140gr white coloured vinyl, wrapped in a hand painted "blood-splattered" sleeve + Insert: The Mestizo-Futurist Manifesto.

Reissue on Play It Again Sam America.

1. Come To Daddy (Pappy Mix)
2. Flim
3. Come To Daddy (Little Lord Faulteroy Mix)
4. Bucephalus Bouncing Ball
5. To Cure a Weakling Child (Contour Regard)
6. Funny Little Man
7. Come To Daddy (Mummy Mix)
8. IZ-US

Rushup Edge is the debut album of 2007's Rephlex artists, the UK's The Tuss, a dynamic duo discovered via intensive MySpace exploration by the A&R dept. Apparently touted by Planet Mu, XL Recordings, Record Makers and Ninjatune all at the same time, they eventually decided to sign with Rephlex for reasons of principle. The label is very excited to find an act with this degree of promise and hopes to be releasing even more work soon. The Tuss' official line seems inspired by the time FFRR signed Chicago house legend Lil Louis' smash hit French Kiss, even though they had no information about him at all at the time. The Tuss offers little biographical info as well, preferring to concentrate on their musical merits, which they describe as "braindance." Rephlex don't really mind too much, but hope to acquire some photographic evidence soon. This album features six tracks featuring a unique blend of head music and dance vibes, everything from classic techno to modern funk, gabba, ambient and classical influences. "Last Rushup" is a breakbeat-y machine with spooky pads, "Shiz Ko E" starts with tuff rhythms, segueing into Prince-y funk and tons of top claps. "Death Fuck" presents mental beats matched with double-speed hip-hop, and "Goodbye Rute" ends things on a mellow note. We'll leave the final word to the journalists, but suffice to say it's very lush music -- so get your ears 'round it!

Limited re-pressing vinyl on the Warp label.

Venus Ex Machina is a composer, sound designer and interdisciplinary artist. We're thrilled to present her debut album Lux, due for release in January 2021.
Lux is a digital sanctuary, a choral ambience, layered electronics, no in-put mixer scree, a requiem for an earth beset by environmental change.
Mastered by Rashad Becker
Cut by Beau at Ten Eight Seven
Designed by Alex McCullough and Noah Baker

Flying Lotus' full-length Warp debut, Los Angeles appears to be much more of a mission statement than a simple introduction – laying the foundation for a field on which an entire generation of artists would soon be playing. While that album was an introspective, moody travelogue through the Californian metropolis, it certainly hinted at Flying Lotus inclination to expand his sound beyond terrestrial means. As you may deduce from the title of his latest opus, he s done just that. Not only has an entirely new range of sounds been unlocked by our intrepid astral traveler, but every genre touchstone associated with his name has been merged into a self-described space opera. Seamless in execution and too wide in scope to properly describe, it is the authentic embodiment of his unique musical heritage. Expect collaborations with relative Ravi Coltrane, bass virtuoso Thundercat and the brilliant harp prodigy, Rebekah Raff as well as Erykah Badu and Outkast string arranger Miguel Atwood-Ferguson PLUS guest vocalists Thom Yorke and a returning Laura Darlington (featured on Los Angeles epic closing track Inifinitum ) help deliver Cosmogramma to dizzying new heights.

Yann Tiersen is a French musician and composer. His musical career is split between studio recordings, music collaborations and film soundtracks songwriting.

A powerful, multi-faceted beast, packed with the most aggressively dancefloor-focussed music Hopkins has ever made, Immunity is about achieving euphoric states through music. Inspired by the arc of an epic night out, the album peaks with Collider, a huge, apocalyptic, techno monster and dissolves with the quiet, heartbreakingly beautiful closer, Immunity, a track featuring vocals from King Creosote which could sit comfortably alongside the gems of their Mercury-nominated collaboration, Diamond Mine.
Immunity is a confident, dramatic record defined by an acute sense of physicality and place.It feels like the hypnotic accompaniment to a journey of creativity, a trip inside Hopkins’ mind, using analog synthesis alongside manipulations of physical, real-world sounds to make dance music that feels as natural and unforced as possible.

Drukqs (stylised as drukQs) is the fifth studio album by Aphex Twin, a pseudonym used by English electronic musician Richard D. James. The album is a double album and peaked at number 22 on the UK Albums Chart, selling 11,476 copies in its first week of release.

The album cover, by Designers Republic has been announced along with the track times - Which doesn't match up with the previous unidentified leak.
The album will be out on September 23th via Warp and a press release, including a lengthy (and odd) biography has been shared. Below is a quote:
"Only few and far between during the new millennium, a full-length, 20001's Druikqs, James - has marked the beginning of an arc, and the final new material in 20005. A lot of the music in any way is often a lack of communication and leadership to be fallacious rumors of new material for his fannies and his enthusiasm has not diminished hope. However ambitious this year, 9014, they uncovered new mats in almost a decade distribution crowdfund rallied together his army of fans: A precious gift that can not be the same as the new
Phex Twinnipicks material is still unquenched thirst.
Syria, September 23, 2014, along with records of Aphex Twin's new album to be released. For the owner of Triple vinyl, CD and digital formats will be available. Bleep a very limited vinyl version you can register your interest in buying."

