“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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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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Dostrotime is Squarepusher-style fun. Heavy, intense, tear out experimental electronic music for the sheer exhilaration of it. Unapologetically, one for the Squarepunter Massive!

In early 2020, Squarepusher had just released Be Up A Hello to huge acclaim, and was gearing up for a worldwide tour featuring some of his biggest shows to date. Then the pandemic hit, and it was all off... Devoid of distractions, naturally the artist headed to the studio to begin recording. He says that “ [...] Without customary interruptions, time elapsed differently”. It’s an episode he’s dubbed “Dostrotime”. As such, Dostrotime is an attempt to capture the peculiarity of music catalysed by lockdown being part of the celebration of lockdown’s demise.

- Specs Black 2LP in paper inner sleeve in gatefold outer sleeve and download code

Tracklist:
A1. Arkteon 1
A2. Enbounce
A3. Wendorlan
B1. Duneray
B2. Kronmec
B3. Arkteon 2
C1. Holorform
C2. Akkranen
C3. Stromcor
D1. Domelash
D2. Heliobat
D3. Arkteon 3

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Dostrotime is Squarepusher-style fun. Heavy, intense, tear out experimental electronic music for the sheer exhilaration of it. Unapologetically, one for the Squarepunter Massive!

In early 2020, Squarepusher had just released Be Up A Hello to huge acclaim, and was gearing up for a worldwide tour featuring some of his biggest shows to date. Then the pandemic hit, and it was all off... Devoid of distractions, naturally the artist headed to the studio to begin recording. He says that “ [...] Without customary interruptions, time elapsed differently”. It’s an episode he’s dubbed “Dostrotime”. As such, Dostrotime is an attempt to capture the peculiarity of music catalysed by lockdown being part of the celebration of lockdown’s demise.

- Specs Black 2LP in paper inner sleeve in gatefold outer sleeve and download code

Tracklist:
A1. Arkteon 1
A2. Enbounce
A3. Wendorlan
B1. Duneray
B2. Kronmec
B3. Arkteon 2
C1. Holorform
C2. Akkranen
C3. Stromcor
D1. Domelash
D2. Heliobat
D3. Arkteon 3

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Debut studio album by Dutch electronic music producer and DJ Speedy J (real name Jochem Paap), Ginger was originally released in June 1993 as part of Warp Records Artificial Intelligence series.

Remastered in 2021, the reissue contains the original design by longtime Warp collaborators The Designers Republic.

Rotterdam-based Jochem Paap began creating techno tracks such as “Three O’Three” and “Something For Your Mind” in his hometown to play out in clubs, and chose the artist name Speedy J as a reference to his DJ skills. As commented on by All Music, Paap's clear intent with Ginger was "to take his music out of the rave and into the home-listening environment," and balance elements of the manic energy that defined his early releases with a lush sound palette. Writing and recording on his own in The Plant studio, the album was released on a number of different labels internationally and brought his minimal but melodic production style to a far wider audience, with critics noting his meticulous attention to audio design, skillful use of track interludes (the “Fill” tracks on Ginger, something Black Dog Productions also explored on Bytes), and a careful balancing of four-to-the-floor grooves with ambient textures. He released a second album with Warp, 1995’s G-Spot, and has continued to make a diverse range of electronic music, included releases on labels such as Mike Paradinas’ Planet Mu and Peter Namlook’s FAX +49-69/450464, and showcasing a more experimental strand of releases via his own Electric Deluxe imprint. The music on Ginger has been highlighted as a seminal release in a number of retrospective features by the likes of Pitchfork, The Wire and FACT.

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The first full-length studio album by Richie Hawtin, who was 22 years old at the time and living in Windsor, Canada. It was first released in June 1993 under the F.U.S.E. name on Hawtin’s own Plus 8 Records imprint and again on Warp Records as part of the ‘Artificial Intelligence’ series.
Remastered back in 2019, the reissue features original artwork from Richie’s brother, Matthew Hawtin.

Growing up in Windsor, Ontario, Richie Hawtin aka F.U.S.E. would make frequent excursions across the border to Detroit in search of record shops and new clubbing experiences. Soon he would take up a residency at the small subversive club The Shelter and develop his skills as a DJ. Together with his close friend John Acquaviva they launched Plus 8 Records in 1990 to release their own creations and to support other up-and-coming, like-minded techno producers who were in search of a musical home. Richie started recording under the cryptic alias F.U.S.E.- abbreviation for ‘Futuristic Underground Subsonic Experiments’ - and released seminal tracks like ‘F.U.’ and ‘Substance Abuse’ (1991). The From Our Minds To Yours compilations released on Plus 8 would make a mark on the developing techno scene in Detroit and beyond. At age 22 Hawtin released his first full-length studio album under his F.U.S.E. pseudonym. Dimension Intrusion was largely inspired by science fiction films and a collection of available vintage synthesizers and drum machines. Playing with their electronic yet warm sound effects, the young producer in turn discovered some of his favourite instruments. His heady manipulations of the Roland TB-303 acid sound helped develop an influential style that would have a lasting impact on electronic music. The tracks on Dimension Intrusion range from club focused techno to soundtrack ambience and can be seen retrospectively as experiments leading to what would soon become Hawtin’s trademark acid-laced Plastikman sound.

