{"title":"Label - Warp","description":"","products":[{"product_id":"squarepusherfeedmeweirdthings","title":"Squarepusher – Feed Me Weird Things","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e25th Anniversary Reissue\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“One of the most uncanny and fascinating things about music for me is when it induces a sense of high-speed motion,” Tom Jenkinson says via email from his home in Chelmsford. While he grew up with a steady diet of Bob Marley and Augustus Pablo, by the time he was a teen in the mid-1990s, he had become taken with rave music. Inspired by the music played at local clubs, as well as Aphex Twin’s early Xylem Tube EP, Jenkinson began making his own speedy tracks. “I’ve used the 160 to 200 bpm range a lot because it seems conducive to a sense of rapid motion.” By 1996, Jenkinson started crafting what would become his debut, Feed Me Weird Things, for Aphex Twin’s Rephlex label. Across that album’s 12 tracks, that giddy, careening, wild sense of forward motion came to define his career as Squarepusher.\u003c\/p\u003e\n\u003cp\u003e-\u003c\/p\u003e\n\u003cp\u003e“I don’t really like dwelling on music I made years ago,” Jenkinson admits. But the 25th anniversary of the still-weird Feed Me evokes a simpler time for him, while showing how audaciously fast it still sounds years on. “I didn’t ever seriously aspire to a career as a musician. Worldly success seemed so remote that I didn’t have much of a concept of it in those days, but if I enjoyed making the tunes and my mates enjoyed listening; that was already success.” The reissued set is crammed with old photos, flyers, and memories of that pre-internet era. \u003c\/p\u003e\n\u003cp\u003e-\u003c\/p\u003e\n\u003cp\u003eThe year of 1996 was electronic music’s tipping point, the year of the breakout Trainspotting soundtrack and Prodigy’s “Firestarter.” But a bit deeper underground, it was getting, well, weird. Aphex Twin’s Hangable Auto Bulb EPs introduced the term “drill ’n’ bass” to describe its manic energy, but Squarepusher soon followed to push things to a ludicrous extreme. “I shared a three-story house in Haringey with seven other clueless layabouts, myself occupying a box room at the top,” he recalls. Photos from this odd little room crop up often on the expanded booklet: “I filled it with a miscellany of music gear, including my prized Akai S950 sampler, set up amongst rickety furniture and dusty piles of charcoal and chalk drawings from my studies.” – \u003ca href=\"https:\/\/daily.bandcamp.com\/features\/squarepushers-feed-me-weird-things-interview\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBandcamp daily\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/3mr4Eo5QyvLqvghU1usLM4\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: Warp Records – SQPRLP001\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: 2 x Vinyl, LP, Reissue, Remastered, Vinyl, 10\", 45 RPM, Remastered\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: UK \u0026amp; Europe\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 4 Jun 2021\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Electronic\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle: IDM, Drum n Bass\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456437493918,"sku":"801061107611","price":60.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/fe79ef88ee19eb0109a5fbeec443fa539d39921c.jpg?v=1646290420"},{"product_id":"aphex-twin-syro","title":"Aphex Twin – Syro","description":"\u003cp\u003e\u003cspan\u003eSyro \u003c\/span\u003e\u003cspan\u003eis a studio album by the electronic musician Richard D James, released under the pseudonym Aphex Twin on 19 September 2014 on Warp. It is his sixth studio album as Aphex Twin and his first studio album release under the name in 13 years since Drukqs (2001) and his first album of new material since Analord (2005). The album is also his first official release as Aphex Twin since Chosen Lords (2006), a compilation of tracks from the Analord series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecorded over a period of several years in various studios—including James' own studio in rural Scotland—Syro features 12 tracks and incorporates several subgenres of electronic music including techno, glitch, jungle and ambient. The album also features edited vocal tracks provided by James and his family. Syro's cryptic promotional campaign included an announcement made available only on the Deep Web, as well as several press releases in broken English and events in various international cities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUpon its release Syro received widespread acclaim from music critics and placed in several international charts, as well as earning a nomination for the Choice Music Prize and winning the 2015 Grammy Award for Best Dance\/Electronic Album. It was nominated for the 2015 Mercury Music Prize.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRead the very comprehensive write-up on the album via \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Syro\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWiki\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A6oRuinkJdTge4hpTuClEF8\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 3 × Vinyl, 12\", 33 ⅓ RPM, Album\u003cbr\u003eReleased: 2014\u003cbr\u003eGenre: Electronica\u003cbr\u003eStyle: Breakbeat, IDM, Downtempo\u003c\/p\u003e\n\u003cp\u003eFile under:  Electronic \/\/ House \/ Electro \/ Techno\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456450011294,"sku":"801061024710","price":60.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/9f78ca79e8bf89bc5183455f87fae0008eb6ba39.jpg?v=1646290670"},{"product_id":"nightmares-on-wax-in-a-space-outta-sound","title":"Nightmares On Wax – In A Space Outta Sound","description":"\u003cp\u003eTaking a penchant for mid-90's golden era hip-hop production flourishes, a deep love for tipsy Jamai-can dub and a working knowledge of leftfield European electro, Nightmares On Wax have added to their already impressive catalog with \u003cem\u003eIn A Space Outta Sound\u003c\/em\u003e. With a stronger dubwise rocksteady vibe than past NOW releases, the new album is still firmly rooted in the dusty funk that has anchored past collaborations and remixes with hip-hop heavy hitters like De La Soul, Roots Manuva, Black Eyed Peas_Efrontman Will.i.Am and RJD2. One of the prime architects of the organic grooves later dubbed trip-hop, Nightmares on Wax de-serted their early formula in 2002 only when it became respectable and a crossover appeared most like-ly. With the air cleared of downtempo cash-ins, producer George Evelyn and producer\/keyboardist Robin Taylor-Firth went right back to dub-heavy trip-hop with In a Space Outta Sound. \u003cbr\u003e\u003cbr\u003eUnsurprisingly, Nightmares on Wax remain among the best at constructing simple grooves with end-less depths; their only rival is Massive Attack…. As with past NoW releases,\u003cem\u003e In a Space Outta Sound\u003c\/em\u003e boasts an emphasis on sound architecture that requires expensive stereo equipment (or bucket loads of narcotics) to fully appreciate.” — via AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0SoMbQsPZTM8iA6HB5GSkg?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue, Repress, Gatefold\u003cbr\u003eCountry: UK\u003cbr\u003eReissued: 2014 \/ Original Release: 2006\u003cbr\u003eGenre: Electronic, Hip Hop, Jazz, Funk \/ Soul\u003cbr\u003eStyle: Downtempo, Trip Hop\u003c\/p\u003e\n\u003cp\u003eFile under: Downtempo\u003cbr\u003e⦿\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456450732190,"sku":"801061013318","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0196707939_10.jpg?v=1712127135"},{"product_id":"boards-of-canada-music-has-the-right-to-children","title":"Boards Of Canada – Music Has The Right To Children","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUnlike other electronic music experimentalists on the Warp roster whose innovations in the genre sounded cold and futuristic, Boards of Canada’s inventiveness was warm and nostalgic. Beginning with their debut album \u003cem\u003eMusic has the Right to Children\u003c\/em\u003e in 1998, the Scottish duo’s hallucinatory and hazy blend of downtempo, ambient, IDM, trip hop and psychedelia immediately evokes an expansive sense of emotionality and genuine optimism.  \u003c\/p\u003e\n\u003cp\u003eUsing detuned synths, drum machines and reel-to-reel tape recorders, Michael Sandison and Marcus Eoin deftly combine analogue and electronic instrumentation to craft something that feels uncannily like a personal, pastoral memory. That effect of childhood innocence is further accentuated by the brothers’ use of vintage samples, including snippets from Sesame Street and sounds from nature documentaries. Elegiac and hauntological, \u003cem\u003eMusic has the Right to Children \u003c\/em\u003eis the rare electronic album prefers to remember rather than presage. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" rel=\"noopener\" target=\"_blank\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eAlthough Boards of Canada's blueprint for electronic listening music - aching electro-synth with mid-tempo hip-hop beats and occasional light scratching - isn't quite a revolution in and of itself, \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e is an amazing LP. Similar to the early work of Autechre and Aphex Twin, the duo is one of the few European artists who can match their American precursors with regard to a sense of spirit in otherwise electronic music. This is pure machine soul, reminiscent of some forgotten Japanese animation soundtrack or a rusting Commodore 64 just about to give up the ghost. Alternating broadly sketched works with minute-long vignettes (the latter of which comprise several of the best tracks on the album), \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e is one of the best electronic releases of 1998. — (via John Bush \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/music-has-the-right-to-children-mw0000042674\" rel=\"noopener\" target=\"_blank\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eBoards of Canada’s 1998 album is a beat-music touchstone, a record that took the previous decade of home-listening electronic music and essentially perfected it. \u003c\/p\u003e\n\u003cp\u003eSometimes an album is so good and makes its case so flawlessly that it spawns a mini-genre of its own and becomes shorthand for a prescribed set of values. The Velvet Underground's \u003cem\u003ethird\u003c\/em\u003e and Miles Davis' \u003cem\u003eBitches Brew\u003c\/em\u003e are two older records that spring to mind, and I'd toss in \u003cem\u003eSpiderland\u003c\/em\u003e as well. It's not a long list, but somewhere on it belongs Boards of Canada's\u003cem\u003e Music Has the Right to Children\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eEarlier this month, Warp Records reissued \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e worldwide, adding the bonus track \"Happy Cycling\" (which we Americans with our Matador-licensed copies have always known as the album closer) and redesigning the cover art as a foldout digipak. It's always a bit strange when an album is reissued when it has not, in any sense, ever gone away. How could we possibly have forgotten about M\u003cem\u003eusic Has the Right to Children \u003c\/em\u003ewhen the sound Michael Sandison and Marcus Eoin created here is still the predominant inspiration in IDM? And yet, here we are, new package and new marketing push. Even so, six years after its original release is as good as any time to look into why Music Has the Right to Children has resonated so strongly.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada's sound was not wholly original. Seeds of it can be found in Eno, Aphex Twin (in a big way), The Orb, and all over the home listening electronic scene that sprang up in the wake of Warp's Artificial Intelligence compilation. Boards used drum machines, samplers, and an unfathomable collection of analog and digital synths, like others in their sphere. Their chords were typically gauzy ambient, their beats head-nodding downtempo. Properly speaking, they invented nothing.\u003c\/p\u003e\n\u003cp\u003eAnd yet, the parts had never come together quite like this. The first thing to note is that \u003cem\u003eMusic Has the Right\u003c\/em\u003e revealed Boards of Canada to be geniuses with texture, where god is in the details. The incredibly simple melody of the short \"Bocuma\" becomes a lump-in-the-throat meditation on man's place in the universe through subtle pitchshifts and just the right mist of reverb. The slow fade-in on \"An Eagle in Your Mind\" is the lonesome sound of a gentle wind brushing the surface of Mars moments after the last rocket back to Earth has lifted off. The long history of the electric piano was nothing but a lead-in to the tone Boards used on \"Turquoise Hexagon Sun\", the perfect evocation of a happy walk through the woods in an altered state. Every IDM artist since has at least once labored over their modular unit to get a patch that sounds like one of the many brilliant sounds found here.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada had released some singles and two EPs previous to this record's release, material which showed that they'd already developed their sound. But with \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e, the duo set out to make a proper album, and approached the album from a rock perspective, carefully mixing and editing the track sequence, while drafting interludes and tightly restricting the palette. You aren't likely to hear more subtly effective layering of sounds on any electronic record in the last 10 years: \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e is as unified and complete they come. Here, Boards of Canada set their sights on a small set of moods and characteristics - innocence, apprehension, wonder, mystery- and probed every possibility in minute detail.\u003c\/p\u003e\n\u003cp\u003eWhat's it all about, then? \"Childhood\" is the usual answer, but that's not as easy a connection as it seems on the surface. The giggling voices of kids that crop up are a sure giveaway, as are the song titles (\"Rue the Whirl\", \"Happy \"Cycling\"), but Music Has the Right to Children avoids the twinkling music box melodies that Múm has been coasting on for a while now. Boards managed to evoke childhood without seeming cute or twee. It's childhood not as it's lived but as we grown-ups remember it, at least those of us with less-than-fond recollections. The shades of darkness and undercurrents of tension (qualities which came further to the fore on 2002's Geogaddi) accurately reflect the confusion of a time that cannot be neatly summed up with any one feeling or emotion.\u003c\/p\u003e\n\u003cp\u003eWhen you discover that Boards of Canada took their name came from an organization committed to educational film, the overriding idea of their project clicks immediately into place. I've no memories of the National Film Board of Canada but I remember tapes with narration and incidental music accompanying filmstrips, tapes that were always damaged from age and overuse on poorly maintained equipment. The warbly pitch and warped voices mirrored the anxiety that came with the \"carefree\" days of being a kid and living subjugated to others. Boards of Canada tapped into the collective unconscious of those who grew up in the English speaking West and were talented enough to transcribe the soundtrack. No need to get hung up on specifics; however we lived and whoever we were, \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e reflected back the truth for a lot of us. You can't ask more of an album than that. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/838-music-has-the-right-to-children\/\" rel=\"noopener\" target=\"_blank\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6LZiNXaDvhzvnXUubVOmNU?utm_source=generator\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Warp Records \/ Skam\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue, Repress\u003cbr\u003eReissued: 2016 \/ Original: 1998\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: IDM, Ambient, Leftfield\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456472719518,"sku":"801061805517","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a3351001335_10.jpg?v=1705556316"},{"product_id":"boards-of-canada-the-campfire-headphase","title":"Boards Of Canada – The Campfire Headphase","description":"\u003cp\u003e\u003cspan\u003eBoards Of Canada’s \u003c\/span\u003e\u003cspan\u003ethird album for Warp Records, \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e, was originally released in 2005. The album featured fifteen tracks, including \"Peacock Tail\", \"Chromakey Dreamcoat,\" and \"Dayvan Cowboy\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAn inimitable late-night take on psychedelia that swirls between rock and techno.\u003c\/p\u003e\n\u003cp\u003eReach a certain age and you notice a peculiar thing: your thoughts frequently get interrupted by non sequitur memory images, seemingly insignificant but disconcertingly vivid. It's as if your overstuffed brain is calling up ancient files with a view to deleting for space.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada offer a more benign version of this temps perdu recovery process. Somehow the Scottish duo's signature sounds - those glistening melody trails and misty-around-the-edges textures - trigger buried memories. I'd almost say that listening to Boards of Canada is a form of therapy, except that the emotions stirred up-painful beauty, sweet sorrow - do not deserve a term that now has such glib feelgood associations.