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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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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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Ufabulum (Special edition CD) with Enstrobia EP CD - Indies exclusive CD in 6 panel digipack with 12page booklet, plus 3 track Enstrobia EP also in digipack, bound together in digipack printed black with spot gloss UV.

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Growing up in the sound system culture of Leeds in England, George spent a fiver, courtesy of his mum, on a battered old speaker box he named “Echo45”. That box led him to Kevin Harper, a founding member of Nightmares on Wax, a chance meeting that would change the course of his life. With the latest music “Echo45 Sound System”, Nightmares On Wax takes that lineage a step further—a mixtape that feels like both a celebration and a declaration. It's a living, sound system journey inspired by the original “Echo45” speaker box that merges soul, roots, hip-hop, dub, and electronic textures with a fearless spirit. Featuring a carefully curated ensemble of collaborators—including Yasiin Bey, Greentea Peng, Sadie Walker, Liam Bailey, and more—the record doesn’t just reflect where Nightmares on Wax has been. While deeply rooted in his origins, sound system culture, and pirate radio, it boldly announces where he’s going. Selling Points: - Exclusive 2LP gold vinyl - New music from Nightmares on Wax featuring Yasiin Bey (Mos Def), Sadie Walker, Oscar Jerome, Liam Bailey, Greentea Peng & more - Guest shout-outs from friends included Gilles Peterson, Moxie, Goldie, Louie Vega, Iration Steppas, FKJ, Jordan Stephens, Roots Manuva - Creative direction by London-based menswear designer Nicholas Daley - Major live show planned at Royal Albert Hall in London (Mar 2026) - Global radio activation inspired by pirate stations - Specs Gold 2LP in printed inner sleeve in wide spine outer sleeve with printed insert

Tracklist:
A1. Echo45, We Are! feat. Oscar Jerome A2. Dive Into feat. Louis VI A3. Desire feat. Haile Supreme, Liam Bailey A4. Bang Bien feat. Yasiin Bey
B1. Echo45 feat. Liam Bailey B2. True feat. Sadie Walker B3. I Remember feat. Greentea Peng
C1. Starwood Bound feat. Sadie Walker C2. Ain't So… feat. LSK C3. Mumzie Cut feat. Liam Bailey
D1. Holding On feat. Ladi6 D2. Wind Of Change feat. Yarah Bravo C3. Hop-to-Mystic feat. Liam Bailey

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Tranquilizer conjures a sonic hallucination: ambient calm twisting into digital chaos; mundane textures giving way to emotional overload. It’s a record shaped by obscurity and obsolescence. Real and unreal blur. Samples melt into static. A door creaks open inside a dream.

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Tranquilizer conjures a sonic hallucination: ambient calm twisting into digital chaos; mundane textures giving way to emotional overload. It’s a record shaped by obscurity and obsolescence. Real and unreal blur. Samples melt into static. A door creaks open inside a dream.

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Originally released in 1993, Surfing On Sine Waves is the second album released under the Warp Artificial Intelligence series (the series also includes the two titular compilations, as well as contributions by Autechre, The Black Dog, F.U.S.E. and more).

Surfing On Sine Waves is also the sole album released under Richard D. James’ (aka Aphex Twin’s) Polygon Window alias. The name “Polygon Window” originally appeared as a track name under Richard D. James’ other pseudonym The Dice Man, as the track title for his submission on Artificial Intelligence. Surfing On Sine Waves was chosen as a title by Rob Mitchell based on a quote by Richard D. James. The album debuted at #2 on the UK dance charts. The album was followed the same year with a companion EP titled Quoth. The EP’s title track originally appeared on the album, accompanied by additional songs who first appeared on this release.

Fast forward 32 years to 2025, Surfing On Sine Waves (Expanded Edition) sees the pair of companion releases as a single entity, out on vinyl and CD.

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Originally released in 1993, Surfing On Sine Waves is the second album released under the Warp Artificial Intelligence series (the series also includes the two titular compilations, as well as contributions by Autechre, The Black Dog, F.U.S.E. and more).

Surfing On Sine Waves is also the sole album released under Richard D. James’ (aka Aphex Twin’s) Polygon Window alias. The name “Polygon Window” originally appeared as a track name under Richard D. James’ other pseudonym The Dice Man, as the track title for his submission on Artificial Intelligence. Surfing On Sine Waves was chosen as a title by Rob Mitchell based on a quote by Richard D. James. The album debuted at #2 on the UK dance charts. The album was followed the same year with a companion EP titled Quoth. The EP’s title track originally appeared on the album, accompanied by additional songs who first appeared on this release.

