Sunday, December 27, 2009
Wednesday, December 23, 2009
Saturday, December 19, 2009
Here it is. Before you download it, you need to first download the RjDj app for free. Then open up that link - http://bit.ly/4nqzyj - in your iPhone Safari browser, click "install," and RjDj should take care of the rest. The picture above is the artwork for it - original photo is of the kitchen setup where Paul and I recorded the track earlier today. Enjoy!
Thursday, December 17, 2009
Saturday, December 12, 2009
Friday, December 11, 2009
Tuesday, August 18, 2009
10. Hauschka - Snowflakes and Carwrecks (FatCat)
I can generally handle cold much better than heat, but that doesn’t mean I particularly care for East Coast winters. Still, even in the middle of a beautiful summer’s day, hearing Snowflakes and Carwrecks raises a pang of longing for nights in from the frost. German prepared pianist Volker Bertelmann’s early-2009 EP is a testament to the warmth of good friends and shelter during the harshest season. Bertelmann’s small-town origins are an acknowledged influence on his music, and hearing centerpiece “Tanz” (“Dance”) reach its final crescendo, it’s easy to get swept up in the feeling of a lively, glowing, social gathering in the middle of ice and snow.
9. Clark - Totems Flare (Warp)
With less than a year left, I’ll go ahead and declare Chris Clark to be the defining artist of the decade for Warp Records. His runaway acid, spiked with industrial grit and noir-like levels of reverb have made his albums intensely personal journeys through human emotion. Last year’s Turning Dragon was an angry explosion, leaving Totems Flare to pick up the pieces. It turns out that, for Clark, this involves vocals, more accessible melodies than ever before, and shuffled marching rhythms. Continuing to ride high from the career-peak Body Riddle (2006), this is his most varied record to date.
8. Telefon Tel Aviv - Immolate Yourself (BPitch Control)
It was only a few days before the release of Immolate Yourself, Telefon Tel Aviv’s third record, that member Charlie Cooper died suddenly and unexpectedly. Surviving member Josh Eustis has since picked up the pieces and toured to support the record, but, even if the name survives, Cooper’s death is the end of an era for TTA. The sadness of Cooper’s young death is only amplified by the triumphant sound of Immolate Yourself, which finds the duo more focused than ever in creating majestic songs, informed by techno, shoegaze, and ambient glitch styles. Still, it’s rare that any artist is heard on the level that TTA has. If nothing else, and even if incomplete, TTA told their stories.
7. Miss Kittin & The Hacker - Two (Nobody’s Bizzness)
“I am not / a silent woman!” declares Caroline Herve on “The Womb,” her second collaborative album with The Hacker. That she is not. Miss Kittin has never been silent, nor timid, having embraced techno, goth, punk, electro, and many other influences over the course of her impressive career. Her greatest marks were made in collaborations with Felix Da Housecat and The Hacker during that early-90s era was electroclash surged, which threatened to make Two a retread (…of what was kind of a retread to begin with). No such deal, as Kittin and The Hacker create a more sensual, full, inviting, yet also challenging record than they have in the past. Eschewing the monotone mistress figure she played on 2001’s First Album, Miss Kittin shows all her dimensions here, with The Hacker’s backing induced with more, welcome, lush tones than before.
6. GusGus - 24/7 (Kompakt)
Technically, this is firmly from the second half of 2009, coming out in the Fall. But having heard the promo stream mix, I can’t help but pop it down here. Unfortunately, it looks like singer Earth has sat out this album, but in her stead in the return of Daniel Agust, the elfin-voiced androgyne whose inimitably playful and sensual vocals have marked the best GusGus tracks, from “Ladyshave” to “Desire.” Signing to Kompakt, GusGus return here with an album of fewer and longer tracks, going for synth-layered techno jams that play off all their strengths. Just wait - it’s gonna be epic.
Saturday, August 8, 2009
15. Voodeux - The Paranormal (Mothership)
I love horror movies and shows, and I love techno. Imagine the glee when my inbox chimed in with a promo for Voodeux, a new group on Claude Von Stroke’s Mothership label who also love those two things, and made them the impetus behind their work. That’s the great thing about The Paranormal--it’s a gimmick, certainly, but a fantastically entertaining one, that results in some truly spine-tingling minimal beats. With a penchant for empty, reverberated spacey, and wobbly organ and chime sounds, Voodeux have created a solid debut offering with tracks that work great on the dance floor and in the headphones. A recent interview I conducted with one of the duo, Tanner Ross (look for it in the next issue of Big Shot), suggests that Voodeux are looking to expand beyond simply being the “horror techno” group. Regardless, Paranormal delivers fully on the promise within its premise.
