preconceived theme for an album before I start making one, to do so would perhaps feel like a restriction further down the line, one that might inhibit natural creative flow and get in the way of new ideas. Restriction is quite different to limitation though, limitations can of course tease out creativity, like how the limitations of a haiku or a limited palette of colours can force you to be more mindful and selective. If there was a preconceived idea before this album started coming together, it was a fairly vague one: to focus more on an organic and live sound and to record more guitar and other live instrumentation. However, I'm no purist, so I don't restrain myself from taking stylistic diversions, to do so might be to dispose of the unplanned. As a result this album feels to me as eclectic as my previous two albums. There is a certain 'let nature take its course' attitude with my approach to making an album, this is because I know discoveries can often be more rewarding than stringently directing even the grandest of ideas. After working long and hard on an album, however, I crave change… like you might crave spring after winter. I love seasonal change, it affects me a lot. I like the idea of comparing albums to seasons - they stand alone yet are part of a bigger story. They complement each other. So this album, to an extent, started out with the desire for a new 'season', contrasting somewhat with the previous.

              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."

              "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 new album from Autechre, one of the UK’s most renowned electronic artists.

              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.


              2xCD 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.

              Darkstar first coalesced in the underground, electronic thrum of London’s nascent grime and dubstep sphere in the mid 2000s, growing from attending the now-fabled early FWD club nights to releasing a pair of game-changing 12” singles on Kode 9’s fledgling Hyperdub label. What followed was a fitful and productive period culminating in a discarded album’s worth of tracks, the crucial introduction of vocalist James Buttery to the fold and, finally, the release of their debut full-length ‘North’, to wide acclaim. By this time Darkstar had aptly been framed as a very intriguing proposition, one of the first proper ‘bands’ to rise from the UK’s current electronic underground.

              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.

              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.”

              Aphex Twin

              Richard D James

              As ever Aphex's music is pulling in different directions on this 1996 CD, with tracks underpinned with glitchy chopped up beats and overlaid with lush, emotional synth work. Includes the single "Girl / Boy Song".


              LP Info: Limited 180g reissue.

              Flying Lotus finally releases 'Until The Quiet Comes', the long awaited follow-up to 2010's 'Cosmogramma' and his third album on Warp Records.

              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.


              2xLP Info: • Double vinyl with full colour inner sleeves
              • Download redemption code and credit sheet in wide spine sleeve

              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.

              An inspiring, exciting collaboration between ten innovative and recognized producers (including Damon Albarn), and a host of Congolese musicians - all raising money for Oxfam.

              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.


              2xLP 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.

              Seminal electronic artists, film soundtrackers, former Björk band members and sonic craftsmen Plaid bring us ‘Scintilli’, their new album. The band’s first "proper" studio album for eight years, positions Plaid as not only master craftsmen of electronic textures and beats but also as keen purveyors of emotionally affecting soundtracks.

              'Scintilli' is Latin for "I Am Many Sparks", apparently a mantra the duo claim to chant each morning for two hours solid. What’s also remarkable is that the band has calculated that each individual beat on the album took approximately one whole day to create! As for the full tracks, they are a mix of hypnotic soundscapes with folk and ambient touches, all sewn together with IDM rhythms. Kicking things off we have 'Missing', a mix of folk guitars and warm pads. 'Eye Robot' adds a darker, drone-styled ambient sound. The more upbeat (and with-beats) 'Unbank' is underlined by dark twists of melancholy, while 8-bit techno cut 'African Woods', layers a melange of  simple sounding rhythms and melodies. Other standout tracks include 'Founded', a twisted take on folktronica and LP closer 'At Last', whichmixes deconstructed drums, lush vocals and mellow glo-fi pop vibe.


              Ltd CD Info: CD comes in in a ‘Muda na Mono’ puzzle pack. It contains two die-cut rings which can be assembled. If
              correctly aligned, the sphere created allows the track titles to be read. The packaging reflects a desire to give the CD an ornamental function, beyond its primary use as a basic storage device for music.

