Review: Amazingly, it's 25 years since George 'E.A.S.E' Evelyn and then production partner Kevin 'Boy Wonder' Harper sat down and recorded "Dextrous", their monstrous, bleep-era classic on Warp. A quarter of a century later, Evelyn is still going strong, though the grooves have mellowed a lot in that time. Here, Warp celebrate the producer's epic career with a much-deserved retrospective. All the familiar favourites are present, from the rush-inducing thrill of early dancefloor smashers "I'm For Real" and "Aftermath", to the sinewy downtempo goodness of the decidedly Balearic "Les Nuits", the blazed hip-hop dub of "195 Llbs" and stoner soul of "70s 80s".
Review: It's rare that an electronic album is the biggest album of the year, or at least the most hyped. That's certainly the case with Syro, Richard D James first official release under his Aphex Twin moniker for some 13 years. So, is it any good? For starters, it sounds like an Aphex Twin album. Listen through to the 12 tracks, and many of his familiar staples are present - the "Digeridoo" era rave breakbeats, the mangled synth-funk mash-ups, the intoxicating ambient-era melodies, the warped basslines and the skittish drill & bass style rhythms. There's madness, beauty and intensity in spades. In other words, it's an Aphex Twin album, and - as so many have pointed out since the album's release was announced - there's no-one else quite like Richard D James.
Review: Amazingly, it's 25 years since George 'E.A.S.E' Evelyn and then production partner Kevin 'Boy Wonder' Harper sat down and recorded "Dextrous", their monstrous, bleep-era classic on Warp. A quarter of a century later, Evelyn is still going strong, though the grooves have mellowed a lot in that time. Here, Warp celebrate the producer's epic career with a much-deserved retrospective. All the familiar favourites are present, from the rush-inducing thrill of early dancefloor smashers "I'm For Real" and "Aftermath", to the sinewy downtempo goodness of the decidedly Balearic "Les Nuits", the blazed hip-hop dub of "195 Llbs" and stoner soul of "70s 80s". This version also includes a number of exclusive remixes, with names like JD Twitch, Special Request, LFO, Morgan Geist and Loco Dice putting their own spin on this classic material.
Review: As a unit, Ali Friend, Richard Thair and David Ayers produced some of the most iconic UK dance music of the 90s. The trio have benn and still are a foundational pillar of London's mighty Warp label and, alongside the likes of Squarepusher and even the God-like presence of AFX, they will go down in history as having produced some pretty pioneering stuff. They've disbanded and regrouped several times throughout the years, and their last album for Warp came in 2000; sadly, we're not getting a new one here, but we are getting a masterfully repackaged version of their debut album, Prince Blimey. This is electronica-trip-hop-techno at its finest, blending all the best of those genres. There's moody instruments, deep basslines, psychedelic tones spewing from all angles, and a subtle hint of junglist culture. It's a timeless album and, if you haven't properly tasted it yet, we recommend you to do so. You'll wonder how you've gone on without it.
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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