For over 30 years Warp has been a synonym for adventures in sound and vision, consistently furthering their position as one of the most creative independent labels in the world. With a rich legacy and consistently groundbreaking vision of the future, Warp and its artists traverse mediums to explore new spaces.
Review: George Evelyn serves up the second volume in what we're told will be an ongoing series of EPs featuring "club music made for basements and afterhours". Up first is '1More Tune', which has a vaguely Latin, carnival-esque kind of feel, but is driven along by a hefty, heavily treated bassline that whump-whump-whumps along throughout. Chuck in some acid-fried synth freakery towards the end and asses will shake to this for sure! It's accompanied by 'Whodunnit?', a slower-moving jam that's aptly titled, rocking as it does something of a film noir vibe with its tension-building horns and eerie pianos.
Review: First featured on Bibio's acclaimed 2022 album 'BIB10', 'S.O.L' is a joyous, guitar solo-laden tribute to disco-pop and '80s boogie featuring the undeniable talents of honey-voiced singer Olivier St Louis (an artist who has appeared on numerous Bibio releases since 2016). On this EP, the original mix (track one) comes accompanied by a trio of reworks. Two of these come from Bibio himself: the loopy, peak-time-ready, "French Touch" style disco-house hedonism of the '81810 Remix', and the slowed-down, perm-sporting '80s power-rock-meets-synth-pop grandiosity of the 'Champagne Eagle Rework'. Also included is a tidy "light touch" edit from French Touch legend Alan Braxe, who tastefully emphasises the '80s disco-boogie feel of the original whilst removing some of the more "Marmite" instrumentation.
Review: Veteran British downtempo producer George Evelyn aka Nightmares On Wax presents his ninth studio album on the esteemed Warp Records. Featuring 15 new tracks, on Shout Out! To Freedom...' Evelyn encouraged all the guest artists to 'make music inspired by what freedom means to them'. Some of the highlights include the evocative Balearic beats of "3D Warrior" (feat Shabaka Hutchings & Haile Supreme & Wolfgang Haffner), the dope urban swagger of "Wikid Satellites" featuring neo-soul artist Greentea Peng, and the jazzy sunset feels of "Isolated" (feat Pip Millett & Sabrina Mahfouz).
Review: Following from Nightmares On Wax's Imagineering single the legendary Warp artist follows suit with Wonder, a two track trip diving through soundsystem filter funk and crestfallen electro-jazz. Featuring the golden vocals of Haile Supreme across both tracks, "Own Me" sees the artist's voice morph between half Ol' Dirty Bastard Wu-Tang sample & half cosmic soul train instrument. Backed by heavily dubbed-out beats, peaking filter switches and dope horns, Nightmares On Wax looks to textural love ballads in "Wonder", also featuring Haile Supreme and British jazz saxophonist Shabaka Hutchings in effect. New school jazz meets future pop.
Review: With a midwest sound of punk guitars, indie rhythms and post rock taking precedence over the experimental and leftfield nature of Yves Tumor's 2016 Serpent album, tracks on Heaven To A Tortured Mind have been described by the New Yorker as "sonically defiant as they are destructive." It presents the artist with a second album for Warp following 2018's Safe In The Hands Of Love LP and brings to mind music from the Mars Volta and The Neptunes across its first half. Come to tracks like "Folie Imposee", "Strawberry Privilege" and "Asteroid Blues" you'll find classic strands of new wave guitars and acoustic drum graced by contemporary touches of emo pop and R&B that culminate in the sensualistic album closer "A Greater Love".
Review: An album that's as ubiquitous in people's record shelves as Anthony Kiedis' Scar Tissue biography is for people bookshelves, Smoker's Delight has been the definitive Nightmares On Wax record since its original release 25 years ago. Regarded as one of the finest trip-hop albums of all time, this 20-track anniversary edition sees the inclusion of new and largely unheard material in the jazzy beatdown vibes of "Aquaself", and dubbed out piano loops of "Ascend". Extra bonus material includes a funk version of lounge time hit "Dreaddoverboard", and a live recording of Nightmares On Wax's all time classic "Night's Introlude". Take another hit.
Kelly Moran - "In Parallel" (Acoustic - WXAXRXP Session) - (5:01) 113 BPM
Oneohtrix Point Never - "Toys 2" (KCRW Session) - (6:51) 110 BPM
Review: For all you folks out there in radio land Warp Records is on the air with this WXAXRXP compilation pulling together an assortment of Warp artists playing Warp music on the radio. Whether it be earlier John Peel sessions or this June's WXAXRXP x NTS weekender, the tracks here provide a digital taster of what's inside a huge 10x12" boxset - designed by Michael Oswell with photography by Synchrodogs (maybe that means something to some of you). The essential who's who of Warp artists make their way to this digital compilation, with LFO signing in for a trippy piece of bleep funk alongside something mahogany and soulful from Flying Lotus, with classic strands of BOC melancholia not failing to miss out. Mount Kimbie's recent "You Look Certain (I'm Not So Sure)" feat Andrea Balency at this year's WXAXRXP Session is a highlight also next to Seelfeel's "Vex" recorded for a Peel Session back in the day.
Review: Warp Records present the sixth album by famed American producer Flying Lotus. For the Flamagra LP, the Los Angeles-based artist (real name Steven Ellison) said that he had gathered different material from over the past five years to present on this LP - and he had considered creating a thematic album with a fire concept during that time. A wide selection of moods and grooves are delivered in his idiosyncratic and multifaceted style, with a real 'who's who' in terms of guests. From the blunted urban flavour of "More" (ft. Anderson .Paak), the lo-slung P-funk attack of "Burning Down The House" (ft. George Clinton) through to more abstract soundscape/spoken word pieces like "Fire Is Coming" featuring the one and only David Lynch (this one was said to be a huge influence on the album's aesthetic, Ellison said) and also the good old fashioned soul power of "The Climb" (ft. Thundercat).
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