Purple Vinyl, Limited Edition.

As part of maintaining The Black Dog's back catalogue, Dust Science has now re-issued the 2010 album, "Further Vexations". It's a real successor to Radio Scarecrow, moving forward with the dark tone and concepts.

Further Vexations picks up from what was started in Radio Scarecrow, moving beyond the world of open secrets and the bemusing transmissions of number stations, to exploring the dark cynicism of Orwellian practices carried out by our Govern- ments, institutions and corporations.

Martin Dust from tBd explained, “Our main concern was and still is the amount of personal freedoms being surrendered under the banner of "for your own safety" – CCTV, Biometrics and the World Wide Databases being the latest inventions to save us from ourselves. What is it going to take for people to wake up? How much further can the people that we’ve put into power go before something finally snaps? We've had enough now! We believe that people have become lazy and accepting of "beige" political parties who have realised if they stand for nothing, people will fall for anything.”

10 years on, the references to George Orwell's 1984 appear to be a little naive and wholly inadequate. From billion-dollar corporate entities openly mishandling our data for profit to highly-targeted and manipulative political propaganda campaigns, the misuse of our data and communications is far more sophisticated and devious than originally envisaged.

The stark omens of Further Vexations are now more prophetic than ever.

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“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively.

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“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively.

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Experience the sonic journey that is The Black Dog's latest album, "Other, Like Me," as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, "Other, Like Me", draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, "Other, Like Me" offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.

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In the enigmatic realm of electronic music, The Black Dog stands as a visionary act, responsible for crafting, among other things, the mesmerising album "Silenced". Notably, this release marks a significant milestone in the band's evolution, being the first album from the new line-up and their collaboration with the fledgling label Dust Science.

Defying industry norms, The Black Dog embodies a Do-It-Yourself (DIY) ethos. Their artistic journey remains steadfast, with a commitment to originality and creative freedom, unfettered by the limitations imposed by the commercial music industry.

The record label Dust Science takes pride in championing The Black Dog's musical prowess, with its first release being the band's 4-track EP "Bite Thee Back". However, this EP was only a prototype for the revitalised collective, eventually leading to the composition of Silenced, which followed soon after.

This creative period denotes a fresh start for The Black Dog, a testament to their resilience and a commitment to evolving their sound. The resulting album represents a new beginning, celebrating and transcending the echoes of the past. It redefines the band's sonic landscape and establishes a distinct musical narrative that resonates with dedicated followers and newcomers alike.

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The Black Dog's highly regarded album, Radio Scarecrow, is now remastered and re-issued on Dust Science, 15 years after its original release on Soma Records.

Two years of constant development culminated in a masterpiece that flows delightfully and hits hard. Marking a true progression from the band's previous album, Silenced, the trio are keen to note:

"The beats are faster and the bass is much heavier - so much so, that it was making us ill, working with the low frequencies for hours on end. We could only do 3 hours at a time on some parts."

Tracks like Floods v3.9 and Beep are a testament to this. With throbbing basslines strong enough to make an impact on the Richter scale, these tracks are best played out on big sound systems.

Radio Scarecrow unfolds gracefully, barely skipping a beat between tracks. The act have created an album that demands to be listened to in its entirety. With elements blending between tracks (the same kick drum being used to very different means in Short Wave Lies and Siiiipher for example) and with constant references to conspiracy theories and the supernatural, The Black Dog present more than a collection of tracks. Influenced heavily by their interest in Magick, Numbers Stations and Electronic Voice Phenomenon (EVP), the act have hidden examples of these within their work.

"These transmissions and recordings (and people's interpretations of them) had a strong influence on many of the final concepts and compositions, to the point where we've been embedding coded messages and curses deep inside the tracks".

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WHITE COLOURED VINYL / LIMITED TO 300 COPIES!

My Brutal Life delves into the profound aspects of our artistic endeavours encompassing brutalism, the environment, and humanity. Throughout our ongoing creative journey, we consistently gravitate towards these themes, documenting and exploring the human experience within these environments. Our unwavering fixation on Symmetry, Synchronisation, and Repetition are the driving force in our artistic expression. Moreover, we strive to peel away superficial layers to expose the underlying emotional strata of the human aspect, unearthing the often overlooked beauty within the ordinary. Although frequently disregarded, the human aspect resonates with echoes from the past, enlightening and guiding our artistic process. Even the failures encountered serve as poignant reminders of the delicate structures we construct. My Brutal Life constitutes a pivotal component within an enduring exhibition, meticulously crafted to delve into the aesthetic and human facets of brutalism.

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TIP!!!

Sometimes, things "just happen". For months, we’d been working away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

We’d been talking about the old days; making music with friends and dodgy kit, renting small practice rooms and using makeshift recording studios. It was such a common thing back then, you could pick a dusty space in a half-derelict building for as little as £25 a month. In those days, the Cabs and Human League had studios with posh-sounding names, but in reality, they were the same old workspaces long abandoned by the industries they were built for. Nevertheless, the grand names made them sound magical.

Sheffield had thousands of these spaces, and some still exist today, but their abundance and low-cost made Sheffield a very active place. Someone was always doing something. They’d exploded onto the scene in a flurry of excitement before disappearing just as quickly.

There’s something about these little mesters (workshops) that we believe lives in the very consciousness of Sheffield. It’s one of the reasons we never really had big scenes like Manchester or Leeds. The Hacienda would've never been built here.

We don’t really do big gangs or have that kind of mentality. We tend to exist in little pockets, often leaving each other alone. It would be 30 years before any member of The Black Dog talked to Cabaret Voltaire. Sure, we’d stood outside their practice room as kids, trying to listen in, but never felt any reason to approach. Sheffield is like that.

