{"id":59864,"date":"2019-07-03T14:19:36","date_gmt":"2019-07-03T13:19:36","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=59864"},"modified":"2019-07-03T14:29:43","modified_gmt":"2019-07-03T13:29:43","slug":"power-warp-records-an-industry-powerhouse","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=59864","title":{"rendered":"Power; Warp Records: An Industry Powerhouse"},"content":{"rendered":"<p>By thirty years old, we\u2019re supposed to have pulled ourselves together, gained some sort of direction, and have evidence of success to be proud of. But the reality is that we\u2019re lucky if we\u2019ve done even one of these.<\/p>\n<p>Perhaps it\u2019s because we\u2019re only human. An example of achieving all three is English independent record label <a href=\"https:\/\/warp.net\/\" target=\"_blank\">Warp Records<\/a>, who this year celebrate the 30<sup>th<\/sup> anniversary since their founding in Sheffield. There are few labels considered as important to the UK\u2019s alternative music scene; Warp were responsible for vital names in \u201890s electronic and dance, and today work with artists right across the board: everything from IDM to indie rock, R&amp;B to hip-hop.<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Warp-Records.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-59873\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Warp-Records.jpg?resize=580%2C410\" alt=\"Warp Records\" width=\"580\" height=\"410\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Warp-Records.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Warp-Records.jpg?resize=300%2C212&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Warp-Records.jpg?resize=600%2C424&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Warp-Records.jpg?resize=680%2C480&amp;ssl=1 680w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p>Just a selection of the artists worked with accentuates the label\u2019s central position within the past three decades of music. The list is dominated by electronic music, but not exclusive to it: Brian Eno, Aphex Twin, Flying Lotus and Oneohtrix Point Never; alternative hip-hop innovators Death Grips and Danny Brown; US rock four-piece Grizzly Bear. But the impressive names <em>could<\/em> go on, almost interminably: Andrew Weatherall, Boards of Canada, Hudson Mohawke, Max\u00efmo Park, Mira Calix, Mount Kimbie, Nightmares on Wax\u2026<\/p>\n<p>It\u2019s undeniable: Warp are a powerhouse. They\u2019re an organisation that both form the musical zeitgeist and then help decide where to take it next. For the past three years alone, they\u2019ve been responsible for some of the most acclaimed albums in each respective year, take 2016\u2019s <em>Atrocity Exhibition <\/em>(Danny Brown), 2017\u2019s <em>Take Me Apart <\/em>(Kelela), last year\u2019s <em>Age Of<\/em> (Daniel Lopatin AKA Oneohtrix Point Never), or this year\u2019s <em>Flamagra<\/em> (by Flying Lotus, but featuring everyone from Solange to David Lynch).<\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Oneohtrix-Point-Never.png\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-59874\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Oneohtrix-Point-Never.png?resize=580%2C746\" alt=\"Oneohtrix Point Never\" width=\"580\" height=\"746\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Oneohtrix-Point-Never.png?w=770&amp;ssl=1 770w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Oneohtrix-Point-Never.png?resize=233%2C300&amp;ssl=1 233w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Oneohtrix-Point-Never.png?resize=600%2C771&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Oneohtrix-Point-Never.png?resize=680%2C874&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Oneohtrix-Point-Never.png?resize=300%2C385&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a>Daniel Lopatin as Oneohtrix Point Never. Like many electronic artists, Daniel uses his medium as a means\u00a0to play\u00a0on the idea of\u00a0duel identities\u00a0and monikers<\/p>\n<p>Warp also work cross-medium, giving space to their artists to delve into film and soundtrack work. 2012 horror film <em>Berberian Sound Studio<\/em> was directed by Peter Strickland but soundtracked by Birmingham rock band Broadcast; 2017 crime film <em>Good Time<\/em>, starring Robert Pattinson, contained an original music score composed by Oneohtrix Point Never, with a closing track (and credits sequence) featuring Iggy Pop. Both projects were met with simultaneous film and soundtrack acclaim.<\/p>\n<p>Creatively, Warp are always looking forward <em>and <\/em>backward. Brian Eno, the undisputed Godfather of electronica, the man who coined the term \u201cambient music\u201d, has released music as a band member, solo artist and collaborative producer since the early \u201870s; but he has only worked with Warp since 2012. After leaving Roxy Music in 1973, Eno released his first (and most celebrated) solo albums under Island Records, before working with David Bowie on his \u201cBerlin Trilogy\u201d for RCA, and then producing the second, third and fourth Talking Heads albums for Sire.<\/p>\n<p>But he\u2019s a powerful voice in the music industry to this day, and still releases solo projects that are circulated, talked about and rated highly. The most recent three of these were Warp properties. It\u2019s a testament to the label\u2019s reputation that they\u2019re able to work with Eno at this point in his career, while he continues to evolve and reinvent and help pave the way for the next chapter in contemporary music.<\/p>\n<p style=\"text-align: right;\"><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Brian-Eno.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-59875\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Brian-Eno.jpg?resize=580%2C386\" alt=\"Brian Eno\" width=\"580\" height=\"386\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Brian-Eno.