This is the final selection of my overview of twenty interesting Warp albums from the record label’s twenty years. To read the other parts of this series, please check the table of contents on the right.

Jamie Lidell — Multiply

Jamie Lidell is clearly a very talented person. His voice is incredible, but perhaps more incredible is the fact that in his earlier career he contrived to hide it. His work as part of Super_Collider (along with Cristian Vogel) and his début album Muddlin Gear were dark, murky, electronic affairs. Although Jamie Lidell sang from time to time, he didn’t show it off.

With Multiply his sunnier persona was unleashed. Instead of the dark and glitchy music of his earlier material, Multiply is very clearly influenced by soul and funk.

But this album is anything but conventional and boring. Jamie Lidell’s considerable skills as an experimental and electronic musician are fully utilised too. This gives Multiply a great crossover appeal. This is on the brighter side of the border that separates pop from experimental music. But clearly there was no way to stop him from pushing the boat out a little bit. This makes Multiply equally enjoyable for those who like to tap their feed and those who like to stroke their chin.

Here is the odd video for the song that effectively introduced me to Jamie Lidell, ‘The City’:

Boards of Canada — Geogaddi

While most favour Boards of Canada’s earlier album Music Has the Right to Children, for me it’s all about Geogaddi. To me, this album is endlessly fascinating, and always an intense listen.

Geogaddi is the darkest of Boards of Canada’s albums. Their other material is known most for its innocent, childlike and nostalgic qualities. Geogaddi retains an element of that, but with a dark undercurrent running throughout.

The music is more complex and multi-layered. Hidden messages are peppered throughout, and some tracks reveal more about themselves when played in reverse. There are hidden references to religion, the occult, mathematics and numerology. Some even say it is a satanic album. (As a joke, the album lasts 66 minutes and 6 seconds — a silent track, ‘Magic Window’, was inserted at the end.)

Whether Boards of Canada were trying to send some sort of message by planting these references is doubtful. Such references are few and far between on Music Has the Right to Children, and absolutely non-existent on the follow-up album The Campfire Headphase. I think the references were planted in Geogaddi to create a talking point and nothing more.

It certainly got fans talking. This webpage lists a full selection of mysterious messages and trivia about the album, even with a track-by-track breakdown.

Needless to say, leaving aside the hidden messages, the music itself is fantastic. Geogaddi is an unsettling album to listen to, but nonetheless hugely enjoyable and an intense experience.

One of my highlights is ‘Gyroscope’, which manages to fuse great music with one of my other interests as it incorporates samples of a numbers station. This is a fan-made video for the track.

Prefuse 73 — One Word Extinguisher

With One Word Extinguisher, Prefuse 73 effortlessly fused experimental electronic music with energetic hip-hop to create a unique-sounding album. The album is jam-packed with ideas — perhaps too many of them. An idea is allowed to develop just as far as it will go and no more, making this an album of many, mainly short tracks.

The music is also quite diverse, fusing many of Prefuse 73’s musical interests, spanning hip-hop, IDM / glitch, rock music and perhaps even a little bit of jazz. As such, the album is a fantastically colourful and diverse journey. There is not much chance to catch your breath.

There are also plenty of collaborations on this album. While he went a bit overboard with the concept in the following album, Surrounded by Silence, on this album the right balance is struck. I particularly like ‘Dave’s Bonus Beats’, containing drumming by David Lebleu from post-rock group The Mercury Program. The track comes complete with the answerphone message sent to Scott Herren to confirm that the drum track had been sent, adding a personal layer to the music.

During this period, Scott Herren was clearly at his creative peak. Very soon after the release of One Word Extinguisher came the accompanying Extinguished, a distinct album made of the “out-takes” from One Word Extinguisher! For a collection of out-takes, Extinguished is surprisingly good — indeed, almost as good as the original album.

At the same time as the material released as Prefuse 73, Scott Herren was also churning out quality albums as Savath & Savalas, a project more focussed on folk and Spanish-influenced music. Sadly, his subsequent material has not been nearly as good. In contrast to the exciting explorations of his earlier music, Scott Herren began to use the same recognisable formulas over and over. I have since lost interest in Prefuse 73.

Nonetheless, One Word Extinguisher remains an excellent album. Here is a track towards the end of the album, ‘Styles That Fade Away With a Collonade Reprise’.

Grizzly Bear — Veckatimest

Warp played a blinder by signing Grizzly Bear. Their pre-Warp album, Horn of Plenty, was charming but not particularly special. After signing to Warp, they came up with the wonderful Yellow House which was full of hidden beauty.

This year, with Veckatimest, Grizzly Bear have released an indie-rock / chamber-pop masterpiece which has propelled them onto the cusp of stardom. Every track is a winner. Gently enticing and maturely constructed, I can’t get enough of this album. This album ought to become a rock classic.

