Broadcast’s James Cargill, and frequent collaborators Roj Stevens and Julian House (Ghost Box Records, The Focus Group) present the debut album of their collaborative project Children Of Alice, originally realised over a series of compilations and a split cassette for the Folklore Tapes imprint, here made widely available for the very first time.
Named as an act of tribute to the late Trish Keenan, for whom Alice in Wonderland and in particular Jonathan Miller’s summerhazy '60s idyll of an adaptation, was a presiding inspiration. The name invokes her abiding spirit and also creates a sense of continuity with the evolving Broadcast soundworld, which became more concentrated and individual as it refined itself and adapted to new configurations.
The record combines a narrative of country life rooted psychedelia with a strong soundtrack feel that perfectly fits and continues the lineage of the three members' individual projects. Children Of Alice plays out like a long lost library soundtrack, complete with all of the trademarks of the trio's collective consciousness, filtered through a gauze of Czech new wave cinema soundtracks, 1970s cult children's TV shows such as The Owl Service & Children Of The Stones and then shot through the record collections of Julian Cope, Bo Hansson, David Chatton Barker & Ian Humberstone.
A truly engrossing listen from start to finish, Children Of Alice is a spellbinding journey down the rabbit hole, that for those willing to take the trip there is much to discover. An album that excavates a dreamlike sound of wonder.

Following countless seminal releases that have seen Mark Pritchard through his various groups and pseudonyms, constantly propel himself forward into new areas of experimentation, Under The Sun marks his return to the production limelight by weaving traces from his vast array of previous projects together to produce a record that pushes his sound forward, in to something that sounds quite unlike anything he has put his name (or alias) to before.
His Harmonic 313 beats, Link acid, Global Communication ambience, and Africa HiTech rhythms all glimmer throughout, but the overall direction of this record is rooted in the realms of modern composition, traditional folk and soundtrack-heavy incidental music.
Tracks like Give It Your Choir (featuring fellow Warp artist Bibio) take on softly spun psychedelia whilst Infared is an industrial drum machine roller that has a Krautrock edge that brings to mind the work of Faust. You Wash My Soul, recorded with folk artist Linda Perhacs could be a lost Susan Christie side, and Beautiful People featuring Thom Yorke stands as one of the finest tracks in his discography yet.
Under The Sun is a perfectly crafted sonic composition from Mark Pritchard that is encouraged by the artist himself to be listened to from start to finish in its entirety, and after being hypnotised by this record time and time again, we wholeheartedly agree, and encourage you to put aside 67 minutes of your time, and listen.

Clark has produced an original score for Sky Atlantic's crime thriller 'The Last Panthers' which stars Samantha Morton, Tahar Rahim and John Hurt. "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. 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." - Clark

Foam Island, the third studio LP from Darkstar, is a beautiful contemporary electronic pop album, dealing with powerful themes of ambition and hope against the odds in the 21st century.
Since their early dancefloor 12”s on Hyperdub from 2008 and through two vocal-led albums in 2010 and 2013, Darkstar have been an influential force in the UK’s electronic scene. With the release of Foam Island they prove, as we move into the second half of the decade, that they remain at the cutting edge of artists pushing its form.
Following collaborations with the likes of Actress, Wild Beasts and Zomby, and taking cues from peers such as Jon Hopkins and Four Tet, it is an ambitious record, buzzing with the energy and excitement of all the possibilities inherent in electronic music in 2015. Yet it is also one which has been shaped by the prevailing social and political climate at this point in time. The band say: “it’s a culmination of everything we’ve written up to this point, the club and electronic side but also trying to tell a story”.
During trips to visit family in Northern England, founder members Aiden Whalley and James Young noticed a change in the area’s social atmosphere. This climate began to increasingly influence the duo’s writing sessions, and they began a three month project of documenting this by talking to local young people in nearby Huddersfield. The lyrics and the sound palette for Foam Island were shaped by the people and emotions they encountered there, and their recordings of interviewees’ speech have been compellingly woven into the tracks.
“We wanted to talk about life for people in their late teens and early 20s in 2015, but avoid that ‘grim-up-north’ clichéd perception,” Young explains. “We wanted a full picture, not just something that was heavy on the heart, but something that reflected a positive as well as an ambivalent side to how young people feel right now. These themes should be recognisable to anyone in the world right now.”
As such the record is in parts severe and beautiful; combining hard digital rhythms and live percussion with colourful synths. Having sung lead on several Darkstar songs to date, Whalley’s voice is now full time, his heavily treated vocals integrating with enveloping yet direct compositions. The production is perfectly controlled throughout, covering expansive uptempo pop (’Stoke The Fire’ and ’Through The Motions’), immersive ambience (title track ‘Foam Island’), mutated Neptunes-style R&B (‘Pin Secure’), and free-form electronic experimentation (‘Javan’s Call’ and ‘Days Burn Blue’).
Similarly, thematically it cycles through motifs of disillusionment, political isolation and apathy, alongside hope, happiness and pride. It creates a world in which there is a definite stoic comfort in routine, tradition and community, but in which there is also anger at a lack of opportunity for personal progression and a lack of investment in their collective futures. Final writing on the album took place in May 2015, with the lyrics to closing track ‘Days Burn Blue’ written as the UK election votes were being counted, and ’Cuts’ pieced together in the weeks following.
With Foam Island Darkstar have created an album which could only have been made in 2015; an album with a voice that encourages a generation to stand up and be counted.