Once we had the first two tracks of the Black EP, we set off to see Jon at Do It Theesen, where he manually cut the tracks to an extremely limited set of 7" singles using a vinyl lathe. It just felt right to go back to the old ways; a small gang creating something special in workshops and sheds. There’s something very satisfying about it, a perfect circle, if you will.

We pushed further by adopting old practices, working with one synth per person and limiting the use of our computers. We only stopped short of putting everything on beer crates. It seems like madness these days, but there is raw creativity within these confines. Pretty much every band started this way. Depeche Mode travelled to the studio on the London Underground for their first appearance on Top Of The Pops, all lugging a synth each. That's how we approached the creation of this album; stripped back, raw and minimal - it just felt so right.

And then there’s the competitive element that was influenced when the original Human League split and became Human League MK II and Heaven 17. Both continued to use the same studio to write what became the albums "Dare" and "Penthouse and Pavement". There is something about that drive that is very Sheffield, just making stuff and hoping everything falls into place.

In Sheffield, we do things differently, because that’s how we are built. away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

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Music for Real Airports is a series of exciting live art events and installations in art galleries/spaces that are artistic response to the reality of occupying the semi-public space of an airport, and a contemporary reply to Brian Eno´s work from the 70s. Produced by musicians and artists with an international reputation - the Black Dog and Human - the project will portray airports as they really are, rather than idealised utopian vision of what they should be. Combining performances of electronic music and live-mixed animation and digital video projected on multiple screens, Music for Release Airports will be a unique, immersive experience that will draw in new audiences to art galleries.
Tracklist
M1
Terminal EMA
DISinformation Desk
Passport Control
Wait Behind This Line
Empty Seat Calculations
Strip Light Hate
Future Delay Thinking
Lounge
Delay 9
Sleep Deprivation 1
Sleep Deprivation 2
He Knows
Business Car Park 9

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We’ve always worked apart. For us, it’s nothing new. Large online servers have been in place for years but at some stage, we always meet up while working on an album to pour over the details, tone and running order. We create storyboards and write text to support and form the ideas. However, this process and the simple ability to sit in the same room just wasn’t possible during the pandemic. This isn't necessarily a bad thing, on this project we believe that it has helped us to capture the isolation a photographer seeks with their subject. It's an attempt at slowing down and finding something internal. When the chatter stops, the creative intentions seep through. Music For Photographers was first created as a functional tool. For the last two years, we’ve been photographing our city and the brutal architecture that sits within the landscape. Throughout this process many mistakes had been made, resulting in many return visits to repeat work already undertaken. Rushing, aimlessly collecting and near misses are all common problems. Photography, just like any other artform, needs to be practised and the skills need to be attained. Like music, it’s a constant battle. Something was needed to aid the art being sought. We created Music For Photographers with two simple rules; to be void of human voices and that it should be played in full when visiting any location. Our approach to composing the music and visiting the locations evolved. It helped the whole process become a more fluid exchange of ideas and we repeated the process later while editing the photographs. The book "Brutal Sheffield" provided a full stop for the creative process, finding that perfect balance between function and form. Music For Photographers has now become a fully functioning sigil in our creative process. Rather than just invoking, it also evokes and goes beyond being a simple function. Listen carefully and you can hear the bre´ton brut!

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4x12” – heavy weight 180g vinyl – gatefold sleeve – limited to 500 units.

We’ve always worked apart. For us, it’s nothing new. Large online servers have been in place for years but at some stage, we always meet up while working on an album to pour over the details, tone and running order. We create storyboards and write text to support and form the ideas. However, this process and the simple ability to sit in the same room just wasn’t possible during the pandemic. This isn't necessarily a bad thing, on this project we believe that it has helped us to capture the isolation a photographer seeks with their subject. It's an attempt at slowing down and finding something internal. When the chatter stops, the creative intentions seep through. Music For Photographers was first created as a functional tool. For the last two years, we’ve been photographing our city and the brutal architecture that sits within the landscape. Throughout this process many mistakes had been made, resulting in many return visits to repeat work already undertaken. Rushing, aimlessly collecting and near misses are all common problems. Photography, just like any other artform, needs to be practised and the skills need to be attained. Like music, it’s a constant battle. Something was needed to aid the art being sought. We created Music For Photographers with two simple rules; to be void of human voices and that it should be played in full when visiting any location. Our approach to composing the music and visiting the locations evolved. It helped the whole process become a more fluid exchange of ideas and we repeated the process later while editing the photographs. The book "Brutal Sheffield" provided a full stop for the creative process, finding that perfect balance between function and form. Music For Photographers has now become a fully functioning sigil in our creative process. Rather than just invoking, it also evokes and goes beyond being a simple function. Listen carefully and you can hear the bre´ton brut!

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We live in dangerous times. We are blinded by control vectors that separate us from reality. And The Black Dog returns with a viral antidote: an album of de-programming material which they've called Nether/Neither. This record continues the work they started with Further Vexations and Radio Scarecrow. Burroughs was right: we are now living in a world that is nothing short of a total information war. We are neither one thing nor another, endlessly on the fence in the face of an onslaught of disinformation. Non-linear hypermedia systems are openly used to control us, their operation being totally exposed, mocking our impotence, yet complete in their power. We are all proles now; all are expected to maintain a mental state of Neither/Neither, of uncertainty and inaction. Even in a world where anyone can be an instant expert on any subject in a single click, we find that all our knowledge is a mere replay of someone else's script. We are surrounded and occupied by systems of platitude generation that are empty and self-referential. All is surface and all is hollow. From the Tories' election propaganda to David Icke, they're all the same, all meaning filtered to nothing by a lack of substance, science and humanity. Falsehood becomes reason, no matter how ridiculous the proposition. They stand for nothing so they can have no questions to answer. False prophets and the modern day snake oil salesmen parade their viral vampirism, grasping for our time, money and headspace. Even our ridicule becomes fuel for their trade as they turn ignorance and psychopathic exploitation into received wisdom and public opinion. Ask any sideshow psychic; repeat, pure Barnum bunkum enough times and you can seize the psychology of the masses. Rumours become truth then they become action and policy that in the cold light of the day make no-sense at all. No one's sure where they heard it but they have. The spectral offer of change, which actually sustains the stasis of confusion. They spin us on a ball of confusion we live on continues to turn and as long as they have us in a state of Neither/Neither they will always maintain control. Fight Back!