\u003c\/p\u003e\n\u003cp\u003eBoC have ploughed this 'memory-work' terrain on their previous two albums, the home-listening electronica landmark \u003cem\u003eMusic Has the Right to Children \u003c\/em\u003e(1998) and its only-slightly-less-fabulous sequel \u003cem\u003eGeogaddi \u003c\/em\u003e(2002). \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e pursues the same effect but with slightly different means. For the first time the group have incorporated acoustic and electric instruments, like guitars, alongside their customary array of vintage analogue synths and digital samples. So they're no longer making electronic music but an unclassifiable hybrid.\u003c\/p\u003e\n\u003cp\u003eOccasionally the new hues don't seem as idiosyncratic as their patented faded Super8-film synth tones, but then again, there's a thin line between developing your own vocabulary and coining your own set of cliches, and we should probably applaud BoC's attempt to extend their palette.\u003c\/p\u003e\n\u003cp\u003eIf the gorgeous mind-ripples of 'Satellite Anthem' and the dewy-eyed dreamwalk of \"84 Pontiac Dream' represent classic BoC almost to the point of redundancy, 'Dayvan Cowboy' steps off the group's beaten path. The track risks bombast with its stirring strings and crashing cymbal rolls (which dazzle the ear, as if the sticks are splashing into a pool of mercury) but stays just the right side of overblown.\u003c\/p\u003e\n\u003cp\u003eBlurring the boundaries between rock and techno is a smart move, because BoC have always made music that deserved to appeal beyond the electronic audience. You can imagine fans of My Bloody Valentine\/Cocteau Twins-style dreampop falling head over heels for \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e, or devotees of the Cure and Radiohead wallowing in its exquisitely textured melancholy. BoC can also be seen as heirs to the psychedelic tradition, grandchildren of Syd Barrett and the Incredible String Band. The connection comes through not just in the duo's obsession with childhood or their frankly goofy song titles, but also in the stereophonic delirium of their production. On 'Oscar See Through Red Eye' and 'Slow This Bird', sounds pan back and forth across the speakers, the drift and swirl making you melt into a voluptuous disorientation. — (via \u003ca href=\"https:\/\/www.theguardian.com\/lifeandstyle\/2005\/sep\/18\/shopping3\" target=\"_blank\" rel=\"noopener\"\u003eThe Guardian\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eThe story of how I discovered Boards of Canada isn’t very romantic or memorable, but I still remember it. Their track “Roygbiv” from 1998’\u003cem\u003es Music Has the Right to Children\u003c\/em\u003e was placed on the Matador Records compilation \u003cem\u003eEverything Is Nice\u003c\/em\u003e between songs by Cat Power and Jon Spencer Blues Explosion and that first listen stopped me in my tracks. What struck me about the band is how familiar they sounded. They had a quality about them that immediately struck me as warm, childlike and nostalgic. They were an electronic act that felt unusually organic; they weren’t restricted solely to the dancefloor or the laptop, instead creating something altogether inviting and personal and oddly eerie at times. Inspired by educational film soundtracks (from which they took their name), you could almost see photosynthesis taking place while you listened. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Campfire Headphase\u003c\/em\u003e contains essentially the same qualities that made the group’s earlier records \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e and \u003cem\u003eGeogaddi\u003c\/em\u003e as captivating as they were. The songs themselves have an immediacy and warmth not often found in IDM, the beats are never too overbearing, and the between-song interludes are frequently as fascinating and mysterious as the tracks themselves. But Headphase doesn’t have quite the same immediacy, opening up in slo-mo, like the visualized plant bud emerging from the soil.\u003c\/p\u003e\n\u003cp\u003eBy no means a “difficult” record, \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e is something of a sideways progression for the duo. While there are no glaring differences between this and the previous two full-lengths, there is a more pronounced guitar presence this time around, which makes for an interesting change in tone and palette. Part of what makes \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e seem a little strange at first is that guitar; it’s such a central part of the first proper “song” on the record (“Chromakey Dreamcoat”), that it almost seems like a different group. It doesn’t take long to get used to, however, and it brings added dimension to the Scottish duo’s sound.\u003c\/p\u003e\n\u003cp\u003eOn two of the album’s best tracks, “Satellite Anthem Icarus” and “Dayvan Cowboy,” the music draws similarities to the symphonic art funk of Serge Gainsbourg’s \u003cem\u003eHistoire de Melody Nelson. \u003c\/em\u003e“Dayvan” in particular stands out for its suspenseful buildup and heightened drum progression. Much of the album, however, still retains the analog dreamscape of \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e, at times floating in an ambient abyss, others grooving on an Air-like trip-hop haze.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada are clearly still among the best electronic producers out there right now, and \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e is yet another hour of blissful, dreamy IDM. After a few listens, it reveals its subtle and crackly charms, its digital-meets-analog progression a new, immersive chapter in the group’s consistently fascinating body of work. — (via \u003ca href=\"https:\/\/www.treblezine.com\/boards-of-canada-campfire-headphase-review\/\" target=\"_blank\" rel=\"noopener\"\u003eTrebleZine\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6uO5B6km2Dco28tOBmZtSU?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue, Stereo\u003cbr\u003eReissued: 2013 \/ Original: 2015\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Ambient, IDM, Leftfield\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456473079966,"sku":"801061812317","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0608755357_10.jpg?v=1705562852"},{"product_id":"nightmares-on-wax-carboot-soul","title":"Nightmares On Wax ‎– Carboot Soul","description":"\u003cp\u003e\u003cem\u003eCarboot Soul\u003c\/em\u003e is the third album by British trip hop producer and DJ Nightmares on Wax. It was originally released in 1999 on Warp Records in the UK. This is a reissue of Nightmares On Wax's third album from 1999. Four years on from the critically acclaimed \u003cem\u003eSmokers Delight,\u003c\/em\u003e the follow-up is an extension of the dreamy soul and jazz-influenced downtempo hip hop of the former record. Includes the Ibiza sunset classic 'Les Nuits'.\u003c\/p\u003e\n\u003cp\u003eFour years on from \u003cem\u003eSmoker's Delight\u003c\/em\u003e and, fortunately, little has changed for George Evelyn's Nightmares on Wax project. While he could've easily been forgiven for following the nu-beat crowd and inserting a few prescient big beats into the blunted trip-hop formula, it's all clear from the opener, \"Les Nuits\" (a NoW theme of sorts, repeated from \u003cem\u003eSmoker's Delight\u003c\/em\u003e), that at hand is a return to form, not a turn away from the trip-hop style that took such a beating during the late '90s. The lazy-day soul samples driving tracks like \"Morse\" and \"Finer\" are perfect examples that instrumental hip-hop doesn't have to resort to the usual producer's bag of tricks to make for music leagues beyond the average. There's also a focus here lacking from previous material; fewer interludes make for a more concentrated listening experience. All in all, \u003cem\u003eCarboot Soul\u003c\/em\u003e is one of the best arguments yet for the continuing development of trip-hop beyond mere coffee table fare.” — via AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003ciframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/5c3DKyqo1I7vMqozsrEImO?utm_source=generator\" style=\"border-radius: 12px;\" height=\"152\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records \u003cbr\u003e‎Format:2 × Vinyl, LP, Album, Reissue\u003cbr\u003eReissued: 2014 \/ Original: 1999\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Leftfield, Trip Hop, Acid Jazz, Downtempo\u003cbr\u003e\u003cbr\u003eFile under: Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456512663710,"sku":"801061006112","price":60.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0851557286_10.jpg?v=1734411092"},{"product_id":"nightmares-on-wax-smokers-delight","title":"Nightmares On Wax ‎– Smokers Delight","description":"\u003cp\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis sophomore album from English DJ and producer Nightmares on Wax (aka George Herbert Evelyn) remains one of trip hop’s foundational documents, alongside the likes of Massive Attack’s Blue Lines and Portishead’s Dummy. Released in 1995 on Warp, \u003cem\u003eSmokers Delight\u003c\/em\u003e offers a summery cornucopia of dubby reggae, hip hop, smooth soul, Latin percussion and jazz-funk fusion layered through Evelyn’s evocative downtempo atmospherics.\u003c\/p\u003e\n\u003cp\u003eAs the album title implies, this chilled out record is ideal listening for stoners - bringing the listener on a hazy, super baked joyride that is continuously absorbing from beginning to end. Highlighted by zone out tunes such as the Quincy Jones-sampled “Nights Introlude” and the snare drum-driven, bluesy bass of “Pipes Honour” -\u003cem\u003e Smokers Delight\u003c\/em\u003e is a subminimal trip into the laid-back grooves of the mid-90s. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThe first quarter of \u003cem\u003eSmoker's Delight\u003c\/em\u003e is trip-hop basking in summer's glow. Hooks and breakbeats swing like Cubana's in the quinceanera of their favorite niece.\u003c\/p\u003e\n\u003cp\u003eWith that being said, \u003cem\u003eSmoker's Delight\u003c\/em\u003e is dynamic with a warm analog sound that is well suited for armchair listening (this facet of the album becoming more prominent as the record progresses).\u003c\/p\u003e\n\u003cp\u003eNightmares on Wax certainly channels that noir atmosphere that trip-hop is known for, but he never ventures as far into that realm as groups like Portishead or Massive Attack; for \u003cem\u003eSmoker's Delight\u003c\/em\u003e, a little flirtation with this sound is just enough. The drum pattern in tracks like dreddoverboad is undeniably Latin, but the samples of RnB vocals and the saxophone riff keep it from being pigeonholed into any specific genre. These transitions and flirtation with different sounds truly made Warp Records so exciting at the time. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSmoker's Delight\u003c\/em\u003e is evocative. Its ability to conjure images and sensations that are palpable and wholly engaging is astounding. These soundscapes are expertly manipulated to assist the listener in total absorption.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSmoker's Delight\u003c\/em\u003e is good and, at times, even a great album, but this is wholly contingent upon where you are and what you are looking for when the needle drops. -\u003ca href=\"https:\/\/www.sputnikmusic.com\/review\/84962\/Nightmares-On-Wax-Smokers-Delight\/\" target=\"_blank\" rel=\"noopener\"\u003eSputnik Music\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7mO1rDeboFf4ii6cp9maWJ?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Repress, 180 gram\u003cbr\u003eCountry: UK\u003cbr\u003eReissued: 2014 \/ Original Release: 1995\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Trip Hop, Dub, Downtempo\u003c\/p\u003e\n\u003cp\u003eFile under: Downtempo\u003cbr\u003e⦿\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456512762014,"sku":"801061003616","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/996fdc47a65370735ddb64e3d403b9d1f0176023.jpg?v=1646291364"},{"product_id":"autechre-amber-2016-reissue","title":"Autechre ‎– Amber [Reissue]","description":"\u003cp\u003e1994's Amber, the second full-length from Autechre, returns to vinyl after being out of print since 2001. Amber contains 11 tracks of sparse Ae minimalist machine modules that blur the boundaries between isolationist electronica and richly vivid techno soundscapes. Considered by many fans to be the most crucial recording from the group, it contains some of their most immersive soundscapes to date.\u003c\/p\u003e\n\u003cp\u003eSteering away from the post-hardcore dynamics that shone through on Incunabula, Amber moves further away from anything resembling 'techno' and more into territories of abstract ambience. These 11 crystal-like cubes of sound came together to produce some of the most mind-bendingly hypnotic sounds to be committed to wax during the 90's. Placing Ae up in the ranks of legendary composers such as Steve Reich and Manuel Gottsching as well as their Artificial Intelligence contemporaries with whom they were crafting the building blocks of the future.\u003c\/p\u003e\n\u003cp\u003eThere is something uniquely immersive about Amber, it's almost as if as you are playing it the sounds are fading away before they even begin. When played from the start you can lose a lot of time within the endless gradients that adorn its cover, before the sounds just seemingly, disappear. Included with this release is a download of an original Autechre live set, previously only available in the Autechre webstore, with artwork by long time creative collaborators The Designers Republic. – \u003ca href=\"https:\/\/www.musicdirect.com\/vinyl\/Autechre-Amber-(Vinyl-LP)\" target=\"_blank\" rel=\"noopener\"\u003e\u003cu\u003ePress Release\u003c\/u\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A7EfhvG3RwdhzXrFlkDVxg4\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"498\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eAutechre ‎\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eAmber\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eWarp Records\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2 × Vinyl, LP, Album, Repress\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eUK\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eThis reissue: 2016 | Original – 1994\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eElectronic\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eAbstract, IDM, Ambient\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eWARPLP25R\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456533373086,"sku":"801061802516","price":48.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a3508978113_10.jpg?v=1705491506"},{"product_id":"autechre-incunabula-2016-reissue","title":"Autechre ‎– Incunabula | 2016 Reissue","description":"\u003cp\u003eIncunabula, the debut full-length offering from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001.\u003c\/p\u003e\n\u003cp\u003eHaving 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 \u0026amp; on the series' closing compilation, artists as diverse as Seefeel, Richard H Kirk \u0026amp; The Higher Intelligence Agency.\u003c\/p\u003e\n\u003cp\u003eIncunabula 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. – \u003ca href=\"https:\/\/bleep.com\/release\/20360-autechre-incunabula\" target=\"_blank\"\u003e\u003cu\u003ePress Release\u003c\/u\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e“It may be the reason from immense progress that so much of Incunabula feels linear in a way. Each direction of the music takes a turn for the better, even if it isn't something new to the ear nowadays, it can be seen across the genre in the present time of Autechre's vast influence. Although the style changes from classic electronic movements, ambient, and sometimes minimalistic techno Incunabula shows how important Autechre was for this movement. Incorporating all signs of experimentation within their debut there wasn't much to go from there. \"Kalpol Introl\" remains to be their most popular and noticeable song on Incunabula; the album's only single would later be featured on Darren Aronofosky's modern masterpiece Pi. The serene, whirling, and calm \"Kalpol Introl\" is what electronic music was about at the time. Pure experimentation, these tracks as other electronic artists in the early 90's are to thank for such an solid, exciting, and unusual approach.