14. SND - Atavism (Raster-Noton)
I cannot stop listening to this record, which is not quite what I would have expected upon first hearing about it. SND, veterans of the glitch scene, return from a release hiatus with an album that redefines just how “minimal” minimal techno can get. Every one of the unnamed tracks on Atavism uses the same narrow palette of digital, inorganic sounds: a bouncy bass drum, something like a cymbal hit, another something like a snare hit, and an FM-sounding pad with an icy sheen and little timbral variation. This record is a love letter to the disinfected cleanliness of digital signal processing, using sequencers and computerized sound generation to thoroughly de-humanize the productions, and the product is nothing short of addictive. If the sanitized future-dwellers of THX 1138 made funky techno, you can bet it would have sounded like this.
13. Jimi Tenor & Kabu Kabu - 4th Dimension (Puu)
“It’s imperative / to groove.” So goes the lyrical call-to-action at the start of “Aligned Planets,” the opener from 4th Dimension, the latest from versatile Finnish musician Jimi Tenor, in collaboration with afrobeat ensemble Kabu Kabu. This record sees Tenor disrupting the afrobeat formula with jazzy dissonances and a light synthesizer haze, for a result that sounds like a kind of dream group featuring Miles Davis and Fela Kuti, both at the height of their willingness to think outside the box. Admittedly, I know relatively little about afrobeat, and only chanced upon this album because of the involvement of Warp records alumnus Tenor. Good on him, for continuing to challenge the complacency of each segment of his wide audience.
12. Babe, Terror - Weekend (Perdizes Dream)
The phrase “tropical” has become comically overused in 2009, as bands as stale as Vampire Weekend get slapped with misnomer tags like “Balearic” (which, to remind readers, was a general categorization for electronic dance music popular in Ibiza in the late 80s). The Zeitgest record here is Panda Bear’s 2007 album Person Pitch, which has spawned a rash of half-hearted imitators. If there’s any justice, Babe, Terror, will rise above this fray and get proper recognition, a process that has already started, to some extent. Made entirely out of samples and recordings of his own voice through a relatively basic audio editor, Weekend is a dizzyingly psychedelic journey from São Paulo-based artist Claudio Szynkier. Like Bobby McFerrin on hallucinogens staring at a beautiful sky, Babe, Terror’s music is hyperreal, vocal communication on a non-verbal plane. That it’s available for free download means there no excuse for you not to go and get it now.
11. Ras G - Brotha From Another Planet (Brainfeeder / Alpha Pup)
There’s so many hot new beatmakers coming out of LA these days that I’m amazed I didn’t trip over an MPC when I was there in March. But few are as out-there and compelling as Ras G, whose Brotha From Anotha Planet is equal parts J Dilla and Sun Ra. The beats are grounded in the earth and humanity--note the lack of quantization, contributing to a chewy feel on the percussion--but the themes are out of this world by quite some distance. This is George Clinton’s funk in space as seen through, blunted, introspective, information-age glasses. Lose yourself in it.
Monday, August 3, 2009
20. Venetian Snares - Filth (Planet Mu)
This is far from the first time Aaron Funk has done something close to pornographic - his Nymphomatriarch collaboration with then-partner Rachel Kozak (aka Hecate) was built entirely out of sampled sounds from the duos “private debaucheries” recorded while on tour. But Filth is much more about the giggles than the (hypothetical) shits, with Funk relying on the syrupy snot of distorted acid to communicate the sounds of darkly absurdist fluid-swapping.
19. Ethan Rose - Oaks (Holocene)
Great year for ambient, part 2. Something serene from Portland-based composer Ethan Rose, who built Oaks out of samples of the ancient organ at the Oaks Park skating rink. Since I have childhood memories of birthday parties and rainy afternoon at the Oaks rink, this one definitely hits me in the nostalgia. It’s to Rose’s credit that Oaks avoids sounding sappy, instead relying on reverb and the digital artifacts of computer processing to invoke the hazy nature of memory.