Grizzly Bear is easily the greatest triumph of Warp’s recent policy to diversify further from electronic music. I look forward to hearing what they come up with in the future.

Here is the lead single, ‘Two Weeks’:

It is commonly said that blogging is dead. The refrain has increased in frequency over the past year or so, as Twitter extends its influence further and further.

I have been blogging since 2002, when I was just 16. Over the years, it has been my favourite means of communicating online — more than Facebook or Twitter. More than IM and perhaps even email.

But increasingly I find myself becoming tired of it. Partly, this is due to that pesky “real life” nonsense taking over. As I make the transition from school pupil to student bum to full time worker, I have less and less spare time to dedicate to blogging.

The problem is exacerbated by the fact that I am trying to run three blogs at once (the others being Scottish Roundup and vee8). In addition, I have started to write for other websites and have begun to dabble with podcasting.

Blogging is not what it once was

There have been many changes in the nature of blogging since 2002 as well. The emergence of other tools like social networks, microblogs and tumblelogs has encroached on territory that blogging used to inhabit.

In 2002, blogs were the best (or only) way to interact with friends online. It was pre-MySpace, never mind Facebook. Back then, blogs were a good way to publish snippets of transient, inconsequential thoughts — to get stuff off your chest. Now, Twitter is ideal for that. For those who feel too constrained by the 140 character limit, you can always set up a tumblelog.

But now that these new tools exist, blogging has been forced to become a medium where you publish more in-depth thoughts. Without a doubt, I update this blog much less often than I used to. In 2004, I published 880 posts. This year I might just about get above 100. But five years ago many of my posts were extremely short. Now, to justify even touching my blog, I feel like I have to produce an essay.

There is also the fact that I posted a lot of nonsense when I was younger, whereas now I have to be more responsible with the way I update my blog. I need to come across well, which means I have to quite carefully consider everything I publish.

In short, blogging is now hard work, whereas beforehand it was just good fun. None of this is news. But today, a couple of things have again focused my attention on blogging.

Where are the new readers?

Firstly, Jeff at SNP Tactical Voting wrote a post announcing “the death of blogging“. He senses a general malaise in the blogosphere. According to him, there are few new readers. Moreover, some big Scottish blogging names have hung up their keyboards in the past few months.

In response to Jeff, I would say that I don’t think a year has gone by when a big name hasn’t given up blogging. But blogging life goes on. While I am not happy to have seen the likes of Scottish Unionist and Malc in the Burgh close down their blogs, and others dramatically decrease the frequency of their updates, blogging is not about who the big names are. It is about the conversation between bloggers.

Jeff may well be right that there are fewer new readers though. In terms of statistics, the best days of this blog are certainly long gone. Visitor numbers peaked in 2006 and 2007, and have steadily declined since. This is in stark contrast to the early years, when readership grew seemingly exponentially, as though it were viral. In fairness, you should expect this if you publish much less, as I do. I doubt the same applies to Jeff though.

Twitter increases in authority

Perhaps more ominous in terms of the value of this blog is not the fact that readers appear to be losing interest, but the revelation that Google appears to view my Twitter account as more authoritative.

It hadn’t occurred to me before to check what the PageRank of my Twitter account might be. I assumed it would be low. But having read, via Andrew Hayes, an article about PageRank and Twitter, I decided to check.

I was astonished to find that my Twitter account apparently has a PageRank of 5. In comparison, this blog today has a PageRank of 3 (a shadow of what it used to be).

Of course, it is probably wise not to focus much on the importance of PageRank. Google itself increasingly plays down the role of PageRank. Of course, that hasn’t stopped them from using PageRank as a means of publicly “bitch-slapping” websites that it views as threatening its advertising revenues gaming its search engine.

PageRank is the one small window provided to webmasters who want to see what Google really thinks about their websites. For my Twitter account to be clearly rated higher in this way than my blog has come as a surprise. I am not even the most prolific of Twitter users.

So is the blogging era over? I couldn’t have articulated this in 140 characters or less. But if few people are going to read it anyway, and if even Google doesn’t care so much, it makes me wonder what the point is any more.

An hour or so of my evening has been poured into writing this post. Soon I will have even fewer spare hours to spend on blogging. I persevere with blogging because I think it is, in a way, important. But if Twitter is easier (which it undoubtedly is) and has more impact (which apparently now it does), is there much point in continuing?

Something I have noticed about the Glasgow North East by-election is amount of innovative online coverage there has been from the media. All Media Scotland has reported on interesting methods of covering the election which have been adopted by three Scottish newspapers.