              ‘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!

              The anticipated follow up to Bibio's celebrated first album for Warp in 2009, "Ambivalence Avenue". "Mind Bokeh" has exceeded our expectations with its full on, neon-lit pop whilst not compromising on any of the vintage, textured production that makes up Bibio’s trademark sound. In fact, "Mind Bokeh" could be considered the night-time counterpart to "Ambivalence Avenue"'s more pastoral, sun-flecked tones. You know that party you have where the music is pulled in wildly different directions, but comes together as a whole? This is the meandering trip "Mind Bokeh" takes us on, encompassing everything from  "Ambivalence Avenue" style wonky-hop and DJ Shadowesque beats, via dreamy Crosby, Stills and Nas-influenced psych-pop and energetic, shouty indie-punk to introspective electronica and jubilant African highlife. Off the beaten track and back again, it's a journey you're sure to enjoy. 

              The Hundred In The Hands are Brooklyn’s Eleanore Everdell and Jason Friedman, and this is their self-titled debut album. It's an emotionally charged long player, calling on everything from the elegant French pop of Serge Gainsbourg and Jane Birkin to the 00s female pop of Au Revoir Simone, the late 70s electronics of Young Marble Giants to the late 80s Balearic blossoming of Andy Weatherall productions (One Dove spring to mind) and the punk-funk dance songs from NYC’s storied underground. With such an expansive set of infuences and soundscapes present, "The Hundred In The Hands" could fall into a fractured trap, but the the album comes together as a whole, with track after track of wonderfully uplifting music. Includes the singles "Pigeons" and "Dressed In Dresden". Sure to be one of our albums of the year!


              CD Info: Digipack CD with gold foil printed sleeve.

              A breathtaking, multi-faceted alternative record from one of the UK’s best kept secrets, featuring an all-star cast of collaborators and conspirators. Vocal acrobat Jamie Lidell returns with "Compass", a fourteen track voyage through sound featuring the haunting teaser track "Compass" and the gutter-fuzz of first single "The Ring" - checking off spectral, ethereal atmospherics ("You See My Light"), furious howling-funk ("Coma Chameleon") and beat-box-infused soul ("Completely Exposed") on the way. He’s teamed up with an all-star cast – at the helm are Beck and Grizzly Bear’s Chris Taylor on production duties. They also play on the record, alongside Dan Rossen and Chris Bear (Grizzly Bear), Feist, Wilco’s Brian Lebarton, Nikka Costa, Gonzales and legendary drummer James Gadson (who has recorded with BB King, Herbie Hancock and Martha Reeves, amongst others).


              2xLtd CD Info: The second disc contains dub versions, B-sides and the 'Making Of Compass' short film (featuring Beck, Feist, Grizzly Bear etc).

              Looking back, Flying Lotus’ full-length Warp debut, "Los Angeles" appears to be much more of a mission statement than a simple introduction – laying the foundation for a field on which an entire generation of artists would soon be playing. While that album was an introspective, moody travelogue through the Californian metropolis, it certainly hinted at his inclination to expand his sound beyond terrestrial means. As you may deduce from the title of his latest opus, he’s done just that. Not only has an entirely new range of sounds been unlocked by our intrepid astral traveler, but every genre touchstone associated with his name has been merged into a self-described 'space opera'. Seamless in execution and too wide in scope to properly describe, it's the authentic embodiment of his unique musical heritage. The spirit of his famed aunt, Alice Coltrane permeates the record, notably in the powerful collaborations with relative Ravi Coltrane, bass virtuoso Thundercat and the brilliant harp prodigy, Rebekah Raff.

              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.

