The end of 2019 was soundtracked by one of the most unanimously critically acclaimed film scores of recent history, an anxiety-driven joyride paired to the Safdie Brothers’ noir thriller Uncut Gems. Unknowingly, Lopatin captured a universal feeling of dread that cuts even deeper in the current state of world affairs. And now, just as many artists are leaning into a newly discovered darkness as this year closes, Lopatin turns his dial towards a frequency of profound self-awareness on an even deeper journey inwards towards peace. With the backdrop of re-imagined programming for a soft rock-era format that symbolically spans from morning drive into late night hours, Magic Oneohtrix Point Never, the name a reference to a misheard play on words of Boston’s Magic 106.7, is a nostalgic and self-referential career defining body of work, collaging maximalist baroque within atmospheric glitter. Here Lopatin has mastered his own autobiography; an ornate musical double entendre from an artist making the most enlightened music of his career.

Few projects at the forefront of contemporary art truly push visceral sonic boundaries in the way that Yves Tumor does. With an arc that impartially sits between psych-rock and modern pop, comparisons only serve as limitations intended to define that which cannot be. Yves Tumor melds restraint and chaos; diluting reality by giving meaning to the abstract and allowing for dissonance to be seen and heard as harmony. The next chapter begins with the new album Heaven To A Tortured Mind.
Heaven To A Tortured Mind - written and composed by Yves Tumor and produced by Yves Tumor and Justin Raisen (Sky Ferreira, Ariel Pink, Charli XCX)- marks the fourth official full-length release from Yves Tumor and the follow-up to 2018's critically acclaimed and era-defining WARP release, 'Safe In The Hands Of Love'.
Yves Tumor has steered the project into a whole new realm with Heaven To A Tortured Mind, piercing through contradiction, redefining expression through song, and catapulting Yves Tumor into the next phase of illusion and evolution. Heaven To A Tortured Mind finds its place in music history as a collection of anthems for a generation.

Fans can enjoy a taster as the double-A side 12” Vortrack will be released on the 6th of December, featuring Squarepusher's Fracture Remix which already caused a stir when it was dropped into his brain-melting breakbeat and jungle set for Warp's 30th anniversary NTS takeover in June.
With this new album, Tom Jenkinson (Squarepusher) has returned to using a bewildering array of vintage analogue and digital hardware, the same equipment that first helped him develop his sound in the early '90s. Something of a 180 degree turn, these synths, effects units and even a Commodore Vic20 are in complete contrast to the tools he used to create 2015’s 'Damogen Furies' - cutting edge software that Tom developed over the course of 15 years.
The result is 'Be Up A Hello', an album that is celebratory with rinsing breakbeat tracks such as Nervelevers and Terminal Slam - classic floor fillers - as well pieces loaded with visceral atmosphere and melody in Squarepusher’s inimitable style.
Darker moments such as Vortrack and Mekrev Bass illustrate Tom's continuing fascination with finely balanced psychological overload. As such, Be Up A Hello gives a nod to the mayhem, joyousness and abandon of the DIY Essex rave scene that was a strong determinant in Tom's work.

He is unmatchable in flow, delivery, and voice. Danny Brown has all the tools to be the greatest working rapper-PITCHFORK
Atrocity Exhibition is one of the freshest and boldest-sounding rap albums in recent memory, a sonic swirl inspired by the work of Talking Heads and Joy Division that nonetheless sounds like nothing else from the past or present. Featuring contributions from producers like Evian Christ, Petite Noir (who also lends vocals to the world-weary clang of Rolling Stone), Black Milk, the Alchemist and frequent collaborator Paul White, the album is full of laser-beam guitars, gym-teacher whistles, creaking vocal samples, and air-raid drones. It is the most intriguing take on hallucinatory rap since the heady heights of Cold Vein or Madvillainy.
Known for his wide range of collaborations, including everyone from Purity Ring, the Avalanches and Rustie to Schoolboy Q, E-40, and Ghostface Killah, Atrocity Exhibition sees a continuation of this carefully curated mix. Kelela lends her snaking vocals to the intriguingly murky From the Ground, Cypress Hills B-Real delivers Get His languid hook, and Earl Sweatshirt, Kendrick Lamar, and Ab-Soul all convene for the twinkling ominousness of album standout Really Doe. When XXX came out, all of us were peers, and those were the three rappers who were the best, Brown explains on having the star-packed trio appear on the track. I felt like we were competitors, they made me want to step my game up. I wanted to put the hottest rappers in the game on there.
This album is a highly personal take on Browns ruminations on life and the changes that have occurred -and those that didnt - following the ups and downs of career success. Atrocity Exhibition makes for a thrilling third installment in the Danny Brown biopic, one not to be missed.