\u003c\/p\u003e\n\u003cp\u003eFrom \"Kalpol Introl\" the track \"Bike\" follows in its footsteps within the peaceful and humbling waves of electronic. The eeriness ensues within \"Autriche\", but the overall feeling is not lost within the music. As I said the tune of the album is similar in stature, just different in tone, much of \"Autriche\" as well as Incunabula takes a moderate and gradual climb within each track, by either peeling and whisking away at the layers or adding a few more. \"Basscadet\" is where the energy starts to pick up, its hand drum intro with glitchy atmosphere is relevant as addictive in every sense of the term. Gradually building upon the initial beats \"Basscadet\" sets of in a dark journey in the mind of any IDM enthusiast. With each murmuring of \"I have no idea what's going on\", a layer is slowly put together to create 5 minute session of excitement. Although one of the shorter songs on Incunabula it remains one of the strongest. \"Eggshell\" may scrap the minimalistic techno beats from the former track \"Basscadet\", but the subdued haunting atmosphere works even better. As the various twists and turns of ambient music skew towards waves of electronic benevolence a resounding and proper closer \"444\" takes Incunabula full circle. Summarizing the album from its beginnings towards it's smooth end.” – \u003ca href=\"http:\/\/www.sputnikmusic.com\/review\/31616\/Autechre-Incunabula\/\" target=\"_blank\"\u003e\u003cu\u003eSputnik Music\u003c\/u\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout Autechre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAutechre are an English electronic music duo consisting of Rob Brown and Sean Booth, both from Rochdale, Greater Manchester, England. Formed in 1987, they are one of the most popular acts signed to the Warp Records label, known for its pioneering electronic music and through which all of Autechre's albums have been released.\u003c\/p\u003e\n\u003cp\u003eWhile heavily associated with IDM (intelligent dance music), Booth and Brown are ambivalent about relating their sound to established genres. Their music has exhibited a gradual shift in aesthetic throughout their career, from their earlier work with clear roots in techno, house and electro, to later albums that are often considered experimental in nature, featuring complex patterns of rhythm and subdued melodies.\u003c\/p\u003e\n\u003cp\u003eAutechre have also recorded under various pseudonyms. One of the duo's earliest recordings was a 12\" single released under the alias Lego Feet in 1991 by Skam Records. The majority of releases by the umbrella project Gescom have been attributed to Booth and Brown, among other artists. One recent critic stated that Autechre create \"some of the most complicated music you could ever hope to drown in\" and are \"recognized as pioneers in experimental music\". – \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Autechre\" target=\"_blank\"\u003e\u003cu\u003eWiki\u003c\/u\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A4KROnLN6Didp0F97RXaW7a\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"498\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eAutechre ‎\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eIncunabula\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eWarp Records\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2 × Vinyl, LP, Album, Repress\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eUK\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eThis reissue: 2016 | Original – 1993\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eElectronic\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eTechno, IDM, Electro, Ambient\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eWARP LP17R\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456533405854,"sku":"AutechreDefaultTitle","price":48.0,"currency_code":"SGD","in_stock":false}]},{"product_id":"autechre-tri-repetae-2016-reissue","title":"Autechre ‎– Tri Repetae [Reissue]","description":"\u003cp\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile Autechre is remembered today as one of the vanguards on the bleeding edge of IDM during the mid-1990s, it’s important to note that their first two albums were rather conventional. Though excellent, Incunabula and Amber were rooted to the English duo’s techno and electro upbringing. In contrast, their third album \u003cem\u003eTri Repetae\u003c\/em\u003e presented a paradigm shift, signalling Rob Brown and Sean Booth’s transition into Warp’s pantheon of experimental trailblazers alongside Aphex Twin and Squarepusher. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTri Repetae\u003c\/em\u003e found the production pairing diving deep into glitch and noise - complementing their ambient, breakbeat, and techno expertise with more intricate, minimal and spacious patterns. The result was a series of industrial soundscapes punctured by twisted metal and alien frequencies. \u003cem\u003eTri Repetae\u003c\/em\u003e is where Autechre’s legend truly begins, and it remains as revelatory today as it was in 1995. - The Analog Vault\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTri Repetae\u003c\/em\u003e, the third album from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. On reflection, \u003cem\u003eTri Repeate\u003c\/em\u003e stands tall as one of the most out-there (and if you know what that means...) and boundary-pushing releases from Ae ever. Going back to the group's roots as b-boy's, \u003cem\u003eTri Repetae\u003c\/em\u003e features ten variations on street sounds from hip-hop and techno to industrial and jungle.\u003c\/p\u003e\n\u003cp\u003eReleased at a time when producers were ripe with ideas for cosmic breakbeat experimentation, \u003cem\u003eTri Repetae\u003c\/em\u003e mixed the glitchy twisted dynamics of EPs such as the criminal justice bill protest Anti and sculpted a long player that resembles some of the most 'floor friendly' Ae to ever grace a packed nightclub soundsystem. The ten tracks pulled influence from previous outings, from the glacial Amber chug of Overand to the Incunabula acid of Leterel. But the overall sound is one of mixing influence from the avant-garde of Iannis Xenakis, Edgard Varese \u0026amp; Tod Dockstar with the mid 90's post-hardcore sound of jungle. — (via \u003ca href=\"https:\/\/bleep.com\/release\/20864-autechre-tri-repetae\" target=\"_blank\" rel=\"noopener\"\u003eBleep\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"500\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A0ioIXXMV89w0qC39FpxYnL\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue, Repress\u003cbr\u003eCountry:    UK\u003cbr\u003eReissued: 2016 onwards (Original: 1995)\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Abstract, IDM, Ambient\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/ Leftfield\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456533438622,"sku":"801061803810","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a3796515172_10.jpg?v=1705491097"},{"product_id":"theotherpeopleplacelifestylesofthelaptopcaf","title":"The Other People Place ‎– Lifestyles Of The Laptop Café","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAs one half of Drexciya, American electronic music producer James Stinson achieved rapturous applause. However, his solo project under the pseudonym, The Other People Place, was not as warmly received. In fact, his 2001 album, \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e, was initially panned. Yet retrospectively, the LP became critically acclaimed and it is now considered a modern cult classic as well as one of the best electronic albums of all time. Subliminally minimal yet deftly composed - \u003cem\u003eLifestyles of the Laptop Café\u003c\/em\u003e tells the tale of a couple who first meet at an Internet cafe. From its romantic, mid-tempo electro-soul opener “Eye Contact” to the mellow and fluid tech-house of the following seven tracks, including the anthemic “Let Me Be Me”, Stinson’s 808 patterns and melodies open up the lusher and sweeter side of Detroit techno. - The Analog Vault\u003c\/p\u003e\n\u003cp\u003e\"The Other People Place seem either lost or uninspired,\" the Canadian magazine Exclaim said of \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e in February 2002. \"The experimentation is insignificant and it sounds quite dated.\" It wasn't alone with this opinion. Released on Warp following era-defining IDM albums from Plaid, Squarepusher and Aphex Twin, the melodic and vocal-heavy \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e may have felt like a step backwards. The LP's subtle genius has since been revealed through the simplicity for which it was criticized. A little over 15 years later, it's reissued as one of electronic music's most essential records.\u003c\/p\u003e\n\u003cp\u003eProduced by James Stinson, a truck driver with seven children and a hand in a string of seminal electro and techno releases as one half of Drexciya, \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e was as accessible as electro came. On other records, Stinson and fellow Drexciya member Gerald Donald explored the powerful fantasy of Afrofuturism. \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e was everyday life. Stinson, who made music from the basement of his family home (\"You had to pull his teeth to find out what was going on,\" his mother Helen said), had never so openly engaged with the universal themes of love and belonging. At the time, The Other People Place was faceless—as with all Drexciya releases, the producer was unknown. But the music had a human touch, and \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e, which was slower and more melodic than any previous Drexciya-related release, connected with people like very little electronic music before or since.\u003c\/p\u003e\n\u003cp\u003eMelody is key to this. Arpeggios and organ-style keys and chords float over basic 808 patterns—usually a 4\/4 kick-snare combination with a light smattering of hi-hats—while melodic basslines, ranging from hyperactive and complex (\"It's Your Love,\" \"Moonlight Rendezvous\") to short and simple (\"Lifestyles Of The Casual\"), plod underneath. There are never more than a few elements at play, which increases their potency and highlights Stinson's knack for effective composition.\u003c\/p\u003e\n\u003cp\u003eThen there are the vocals. Single sentences—\"you said you want me,\" \"let me be what I wanna be\"—become poetry when paired with Stinson's synths. Anyone with a basic grasp of English can relate to them, which helps explain \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e's broad appeal. How many listeners have pondered their own place in the world while listening to \"Let Me Be Me,\" wondered \"what if?\" after locking eyes with a stranger like in \"Eye Contact,\" or recalled past relationships during \"You Said You Want Me?\"'s forlorn call and response?\u003c\/p\u003e\n\u003cp\u003eThe simplicity of the lyrics also obscures their meaning. Knowing Stinson, there's more to \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e than love and identity. The hints, some say, are in the cover art, where modern technology meets nature, and in \"Eye Contact\"'s café monologue, interpreted as a comment on internet culture. We'll never get an explanation from Stinson, who passed away from a chronic heart condition following \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e's release, aged 32. In his final interview, he said that when heard in full, Drexciya's seven \"storms\"—a string of seven albums produced over one year—would give the listener a \"complete feeling.\" \u003cem\u003eLifestyles Of The Laptop Café\u003c\/em\u003e's meaning, then, may be elsewhere. 15 years from now, we'll still be trying to figure it out. – — (via \u003ca href=\"https:\/\/www.residentadvisor.net\/reviews\/20638\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eResident Advisor\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/4HuzPUi36WvuyGWKUcQEkt\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records ‎\u003cbr\u003eFormat: 2 × Vinyl, 12\", 33 ⅓ RPM, Album, Reissue\u003cbr\u003eReissued: 2017 \/ Original Release: 2001\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Electro, Minimal Techno, Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456872587422,"sku":"801061809010","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/b3322f5ccbe66e47036c66d7afb63a90a705178c.jpg?v=1646298178"},{"product_id":"nala-sinephro-space-18","title":"Nala Sinephro – Space 1.8","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis debut album by London-based Caribbean-Belgian composer, producer, and musician Nala Sinephro is an elegiac, cosmic jazz wonder. Throughout the album’s transfixing 45 minutes, \u003cem\u003eSpace 1.8 \u003c\/em\u003efeels akin to taking a warm, reflective, slow-motion sound bath - one that cleanses, nurtures and gently heals.\u003c\/p\u003e\n\u003cp\u003eThis minimalist and understated electroacoustic alliance of ambient and spiritual jazz envelopes you in its unhurried, free-floating thrum. Sinephro on the pedal harp and modular synthesisers - alongside a host of collaborators including Lyle Barton, James Mollison, Nubya Garcia, Shirley Tetteh, and Jake Long - have managed to process the infinity of the interior through spacious and celestial dimensions of harp, horns and layered electronics.\u003c\/p\u003e\n\u003cp\u003eA meditative masterwork that will restore the body and rejuvenate the soul. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eThe debut album by London-based composer, multi-instrumentalist, and NTS Radio host Nala Sinephro intertwines spiritual jazz and ambient music, melding acoustic and electronic instruments to create meditative pieces that explore inner space while pondering the possibilities of the future.\u003c\/p\u003e\n\u003cp\u003eSinephro performs pedal harp and modular synthesizers, and she's joined by several notable musicians, including saxophonists Nubya Garcia, Ahnansé, and James Mollison, drummers Jake Long, and Eddie Hick, bassists Rudi Creswick and Twm Dylan, and others.\u003c\/p\u003e\n\u003cp\u003eThe gentle, collage-like opener blooms with the sounds of chirping birds serving as a backdrop for Sinephro's graceful harp and illuminating synths. Following the dusky, comforting \"Space 2,\" the musicians briefly kick into overdrive with the momentary rocket burst \"Space 3,\" which feels like the beginning of a jazzy drum'n'bass crossover but caps that bit of excitement before developing further. \"Space 6\" is more intense, with an unsteady, angular rhythm and buzzing, bassy synths that erupt into mesmerizing waves. Concluding the album is \"Space 8,\" a 17-minute celestial jazz epic that suspends Ahnansé's warm, wistful saxophone playing inside an ethereal glow, gradually encircled by spiralling echoes. Both a reflective sound bath and an ecstatic celebration of creative freedom, Space 1.8 is a singular, eye-opening debut. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/space-18-mw0003574694\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"100%\" height=\"380\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5Svfamp6qQ2IfLVNVICpVm?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eReissued:2022 \/ Original: 2021\u003cbr\u003eGenre: Jazz, Electronic\u003cbr\u003eStyle: Contemporary Jazz, Ambient, Experimental\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz \/\/ Modern \/ Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41563783135390,"sku":"801061032418","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Nala.jpg?v=1649317443"},{"product_id":"various-artificial-intelligence","title":"Various Artists – Artificial Intelligence","description":"\u003cp\u003e\u003ci\u003eArtificial Intelligence\u003c\/i\u003e\u003cspan\u003e is a series of \u003c\/span\u003ealbums\u003cspan\u003e by \u003c\/span\u003eWarp Records\u003cspan\u003e released from 1992–1994 to exhibit the capabilities and sounds of \u003c\/span\u003eelectronic music\u003cspan\u003e. Warp described the new (post-\u003c\/span\u003erave\u003cspan\u003e electronic) music as \"electronic listening music\" to clarify that it was meant more for the mind than the body. The sleevenote on the 1992 compilation said \"Are you sitting comfortably? \u003cem\u003eArtificial Intelligence\u003c\/em\u003e is for long journeys, quiet nights and club drowsy dawns. Listen with an open mind.\"\u003c\/span\u003e\u003cspan\u003e The series is remarkable for its inclusion of groups and individuals who would later become leaders in modern electronic music, \u003c\/span\u003etechno\u003cspan\u003e, and \u003c\/span\u003eambient\u003cspan\u003e, such as \u003c\/span\u003eAlex Paterson\u003cspan\u003e, \u003c\/span\u003ePlaid\u003cspan\u003e, \u003c\/span\u003eRichard D. James\u003cspan\u003e, \u003c\/span\u003eRichie Hawtin\u003cspan\u003e, and \u003c\/span\u003eAutechre\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eThe premier listening-techno label for the early '90s, Warp (distributed by TVT) released seminal albums by Polygon Window (aka Aphex Twin), Black Dog, B12, and Autechre. Great tracks from all these artists appear on Artificial Intelligence, along with contributions from Richie Hawtin, Speedy J, and the Orb's Dr. Alex Paterson. The B12 track \"Telefone 529\" (as Musicology), Black Dog's \"Clan\" (as I.A.O.) and Autechre's \"Crystel\" are three of the best here. The cover display, of a robotic humanoid relaxing in a futuristic living room with copies of Kraftwerk and Pink Floyd LPs on the floor, is quite appropriate: Warp virtually pioneered the concept of applying the concepts of '70s ambience to '80s techno. The result is a superb collection of electronic listening music, and it's a great place to start for the newly interested. — via AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003ciframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/0P9O7BGwJrEGFj6BvpIphD?utm_source=generator\" style=\"border-radius: 12px;\" height=\"152\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eSeries: Artificial Intelligence – First\u003cbr\u003eFormat: Vinyl, LP, Compilation, Reissue, Stereo\u003cbr\u003eReissued: 2022 \/ Original Release: 1992\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: IDM, Ambient, Leftfield\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":42314996777118,"sku":"5056614700459","price":48.