- Spec Black 2LP Vinyl in polylined inner sleeves in wide spine outer sleeve with 12” poster insert

[4th October 2023] Today, Warp announces reissues of two more albums from their Artificial Intelligence series: Dimension Intrusion by F.U.S.E. (aka Richie Hawtin) and Ginger by Speedy J. Both records were originally released in 1993, and these new vinyl editions mark their 30th anniversary.

Although unique records by distinctive artists, there are some strands that tie the two albums together. Dimension Intrusion was the fifth album in the Artificial Intelligence series, originally released on 7 June 1993, whilst Ginger was the sixth album in the series, coming out two weeks later on 21 June. Whereas the rest of the series focused on elevating underground electronic producers from the UK such as Autechre, B12, Black Dog Productions and Polygon Window, these two entries in the series added an international dimension, representing North American and Northern European takes respectively on the techno genre. Both albums were also released in Canada on Richie Hawtin’s own fabled Plus 8 label, with Paap putting out a domestic edition of Ginger in the Netherlands on his Beam Me Up! imprint, echoing the accidental Star Trek reference in Warp’s own name (actually a shortening of original name Warped). Both artists would go on to record for NovaMute, a dance music subsidiary of Mute Records.

The concept that unites this music above all however is the idea of crafting electronic music for home listening, charting the evolution of a musical form that had started out purely dancefloor-focused. Both Paap and Hawtin had started to make tracks with this idea in mind independently, and it chimed perfectly with the series that Warp founders Rob Mitchell and Steve Beckett were putting together concurrently to showcase exactly this development. The compilation that gave the series its title and kicked things off, housed in a striking sleeve featuring a robot reclining in an armchair, surrounded by album sleeves, succinctly communicated the central idea with a certain amount of tongue-in-cheek humour. It was after Paap had contributed to Artificial Intelligence with Speedy J’s “De-Orbit”, alongside Richie Hawtin making an appearance using his UP! pseudonym, that Mitchell and Beckett invited them to come on board to the series with full artist albums for release on Warp.


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Revanchist is the long-awaited debut album by Evian Christ, scheduled for release by Warp on 20th October 2023. The eight-track record explores the latent potential in Trance to evoke, beyond Euphoria, the fullest feeling of the Sublime.

On Embers, Revanchist’s opening track and lead single, encapsulates Christ’s inclination towards the total annihilation of Trance’s default affects; soaring, rapturous supersaws meet a tempest of indecipherable noise, mangled 808s and broken shards of Defected gospel house acapellas.

Revanchist follows 2020’s Ultra, a landmark label-debut that demonstrated Christ’s emerging command of an abstractly destructive musical vocabulary. The album draws from an unlikely and diverse pool of influences; compositing, at once, the suffocating throttle of Demiurge-era Emptyset (2011); the worldliness of Madonna and William Orbit’s Ray Of Light LP (1998); the acute uncanniness of Laibach’s Across The Universe (1988); and a highly stylized approach to mixing and sound design primarily inspired by Sasha’s seminal Xpander EP (1999).

Revanchist’s album artwork is designed by long-standing collaborator and celebrated graphic designer David Rudnick, and features works by 19th century Norwegian landscape painter Lars Hertervig and British video artist Chris Bucklow. Inspired by classic Trance singles, the limited edition CD is housed in a slimpack jewelcase with 5 colour screenprinted PVC inlay and fluro sticker; the vinyl, similarly limited to an initial pressing of 1000, is housed in a screenprinted transparent bag with a printed inner-sleeve and double-sided 36x24” fold-out poster.

Evian Christ (b. Joshua Leary) is an Ellesmere Port-based musician, producer and music programmer signed to Warp and DONDA/Sony ATV Publishing. Initially recognised for his production contributions to Billboard-topping albums by Kanye West and Travis Scott, and subsequently as the founder of the enduringly influential TranceParty clubnight, Christ’s recent years have seen him lead an idiosyncratic range of projects that enquire into the legacy of Trance in contemporary cultural life.