Fast forward 32 years to 2025, Surfing On Sine Waves (Expanded Edition) sees the pair of companion releases as a single entity, out on vinyl and CD.

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Autechre continue their chronological series of LP reissues with the albums Untilted (2005) and Quaristice (2008).

Neither of these albums have been repressed since their original release and have been widely unavailable for over 15 years.

Demand in the interim has ensured coveted resale among fans wanting to hear this music on vinyl.

These reissues come at a particularly active time for Autechre as they prepare to embark on one of their most extensive live tours to date, including an entirely sold out run of 25 shows in 29 days through US, Canada and Mexico in October, as well as tours in EU (August) and UK (November).

Autechre most recently released new music in November 2024 with the ongoing digital project AE_2022–.

Other LP Reissues available: Incunabula (1993), Amber (1994), Tri Repetae (1995), Chiastic Slide (1997), LP5 (1998), Confield (2001), Draft 7.30 (2003).

- Specs Black 2LP vinyl in printed inner sleeves in wide spine outer sleeve

Tracklist:
A1. LCC
A2. Ipacial Section
B1. Pro Radii
B2. Augmatic Disport
C1. Iera
C2. Fermium
C3. The Trees
D1. Sublimit

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Autechre continue their chronological series of LP reissues with the albums Untilted (2005) and Quaristice (2008).

Neither of these albums have been repressed since their original release and have been widely unavailable for over 15 years.

Demand in the interim has ensured coveted resale among fans wanting to hear this music on vinyl.These reissues come at a particularly active time for Autechre as they prepare to embark on one of their most extensive live tours to date, including an entirely sold out run of 25 shows in 29 days through US, Canada and Mexico in October, as well as tours in EU (August) and UK (November).

Autechre most recently released new music in November 2024 with the ongoing digital project AE_2022–.

Other LP Reissues available: Incunabula (1993), Amber (1994), Tri Repetae (1995), Chiastic Slide (1997), LP5 (1998), Confield (2001), Draft 7.30 (2003).

- Specs Black 2LP vinyl in printed inner sleeves in wide spine outer sleeve

Tracklist:
A1. Altibzz
A2. The Plc
A3. IO
A4. plyPhon
A5. Perlence
B1. SonDEremawe
B2. Simmm
B3. paralel Suns
B4. Steels
B5. Tankakern
C1. rale
C2. Fol3
C3. fwzE
C4. 90101-5l-l
C5. bnc Castl
D1. Theswere
D2. WNSN
D3. chenc9
D4. Notwo
D5. Outh9X

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Incunabula, the debut full-length offering from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. Having first emerged onto a post-acid house 1993, Incunabula was released as part 7 of the now legendary Artificial Intelligence series of albums and compilations from Warp. A series that gave us early records from artists who went on to sculpt the electronic landscape both in and out of the club. Being lined up against such contemporaries as Black Dog Productions (Balil and Plaid) Aphex under his Polygon Window guise, Richie Hawtin's FUSE project, Speedy J, B12 & on the series' closing compilation, artists as diverse as Seefeel, Richard H Kirk & The Higher Intelligence Agency. Incunabula set the tone for the following landmark albums from Ae, huge caustic dissections of sound that almost resemble vast mathematical equations more than they do club fodder (though tracks like the breakbeat whip crack of Doctrine and the acidic euphoria of Maetl, which when deployed by the right DJ will go off). For those just arriving at the edge of Ae's world and are looking for an entry point into the sprawling discography of the group, or those of you looking to delve into the pre-MaxMSP archives, this is the record for you. There is not much we can say that has not been said before, but this truly is a landmark album of UK electronica, a legendary recording that still even after twenty-six years still sounds like a future we are yet to arrive at.

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

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1993 debut album by the trio of Andrew Weatherall, Jagz Kooner and Gary Burns. Unavailable on vinyl and CD since original release. Remastered from the original tapes by Matt Colton, contains “Smokebelch II (Beatless Mix)” for the first time on the 2LP edition.

Coming off the back of his work on the era-defining Screamadelica album by Primal Scream, not to mention groundbreaking remix work for the likes of New Order, My Bloody Valentine and the Happy Mondays, Weatherall was as revered by fans of indie guitar music as he was namechecked by hardcore ravers. The increasing demands on his services led to a studio partnership with Kooner and Burns, forming the production trio The Sabres Of Paradise (named after a 1960 book about a Muslim chieftain’s efforts to repel a Russian invasion).