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Tracklisting:
A1. A Fake In A Faker's World
A2. Ice Shelf
A3. Bugging Out Again
B1. Back In The Game
B2. The White Cliffs
B3. The Spirit
C1. Gangsters
C2. This Conversation Is Missing Your Voice
C3. Tall Tales
D1. Happy Days
D2. The Men Who Dance In Stag's Heads
D3. Wandering Genie

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Tracklisting:
A1. A Fake In A Faker's World
A2. Ice Shelf
A3. Bugging Out Again
B1. Back In The Game
B2. The White Cliffs
B3. The Spirit
C1. Gangsters
C2. This Conversation Is Missing Your Voice
C3. Tall Tales
D1. Happy Days
D2. The Men Who Dance In Stag's Heads
D3. Wandering Genie

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Tracklisting:
A1. A Fake In A Faker's World
A2. Ice Shelf
A3. Bugging Out Again
B1. Back In The Game
B2. The White Cliffs
B3. The Spirit
C1. Gangsters
C2. This Conversation Is Missing Your Voice
C3. Tall Tales
D1. Happy Days
D2. The Men Who Dance In Stag's Heads
D3. Wandering Genie

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Tracklisting:
A1. A Fake In A Faker's World
A2. Ice Shelf
A3. Bugging Out Again
B1. Back In The Game
B2. The White Cliffs
B3. The Spirit
C1. Gangsters
C2. This Conversation Is Missing Your Voice
C3. Tall Tales
D1. Happy Days
D2. The Men Who Dance In Stag's Heads
D3. Wandering Genie

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When Coldcut, the electronic pioneers, dropped their groundbreaking Journeys by DJ mixtape in '95, one of its standout moments came towards the end of the mix. Amidst the era's finest beat-makers and electronic visionaries, the duo teased a hypnotic, looping double bass line, followed by haunting sax, thunderous drums, and guitar, before seamlessly blending into the Radiophonic Workshop's Doctor Who theme. That earworm bass line? It's the signature sound of Red Snapper's Hot Flush, forever etched in the listener's brain.

Fast forward 30 years, and Red Snapper is reissuing their Reeled & Skinned compilation on Warp Records. The collection includes Hot Flush in both its original form and the remix by Andrew Weatherall's Sabres of Paradise. It brings together the trio's self-released early EPs from '94 and '95, a time when they quickly gained a reputation on the London live scene, captivating jazz, hip-hop, and dance heads alike. Word of their unique sound soon spread, catching the attention of Warp Records founder Steve Beckett, who signed the band shortly after.

Now, Reeled & Skinned is available on vinyl again for the first time in decades, remastered and featuring an additional track, Area 51, recorded during the same period. Beyond this milestone reissue, Red Snapper's influence continues to resonate in today's UK jazz scene, where their fearless fusion still inspires new generations. The band will be touring the UK this March with 13 dates, and they have new music lined up for release on Lo Recordings later this year.

Selling points:
" 30th anniversary edition - remastered and pressed to vinyl for the first time in decades
" Includes extra track Area 51 - recorded in the same period.
" Features guest vocals from Beth Orton and a remix from Sabres of Paradise
" The band play a 13 date UK tour through March

- Specs: Black 2LP vinyl in paper inner sleeve in wide spine outer sleeve

Tracklisting:
A1. Snapper (feat. Beth Orton)
A2. Hot Flush
A3. Cortina
B1. Swank
B2. In Deep (feat. Beth Orton)
C1. Area 51
C2. Lobster
D1. Hot Flush (Sabres Of Paradise Remix)
D2. Wesley Don't Surf
D3. One Legged Low Frequency Guy

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Blackbox Life Recorder 21f / In a Room7 F760 by Aphex Twin will be released on the 28th July via Warp Records.
This is the first new music from Aphex Twin in five years.
He headlines nine festivals this summer.
Artwork by Weirdcore
- Specs: Black 12" vinyl in printed inner sleeve packed inside 6 panel fold out anamorphic diorama, download code, packed in resealable bag
Tracklisting:
A1. Blackbox Life Recorder 21f
A2. zin2 test5
AA1. in a room7 F760
AA2. Blackbox Life Recorder 22 [Parallax Mix]


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Squid's new album Cowards is about evil. Nine stories whose protagonists reckon with cults, charisma and apathy. Real and imagined characters wading into the dark ocean between right and wrong.

Cowards is Squid's most courageous album: simultaneously growing in scope and returning to basics. The band recorded Cowards at Church Studios in Crouch End with Mercury prize winning producers Marta Salogni and Grace Banks. On additional production is longtime shifu and collaborator Dan Carey, who recorded the band's first two albums. The record was mixed in Seattle by John McEntire, before being compressed by the rich analogue chain of Heba Kadry's mastering in Brooklyn, New York.

Squid have come a long way since forming in 2016 as an instrumental jazz band for a monthly night in Brighton. Their debut album Bright Green Field (2021) arrived as the world was starting to open up after the pandemic and they broke into the top 5 in the UK chart. In 2023 they released their sophomore album, the brooding O Monolith, which took the band all over the world and broke new ground that hardly seemed possible years prior.