In these recent heady days, hype spreads like digital swine-flu and new artists are subjected to the sea change of an entire career before ever developing their sound. So to exist outside of the spotlight and develop a sound at once ready for the masses online, yet rooted in the fierce individualism of artists past may seem somewhat of a quaint notion until you hear Gonjasufi.
At the moment, he stands just outside the spotlight cast on his friends and collaborators Flying Lotus and The Gaslamp Killer, but the sonic brotherhood that exists is implicit rather than as similarities in sound. Drawing from unearthed strains of global psychedelia and merging it with a rejuvenated sense of hip-hop clarity currently distinct to the West Coast, Gonjasufi is more than just a songwriter, MC or performer.
His debut album "A Sufi And A Killer" recalls moments in love as well as trading sinister threats with enemies, sometimes within the same song. Trading in both the murk of lo-fidelity vintage samples and the concentrated crispness of current West Coast production, "A Sufi And A Killer" is both a roadmap to the riches of the distant past and a signpost to the future.

Aphex Twin aka "The Duke Of Rave and The God of Electronic Music" (depending which time of night it is) returns once again with the Collapse EP, a five tracker hailing from the underground. Its five tunes chew up notions of exhilaration with life-affirming abundance, high hats and sauntering arrangements, brain-scrambling noise and much much more, all cloaked in an absolutely jaw-clenching sleeve design from Weirdcore.
Since returning to the electronic shores with Syro way back when, Aphex Twin has answered many a million prayers from us, you and the masses who make up a certain online forum by gifting us with slab after slab of Braindancing excitement. While the recent years run of live shows have seen him slicing and dicing the freshest lazer-guided melodies from artists including Mark Fell & Gabor Lazar, Jlin, Kamixlo and Lanark Artefax, it would appear that the Collapse EP is the Aphex Twin spin on the post-genre, everything goes, electronic inter(net)underground... Basically this is an amazing and properly fresh record from one of the true pioneers of the hypnotic groove.
Make no mistake, Collapse EP hits on every single level imaginable, marking both new ways forward for every future style going, from footwork to electro-dub it even finds time to throw in some of the most stomach-churning darkside pads imaginable. Trust us, when they hit it's like a time travelling Basil Kirchin or early 80's NWW have gate crashed/crashed landed in 2018 only to discover the joys of electronic sequencing and bought themselves matching tanks as some sort of mad keyboard that they are using to fire beats into the truly never-ending possibilities of the studio within the digital age.
Where previous Aphex records have been like standing in a power station on acid, Collapse EP is what happens when you fall through the floor and land in the basement club, soundsystem going off and one of the very best there ever was/is/will be behind the decks.
Joy and happiness lies ahead, Collapse EP is here... fall into its wonderment!

The work of Yves Tumor moves from sultry ambient to future soul, psychedelic pop, and everything in between. His critically acclaimed l ong-player from 2016, “Serpent Music,” announced his commitment to eclecticism and cemented his position as a major force in contemporary experimental and electronic circles. Now signed to Warp he returns this year with 'Safe In The Hands Of Love'.
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Boomkat Product Review:
Yves Tumor lands on Warp with his debut album for the label; more popwise and polished than before, still pitched perfectly between the avant garde and the mass market...
"Yves Tumor makes good on the audience following astonishing singles 'Noid', 'Licking An Orchid (feat. James K)' and 'Lifetime'. Whereas each of these showed a different side to his sound, one that arguably wasn't afraid to immerse itself in the close running interests of skinny-jeans 'n' all indie, heartfelt romantic ballads and soulful RNB bangers, Yves Tumor's seeming refusal to be creatively pigeonholed is the most vital and compelling cog within his musical identity. Walking a tightrope between being on the one hand, one of the most seductive, soulful musicians of modern times, while also being a serious aficionado of harsh n0!se, as made evident with his recent years' live sets which have become something of a legendary experience/assault for each audience that has entered into the high-intensity sound-field that his on-stage presence creates.
Safe In The Hands Of Love captures each and every side of Yves Tumor's musicianship with an elegant mix of pop numbers and more experimental de-constructions. With the spirit of Danish noise/synth/punk/tekno institution Posh Isolation running through the lifeblood of the music, so much so that in a perfect bonding two of the Posh Isolation crew's finest Loke Rahbek and Frederikke Hoffmeier both appear on the album in solidarity with Yves' vision. The recordings are uncharacterizable as anything other than Yves Tumor music.
From the gothic cloak 'n' dagger cyberpunk punishment of 'Hope In Suffering (Escaping Oblivion & Overcoming Powerlessness)' featuring Oxhy & Puce Mary, through to the 'Economy of Freedom' produced with Croatian Amor and moving along with all the sludgy heaviness of a thousand broken hearts, the feelings explored upon offer a kaleidoscopic union of classic songwriting and lobotomized sound experiments. Chapters like 'Recognizing The Enemy' and 'Licking An Orchid' capture a sense of near blissful introspective blues, sounding like Yves is rushing into the deepest moments of winter while his words that are seemingly spun out of tears, begin to freeze in the cold night air. Before 'Let The Lioness In You Flow Freely' could be the Whitehouse and Steve Albini post-rock record that never materialized back in the 1990's, while 'Recognizing The Enemy' further explores the gothic soundscape rock 'n' roll (original and authentic shades, slick back and leather jacket) of 'Noid', ensuring that his stadium-sized approach to crafting earworms is well and truly represented."

