Warp Electronic & Dance 121 Items

Responding to popular demand, Warp Records is repressing its seminal Boards of Canada catalogue on vinyl for the first time in over five years. Each Warp reissue comes with a download code and an original BOC sticker design from the era.

Mount Kimbie's new album Love What Survives arrives four years since their Warp debut Cold Spring Faultless Youth. Produced mostly on just two vintage synths, a Korg MS-20 and a Korg Delta, and featuring a vast wave of friends and collaborators: Micachu, James Blake, Andrea Balency and King Krule, Love What Survives is a bold statement that takes you on a journey through a motorik post-punk landscape, a vivid dream within this singular band's newly formed sound.

Timely reissue with digital download card for digital smoking delights!

Just over eighteen months on from the visionary success of 2018's Safe In The Hands Of Love, Yves Tumor pushes visceral sonic boundaries with his new full-length studio album Heaven To A Tortured Mind.
In a sense, Heaven To A Tortured Mind occupies the anthemic soundworld of the androgynous underworld that was explored in Safe In The Hands Of Love. Offering up a dozen pieces of vivid avant-pop (the days when he would fill an album with painterly, semi-concrete ambiences, as he did on 2017’s Experiencing The Deposit Of Faith, appear to have passed).

Co-produced by Justin Raisen (Sky Ferreira, Ariel Pink, Charli XCX) this selection also comes off as slicker than its predecessor, less prone to rupture and seemingly more comfortable with its poppier impulses. There are even moments here which present as a kind of variation on the neo-soul sound that has been turned murky and swampy at Tumor’s mephistophelian hand. As such, along with Tumor’s disruptive contemporaries like Dean Blunt.

Heaven To A Tortured Mind finds Yves Tumor growing into his position as an outsider popstar. The result is a beautiful, forthright LP from a supremely unique talent.

13 years after Drukqs, the new Aphex Twin album. It's a quickstrike, folks!

Responding to popular demand, Warp Records is repressing its seminal Boards of Canada catalogue on vinyl for the first time in over five years. Each Warp reissue comes with a download code and an original BOC sticker design from the era.

Oh yes, finally the follow-up to Mount Kimbie's critically acclaimed debut "Crooks & Lovers", now on Warp Records!

Are you sitting comfortably? Artificial Intelligence is for long journeys, quiet nights and club drowsy dawns. Listen with an open mind.

Back in 1992 when Warp released the Artificial Intelligence compilation it almost instantly changed both the course of Warp as a label and arguably what many would consider club music as an entity to be. Artificial Intelligence came housed inside a prog rock styled gatefold sleeve depicting a cover image of a robot blowing smoke rings whilst reclining on an armchair. Its extra long rolling papers and tin of tobacco just out of reach, whilst a high-end stereo plays out the sounds of Kraftwerk's Autobahn and Pink Floyd's Dark Side Of The Moon, their LP sleeves lay strewn across the floor. This image along with the above text that as printed on the sleeve acted as a guide for the listener on how to best experience this new mode of techno music, one that was designed for those nights when your body stays in but your mind steps out.

Having been in operation for three years by the time they compiled and released the Artificial Intelligence compilation, Warp had already proved itself as a worthy force within the world of quickfire 12 singles of acid house and the emerging hardcore scene. Starting as a predominant pusher of the new bleep 'n' bass sounds of their hometown Sheffield, Warp had enjoyed success with early anthemic singles from artists such as Nightmares on Wax, LFO & Richard H. Kirk's Sweet Exorcist project. These building blocks laid the foundations for what many would go on to define as the Warp sound but it was 1992's Artificial Intelligence compilation that cemented their place in music history.

Artificial Intelligence was notable for early appearances by people who went on to become pioneers of the hypnotic groove for both Warp and electronic music in its entirety. Artists such as The Black Dog/Plaid whose melancholic contribution The Clan (produced under the alias I.A.O.) bears long drawn out strings combine perfectly with the tear-drenched techno of Carl Craig with the trend for looped breakbeats to create a track that still resonates deeply every time it is played. Looking further out than most, B12's Telefone 529 with its recording of an automated incorrect phone number message carries an air of nostalgic puzzlement, while Preminition transports a diva vocal and hardcore piano roll into a zero-gravity soundtrack of space. Autechre's Crystel and The Egg offers the first steps towards the path of abstract oblivion that they would go on to travel throughout the post-AI years. Both pieces focus an acidic gurgle around some cut up vocals, its timeframe existing perfectly within a distinct hip-hop cylinder that brilliantly displays their roots within b-boy culture.

Aphex Twin appears under his alias The Dice Man, opening up the operation with a track that would become an alias in itself, Polygon Window in many ways formed the core sound of the Artificial Intelligence compilation and subsequent album series that followed it. Rolling post-acid dynamics, a strong knowledge of breakbeat techno and some serious subs keep the track in a full forward motion, Polygon Window still stands out as one of the most unbeatable techno tracks within Warp's discography. Elsewhere, chief ambient technologist Dr Alex Paterson put forward a four-minute cosmic ambient piece akin to his work as the central figure of which The Orb revolves around. Whilst Richie Hawtin made an appearance with his euphoric almost gabba track Spiritual High, produced under the name Up! his fellow Plus 8 producer Speedy J stepped in with De-Orbit, a track that you could say on reflection, almost helped shape the early steps towards what would turn into the deeper recesses of liquid drum & bass.

