Sheffield`s hugely popular Warp label celebrates an amazing 20 years in business throughout 2009 and, as part of the celebrations, they`re giving fans the chance to vote for their ten favourite Warp tracks to be included on a special compilation released this year.
Sure to be in the running will be the likes of early classics `LFO` by LFO and `Tricky Disco` by `Tricky Disco`, later favourites like `Roygbiv` by Boards of Canada and `My Red Hot Car` by Squarepusher all the way up to later successes `Apply Some Pressure` by Maximo Park and `Me and Giuliani Down by the Schoolyard` by !!!.
The `fan`s ten` will be augmented by the choices of label co-founder Steve Beckett resulting in a definitive collection.
You can vote now over at http://warp20.net/, where you can also leave messages stating why you love certain Warp songs and what they`ve meant to you over the years - some of which will make it into the liner notes.
The label have also planned events in Paris, New York, London, Tokyo and, of course, Sheffield over the course of the year to celebrate their birthday in true style. The first takes place in Paris on May 8th and 9th at Cite de la Musique and features music, film and art installation events. Even better, Aphex Twin & Hecker, !!!, Pivot, Andrew Weatherall and DJ Mujava have been confirmed to appear.
Richard Brown (View Original Article)
The follow up to Grizzly Bear`s 2006`s much loved Warp debut `Yellow House` is both named after, and sonically inspired, by the uninhabited isle of the same name in Massachusetts. It is this theme of depopulation amid dereliction, and prodigious levels of reverb, that lends the album a real spaciousness and gives flight to the Sterling Holloway yammer of singer Ed Droste.
The first quarter of the album stands virtually peerless; a triumvirate of pure intention introducing the album`s varying styles through their best work. `Southern Point` opens with loose jazz instrumentation but soon yields to stringent rhythm and ethereal layers of psychedelia. `Two Weeks` sets a doo-wop croon against neo-hip-hop and swaddles the melody in comforting woodwind and reassuring harmonies. Then `All We Ask` pits Droste`s serpentine cantabile against cavernous cello and beautiful deep percussion. Such a wonderful, accessible introduction really gives hope of seeing the album among contenders for `Greatest of 2009`.
However, this is an early promise, a quick sprint paceset, that simply cannot be upheld over the course of the ensuing nine tracks. Intentionally disjoint `Fine For Now` is Fleetwood Mac`s `Albatross` fighting for airspace among a flock of hungry gulls, `About Face` fails to move convinvingly in any direction during its three minute duration and, by far the worst track here, `Dory` thinks itself epic but comes over as smug and self-indulgent.
Perhaps much of `Veckatimest` is ruled harshly against a very high tariff set in place by the album`s assured opening, three tracks which, along with several handpicked from the remainder, easily justify the cover price.
Richard Brown (View Original Article)
The latest release from Warp, who have successfully reinvented themselves from one of the finest dance labels into one of the finest labels period, is branded an EP despite its ten tracks and three quarter hour length but happily remains at mid-price. 'Friend' is a brand new collection of reworkings, re-recordings and even third party re-imaginings of Grizzly Bear material over their three years together. The title adds extra significance as the band are joined on the release by no less than CSS, Beirut, The Dirty Projectors, Band of Horses and Atlas Sound.
The resultant collection is both captivating and, at times, terrifying. For instance, by only the second track they've twisted the timeless pop melody of The Crystals 'He Hit Me (It Felt Like a Kiss)', dispensed with the parentheses and replaced Spector's Wall of Sound with their own Wall of Terror.
Whether 'Granny Diner' is supposed to reflect the mild ennui of standing behind an old lady as she holds up a queue at a cafe is not clear, but like the real thing it's no trial - more a chance to eavesdrop on a tenuous conversation and a gentle one at that. That is until the old lady snaps right at the end - 'Why don't you do any dishes? / Why? / I always clean up the kitchen / Fine.'. Peculiar yet lovable.
CSS's cover of 'Knife' adds a bizarre early 80's disco strain that the original was clearly lacking while Atlas Sound take an austere, brooding route. Conversely Band of Horses new version of 'Plans' jigs its way straight out of the deep south country vaults swinging banjos wildly before collapsing as the fuzz Sheriff jails their collective asses. Yee-ha!
This collection shows a band more than happy to step outside the traditional band setup, exploring new sounds, techniques and partnerships to get their point across in a way that never grates, always spellbinds and occasionally shocks.
Richard Brown (View Original Article)
