Warp HHV Records 173 Items

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.

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.

Timely reissue with digital download card for digital smoking delights!

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

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.

Only 1 per customer!

Fifteen years since its original release, The Other People Place's Lifestyles Of The Laptop Café is finally made available again on vinyl. A long-standing favourite among the many legions of Warp fans and rightly considered to be one of the very best electronic albums of all time.

It's hard to sum up in words just how important Lifestyles Of The Laptop Café truly is. Originally released back in 2001 as part of the Drexciyan off-shoot Storm Series, Lifestyles was one of the various projects of one-half of deep sea electro pioneers Drexciya, James Stinson. Shrouded in mystery, the two members of Drexciya took the blueprint laid out by the pioneers of the hypnotic groove, Kraftwerk and gave it a truly electro feel - cold, yet funky. Where Drexciya's sound was focused in the deepest corners of the ocean, James's work as The Other People Place was a solo project that turned its gaze elsewhere, most notably in the direction of love.

Playing out like the first meeting through the early days of a relationship, the themes of closeness and affection carry a strong theme throughout with tracks like 'Eye Contact' describing those very first seconds of connection, before the story unfolds with the twilight romance of 'Moonlight Rendezvous', and the almost doubt creeps in on the bittersweet 'You Said You Want Me' and the anthemic 'Let Me Be Me'. A track of legendary status amongst the wide-ranging spectrum of electronic music lovers, producers and DJs the world over.

With the original vinyl being incredibly hard to find (for a second-hand copy, you are looking upwards of one hundred and fifty quid easily!) this freshly repressed edition is something many of us have been dreaming of, and for those looking to take their first trip to the Place, you are in for a life-affirming experience.

Like all of the very best techno and electro, The Other People Place yields some of the most beautiful sounds to emerge from the D with a limited sound pallette, stripping everything back to the essentials to compose an incredibly important yet delicate album that still to this day continues to fascinate and seduce with its strikingly subtle flow and elegant mystery.

Classic Aphex Twin 12" with four nice mixes!

Another reissue slammer form Warp's Nightmares On Wax back cataloque!

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.

While still rounding up Squid’s modern anxieties into electrifying songs, O Monolith is a more refined experience, deep in thought yet buzzing in a freshly post-isolation world.

Circular synth arpeggios and pendulum-swinging guitar licks open with laser focus on ‘Swing (In A Dream)’, subtle yet frantic as a driving beat kicks in and Ollie Judge sings “I worry in my sleep” to right-angled riffs tossing and turning. Themes of displacement and friction run throughout the record, with domesticity and the environment rubbing against each other, and our relationships with violence and being witness to endless streams of it.

Guitar plucks on ‘Devil’s Den’ stalk suspiciously against a baroque backdrop of brass and horns, lilting until theatrical thrashes drop in. ‘Siphon Song’ lurches into a smooth jazz-adjacent vocoder ballad, with spellbinding vocal tapestries intensifying and collapsing under gravitational weight. ‘Undergrowth’ enters a post-punk-funk groove, tense with guitars scribbling viscerally down the frets, exploring reincarnation and animism in the mundane set to music that is anything but. Heavy footsteps lumber on ‘After The Flash’, Judge muses “How hard can it be to live a normal life?” before crashing into the track’s unending ascension.

The world hasn’t gotten any less turbulent since Bright Green Field was released in 2021. Squid’s debut was a definitive outcry in a hyperpolitical era: punk in all senses with its witty defiance of the present shouted over upfront, rocking thrill ride, yielding fierce experimentalism powered by varied instrumental palettes and non-sequitur structures. It didn’t take long for the band to start formulating their follow-up; just two weeks after their debut’s release, their second album O Monolith began to manifest and swerve even further leftfield.

Ever restless, Squid have knocked it out of the park once again on O Monolith, grounded in post-punk but taking off into something entirely new.

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!

While still rounding up Squid’s modern anxieties into electrifying songs, O Monolith is a more refined experience, deep in thought yet buzzing in a freshly post-isolation world.

