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Flying Lotus

Flamagra

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

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

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

    FORMAT INFORMATION

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

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

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

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

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

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

    STAFF COMMENTS

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

    FORMAT INFORMATION

    Coloured LP Info: Indies exclusive purple vinyl.

    The "Utopia EP" is Mira Calix’s first release on Warp in a decade. A decade in which mixed media installation and exhibition work, with a focus on classical instrumentation, has been the main focus of her practice. Her most recent project was a sound installation that featured an ambitious choral work, performance artists and a unique speaker diffusion system. Part of Beyond the Deepening shadow at the Tower of London, it ran from 4-11 November and saw over 300,000 visitors, creating an international media storm.
    The basis for the new EP title and lead track - rightclick - was Utopia, a Random Acts film written and directed by internationally acclaimed novelist Adam Thirlwell (released on 6 December 2018). In the short film starring Lily Cole and Lily McMenamy, a girl tries to set up a commune in a tiny apartment and finds her ideals of utopian living tested and expanded as an alternate version of Calix’s fragmented track acts as the bedrock throughout.
    Calix’s return to electronic instrumentation and the laid-back dance floor, is routed in the physical landscape. By creating these frameworks and parameters she uses found sound, off cuts of existing sonic material from her personal library, taking a collage approach to music. Exploring this fragmented approach further, she deploys her own voice as an instrument, a cut up that refractures and recontextualizes the material in order to conceive a sound that is directly influenced by sight.
    "Rightclick" was made specifically for the film, the subsequent 3 tracks followed on and were very much conceived as an EP in graphic form, a sonic découpé if you will. The concepts behind the individual tracks’ riffs stem from the role of the muse, the male gaze, nostalgia vs modernity and the distribution and categorisation of art and the utopian idyll: "Upper Ups" references the muses of some of the world’s most famous artists, "Bite Me", a podcast discourse on art, while "Just Go Along" explores escape, obsession and the male gaze.
    Calix has always created drawings and graphic material as part of composition process - visible on her Calix Portal - where she has been releasing material old and new from installation-based work over the past 18 months.


    STAFF COMMENTS

    Matt says: What's going on here then?! An assured return of glitch / micro-house flavors for the new year? Sign me up boss! Essential listening for fans of Burnt Friedman, Marionette, Jan Jelynek, Vladislav Delay etc.

    Composer, producer, keyboardist and multi-instrumentalist Kelly Moran made an early name for herself in New York collaborating with dance performance and composing for long-term John Cage collaborator Margaret Leng Tan. It was with the 2017 album "Bloodroot" that Kelly Moran began to reach wider attention.

    "Bloodroot" made innovative use of piano and electroacoustic instruments, purpose-built by Moran herself and touched upon the many diverse musical styles from which she finds inspiration. It appeared in Albums of the Year lists in experimental (Rolling Stone), classical (New York Times) and metal (New York Observer) genres, reflecting this range. In 2018 she has been performing in prestigious venues around the world as part of Oneohtrix Point Never’s live Age Of tour ensemble.

    Now, on her Warp Records debut Ultraviolet she continues to interpret these wealth of inspirations into a sound all her own and pulls off a nearly impossible feat: the annihilation of experimental music’s imposing, esoteric, über-academic status quo in the name of pure, unbridled intuition, of human joy.

    'I was squatted down in the forest, listening to the sounds of the wind and the wildlife, and all the echoes surrounding me,' Moran recalls. 'I asked myself: How can I make music that feels like this: natural, connected, and effortless?'

    Ultraviolet plays to a wide, arresting array of stylistic influences: dazzling inflections of jazz and dream pop, classical composition and black metal, darkness and light, encapsulated in a single, mystifying LP. 'By re-examining my process as an artist, I freed myself.'


    STAFF COMMENTS

    Matt says: A truly enchanted LP from Kelly Moran, well timed for the dark evenings and magical Winter season. Like sitting in a moonlit pine forest in the dead of of crystal clear night.

    Following on from 2016's superb 'Serpent Music' on label extraordinaire, PAN, Yves Tumor follows up by moving to Warp for the brilliant new LP, 'Safe In The Hands Of Love'. 

