Фирма Warp Records

Warp artist Clark has been tapped to score The Last Panthers, a new crime thriller which also features title music by David Bowie. Starring Samantha Morton, Tahar Rahim and John Hurt, the six-part series kicks off with a diamond heist before delving into Europe’s criminal underbelly of gangsters and “banksters”. Warp Films has co-produced the series, which led director Johan Renck to hit up some more Warp talent for the music. “It felt idiotic to not tap into one of the founding corners of Warp,” he explains. “Chris [Clark’s] sensibilities and brazen creativity was bang on for a score to deal with everything from the biblical grandeur of the story via brooding darkness all the way over to tender sentimentality. He had it covered.” The score combines sounds of the natural world with “clinical, machine-enhanced production”. “It all started on a porch in Melbourne with a viola and a contact mic,” says Clark. “I’ve never worked on anything like this before and it’s probably the most exciting, fun, at times panic-inducing thing I’ve ever done.” He adds: “The narrative of the show is vast, deep. It spans many different eras in the characters lives, so it needed to be coherent. The intention was to make the unfolding stories of the characters seem lucid and effortless. Seeing the show get edited down to this concise, six-part slab of dramatic excellence was inspiring, and definitely helped the music stay fresh. I’m honoured that The Last Panthers is the first foray into film I’ve had, it’s an immense project to be involved in.” ‘Omni Vignette’ is the first excerpt from the soundtrack, written the day after Clark’s set at Bloc. “I remember feeling ‘I never want to hear another kick drum ever again’. Which of course is nonsense,” he says. “Anyway, I did a laptop mic version, then hired a posh 80s valve mic to record it, I really like the tone, it’s stripped back, it doesn’t kick off, that’s sort of the point. Kick drums are for kicking off. It works really well for an intimate scene in Panthers, I can’t give too much away though. Record Label: Warp Style: Electronic

Record Label: Warp Style: Dubstep

Darkstar return with their second LP for Warp – Foam Island. It's been two years since the second Darkstar album, News From Nowhere, came out through Warp Records. (That LP followed their breakthrough North album for Hyperdub.) Warp say this latest effort is a contemporary pop record that carries undertones of "political isolation, social disillusionment and personal ambition." Record Label: Warp Style: Electronic

2LP in printed inner sleeves with 8 panel folded poster insert in gatefold sleeve. Exclusive sticker sheet. Battles are the Networked Band, or perhaps the-band-as-network. An island chain linked by a unique combination of artistry, experimentation, technology and singular focus. A three-headed cyborg that forces our aptitude for pure physical industry to flirt lasciviously with our encroaching digital reality. A band that holds computerized loops in their brains, leaves sweat on their machines and whose sonic heartbeat is almost brutally human. It only makes sense that such bastards of both the hi/low-tech worlds would look for an alternative means of communication. La Di Da Di is the prompt, the exclamation and the riddle to hang in the air while we try to make sense of just what Battles have done now. Dave Konopka, Ian Williams and John Stanier have turned the tables on themselves this time, confronted their own ideas of what Battles is – and here on their third album, have willed an answer to that question into existence. The tangled wires and entrails of Mirrored and Gloss Drop have been pulled out, flung against the wall and scraped into an unruly pile to be tread upon. As the name might imply, La Di Da Di is a mushrooming monolith of repetition. Here is an organic techno thrum of nearly infinite loops that refuse to remain consistent. The rhythmic genus of Battles is here as ever; full frontal, heightened and unforgiving – the gauntlet through which melody and harmony must pass, assailed at every turn. ‘The Yabba’ squawks to life, tumbling down the stairs before it finds it’s own dislocated gait. The title of “Dot Net” hints at its propulsive bait-and-glitch, while “FF Bada” and “Summer Simmer” twitchily reach dizzy heights of forward-gazing no wave bluster. For a ‘breather’ “Cacio e Pepe” isn’t much of a breather, all unsettling harmonic shafts of light, like a short walk on an especially strange beach. The album’s middle section that it bookends with it’s spiritual cousin “Tyne Wear” are surely some of the more mutated deployments of conventional rock instrumentation you’ll have heard in some time. It’s about at this point that you begin to realize the truly bionic reimagining of what a band can sound like. That seems like hyperbole until you lurch into the eerie skank of “Megatouch”, and by the time you realize that genre’s been swept out the window you’re thrown unapologetically through the percussive “Flora>Fauna” and into the seeming zero-gravity of “Luu Le” which reveals itself to be a shapeshifting carnival ride, eventually depositing you gently at the exit gate – wondering how it is you’ll explain what La Di Da Di means. Record Label: Warp Style: Alternative