              Simon Jay Catling at The Fly magazine says: 'It’s now 10 albums in for IDM pioneers Autechre - an impressive milestone for anyone, let alone those in the LP-light world of ‘dance' music. And 'dance' is the operative word to describe "Oversteps"; OK, so it’s a disfigured version of the genre, but on tracks like "Ilanders" and "D-Sho Qub" there’s sense of melody overcoming the streams of glitches and warped beats that we’ve previously become accustomed to. Elsewhere, the gleaming "krYlon" is one of many that twirl and pirouette-sprinkling chiming synths onto almost percussion-less structures, whilst "Qplay"'s mathematical thuds and volleys are as challenging as anything on 1995’s "Tri Repetae". "Oversteps" doesn’t offer anything massively new, but when you’re still sounding completely unique, why would you need to?


              2xLtd 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.


              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.

                Various Artists

                All Tomorrow's Parties: The Film

                  This film is a semi-found multimedia bricolage shot by over two hundred filmmakers, fans and musicians over the All Tomorrow's Parties festival's recent history, with key contributions from co-director Jonathan Caouette (Tarnation), and cinematographer Vincent Moon (The Take Away Shows, Arcade Fire) and features amongst others: Belle And Sebastian, Grizzly Bear, Sonic Youth, Battles, Portishead, Daniel Johnston, Grinderman, David Cross, Animal Collective, The Boredoms, Les Savy Fav, Mogwai, Slint, The Dirty Three, Yeah Yeah Yeahs, The Gossip, GZA, Seasick Steve, Iggy & The Stooges, Fuck Buttons, Shellac, Patti Smith and John Cooper Clark.

                  DVD Contents
                  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

                  DVD packaging
                  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.


                  Holidays / Candylane

                  This is the very first taste of Gonjasufi, a unique talent freshly signed to Warp Records. A sleepy, sinister melding of mournful vocals-by-candlelight and a crisp, taut 8-bit melody on the A-side, backed with a sleaze-infused funk on the AA, again wrapped around Gonjasufi's distinctive voice.

                  FORMAT INFORMATION

                  7" Info: Limited indies only release. 7" with lyric gold embossed booklet. 100 copies for the UK. ONE PER PERSON!

                  Of all the dance-punk revivalists, !!! have been the most consistently challenging, not to mention the group most likely to fill discerning dancefloors in our top twenty. Fantastically produced, "Myth Takes" consummately establishes them as the equals of all the groups they are so clearly influenced by. Most prominently, it is the restless sonic impulse of Talking Heads' "Remain In Light" that this album so joyously invokes. Electric and inspired, the band's playing is a relentless barrage of driving guitar solos, post-punk bass and fluid African polyrhythms, whilst Daniel Ofer's frantic vocal chants of desperation and lust appropriately lie in conversation with David Byrne. With each track a mini funk epic containing elements of disco, dub, punk and hip-hop, the real achievement lies in the ability of this barely contained band to sound as defiantly tight as the most disciplined JB's whilst essentially on one endless wild trip.

                  Following a trio of albums on the Mush imprint, Bibio (aka Stephen Wilkinson) now makes his long playing debut for Warp, the totally enchanting "Ambivalence Avenue". Bibio is a purveyor of wonderfully warm, melodic music that shines like the late summer sun through stained glass windows, refracting beams of shimmering colour across the room. Unlike many of his contemporaries however, as well as producing lovely, but ultimately superficial soundscapes, Wilkinson has a keen ear for melody and actually knows how to write a good tune. An antidote to the often clinical and soulless nature of current laptop-made music, "Ambivalence Avenue" is an endearingly messy patchwork of sun-dappled west coast style psychedelia, Dilla-esque beatsrumentals, de-tuned woozy pop and electronica, folk whimsy, dreamy madrigals, and intimate acoustic guitar songs – with each song a standout. A permanent fixture on the Piccadilly Records shop stereo, "Ambivalence Avenue" comes highly recommended, and is an essential album of 2009!

                  FORMAT INFORMATION

                  2xLP includes MP3 Download Code.

                  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.

                  "The Kids are Sick Again" is a blistering, anthemic tune, which builds from a pulsating start through two choruses to a stadium-sized finish. It is taken from their forthcoming album "Quicken The Heart" and includes new tracks on each format.

                  FORMAT INFORMATION

                  CDS Info: The CD single includes "Russian Dolls".

                  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.