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/287819-5.jpg?v=1671694514"},{"product_id":"aphex-twin-blackbox-life-recorder-21f-in-a-room-7-f760","title":"Aphex Twin - Blackbox Life Recorder 21f\/ In a Room 7 F760","description":"\u003cp\u003e After the five year-hiatus following 2018's Collapse EP, Richard D. James returned with augmented reality—the technology that's primed to replace the mobile phone as our primary interface for digital content—to tease a new EP. Whether it's the gear he builds himself or his still mind-blowing comeback album Syro, it's typical of James to re-emerge in the present bearing gifts from the future. On Blackbox Life Recorder 21f \/ In A Room7 F760, he opts for more of a retrospective turn, unifying his '90s and '10s work under kinetic, obsessively processed drum patterns and melancholy chord sequences. Instead of attempting to reinvent the wheel, he refines and extends his legacy, preserving the familiar while hearkening back to the uncanny moods that shroud his best ambient-leaning works. - \u003ca href=\"https:\/\/ra.co\/reviews\/35628\" target=\"_blank\" rel=\"noopener\"\u003eResident Advisor\u003c\/a\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0yp0GVa92trHmWZuEZTuL2?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" style=\"border-collapse: collapse; width: 99.9751%;\"\u003e\n\u003ccolgroup\u003e\n\u003ccol style=\"width: 50%;\"\u003e\n\u003ccol style=\"width: 50%;\"\u003e\n\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eLabel: \u003c\/td\u003e\n\u003ctd\u003eWarp Records – WAP480\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat: \u003c\/td\u003e\n\u003ctd\u003eVinyl, 12\", 45 RPM, EP\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eCountry:\u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003e Worldwide\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eReleased: \u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003e 28 Jul 2023\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGenre: \u003c\/td\u003e\n\u003ctd\u003eElectronic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle: \u003c\/td\u003e\n\u003ctd\u003e\u003cspan\u003e IDM, Acid, Glitch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":42712063508638,"sku":"11435","price":39.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/aphex_9f2eea91-5f8c-415a-8ac3-ea2b514f75a5.jpg?v=1692519911"},{"product_id":"flying-lotus-youre-dead","title":"Flying Lotus - You're Dead!","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBrainfeeder founder and production polymath Flying Lotus is arguably one of the most influential electronic artist of the 2010s, crafting a string of boundary-pushing albums that changed the very context of beat music. But among his masterworks, his fifth album was certainly his most personal and dynamic – with FlyLo at his jazziest. \u003c\/p\u003e\n\u003cp\u003eReleased in 2014 via Warp Records, \u003cem\u003eYou’re Dead!\u003c\/em\u003e was a celestial sonic procession, dedicated to his family and friends who had passed too soon. Despite its sombre themes, this record is anything but. Instead, the album emerges as a stirring musical journey of transition and an evocative celebration of life. FlyLo teams with guests such as Herbie Hancock, Kendrick Lamar, Thundercat, and Snoop Dog to stretch the limits of electronica, hip-hop, and jazz fusion, synthesising them to create a psychedelic bridge through dimensions of consciousness. —  \u003ca href=\"https:\/\/theanalogvault.mom\/\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e— \u003c\/p\u003e\n\u003cp\u003eAn early form of You're Dead! was the length of a double album - a large mass of brief tracks that, for Steven Ellison, possibly signified nothing more than his fifth Flying Lotus album. As the producer and keyboardist spent more time absorbing and shaping the recordings, the title, initially comic in meaning, gained emotional weight while he was provoked to consider his mortality and the losses he has been dealt, including the deaths of his father and mother, his grandmother, his great aunt Alice Coltrane, and creative collaborator Austin Peralta. \u003c\/p\u003e\n\u003cp\u003eThe completed You're Dead! consists of 19 tracks averaging two minutes in length that are intended to be heard in sequence from front to back. Its flow is even more liquid than that of Until the Quiet Comes, though the sounds are more jagged and free, with roots deeper in jazz. Ellison once again works extensively beside longtime comrades and pulls new collaborators into his sphere. All of them - bassist and vocalist Thundercat, drummer Deantoni Parks, saxophonist Kamasi Washington, and many others worthy of mention - help him push jazz, R\u0026amp;B, rap, and electronic music forward at once. \u003c\/p\u003e\n\u003cp\u003eMost striking and powerful of all is \"Never Catch Me,\" easily the longest cut. An album's worth of ideas and a whirlwind guest appearance from rapper Kendrick Lamar are condensed into its four sonically rich minutes. The tone dramatically shifts with the following \"Dead Man's Tetris,\" a sinister concoction of melodic bleeps and gunshot effects involving Ellison as Captain Murphy, and also Snoop Dogg, in which J Dilla, Freddie Mercury, and Peralta are all part of the afterlife fantasy. Previous Flying Lotus releases have their bleak and elegiac moments, but they're central here, highlighted by \"Coronus, the Terminator\" (an Ellison\/Niki Randa duet), \"Siren Song\" (fronted by Dirty Projectors' Angel Deradoorian), and \"Obligatory Cadence.\" The instrumentals range from playful, as reflected in titles like \"Turkey Dog Coma\" and \"Turtles,\" to the distressed likes of \"Tesla\" and \"Moment of Hesitation,\" with the latter two both anchored by Gene Coye's feverish percussion and Herbie Hancock's glimmering\/flickering piano. It all plays out in a kind of elegantly careening fashion. It concludes with \"The Protest,\" where Laura Darlington and Kimbra softly sing \"We will live on forever\" like a defiant mantra. Like his great aunt, and his great uncle John Coltrane, Ellison has created exceptionally progressive, stirring, and eternal art. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/youre-dead%21-mw0002720542\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7DFT5wc0jn6U7DqooS8y6l?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records \u003cbr\u003eFormat: 2 x LP, Album\u003cbr\u003eReleased: 2014\u003cbr\u003eGenre: Electronic, Hip Hop, Jazz\u003cbr\u003eStyle: Jazzy Hip-Hop, Jazz Fusion, Future Jazz, Experimental\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":42794257481886,"sku":"801061025618","price":55.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/FL.jpg?v=1697096961"},{"product_id":"oneohtrix-point-never-again","title":"Oneohtrix Point Never – Again","description":"\u003cp\u003eMainstream v esoteric is just one of several dualisms at play: his excavations of archival sound are also a dig into his own history, and his looks back are often repurposed into speculative glances ahead. On new album Again, he taps into his teen years and introduces post-rock, prog and orchestral works to the melting pot. The sincerity and climax-driven dynamism of these styles are placed in dialogue with real instrumentation from guests such as Lee Ranaldo, plus the whims of AI technologies and his own subversive sound generation.\u003c\/p\u003e\n\u003cp\u003eAt its best, the record delivers runs such as World Outside, Krumville and Locrian Midwest, a sequence where chamber choral music dissolves into a shimmering pop breakdown sung by Lopatin himself, preceding an emo joint with Xiu Xiu and Midi instrumentation reminiscent of the artist’s early 2010s approach. Here, AI is poignantly used to mutate vocals and interpret composition, as opposed to the track Memories of Music, where it seems to be given freer rein to write – the result is slapstick played extremely straight. Despite such misfires, Again features some of Lopatin’s most touching music, where the disastrous and the sublime are always second-guessing each other. - \u003ca href=\"https:\/\/www.theguardian.com\/music\/2023\/sep\/29\/oneohtrix-point-never-again-review-warp-records\"\u003eThe Guardian\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2zz6j2mGH5JHk0ihNvy6KM?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable class=\"table_1fWaB\" border=\"1\" style=\"border-collapse: collapse; border-width: 1px;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eLabel:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eWarp Records\u003cspan\u003e \u003c\/span\u003e– WARPLP365\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eFormat:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\n\u003cdiv class=\"format_item_3SAJn\"\u003e2 x\u003cspan\u003e \u003c\/span\u003eVinyl,\u003cspan\u003e \u003c\/span\u003eLP, Album\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eCountry:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eUK, Europe \u0026amp; US\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eReleased:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003ctime datetime=\"2023-09-29\"\u003e\u003cspan style=\"color: #000000;\"\u003e29 Sept 2023\u003c\/span\u003e\u003c\/time\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eGenre:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eElectronic\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\" style=\"border-width: 1px;\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eStyle:\u003c\/span\u003e\u003c\/th\u003e\n\u003ctd style=\"border-width: 1px;\"\u003e\u003cspan style=\"color: #000000;\"\u003eExperimental,\u003cspan\u003e \u003c\/span\u003eAbstract,\u003cspan\u003e \u003c\/span\u003eAmbient,\u003cspan\u003e \u003c\/span\u003eSynth-pop,\u003cspan\u003e \u003c\/span\u003eNew Age,\u003cspan\u003e \u003c\/span\u003eSound Collage,\u003cspan\u003e \u003c\/span\u003eGlitch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":42858822107294,"sku":"WARPLP365","price":55.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/R-28461037-1696131584-8790.jpg?v=1698734092"},{"product_id":"autechre-chiastic-slide","title":"Autechre – Chiastic Slide [Reissue]","description":"\u003cp\u003eChiastic Slide - the glitch blueprint - endlessly imitated, deconstructed and worshipped, now a quarter of a century old and still capable of shaping the narrative. The period that followed this album was a weird one in electronic music, there were just no other records that shaped IDM in quite the same way.\u003c\/p\u003e\n\u003cp\u003e25 years later Chiastic Slide's influence is just as evident, but the gap between its rhythmic genius and the legions of imitations seems almost laughably wide. ‘Tewe’ flows with the kind of liquid energy that’s completely at odds with the monochrome, staccato constructions you’d find on something like a Markant record, while the industrial clank on ‘Cichli’  connects directly to Alan Wilder and Martin Gore's mallet-on-sheet-metal brilliance in a way we just didn't clock at the time. \u003c\/p\u003e\n\u003cp\u003eAnd on it goes - ‘Recury’ is a submerged sci-fi tearjerk of the highest order, ‘Pule' is pure, arpeggiated synth voodoo, 'Rettic AC’ is like some alien concrète flashback, ‘Calbruc’ stop-motion turntablist attack - it’s just all a perfect vision of some imagined future that hadn't quite finished rendering yet. — (via \u003ca href=\"https:\/\/boomkat.com\/products\/chiastic-slide\" target=\"_blank\" rel=\"noopener\"\u003eBoomkat\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003eNow reissued and repackaged with\u003cspan\u003e a spot gloss cover, and reveals additional shapes when held under the light; includes download card. Art direction by Sheffield-based, The Designers Republic.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"600\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7BAYND1fTWAwOr7QwLhXMB?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue\u003cbr\u003eCountry: UK\u003cbr\u003eOriginally released: 1996\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Abstract, IDM, Downtempo, Experimental\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/ Leftfield\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":43096977178782,"sku":"801061804916","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/a2862233253_10.jpg?v=1705558318"},{"product_id":"autechre-sign","title":"Autechre – SIGN","description":"\u003cp\u003e\u003cspan\u003eThe fourteenth studio album by the British electronic music duo. The Rochdale-originated duo’s output consists of weighty folder dumps, marathon radio residencies and other swathes of experimental electronics, club deviations and wee-hours abstractions. These exciting, befuddling drops are often left raw and unsorted for fans to construct their own canons from the pair’s extensive discography. \u003cbr\u003e\u003cbr\u003eNow relocated and working remotely from one another long before the pandemic, Autechre have been mining away at a sound influenced more temporally than geographically: electro, bleep techno, funk and old-school hip-hop styles of the 80s and 90s continue to shape the direction of the Warp Records mainstays. It’s the melodies that take prominence on Sign, a dense and viscous record with synthetic textures that hold great depth, lingering chords that leave residue, and moody, submerged atmospheres that are well realised. — (via \u003ca href=\"https:\/\/www.theguardian.com\/music\/2020\/oct\/16\/autechre-sign-review-warp\" target=\"_blank\" rel=\"noopener\"\u003eThe Guardian\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"600\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6bZID6hhfiOoLYwAm3fliK?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2x Vinyl, LP, Album\u003cbr\u003eCountry: UK\u003cbr\u003eReleased: Oct 16, 2020\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Ambient, IDM, Abstract\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/ Leftfield\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":43100550824094,"sku":"0801061032913","price":48.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/a3617801006_10.jpg?v=1705663823"},{"product_id":"nala-sinephro-endlessness","title":"Nala Sinephro - Endlessness","description":"\u003cp\u003e\u003cspan\u003eNala Sinephro's music is both reserved and adventurous. It shyly beckons the listener to enter its space, then it soon reveals itself to be illuminating and transportive, full of spirit and in awe of the beauty of the universe. \u003c\/span\u003e\u003ca href=\"https:\/\/theanalogvault.mom\/products\/nala-sinephro-space-18\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003eSpace 1.8\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e, her 2022 debut, was a mesmerizing fusion of spiritual jazz and ambient music that felt both celestial and earthly. The 2024 follow-up \u003cem\u003eEndlessness\u003c\/em\u003e is another cycle with each piece bearing a consecutively numbered similar title (appropriately enough, \"Continuum\"). \u003cbr\u003e\u003cbr\u003eIts cast includes returning guests such as keyboard player \u003c\/span\u003eLyle Barton\u003cspan\u003e and saxophone visionary \u003c\/span\u003eNubya Garcia\u003cspan\u003e, in addition to others such as \u003c\/span\u003eblack midi\u003cspan\u003e drummer \u003c\/span\u003eMorgan Simpson\u003cspan\u003e and trumpeter \u003c\/span\u003eSheila Maurice-Grey\u003cspan\u003e (\u003c\/span\u003eKokoroko\u003cspan\u003e, \u003c\/span\u003eNérija\u003cspan\u003e), as well as string ensemble \u003c\/span\u003eOrchestrate\u003cspan\u003e. Sinephro's modular synths trickle in during the softly radiating opening track, which keeps a calm pace even as the drums snake through the gently swelling strings and saxophone. \"Continuum 3\" melds graceful harp plucking with dazzling synth soloing, and a pair of short, cloudy pieces build up to \"Continuum 6,\" which thrills with its racing synth arpeggios and positive energy. Blissful strings carry the feeling into the heavens on the following tracks, which are also imbued with space-age synth textures. Finally, the album culminates with the ecstatic rush of finale \"Continuum 10,\" which accelerates into a head-spinning climax. Much like Sinephro's debut, \u003cem\u003eEndlessness\u003c\/em\u003e is refreshing, enlightening, and awe-inspiring all at once. — (via\u003ca href=\"https:\/\/www.allmusic.com\/album\/endlessness-mw0004339978\" target=\"_blank\" rel=\"noopener\"\u003e AllMusic\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe London-based musician’s potent and intuitive second album dissolves the binaries inherent in ambient jazz and imagines a third sort of music that thrives at their midpoint.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eEndlessness\u003c\/em\u003e\u003c\/span\u003e, Nala Sinephro’s second record, centers on an arpeggio. The London-based composer modulates this ascendant phrase, extends it, plays it more lento, and lets it slip into inaudibility and disappear. It carries us like a rip tide through the album’s 10 tracks, all called “Continuum”—a perfect name for each, though this LP isn’t a series of variations on a single composition. Listen closely, and its details transform at a relentless clip. Let your mind drift, and its 45 minutes resemble a lake: broad, serene, consistent if never flat.