Warp Electronic & Dance 154 Items

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

Artwork made in The Designers Republic™

When Darkstar broke cover earlier in 2020 with the single ‘Wolf’ fans of the group wondered if the wait for a follow-up to 2015’s Foam Island LP might soon be over. Now, those suspicions have been confirmed - Civic Jams, Darkstar’s first studio album for half a decade, is upon us.

‘Wolf’ set the tone well for the rest of Civic Jams. The track’s combination of stop-start electronic grooves, frail and beautiful synths and cooing vocals are reminiscent of Cold Spring Fault Less Youth-era Mount Kimbie, and the placing of ‘Wolf’ at the centre of this record allows its influence to radiate out across the eight other tunes here.

Civic Jams is a brooding affair full of low-lit textures and quietly forceful songs. Vocals are hung at the edge of the mixes, a choice which makes them feel at once intimate and cryptic in a manner that is not dissimilar to the singing on Caribou albums. This feeling is only heightened by the nocturnal production Darkstar apply to the drums and synthesisers across Civic Jams - in the hands of other artists a cut like ‘Jam’ could be transformed into a peak-time banger, but the tender treatment Darkstar afford it imbue it with the poignancy of Jai Paul.

Darkstar’s long-awaited return is upon us - and in Civic Jams they have created a record of gorgeous aquatic nightsongs.

Lorenzo Senni has been turning heads for over a decade now. However, his star has risen greatly since the release of the exceptional 2017 single ‘XAllegroX’/‘The Shape Of Trance To Come’, a record which solidified both Senni’s ‘Pointillistic Trance’ style and his status as one of modern electronic music's most vital artists. As such, it is hugely exciting that the Italian has announced the new LP ‘Scacco Matto’, his first full-length album since 2014’s Superimpositions.

Across the eight tracks of Scacco Matto, Senni demonstrates once more that his maximalist style can be deployed to summon both club heft and depth of feeling. Rather than utilising a wide array of instrumentation, Senni selects his sounds carefully in a manner not dissimilar to early Sophie singles like ‘Bipp’. Despite not using drum machines Senni is still able to whip up rhythmic frenzies on cuts like ‘The Power Of Failing’ and ‘XBreakingEdgeX’. The latter is one of several track-titles here which shows off Senni’s humorous side (see also ‘Wasting Time Writing Lorenzo Senni Songs). This playfulness also translates into the music at times, with ‘Move in Silence (Only Speak When It’s Time to Say Checkmate)’ full of the zippy synth runs one finds in Murlo tracks.

The grandiose builds that underpinned ‘XAllegroX’ and ‘The Shape Of Trance To Come’ resurface here too. ‘Dance Tonight Revolution Tomorrow’ Appears particularly indebted to those tracks, its powerful chords swelling across seven-and-a-half minutes to summon up huge emotion in the listener. There is also great punch to Scacco Matto opener ‘Discipline Of Enthusiasm’.

Lorenzo Senni, trance’s premier deconstructionist, debuts on Warp with Scacco Matto, his first LP in six years.

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.

Daniel Lopatin has worked on a Safdie Brothers film before - indeed, his music for 2017’s Good Time was widely heralded as one of that year’s best movie scores. As such, it makes sense that Lopatin (better-known as Oneohtrix Point Never) was brought on board by the pair once again to create the soundtrack to their new flick Uncut Gems. Now Warp have issued a standalone edition of the Uncut Gems OST.

Lopatin’s music for Uncut Gems invokes the same balance of electronic prettiness and harsh, abrasive noise that he did for Good Time. At their lushest, some of these tracks read like an updated version of the classic scoring work of Vangelis, Wendy Carlos and Angelo Badalamenti. There is an inviting dreaminess to much of Uncut Gems that comes off like a more maximalist rendering of Badalamenti’s Lynchian aesthetic - although a track such as ‘Back To Roslyn’, with its nocturnal keyboards and ethereal saxophone, is more naked with this influence.

When the noisy tracks come in here they enter with a sense of dread at their core. ‘The Fountain’, for instance, whistles and screeches in a manner that sounds like a harsh take on a Johnny Jewel composition. Elsewhere ‘School Play’ brings the noise more slyly, its breathless bleep-bloop motif tripping over itself to eventually create an unsettling soundscape.

Uncut Gems is another impressive sojourn into the world of film scoring from Daniel Lopatin (Oneohtrix Point Never).

Almost five years have passed since the last album by Flying Lotus, You're Dead! and he has had many irons in the fire. Collaborating on Kendrick Lamar's To Pimp a Butterfly, playing a key role in the production of Thundercat's Drunk, writing and directing the hallucinatory horror film Kuso, all the while working on his next afro-futurist masterpiece, Flamagra.

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

“I’d been working on stuff for the past five years, but it was always all over the place. I’d always had this thematic idea in mind—a lingering concept about fire, an eternal flame sitting on a hill,” Lotus says. “Some people love it, some people hate it. Some people would go on dates there and some people would burn love letters in the fire.” - Flying Lotus.

Hold tight, Fire is Coming.

Black Vinyl in gatefold sleeve with mp3 code included!

Almost five years have passed since the last album by Flying Lotus, You're Dead! and he has had many irons in the fire. Collaborating on Kendrick Lamar's To Pimp a Butterfly, playing a key role in the production of Thundercat's Drunk, writing and directing the hallucinatory horror film Kuso, all the while working on his next afro-futurist masterpiece, Flamagra.

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

“I’d been working on stuff for the past five years, but it was always all over the place. I’d always had this thematic idea in mind—a lingering concept about fire, an eternal flame sitting on a hill,” Lotus says. “Some people love it, some people hate it. Some people would go on dates there and some people would burn love letters in the fire.” - Flying Lotus.

Hold tight, Fire is Coming.

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.

Oneohtrix Point Never presents ‘Age Of,’ an album of new music out June 1st on Warp.

Described as 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.

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.

Death Peak cements Clark as one of the most innovative and singular artists to ever release a record on Warp, much like those that lay the foundations before; Aphex, Plaid, Autechre & Nightmares On Wax through to the subsequent new wave of ahead of their time and all those around artists, Lorenzo Senni, Hudson Mohawke, Kelela & Evian Christ. Death Peak finds Clark in the middle, one foot in the label's historic glories and one foot in the rave. A true pioneer the hypnotic groove, and constantly yet carefully constructing sounds that will lay down the blueprint for the future.

‘Beautiful People’, the lead track from Mark Pritchard’s latest and critically acclaimed album ‘Under The Sun’ gets a 12" relase!

13 tracks, that's a hell of an EP! Vinyl comes with download code!