The Scotsman has invited the candidates from five of the main parties to contribute to its politics blog The Steamie in the run-up to the election. Full credit to The Scotsman for coming up with the idea. They are clearly trying something interesting with The Steamie, having recently invited some of Scotland’s top bloggers to regularly contribute to it.

It is interesting to see how the various candidates are using this platform. Will Patterson is analysing the candidates’ blog posts to see what message they are trying to get across.

I am infact surprised that the candidates feel that regularly contributing lengthy posts to a blog is a useful way to spend the final week of the campaign. Are there that many votes to be won among the readers of The Steamie?

The Daily Record has held its own type of digital hustings in the shape of a podcast. The Record’s political editor, Magnus Gardham, sat five of the candidates round a table to answer questions sent in by the newspaper’s readers.

Interestingly, the Daily Record chose Tommy Sheridan as its fifth candidate, while The Scotsman chose the Greens’ David Doherty. Perhaps the choice reflects the demographics of the newspapers’ readerships, with the Record thinking that its readers will be more interested in what Tommy Sheridan has to say.

Who is right about who the most credible fifth candidate is? It is not easy to tell, particularly when some believe that the BNP may even come third.

Not to be outdone, The Herald has done its own podcast for the by-election, chaired by its political editor Brian Currie. They have opted to feature just the candidates of the four main parties.

Clearly, the candidates feel that engaging with the electorate online in this way is worthwhile. It’s interesting that the media outlets are so interested in pursuing relatively innovative ways to cover the by-election. There seems to be a lot of experimentation among Scottish media outlets as they work out how to survive the current choppy waters. The increasingly common use of blogging and podcasting by Scottish newspapers is certainly to be welcomed.

But it’s interesting that all of this innovative digital activity should surround a by-election taking place in east Glasgow. In a way, you could hardly pick a worse city in which to pursue this sort of strategy. Glasgow is firmly on the wrong side of the digital divide. A study by Ofcom conducted last year found that only 32% of homes in Glasgow had broadband, and that Glaswegians are significantly less likely to own a PC than the average Brit.

No doubt someone is paying attention to these virtual hustings. But it is more likely to be middle-class political geeks than the actual voters of north-east Glasgow.

As regular readers may know, I worked for Woolworths until it closed down in January this year. You can read the series of articles I wrote in the aftermath of its closure.

In one of my articles, I wrote about the poster that appeared in the staff area this time last year. It announced:

Remember Remember the 5th of November!

In just less than a year, on the 5th November 2009, we celebrate our 100th birthday!

Watch out for more details coming soon…

Unfortunately we didn’t get many more details about the centenary celebrations. All we heard after that was stuff about trying to sell the company for a pound.

I regret not taking the poster to keep as soon as it was clear that Woolies would not emerge from the mire it found itself in through late November and December. Someone is selling one of these posters on eBay at the moment. The poster is a great piece of history — the 100th birthday that never was.

Or was it? Today, the new owners of the Woolworths brand have been celebrating the centenary nonetheless by putting on 100 promotions and giving away free Pic ‘n’ Mix with every order. That is what I like about the new Woolworths, owned by Shop Direct. Despite being a separate company, they are respectful of the name’s heritage. In fairness, they would be mad not to — the Woolies name must still have appeal, especially among those in a nostalgic mood.

Not everyone is so happy about it. The Woolworths Facebook page is often full of offended comments from people who feel that it is presumptuous and opportunistic of Shop Direct to cash in on the 99 years of Woolworths that preceded their involvement. There were, after all, around 30,000 workers made redundant at the original Woolworths last Christmas. Most probably aren’t in the mood to celebrate.

It is a matter of debate whether Woolworths is 100 really. Today is nothing other than the 100th anniversary of the first F. W. Woolworth store to open in the UK. The company had already been operating in the USA and Canada for decades before that. The UK company became separate in the 1980s when it was bought by Kingfisher. After that, Woolworths in the UK became a separate company when Kingfisher cast it off in 2001.

In the USA, the Woolworths name ceased to exist in 1997. But the original company still exists as Foot Locker, having decided to concentrate on sports goods. If the operation in the USA still counts, Woolworths is 131 years old.

You can still shop in bona fide Woolworths stores in Germany. These, like the British stores, were originally part of the American company and became separate in 1998. It declared insolvency this year, but struggles on.

(Supermarket chains named Woolworths in Australia, New Zealand and South Africa have nothing to do with the original FW Woolworth apart from the name.)

This is the fourth group Warp albums that I am looking at, celebrating 20 years of the seminal record label. To read the other parts of this series, check out the table of contents on the right.

Pulp — Intro

Surprised? Not many people know that Pulp were given a substantial leg-up by the people behind Warp Records. In fairness, Intro technically isn’t a Warp album. It was released by Island, but is a compilation of the EPs and singles that were released on Gift Records, a spin-off of Warp.