\u003c\/p\u003e\n\u003cp\u003eThe 28-year-old, raised on the outskirts of Brussels by a Belgian mother and a father with roots in Martinique and Guadeloupe, has both ambient music’s cool breeze and jazz’s strong winds at her back. She emerged as the union of these genres was finally losing its hyphen, during the COVID-marooned days of 2021. Floating Points and Pharoah Sanders’ Promises arrived in March, an event that paired the electronic perfectionist on the same bill as the elder-statesman saxophonist, along with the London Symphony Orchestra. Sinephro’s sparkling debut, Space 1.8, dropped in September of the same year, as though she knew a mantle was waiting to be taken up. She had recorded the disc in 2018 and 2019, but that only made her arrival more uncanny—when was the last time that a couple of jazz records, put out mere months apart, seemed to be talking to each other, disagreeing, finding common ground, and cogitating over a future for the form?\u003c\/p\u003e\n\u003cp\u003eStill, Sinephro scopes out the frontier. \u003cem\u003eEndlessness\u003c\/em\u003e dissolves the binaries that define ambient jazz and imagines a third sort of music that thrives at their midpoint. Its seamlessness distinguishes Sinephro’s second album from its still excellent predecessor, which was alternately atmospheric and bluesy. This is more cohesive, more elegant.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eEndlessness\u003c\/em\u003e\u003c\/span\u003e merges sensibilities with the naturalness of DNA strands bonding into a double helix. It both proves ambient jazz’s endurance and renders the two terms mutually redundant.\u003c\/p\u003e\n\u003cp\u003eSinephro has grown considerably as a studio brain and bandleader in the last five years. She produced and mixed every song on \u003cem\u003eEndlessness\u003c\/em\u003e, engineering them with collaborator Rick David. She also arranged all of the record’s strings—never saccharine or maudlin, they feel poignant and as judicious as any other instrumental feature. Sinephro plays harp, piano, and synths both modular and otherwise alongside a who’s who of friends from South London’s jazz scene. \u003cem\u003eEndlessness\u003c\/em\u003e’ soul is the energy of the session, the ability of musicians in a room to swap ideas in real time.\u003c\/p\u003e\n\u003cp\u003eThe work begins with a tight combo clocking in: Sinephro signals the start with multiple synth parts, Black Midi’s Morgan Simpson adds his drums, and Ezra Collective’s James Mollison jumps in on saxophone. The bandstand expands on the next cut—\u003cem\u003eEndlessness\u003c\/em\u003e feels auteur-ish thanks not only to Sinephro’s masterminding, but because musicians constantly replace each other, slipping like samples through her deft production. Lyle Barton accompanies on synth, offering a whorling lead part on “Continuum 3”; UK torchbearer Nubya Garcia’s sax sets a spark as “Continuum 5” turns to “Continuum 6”; Dwayne Kilvington lays down sparing synth bass, stabilizing an LP that nearly entirely forgoes any four-stringed foundation; Natcyet Wakili, known for his timekeeping with Sons of Kemet, subs in on percussion; Sheila Maurice-Gray purrs away on flugelhorn and trumpet. \u003cem\u003eEndlessness\u003c\/em\u003e’ pristine exterior hardly conceals the generative buzz of Sinephro’s players, who give the collection both breadth and persistent gusts of fresh air.\u003c\/p\u003e\n\u003cp\u003eHer easy-come-easy-go ensemble labors against the composer’s production like swimmers battling a current. The pulse she offers at the start soon becomes an invitation to challenge its boundaries. Simpson’s tumbling drumwork rejects the arpeggio only minutes into “Continuum 1,” taking control of duration, stretching it like putty, before he passes it back to Sinephro and the track reorients itself. Meanwhile, synthesizers pluck away like Sinephro’s own harp. The concoction eventually reduces to a sax line so intimate and unadorned that you can hear the pads clack against the brass.\u003c\/p\u003e\n\u003cp\u003eElsewhere, Sinephro reroutes the pulse herself. “Continuum 7” shifts momentum when she slows the arpeggio, transposes it, and buttresses the ostinato with a descending response to its call. For a glorious moment, we’re suspended as though inside of our own vascular systems, watching as little particles of modular synth and chordophone float by us. The drums lock into the central groove again midway through “Continuum 8” and the group hits its stride, loping forth in jaunty lockstep.\u003c\/p\u003e\n\u003cp\u003eOrchestration blows open the music’s sense of space. “Continuum 2” is a simmering jam turned strange when a noise emanates like vintage technology trying to mimic the sound of a deflating balloon. Then the band loosens, the strings well up; Sinephro’s harp later trickles to the fore, a trip from delicate to robust and back that lingers long after \u003cem\u003eEndlessness\u003c\/em\u003e concludes. Even when the strings seem to accent the arrangements, as on “Continuum 3,” they move with melodic purpose, their entrances and exits dramatic and without emotional prescription. \u003cem\u003eEndlessness\u003c\/em\u003e invites us to feel but never tells us what our feelings should be.\u003c\/p\u003e\n\u003cp\u003eThe LP has the potential to be a relaxed listen if you welcome this side of its personality, but it’s also vast and complicated. In the dwindling seconds of “Continuum 9,” Mollison sounds a strained note from his tenor. The gesture is fleeting, succinct, and speaks at once to the album’s epic scale and sense of understatement. Sinephro’s music threads a needle between idioms; she makes a garment that both flows with the force of gravity and combats its weight. \u003cem\u003eEndlessness\u003c\/em\u003e is more than a crafty marvel, or even than the sum of its vaunted parts. It feels like a feat of physics. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/nala-sinephro-endlessness\/\" target=\"_blank\" rel=\"noopener\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/51CQQ3tQLRZlZJZ5jcpoGE?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cdiv\u003e↓\u003c\/div\u003e\n\u003cdiv\u003eLabel: Warp Records\u003c\/div\u003e\n\u003cdiv\u003eFormat: 2x Vinyl, LP \u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e            - Vinyl, LP\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e            - Vinyl, LP, Single Sided, Etched\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003eReleased: 2024\u003c\/div\u003e\n\u003cdiv\u003eGenre: Jazz, Electronic\u003c\/div\u003e\n\u003cdiv\u003eStyle: Ambient, Experimental, Modern\/Future Jazz\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eFile under: Jazz \/\/ Modern \/ Future Jazz\u003c\/div\u003e\n\u003cdiv\u003e⦿\u003c\/div\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":44332369215646,"sku":"5056614797336","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/R-31651898-1725464057-4817.jpg?v=1727620457"},{"product_id":"aphex-twin-come-to-daddy","title":"Aphex Twin - Come To Daddy","description":"\u003cp\u003e\u003cspan\u003eA vibrant and exuberant collection from Richard D James, aka Aphex Twin, with three wildly different versions of the title track alongside a series of high-tempo yet heartfelt electronic works. \u003cem\u003eCome to Daddy \u003c\/em\u003ehas been interpreted by some as Richard D. James' sly send-up of the Prodigy's massive hit \"Firestarter.\" If that's the case, it only goes to show how clever the Aphex Twin really is. Built around an intense drum loop and a deliriously demented, booming voice yelling \"Come to Daddy!,\" the track could be the biggest sonic assault James has ever constructed, and even with the underlying menace, it remains one of his most accessible and memorable songs. \u003cbr\u003e\u003cbr\u003eThe terrifying thrash of the infamous Pappy Mix of \"Come To Daddy\" is a difficult track to surpass, yet make it through and there's another world inside. From the playful melodies and door-creak percussion of \"Flim\" and \"Bucephalus Bouncing Ball\", it's an essential collection for any Aphex fan. — (via Label)\u003cbr\u003e\u003c\/span\u003e—\u003cbr\u003e(Please note - the vinyl edition only contains tracks 1-4, the tracklisting differs from the Maxi CD version)\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6sIEBpy5gl3DqC6KPasPpx?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: Vinyl, 12\", 45 RPM, Single, Reissue, Repress, Stereo\u003cbr\u003eReleased: 1997\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Experimental, Abstract, Ambient, Breaks\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":44514000732318,"sku":"80106190941-3","price":40.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a3992891009_10.jpg?v=1731398429"},{"product_id":"squarepusher-ultravisitor-2024-20th-anniversary-edition","title":"Squarepusher - Ultravisitor (2024 20th Anniversary Edition)","description":"\u003cp\u003e\u003cspan\u003eSquarepusher, the pseudonym of Tom Jenkinson, is a renowned British electronic musician who debuted in 1996 with the album \u003cem\u003eFeed Me Weird Things\u003c\/em\u003e. Over his prolific career, he has released more than 15 albums, exploring various facets of electronic music. His latest record \u003cem\u003eDostrotime \u003c\/em\u003ewas released on March 1st on Warp. An album beloved by fans since its release in March 2004,\u003cem\u003e Ultravisitor\u003c\/em\u003e 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. \u003cbr\u003e\u003cbr\u003eFor 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. The bonus album \u003cem\u003eVenus No.17 Maximised\u003c\/em\u003e is compiled from tracks originally released as part of the Ultravisitor promo EP (released January 26, 2004). The accompanying booklet contains photographs, posters and recording documentation from Tom’s archive. — (via Label)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3737806416\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 3 x Vinyl, LP, Album, Limited Edition, Numbered, Reissue, Remastered, 20th Anniversary Edition\u003cbr\u003eReissued: 2024 \/ Original Release: 2004\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: IDM, Experimental\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":44539159183518,"sku":"5056614798586","price":80.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a1787060509_10.jpg?v=1732039366"},{"product_id":"fuse-dimension-intrusion-2024-reissue-remaster","title":"FUSE - Dimension Intrusion (2024 Reissue \u0026 Remaster)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003eDimension Intrusion\u003c\/em\u003e was 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 as the second release of Warp Records seminal \u003cem\u003eArtificial Intelligence\u003c\/em\u003e series. \u003c\/span\u003e\u003cspan\u003eThe album compiled previously released \u003cem\u003eF.U.S.E\u003c\/em\u003e. EPs from Plus 8 complemented with new music specially recorded for this release. It would be a fundamental album for the young producer, who was experimenting with different themes and techniques to find his very own sound. Largely inspired by sci-fi movies he used a collection of synthesizers and drum machines, playing with their electronic yet warm sound effects and in turn discovering some of his favorite instruments.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe tracks on \u003cem\u003eDimension Intrusion\u003c\/em\u003e 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. \u003c\/span\u003e\u003cspan\u003eIt was on this album that he first collaborated with his brother, Matthew Hawtin, presenting an original painting completed in 1992 as the album artwork. In fact the album title was\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003ederived from this painting’s title ‘Dimension Intrusion’, demonstrating the reciprocal inspiration shared between the brothers. The acrylic painting oscillates between the one and two-dimensional. The composition of geometrical beams in bold primary colors and sharp lines evokes electrically charged movement and progression in and out of different dimensions. The visual tension corresponds with the energetic rhythms of the music, furthermore, the abstract painting and techno music share machine-like precision whilst producing a sensual and emotionally triggering experience. \u003cem\u003eDimension Intrusion\u003c\/em\u003e is an iconic album in the history of electronic music that sets Richie Hawtin on a path of exploration and interest in the connection of audio and visual expression. — via Label\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1729029009\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eSeries: Artificial Intelligence – Fifth\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, Remastered\u003cbr\u003eReissued: 2024 \/ Original Release: 1993\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Abstract, Techno, Ambient, Acid, Minimal\u003c\/p\u003e\n\u003cp\u003eFile under: House \/ Electro \/ Techno\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":45106621841566,"sku":"5056614707373","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a3900769863_10.jpg?v=1740116494"},{"product_id":"kassa-overall-cream","title":"Kassa Overall - CREAM","description":"\u003cp\u003eGRAMMY-nominated jazz visionary and Doris Duke Artist Award winner Kassa Overall presents \u003cem\u003eCREAM\u003c\/em\u003e. Eight interpretations of hip-hop classics by The Notorious B.I.G., Wu-Tang Clan, Dr. Dre, A Tribe Called Quest, OutKast, Digable Planets, and Juvenile.\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eHot on the heels of winning the Doris Duke Artist Award, drummer, composer, producer, and rapper Kassa Overall delivers \u003cem\u003eCREAM\u003c\/em\u003e, his fourth long-player and second album on Warp. While jazz and hip-hop have been bound together since Guru released Jazzmatazz in 1993, this set turns that notion on its head. \u003cem\u003eCREAM\u003c\/em\u003e, named after Wu-Tang Clan's \"Cash Rules Everything Around Me,\" offers hip instrumental versions of seven rap classics and a cover of \"Freedom Jazz Dance,\" an Eddie Harris tune immortalized by Miles Davis. Overall reimagines hip-hop classics as jazz standards, exploring compositional architectures and subtle harmonies, and nearly discovering hidden rhythmic complexities. The music was recorded live in studio and released without overdubs, edits, or re-recordings. Overall plays drums and is accompanied by tenor and soprano saxophonist Emilio Modeste, tenor saxist Tomoki Sanders (two tracks), flutist Anne Drummond, keyboardist Matt Wong, electric bassist Jeremiah Kal'ab, double bassist Rashaan Carter, and conguero Bendji Allonce.\u003c\/p\u003e\n\u003cp\u003eThe opener, Harris' oft-covered standard \"Freedom Jazz Dance,\" resembles the original more than the Davis reading. Overall's drum kit introduces its syncopated beat with his own breaks added as Modeste and Wong usher in the R\u0026amp;B-centered melody on organ and tenor saxophone. With congas falling in the backdrop, Carter's bass guides Overall's beat as the frontline moves through the melody into post-bop improvisation. Overall ratchets the intensity with funky, elongated snare and hi-hat before Wong grabs his piano and delivers a brief, deft solo break.\u003c\/p\u003e\n\u003cp\u003eNotorious B.I.G.'s \"Big Poppa\" is rendered as 21st century post-bop with Drummond's flute leading the ensemble as Modeste colors her playing and Overall lays down a Brazilian samba rhythm atop expansive chords and double bass. Wu-Tang's \"C.R.E.A.M.\" is rendered in modal post-bop with gloriously subtle Afro-Latin beats as Overall and Allonce enter a polyrhythmic conversation buoying soprano sax, electric bass, and piano.\u003c\/p\u003e\n\u003cp\u003eTwinned tenor saxophones introduce the piano vamp in Digable Planets' \"Rebirth of Slick (Cool Like Dat)\" before Wong's fiery piano nearly steals the show. He, Overall, and Carter go head to head before the saxophonists' each take solos. Dr. Dre's \"Nothin' But a 'G' Thang\" is rendered as bluesy spiritual jazz led by bass clarinet, flute, and tenor saxophone atop shakers, bells, a downbeat tempo, and a slow-walked bassline.\u003c\/p\u003e\n\u003cp\u003eA Tribe Called Quest's original \"Check the Rhime\" had ties to jazz organically, but here the funky interplay between drummer, bassist, and tenor saxophonist is sensuously funky and harmonically sophisticated as it moves through its various sections with a beautiful tenor solo from Modeste. OutKast's \"SpottieOttieDopaliscious\" is grooving post-bop, while Juvenile's closer \"Back That Azz Up\" showcases Overall's canny charts as his soloists build on harmonic and rhythmic palettes.\u003c\/p\u003e\n\u003cp\u003eOverall's work has always been compelling, but on \u003cem\u003eCREAM\u003c\/em\u003e he makes a giant leap forward. You can place this excellent work next to Robert Glasper's Covered and Moses Boyd's Dark Matter. All killer, no filler. — (via Thom Jurek \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/cream-cash-rules-everything-around-me-mw0004582956\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/65GIBuA6SrrV8pfjbcgtw7?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/P68mg5Lm3Jk?si=_hl653DSGvPuK7Op\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ZAQovHe_dPQ?si=KLaFhV8gOeUx-UUC\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records \u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eReleased: 2025\u003cbr\u003eGenre: Jazz, Funk \/ Soul\u003cbr\u003eStyle: Jazz Funk, Modern Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz \/\/ Modern Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46044702867614,"sku":"5056818803789","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_816fe4f1-63e2-4b1e-9fe2-fdea393dfc87.jpg?v=1759759931"},{"product_id":"the-sabres-of-paradise-haunted-dancehall","title":"The Sabres Of Paradise - Haunted Dancehall","description":"\u003cp\u003e1994 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 firsttime on the 2LP edition.