    From the throbbing sidechained electronics and fragmented vocal accentuations of 'Economy Of Freedom' it becomes clear that we're in for something pretty special. Equally obtuse and euphoric, fragments of sound are smeared liberally across a detritus-riddled backdrop of throbbing bass and static crackling before lurching into a beautiful and eerie redux. 

    This sort of dystopian noise is riddled throughout, but liberally freckled with moments of cohesive and frankly mindlblowing songwriting. 'Noid' for example, is based upon a clattering percussive loop and driving bass (Mr. Tumor really loves that bass synth), but encompasses aspects of hip-hop and soul to boot, vocals rhythmically bobbing in and out of the stereo field, lending a momentous urgency to proceedings before the swooning yang to the former's yin, employing similar vocal phrasing but swapping about the clattering instrumental maelstrom for a sleazy, warped lounge turn. 

    There are moments of divine clarity scattered throughout the whole LP, balancing the sometimes overwhelming cascade of noise and malaise, but it's these moments that make the comparitive unease so satisying, lending moments of calm to an otherwise claustrophobic affair. Perfeclty balanced spine-tingling melodies are teased out of the decay, fittingly warped and then put to work alongside the dystopian foreground. As ever, a stunningly written and perfectly balanced juxtaposition of chaos and peace. 


    STAFF COMMENTS

    Barry says: Yves Tumor smashes it out of the park once again for this shuddering, post-apocalyptic suite of scattered melodies, broken rhythms and oppressive atmospheres, punctuated with moments of deserved beauty and blessed resolution. Killer.

    FORMAT INFORMATION

    2xLP Info: 2LP in paper inners, in gatefold sleeve with 12”
    insert and digital download code.

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

    FORMAT INFORMATION

    2xLP includes MP3 Download Code.

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

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

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


    STAFF COMMENTS

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

    FORMAT INFORMATION

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

    CD Info: CD in 4 panel wallet.

    Autechre

    NTS Sessions (Session 4)

    Remaining quantities of Autechre NTS Sessions LP, NTS Sessions was originally aired as part of a month-long residency at NTS Radio through the month of April and featured eight hours of new music across four shows. Across a lavishly presented campaign Warp now allow us a chance to own this historical musical time capsule in both deluxe vinyl and CD packages. Featuring the whole 8 hours of music, across four, triple-disc releases (or together as a vinyl / cd box set) this is a brilliant project to get stuck into for fans old and new.

    Designers of rich electronics megaworlds, Autechre wrote the book on sound design and there's little that's not already been said about this legendary act - one of the most proudest (if not THE - ed) moments in Rochdale's history they've continued to implode minds and devastate aircraft hangers through sound, vision and art for well over 2 decades.

    This piece, specifically commission for NTS sees all corners of their multi-dimension world explored with earnest. Taking it's time (well, they did have eight hours to play with) none of it feels rushed and the majority of it captivates. When in the past the album format has seen moments you'd want to last forever drift away into the ether before given chance to leave their mark, this expansive, gigantium piece is the perfect companion to fully immerse yourself in one of the most divisive, influential and enigmatic acts in electronic today. A tour de force! 


    Aphex Twin

    Windowlicker

      Originally out in 1999, this fusion of electronica and R&B influences (which came attached to the infamous 'bearded babes' video from Chris Cunningham) became one of Warp's and Aphex's best sellers ever! Be afraid, be very afraid....


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

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

      STAFF COMMENTS

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

      The second Mount Kimbie remix package and Warp have enlisted another celebrity selection of producers to work with tracks from "Love What Survives".

      The second 12” features two takes on album opener "Four Years and One Day". The first is a slow burning techno throbber from Marcel Dettmann, complete with concentric kick patterns and that Blade Runner growl and metallic flux that he's made his trademark over many years, hundreds of productions and literally days and nights behind turntables. Climaxing in a catastrophic explosion of iron girders and phosphorous explosions it pairs perfectly the visceral punk attitude of Mount Kimbie with the relentless anarco-techno ethos of the Berlin techno scene.