The debut full-length release for the British industrial electronic/dancehall artist features production from Aart, DADRAS, Dre Skull, Dutch E Germ, Jam City, Nick Leon, Buddy Ross, and SOPHIE.

Boomkat Product Review:
Warp original, George Evelyn aka Nightmares On Wax, brings up the label’s Yorkshire roots with his 8th LP Shape The Future. Currently stationed in Ibiza, the sunniest corner of Yorkshire, N.O.W. hells as close as ever to his roots in soul, hip hop and dub with a lush downbeat suite riddled by his subtle but delightful production tics and signature, “Eaze-y” vibe.
Again, N.O.W. proves himself something of a J Dilla or King Britt of UK downbeats - ok let’s just call it trip hop - with a timeless, gently offbeat style of his own, equally adept at bringing in live players as he is chopping out patterns on the sampler and blooming them to life the studio.
You can trust it’s all laid-back as usual on this one, but if you’re looking for highlights keep ‘em pealed for the deliciously slompy beat and soul aura on Tell My Vision featuring Andrew Ashong, or likewise for the dusky string orchestration and swaggering groove of Shape The Future at the LP’s core; an excellent a cappella aside, entitled and presumably starring Tenor Fly; and the Francis Bebey-like Afrobeat-electronic charms of Gotta Smile.

Take Me Apart is the upcoming debut studio album by Ethiopian-American singer and songwriter Kelela, scheduled for release on October 6, 2017 through Warp Records.

Daniel Lopatin aka Oneohtrix Point Never and the Safdie brothers became close collaborators through a shared love of cult genre movies and music, and their level of collaboration here has a rare depth of symbiosis of picture and score. Mundane events become dramatic, montages become mini operas.
"About 8 years ago, we were turned onto the music of Oneohtrix Point Never. I had always imagined Dan's work, especially his earlier work, as soundtracks to movies that never existed. From our collaboration on Good Time, and through the twisted dialogue that surrounded it, we have gained a deep friendship and of course a fluorescent extra-terrestrial score. We set forth on that concept with Dan well before production and to hear it boom throughout Cannes... well it seemed like some sort of high-resolution fantasy."
- Josh Safdie

"I had a good feeling when I walked into their midtown office, which was more like a shrine to everything they loved -- amongst which was a massive Akira print side by side with one of King of New York. They told me they were setting out to make a genre film. To me the Safdies are doing something really unique and yet drenched in tradition. I think of Jarmusch, Tarantino, Carax -- directors whose love of the history of cinema is too strong to keep out of the filmmaking itself, but remain totally idiosyncratic anyway. We share an affection and reverence for bruised and battered stuff, and I think we both feel this urge to enshrine the history as it is now, not as it was then. On our own terms."
- Daniel Lopatin

Shake The Shudder is a product of !!!'s DIY punk roots presenting a harder edge lyrically and sonically, while incorporating trans-Atlantic electronic music influences. Regularly enlisting the aid of talented female vocalists to elevate to their sound, this new album is no exception with the inclusion of up and coming talents Lea Lea and Meah Pace showcasing "energetic breakout performances that only hints at what they do live." And Nic Offer is no easy frontman to keep up with on stage.

Chris Clark’s ninth album of adventurous electronica draws on most of the genres he’s experimented with over his career—often within one song. “Hoova” turns sharply from industrial techno to joyous trance to celestial ambience in just five minutes, while the bass of “Peak Magnetic” groans through birdsong and glimmering euphoria like tectonic plates shifting beneath a dawn rave. It works because Clark constantly arranges the noise into spellbinding patterns that settle just long enough to pull you in before his next idea arrives.