\u003c\/p\u003e\n\u003cp\u003eBy 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, studentunions, 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”.\u003c\/p\u003e\n\u003cp\u003eThe 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 theblock 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.\u003c\/p\u003e\n\u003cp\u003eThe Guardian later summed up \u003cem\u003eHaunted Dancehall\u003c\/em\u003e as “techno’s first concept album”.  — (via \u003ca href=\"https:\/\/warprecords.bandcamp.com\/album\/haunted-dancehall-remastered\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eAfter releasing \u003cem\u003eSabresonic\u003c\/em\u003e, the Sabres of Paradise decided to give their sound a facelift. The trio of Andrew Weatherall, Jagz Kooner, and Gary Burns set aside the surprisingly straight-ahead techno sounds of their previous work and shot off into a variety of directions, adding trip-hop, speaker-rattling dub, spy themes, library music, and lopsided funk to the mix on \u003cem\u003eHaunted Dancehall\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eIt's a gritty, constantly surprising record that displays more of the genre-smashing appeal of Weatherall's remix work and along the way invents noir techno. It started life as something of a concept album with liner notes by Irvine Welsh detailing the outlines of the story. Though the group replaced his work, the idea is still there, and the record feels like a cinematic stumble through the shadow-choked, rain-soaked streets of London late on a desperate night. \u003c\/p\u003e\n\u003cp\u003eUnlike \u003cem\u003eSabresonic\u003c\/em\u003e, which seemed based more for club listening, this is a record for headphones. These are songs masquerading as techno tracks, with all the ebb and flow one would expect from a thoughtful composition. Even the tracks that unspool over long running times - like the fantastic electro dub delight \"Duke of Earlsfield\" - never feel overly repetitive, with the trio baking enough interest into each excursion to keep things riveting. They also never fail to add nice touches that range from thumping beats, like on \"Theme\", to very nice live instrumentation (\"Tow Truck\"), ideal samples (\"Wilmot\"), and tweaked synth tones (\"Jacob Street 7am\") in their pursuit of the perfect mix of storytelling and sound. This record is a much more exciting manifestation of Weatherall's take-no-prisoners approach that shows just how far electronic music can stretch, especially when the creators cast aside the rules and follow their hearts. \u003c\/p\u003e\n\u003cp\u003eIt's impossible not to hear this album as anything other than a call to arms to other producers, letting them know that electronic music can be more than bleeps and bloops: it can tell a story, it can challenge expectations, and it can feel just as important and exhilarating as anything any \"real\" band could concoct. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/haunted-dancehall-mw0000591199\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/0StjoonxozSYWURd4khBCu?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, Remastered, Stereo\u003cbr\u003eReissued: 2025 \/ Original: 1994\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Leftfield, Dub, Downtempo\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46123998544030,"sku":"5056818803444","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_d9ed717b-b38a-4686-98f5-8aaa87ecc553.jpg?v=1761745685"},{"product_id":"the-sabres-of-paradise-sabresonic","title":"The Sabres Of Paradise - Sabresonic","description":"\u003cp\u003e1993 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.\u003c\/p\u003e\n\u003cp\u003eComing off the back of his work on the era-defining \u003cem\u003eScreamadelica\u003c\/em\u003e 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).\u003c\/p\u003e\n\u003cp\u003eThe opening track on \u003cem\u003eSabresonic\u003c\/em\u003e (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.\u003c\/p\u003e\n\u003cp\u003eThe 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 albums for the rest of the decade.  — (via \u003ca href=\"https:\/\/warprecords.bandcamp.com\/album\/sabresonic-remastered\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eSabres of Paradise's debut album, \u003cem\u003eSabresonic\u003c\/em\u003e, established the trio's club bona fides in spades, whether that club was an all-night rave, a sweaty bar with crummy speakers, or a chill-out room. Andrew Weatherall, the most well known of the group, had already established himself as a trailblazing remixer, and this record felt like his calling card to be a dues-paying member of the techno club. He, Jagz Kooner, and Gary Burns whipped up numerous tracks that rolled well past the five-minute mark, underpinned by thumping drums, thunderous sequencers, and sleek synths. \u003c\/p\u003e\n\u003cp\u003eThe opening \"Still Fighting,\" a reclaimed bit of club nirvana that was meant to be a remix of a Primal Scream track, sets the stage, and the rest of the album follows its template. \"Smokebelch I\" pairs post-industrial drum sounds with echoing cymbals and minimal synth burbles, \"Inter-Lergen-Ten-Ko\" shimmers and glides, and \"Ano Electro (Allegro)\" comes across like a Hi-NRG track filtered through the PA system at an ironworks. Paired against these are tracks that take different approach, dispensing with beats and ramping up the atmosphere. \"Clock Factory\" is 14 long minutes of horror film soundtrack, with backwards sounds and synths stabs building to a fever pitch; \"Smokebelch II (Beatless Mix)\" diverges into blissful ambient territory; and while \"R.S.D.\" has a beat, it's not techno and more cop-show funk topped by gleaming synth sounds. \u003c\/p\u003e\n\u003cp\u003eIt adds up to a strong record that often gives techno sounds of the day a slight twist, but unfortunately \u003cem\u003eSabresonic\u003c\/em\u003e doesn't display all the glorious rule-breaking joy and gusto that Weatherall's best remixes have, and that's the main flaw here. A little more attitude or derring-do was what it needed to put it over the top. As it is, it's merely a really strong, very interesting electronic album instead of a classic, which is still pretty darn good. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/sabresonic-mw0000972156\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/6IZf6iveklAVywW53IONoS?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, Remastered, Stereo\u003cbr\u003eReissued: 2025 \/ Original: 1993\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Leftfield, Techno, IDM\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46124001394846,"sku":"5056818803420","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_005a9ee2-69c8-4bb4-aeed-4d5cee2a1659.jpg?v=1761746473"},{"product_id":"clarissa-connelly-world-of-work","title":"Clarissa Connelly - World Of Work","description":"\u003cp\u003eThe young Danish\/Scottish singer\/songwriter Clarissa Connelly presents \u003cem\u003eWorld of Work\u003c\/em\u003e - her stunning debut album for Warp. After winning the prestigious Hyundai Nordic Music Prize with an album rooted in choral electronic composition, \u003cem\u003eWorld of Work\u003c\/em\u003e takes inspiration from Hildegaard of Bingen, Teresa of Avila \u0026amp; Georges Bataille, to create a widescreen work of alt rock and apres folk. — (via \u003ca href=\"https:\/\/warp.net\/products\/442391-world-of-work\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e‘There is magic in the world. There’s something bigger’: the ecstatic visions of musician Clarissa Connelly.\u003c\/p\u003e\n\u003cp\u003eHer debut album for Warp, \u003cem\u003eWorld of Work\u003c\/em\u003e is a beguiling mix of the folk songs of Connelly’s youth in Fife, a formative love of Enya and the avant garde sensibility she honed at the Rhythmic Music Conservatory in Copenhagen, where she studied alongside the breakout stars Erika de Casier, ML Buch and Astrid Sonne. Connelly’s voice is a clarion force; her blend of the ancient and the avant garde might recall Kate Bush circa The Sensual World, or Perfume Genius’s uncanny balladry. — (via \u003ca href=\"https:\/\/www.theguardian.com\/music\/2024\/dec\/27\/musician-clarissa-connelly-kate-bush-perfume-genius\" target=\"_blank\" rel=\"noopener\"\u003eThe Guardian\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eClarissa Connelly possesses the kind of voice that is rare to hear in our current musical landscape. It’s entirely idiosyncratic, warm and pastoral, carrying with it years of history and energy. Its richness evokes a bygone era when women sang to each other as they worked, and in its darker moments, Connelly’s voice could easily soundtrack a folk horror movie.\u003c\/p\u003e\n\u003cp\u003eLike Adrienne Lenker and Jessica Pratt, modern folk artists with incredibly distinctive voices are a vital part of the genre, captivating us with their ability to take us into their own world, which is defined by their total uniqueness. Their voices almost seem to exist as entities of their own, and as Connelly’s voice bends, warps and floats between highs and lows, you can’t help but feel as though they’ve whisked you away with them in the process.\u003c\/p\u003e\n\u003cp\u003eWith\u003cem\u003e World of Work\u003c\/em\u003e, Connelly, a Scottish-born singer who has spent a large chunk of her life in Denmark, crafts an experimental tapestry that encourages us to fully submerge ourselves in its mythic atmosphere, full of brooding guitars and layered vocals. The album is poetic, deeply reflective, and meditative, exploring the different facets of life that often come to blow with each other. Even the tracklist reads like a poem; nothing here is out of place. Connelly has made a striking collection of songs that feels completely cohesive and full of life. \u003c\/p\u003e\n\u003cp\u003eFor listeners who are slightly more unfamiliar with experimental folk, you might need to give \u003cem\u003eWorld of Work\u003c\/em\u003e a few listeners for it to click. It’s hardly the most accessible piece of work, but once you really sit with it, you cannot escape how human it is, with Connelly’s unrestrained vocals (particularly on ‘Wee Rosebud’) tapping into something primal that feels innate to the experience of living. — (via \u003ca href=\"https:\/\/faroutmagazine.co.uk\/clarissa-connelly-world-of-work-album-review\/\" target=\"_blank\" rel=\"noopener\"\u003eFar Out Magazine\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/7r1cQPyAwQfhQIw9H9eGB5?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-hivPQ9xCXw?si=oNIOuT9wubix9n6h\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eReleased: 2024\u003cbr\u003eGenre: Electronic, Folk\u003cbr\u003eStyle: Experimental, Folk, Female Vocals\u003c\/p\u003e\n\u003cp\u003eFile under: Global sounds\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46127532081310,"sku":"5056614708035","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_6b91f83d-20e5-47c9-9b35-2049dfff11e8.jpg?v=1761810328"},{"product_id":"polygon-window-aphex-twin-surfing-on-sine-waves","title":"Polygon Window (Aphex Twin) - Surfing On Sine Waves","description":"\u003cp\u003eOriginally released in 1993, \u003cem\u003eSurfing On Sine Waves\u003c\/em\u003e 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).\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSurfing On Sine Waves\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSurfing On Sine Waves\u003c\/em\u003e 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.\u003c\/p\u003e\n\u003cp\u003eFast forward 32 years to 2025,\u003cem\u003e Surfing On Sine Waves \u003c\/em\u003e(Expanded Edition) sees the pair of companion releases as a single entity, out on vinyl. — (via \u003ca href=\"https:\/\/aphextwin.bandcamp.com\/album\/surfing-on-sine-waves-expanded-edition\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eThe only Aphex Twin album you're supposed to have, if you want to have an Aphex Twin album that's not by Aphex Twin. No, the AFX stuff doesn't count, because you can totally tell it's the same guy. Who in their sane mind could tell Polygon Window was also a Richard D. James alias though? Not from a casual glance, no sir, though as soon as you throw this record on the player, it's pretty damn obvious. The main reason it wasn’t billed asan Aphex Twin album is ol’ Rich had yet to settle on a consistent alias, not to mention all the label politicking that went down in those days. His famous moniker was still an Apollo exclusive, he was using ‘Bradley Strider’ on his own Rephlex print, and ain’t no way Ffrreedom was letting go of Power-Pill. Thus, here’s Polygon Window making his debut on Warp Records.\u003c\/p\u003e\n\u003cp\u003eSome state \u003cem\u003eSurfing On Sine Waves\u003c\/em\u003e as the best LP Mr. Dee James has ever put out. Yes, better than either \u003cem\u003eSelected Ambient Works\u003c\/em\u003e, better than his self-titled album, and even better than the best Aphex Twin album to come out in the last fifteen years, \u003cem\u003eSyro\u003c\/em\u003e. What could possibly be on this ancient record that has longtime Aphex fans proclaiming such a thing? Ambient techno, obviously, though some regular UK bleep and acid techno too. Nothing super mind-bending or obtuse for its own sake either - just interesting, intelligent tunes made in the Aphex aesthetic.\u003c\/p\u003e\n\u003cp\u003eAs \u003cem\u003eSurfing On Sine Waves\u003c\/em\u003e was released as the second volume of Warp Records’ seminal Artificial Intelligence series (which included both compilations and artist albums), perhaps The Richarded One played nice with the fledgling London label. Or maybe he’d yet to discover his inner brilliant, wanker swagger.\u003c\/p\u003e\n\u003cp\u003eThe closest comparison \u003cem\u003eSurfing On Sine Waves\u003c\/em\u003e comes to the rest of Mr. James’ oeuvre is the first \u003cem\u003eSelected Ambient Works\u003c\/em\u003e. Hardly surprising since they were released around the same time, but these tracks are definitely more techno than ambient. Audax Powder has a gentle pad melody going for it, then changes gears to a bouncy rave beat. Dot goes for a moody atmosphere in robot Hell, and Quino-Phec is all sorts of dark, calming drone as found on the later volume of SAW. Reissues added Portreath Harbour and Redruth School, both sounding like early SAW session tracks that didn’t make the cut.\u003c\/p\u003e\n\u003cp\u003eOther tracks fear no hardcore rhythm, Supremacy II getting its proper rave on, Quixote doing a techno-trance thing, and the titular opener showing them UK lads could go a little Detroit, should they so choose. Surprisingly, there’s some ‘conventional’ music here too, Quoth bangin’ percolating machine techno, If It Really Is Me rather drab piano techno, and an untitled track toying around with standard acid. Hey, Aphex Twin really is human after all!\u003c\/p\u003e\n\u003cp\u003eAt its best, \u003cem\u003eSurfing On Sine Waves\u003c\/em\u003e is a heavier, if simpler companion to James’ more famous work of the period. — (via \u003ca href=\"https:\/\/emcritic.blogspot.com\/2015\/12\/polygon-window-surfing-on-sine-waves.html\" target=\"_blank\" rel=\"noopener\"\u003eEM Critic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/0z4LrP0YfgopkrgVntXcBN?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records \u003cbr\u003eSeries: Artificial Intelligence – Second\u003cbr\u003eFormat: 3 x Vinyl, 12\", 33 ⅓ RPM, Album, Reissue, Expanded Edition\u003cbr\u003eReissued: 2025 \/ Original: 1993\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: IDM, Techno\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ House \/ Techno \/ Electro\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46148756177054,"sku":"5056818803017","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_8622fb8a-0479-496d-9dbc-2e3b1c4cb3a2.jpg?v=1762080788"},{"product_id":"aohex-twin-windowlicker","title":"Aphex Twin - Windowlicker","description":"\u003cp\u003eA sonic analysis of one of electronic music's most monumental moments - \u003cem\u003eWindowlicker\u003c\/em\u003e by Aphex Twin.\u003c\/p\u003e\n\u003cp\u003eOn March 22 1999 Richard D. James released a track under his well-known moniker Aphex Twin called \u003cem\u003eWindowlicker. \u003c\/em\u003eAcross six minutes, the track sways between awfully out-of-tune synthesisers, jarring vocal samples, chaotic rhythms and awkward sex noises before culminating in a cacaphonic, ear piercing wall of white noise.\u003c\/p\u003e\n\u003cp\u003eBy all means, it’s unlistenable – on paper, it’s the kind of song that would make you squirm in your seat and make your dog uncomfortably pace and howl in the backyard. Some would say it’s one of the greatest electronic tracks ever made.\u003c\/p\u003e\n\u003cp\u003eIf you’re familiar with the works of Richard D. James, you’ll know that the man’s a bit of an oddball – in fact, he’s quite possibly one of the most eccentric minds of this generation. In his adolescence, James dabbled in software coding and modifying electronic equipment as a hobby, and began creating music with his array of modified samplers, synthesisers and tape machines at the age of 12.