                  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!

                  Various Artists

                  On The Hour - Series 2

                    This legendary radio comedy series finally gets a full release 16 years after it was originally broadcast. Renowned for its savage dissection of news and current affairs programming, On The Hour included a stellar cast of writers and performers who have gone on to feature in some of the best UK comedy of the last 15 years: Chris Morris (The Day Today, Blue Jam, Brass Eye, My Wrongs #8245 - 8249 & 117, Nathan Barley, The IT Crowd); Armando Iannucci (The Thick of It, I'm Alan Partridge, Knowing Me, Knowing You, Saturday Night Armistice); Steve Coogan (The Day Today, I'm Alan Partridge, Knowing Me Knowing You, Coogan's Run, Saxondale); Stewart Lee (Jerry Springer The Opera, Fist Of Fun, This Morning With Richard Not Judy); Richard Herring (Fist Of Fun, This Morning With Richard Not Judy); David Schneider (I'm Alan Partridge, Knowing Me Knowing You, The Saturday Night Armistice); Doon Mackichan (Smack The Pony, The Day Today, A Very Social Secretary, Brass Eye); and Rebecca Front (The Day Today, Fist of Fun, Big Train, I'm Alan Partridge, Nighty Night).

                    FORMAT INFORMATION

                    4xCD Info: Deluxe 4xCD box set in hardback book style packaging.

                    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.

                    The debut solo album from Maximo Park's lead guitarist Duncan Lloyd is a blast of melodic indie infused with American influences. Ten infectious upbeat tracks, including the single "Suzee".

                    FORMAT INFORMATION

                    2xLtd 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!

                    Duncan Lloyd


                    "Suzee" is a sunny, catchy slice of Americana-tinged indie, that falls somewhere between The Lemonheads and Elvis Costello. Taken from the forthcoming solo album from Maximo Park guitarist Duncan Lloyd, "Seeing Double", is backed with "I Can't Decide", a brand new track that will not appear on the album.

                    FORMAT INFORMATION

                    Ltd 7" Info: Limited edition blue vinyl in a numbered sleeve.

                    Hotly tipped Australian three-piece Pivot deliver their new album, "O Soundtrack My Heart". It's been described as 'a John Carpenter soundtrack re-imagined by Battles' by the NME, which pretty much nails the Pivot sound, which is math rock meets cinematica. Sometimes dense and intricate, at others lush and atmospheric. The set includes the pounding single "In The Blood" (the subject of a Jaws-esque puppet video from the director of Coldplay's "Yellow" video). Both deluxe digipack CD and double vinyl LP feature the artwork of Michel Grainger, who previously did artwork for Jean Michel Jarre.

                    "Deflect" is a powerful and thumping yet melodic serving of future electronica laced with melody and sublime vocals from Martina Topley-Bird, which reminds me of the claustrophobia of Tricky's "Maxinquaye". The release also includes three tracks not featured on her upcoming album. "Duwayne" is a mechanical orchestral beast edging its way towards us. "In The Garden" features the child-like vocals of Isobel Mitchell and has a twisted nursery rhyme feel - well, until it turns into a full on raggaclash / breakcore rave attack that is! Lastly we have "Twelved" an off kilter assault of distortion and fractured percussion.

                    If you're aware of his work with Christian Vogel as Super_Collider, then you'll already know what a brilliant soul vocalist Jamie Lidell is. Here on his debut album he dispenses with previous electronica styles and goes for an almost straight up soul-funk sound that wouldn't sound out of place coming out of the Fame studios at Muscle Shoals. "Multiply"'s music evokes the power, pop and emotion of Marvin Gaye, Curtis Mayfield and even peak-period Michael Jackson, immersed in the energy and virtuosity of production masterminds like Quincy Jones or Herbie Hancock while all done in the inimitable Lidell style.

                    Long overdue third LP from Mark Bell, AKA LFO circa 2003 - his last, "Advance", was in 1996! He moves effortlessly between subtle, melodic electronica and crunchier AFX style noise, creating another must-have for all you Warp fans out there.

