Warp Records celebrated its twentieth anniversary this year with an extravagant box set, Warp20 (Box Set). Measuring in at 10 inches × 10 inches × 3 inches, it truly is a thing of beauty. Packed in there are five CDs and five 10 inch records, full of Warp goodness old and new.

It was not cheap either, so was only for the most fanatic of Warp followers. Luckily for Warp, there are plenty of fanatical followers — myself included.

Warp20 (Chosen)

Also released separately as a 2CD album on its own, Warp20 (Chosen) is designed to be a collection of the best of the first twenty years of Warp Records.

The first ten tracks, making up disc one, were chosen by voters on the internet. As such, the top ten is sadly predictable. You really could have forecast in advance the inclusion of the likes of ‘Windowlicker’, ‘Roygbiv’ and ‘My Red Hot Car’ in the top three.

The inclusion of most of these tracks was surely never in doubt. Certainly, the top eight are bona fide Warp classics (I am not so sure about Jimmy Edgar’s ‘I Wanna Be Your STD’ or Clark’s ‘Herzog’, but I can understand their inclusion). There is also a noticeable skew towards the late 1990s / early 2000s. Only one track, LFO’s ‘LFO (Leeds Warehouse Mix)’, is from before 1998.

It is clear that the current fans of Warp Records — at least those who voted in the internet poll — are a bit like me. They were not around for the birth of the label, and cling on to the late 1990s IDM explosion as Warp’s classic sound. I think this is Warp’s best period too, but I would have preferred a greater variety in the first disc.

Luckily, the second disc is on hand to provide some of that variety. Label boss and co-founder Steve Beckett chose a further fourteen tracks which make up disc two. While all the usual suspects are again present and correct (giving the likes of Aphex Twin, Boards of Canada and Autechre two appearances on the compilation), other periods and genres are given rightful recognition.

Ultimately, though, while there are a couple of gems here that I didn’t previously own, Warp20 (Chosen) is a bit redundant for me, and no doubt for almost everyone else who bought this box set. If you are such a great fan of Warp that you are going to shell out eighty quid or so, you almost certainly need no such overview to the label.

Perhaps of more value is the fold-out poster of comments posted by the internet users who placed their votes, providing (relatively) qualitative information to accompany the raw top ten.

Warp20 (Recreated)

This is the surprise highlight of the package — a double-disc album of Warp artists covering classic Warp tracks. It shows you how far Warp has come in the past ten years. For its tenth anniversary, Warp released an album of Warp artists remixing classic Warp tracks.

But with a more diverse range of artists on its roster, and plenty of artists with a different set of skills, it seems as though it makes more sense to ask artists to do covers rather than remixes. The results are pleasingly wonderful. Clearly, when you take maverick musical geniuses and ask them to take on the works of other maverick musical geniuses, the results are going to be deliciously skewed and entertaining.

The album opens with Born Ruffians covering Aphex Twin’s classic humorous tracks from the mid-1990s, ‘Milkman’ and ‘To Cure a Weakling Child’. The band’s stripped down approach works surprisingly well. The vocals are shouted out as though from the rooftops, rather than being distorted by electronic effects, adding to the comedy effect.

Another surprise highlight is Maxïmo Park’s take on ‘When’, originally by Vincent Gallo. This is a wonderful piece of dark synth-pop. Hopefully it signals a new direction for Maxïmo Park, whose sound has otherwise become stale.

Meanwhile, Jamie Lidell’s version of Grizzly Bear’s ‘Little Brother’ is just as beautiful and organic as the original. It is another instance of an artist revealing something otherwise unheard in his audio arsenal.

But the real highlight of the album is ‘Phylactery’ by John Callaghan, which is based on Autechre’s ‘Tilapia’. This transforms one of the first signposts of Autechre’s foray into increasingly unique and obscure electronics into a wonderfully wonky pop song.

One instance where a remix may have been a better idea is when Luke Vibert tackled ‘LFO’. The results are actually rather good — undoubtedly a Luke Vibert take on a classic Warp track. But it certainly lacks the punch of the original. This makes it a slightly trudging, though intriguing, listen.

Overall, though, Warp20 (Recreated) is a marvellous document. It reveals sides to Warp artists that hadn’t been revealed before. It’s like peering into the fourth dimension of an already-extraordinary label.

Warp20 (Elemental)

This disc contains an hour-long mix of 65 Warp tracks, created by remix maestro Osymyso. A similar mix, by Buddy Peace and Zilla, was released five years ago along with the WarpVision DVD. Although Osymyso had five years’ worth of extra material to work with, I am less fond of his effort. Nonetheless, the creativity involved in creating such a mix, containing a diverse array of Warp music from the past twenty years, still astounds me.