\u003c\/p\u003e\n\u003cp\u003eBy the time he was 14, James had started utilising his modified machines and 8-bit computers to record a unique form of music that fused pounding techno rhythms, soaring synth pads, pulsating sequences of ambient noise and reverb-heavy samples from an array of films to create his beloved debut LP: \u003cem\u003eSelected Ambient Works 85-92\u003c\/em\u003e. \u003c\/p\u003e\n\u003cp\u003eWhile initially released to a small independent label, \u003cem\u003eSelected Ambient Works 85-92\u003c\/em\u003e eventually hurtled Aphex Twin into mainstream consciousness as critics began to catch wind of the record’s genius, with many deeming it responsible for pioneering the genre of Intelligent Dance Music, essentially bridging the gap between the likes of techno auteurs like Jeff Mills and ambient masterminds such as Brian Eno.\u003c\/p\u003e\n\u003cp\u003eIn an era where electronic music – particularly acid house and techno – was condemned and ridiculed throughout mainstream media, Aphex Twin proved that electronic music wasn’t just music for nightclubs. Perhaps it could have soul, and stimulate unique discussion. Maybe it could invoke feelings in people without all the negative, drugged-up connotations it was associated with. Maybe it was even the sound of the future after all.\u003c\/p\u003e\n\u003cp\u003eFollowing the success of Selected Ambient Works 85-92, Richard D. James doubled down on his eclectic musical output, releasing an array of records and creating various pseudonyms such Caustic Window, AFX and Power-Pill in order to constantly release his diverse sonic experiments.\u003c\/p\u003e\n\u003cp\u003e1992 also saw the release of the single \u003cem\u003eDidgeridoo\u003c\/em\u003e, a frenetic fusion of machine gun drums and the distinctive drone of the Aboriginal instrument which somehow managed to reach #55 on the UK Singles charts.\u003c\/p\u003e\n\u003cp\u003eSome would go on to argue that ‘Didgeridoo’ acted as a precursor to the emergence of drum ‘n bass, a genre which Aphex Twin would go on to revisit in subsequent works such as 1996’s \u003cem\u003eRichard D. James Album\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThis era also saw the release of \u003cem\u003eSelected Ambient Works Vol. 2\u003c\/em\u003e in 1994 – a much more evident foray into ambient music that many consider to be one of the genre’s defining releases – as well as the classical-influenced \u003cem\u003e…I Care Because You Do\u003c\/em\u003e in 1995, the latter bearing a distorted image of James’ own face which would soon become a recurring theme in subsequent Aphex releases.\u003c\/p\u003e\n\u003cp\u003eHowever, it was with the release of 1997’s \u003cem\u003eCome To Daddy \u003c\/em\u003eand its accompanying video that made Aphex Twin a household name.\u003c\/p\u003e\n\u003cp\u003eA snarling, brutal drill ‘n bass affair with a terrifying video to match, ‘\u003cem\u003eCome To Daddy\u003c\/em\u003e’ was originally conceived by James as a drunken death metal parody, with its unprecedented critical and chart success catching him off-guard.\u003c\/p\u003e\n\u003cp\u003eJames later expressed his remorse at the success of the single in an interview with Index Magazine – “Come to Daddy’ came about while I was just hanging around my house, getting pissed and doing this crappy death metal jingle. Then it got marketed and a video was made, and this little idea that I had, which was a joke, turned into something huge. It wasn’t right at all.” \u003c\/p\u003e\n\u003cp\u003eAlmost 18 months after the release of ‘\u003cem\u003eome To Daddy\u003c\/em\u003e, Aphex Twin returned with \u003cem\u003eWindowlicker\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eA nauseous sonic odyssey that fuses James’ digitally processed vocals with wonky drum rhythms, rolling snares,  a deceptively simple synthesiser chord progression and oddball samples before concluding in an ecstatic wall of distortion, it’s difficult to place a finger on what’s just so special about \u003cem\u003eWindowlicker.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSome elements of the track sound incredibly organic and warm, while other parts simply sound cold and sterile – a contrast which seems to be a recurring theme throughout Aphex Twin’s music. It’s almost as if an alien from outer space was explained the fundamentals of manmade music and then created an electronic track without ever listening to one prior.\u003c\/p\u003e\n\u003cp\u003eIn a nutshell, \u003cem\u003eWindowlicker\u003c\/em\u003e essentially packages everything great about Aphex Twin’s output from the ’90s into one track, and its impact was instant.\u003c\/p\u003e\n\u003cp\u003eIn the year of its release, NME crowned \u003cem\u003eWindowlicker\u003c\/em\u003e as the best single of 1999, and Pitchfork later ranked it above the likes of Nirvana’s \u003cem\u003eSmells Like Teen Spirit\u003c\/em\u003e in its Top 200 Tracks Of The ’90s, while the song peaked at number 16 on the UK Singles Charts. — (via \u003ca href=\"https:\/\/mixdownmag.com.au\/features\/revisiting-aphex-twin-windowlicker\/\" target=\"_blank\" rel=\"noopener\"\u003eMixdown\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/59wyQv8zUfLulyPYefI8vh?utm_source=generator\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/CLSQjgU9RHw?si=oOpDSIcVj7I6Hs_O\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: Vinyl, 12\", 45 RPM, Single, Reissue\u003cbr\u003eCountry: UK\u003cbr\u003eReleased: Dec 2023 \/ Original Release: 1999\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Abstract, Electro, Experimental, IDM, Glitch, Breakbeat\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46248451899550,"sku":"502160310506545","price":38.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_26657b6f-e64c-455a-ad95-628f8f584672.png?v=1764683227"},{"product_id":"aphex-twin-richard-d-james","title":"Aphex Twin – Richard D. James Album","description":"\u003cp\u003eRichard D. James' fourth, autobiographical album as Aphex Twin is regarded as his 'drill n' bass' showpiece. Originally released in 1996, \u003cem\u003eRichard D. James\u003c\/em\u003e continues the lineage of his digital era (beginning from the previous Aphex Twin album, \u003ca href=\"https:\/\/theanalogvault.mom\/products\/aphex-twin-i-care-because-you-do\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e...I Care Because You Do\u003c\/em\u003e\u003c\/a\u003e), where familiar, playful melody locks into aggressive, hyperspeed breakbeats and quasi-jungle rhythms. This album also yielded the single 'Girl \/ Boy Song' which, memorably, uses a self-parodying, macabre image of a grave, scribed 'Richard James - November 1968' as a sleeve image.\u003c\/p\u003e\n\u003cp\u003eCharacteristically, \u003cem\u003eRichard D. James\u003c\/em\u003e employs audio generated electronically, whilst furthering his ideas of more 'concrete' techniques such as sampling, distorting, looping and the use of human voice, physical instruments and environmental sound. As compelling a listen today as it ever was. — (via Label)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eAphex Twin is the unequivocal master of modern electronic music. This much we know already. But studio albums have rarely been his thing. \u003cem\u003eSelected Ambient Works 85-92\u003c\/em\u003e was a magnificent debut — arguably game-changing — but that was a quarter of a century ago. The few records released since then have been drastically influential, but each suffering from similar issues of length, filler, and genuine instances of bewilderment.\u003c\/p\u003e\n\u003cp\u003eIn the middle of these releases, however, sits\u003cem\u003e Richard D. James Album\u003c\/em\u003e, which endures no such pain. This is a compact record; 30 minutes of mesmerising electronica that is both pleasingly disorientating and emotionally stirring. James strikes a balance that was previously left unfound (and eventually abandoned again), which results in one of the most rewarding releases in his entire catalogue of works. — (via \u003ca href=\"https:\/\/audioxide.com\/reviews\/aphex-twin-richard-d-james-album\" target=\"_blank\" rel=\"noopener\"\u003eAudiOxide\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003ePerhaps inspired by the experimental drum'n'bass being created by Squarepusher (a recent signee to his Rephlex label), Richard D. James' third major-label album as Aphex Twin was his first to work with jungle - though, to his credit, he had released the breakbeat EP \u003cem\u003eHangable Auto Bulb \u003c\/em\u003ealmost a year earlier.\u003c\/p\u003e\n\u003cp\u003eContemporaries Orbital and Underworld were beginning to incorporate moderate use of drum'n'bass in their work as well, but this album was more extreme than virtually all jungle being made at the time. The beats are jackhammer quick and even more jarring considering what is - for the most part - laid over the top: the same fragile, slow-moving melodies that characterized Aphex Twin's earlier ambient works. Most overtly disturbing is \"Milkman,\" the first straight-ahead vocal track from Aphex Twin; the song is a child-like ode that gradually deteriorates into a bizarre fantasy concerning the milkman's wife. With all the Aphex Twin's curious idiosyncracies, though, Richard D. James Album is a very listenable record and a worthy follow-up to I Care Because You Do. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/richard-d-james-album-mw0000087254\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/77Lae5VorRCNpgZFMW8yRO?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Repress\u003cbr\u003eReissue: 2017 \/ Original Release: 1996\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: IDM, Acid, Abstract, Jungle, Drum n Bass, Experimental\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ House \/ Electro \/ Techno\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46261309603998,"sku":"801061004316","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/richard-d-james-album-aphex-twin-small-square.jpg?v=1765014723"},{"product_id":"aphex-twin-i-care-because-you-do","title":"Aphex Twin – ...I Care Because You Do","description":"\u003cp\u003e\u003c!--StartFragment --\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\"\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eComing in between the groundbreaking explorations of his first two breakout albums and the avant-garde intricacy of his later works, Aphex Twin’s third record on Warp often feels like the awkward middle child of Richard D. James’ discography. Despite its modest reception, \u003ci style=\"mso-bidi-font-style: normal;\"\u003e…I Care Because You Do \u003c\/i\u003estands the test of time as one of the British electronic musician’s most brilliant efforts. Originally released in 1995, this album finds James in a fascinating transitional phase - as he pairs his beatless, symphonic leanings with more abrasive and percussive layers. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eSuspenseful, dissonant and abstract, \u003ci style=\"mso-bidi-font-style: normal;\"\u003e…I Care Because You Do\u003c\/i\u003e is the rare album that combines all of James’ mercurial moods - ranging from his acid techno and cutting-edge ambient roots; to his drum \u0026amp; bass, post-classical and trip hop influences - into one eclectic IDM package. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003e—\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eJames’s third album as Aphex Twin, \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf1\"\u003e…I Care Because You Do\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf0\"\u003e was released in the spring of 1995, just a few months after his first greatest hits compilation\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e—released by R\u0026amp;S Records without his involvement—and it’s similarly characterized by a capricious approach to curation. In a sense, the album serves as its own anthology—a time capsule that displays James’s broad musical interests at what was arguably the peak of his creative prowess.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf2\"\u003eThe tracks that comprise \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf3\"\u003e…I Care Because You Do\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf2\"\u003e, unlike those on \u003cem\u003eMusic from the Merch Desk\u003c\/em\u003e, are annotated with the year of their recording, all between 1990 and 1994. The music’s deliberate blend of genres and moods creates a listening experience that mirrors the Aphex Twin ethos: unnerving, disorienting, maddeningly beautiful, and always forward-thinking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"cf3\"\u003e…I Care Because You Do\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf2\"\u003e might be James’s most transitory album. Because this unwieldy collection of compositions doesn’t fit neatly into any one categorical box, it tends not to stand out as sharply as either volume of \u003cem\u003eSelected Ambient Works\u003c\/em\u003e or \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf2\"\u003edrukQs\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf2\"\u003e. You get a little of everything that had (and would) define his sound: futuristic IDM (“The Waxen Pith” and “\u003c\/span\u003e\u003cspan class=\"cf2\"\u003eMoonkid\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e”), far-out acid (the cheekily named “Acrid Avid Jam Shred,” one of the many anagrams that pop up throughout), and the kinetic, jungle-style breakbeats (“Come on You Slags!”) that would become the calling card of 1996’s \u003cem\u003eRichard D. James Album\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf2\"\u003eMostly, what one gets here is a bold mix of the ambient textures that made James a critical darling a few years earlier, paired with walloping percussion and bursts of hardcore techno. But there are still cuts on \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf3\"\u003e…I Care Because You Do\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf2\"\u003e of such blistering intensity and commitment to chaos that they rival some of the more pointedly \u003c\/span\u003e\u003cspan class=\"cf2\"\u003etrollish\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e moments on \u003c\/span\u003e\u003cspan class=\"cf2\"\u003edrukQs\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e, most infamously “Ventolin,” arguably the most headache-inducing, dance floor-dominating dentist drill of a song ever recorded. Loaded with high-pitched blasts of piercing white noise meant to replicate the sensation of tinnitus, it’s a song that invites you in, even as it forcefully tries to push you back out. That is, until its eruptions of sonic distortion become so overwhelming by the final stretch that you’d swear the track was coming apart.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf2\"\u003eThat same level of devilish duality—between attraction and repulsion—runs through much of\u003cem\u003e \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf3\"\u003e…I Care Because You Do\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf2\"\u003e, such as the truly unsettling “\u003c\/span\u003e\u003cspan class=\"cf2\"\u003eIcct\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e \u003c\/span\u003e\u003cspan class=\"cf2\"\u003eHedral\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e.” Starting with a minute of murky, almost indecipherable reverb, the track gradually builds, layering strings, synth, and bass, expanding and contracting into an immensely triumphant climax, all while embodying the fiendish attitude of the jarring self-portrait on the album’s cover. While many prefer Philip Glass’s orchestral remix, I personally find that version over-embellished. It pushes the song into “white elephant art” territory: grand, attention-seeking, and a little overstuffed. Aphex, by contrast, operates better in “termite mode,” with as few obtrusive elements as possible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf2\"\u003eAt almost every juncture, \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf3\"\u003e…I Care Because You Do\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf2\"\u003e seemingly establishes some form of internal logic, only to break it: After its most assaultive track, “Start as You Mean to Go On,” you get one of its goofiest, “Wet Tip Hen \u003c\/span\u003e\u003cspan class=\"cf2\"\u003eAx\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e,” with its silly, funky rhythm just bouncing along the mix. And after a chilled-out, deeply resonant song like “Alberto \u003c\/span\u003e\u003cspan class=\"cf2\"\u003eBalsalm\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e,” there’s the \u003c\/span\u003e\u003cspan class=\"cf2\"\u003edubby\u003c\/span\u003e\u003cspan class=\"cf2\"\u003e “Cow Cud Is a Twin,” which feels like a lethargic stroll through the countryside.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf2\"\u003eWhen you finally feel like you may have gotten your head around exactly what the hell this album’s sound or end goal really is, it ends on “Next Heap With,” a heavenly arranged, beat-free jaw-dropper that closes things out with eerie stillness, as if it were suspended in time. For James, it was a turning point, as \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"cf3\"\u003e…I Care Because You Do\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"cf2\"\u003e feels like the moment he fully embraced his own contradictions—melodic yet menacing, chaotic yet precise—and began shaping the deeply idiosyncratic world that would inform his most iconic work.