- Specs Black 1LP Vinyl in printed inner sleeve in 3mm spine sleeve. Housed in printed PVC wallet with flap.

Tracklist:
A1. Crispy Skin
A2. Building 650
A3. Blood On The Boulders
A4. Fieldworks I
A5. Fieldworks II
B1. Cro-Magnon Man
B2. Cowards
B3. Showtime!
B4. Well Met (Fingers Through The Fence)

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Originally released in 2017, PHANTOM BRICKWORKS is an ongoing ambient/drone project by Stephen James Wilkinson a.k.a. Bibio. The work explores the human echoes still present in various sites around Britain. Wilkinson has visited these locations, observed their gradual decline, and responded with improvised and composed music. New in 2024, a sequel titled PHANTOM BRICKWORKS (LP II) is a 10-track LP, mastered by Guy Davie and vinyl cut by Hendrik Pauler. The new record draws attention to new sites - some are intriguing, vast scars on the natural landscape, others survive only in local memories, historic clips and photographs. A few remain submerged from ordinary sights, while some exist purely as legends and stories.

- Specs: Black 2LP Vinyl in printed inner sleeve in wide spine outer sleeve and download code

TRACKLIST:
A1. DINORWIC
A2. DOROTHEA'S BED
B1. PHANTOM BRICKWORKS VI
B2. SURAM
B3. LLYN PERIS
C1. PHANTOM BRICKWORKS VII
C2. TEGID'S COURT
D1. BROGRAVE
D2. SPIDER BRIDGE
D3. SYCHDER MCMLXXXIX

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An album beloved by fans since its release in March 2004, Ultravisitor is one of the most popular records in Squarepusher's entire discography. A unique blend of studio and live recordings, it's an excellent showcase for the diversity of his music: from the frenetic title track to the funky jazz of "Iambic 9 Poetry" to the sunlit bliss of "Tommib Help Buss" and beyond.

For the 20th anniversary, Warp is proud to present this expanded deluxe version, a limited edition one-time pressing, carefully remastered from the original tapes by Jason Mitchell at Loud Mastering and overseen by Tom Jenkinson. Never entirely happy with the sound of the original release, Tom has relished the opportunity to revisit the tapes, bringing out fresh dynamics and details in the tracks.

Bonus album Venus No.17 Maximised is compiled from tracks originally released as part of the Ultravisitor promo EP, released 26 January 2004; the Square Window 3" CD, a free bonus disc given out with WarpMart pre-orders of the Ultravisitor album; and the Venus No.17 EP. The accompanying booklet contains rare photos, flyers, and recording documentation.

- Specs Black 2LP in 5mm wide spine sleeve, printed inner sleeves + 1LP in 3mm spine sleeve, polylined sleeve + 16 page booklet all in printed O-card sleeve

Tracklist:
A1. Ultravisitor
A2. I Fulcrum
A3. Iambic 9 Poetry
A4. Andrei
B1. 50 Cycles
B2. Menelec
B3. C-Town Smash
C1. Steinbolt
C2. An Arched Pathway
C3. Telluric Piece
C4. District Line II
D1. Circlewave
D2. Tetra-Sync
D3. Tommib Help Buss
D4. Every Day I Love
E1. Square Window
E2. Abacus 2
E3. Venus No.17
E4. Itti-Fack
E5. Melt 14.6
F1. Venus No.17 Acid Mix
F2. Tundra 4
F3. Talk About Me & You

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An essential piece of electronic history is restored to its full glory for the 30th anniversary, with all 25 tracks of Selected Ambient Works II reunited in this Expanded Edition alongside two extras. Constantly referenced and revered decades after its release, SAWII has seen accolades such as the Pitchfork perfect 10 and #2 best ambient album of all time.

Written in his early 20s, it follows the glacial synths and deft percussion of Selected Ambient Works 85-92 and preceding the contorted, intricate, abstract visions of electronic music on ...I Care Because You Do. Aphex Twin crafted this mammoth set of mostly beatless vistas, textured compositions that are by turns beautiful, nightmarish, emotive, and thrilling.

From swooning beauty to careening dread, even in just the first two tracks, SAWII is a stunning and faultless piece of work. Each soundscape brings with it the sense of standing in some vast space, with dripping rusted pipes and dilapidated walls, or endless canyons of low bitrate whooshing winds. Tracks like ‘Blue Calx’ emanate a strange kind of peace, with synths that sound like wobbling laminated paper or underwater radar blips while a constant knocking keeps pace. Elsewhere, curious microtonal keys flutter and subtly morph, low frequencies throb and purr, and oscillating hums induce hypnagogia.

The gossamer soft chords of ‘#3’ (AKA ‘Rhubarb’) move slow as clouds, airy wisps that are translated into orchestral grandeur on the exclusive ‘Rhubarb Orc. 19.53 Rev’ with quivering strings, ethereal choir, and reversed molten bass, while ‘th1 [evnslower]’ is a sonorous blur floating from hopeful lifts to anxious dissonance. Finally included on all formats after 30 years, ‘#19’ (AKA ‘Stone In Focus’) seems to smooth over all the wrinkles of life with its blissfully monolithic chords and faint ripples of melody, its ticking like skipping stones marking the passage of time till it slows to a gentle halt.


- Polylined inner sleeves
- Foil blocked wide spine outer sleeve
- Fold out poster
- Sticker insert
- Expanded edition includes all songs on all formats for the first time, including previously vinyl-exclusive track #19 alongside two additional tracks (officially released and on physical formats for the first time)
- Artwork by Paul Nicholson, original album designer + Aphex logo designer

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Selected Ambient Works Volume II (Expanded Edition) is due for release on Oct 4, 2024, celebrating the original album's 30th anniversary.