      German house maverick Gerd Janson is enjoying an extended period in the spotlight at the moment, and rightly so, effortlessly conjuring an accomplished remix of "Four Years..." with a driving, fashionably close to EBM kinda sound that'll still work in the purist of house sets. Beautifully decorated with a tantalizing 303 line and angelic pad sequences and arranged with maximum elevation in mind, this is one track you're bound to be hearing on the big stages this Summer.

      Finally, if you needed any more convincing, "T.A.M.E.D" gets drawn out into a mid-session techno romp by another German legend: Ellen Alien. Taking up the entirety of side B this is perfectly for those looong warehouse sessions when you need to give the lightning engineer summat to do while you enjoy watching the dancefloor slowly catch fire. Just the right side of proggy (read: druggy) and with mind melting, time shift vox flowing in the recesses of the mix, this is an impressive display of a producer with complete control of large, uninhibited crowds. Once the dancefloor hive mind gets locked onto this one anything's possible. 


      STAFF COMMENTS

      Matt says: Stupendously strong remix package this folks, one of the best I've seen for some time. Often high budget / max hype remix campaigns seriously disappoint but not this one; across both twelves there's been some really killer moments. Fully approved!

      Daniel Rossen (Grizzly Bear)

      Deerslayer

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

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

        FORMAT INFORMATION

        12" includes MP3 Download Code.

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

        FORMAT INFORMATION

        2xLP includes MP3 Download Code.

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

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

        STAFF COMMENTS

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

        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.

        STAFF COMMENTS

        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.

        FORMAT INFORMATION

        CD Info: CD in kraftboard inner wallet in 3mm spine printed outer wallet.

        From Mount Kimbie:

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

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

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

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

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

        STAFF COMMENTS

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

        Oneohtrix Point Never

        Good Time - Original Motion Picture Soundtrack

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

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

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

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

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

        STAFF COMMENTS

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

        Hudson Mohawke

        Ded Sec - Watch Dogs 2 (OST)

          THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

          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'.


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

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


          STAFF COMMENTS

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

          FORMAT INFORMATION

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

          Autechre

          Tri Repetae

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

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

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

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

          STAFF COMMENTS

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

          FORMAT INFORMATION

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

          "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. 

          FORMAT INFORMATION

          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.


          FORMAT INFORMATION

          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.

          STAFF COMMENTS

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

          Mark Pritchard / Bibio / Clark

          A Badman Sound / Heath Town / Inf Inf Inf Inf

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

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

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

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

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

            2016 is an exciting year for all three artists:

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

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

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

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

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

            Limited to 500 copies.

            Battles

            Gloss Drop

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

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

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

              FORMAT INFORMATION

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

              Broadcast

              Work And Non Work

              Vinyl re-press of the 1997 album from Broadcast.

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

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


              FORMAT INFORMATION

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

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

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

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

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

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

              FORMAT INFORMATION

              12" includes MP3 Download Code.

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

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

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

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

              FORMAT INFORMATION

              2xLP includes MP3 Download Code.

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

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

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

              STAFF COMMENTS

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

              FORMAT INFORMATION

              LP includes MP3 Download Code.

              Broadcast

              The Noise Made By People

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

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

              STAFF COMMENTS

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

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

              FORMAT INFORMATION

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

              Broadcast

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

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

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

              FORMAT INFORMATION

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

              Ltd LP includes MP3 Download Code.

              Broadcast

              HaHa Sound

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

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

              FORMAT INFORMATION

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

              Broadcast

              Tender Buttons

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

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

              FORMAT INFORMATION

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

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

              FORMAT INFORMATION

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

              2xLtd LP includes MP3 Download Code.

              Aphex Twin

              Computer Controlled Acoustic Instruments Pt 2 EP

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


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

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


              FORMAT INFORMATION

              3xLP Info: Triple vinyl pressing in triptych gatefold sleeve.

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

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

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

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

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

              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.

              FORMAT INFORMATION

              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 Warp.net and original Bleep.com websites.

              Limited to 100 copies, exclusively available to independent retailers.

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

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

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

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

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

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

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

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

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

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


              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.