Warp co-founder Steve Beckett was quoted around the time of the Artificial Intelligence compilations release in 1992 as saying you started to hear tracks by B12 and Plaid and Speedy J that just didn't fit into any category, B-sides and last tracks on EPs. We just realised that they weren't meant for 12-inches, it was just that this was the only outlet for that kind of music. We realised you could make a really good album out of it. You could sit down and listen to it like you would a Kraftwerk or Pink Floyd album. That's why we put those sleeves on the cover of Artificial Intelligence - to get it into people's heads that you weren't supposed to dance to it!. This train of thought led to Warp putting together one of the most forward-thinking compilations to appear within the early 90s post-acid explosion, and many others tried to copy the formula but arguably no imprint ever came close to topping or even releasing anything that stands tall alongside Artificial Intelligence for its undeniably experimental, yet sheer futuristic scope and vision.

Listening back now, 30 years since its original release, it's striking how contemporary and fresh the music of Artificial Intelligence still sounds. While many tracks from those days still and will forever sound brilliant, many AI contemporary compilations have taken on the sheen of a more retro and throwback feel. When digested with a knowledge of what has been made within the last quarter of a century, the tracks that form Artificial Intelligence still carry a strong, almost outside of time feeling that's influence shines as strongly today as it did 30 years ago. A timeless record that will continue to point the way forward for electronic music for many years yet to come.

Best coverartwork ever! And the track isn't too bad either.

Responding to popular demand, Warp Records is repressing its seminal Boards of Canada catalogue on vinyl for the first time in over five years. Each Warp reissue comes with a download code and an original BOC sticker design from the era.

Responding to popular demand, Warp Records is repressing its seminal Boards of Canada catalogue on vinyl for the first time in over five years. Each Warp reissue comes with a download code and an original BOC sticker design from the era.

Another Aphex Twinclassic back in print! Pressed 180 gram wax, download code included!

The blueprint for today's growing beatscene and a must-have from 2008. Appearences from Laura Darlington, Gonjasufi, Ahu (as Dolly) and more.

Classic Aphex Twin 12" with four nice mixes!

With his first widely available new material in 5 years, Aphex Twin returns with an intricate and melodic addition to his discography.

The machines co-opted in production are as complex as the Weirdcore artwork, layering signature sombre ambient chords with intricate drum programming.

‘Blackbox Life Recorder 21f’ marks Aphex Twin’s official and celebrated return to augment our current reality.

Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) takes us beneath all the bedazzled glam stardom as Yves journeys through the limbo of life and love, escaping toxicity to get higher and holier. From the raw, unapologetic drawl of 'God Is a Circle' comes a mercurially shifting tracklist where Yves picks apart their psyche, discerning lovers and enemies both spiritually devoted to. 'Lovely Sewer' captures the incendiary spark of love, heart racing to the red flags under sunset coloured new wave guitars; a total flipside to the later sultry sighs and strong shuffles of 'Echolalia', where heat rises from the spiralling synths and funky dance grooves.

Dom Maker and Kai Campos have always known how to masterfully synthesise their talents into one singular yet ever changing vision. Since beginning in 2009, their work has morphed from their distinctly British sound of dubstep and techno to the boundaryless and densely packed collaborations of Love What Survives. Five years after that scintillating record, the two take their talents as Mount Kimbie to new extremes by splitting them in half entirely.

Having walked separate paths musically and physically in the world over the years since Love What Survives, Dom and Kai took a literal approach to their latest record, separating it into two distinct, independently produced albums - but linked through shared senses of sonic haziness and melody. Die Cuts shows Dom Maker at a collaborative peak, interspersing vocal cuts, samples, and urban sounds in swiftly stitched vignettes with a slowed down, lo-fi flair. Meanwhile, the chugging beats of City Planning mimic train tracks, as Kai Campos’ album contains rhythmic paintings of urbanity with detailed sonic architecture. These two sides of Mount Kimbie are as different as day and night, yet they inform each other greatly, speaking a simultaneous message from separate locations.

The opening track ‘dvd’ on Die Cuts features a mystical siren song fading in, before slowthai and Danny Brown’s expressive vocals cut through on ‘in your eyes’, trading bittersweet and apoplectic verses. An eerie alarm echoes on ‘heat on, lips on', subsiding with punchy beat and skittering keys, and a scathing, mercurial spoken word spiralling to jazzy loops depicting intimate struggles. City Planning in similar fashion shifts from tense, burrowing bass rumbles to fluttering synth droplets forming rivers of sound. The molten underground beat of ‘Transit Map (Flattened)’ lurches and groans, with piano notes sprawling like the many-coloured intersecting lines of a subway map.