Written when Aphex Twin (Richard D. James) was in his early 20s, the album gained critical acclaim both upon release and retrospectively (10/10 Pitchfork review, #2 Best Ambient Album of All Time, 4 star Rolling Stone review + more).

Aphex Twin and SAW II’s influence continues to grow and take new meaning across generations.

Selling Points
• 30th anniversary edition of Aphex Twin’s critically acclaimed Selected Ambient Works II
• Expanded edition includes all songs on all formats for the first time, including previously vinyl-exclusive track #19 alongside two additional tracks (officially released and on physical formats for the first time)
• Artwork by Paul Nicholson, original album designer + Aphex Twin logo designer

- Specs 3CD in foil blocked case bound sleeve with booklet

Tracklist:
CD01:
1. #1
2. #2
3. #3
4. #4
5. #5
6. #6
7. #7
8. #8
9. #9

CD02
1. #10
2. #11
3. #12
4. Blue Calx
5. #14
6. #15
7. #16
8. #17
9. #18
10. #19

CD03
1. #20
2. #21
3. #22
4. #23
5. #24
6. #25
7. th1 [evnslower]
8. Rhubarb Orc. 19.53 Rev

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Distant Call, In contrast to Spell Blanket, is a collection of early demos of songs that would subsequently appear as finished productions on the albums Haha Sound, Tender Buttons and The Future Crayon.

The album also includes two songs discovered by James after Trish’s passing: “Come Back To Me” and “Please Call To Book”. These were her response to Broadcast’s 2006 ‘Let’s Write A Song’ project, where fans were asked to submit lyrics on a postcard which would then be worked into a finished song.

Distant Call is a closing of the door on Broadcast and will be the last release from the band.

- Spec Black 1LP Vinyl in printed inner sleeve in 3mm spine sleeve

- Listen: https://warp.ffm.to/broadcast-tittp

Tracklisting:
A1. Tears In The Typing Pool [Demo]
A2. Still Feels Like Tears [Demo]
A3. Come Back To Me [Demo]
A4. The Little Bell [Demo]
A5. Distant Call [Demo]
A6. Valerie [Demo]
A7. Colour Me In [Demo]
B1. Ominous Cloud [Demo]
B2. Flame Left From The Sun [Demo]
B3. Where Youth And Laughter Go [Demo]
B4. Poem Of A Dead Song [Demo]
B5. O How I Miss You [Demo]
B6. Pendulum [Demo]
B7. Please Call To Book [Demo]

https://broadcast.warp.net/

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Endlessness is a deep dive into the cycle of existence. The 45-minute album delicately spans 10 tracks with a continuous arpeggio playing throughout, creating an expansive, mesmerising celebration of life cycles and rebirth. Following Sinephro’s critically acclaimed 2021 debut album Space 1.8, Endlessness further elevates her as a transcendent and multi-dimensional composer, beautifully morphing jazz, orchestral, and electronic music.

The album was composed, produced, arranged, and engineered by Sinephro. Performing on the album are Sheila Maurice-Grey, Morgan Simpson, James Mollison, Lyle Barton, Nubya Garcia, Natcyet Wakili, and Dwayne Kilvington, joined by Orchestrate’s 21 string players.

The album will be available on black 2LP vinyl with d-side etching as well as CD.

- Specs Black 2LP vinyl with etching to d-side in printed inner sleeves in 5mm spine sleeve. Housed in PVC wallet with flap.

Tracklist:
A1. Continuum 1
A2. Continuum 2
B1. Continuum 3
B2. Continuum 4
B3. Continuum 5
B4. Continuum 6
B5. Continuum 7
B6. Continuum 8
C1. Continuum 9
C2. Continuum 10

Praise for Space 1.8:

"An ambient jazz classic" - The Guardian

"A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements." - 8.3 ‘Best New Music’ Pitchfork

"Music so vast could feel lonely, but the sense of smallness one feels listening to Nala’s music is humbling and reassuring; the magnitudes of beauty we can create are unbound." - Jazzwise

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After critically acclaimed reissues of their mid-90s material, Seefeel return with their first new music since 2011. Everything Squared is a one-off 6-track mini-album which presents a contemporary evolution of their trademark sound. Mainly composed and performed by the core duo of Mark Clifford and Sarah Peacock, with bass on two tracks from Shigeru Ishihara. Mastered by Berlin-based engineer Stefan Betke aka Pole at Scape Mastering, and designed by Ian Anderson at The Designers Republic.

- Specs Black 12" Vinyl in paper inner sleeve in 3mm spine sleeve

Tracklist:
A1. Sky Hooks
A2. Multifolds
A3. Lose The Minus
B1. Antiskeptic
B2. Hooked Paw
B3. End Of Here

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Spell Blanket - Collected Demos 2006-2009 comprises songs and sketches drawn from Trish’s extensive archive of 4-track tapes and MiniDiscs. The recordings lay the groundwork for what would have been Broadcast’s fifth album, offering a window into Trish and James’ creative process during the post-Tender Buttons period from 2006-2009.

Photography used in its artwork is by Trish and James and the artwork is designed by Broadcast’s long-time collaborator Julian House. Spell Blanket - Collected Demos 2006-2009 will be released via Warp Records on May 3rd and available on standard black 2LP and CD.