- Specs Black 12" vinyl in printed inner sleeve in 3mm spine sleeve with 36 x 24" fold out poster and download code packed in printed transparent outer bag

Tracklist:
A1. On Embers
A2. Yxguden (feat. Bladee)
A3. The Beach
A4. Nobody Else
B1. Silence
B2. Xkyrgios
B3. With Me (feat. Merely)
B4. Run Boys Run

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

Tracklist:
A1. The Weather
A2. House Music
A3. Undercommons
A4. Olde Joy
A5. New Joy
A6. Arms, Armor
A7. Fission for Drums, Piano And Voice
A8. Love Letter Zzz
A9. Half-Life
B1. The Great Wedge
B2. I Hear A New World
B3. No! (Geiger Dub)
B4. Destroyer X
B5. Voyager
B6. Divider
B7. Challenger
B8. Decades, Castle Romeo
B9. Us (Tower Of Love)

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Subb-an, Kepler & Wickham team up as 'Complex Phantasy' for an ep of warm club focused house music on leipzig's R.A.N.D. Muzik imprint.

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First time available on vinyl in 30 years.

Includes rare early tracks by Aphex Twin (as The Dice Man), Autechre, Richie Hawtin (as UP!), B12 (as Musicology) and Alex Paterson (The Orb), the latter featuring co-production from Jimmy Cauty (The KLF).

First release in Warp’s 1992 - 1994 Artificial Intelligence series that consisted of Artificial Intelligence, Surfing On Sine Waves by Polygon Window, Bytes by Black Dog Productions, Electro-Soma by B12, Dimension Intrusion by F.U.S.E., Ginger by Speedy J, Incunabula by Autechre, and Artificial Intelligence II.

Original gatefold sleeve reconstructed by The Designers Republic.
Album re-cut by Beau Thomas at Ten Eight Seven Mastering on classic black wax.

- Specs 1LP in gatefold sleeve, paper inner and download card insert

Tracklisting:
A1. The Dice Man - Polygon Window
A2. Musicology - Telefone 529
A3. Autechre - Crystal
A4. I.A.O - The Clan
A5. Speedy J - De-Orbit
B1. Musicology - Premonition
B2. UP! - Spiritual High
B3. Autechre - The Egg
B4. Dr Alex Paterson - Loving You Live

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- Spec: 2 x LP in paper inners, in 5mm outer sleeve with download card insert.

Tucked away in the great depths of the Warp catalogue is this elegant, liquid heartache of a record. An album credited to the late James Stinson, one half of cult-Detroit techno unit (alongside Gerald Donald) Drexciya, Lifestyles... stands as one of the remarkable records of the genre. Stinson died a year after release, lending this already beautiful work endless resonance.
Where the dystopian aqua-tronics of previous Drexciya were often jet-black, cold, brittle and abrasive this is a yearning soul music, played out down rain soaked streets, the buzzing lights of industry flickering in the darkness, the warm blue of a new day ready to break. This is a record where techno reached its raw, most emotive peak... Sustained pads paint minor-key melodies while electroid-vocals are buried deep in the hydrothermal mass of squelching bass-clusters and funky-filtered bleeps. At its skittering percussion core, a stripped back 808 tapestry, sequenced into myriad jazz-inflected shapes, a pulsing kick drum the snapping heartbeat, ticking hi-hats bursting from every angle.

All this tingles with the ghosts of records past, of Kraftwerkian humanoids, of first-wave Detroit, of refracted Hancock and Ayres, but as Stinson intones on the fifth track, ‘let me be what I wanna be’, Lifestyles is a creation all of its own special making, a sound that would inspire the latter day deep-house machinations of Omar S, Jus-Ed, Moodymann and influence –however indirectly- a wealth of current UK/US bass operators including Actress and Kyle Hall. More importantly it remains a beguiling epitaph to Stinson’s sadly distinguished life.

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Repress!

2x 12” 180g black vinyl
gatefold cover
mastered by Noel Summerville
original artwork by Theo Ellsworth.

A year on since the collaborative Mystic AM project in 2022, Rod Modell returns solo to Astral Industries with AI-35. The album - entitled 'Ghost Lights' - comes as a gatefold 2x vinyl LP, showcasing the latest epoch of Modell's signature soundscapes. Spread across four parts, 'Ghost Lights' draws out a wide, cinematic sound - with long arching contours, rippling textures and cavernous sound design.

Woven with layer upon layer of hidden fragments and supernal transmissions, each chapter takes the listener successively deeper into the twilight zone. Harking to dramatic off-world topographies and interstellar spaces, the work glistens with opulent sound treatment and monumental grandeur. Dense pulsations move with oceanic force, marked by washes of celestial light and subterranean drones. Exercising another side to Rod Modell's typically atmospheric productions, this album comes with an ambitious framework and a more assertive sound. Featuring some of Modell's most epic storytelling to date, 'Ghost Lights' delivers a powerful immersive experience.


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