Circular synth arpeggios and pendulum-swinging guitar licks open with laser focus on ‘Swing (In A Dream)’, subtle yet frantic as a driving beat kicks in and Ollie Judge sings “I worry in my sleep” to right-angled riffs tossing and turning. Themes of displacement and friction run throughout the record, with domesticity and the environment rubbing against each other, and our relationships with violence and being witness to endless streams of it.

Guitar plucks on ‘Devil’s Den’ stalk suspiciously against a baroque backdrop of brass and horns, lilting until theatrical thrashes drop in. ‘Siphon Song’ lurches into a smooth jazz-adjacent vocoder ballad, with spellbinding vocal tapestries intensifying and collapsing under gravitational weight. ‘Undergrowth’ enters a post-punk-funk groove, tense with guitars scribbling viscerally down the frets, exploring reincarnation and animism in the mundane set to music that is anything but. Heavy footsteps lumber on ‘After The Flash’, Judge muses “How hard can it be to live a normal life?” before crashing into the track’s unending ascension.

The world hasn’t gotten any less turbulent since Bright Green Field was released in 2021. Squid’s debut was a definitive outcry in a hyperpolitical era: punk in all senses with its witty defiance of the present shouted over upfront, rocking thrill ride, yielding fierce experimentalism powered by varied instrumental palettes and non-sequitur structures. It didn’t take long for the band to start formulating their follow-up; just two weeks after their debut’s release, their second album O Monolith began to manifest and swerve even further leftfield.

Ever restless, Squid have knocked it out of the park once again on O Monolith, grounded in post-punk but taking off into something entirely new.

Multi-disciplinary artist Jasper Marsalis, known by his stage name Slauson Malone 1, announces his new album, Excelsior, out October 6th as his debut for iconic label Warp Records. Among the gems within this album, the spotlight shines on his newly-released second single out today "New Joy," a mesmerizing exploration of finding pleasure from submission, complemented by visuals crafted by the talented hand of Parker Corey of By Storm/Injury Reserve fame, and Marsalis himself. The forthcoming album also includes previously-released single "Voyager," which was accompanied by a music video directed by Ryosuke Tanzawa that spoke to the period of aimlessness following the release of his critically acclaimed 2019 full-length A Quiet Farwell, 2016-2018 (Crater Speak), before he moved to Los Angeles.

The word "excelsior" embodies perpetual ascent. Slauson Malone 1 envisions it as a metaphorical sword, one that in someone's possession incessantly grows until it cleaves the Earth in a grand finale. That metaphor becomes his lens to explore all facets of masculinity with a newfound clarity, as he interrogates his own lived experiences through songs and movements across the album inspired by everything from Grammy award-winning composer Wendy Carlos, to the similarities between falling out of love and a nuclear half-life. Excelsior takes the form of a collection of personal essays, with vignettes that intertwine and stand-alone, but ultimately serve the purpose of forming Slauson Malone 1's most personal and enthralling musical work to date.

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.

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

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.

As Yves explores the pulchritude of purgatory, they move through electrifying rock strains. The technicolour acoustic guitars of 'Meteora Blues' evolve into a high voltage headbanger as they plead, "I'll always pray to an empty sky," sauntering into a falsetto-powered, scathing examination of the popstar on 'Parody' and the cold wave-meets-emo thrashes of 'In Spite of War'. 'Purified By the Fire' is a plunderphonic gauntlet of alchemical transmutation, with shredded loops and cataclysmic beats leading up to the anthemic and heavenly last hurrah of 'Ebony Eye', where Yves Tumor finds glory and salvation, sitting on the throne as the righteous leader of rock music’s contemporary revolution.

The world needed a new rockstar, and Yves Tumor has the answer. From the chameleonic kaleidoscope Safe In The Hands Of Love, to the visceral fusions of Heaven To A Tortured Mind, and the theatrical power jams of The Asymptotical World, Yves Tumor has proved their prowess in any sound their punk spirit inhabits. Hot Between Worlds distills all of this into a masterclass of pop songwriting and rock captivation, with songs that carry a stadium shaking energy having been teased and refined with their band live across the globe.