The opening track on Sabresonic (named after the popular weekly club night Weatherall was then running) started life as a remix of the Primal Scream track “Don’t Fight It Feel It” but got so radically mutated that it turned into something entirely new. As well as reflecting on contemporary trends in dance music (“Inter-Legen-Ten-ko” is a swipe at the IDM genre name), the album also brought in older influences - “R.S.D” is an acronym for “Red Stripe Dub”, the deep influence of King Tubby et al evident at various points throughout the album, whilst the epic icy vistas of the 14 minute+ “Clock Factory” are informed by the electronic experiments of industrial groups such as Coil. The album also flagged future trends in electronic music, with the timeless “Smokebelch II (Beatless Mix)”, a beautiful re-work of an old Chicago house tune by Lamont Booker, becoming a staple of chillout compilation CDs for the rest of the decade.

- Specs Black 2LP vinyl in black polylined inner sleeves in wide spine outer sleeve

Tracklist:
A1. Still Fighting
A2. Smokebelch I
B1. Clock Factory
C1. Ano Electro (Andante)
C2. R.S.D.
D1. Inter-Lergen-Ten-ko
D2. Ano Electro (Allegro)
D3. Smokebelch II (Beatless Mix)

Key Information:
- Both are classic Warp albums - unavailable on vinyl & CD since original release
- Remastered from the original tapes by Matt Colton
- One of the key musical projects of the much-missed Andrew Weatherall who formed the group with Jagz Kooner and Gary Burns, initially as a production unit before signing to Warp and evolving into a proper band
- Remasters available digitally from May 29th 2025
- Sabresonic vinyl contains 'Smokebelch II (Beatless Mix)' for the first time on the 2LP edition
- Haunted Dancehall vinyl contains 'Theme' for the first time on the 2LP edition
- First live shows in over 3 decades

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1994 second album by the trio of Andrew Weatherall, Jagz Kooner and Gary Burns, unavailable on vinyl and CD since original release. A concept album with accompanying text for each track by James Woodbourne, it also includes additional production by Portishead and Mr Scruff. Remastered from the original tapes by Matt Colton, contains “Theme” for the first time on the 2LP edition.

By the time this record came out towards the end of ‘94, The Sabres Of Paradise had evolved from a production trio into a fully fledged band, embarking on live tours and augmented for the stage by additional members such as Rich Thair, from Warp labelmates Red Snapper, and Phil Mossman, later to join LCD Soundsystem. Tapped by Noel Gallagher to support Oasis at enormodomes, the group opted instead to play clubs, student unions, and infamously, a car park in Central London. Their tour adverts contained small print specifying a policy of “no jugglers, no fire eaters, no flutes and no hippies with lawyers”.

The studio sound had shifted radically as well, utilising samples (notably on the 1930s voodoo jazz inflected “Wilmot”), live instrumentation (the heavy twang guitar riff of “Tow Truck”) and a deep love of film scores audible throughout, from the block party funk of “Theme” to the noir-ish soundscapes of the title track. The sense of the album being a soundtrack itself is underpinned by the accompanying text for each track, rumoured to have been penned by Weatherall himself under a pseudonym, each text fragment joining up to form a suitably grimy, low-lit short story. The Guardian later summed up Haunted Dancehall as “techno’s first concept album”.

- Specs Black 2LP vinyl in printed inner sleeves in wide spine outer sleeve, spot gloss to cover

Tracklist:
A1. Bubble And Slide
A2. Bubble And Slide II
A3. Duke Of Earlsfield
B1. Flight Path Estate
B2. Planet D
B3. Wilmot
B4. Tow Truck
C1. Theme
C2. Theme 4
C3. Return To Planet D
C4. Ballad Of Nicky McGuire
D1. Jacob Street 7am
D2. Chapel Street Market 9am
D3. Haunted Dancehall

Key Information:
- Both are classic Warp albums - unavailable on vinyl & CD since original release
- Remastered from the original tapes by Matt Colton
- One of the key musical projects of the much-missed Andrew Weatherall who formed the group with Jagz Kooner and Gary Burns, initially as a production unit before signing to Warp and evolving into a proper band
- Remasters available digitally from May 29th 2025
- Sabresonic vinyl contains 'Smokebelch II (Beatless Mix)' for the first time on the 2LP edition
- Haunted Dancehall vinyl contains 'Theme' for the first time on the 2LP edition
- First live shows in over 3 decades

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Following the release of his new collaborative album Tall Tales with Thom Yorke, a 2LP vinyl repress of Mark Pritchard’s previous solo album Under The Sun will be available on 25 July via Warp Records.