                    FORMAT INFORMATION

                    Ltd CD Info: Ultra limited clear CD case with outer printed plastic sheath sleeve.

                    Hip hop has come a long way since the days of Adidas shell toes and 'yes yes, ya'll', splintering into a variety of guises, from blinged-up cartoon gangsterism to the most leftfield, underground 'but is it hip hop?' sounds. Steven Ellison, using his Flying Lotus moniker, falls into the latter camp, producing some of the most interesting, subtle and beautiful hiptronica / wonky-hop around right now (alongside the likes of Rustie, Hudson Mohawke, Dabrye etc). On his second long player "Los Angeles", the tracks (all 17 of them) are built on standard hip hop beats-and-samples foundations, but then take the left-hand fork in the road, crunching and distorting those neck-snapping beats and slicing the samples up into intricate snippets to create layered textures of woozy future electroid psychedelia. If you fell in love with Burial in 2007, and are ready for something with a bit more oomph, then look no further.

                    Of all the new wave of NY groups, it's !!! who seem to have taken most influence from their late 70s / early 80s predecessors Liquid Liquid and ESG, adding them to their own brand of loose limbed punk-funk and disco-with-guitars sounds that appear on this, their UK debut LP. The seven members mix up angular guitars, funky drum and basslines and loads of percussion to create a totally danceable, brilliant whole. Includes the singles "Me & Giuliani Down By The Schoolyard" and "Pardon My Freedom". One of the LPs of 2004!!

                    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".

                    Haswell & Hecker

                    Upic Warp Tracks

                    Haswell & Hecker return with a release that proves that the avant garde is thriving in 2008, taking Warp right back underground to the furthest reaches of electronic experimentalism. Using Iannis Xenakis' UPIC computer system, which turns visual images into sound (allowing the user to make pictures with music), the duo bring us three abstract expressionist pieces (sound paintings?) that move between subtle tonal drones and complex electronica. Rothko vs Pollock I reckon.

                    FORMAT INFORMATION

                    CDS Info: 500 copies only.

                    The Black Dog

                    Music For Adverts (And Short Films)

                      Originally released in 1996, this was the first Black Dog album to be released by Ken Downie alone, following the departure from the outfit of Ed Handley and Andy Turner. It's a real mix of styles, taking in Indian tabla drums, lush ambient soundscapes, rave breaks, electronics and much more.

                      Anti Pop Consortium


                      Anti Pop move a little closer to the mainstream with this 2002 LP. It still has their trademark agile rhymes, but the production is more funk based and less electronic. Still pretty leftfield tho'!!

                      An accompaniment to Clark's recent "Body Riddle" longplayer, the "Ted" EP features one of the album's standout tracks plus a beautiful remix, re-interpretations and brand new tracks. The title track "Ted" is complimented by an otherworldly remix by lauded producer Bibio whose fans include Boards Of Canada, amongst other music cognoscenti. The "Body Riddle" reinterpretations offer some pretty psychedelic parallels and the new tracks meld together to complete this richly textured EP.

                      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".

                      Alexander's Annexe

                      Push Door To Exit

                      Alexander's Annexe is an ensemble comprising of three distinct artists - Mira Calix, David Sheppard and Sarah Nicolls - and "Push Door To Exit" is their debut release. Having met whilst on tour with the London Sinfonietta, the trio began working on a composition commissioned by Italy's Ravello Festival that fused instruments with electronics. "Push Door To Exit" is a beautiful yet mysterious piece of music composed entirely on the piano, overturning all preconceptions you may have about the grandest instrument in the classical lexicon. At just under 30 minutes in length, this specially priced limited edition is an essential composition for avant garde / classical music fans.



                      A joint release between Warp and Spymania in 1997, this CD collects together the output from Squarepusher's time at Spymania, and adds three extra tracks. Even this early in his career all the 'Pusher elements are present; virtuoso bass playing, frenzied junglist breakbeats, jazz-fusion keys, time-signature changes


                      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.

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