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Brian-Eno.jpg?resize=300%2C199&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Brian-Eno.jpg?resize=600%2C399&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Brian-Eno.jpg?resize=680%2C452&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Brian-Eno.jpg?resize=770%2C512&amp;ssl=1 770w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a>Brian Eno at Whitehall&#8217;s &#8216;Stop the War&#8217; protest against Syria, 2015<\/p>\n<p>But Warp\u2019s poster child is and always has been Aphex Twin (AKA Richard David James). Best known for 1994\u2019s <em>Selected Ambient Works Volume II<\/em> \u2013 which has placed high on \u201cbest of the decade\u201d lists from Rolling Stone, Pitchfork and Spin \u2013 he\u2019s only released four studio albums since (all on Warp), but there\u2019s few artists in the genre with the same kind of cult following, if any. Aphex Twin rarely plays live shows; when he does, they sell out almost instantly. He\u2019s a curiously enigmatic public figure, rarely giving interviews, invariably releasing his music without warning or much of a marketing campaign. As an artist, his entire image is a play on the idea of creative anonymity \u2013 his distorted, grinning face has been a motif for his own posters and album covers throughout his career. Between 2001 and 2014, he took a hiatus as Aphex Twin, but issued music under the aliases AFX, The Tuss and Caustic Window, which he also did in the early \u201890s under AFX and Polygon Window.<\/p>\n<p>In a rare 2001 interview, he\u00a0famously joked that \u201ca lot of people think everything electronic is mine. I get credited for so many things, it\u2019s incredible. I\u2019m practically everyone, I reckon \u2013 everyone and nobody.\u201d It\u2019s entirely a reflection of his power \u2013 both within electronica and the music industry generally \u2013 that he\u2019s able to retain an almost non-existent public persona in our culture of Instagram followings and celebrity-obsessive media.<\/p>\n<p style=\"text-align: right;\"><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Aphex-Twin-street-art.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-59876\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Aphex-Twin-street-art.jpg?resize=580%2C386\" alt=\"Aphex Twin street art\" width=\"580\" height=\"386\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Aphex-Twin-street-art.jpg?w=1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Aphex-Twin-street-art.jpg?resize=300%2C199&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Aphex-Twin-street-art.jpg?resize=600%2C399&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Aphex-Twin-street-art.jpg?resize=680%2C452&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Aphex-Twin-street-art.jpg?resize=770%2C512&amp;ssl=1 770w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a>Aphex Twin is known by the trademark logo he designed in 1991. He often teases new music or tour announcements through its appearance in some of the world&#8217;s biggest cities (here: 2014 album\u00a0<em>Syro<\/em>, in New York City)<\/p>\n<p>Warp Records are the power giving\u00a0Aphex Twin\u00a0the creative space to work this way. For their 30<sup>th<\/sup>, the label has a series of events and releases planned, which begun two weeks ago when NTS Radio hosted a Warp takeover: a platform to air over 100 hours of exclusive mixes, live sessions, unreleased music and curated archive recordings. And over the weekend of the 22<sup>nd<\/sup> and 23<sup>rd<\/sup> of June, Death Grips surprise released a thirty-minute mixtape of unreleased\/remixed material, also to coincide with the 30<sup>th<\/sup> anniversary.<\/p>\n<p>This must be the start of much to come. Warp are celebrating, as they deserve to. It\u2019ll be a birthday to remember: the music release equivalent of unscrewing the champagne and drinking to you black out, full of exciting new material from the label\u2019s eclectic list of artists. The hangover in the morning will be a killer.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\">Visit <a href=\"https:\/\/warp.net\/\" target=\"_blank\">here<\/a> for more details on Warp, the records they&#8217;ve released and their 30th anniversary plans<\/p>\n<p style=\"text-align: right;\">Image credits:<br \/>\nWarp logo\u00a0\u2013 Mwtoews<br \/>\nOneohtrix Point Never \u2013 Grantb88<br \/>\nBrian Eno\u00a0\u2013 Marek Koudelka<br \/>\nAphex Twin logo \u2013 Autopilot<br \/>\n(all Wikimedia Commons)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>By thirty years old, we\u2019re supposed to have pulled ourselves together, gained some sort of direction, and have evidence of&#8230;<\/p>\n","protected":false},"author":169,"featured_media":59889,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[7],"tags":[7850,13675,547,288,13676,13673,13674],"features_issues":[],"featured_themes":[],"ppma_author":[16766],"class_list":["post-59864","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-aphex-twin","tag-brian-eno","tag-electronic-music","tag-music-2","tag-oneohtrix-point-never","tag-record-label","tag-warp-records"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Power; Warp Records: An Industry Powerhouse | Cent Magazine<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Power; Warp Records: An Industry Powerhouse | Cent Magazine\" \/>\n<meta property=\"og:description\" content=\"By thirty years old, we\u2019re supposed to have pulled ourselves together, gained some sort of direction, and have evidence of...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/staging.centmagazine.co.uk\/?p=59864\" \/>\n<meta property=\"og:site_name\" content=\"Cent Magazine\" \/>\n<meta property=\"article:published_time\" content=\"2019-07-03T13:19:36+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-07-03T13:29:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2019\/07\/Aphex-Twin-street-art1.jpg?fit=238%2C238&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"238\" \/>\n\t<meta property=\"og:image:height\" content=\"238\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"George Kowalik\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"George Kowalik\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=59864#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=59864\"},\"author\":{\"name\":\"George Kowalik\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#\\\/schema\\\/person\\\/710aec51efdee1a4f8cf7d21066aae6f\"},\"headline\":\"Power; 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