18. The Prodigy - Invaders Must Die (Take Me To The Hospital)
When I interviewed Liam Howlett about this one (to be published in full soon, really I swear), he mentioned that recording and touring for this album, The Prodigy has felt more like a solid band unit than ever before. Certainly, we have the opposite of 2004’s Always Outnumbered, Never Outgunned, which saw Howlett turning mostly towards guests vocalists, as MC Maxim Reality and singer Keith Flint have a heavy presence on Invaders Must Die. Where Outgunned lagged in parts, Invaders is an abrasive thrill-ride through rave sounds past and present. The trio are clearly more comfortable with their status as rave’s veterans, and as such, it’s nice to hear some call-and-response and hoover-esque stabs back in the mix.
17. Moby - Wait For Me (Mute)
After last year’s disco curveball, Last Night, I had no idea what to expect from Moby. Coming within a year of Last Night, Wait For Me sees Moby going back to his “Little Idiot” persona of the daydreamer with a synthesizer and a bunch of field recordings, only this time things are a bit different. Wait For Me is as soul-baringly naked as Moby’s ever been on record - he truly does sound like he’s about to burst into tears on the New Order-esque “Mistake.” It’s inspiring to see that Moby, two decades into his career, still wrestles so heavily with where to go next. Luckily, his avenue with this record is a rewarding one.
16. Alva Noto - Xerrox Vol. 2 (Raster-Noton)
The second album in a series conceptually exploring the link between the sounds of past and present, Xerrox Vol. 2, like its older brother, Xerrox Vol. 1 (2007), finds Alva Noto glitching out over aching strings. Vol. 2 is even more toward the accessible end of anything Carsten Nicolai’s done, with nary a harsh beat or burst of noise to be found. Instead, we get an entry with a foot in the door for Great Year for Ambient. It’s also, it should be mentioned, a fine jewel in what is shaping up to be an excellent year for Raster-Noton. Well worth seeking out.
Friday, July 31, 2009
This one has been a difficult grower on me. Upon first listen, it sounded like a meandering sprawl of beauty in need of some more structure to really gel. I’m still not as sold on it as I am other Animal Collective records, but moments like “Also Frightened” are some of the most beautiful twisted psych-pop this year.
24. Moderat - Moderat (BPitch Control)
The collaboration between Apparat and Modeselektor has fantastic potential, and almost always delivers greatly. It’s interesting to hear Sasha Ring’s glitchy ambience tempered with the fat basses of Modeselektor. “Beatswaysick,” featuring California MC Busdriver, is a clear highlight.
23. Tyondai Braxton - Central Market (Warp)
I’m still getting used to this one, and boy is it something different from Ty Braxton. While previous solo efforts have found Braxton in an insular mode, focusing on the layered structures of his vocals and guitar, the upcoming Central Market sounds like Stravinsky collaborating with Braxton’s post-rock group, Battles. A fully-orchestrated affair, Market still maintains Braxton’s quirks - notice the omnipresent kazoos and whistling.
22. Benjy Ferree - Come Back To The Five And Dime, Bobby Dee, Bobby Dee (Domino)
A concept album about child stardom - wait, did Cory Feldman actually get a record deal? Naw, this is just an intriguingly dramatic little tale of the life of Bobby Driscoll, one-time number-one Disney kid actor (he was the voice of Peter Pan in the animated classic), who ended up dead at 31 to an overdose, long forgotten by the shady cast of characters who had supported his pre-pubescent rise to the top. “Fear” and “Pisstopher Chrisstopher” excellently capture the mix of anger, sadness, and crippling paranoia at play.
21. Kyle Bobby Dunn - Fervency (Moodgadget)
It’s been a good year for ambient so far, to say the least. Still a young composer, Kyle Bobby Dunn’s rapid, genre-bending development pauses here to focus on lushly resonant drones. This is music for deep thought and indescribable emotion, icily shiny yet warmly embracing at the same time.
Monday, July 13, 2009
Sunday, June 21, 2009
Saturday, May 2, 2009
Anticipating the release of Shout At The Döner, I spoke to Miguel De Pedro about a whole host of subjects, for an engaging discussion long enough to warrant publication in two parts. Hear about his perspectives on running a record label, how he makes his tracks, what he thinks of the explosion of the mashup scene he pioneered, how Xiu Xiu's Jamie Stewart is unexpectedly hilarious, moving to Berlin, and much, much, more.