              FORMAT INFORMATION

              12" Info: Limited pink vinyl pressing.

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

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

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

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

              Jackson And His Computerband

              Glow

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

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

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


              FORMAT INFORMATION

              2xLP includes MP3 Download Code.

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

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

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


              FORMAT INFORMATION

              2xLP Info: Double vinyl in a gatefold sleeve.

              2xLP includes MP3 Download Code.

              Rustie

              Ultra Thizz / Dreamzz

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

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

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


              FORMAT INFORMATION

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

              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?

              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".

              FORMAT INFORMATION

              LP Info: Limited 180g reissue.

              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.


              FORMAT INFORMATION

              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.

              ‘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!


              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.

              FORMAT INFORMATION

              2xLP Info: Limited double vinyl pressing in gatefold sleeve.

              LoneLady

              Nerve Up

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

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

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

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

                STAFF COMMENTS

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

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

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

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

                FORMAT INFORMATION

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

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

                Prefuse 73

                Vocal Studies + Uprock Narratives

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

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

                Squarepusher

                Music Is Rotted One Note

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

                Boards Of Canada

                Trans Canada Highway

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

                Boards Of Canada

                The Campfire Headphase

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

                FORMAT INFORMATION

                2xLP Info: 2xLP in gatefold sleeve. 140g vinyl pressing cut from original metalwork. Includes circular blue sticker.

                Aphex Twin

                I Care Because You Do

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

                  FORMAT INFORMATION

                  2xLP Info: Limited 180g reissue.

                  Broadcast

                  Tender Buttons

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

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

                    Aphex Twin

                    Selected Ambient Works Volume II

                    The 1994 follow up to the amazing "Selected Ambient Works '85 - '92" was more concept LP than collection, with each track an interpretation of different textures (brick, carpet, plastic stone etc) and themes.

                    Nightmares On Wax

                    Car Boot Soul

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

                    STAFF COMMENTS

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

                    Broadcast

                    The Noise Made My People

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

                      Broadcast

                      Haha Sound

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

                      Nightmares On Wax

                      Smokers Delight

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

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

                        FORMAT INFORMATION

                        2xLP Info: As the final part of the ‘NOW Is The Time’ campaign celebrating 25 years of Nightmares On Wax, Warp presents double gatefold vinyl represses of the Nightmares On Wax back catalogue. Includes printed inner sleeves and a download card for the full audio.

                        Boards Of Canada

                        Music Has The Right To Children

                        THE PICCADILLY RECORDS ALBUM OF THE YEAR 1998

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

                        STAFF COMMENTS

                        Darryl says: From 1998:

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

                        FORMAT INFORMATION

                        2xLP Info: 2xLP in gatefold sleeve. 140g vinyl pressing cut from original metalwork. Includes Skam braile sticker on front of sleeve and Boards of Canada sticker inside.

                        2xLP includes MP3 Download Code.

                        Boards Of Canada

                        Geogaddi

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


                        FORMAT INFORMATION

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

                        Aphex Twin

                        DrukQs

                          2001 posting from the crazy mind of Richard D James, and it's madder than ever! 30 tracks of bonkers hyperspeed breakcore mixed in with gorgeous piano pieces prove that there's only one Aphex Twin!!

                          Boards Of Canada

                          In A Beautiful Place Out In The Country

                          'In a Beautiful Place out in the Country' is another brilliant EP by Boards of Canada. Encompassing four tracks culled from the same recording sessions from which Boards of Canada would later produce 'Geogaddi', the EP tends to favor a darker, more pastoral, and even elegiac atmosphere than its predecessor 'Music Has the Right to Children'.


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                          Thanks for posting about it. It’s here until next Friday May 3rd btw. https://t.co/PgaFhSvpPe
                          Wed 24th - 8:58
                          Yes! Thanks @NME for the feature. Come and visit @ianbrown https://t.co/ilKYdZmAtx
                          Tue 23rd - 9:48
                          It’s great isn’t it?! Glad you liked it and hope your wish comes true.🤞🏻 https://t.co/ZPlM8ry6f5
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                          Thank you. Come back soon. https://t.co/wahwb4Pvw2
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