- Spec Black 2LP Vinyl in printed inner sleeve in 3mm spine sleeve

- Listen: https://warp.ffm.to/broadcast-ftl

Tracklisting:
A1. The Song Before The Song Comes Out
A2. March Of The Fleas
A3. Greater Than Joy
A4. Mother Plays Games
A5. My Marble Eye
A6. Roses Red
A7. Hip Bone To Hip Bone
A8. Running Back To Me
A9. I Blink You Blink
A10. Infant Girl
A11. I Run In Dreams
B1. Luminous Image
B2. A Little Light
B3. Hairpin Memories
B4. My Body
B5. Follow The Light
B6. Tunnel View
B7. Where Are You?
B8. Singing Game
B9. I Want To Be Fine
C1. The Games You Play
C2. Grey Grey Skies
C3. Puzzle
C4. The Clock Is On Fire
C5. Petal Alphabet
C6. Tell Table
C7. Fatherly Veil
D1. Dream Power
D2. Heartbeat
D3. Call Sign
D4. Crone Motion
D5. Sleeping Bed
D6. Join In Together
D7. Colour In The Numbers
D8. I Am The Bridge
D9. Spirit House

https://broadcast.warp.net/

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Scottish and Danish composer Clarissa Connelly’s debut album on Warp Records, “World of Work”, is set to be released on April 12th.

Over the years Clarissa has explored sacred sites and mythology, finding inspiration in Celtic and Nordic culture. For her most recent album, “The Voyager”, Clarissa walked the Scandinavian landscape, channelling melodies from ancient pre-Christian sites. The album received global acclaim and was awarded the prestigious Nordic Music Prize.

On “World of Work”, Clarissa explores themes of acceptance and growth, by creating a sonic embroidery, a powerful testimony of her production and composition abilities.

- Specs Black 12" Vinyl in printed inner sleeve in 3mm spine sleeve and download code

Tracklist:
A1. Into This, Called Loneliness
A2. The Bell Tower
A3. An Embroidery
A4. Life Of The Forbidden
A5. Wee Rosebud
B1. The Excess Of Sorrow, Laughs
B2. Turn To Stone
B3. Tenderfoot
B4. Crucifer
B5. S.O.S. Song Of The Sword

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Mount Kimbie’s fourth studio album, The Sunset Violent, is seeded in the wake of 2017’s Love What Survives and marks an important full circle moment for the group as they return to a band-like setup (Dominic Maker, Kai Campos, Andrea Balency-Béarn and Marc Pell).

The Sunset Violent was made under the empty sky of the American desert, where Kai and Dominic relocated to for a month. A town with little to offer but a couple of saloons, a basin with a history of alleged UFO sightings and a selection of local country radio stations ends up birthing a new Mount Kimbie record that harks back to a time where the guitar lead the way through the band’s sonic tapestry.

On The Sunset Violent, an album that marks fifteen years of Mount Kimbie, it’s clear that their creative spark is by no means at an end.

- Specs Black 1LP Vinyl in printed inner sleeve in 3mm spine sleeve and download code

Tracklist:
A1. The Trail
A2. Dumb Guitar
A3. Shipwreck
A4. Boxing (Feat. King Krule)
A5. Got Me
B1. A Figure In The Surf
B2. Fishbrain
B3. Yukka Tree
B4. Empty And Silent (Feat. King Krule)

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Over the past decade, New York-based composer and producer Kelly Moran has solidified her status as a trailblazing figure in modern music, challenging the piano's traditional, classically-imposed school of thought with a more contemporary, experimental approach. An accomplished and highly sought-after composer, Moran has collaborated with artists the likes of Oneohtrix Point Never as part of his touring ensemble for 2018 album Age Of, as well as singer and composer FKA Twigs' live ensemble. Moran has also composed for classical musician Margaret Leng Tan and worked with other visionary contemporaries like Kelsey Lu and Yves Tumor. As a solo artist, Moran's critically acclaimed albums, Bloodroot and Ultraviolet, have explored a variety of extended piano techniques like John Cage-inspired prepared piano and exercises in improvisation. Her unique strand of experimental piano compositions, which conjure hypnotizing textures and dramatic compositional arcs, have been included on year-end lists across classical, avant-garde, and metal genres.

Moran’s upcoming album, Moves in the Field, is a series of duets for herself and the Yamaha Disklavier – a technologically advanced version of a player piano. Able to perfectly replicate humanlike playing through intense fine-tuning and programmable dynamics, the Disklaviers used on Kelly’s new music act as a foil to her own striving for a balance of technical perfection and emotional expression in her performances and compositions.

Kelly Moran Shares: “In early 2020, Yamaha loaned me a Disklavier player piano - a special instrument that allows you to record your performance for the piano to play back on its own. I was initially working on a duet for myself and another pianist, but when the pandemic hit, the player piano became my duet partner. I began writing a series of duets for myself and the Disklavier, exploring all the different ways I could utilize this instrument to merge its inhuman capabilities with my own playing. The Disklavier allowed me to record multiple layers of my playing so I could create music on the piano that would require more fingers or greater endurance than I physically have - like chords that had more than 10 notes in them, or chords that were spaced out farther than my hands could stretch. Sometimes I’d record a pattern and then speed it up to play back faster than I could ever physically play. My imagination exploded at all the possibilities this instrument allowed me to create, and these explorations culminated in my new record Moves in the Field.”

- Specs Clear 12" Vinyl in printed inner sleeve in 3mm spine sleeve and download code

Tracklist:
A1. Butterfly Phase
A2. Superhuman
A3. Don’t Trust Mirrors
A4. Dancer Polynomials
A5. Sodalis (II)
B1. Leitmotif
B2. It’s Okay To Disappear
B3. Hypno
B4. Moves In The Field
B5. Solar Flare

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Warp present the the first three full length offerings from Autechre; Incunabula, Amber & Tri Repetae. Having been unavailable on vinyl since 2001, these recordings reveal the geometry of the duo's early transcripts from post-acid house electronica through sparse, hypnotic ambience and into the b-boy flavour that characterised their mid-nineties excavations of jungle, industrial and hip-hop.