Part 1 at Cokemachineglow
Part 2 at Cokemachineglow
Kid606 - Shout At The Döner (Tigerbeat6; 2009)
The full-length return of Kid606 from his hiatus. Following the the dubstep phatness of last year's Die Soundboy Die, Döner is a return to the rave-obliterating madness of albums like Kill Sound Before Sound Kills You. This time, we also get zombie references. That, and it's one of his most solid releases.
Full review at Cokemachineglow
The Juan Maclean - The Future Will Come (DFA; 2009)
Co-authored with Calum Marsh (okay, being honest, he wrote 2/3 of it then asked me to add stuff, and is dude enough to give me co-writing credit). DFA's non-label-owning star returns with a second full-length, following the pure bliss that was "Happy House" (which appears in full form at the end of The Future). You'll wish some of the tracks went longer, but things could certainly be worse than that.
Full review at Cokemachineglow
Mauxuam - Viceversa (Interchill; 2008)
Worldly Italian producer returns from three years of traveling with this glitched-out aural document. While it's at times weighted down by its socio-political concerns, we've still got a worthwhile think piece on our hands.
Full review at the milk factory
Friday, April 24, 2009
Reinventing the Music Box (Again)
Don't let the score fool you; this puppy is a feature-length discussiong of FM3's recently-released Buddha Machine II, and what the technological add-ons (in this case, a pitch-wheel) mean for the device's reputation as a tool of simplicity.
Full article at PopMatters
Ras G - Brotha From Anotha Planet (Brainfeeder/Alpha Pup; 2009)
Equal parts Sun Ra and J Dilla, Ras G is a promising new beatmaking talent out of the fertile blunted-space-beats garden that is LA. Like contemporary Flying Lotus, only more spaced out (which is most often a good thing).
Full review at Cokemachineglow
Jane's Addiction - "Whores" (self-released; 2009)
Jane's Addiction are back with the original four members in tow - including, for the first time in 1991, bassist Eric Avery. Fittingly, they've laid down some blasting new studio versions of songs from their semi-live debut for inclusion in a free sampler for their "NINJA" tour with Nine Inch Nails and Street Sweeper (if you're unfamiliar with the latter, it's a new collaboration between Rage Against The Machine's Tom Morello and The Coup's Boots Riley).
Track review at Cokemachineglow
I'm aware of how lame it is that there's nothing on the milk factory this week. But I'll get something soon - promise!
Lastly, a couple new things. First off, I've started another freelance relationship, this one with Big Shot, a Brooklyn-based DJ magazine with some sweet features, reviews, and charts galore. I've written a review of Ableton Live 8 and a feature about Cylob's homemade DJ software (made in SuperCollider, my coding environment of choice, I might add) for the next issue.
Additionally, though it's not music-related, I've also started doing some writing for New York Magazine; I covered an ASPCA gala honoring Martha Stewart last night. You can read a couple items about it here and here.
Thursday, April 23, 2009
The Audiotool didn't necessarily need anything new; it already allowed the user to have as many instances of the TR-808 drum machine, TR-909 drum machine, or TB-303 bass synthesizer, as your processor could handle (not to mention 12 neat stompbox-like effects). Plus, you could record! There's still no sequencer, or ability to automate parameters or go back and post-edit anything you record...but seriously, for a free tool? It's some next-level stuff. Prepare to be rocked by the latest addition, the ToneMatrix:
Inspired by Yamaha's Tenori-On, the ToneMatrix is a new synthesizer that plays a pretty chime tone, with notes scaled by a matrix of buttons. While the ToneMatrix doesn't have the sampling capabilities of the Tenori-On, and cannot be used as a controller (nor can different rules be implemented for pattern sequencing), it's still a pretty incredible innovation from the truly brilliant minds at Hobnox. It should really be heard to be best understood:
Got it? Good. Now if you're human, chances are that somewhere, deep inside you, you have the desire to create. ToneMatrix now makes it incredible user-friendly to make beautiful melodies with a few clicks of a mouse. There's even preset modes to start you off. Happy music-making!
Monday, April 20, 2009
Ballard's work caught the eye of many musicians, most notably Daniel Miller, who recorded "Warm Leatherette," inspired by Crash. Released under the recording name The Normal, "Leatherette" became the first single on Miller's groundbreaking label, Mute. Here's the original version:
Warm Leatherette - The Normal
And a fantastic cover from Grace Jones:
Warm Leatherette - Grace Jones
Nine Inch Nails also covered it with Peter Murphy (from Bauhaus):
There are others, but I'll let you find them on your own. In the mean time, if you haven't read anything by Ballard, now's a great time! RIP to a visionary author.