Warp20 (Unheard)

Moving on to the vinyl in the box set, we have three ten inch records made up of eleven previously (sort of) unheard tracks. Incidentally, these are smartly presented with a minimalist design and debossed text.

The selection kicks off with Boards of Canada’s immersive ‘Seven Forty Seven’. This is not, strictly speaking, unheard. It was originally featured in an interactive Boards of Canada website several years ago. But it is the first time it has been presented as a track itself. It is so good that I can’t work out why it hasn’t been released before.

This is followed up by the equally exciting ‘Oval Moon (IBC mx)’ by Autechre. Named after IBC, the Manchester-based pirate radio station through which Autechre first made their name, this is real old school stuff. Having been produced in 1991, it is almost as old as the Warp label itself! And it’s excellent.

After these two stonkers, the rest of the collection does not quite stand up to the same level. But it is still a good listen. Fair efforts from Clark, Plaid and Flying Lotus are included, along with classic unreleased material from Elektroids and Nightmares on Wax.

Meanwhile, the plodding and uneventful ‘Sixty Forty’, originally from a 2003 Peel Session, is probably the most disappointing Broadcast song I have ever heard. The collection is rounded off with ‘As Link’, a new Seefeel track, whetting appetites for their rumoured comeback.

Warp20 (Infinite)

Musically, the box set is rounded off with a couple of records made up entirely of locked grooves. There are fifty loops in total, plundered from Warp’s back catalogue. It is an interesting experience to experiment with them for a bit, but probably of limited use to anyone who is not a DJ.

Warp20 (1989-2009) — The Complete Catalogue

The final item in the box is a large book that documents the artwork for every release on the Warp label. It is interesting to leaf through and assess how the label progressed over the years, and recall the memories of hearing all of this wonderful music for the first time.

Warp Records is almost as well known for its strong visual identity as for its music. There is some fantastic artwork in the Warp catalogue. While this book is not at all the best way to appreciate the artwork, it does serve as an excellent historical document cataloguing Warp’s classic covers.

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.

This is the first part of a series in which I will take a brief look at 20 albums from the first 20 years of Warp Records. These are not my 20 favourite Warp albums, or the 20 best Warp albums. But they are 20 of the most interesting — a showcase of the breadth and depth of Warp’s output. They are presented in a randomised order.

Red Snapper — Making Bones

Red Snapper stuck out like a sore thumb on Warp’s roster in the 1990s. While the label was still most famous for its studio-based techno output, Red Snapper are are live-oriented band with a more organic sound. But conventional they are not. Their sound is a heady mix of smoky jazz, funky dance and edgy hip-hop. Although they could be associated with the 1990s trip-hop trend, their music does not sound as dated as some of their contemporaries’.

Making Bones is a thrilling album. From the very first notes — the beefy and wobbly output of Ali Friend’s double bass — you are sucked in. There are high octane tracks like ‘Crease’ and ‘The Tunnel’, the cheeky and playful ‘Bogeyman’, and the more emotional ‘4 Dead Monks’.

Red Snapper produced another strong album, Our Aim is to Satisfy Red Snapper, before splitting up in 2002. Happily, last year they re-formed and have already released an EP. They still sound as exciting as they used to.

This video is for one of the singles from Making Bones, ‘Image of You’.

Brothomstates — Claro

Claro was one of the very first IDM albums I bought, and to this day it remains one of my very favourites. He recognises that interesting techno music is not just about making it a bit glitchy-sounding or giving it a funny time signature. There are interesting and unusual sounds and complex drumbeats. But it is still very firmly a dance album, very much in the groove.

Although the experimental rhythms and sounds are very exciting, it is the melodic basis of the music that makes Claro so special. The floaty, ambient, slow-moving melodies sound as though they are being carried by an icy wind. Coupled with what some might consider to be the clinical rhythms, this gives the album quite a wintry feel. This wintry vibe is reflected on the album’s cover, which depicts a rather cold-looking beach. It could as well be my local beach in Kirkcaldy for all I know.

But I call this album wintry, not cold. It is certainly not cold in the sense of emotionless. In fact, the album is packed full of emotion. An album true to the promise of Warp’s Artificial Intelligence project, which posited that electronic by no means lacks feeling.

It is cheesy and clichéd to compare other IDM artists to Autechre. But I will do it. I think Claro, and its accompanying EP Qtio, is the closest anyone has come to matching the sheer awesomeness of Autechre’s best output. For me, the greatest shame is that Brothomstates, real name Lassi Nikko, does not appear to be interested in extending his legacy. Claro was released in 2001, but he has not released another album since, only popping up with the one-off ‘Rktic’ single and a solitary split EP with Blamstrain.

Here is a fan-made video for ‘Kava’:

Boom Bip — Seed to Sun

Technically, this isn’t a Warp album. It was released on Warp’s spin-off hip-hop label, Lex Records (which is now independent of Warp). Seed to Sun was one of the label’s first releases, and arguably remains one of its best.