High Life is the second collaboration between Brian Eno and Karl Hyde, of British electronic group Underworld. The album follows 'Someday World' and is due to be released on June 30, 2014.
The album will be Eno's sixth for Warp Records, and was recorded following the announcement of his first collaboration with Karl Hyde. Brian Eno was quoted saying, "“when Someday World was finished I felt like we were still on a roll and I wasn't ready to stop working and get into 'promotional mode' for that record. So I suggested we immediately start on another album, a different one, where we extended some of the ideas we'd started, and attempted some of the ideas we hadn't.”
The album is set to be released on 30th June (1st July in North America) on CD and digitally with a vinyl copy of the album due to follow in August which will feature two additional tracks, 'Slow Down, Sit Down & Breathe' (also on the digital edition) and 'On a Grey Day'.

-Description
Warp's newest signing, the NYC based vocalist Lafawndah unveils Tan, a four track EP featuring FWD-facing production from one of Night Slugs bosses L-Vis 1990 and ADR (recently seen debuting on PAN) starting on a roll Town Crier blends production akin to Portishead's Third with machine-gun-like snares and militant trap drums rolling to the behest of Lafawndah's on-point vocal delivery. Ally strips back the percussion with some lightly tapping snares with a mid 00's UKF feel before the EP's big number Tan rolls down a bass heavy banger with flourishes of synths adding a solid techno texture before capping off with the (almost) tribal house dub number Crumb. Startling debut for anyone currently caning recent drops by Kelela, Arca or Jlin.
-Reviews
“a niche that recalls the protest music of Nina Simone as much as it does the twisted beats of modernist bass maestros Night Slugs” – The Fader
“Skewed world pop that sounds as if it’s from another planet - It’s fantastical, not exotic” – The Guardian

You're Dead! is the upcoming fifth studio album by electronic musician Flying Lotus. It is set to be released on October 6, 2014, in the UK, and October 7, 2014, in the US, on Warp Records.

Oneohtrix Point Never Announces New Album Garden of Delete Via Internet Rabbit Hole.
This morning, Daniel Lopatin, aka Oneohtrix Point Never, updated his website with a link to a cryptic PDF. In the text, Lopatin writes a hallucinatory letter about attempting to work on new music, before beginning to collaborate with an alien named Ezra. The PDF includes a questionnaire said to be taken by the alien, in which a link to a blog is included.
On that blog is a series of mysterious posts backdated to 1994, the most recent of which is an extended interview between Lopatin and Ezra. In that interview, Lopatin appears to announce a new album called Garden of Delete ("or G.O.D. for short"), which he says will be out in November.

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 band that holds computerized loops in their brains, leaves sweat on their machines and whose sonic heartbeat is almost brutally human.
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. 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 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."