Even when split in two, Mount Kimbie provide yet another total upheaval of their sound, combining their individual strengths for a roaringly creative album on MK 3.5.

Limited edition of 500 copies in gatefold sleeve with printed inner sleeves!

20 years HHV: our team has selected an album from each of these years that is particularly relevant and precious to us. On a monthly basis we release exclusive and limited pressings of these records in collaboration with some of our favorite labels.

After scoring one of the most critically acclaimed film scores of recent history Uncut Gems in 2019, artist and producer Daniel Lopatin is back with his new album Magic Oneohtrix Point Never.

Named as a reference to a misheard play on words of Boston’s Magic 106, it is a nostalgic reference to radio landscapes. Loosely structured on radio's journey from day into night, it is interspersed with digital hallucinations that appear as ghosts between the dials. Collaging together "archival recordings of various American FM station’s “format flips”, in which detourned DJ sign-offs collide with advertisements and self-help mantras to form darkly humorous reflections on American music culture."

The album’s opening ‘DRIVE TIME SUITE’ is Magic Oneohtrix Point Never’s appeal in microcosm. Curtain-raising vignette ‘Cross Talk I’ crams hypnagogic infomercial sounds and uncanny, Holly Herndon-esque vocal manipulations into a mere twenty-two seconds, its sharp aural left-turns prefiguring the FM radio-style shifts which periodically break up Magic Oneohtrix Point Never. ‘Auto & Allo’ subsequently expands this aesthetic, its halcyon electronics and twisted echoes of baroque-pop landing somewhere between Sophie and Actress. The balladic elements which lurk in ‘Auto & Allo’ are brought out further still on the following number ‘Long Road Home’, a track where Lopatin’s robotified vocals are accompanied by Caroline Polachek and set against a hyperreal chamber-pop instrumental.

Magic Oneohtrix Point Never is another thrilling, boundary-pushing record of electronic compositions from this multi-faceted artist. It amalgamates his rich history of production work, his chamber-pop songwriting of his previous albums and his earlier explorations of plunderphonics, into a record that is as much of a reference to the artist's past, as Lopatin dialling inwards into his sonic world of 0PN, creating a parallel universe for the listener to exist in, during these tumultuous times.

Artwork by Robert Beatty

Yves Tumor shows the world that it's Safe In The Hands Of Love with his debut album for Warp.

Released into the wild with no fanfare or prior warning, Yves Tumor makes good on the audience following astonishing singles 'Noid', 'Licking An Orchid (feat. James K)' and 'Lifetime'. Whereas each of these showed a different side to his sound, one that arguably wasn't afraid to immerse itself in the close running interests of skinny-jeans 'n' all indie, heartfelt romantic ballads and soulful RNB bangers, Yves Tumor's seeming refusal to be creatively pigeonholed is the most vital and compelling cog within his musical identity. Walking a tightrope between being on the one hand, one of the most seductive, soulful musicians of modern times, while also being a serious aficionado of harsh n0!se, as made evident with his recent years' live sets which have become something of a legendary experience/assault for each audience that has entered into the high-intensity sound-field that his on-stage presence creates.

Safe In The Hands Of Love captures each and every side of Yves Tumor's musicianship with an elegant mix of pop numbers and more "experimental" de-constructions. With the spirit of Danish noise/synth/punk/tekno institution Posh Isolation running through the lifeblood of the music, so much so that in a perfect bonding two of the Posh Isolation crew's finest Loke Rahbek and Frederikke Hoffmeier both appear on the album in solidarity with Yves' vision. The recordings are uncharacterizable as anything other than Yves Tumor music. From the gothic cloak 'n' dagger cyberpunk punishment of 'Hope In Suffering (Escaping Oblivion & Overcoming Powerlessness)' featuring Oxhy & Puce Mary, through to the 'Economy of Freedom' produced with Croation Amor and moving along with all the sludgy heaviness of a thousand broken hearts, the feelings explored upon offer a kaleidoscopic union of classic songwriting and lobotomized sound experiments. Chapters like 'Recognizing The Enemy' and 'Licking An Orchid' capture a sense of near blissful introspective blues, sounding like Yves is rushing into the deepest moments of winter while his words that are seemingly spun out of tears, begin to freeze in the cold night air. Before 'Let The Lioness In You Flow Freely' could be the Whitehouse and Steve Albini post-rock record that never materialized back in the 1990's, while 'Recognizing The Enemy' further explores the gothic soundscape rock 'n' roll (original and authentic shades, slick back and leather jacket) of 'Noid', ensuring that his stadium-sized approach to crafting earworms is well and truly represented.

Repeatedly carving out a new path within the diamond cut musical trajectory of Klein, Dean Blunt, Radiohead, Coil and Kevin Shields, Yves Tumor's Safe In The Hands Of Love builds upon his recordings for PAN while setting the stage and informing anyone still unsure that Yves Tumor is truly one of the most visionary and singular artists of his generation.