Amber, the second full-length from Autechre and considered by many to be their ambient opus (though we imagine they wouldn't call it that!) having been out of print on vinyl since 2001. Amber contains eleven tracks of sparse Ae minimalist machine modules that blur the boundaries between isolationist electronica and richly vivid techno soundscapes. Considered by many fans to be the most crucial recording from the group, it contains some of their most immersive soundscapes to date. Steering away from the post-hardcore dynamics that shone through on Incunabula, Amber moves further away from anything resembling 'techno' and moved into more territories of abstract ambience. These eleven crystal-like cubes of sound came together to produce some of the most mind-bendingly hypnotic sounds to be committed to wax during the 90's. Placing Ae up in the ranks of legendary composers such as Steve Reich and Manuel Gottsching as well as their Artificial Intelligence contemporaries with whom they were crafting the building blocks of the future.There is something uniquely immersive about Amber, it's almost as if as you are playing it the sounds are fading away before they even begin, when played from the start you can lose a lot of time within the endless gradients that adorn its cover, before the sounds just seemingly, disappear.

Spec: 2LP in paper inners in gatefold sleeve with postcard size download card

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This 7" features a collaboration of two STAR CREATURE vets hailing from both northen & southern Cali for ultimate funk measure. The two have paired here for a raw, uncut cut with all the necessary elements for the freaky funk aficionados. Comes with a Vocal & Instrumental mix.

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This is a follow up to our last successful piano duo release "In Spite Of Everything“. This time it is four hands on two grandpianos and a computer. Henrik on robot automatic disklavier grandpiano and Bugge playing a grandpiano. Reworked from live recordings at famous Radialsystem in Berlin. Cinematic, acoustic, minimalistic, playful, complex. Studio recordings made from stereo live concert recordings only possible with the help of new AI Stem separation. The full EP will be available on a specially pressed black-white vinyl.

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After the success of Volume One, Jamie 3:26 returns for the second volume in the Dancefloor Damage series! Personal exclusives from his collection, these have damaged dancefloors around the world for years and are now available on vinyl for the first time ever. From the Southside of Chicago to the world. Three killer disco classics re-worked by a legend. No one does it like Jamie! Buy or cry.

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Dusty is back with As Above So Below, a new vinyl EP on Jazz & Milk that delves into vibrant deep house grooves crafted through his beloved MPC, fusing soulful warmth with boundary-pushing sounds. This release is a heady blend, featuring the raw vocal power and percussive rhythms of Ghanaian artist King Owusu (Jembaa Groove), who has shared stages with legends like Ebo Taylor and Pat Thomas. Henrique Gomide, from Brazil's Caixa Cubo, brings a touch of jazz finesse on the Rhodes piano, adding to the EP's eclectic flavor. Rooted in the ancient wisdom of "As Above So Below," Dusty unites genres in ways that feel natural, as though these disparate sounds have always spoken the same language. It's an EP that blurs the lines - where jazz, dub, West African rhythms, and house intertwine, creating a sound that's as introspective as it is designed to make you move.

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Berlin scene figurehead Gilles Aiken, AKA Edward, coming through with a massive Kalahari debut (and it’s safe to say he understood the assignment).

Booting off on a massive remix tip as the veteran producer reinterprets Mike Parker & Aric Rist’s Trybet project, but trust him to allow for a moment of dancefloor introspection. It’s prime early morning gear in a rousing juxtaposition of beatific string harmony and tough-as-nails deepness. Triumphant ‘window shutters open in the club at 5 AM’-type shit.

The other two are quintessential Edward: impressionistic, widescreen odysseys across lysergic terrain, but groove-forward where it counts. A pair of head-spinning explorations intended for the dancefloor, flush with shadowy flex, insectoid detail and tripped-out flourishes while keeping it funked-out in the tradition of Detroit.

The ‘Deep Sea Villain EP’ plumbs the depths of smudged abstraction, and as we’ve come to expect from Edward, it’s big on hallucinatory detail. It all oozes the multi-layered surrealism that typifies his best work. Proper transcendent biz.

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Recorded in 1997, Mountain Top features the commanding vocals of Tony Roots, backed by the legendary Firehouse Crew and produced by the visionary Fada Waz (Clifton Carnegie). This record’s release was driven by the people, evidenced and encouraged by the countless wheel-ups and sing-alongs during King Original’s international tour dates over the last three years whenever this seminal recording was dropped in the set.

Tony Roots, known for his cultural and spiritual themes, delivers a powerful vocal performance, reminding us that life’s most important journey is overcoming obstacles to find ‘Jah Love on the Mountain Top.’ This message is as relevant in today’s fast-paced, easy-come-easy-go consumer culture as it was when recorded three decades ago.

The Firehouse Crew renowned for their work with iconic acts like Luciano and Sizzla—shine brightly on this riddim, with the MPC drum machine-centered sound of 90s Jamaican roots reggae. An up-tempo 4/4 steppers beat layered with rich analogue textures and soulful instrumentation defines this timeless recording.

The first of many collaborations between Studio 55, Before Zero Records, and Footsie, the King Original legacy continues into the future, honouring the enduring contributions of Fada Waz and his collaborators.

Clifton Carnegie aka Ras Wazair aka Fada Waz - Clifton Carnegie, known as Ras Wazair, founded King Original Sound System in 1973, establishing it as East London’s foremost reggae sound. Operating under his Studio 55 moniker, he collaborated with legends like Johnny Osbourne, Barry Brown, Michael Prophet, Cornell Campbell, and Frankie Paul through imprints such as Original Sounds, Studio 55, and Original International. A mentor to many of the UK’s top sound systems and a key figure in London’s RasTafari community, Ras Wazair’s connections with prominent Jamaican artists, bands, and producers like Fattis Burrell ensured that Jamaican music remained an influential force in the UK sound system scene.