It presented a fresh, experimental perspective on hip-hop. Boom Bip emerged at the same sort of time as cLOUDDEAD and the Anticon phenomenon, and with a similar outlook. The music is a thrilling fusion of hip-hop, electronic music and alternative rock.

The artwork is fantastic. Like Warp, Lex has a very distinctive visual identity. But while Warp’s was largely shaped by The Designers Republic, Lex opted for the distinctive style of EH Question Mark. All I can say is, this album has the best barcode ever.

This is a collaboration with Dose One, ‘Mannequin Hand Trapdoor I Reminder’:

Squarepusher — Ultravisitor

I was always a little bit iffy about Squarepusher. I wasn’t sure whether I liked him or not. But then Ultravisitor came out, and there was simply no getting away from the fact that Tom Jenkinson is the real deal; a true genius.

Squarepusher’s multi-talent genre-spanning skills were already well known. He has produced excellent albums covering a wide territory. Madcap drum and bass heavily influenced by jazz. Virtuoso bass guitar playing and drumming in addition to his electronic production skills. Then, with Go Plastic, a brief flash of an incredible vision of the a darkly experimental garage music of the future (a precursor to dubstep?).

With Ultravisitor, he moved up a notch by combining all of his skills in all of these genres in one massive album. What Ultravisitor exhibits which his previous albums did not is a heavy prog influence, something which has remained in all of Squarepusher’s subsequent albums.

Something else which makes this album special is the fact that is merges live performances (you can clearly hear the crowd in some tracks) with his studio-based work. This brings the listener into a strange dimension, combining the rawness and intensity of the live performance with the depth and intricacy of the studio output. It is an unusual technique, but strangely it is not unsettling and somehow makes perfect sense. It certainly gives Ultravisitor a unique ambience.

You can hear all of these elements on this incredible track, ‘Tetra-Sync’, probably the best track Squarepusher has made to date.

This month the seminal Warp Records label is celebrating its 20th anniversary. There is a heap of festivities planned, and I am expectantly waiting for the very awesome looking Warp20 box set to arrive in the next week or so.

They have a lot to celebrate. The label has personified the cutting-edge of electronic music for most of its existence. Few labels can claim to have been so seminal, and remain so strong for so long.

I discovered Warp at the beginning of this decade. I had already been developing a taste for experimental and electronic music, but before getting internet access I had no way to explore it. I had heard bits and bobs about Warp, but my first real exposure was when I saw the band Broadcast on one of those late-night music programmes on Channel 4. I remember very little about it, but I think the song that mesmerised me so much must have been ‘Illumination’. Here is a video of the band performing it live in 2005.

Once we got the internet, I was able to explore further. When I visited the Warp Records website, ‘Eros’ by Tortoise was playing on its front page. It was one of the most amazing and unique things I had ever heard.

The mixture of soaring sci-fi electronic sounds, intricate multi-layered drumming and funky guitar playing transformed my expectations of what music could achieve. Compared to the standardised indie-rock I had previously been listening to, hearing something as distinctive as this was an utter revelation.

I knew I had to continue on the path of discovery. Given that Tortoise shared the same label as Broadcast, there could be no starting point other than Warp. I was also quickly. attracted by Warp’s striking visual identity, which was largely shaped by The Designers Republic.

As I investigated the artists of Warp on the label’s website, I was surprised and delighted to discover a huge variety of new (to me) and exciting music. It is no surprise that today many of my favourite albums are ones released by Warp in 2001, when I was 14 and discovering all this amazing, diverse music.

But the Warp I discovered was already very different to the Warp that began in 1989. Back then, the promise of label founders Steve Beckett and Rob Mitchell was for the Sheffield-based Warp to be a “recognised, credible, uncompromising dance label”. Inevitably though, a label cannot survive 20 years without evolving.

Between 1992 and 1994 the label released the seminal series of albums including the eponymous compilation Artificial Intelligence. The idea behind the series was to showcase “electronic listening music” which designed more for home listening than the dancefloor, or more for your head than your body. This series contained music by musicians that were later to become huge: Richard D James (best known as Aphex Twin), Autechre, Black Dog Productions (containing the members of Plaid), Alex Paterson (from The Orb), Richie Hawtin among others.

The cover of Artificial Intelligence depicts a robot reclining in an armchair with copies of Pink Floyd’s Dark Side of the Moon and Kraftwerk’s Autobahn lying on the floor — an indication of Warp’s ambitions. The label became the most famous outlet of what is known as Intelligent Dance Music or IDM.

The IDM moniker makes everyone cringe. Few of the best IDM artists think of themselves as IDM, and the artists that describe themselves as IDM are usually not worth listening to. Musically, it might be fair to describe it as dance music’s equivalent of progressive rock. It was the necessary next step, but is denigrated by those who think it is too pretentious and impossible to enjoy.