Friday, April 10, 2009
Black Dice - Repo (Paw Tracks; 2009)
The veteran Brooklyn noise-makers with messed up beats unleash a record filled with collage pieces, reflecting the din of media in modern life. It's engaging, and as always there are some fascinating sounds, but Black Dice tend to be better when they work on crunchy rhythms and long ambient tracks.
Full review at Cokemachineglow
Eminem - "We Made You" (Shady/Aftermath; 2009)
After an inauspicious resurfacing, Em drops the first single off his upcoming Relapse. It's not surprising that "We Made You" is crap - I've long ago given up hope on Eminem ever being more than a self-pitying bigot with corny jokes - but that it actually sucks more than I could have expected. I know it's been customary to have the first single be the stupid joke track that's passe in two weeks, but cracks at Kim Kardashian and Bret Michaels aren't even remotely funny to begin with.
Track review at Cokemachineglow
Friday, April 3, 2009
I'm also introducing a new color-code for pieces to indicate where they're published, as follows:
the milk factory
Here we go:
Babe, Terror - Weekend (Perdizes Dream; 2009)
Claudio Szynkier is a fantastic and unique new talent that I've previously blogged about. Weekend is constructed out of samples of his voice put through basic and obvious effects. Pure and primal, yet with a post-modern take. Check out the Babe, Terror Myspace for more.
Full review at Cokemachineglow
Ethan Rose - Oaks (Holocene; 2009)
Portland-based creator of ambient electro-acoustics makes an album about memory. All samples are taken from the organ at the Oaks Park Roller Rink, where I attended a number of birthday parties growing up. Needless to say, this review gets a bit personal. See Rose's lovely website for more.
Full review at PopMatters
Interview with Chris Willits
I sat down with ambient/experimental/drone guitarist Chris Willits after a recent show to discuss Ableton 8, his new venture Overlap.org, and what exactly "folding" is. See Willits' site for more background info and music samples.
Interview at the milk factory
Wednesday, April 1, 2009
Strobe Light - Trent Reznor's hilarious little April Fools prank. Announced this morning, it's a new album, produced by Timbaland, featuring guests such as Fergie, Sheryl Crow, and, of course, Al Jourgensen of Ministry and Maynard James Keenan of Tool. The package would cost close to $30 total and would arrive as WMA files. Personally, my favorite track title is "Clap Trap Crack Slap." Good move.
It works because last year's release of The Slip was similarly unannounced. That album, notably, is still available for free download in high quality formats. Get it here!
Monday, March 30, 2009
Wednesday, March 25, 2009
And this is why mumblecore is ass. Summed better than I could ever rant it. I spot references to The Puffy Chair, Dance Party USA, Old Joy, Baghead, and Juno. Crap gets skewered! Okay, so there were some good parts of Old Joy. But still I just wanted to reach into the screen and tell Will Oldham's character to grow the fuck up.
Tuesday, March 24, 2009
Mark Pritchard - ? / Hologram (Ho-Hum; 2009)
I interviewed Mark for PopMatters yesterday, talking primarily about his latest record as Harmonic 313. He mentioned this new single, released under his given name. The Harmonic 313 LP was dark, but "?" is black hole space of another kind - nary a beat in site. Should be reviewing this one for the milk factory soon.
The Prodigy - Invaders Must Die (Take Me To The Hospital; 2009)
Hello again, old friend(s). Most of you will best remember The Prodigy for its hit singles "Firestarter" and "Breathe," more than a decade (!) old now. After a just-okay come-back album in 2004's Always Outnumbered, Never Outgunned, The Prodigy sound reinvigorated this time around. There's a palpable "blog house" influence on some of these tracks, but luckily its kept to a minimum. Instead, most of Invaders is the rave music that Liam Howlett and co. and best known for, amplified to 11. Plus the return of vocals from Maxim Reality and Keith Flint - good show. Might review this for Coke Machine Glow. In the mean time, I'll be seeing, writing about and photographing The Prodigy live at the Roseland this Thursday for PopMatters. Trying to interview them for PM too, but it looks like I'll be out of town during their scheduled press time.