Gatefold wallet with poster booklet. Exclusive sticker sheet. Battles are the Networked Band, or perhaps the-band-as-network. An island chain linked by a unique combination of artistry, experimentation, technology and singular focus. A three-headed cyborg that forces our aptitude for pure physical industry to flirt lasciviously with our encroaching digital reality. A band that holds computerized loops in their brains, leaves sweat on their machines and whose sonic heartbeat is almost brutally human. It only makes sense that such bastards of both the hi/low-tech worlds would look for an alternative means of communication. La Di Da Di is the prompt, the exclamation and the riddle to hang in the air while we try to make sense of just what Battles have done now. Dave Konopka, Ian Williams and John Stanier have turned the tables on themselves this time, confronted their own ideas of what Battles is – and here on their third album, have willed an answer to that question into existence. The tangled wires and entrails of Mirrored and Gloss Drop have been pulled out, flung against the wall and scraped into an unruly pile to be tread upon. As the name might imply, La Di Da Di is a mushrooming monolith of repetition. Here is an organic techno thrum of nearly infinite loops that refuse to remain consistent. The rhythmic genus of Battles is here as ever; full frontal, heightened and unforgiving – the gauntlet through which melody and harmony must pass, assailed at every turn. ‘The Yabba’ squawks to life, tumbling down the stairs before it finds it’s own dislocated gait. The title of “Dot Net” hints at its propulsive bait-and-glitch, while “FF Bada” and “Summer Simmer” twitchily reach dizzy heights of forward-gazing no wave bluster. For a ‘breather’ “Cacio e Pepe” isn’t much of a breather, all unsettling harmonic shafts of light, like a short walk on an especially strange beach. The album’s middle section that it bookends with it’s spiritual cousin “Tyne Wear” are surely some of the more mutated deployments of conventional rock instrumentation you’ll have heard in some time. It’s about at this point that you begin to realize the truly bionic reimagining of what a band can sound like. That seems like hyperbole until you lurch into the eerie skank of “Megatouch”, and by the time you realize that genre’s been swept out the window you’re thrown unapologetically through the percussive “Flora>Fauna” and into the seeming zero-gravity of “Luu Le” which reveals itself to be a shapeshifting carnival ride, eventually depositing you gently at the exit gate – wondering how it is you’ll explain what La Di Da Di means. Record Label: Warp Style: Alternative

And God said Let there be more Aphex Twin songs, and it was so — kind of. Richard D. James is indeed releasing a new album, Orphaned Deejay Selek 2006-08, but it’s under his AFX moniker, last seen on his Analord series from 2003-2005. Record Label: Warp Style: Electronic

And God said Let there be more Aphex Twin songs, and it was so — kind of. Richard D. James is indeed releasing a new album, Orphaned Deejay Selek 2006-08, but it’s under his AFX moniker, last seen on his Analord series from 2003-2005. Record Label: Warp Style: Electronic

Inspired by the video game soundtracks of celebrated Japanese artist Manabu Namiki, Lopatin's arrangement "Bullet Hell Abstraction" deconstructs both the sonic and visual aesthetic of Japanese video games. Commissions II includes selections that he recorded for the performance, which was commissioned by Redbull Music Academy and originally premiered at Womb, Tokyo (November 2014). With affection for the original piece, Lopatin composed and performed live a re­imagined soundtrack to Koji Morimoto's historic anime film Magnetic Rose. In collaboration with Lopatin, Robert Beatty produced the cover artwork layout, and the packaging features TBC (black foil print jacket) with die cut view of inner sleeve. Record Label: Warp Style: Electronic

Limited first edition, 2xLP in gatefold sleeve, with print and download card including access to extra track! Having time spent working for Kanye West and collaborating with Lunice on the TNGHT project, Hudson Mohawke returns to Warp for his second long-player Lantern. Lantern features Miguel, Jhene Aiko, Irfane and more. Record Label: Warp Style: Electronic

part 2 of the Warp "CARGAA" EP-trilogy about the underground-Grime-scene of Lisbon Record Label: Warp Style: Dubstep

Record Label: Warp Style: Dubstep

Last year, electronic producer Richard D. James made one of 2014’s boldest comebacks with Syro, his first new Aphex Twin album in 13 years. And he’s carried that momentum over to a new 14-track EP, Computer Controlled Acoustic Instruments Pt2, which will be released January 23rd via Warp Records. Record Label: Warp Style: Electronic

Last year, electronic producer Richard D. James made one of 2014’s boldest comebacks with Syro, his first new Aphex Twin album in 13 years. And he’s carried that momentum over to a new 14-track EP, Computer Controlled Acoustic Instruments Pt2, which will be released January 23rd via Warp Records. Record Label: Warp Style: Electronic

Record Label: Warp Style: Electronic

Record Label: Warp Style: Electronic

Aphex Twin makes his return on Warp with new album Syro. Richard D. James has been releasing music since the beginning of the ‘90s. His first full-length album, Selected Ambient Works 85-92, came out in 1992 through R&S Records. The first Aphex Twin relea CD, Album

Record Label: Warp Style: Electronic

Artist: Nightmares on Wax Label: Warp Records

Artist: Nightmares on Wax Label: Warp Records