Given his noted love of anime, scoring a fantastical retelling of a 16th-century samurai warrior of African descent serving under a Japanese daimyo, must be a dream project for Flying Lotus. But, as we’ve come to expect from the man who brought us the mind-bending 2019 LP Flamagra and his own written, directed and scored full-length surrealist fever dream Kuso back in 2017, Steve Ellison is anything but predictable.

Where his recent work has ventured deep into the hitherto unexplored avant-garde reaches of contemporary electronic music, jazz and hip-hop, FlyLo’s score to renowned anime creators Studio MAPPA’s Netflix original series Yasuke — on which he also acts as story consultant and executive producer — sees FlyLo eschew his digital maximalism with rumblings of traditional instrumentation, sweeping romanticism and widescreen cinematic scope.

Broadening the canvas of show creators LeSean Thomas and Takeshi Satou’s alternative-historical Sengoku period of magic and swordplay, with a soundtrack of Morricone-style epic tones, traditional Japanese percussion instruments and West African percussion, the feudal yet futuristic world of Yasuke is summoned.

The drum-driven drama of ‘Your Armour’ and ‘Your Lord’ simmer with synth flutes, strings and koto, as the bubbling arps of ‘War Lords’ recall the cyberpunk noir of Vangelis’ Blade Runner score, while frequent collaborators Thundercat and Niki Randa, also make an appearance in this parallel universe.

Another spellbinding FlyLo release even without the stylish animations of the show, Yasuke is set to be one of Ellison’s most prized releases.

Danny Brown’s fifth studio LP uknowhatimsayin¿ drops at an intriguing point in the rapper’s career. After breaking out with his second album XXX, consolidating fame with the follow-up Old and then blowing the game wide open through 2016’s landmark Atrocity Exhibition, Brown’s status as king of the underground feels assured these days. The question as he surveys his domain, is; what next?

Brown’s answer is to make his most focused record yet. A svelte eleven tracks - short when compared to the sprawling opuses of his past - uknowhatimsayin¿ is a more thoughtful affair than anything Brown has previously released. Gone are the tales of all-night benders yammered with cartoonish intensity over beats that sound like an EDM rave in hell. Instead Brown comes off as considered and in control, his flows spun out with poise and eloquence.

The production here befits the changes in Brown’s delivery. While Brown has always been a great rapper, uknowhatimsayin¿ will go down as his first hip-hop record. While the instrumentals here are laced with the psychedelic potency of Atrocity Exhibition, they also rumble and slap in a manner that recalls classic 90’s boom-bap. This change in sound is unsurprising when you consider uknowhatimsayin¿’s executive producer - none other than the legendary Q-Tip.

uknowhatimsayin¿’s features list also feels carefully curated. JPEGMAFIA, heir apparent to Brown’s throne, gets in amongst it on ‘Negro Spiritual’. Unsurprisingly this new energy turns ‘Negro Spiritual’ into one of the album’s wildest tracks, a head-spinner that would have slotted easily into Atrocity Exhibition. Besides Run The Jewels and Brown schooling younger MCs on ‘3 Tearz’ the other guest spots are reserved for singers - Obongjayar turns in vocals on two tracks while Blood Orange croons softly on penultimate cut ‘Shine’.

Danny Brown is older, wiser, and possibly better than ever on new LP uknowhatimsayin¿

The Duke Of Rave and The God of Electronic Music (depending which time of night it is) drops us into the Collapse EP. Offering exhilaration, instantaneous and life-affirming abundance, high hats and sauntering arrangements, brain-scrambling noise and much much more

This September the Collapse EP will hit your ears, fall into its wonderment!

Regular edition.

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.

Another NOW classic, now back in print with download code for the entire album!

The 5th studio album of Brainfeeder's finest Flying Lotus with features by Kendrick Lamar, Jazz legend Herbie Hancock, Snoop Dogg, Thundercat and his alter ego Captain Murphy!

Regular version on 140 gram vinyl.

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.

