Aphex Twin – Flim [1997]
November 2, 2010

Found trailing “Come To Daddy” on the 12″ of the same name, Flim couldnt be any more different than the title track. A four minute glide through electronic bliss. The break is light and serves solely to drive the track along, the star here is the main riff that runs through the track. A melancholy and uplifting track, teasing both of those emotions simultaneously, something that Richard James does perfectly. Knock the lights off, close your eyes and listen.

From Discogs
This is a very good release for vinyl, and I’m not talking about the sound quality.
The tracks are already mind blowing to start with, but slowing the record down from 45RPM to 33 makes Bucephalus Bouncing Ball sound like an acid house legend. Also, there’s the addition of the huge 12″ shot from Chris Cunningham’s video for the single. Freaky.
Even if you’ve already got the CD, you need the vinyl. It’s so much more fun.

Flying Lotus – MmmHmm (2010)
September 5, 2010

Taken from 2010 LP “Cosmogramma”on Warp Records

Been a way for while but had a tip off from a good friend about this dude!

From discogs –

Flying Lotus, (born Steven Ellison) is an experimental multi-genre music producer, and laptop musician from Winnetka, California. His debut album, 1983, was released on Plug Research Records in 2006.[1] He is most famous (yet also uncredited) for much of the bumper music on Cartoon Network’s Adult Swim programming block,[2] and he also contributed remixes for fellow Plug Research artists including Mia Doi Todd. He is affectionately referred to as FlyLo by fans and critics. He is the great-nephew of the late Alice Coltrane and John Coltrane.[3]

In 2007, he announced that he signed with Warp Records.[4] Following his Warp debut—the six-track Reset EP and became one of the label’s cornerstone artists—he released his second album, titled Los Angeles, on June 10, 2008. His third album, Cosmogramma, was released on May 3, 2010, in the UK and May 4, 2010, in the US.[5]

Recently, Flying Lotus collaborated with the Ann Arbor Film Festival in the performance of a live scoring of the 1962 avant-garde film Heaven and Earth Magic. [6] In a post-viewing interview with the audience, Flying Lotus said he was unsure whether or not a recording of the performance (or a recreation of it) would be publicly released, but he would be enthusiastic toward similar projects in the future.

Some space age stuff!!


LFO – LFO (Leeds Warehouse Mix) [1990]
April 20, 2010

Damn, one of my all time favourites – I used to run my poor speakers into the ground with this. I think the loudest I got it without distorting could be heard from outside the house. Wicked. Pure and simple, the subbase is what everyone knows but the kick and highhat, EQ’d into icy treble deserve a mention as it perfectly offsets the bass and moog. The synth sweeps keep the melody moving and those bleeps. Anyone with a penchant for acid probably loves ’em as much as I do. Classic.

From Discogs
I’ll never forget the impact of those blowing, overwhelming strongly distorted basslines of LFO’s homonym classic, back in 1990. How many sub-woofers have been crushed by the cataclysm of its sound waves since this new groundbreaking spot?
It was so powerful, so different from anything anyone has ever heard before.
The tune’s unique combination of that fat basslines, obscure atmospheres and bleep synths constituted a kind of a blueprint for the future Techno generation.
More than acclaimed by the specialists, the LFO track would remain the peak of the Low Frequency Oscillator’s journey through the avant-garde – and believe me, Mark Bell & Gez Varley knew how to do it.
On the other hand, it’s funny how the labels change with the curse of time… for people like Colin Dale of Kiss FM and DJ Mauricio (A.K.A. Mau Mau) would call the classic in question ‘Techno-House’ at that time, no matter how strange it may seem to the contemporary electronic heads.
Sheffield was the homeland for the new-based Bleep Techno realm of WARP, the label responsible for LFO’s release. The authors project of that ‘Low Frequency Oscillating track’ was from Leeds though, same city of Nightmares On Wax and Unique 3.
The trend-setter Bleep anthem had a more complex structure than any other one of that kind, and the consequences of it on the electronic scene since the nineties would be huge. That’s why there is no better expression to define it than art, no matter how you label it. LFO was more than justly included on WARP 10+2 Classics compilation, a standard to understand the World of Weird And Radical Projects.

Antipop Consortium – Ghostlawns (2002)
April 9, 2010

Taken from 2002LP “Arrhythmia” on Warp Records

Take Three MC’s, and 3 MPC’s all played live, and you get the finest hiphop electro crew on the planet.

“Run around the field but never move like a fence….”

from discogs –

Antipop Consortium was one of the most inventive underground hip hop crews in the early 2000’s. The Consortium was formed in fall 1997 to turn the commercial Hip Hop scene on its head. It consisted of the three vocalists (Priest, Beans and M. Sayyid) which come from the New York street poetry scene and producer E.Blaize in the background.

After a series of cassette only releases on the own label Antipop Recordings and some underground singles the label Ark 75 released the group’s debut album “Tragic Epilogue” in 2000.

Their music is bridging the gap between Hip Hop and Intelligent Dance Music. Because of that avantgarde electronic label Warp Records, known for releasing such artists as Aphex Twin or Autechre, signed the Group in 2001 and released the EP “The Ends Against The Middle” and 2002 the second album “Arrythmia” with world wide acclaim. So the music came also more and more into the ears of electronic listeners.

After a long cooperation and uncountable collaborations and side projects with other artists the group temporarily split in August 2002 to pursue other projects. They reformed in August 2007


Two Lone Swordsmen – Brootle (2000)
April 9, 2010

Taken from 2000 LP “Tiny Reminders” on Warp records.

Sounds a bit crispy this youtube link, but Andrew Weatherall & Keith Tenniswood bring a storming peice of electro for a what I consider to be the best track on the LP, if you dont have a copy, you need to find one. Classic.


Squarepusher – My Red Hot Car (2001)
April 9, 2010

Taken from 2001 12 inch on Warp Records

Fast faorward to 2001. An erie masterpeice from Sqaurepusher, sample – Im gonna fuck you with my red hot car? or cock?  who knows, but never has breakbeat acid sounded so strange…

from discogs –

Squarepusher is the performing pseudonym of Tom Jenkinson (b. 1975, Chelmsford, Essex, United Kingdom), an English electronic music artist signed to Warp Records. He specialises in the electronic music genres of drum and bass, acid and with a significant jazz influence.


Squarepusher – Vic Acid (Hard And Normal Mix) (1997)
April 9, 2010

Taken from 1997 12 inch “Vic Acid” on Warp Records

It’s 1997, your 19 years old, you just picked up a copy of VIC acid on 12 inch from rockaboom in Leicester, you have never heard a 303 breakbeat track before, you record it to tape on a crap stereo, your tripping in a field with your walkman on. This is the one.


Nightmares on Wax – Morse [1999]
January 22, 2010

Absolutely fantastic downtempo stormer from Nightmares on Wax.

From Discogs
The longest serving artist on the Warp Records roster. Originally founded in 1988 by George “DJ E.A.S.E.” Evelyn and Kevin “Boywonder” Harper. Harper left before the release of Smokers Delight.

This is definitely off of Warp’s beaten path. I wasn’t expecting anything like this on Warp, that’s what makes it so refreshing I think. This is a great mixture of Funk, Jazz and Hip Hop, but not so much the latter. It’s good to see Warp likes to keep their catalogue fresh with artists like Nightmares On Wax!