Originally released in 2016, Under The Sun is one story told in chapters and, as with any good story, the spell is only maintained if you don't skip to the end. Pritchard, as usual, defies easy categorisation and that is what gives depth and nuance to this work. He draws on the sounds and influences genetically coded in his musical DNA; ambient, nu-wave, avant-garde electronics and folk; but reimagines them through an otherworldly filter that cements Under The Sun somewhere in the future, rather than the past.

The album features contributions from peers and friends including Thom Yorke, Linda Perhacs, Bibio, and Beans, and explores themes of beauty, desolation, and longing for home.

- "Beautiful melancholic downtempo from masterful electronic polyglot." - MOJO****
- "Under the Sun is deeply atmospheric and richly impressionistic." - Pitchfork

- Specs: 2LP black vinyl in printed inners in gatefold outer

Tracklisting:
A1. ?
A2. Give It Your Choir feat. Bibio
A3. Infrared
A4. Falling

B1. Beautiful People feat. Thom Yorke
B2. Sad Alron
B3. You Wash My Soul feat. Linda Perhacs
B4. Where Do They Go, The Butterflies

C1. Hi Red
C2. Ems
C3. The Blinds Cage
C4. Dawn Of The North

D1. Khufu
D2. Rebel Angels
D3. Under The Sun
D4. Cycles Of 9

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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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REPRESS
Perpetually in demand bonafide Dubstep classic and Bristol anthem repressed. Essential addition to anyones collection


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The name dreamcastmoe is somewhat synonymous with the Peckham based ‘Rhythm Section INTL’ Label. With a sound equally indebted to hip hop, house, hazy electronics and DC’s very own ‘go-go’ sound - dreamcastmoe, born Davon Bryant-James burst onto the scene with a refreshing mix of styles matched with an irresistible personality.

A1 LEMONPEPPASTEPPA
A2 EXPECTATIONS
A3 IM GOING VEGAN FEAT. AUTO LOLA
A4 THAT DRESS (INTERLUDE)
A5 FLOWERS FEAT. NAPPY NAPA
A6 ONLY REASON IM NOT IN TROUBLE (INTERLUDE)
A7 INOMI FEAT. ANIA HOO
A8 DON'T PLAY (INTERLUDE)
A9 MOLLY'S REQUEST
A10 SAME FERN FEAT. JELANI KWESI
B1 HOW MANY (INTERLUDE)
B2 JJK FEAT. RUQQIYAH
B3 HEYY HEYY FEAT. NAPPYNAPPA
B4 SHIETT (SKIT)
B5 SHATTA FEAT. NAPPYNAPPA
B6 GOOD PROBLEM TO HAVE
B7 COUPLE PLAYS
B8 GETTIN RICH (INTERLUDE)
B9 THANK YA FEAT. RUQQIYAH
B10 3 PLACES IN THIS WORLD (INTERLUDE)

Listen: https://listen.k7.com/9b9029d1-76ac-49b6-9736-15246bda954d

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Black Vinyl!

To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.

This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.

SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.

‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.

SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.

The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.

‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.

A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).

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Paris’ Latency presents ‘Estradas’, an electrifying dance music album by multi-instrumentalist Valentina Magaletti and Afro-Portuguese beat-maker Nídia.

Listen: https://nidiavalentina.bandcamp.com/album/estradas

Tracklisting:
1. Andiamo
2. Rapido
3. Sicilia
4. Mata
5. Nasty
6. Estradas
7. No Promises
8. Ta A Bater Ya
9. Tutta la notte


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Netherlands-based artist Jonny Nash returns to Melody As Truth with his new solo album, ‘Once Was Ours Forever.’ Building on 2023’s ‘Point Of Entry,’ this collection of eleven compositions draws us further into Nash’s immersive, slowly expanding world, effortlessly connecting the dots somewhere between folk, ambient jazz and dreampop.

While ‘Point Of Entry’ was characterised by it’s laid-back, daytime ambience, ‘Once Was Ours Forever’ arrives wrapped in shades of dusk and hazy light, unfolding like a slow-moving sunset. Built from layers of gentle fingerpicked guitar, textural brush strokes, floating melodies and reverb-soaked vocals, moments come and go, fleeting and ephemeral.