King Original?Founded in 1973 by Fada Waz, King Original Sound System shaped East London’s reggae scene for over two decades. Fada Waz and his son Footsie—a UK Grime pioneer who in later years expanded the legacy through his KO LP series and sold-out King Original mixed-genre events at London’s top venues—worked together until Footsie assumed full control following Fada Waz’s passing in 2021. Having worked with artists such as Dizzee Rascal, Arctic Monkeys, The Prodigy, D-Double E, Wiley, and Skepta, Footsie’s dedication to King Original has reinvigorated the legacy that underpins all UK bass music—the reggae sound system. Joining Footsie is his brother, Wazair’s last born Ras D also Jah Model, and long-time collaborator Sir Spyro, producer of two UK number-one hits with Stormzy and son of UK reggae stalwart Nerious Joseph. Armed with cutting-edge QSS sound system technology, King Original continues to set trends, shaping the future of UK bass music.

Tony Roots?Hailing from Manchester, Jamaica, in the 1980s, Tony Roots emerged alongside iconic figures like Garnet Silk and Tony Rebel. While his peers remained in Jamaica, Tony moved to the UK, where he went on to release ten albums and numerous singles, including hits like Grow Your Natty Dread Locks and Hola Zion. A steadfast champion of Rastafari, Tony has collaborated with legends such as the Firehouse Crew, earning worldwide respect and a devoted following within both the reggae community and the UK sound system scene.

The Firehouse Crew?Formed in 1986, The Firehouse Crew became a cornerstone of the 1990s roots-reggae revival. Initially associated with King Tubby’s Firehouse label before establishing their own, the band rose to prominence through collaborations with producer Philip “Fattis” Burrell at Xterminator Records. Their contributions to timeless albums like Luciano’s Where There is Life highlight their extraordinary musicianship. Over the years, The Firehouse Crew has backed iconic artists such as Sizzla, Buju Banton, and Beres Hammond, cementing their legacy as masters of roots reggae.

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Two days after his 100th birthday, Marshall Allen started recording New Dawn, his debut solo album. A member of Sun Ra’s Arkestra since 1958, Allen assumed leadership of the band in 1995. Throughout his nearly seventy-year career, Allen has never released a solo album under his own name, and yet, instead of capping such a legendary output, New Dawn seems to herald a new beginning. A love letter to spacetime, it channels a century of musical intelligence into seven tracks, showing Allen at his most protean—freely moving from relaxed, transdimensional palettes to bluesy big band and beyond.

One of music’s vanguard avant-saxophonists, Allen continues to deliver durational feats during the Arkestra’s gigs. Still, the compositional energy contained on New Dawn is striking. Allen was approached with the idea of a solo record by Week-End Records’ Jan Lankisch. The Arkestra’s Knoel Scott — who has lived with Allen at the Arkestral Institute of Sun Ra since the 1980s — worked with Allen to pore over the archive of unrecorded material and develop this debut. Scott assembled some of Philadelphia’s brightest jazz stars as well as some Arkestra veterans for the sessions. New Dawn was then recorded over a couple of days in Philadelphia, with additional recordings to be added in the coming weeks and months. The legendary Neneh Cherry will lend her unmistakable voice to the title track “New Dawn”.

Though greatly informed by the philosophy of Sun Ra and his Saturnian teachings—traverse jazz’s traditions, dig deep into spiritual geographies — New Dawn signals Allen as his own singular voice, one that’s swinging and bopping and reflecting into the future, with no sign of stopping. Week-End Records is proud to release this debut solo album by Marshall Allen.

“New Dawn is clearly an extension of Ra’s legacy and sound, but it’s also a masterful endeavour filtered through Allen’s tastes and approach”. – John Morrison, The Wire, November 2024 (cover story)

Musicians: Marshall Allen – Kora, EWI, Alto Sax Knoel Scott – Baritone Sax, Congas, Drums Cecil Brooks – Trumpet Bruce Edwards – Guitar Jamaaladeen Tacuma – Bass Richard Hill – Bass Timothy Ragsdale – Bass Owen Brown Jr – 1st Violin Akiko Arendt – 1st Violin Cristina Ardelean Montelongo – 1st Violin Derek Washington – 2nd Violin Elias Feldmann – 2nd Violin Dimitra Karageorgopoulou – 2nd Violin Michael Ireland – Viola Vasileios Vasileiadis – Viola Joseph Richard Carvell – Bass Ilektra-Despoina Stevi – Cello Jorik Bergman – Flute George Gray – Drums Jan Lankisch – Percussion

Special Guest: Neneh Cherry - Voice

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Recorded around 1978 is this wonderful slice of Seattle soul by the group Poppeye.

"Never Gonna Give You Up" is all set and ready like a loaded gun for the dancefloor. It's on that right side of feeling good soul music without being too disco or too cheesy. Lovely synths get it all up and running but its the light and airy guitar rhythm backed with stabbing horns and the group's harmonies that keep it all together , with James Clifford's vocals floating long like a Mac Davis "Im In Love" outtake. Wonderful stuff!

"Be Mine Baby". is like yacht rock on the next level. Rasping echo guitar riffs and a head nodding baseline kick it all off. The tightness of the horns by these well accomplished musicians is all here. Dont really know what to say other than its KILLER!

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RAWAX presents Swayzak - Floyd/ Doobie. Originally released 1999!
The new version contains a new mastering and design.

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If It Ain't Jazz brings vinyl-only reworks of the jazziest, funkiest variety...
After a pause for breath, it's back with a bang! Laroye and Aroop Roy rework a couple of classic jazz funk numbers into disco house anthems, adding their own synths, bass and percussion to bringing peak time jazzy joy to the dancefloor.



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