Today, Warp would have no qualms about releasing music by a band like Pulp. But this was way back in 1992, before the “sacrilege” of releasing guitar bands was ever considered by Warp. It didn’t fit, but they wanted to help out their fellow Sheffielders.

Jarvis Cocker had already directed a couple of videos for Warp, and Pulp were stuck in a record deal that wouldn’t work for them. So Gift Records was set up to help Pulp on their way to becoming household names. Gift did release music by other indie bands, but none nearly as notable as Pulp. In the words of Steve Beckett, once Pulp signed to Island, “there really wasn’t any reason to keep [Gift] going.”

Intro is of rather variable quality — not as good as their later albums, but clearly much more accomplished than their previous albums. Indeed, the reason the album was called Intro was to obfuscate the existence of the earlier material.

Signing Pulp was a masterstroke on the part of Warp. Given the band’s past record, as a patchy art school-style rock band which had been around for far too long without notable success, other record companies wouldn’t touch Pulp with a bargepole. But Warp / Gift caught them when they were on the upturn, ready to become one of the best bands of the 1990s.

While parts of Intro lack polish, it also contains some of the band’s strongest material including ‘Babies’, arguably their best song.

Autechre — Confield

Electronic music peaked here. Everything since has been a disappointment. I think this album an extraordinary achievement.

In one sense, Confield may look like a natural progression of Autechre’s sound. They had spent the late 1990s gradually moving away from the ambient and more club-friendly sound of their early days, choosing to become increasingly esoteric and experimental. But even against that backdrop, Confield was a massive leap. It also stands out from their subsequent material, which has been slightly more accessible.

For this reason Confield was, and in many ways still is, a controversial album. When people talk about Warp artists being wilfully difficult, they probably have a album precisely like Confield in mind. I won’t pretend that I found this an easy album to get into. Anything but.

However, I am mighty glad I persevered with it. What at first sounds like an overly complex, jumbled mess eventually starts to make perfect sense after a few listens. Moreover, the music is so full of intricacy and detail, ensuring that the album is a fascinating listen. Even today I will spot new little details that I had never heard before.

Autechre’s music is highly unconventional, yet it somehow all makes perfect sense. For this reason, Autechre have probably done more than almost anything else to change the way I think about music.

At first glance, Confield is a very serious-sounding album; quite chin-strokey. The opening track ‘VI Scose Poise’ is particularly detatched-sounding. But this album is not without its fun moments.

Autechre’s heavy hip-hop influence is fully in evidence in ‘Pen Expers’. This track which begins with a very dense rhythmic cacophony, which gradually — almost invisibly, as though it is the audio equivalent of a Magic Eye puzzle — makes way for an intense, triumphant melody.

My highlight, though, is ‘Cfern’. It sounds like a fantasy jazz piece from 200 years in the future. I think I particularly like this track because it almost sounds like it could be performed live. I was delighted to find out recently that the avant-garde ensemble Alarm Will Sound has recently released a live version of the piece. It sounds absolutely remarkable. I have embedded the original version below.

Plaid — Double Figure

For me, Plaid have a tendency to be formulaic. That is not in the sense that their music is similar to other people’s, but that they seem to have a set template which they work around. They sort of get away with it though, because even though their music often sounds strangely similar to older tracks of theirs, it is still good.

But Double Figure doesn’t have that sense around it. I don’t think to myself, “hmm, I’ve heard that before.” In fairness, maybe it’s because this was the first Plaid album I bought.

But I continue to get immense pleasure from listening to it. It starts off with the poignant track ‘Eyen’, which is arguably their best (and was featured in the Warp20 compilation). It sets a high bar for the rest of the album to reach, but it manages it. Plaid’s style — ambient-techno with a rather natural, almost tropical vibe — is unique and engaging, and it has never sounded stronger than on Double Figure.

It was during this period that they began collaborating with visual artist Bob Jaroc, with whom they later made the DVD release Greedy Baby. This is the video for the Double Figure track ‘New Family’:

LFO — Frequencies

I am slightly too young to remember Frequencies and the hit single ‘LFO’ when they were originally released. But it has gone down in history, and is frequently listed among the highlights of Warp’s 20 years, making it impossible for me to ignore.

Electronic music usually dates extraordinarily badly. But even though ‘LFO’ was released in 1990, it is still immensely exciting to listen to today, as is the rest of the album. It’s great to think that, once upon a time, this sort of music could be a massive hit. When it reached number 12 in the UK singles chart, Steve Wright declared it to be “the worst record ever”.

In that case you might say, mission accomplished. But LFO’s Mark Bell, while not being particularly prolific under the LFO moniker (there have only been two LFO albums since Frequencies), has gone on to become a well-regarded producer, regularly working with Björk.