From the cosmic Americana of ‘Bright Belief’ to the lush, layered shoegaze textures of ‘The Way Things Looked’, Nash’s versatile guitar playing lies at the heart of this album, gently supported by a cast of collaborators who each add their unique touches. Canadian ambient jazz saxophonist Joseph Shabason makes a return appearance, providing his delicate swells to ‘Angel.’ Saxophone is also provided by Shoei Ikeda (Maya Ongaku), cello by Tomo Katsurada (ex-Kikagaku Moyo) and Tokyo acid folk artist Satomimagae (RVNG) lends her haunting multilayered vocals to ‘Rain Song.’

As with much of Nash’s work, ‘Once Was Ours Forever’ deftly finds an equilibrium between softness and weight, offering the listener ample space to interpret and inhabit the music on their own terms. Through his uncanny ability to blend the pastoral and the profound, the idyllic and the insightful, ‘Once Was Ours Forever’ arrives as a tender and understated offering, infused with warmth and compassion.

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With a clutch of EPs under his belt spanning a wealth of pallets, Henzo narrows the focus on his debut studio album “The Poems We Write For Ourselves” - a culmination of persistent iterations over several years, distilling his sonic milieu into something that feels decidedly his own. The album proper is coupled with a debut live performance which reinterprets the tracks and splices them with omitted material from the time of writing - recorded in full in the intimate confines of Manchester’s growingly infamous Stage and Radio basement. Honing his craft in the shadows of Lancashire, Poems is an expansive reflection of the producer’s time spent away committing to the scope of an LP.

A thread of stratified sound design weaves throughout the record, but with a discerning dancefloor proclivity mostly prevalent. Cold opener “Noggin” riffs on noughties Raster-Noton a la Byetone rebuilt with fractal tear out DnB, with closer “Indulgence” following suit on a puckered plod of Dub Techno ambience. More club-focussed moments come in the form of “Rustica Slump” and “Blue Will...”, the former’s sickly sweet vocals resolved by the latter’s stoic UKG/Techno rudeness. “A Bouquet of Clumsy Words” channels mechanical shuffle with a stripped back 2/4 pulse whilst maintaining a firmly FWD>>energy alongside “Plant Your Roots In Me” on a similar vector - swapping out a straight kick pattern for a bludgeoning 808 assault on an early Hessle-indebted tip.

“Take Stock, Touch Grass” harks to golden era ClekClekBoom and Night Slugs with a bare bones kick and vocal motif, updating the formula with a tweaking lead line that places it firmly in the contemporary space. “Swell:Shrink” sings from the same sheet with a shrieking, space age wobble doing the heavy lifting, knocking the pace back to a shoulder-lean swagger on a slow fast conundrum Henzo has shown his flair for on previous releases.

The outliers to Henzo’s more known approach, “Worm Grunting” with Belfast’s Emby, an amalgamation of halfest time DnB and illest mannered Road Rap, plus “The Rest Is The Mess You Leave”, a starkly anti-retro Ghettotek endeavour, give grounds to the LP. Clearly rooted in the comfortable universe of the dancefloor, these tracks expand the producer’s realm into loftier heights as he graduates into long play land.

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Khadim is a stunning reconfiguration of the Ndagga Rhythm Force sound. The instrumentation is radically pared down. The guitar is gone; the concatenation of sabars; the drum-kit. Each of the four tracks hones in on just one or two drummers; otherwise the sole recorded element is the singing; everything else is programmed. Synths are dialogically locked into the drumming. Tellingly, Ernestus has reached for his beloved Prophet-5, a signature go-to since Basic Channel days, thirty years ago. Texturally, the sound is more dubwise; prickling with effects. There is a new spaciousness, announced at the start by the ambient sounds of Dakar street-life. At the microphone, Mbene Diatta Seck revels in this new openness: mbalax diva, she feelingly turns each of the four songs into a discrete dramatic episode, using different sets of rhetorical techniques. The music throughout is taut, grooving, complex, like before; but more volatile, intuitive and reaching, with turbulent emotional and spiritual expressivity.

Not that Khadim represents any kind of break. Its transformativeness is rooted in the hundreds upon hundreds of hours the Rhythm Force has played together. Nearly a decade has passed since Yermande, the unit's previous album. Every year throughout that period — barring lockdowns — the group has toured extensively, in Europe, the US, and Japan. With improvisation at the core of its music-making, each performance has been evolutionary, as it turns out heading towards Khadim. “I didn’t want to simply continue with the same formula," says Ernestus. “I preferred to wait for a new approach. Playing live so many times, I wanted to capture some of the energy and freedom of those performances.” Though several members of the touring ensemble sit out this recording — sabar drummers, kit-drummer, synth-player — their presence abides in the structure and swing of the music here.