Atom™ - Liedgut (Raster-Noton; 2009)
Before hearing this latest release, I knew Atom™ best as Señor Coconut, known for his Latin Pop-tinged versions of Kraftwerk. This being a release on Raster-Noton, I knew to expect something rather different. Ostensibly, the theme here is romanticism; according to the press release, Nietzsche is somehow involved. I don't speak German, so both the liner notes and the lyrics here are a mystery. But there's some beautiful and innovative glitch here, including a series of pieces built around polyrhythms of cell phone-speaker interference. I'll be reviewing this one for PopMatters.
Babe, Terror - Weekend (Perdizes Dream; 2009)
Ever since Panda Bear's last record, neo-exotica has flourished - check out El Guincho for another kindred spirit. In a somewhat similar, but decidedly more experimental vein comes Babe, Terror, the alias of Claudio Szynkier from São Paulo, Brazil. Weekend's pieces consist of intimate and engulfing manipulations of Claudio's voice. Rather than lyrics, we get vocalizing, at times appropriately harmonic and atonal. It's the debut work of a truly individual artist. I'll be reviewing it this week for Coke Machine Glow.
Dntel - Early Works For Me If It Works For You II (Plug Research/Phthalo; 2009)
Jimmy Tamborello, best known as the electronic half of The Postal Service, is, it can be argued, responsible for the popularity of "lap-pop" artists in indie circles. Outside of his collaborations with the perpetually whiney Ben Gibbard, however, he's got a lovely repertoire as Dntel, best known for 2001's shimmering Life Is Full Of Possibilities This 3-disc package reissues his first recorded album, Something Always Goes Wrong, along with his first released album, Early Works For Me If It Works For You, and a new successor to Early Works that compiles unreleased material from around the recording of Possibilities. I'll say this - his material from when he was a college student definitely bests anything I could come up with at that point. I'll be reviewing this one for PopMatters.
AGF / Delay - Symptoms (BPitch Control; 2009)
Antye Greie and Sasu Ripatti make intriguing bedfellows - literally, as the two are the pre-eminent power couple of experimental techno. Both have entered this latest collaborate record off strong solo releases; Greie as AGF with the thought-provoking Dance Floor Drachen, and Ripatti as smooth house cat Luomo, with the collaboration-heavy Convivial. The presence of Ripatti seems to mellow Greie out a little bit, while she in turn pushes him to further experimental lengths than he's been in a while. A good match, then. I'll be reviewing this for the milk factory.
Saturday, March 21, 2009
Right from the get-go, the controls feel surprisingly solid for how tiny the unit is (I'm not sure the precise dimensions, but it's the length of a first-generation Macbook, and the width can't be more than 2-4"). The faders and knobs have decent resistance, and while they certainly don't hold a candle to something like Native Instruments' Kore, for such a cheap and portable controller it's to be expected. The buttons are rubbery and firm - as others have pointed out, it's possible to get the buttons stuck underneath the plastic face, but this is easy to avoid and also to correct.
The real diamond in the rough of this controller is the behavior of those buttons. Using the free Kontrol Editor software, you can change the buttons from momentary to toggle function (useful particularly for turning virtual devices on and off), and also set attack and release times. The adjustable attack and release rates on the buttons make for some dynamite possibilities - set both high up and get an instant filter-sweep, for example. It's a neat feature, and good on Korg for including it.
Note: There are two other controllers in this new nano line - the nanoPad and the nanoKey. The nanoPad features 12 pads plus a kaoss-syle x/y controller that Korg is known for, while the nanoKey features two octaves of tiny keys. I haven't try either in person, so I can't really comment, but they both look at least worth checking out.
Friday, March 20, 2009
Each user is allowed to vote up to 50 times, though never more than once for the same track. If you're interested in who I voted for (I've already used up my 50 votes), my page is here.
For Warp's 10-year anniversary in 1999, we were treated to a series of three compilations, the 10+ series, including 10+1: Influences (pictured above), focusing on house and techno classics that were sold in the Warp shop before it became a label, 10+2: Classics, featuring some of the early singles that established the bleep-n-bass sound Warp was known for, and 10+3: Remixes, in which outside artists were invited to have their way with the Warp catalogue.
It'll be interesting to see what ends up on this 20th anniversary disc. In the mean time, here are some classic tracks that I'd love to see included:
Soundtrack Of Space - B12
Second Peng - Autechre
Freeze - LFO
Roygbiv - Boards Of Canada