Debut solo album from songwriter and Grizzly Bear multi-instrumentalist / vocalist Daniel Rossen - even if you’re not familiar with the name you’ll likely know his voice. Trading lead vocals with bandmate Ed Droste, Rossen’s band Grizzly Bear became leaders for a late-aughts wave of Brooklyn transplants bringing their introspective bedroom pop to the masses. With a trembling delivery, Rossen and co. similarly dealt out heady, ornate songs that eventually featured in nationwide commercials and movie trailers.

That being said, Daniel Rossen hasn’t lived in Brooklyn for a number of years now. Since 2017’s Painted Ruins, Grizzly Bear have appeared to be in hibernation aside from Droste’s departure in 2020 to become a therapist. As life charged onward, Rossen decamped to Sante Fe and began reflecting a lot more on individuality. Namely, after years of being a part of a successful collective, he saw the need to define himself after the restless enthusiasm and public fanfare of his 20s and early 30s.” The result is You Belong There, Rossen’s debut solo album that sounds as reflective and searching as its title suggests.

Heralded by lead single ‘Shadow In The Frame’, the thorny twists and turns that defined Rossen’s work with Grizzly Bear return on his first solo outing, but with a new sense of urgency at the wheel. Taking up cello and woodwinds along with relearning the upright bass, Rossen assembles a jittery, yet stunning orchestra as he contends with his mortality on ‘Shadow in the Frame.’ Existential uncertainty weighs heavily on the sparser moments as found in 'You Belong There'.

The talented Daniel Rossen allows his songwriting to take centre stage, crafting an ornate album following a period of reflective self-discovery.

Ever the innovator, the spatial audio Dolby Atmos® mixes were originally conceived and created during the original mixing period of the album last year and represent OPN’s first official exploration of immersive audio outside of his movie scores for Uncut Gems and Good Time.

Alongside the original stereo album, the Blu-ray Edition includes four bonus songs: fascinating juxtapositions between alternate takes of “Lost But Never Alone” by OPN himself and PC Music head AG Cook; and two of the most singular female voices in the last 40 years of experimental pop, the haunting rework of “Nothing’s Special” with Rosalía and the lilting dreamscape of “Tales From The Trash Stratum” with Elizabeth Fraser (Cocteau Twins).

The package also includes sixteen music videos, representing a career spanning anthology of OPN audio-visual works to date. They are directed by a staggering list of collaborators including Josh & Benny Safdie, Takeshi Murata and Nate Boyce and stars the likes of Robert Patinson, Val Kilmer, Iggy Pop and even the renowned brutalist architecture of London’s Barbican Centre. Given OPN’s unwavering curation of video talent it is unsurprising to note that his videos were afforded their own exhibition at LA’s Hammer Museum in 2016. The Blu-ray Edition finally features new artwork and animated menu by Robert Beatty.

You know the story by now: a global pandemic hits, and your whole perspective shifts, particularly if your livelihood hangs in the balance. After a decade of non-stop gigging, Warp’s longest serving veteran George Evelyn, mastermind DJ and producer of the chameleonic Nightmares On Wax project, suddenly found himself at a standstill. Without the promise of packed venues, turntables on raised platforms and the atmosphere of magical evenings, what exactly was Nightmares On Wax?

As it happens, Shout Out! To Freedom… is the finest example of the N.O.W. experience Evelyn has produced to date, created in isolation and yet bolstered by a deep sense of collaboration. Duly informed by their own creative upheavals, the extraordinary talents of the likes of saxophonist Shabaka Hutchings, vocalist Haile Supreme and poet Sabrina Mahfouz amplify the jazz feel of Evelyn’s sound. ‘Creator Sos’ is a prime example of perfect synchronicity, a striking amalgam of languid soul and psychedelic pop, played out over a hip-hop beat. Sensual sax licks fray at the turntablist textures of ‘3D Warrior’, while the likes of ‘Breathe In’ harken back to N.O.W.’s essential tenure as part of the early trip-hop movement.

Shout Out! To Freedom… encapsulates the endless potential that can come about from stasis. It's a record that as is celebratory of N.O.W.’s past as it is determined to break from it.