Lamp Fall is a homage to Cheikh Ibra Fall, founder of the Baye Fall spiritual community. The mosque in the city of Touba is known as Lamp Fall, because the main tower resembles a lantern. Soy duggu Touba, moom guey séen / When you enter Touba, he is the one who greets you. After a swift, incantatory start Mbene sings with reflective seriousness. Her voice swirls with reverb, over a tight, funky, propulsive interplay between synth and drums, threaded with one-two jabs of bass. Cheikh Ibra Fall mi may way, mo diayndiou ré, la mu jëndé ko taalibe... Cheikh Ibra Fall amo morome, aboridial / Cheikh Ibra Fall shows the way forward, he gives us strength, he gathers his disciples... Overflowing with grace, Cheikh Ibra Fall has no equal.

Interwoven with Wolof proverbs, Dieuw Bakhul is a recriminatory song about treachery, lies, and back-biting. Over moody, roiling synths and ominous, lean bass, Mbene throws out fluttering scraps of vocal, as if re-running old conversations in her head. The music shadows her despair to the verge of breakdown, at one moment seemingly so lost in thought and memories, that it threatens to disintegrate. Bayilene di wor seen xarit ak seen an da ndo... Dieuw bakhul, dieuw ñaw na / Stop judging your friends and companions... A lie is no good, a lie is ugly.

Khadim is a show-stopper; currently the centrepiece of Ndagga Rhythm Force live performances. The song is dedicated to Cheikh Ahmadou Bamba, aka Khadim, founder of the Mouride Sufi order. Serigne Bamba mi may wayeu / Serigne Bamba is the one who makes me sing. The verses name-check revered members of his family and brotherhood, like Sokhna Diarra, Mame Thierno, and Serigne Bara. Though Islam has been practised in Senegal for a millennium, it wasn’t until the start of the twentieth century that it began to thoroughly permeate ordinary Senegalese society, hand-in-hand with anti-colonialism. The verses here recall Bamba’s banishment by the French to Gabon, and later to Mauritania, in those foundational times. During exile, his captors once introduced a lion to his cell: gaïnde gua waf, dieba lu ci Cheikhoul Khadim / the lion doesn’t budge, it gives itself over to Cheikh Khadim. Deep, surging bass, steady kick-drum, and simple, reverbed chords on the off-beat lend the feel and impetus of steppers reggae. A reed plays snatches of a traditional Baye Fall melody; the dazzling polyrhythmic drumming is by Serigne Mamoune Seck. Mbene compellingly blends percussive vocalese, narrative suspense, exultant praise, introspection, and grievance.

Nimzat is a devotional tribute to Cheikh Sadbou, a contemporary of Bamba, buried in a mausoleum in Nizmat, in southern Mauritania. Way nala, kagne nala... souma danana fata dale / I call upon you and wonder about you... If I am overwhelmed, come to my aid. The town holds special significance for Khadr Sufism. An annual pilgrimage there is conducted to this day. The rhythm is buoyantly funky; the mood is sombre, reined-in, foreboding. Punctuated by peals of thunder, Mbene sings with restrained, intense reverence; huskily confidential, steadfast. Nanu dem ba Nimzat, dé ba sali khina / Let us go to Nimzat, to seal our devotion.

Mbene Diatta Seck: vocals.
Bada Seck: bougarabou, thiol, mbeung mbeung bal, tungune.
Serigne Mamoune Seck: bougarabou, khine, mbeung mbeung, tungune.
Text by Mark Ainley (Honest Jons).
Mastered by Rashad Becker.
Everything else by Mark Ernestus.

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Repress!

Kyoko Koizumi, aka Kyon Kyon or Kyon², was one of the most popular and best selling pop idols through the 80s & 90s and on this album, thanks to the vision of Haruo Chikada as a producer, an unlikely combination of her vocals with the burgeoning sonics of house music takes place to great effect. What must have seemed like a cultural anomaly to contemporary audiences, particularly so early into the canon of house music (this record saw the light of day in 1989), we can now retrospectively recognise that not only does this album succeed as a snapshot of the musical zeitgeist of the time - it also predicted the unification of house & dance music with commercial pop sensibilities that has remained in the culture in the decades since. However, what is happening sonically on this record goes beyond anything disposable or vapid that might come to mind when one thinks of Pop forays into house music - we are served up menacing acid lines, hip-house rhythms and even some digi-dub excursions

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