\u003c\/span\u003e\u003cspan class=\"cf4\"\u003e \u003c\/span\u003e\u003cspan class=\"cf5\"\u003e— (via \u003c\/span\u003e\u003ca href=\"..\/297ab040-4d71-402e-b593-e8fe3406daba\/update\" target=\"_blank\" rel=\"noopener\"\u003e\u003cspan class=\"cf4\"\u003eSlant Magazine\u003c\/span\u003e\u003c\/a\u003e\u003cspan class=\"cf5\"\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c!--EndFragment --\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf5\"\u003e—\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIt’s kind of hard to put into words just how revolutionary Aphex Twin is. Sure, some of his work can sound pretty commonplace now, but back then, you’d be hard pressed to find an electronic artist who was crafting the sounds and beats he was. His first two albums (The aptly named ‘Selected Ambient Works Vol. 1’ and 2 retrospectively) were game changers. Two lush albums full of restrained mellow beats and beautiful and sometimes frightening soundscapes. It’s easy to say you’d be hard pressed on finding an electronics fan who doesn’t love them, or at least appreciates what they did for the genre.\u003c\/p\u003e\n\u003cp\u003eBut then there’s \u003cem\u003e...I Care Because You Do\u003c\/em\u003e, the sore thumb of Richard D James’ catalogue. While it acts as a more transitional record, bridging his relaxed and spacey first two records with the chaotic but melodically lush ‘Richard D James Album’, its odd mix of ambience and ear shattering beats puts it in a weird place. It feels like the predecessor to the similarly divisive ‘DrukQs’ in many places and it still draws a mixed reaction from fans. \u003cem\u003e...I Care Because You Do\u003c\/em\u003e blends two distinct styles. Twitchy Trip-Hop With Ambient flourishes and Pummelling IDM which dabbles into noise and avant garde. Its importance cannot be overlooked. What ‘Selected Ambient Works Vol 1 \u0026amp; 2’ did for IDM and Ambient music as a whole, \u003cem\u003e...I Care Because You Do\u003c\/em\u003e did for the future of Richard’s music as a whole. After all, he cared. Do you? — (via \u003ca href=\"https:\/\/www.sputnikmusic.com\/review\/80361\/Aphex-Twin-...I-Care-Because-You-Do\/\" target=\"_blank\" rel=\"noopener\"\u003eSputnik Music\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/6TmEZKJtPJ9mPsMBmyteCE?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Bioplastic, Reissue, Repress, Stereo\u003cbr\u003eReissue: 2024 \/ Original Release: 1995\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: \u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; mso-ansi-language: EN-GB; mso-fareast-language: EN-SG; mso-bidi-language: AR-SA;\"\u003eIDM, Techno, Ambient, Experimental, Acid\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Electronic \/\/ House \/\/ Electro \/\/ Techno\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46261315502238,"sku":"801061003012","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/R-3979609-1360540693-7481.jpg?v=1765015452"},{"product_id":"red-snapper-reeled-and-skinned","title":"Red Snapper – Reeled and Skinned ( 30th anniversary edition)","description":"\u003cp\u003eRed Snapper is to be considered by many as one of the most forward thinking and intuitive live \/ electronic fusion bands of the past 2 decades. Their effortless ability to explore different head space, from jazz and hip-hop through to folk and jungle, is unparalleled. Consisting of Ali Friend (double bass), Richard Thair (drums), David Ayers (guitar) and since 2007, Tom Challenger (saxophone), the band dominates a sound that none can emulate.\u003c\/p\u003e\n\u003cp\u003eIt is safe to say that Red Snapper has always been experimental, in the truest sense of the word, drawing on current musical trends and re-interpreting them with originality.  — (via \u003ca href=\"https:\/\/inverted-audio.com\/feature\/red-snapper\/#:~:text=Red%20Snapper%20is%20to%20be,out%20tour%20of%20the%20UK.\" target=\"_blank\" rel=\"noopener\"\u003eInverted Audio\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eWhen electronic pioneers, Coldcut, dropped their groundbreaking Journeys by DJ mixtape in 1995, one of its standout moments came towards the very end of the mix. Amidst the era’s finest beat-makers and electronic visionaries, the DJ duo teased a hypnotic, looping double bass line, followed by haunting sax, thunderous drums, and guitar, before seamlessly blending into the Radiophonic Workshop's Doctor Who Theme. That earworm bass line? It’s the signature sound of Red Snapper’s Hot Flush, forever etched in the listener’s brain.\u003c\/p\u003e\n\u003cp\u003eFast forward 30 years, and Red Snapper is reissuing their \u003cem\u003eReeled \u0026amp; Skinned\u003c\/em\u003e compilation. The collection includes \"Hot Flush\" in both its original form and the remix by Andrew Weatherall’s Sabres of Paradise. It brings together the trio's self-released early EPs from ’94 and ’95, a time when they quickly gained a reputation on the London live scene, captivating jazz, hip-hop, and dance heads alike.\u003c\/p\u003e\n\u003cp\u003eAvailable on vinyl again for the first time in decades, remastered and featuring an additional track, \"Area 51\", recorded during the same period. — (via \u003ca href=\"https:\/\/warp.net\/products\/496542-reeled-and-skinned-30th-anniversary-edition\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/5bNkjSGWJvF4E5jmyOrZhU?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cdiv\u003e30th anniversary limited edition vinyl\u003c\/div\u003e\n\u003cdiv\u003eIncludes bonus track \u003cem\u003eArea 51\u003c\/em\u003e, originally released in 1995 on \u003cem\u003eVarious - Dope On Plastic! 2\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e—\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eVinyl Tracklist:\u003c\/div\u003e\n\u003cdiv\u003eA1 Snapper\u003c\/div\u003e\n\u003cdiv\u003eA2 Hot Flush\u003c\/div\u003e\n\u003cdiv\u003eA3 Cortina\u003c\/div\u003e\n\u003cdiv\u003eB1 Swank\u003c\/div\u003e\n\u003cdiv\u003eB2 In Deep\u003c\/div\u003e\n\u003cdiv\u003eC1 Area 51\u003c\/div\u003e\n\u003cdiv\u003eC2 Lobster\u003c\/div\u003e\n\u003cdiv\u003eD1 Hot Flush (Sabres Of Paradise Remix)\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e Remix – The Sabres Of Paradise\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003eD2 Wesley Don't Surf\u003c\/div\u003e\n\u003cdiv\u003eD3 One Legged Low Frequency Guy\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e↓\u003c\/div\u003e\n\u003cdiv\u003eLabel: Warp Records\u003c\/div\u003e\n\u003cdiv\u003eFormat: 2 x Vinyl, LP, Compilation, Reissue, Remastered, 30th Anniversary\u003c\/div\u003e\n\u003cdiv\u003eReissued: 2025 \/ Originally Released: 1995\u003c\/div\u003e\n\u003cdiv\u003eGenre: Electronic\u003c\/div\u003e\n\u003cdiv\u003eStyle: Downtempo\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eFile under: Electronic - Leftfield\u003c\/div\u003e\n\u003cdiv\u003e⦿\u003c\/div\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46336469401758,"sku":"5056818801914","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0107521402_10.jpg?v=1766822766"},{"product_id":"nightmares-on-wax-echo-45-soundsystem-gold-vinyl","title":"Nightmares On Wax – Echo 45 Soundsystem (Coloured Vinyl)","description":"\u003cp\u003eFeaturing a carefully curated ensemble of collaborators—including Yasiin Bey, Greentea Peng, Sadie Walker, Liam Bailey, and more—\u003cem\u003eEcho 45 Soundsystem\u003c\/em\u003e 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. — (via \u003ca href=\"https:\/\/warp.net\/echo-45-soundsystem\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eDespite radio’s decline in influence on chart positions and news consumption, it does need to be stressed that the death of the medium has been greatly exaggerated. While the big name national and regional stations continue to struggle, the cultural cache of internet radio has skyrocketed over the last decade; see the enormous popularity of London’s NTS, Bristol’s similar Noods Radio and US behemoth KEXP. In an age of omnipresent algorithmic oppression, it’s clear that music fans are seeking a less-aggressively personalised and discovery-driven alternative. \u003c\/p\u003e\n\u003cp\u003eIt’s this mode of longer-form, curated musical consumption that Nightmares On Wax (real name: George Evelyn) is tapping into on his new mixtape \u003cem\u003eEcho45 Sound System\u003c\/em\u003e. The reggae\/electronica veteran has long been a proponent of the merits of long-form music. His 1995 masterpiece \u003cem\u003eSmoker’s Delight\u003c\/em\u003e is a famously immersive work of singular listening; a work as subtly meditative as it is simply really fun to get lost in. \u003cem\u003eEcho45 Sound System\u003c\/em\u003e shares this absorbing quality, but also comes with its own brilliant central conceit. These 14 tracks are arranged like a pirate radio broadcast, with the option of either listening to each track separately or listening to them all as one continuous mix.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"\" height=\"\" style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=350684618\/size=small\/bgcol=ffffff\/linkcol=0687f5\/track=4210955754\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003eThe continuous mix option is a pure delight. The tracks already flow into each other perfectly well, but you get the sense that this 42-minute mix is Evelyn’s preferred format. A bunch of very enjoyable ad-libs from some famous voices are interspersed between tracks, such as Gilles Peterson and Goldie. Every track here features a guest musician, so this use of communal voices feels wholly natural and adds another conceptual layer to the album; that of a sound system with various names hopping on the mic. Nightmares On Wax is one of the UK’s great electroni-dub practitioners and several tracks here feature bass weight of grin-inducing scale. ‘Starwood Bound’ is a spacious, moody stunner, while ‘Holding On’ layers dub and d‘n’b on top of one another with expert precision.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"\" height=\"\" style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=350684618\/size=small\/bgcol=ffffff\/linkcol=0687f5\/track=1150349995\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eAs if to further reward the patient listener, \u003cem\u003eEcho45 Sound System\u003c\/em\u003e actually gets better and better as its transmission progresses. A couple of early tracks lack a bit of seasoning, however, from the midpoint onwards, the album soars. ‘I Remember’ is an album highlight, featuring honest, reflective bars from Greentea Peng that are enormously engrossing. The string-fuelled ‘Wind Of Change’ is a slippery downtempo banger, while closer ‘Hop-to-Mystic’ is both the album’s most pure reggae track and its most heartfelt. By the time vocalist Liam Bailey closes the track and album declaring that we need to “stand together, stand strong,” you’ll want to remain locked-in to the exquisite, immersive and smoky-as-ever frequencies of Nightmares On Wax (and his many friends). — (via \u003ca href=\"https:\/\/www.clashmusic.com\/reviews\/nightmares-on-wax-echo45-sound-system\/\" target=\"_blank\" rel=\"noopener\"\u003eClash\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e- Limited edition vinyl pressed in gold\u003cbr\u003e- 2LP, 45RPM\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/4sHDNrCOWuHeTLvukNmQpp?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2 x Vinyl, LP, 45 RPM, Album, Limited Edition, Gold\u003cbr\u003eReleased: 2025\u003cbr\u003eGenre: Electronic, Reggae, Funk \/ Soul\u003cbr\u003eStyle: Downtempo\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46775653892254,"sku":"5056818805196","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a4041609876_10.jpg?v=1777543474"},{"product_id":"squarepusher-kammerkonzert","title":"Squarepusher – Kammerkonzert","description":"\u003cp\u003eSquarepusher, presents \u003cem\u003eKammerkonzer\u003c\/em\u003et, a riot of onyx-hard, hyperfast riffs, fiendish orchestral themes and handbrake turns through varieties of progressive, ambient, electronic and experimental music. — (via \u003ca href=\"https:\/\/warp.net\/releases\/576448-kammerkonzert\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eReal name Thomas Jenkinson, Squarepusher has returned with his first album since 2024’s Dostrotime. However, \u003cem\u003eKammerkonzert\u003c\/em\u003e is a stark departure. Drill’n’bass has been replaced with multi-layered compositions of jazz-cum-IDM-cum-orchestral essences. Currently it’s impossible to not relate the word ‘chamber’ to the triggering buzzterm ‘echo-chamber’, but in a time of complacent self-confirming trends, fads and vitality, \u003cem\u003eKammerkonzert\u003c\/em\u003e stands confidently on its own two feet.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKammerkonzert\u003c\/em\u003e is cinematic, but not confined to one particular film genre. The intro track,’K1 Advance’, begins with plucky call and response phrases, as slightly off-kilter drums join the scatty symphony, creating an uncanny start to the album. Squarepusher continues to create a filmic atmosphere on ‘K5 Fremantle’, which could be a horror movie theme with its high pitched Psycho vibrato strings. ‘K9 Reliance’ too could soundtrack any big 1990s cinema car chase with its booming ascending and descending piano scales. You could even make a case for ‘K10 Terminus’ aligning with Damien Chazelle’s Whiplash (2014) score.\u003c\/p\u003e\n\u003cp\u003eAs if returning more to traditionalist roots now, \u003cem\u003eKammerkonzert\u003c\/em\u003e is cemented in the fundamentals of music creation, using orchestral music as its base camp. But of course, Jenkinson wouldn’t let you get away that easy, and as the music builds he washes his wonderful, abstract pigments all over those traditionalist forms – whilst maybe just hacking off a few musical purists along the way. — (via \u003ca href=\"https:\/\/thequietus.com\/quietus-reviews\/squarepusher-kammerkonzert-review\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Quietus\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKammerkonzert\u003c\/em\u003e originated from Tom Jenkinson's desire to work with classically trained musicians. He began writing music for orchestra in 2016, and workshopped the material with professional chamber musicians, but wasn't satisfied with the results. Years later, following a wrist injury which temporarily prevented him from being able to play bass guitar, and the COVID-19 pandemic which placed restrictions on large groups of musicians meeting up, he ended up recording the whole thing himself. He also made a point to prioritize pitch and harmony, though the music is still quite melodic and rhythmic. \u003c\/p\u003e\n\u003cp\u003eThe resulting album is one of the most complex and ambitious works in the Squarepusher catalogue, and unlike anything he's previously attempted. There's elements of his jazz fusion-influenced works, and even the occasional presence of rave-inspired rhythms, but on the whole, it's closer to the avant chamber-prog of Magma or Univers Zero, with some moments even recalling Zappa at his most Stravinsky-esque. As knotty and over-the-top as it gets, it's still filled with whimsy and excitement. \u003c\/p\u003e\n\u003cp\u003eJenkinson sounds like he's having a blast challenging himself to realize the most outlandish music he can imagine. \"K4 Fairlands\" is one of the album's highlights, folding choppy but muted breakbeats into creeping strings, then pushing it over the top with synth sequences matching the strings. \"K2 Central\" incorporates a slow electro-funk drum machine rhythm matched with funky fusion bass, live drum eruptions, and rising strings. \"K7 Museum\" incorporates harpsichord and mallet percussion, and sounds like some sort of haunted house avant-funk. The head-spinning \"K10 Terminus\" is irresistibly perky, and \"K13 Vigilant\" is similarly gleeful and mind-bending.\u003c\/p\u003e\n\u003cp\u003eThe longest piece, the drumless \"K5 Fremantle,\" is much more ominous, with erratic strings and haunting echo painting a particularly dark and surreal scene. \"K14 Wellbeck\" is a glimmering organ piece continuing in the direction of \u003cem\u003eAll Night Chroma\u003c\/em\u003e, Jenkinson's previous collaboration with James McVinnie, which originated as a 2016 performance at Royal Festival Hall. \u003cem\u003eKammerkonzert \u003c\/em\u003eseems like it might end up being as divisive among Squarepusher fans as his 1998 fusion masterwork \u003cem\u003eMusic Is Rotted One Note\u003c\/em\u003e, as it branches far out into a direction Jenkinson hasn't explored before. Even if it is an acquired taste, \u003cem\u003eKammerkonzert\u003c\/em\u003e is still a fascinating release and a remarkable achievement. — (via Paul Simpson \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/kammerkonzert-mw0004773383\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/4YRwqvWAu1cjBDyRRXz0Ee?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album\u003cbr\u003eReleased: 2026\u003cbr\u003eGenre: Electronic, Jazz\u003cbr\u003eStyle: Experimental\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":46836393640094,"sku":"5056818806070","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0279664615_10.jpg?v=1778739943"}],"url":"https:\/\/theanalogvault.mom\/collections\/warp.oembed","provider":"The Analog Vault","version":"1.0","type":"link"}