MU-ziq这张专辑展现了十足的电音魅力．那些强有力的鼓点，和着恍惚迷离的节奏，不停的变幻着形式．这张lunatic harness是＂智慧舞曲＂的完美诠释．
以下关于IDM的介绍转自21CN
IDM ( Intelligent dance Music ) ~ 暫且我們就直譯成 " 智慧型電子舞曲 " ! 這幾年在整個電子樂的大環境裡 , 除了大量供作 " 跳舞 " 功用的的舞曲音樂屢有形式上的翻新之外 ; 另外也無法忽略許多不是用來跳舞的聆聽式電子音樂也漸漸的增加了能見度 . 在 IDM 的世界中 , 一切節奏 , 旋律 , 乃至 " 聲音 " 的發想皆以 " 電 " 為中心 ; 原音樂器 , 典型的舞曲節奏 ( House , Techno , Break . . . ) 等趨向親民的普普素材 , 來到這群性喜解構的音樂人手中 , 通常都會以我們無法預料的樣貌來顯現 . 對已經將電子樂與 " 咚ㄘ咚ㄘ " 畫上等號 , 或是習慣了沙發弛放甜膩色調的人而言 , 初入 " 聰明舞曲 " 世界 , 難免要為其疏離偏冷的調性感到無所是從 . 甚至常常出現聽的見卻無法跟著跳的節奏 , 也讓 " 聽到咚ㄘ就搖頭 " 的人感到無所適從 .
每個名詞的產生總有一個故事 , IDM 一詞咸信是起源於來自英國雪菲爾的電音廠牌 " Warp " 於 1993 年6 月所推出名為人工智慧 ( Artificial Intelligent ) 的合輯 . Warp 的風格在英國由 Acid House 過度至 British Trance 的電音風潮中顯然是另類且地下的 . 那些聽來支離破碎的電子節拍 , 去中心化 , 環境化 , 飄忽且刻意不連續的旋律聲響 , 再再標明 Warp 的音樂思維是屬於思考而非肢體導向的 . 甚至在該專輯的封面上就清楚的標示了 " Electronic Listening music from Warp " 這句話 , 更毋庸置疑的成為電音史上第一個 ( 應該也是唯一的一個 ) 標榜自己是 " 聆聽式電子音樂 " 的出版品 ! 這時期包括了 " Intelligent Techno " 的開山老祖 " Aphex Twin , Black Dog , Speedy J , Autechre 等隸屬於 Warp 的藝人 , 以及 Future Sound Of London , Mu-Ziq , Reload , Biosphere 等人 , 都是第一批由跳舞音樂轉戰聆聽式電音的開路先鋒 .
順帶一提的是 , 在 " IDM " 一詞廣為使用之前 , 還曾出現諸如 " Intelligent Techno " , " Ambient Techno " 等名詞 . 大抵這些字眼都是當時傳媒在聽過這些作品之後 , 為了方便說明所提出的 . 當然我們也不難想像在早期 Future Sound Of London , Biosphere , 甚至是 The Orb , KLF 等樂團的作品中 , 都先透過既有的舞曲骨架 ( Techno , House ) , 來體現源自 Brain Eno , Phillip Glass , Steve Reich , John Cage 等現代音樂大師所產生的影響 . 並且藉由 " 節拍" 的影響力 , 對喜愛電子音樂的樂迷們進行淺移默化的教育 , 而慢慢的將電子音樂由原本單純的舞曲性格導入家用聆聽的面向 .
或許音樂本身是讓人難以輕忽的主體 . 在被播放演奏的同時 , 我們很難不全神灌注的等待著它能給我們些什麼 . 也許是一個進入高潮的過門 , 或是一段激勵人心的美妙旋律 . 但是 , 在 IDM 的世界裡 , 音樂 / 聲響被要求有更多的可能性 . 或許依照創作者的心思 , 所有的元素可以紛陳雜列 , 百家爭鳴而去中心化 ; 也可以眾星拱月 , 用大量低限節奏旋律的鋪陳來突顯某一點的落差 . 無論創作者意圖為何 , 我們不妨以非音樂的觀點來欣賞它 . 或許是空盪房間裡獨處時的呼吸聲 , 或是搭公車經過大街時隨之流動而去無法細辨的環境噪音 , 一切是以不和諧 , 各自表述的樣態來達成和諧共存 . 而 IDM 便是試圖去解讀音樂與環境間共存噢能被突顯的狀態 .
IDM 一詞至今仍有許多人質疑其 " 正確性 " . Intelligent 或許可解釋為經過思考的創作 , 但 " Dance Music " 在這裡似乎就無存在的餘地 ~ 既是拿來聽的 , 又何須稱為舞曲呢 ? 電子音樂從單純舞池取向演進至今天融合了互異面貌於一身 , 自然的我們這些聽音樂的人也不能再已定於一尊的觀念來看待它 . 而且當音樂被標籤化與功能化的同時 , 我們更應該於面對不同音樂時以更開闊的眼界與單純的心去面對它 . 音樂不該只是製造氣氛的芳香劑 , 或者在氣氛中 , 我們除了被動的享受 , 更該探索齊備後的涵義 . 或者 , 就是直接被感動吧 ! 顯然 IDM 一詞若簡化為 " Intelligent " 應該有更大的空間去容納今日音樂面貌的驟變吧 !