Like prog rock, IDM had a limited shelf-life and it peaked around the turn of the decade. Electronic music as a whole is not the money-maker it once was. So Warp have further diversified. In the words of Steve Beckett, “probably the first sacrilegious move” was to sign Seefeel in the mid-1990s. They are a more conventional band with guitars and drums, associated with shoegaze as much as techno.

More non-techno artists followed, including the jazzy trip-hop act Red Snapper, 1960s-influenced Broadcast and, er, the downright odd Jimi Tenor (I never really got that one). There was also an increased focus on hip-hop with the likes of Prefuse 73 and the Antipop Consortium. Later, there was a distinctive move towards more conventional rock. This was most notable, controversial and successful with the chart-friendly indie-rock band Maxïmo Park.

Today Warp has artists as diverse as its history suggests. It probably remains best-known for electronic music leaders such as Aphex Twin, Autechre, Boards of Canada and Squarepusher. But on the same roster you can find electro-rock shape-shifters Battles, folk-rock bands like Grizzly Bear, the increasingly soul-oriented Jamie Liddell, hip-hopper Prefuse 73, indie band Maxïmo Park and even the satirist Chris Morris. Oh, and in addition to music they also now make films.

This diversity has been good and bad. Undoubtedly Warp lost its way a bit a few years ago as it struggled to find its feet after electronic music waned in popularity. But even after twenty years, Warp remains a path-finding label that anyone interested in experimental pop music should keep an eye on.

When I discovered Warp in 2001, the range of styles on offer was already massive. But each artist was notable for being interesting and innovative. It was easy to view the Warp label as a mark of quality, no matter what the genre was.

Long may it continue. There is absolutely no question that Warp Records transformed my outlook on music more than anything else. I am looking forward to the next 20 years of innovative music.

Over the next week or so I will write about 20 of the most interesting Warp albums from its 20 year history.

10. Stereolab — Chemical Chords

This is more or less what you would expect from Stereolab. Fantastically jaunty and slightly idiosyncratic pop songs. This is hardly Stereolab’s best album (and I say that as someone who has only heard three of them), but it is a joy nonetheless.

9. David Byrne and Brian Eno — Everything That Happens Will Happen Today

This pair produced one of the most important and experimental albums of recent decades. But My Life in the Bush of Ghosts was over 25 years ago, and this was the first time they had worked together since. There was no point in expecting the same again, and what we have here is an album of fairly conventional — though diverse — pop songs. It seems as though Brian Eno’s mission in life just now is to make good songs (which have good lyrics). There are some great songs here (I particularly like ‘I Feel My Stuff’), but it ain’t a world changer.

8. Neon Neon — Stainless Style

Boom Bip and Gruff Rhys built on their earlier collaborations to create this most unlikely of concept albums. It is based on the life of John DeLorean, creator of the DeLorean car which was clad in stainless steel. The music revels in the 1980s concept, and the slightly off-the-wall idea behind the album belies a clear genuine love of indulgent 1980s synth-pop. A great listen.

7. Various artists — BBC Radiophonic Workshop: A Retrospective

A great look back at the legacy of the BBC Radiophonic Workshop, the hugely influential electronic music department. This 2CD set compiles music from the entire 40 year life of the Workshop. The first CD is absolutely charming, and my jaw drops thinking about how much effort was put into these early electronic masterpieces. The later music is not so special — ironically as the technology got better it only opened up a world of identikit sounds. This is not enough to spoil the CD as a whole though.

In-depth review of BBC Radiophonic Workshop: A Restrospective

6. The Advisory Circle — Other Channels

I just adore this album, which faithfully recreates vintage electronic music of the sort we were all exposed to in our youth. Be transported to two or three decades back. Television idents, programmes for schools, public information films, library music… dare I say the Radiophonic Workshop? But all with more than a smidgen of creepiness and uneasiness built in. It’s Boards of Canada+. If that’s your sort of thing this really is an essential purchase. Don’t listen to it at night though.

5. John Baker — The John Baker Tapes Volume 1 and 2

John Baker was one of the most important members of the BBC Radiophonic Workshop. This pair of CDs unearthed a load of hidden gems from his career that may otherwise have ended up in a skip. Volume 1 documents his work at the BBC, with lots of great bits and pieces like news jingles, theme tunes and little bits for educational programmes (I love the song about not being taken in by slick salesmen). Volume 2 focuses on his commercial work and private recordings of his jazz piano playing. There are notes on each of the tracks, an in-depth biography written by his brother, Richard Anthony Baker, and a recording of the Radio 5 Live obituary broadcast also by Richard Anthony Baker.

The CDs serve not only as an important document of John Baker’s work, or even a collection of important electronic music — but almost as a time capsule of 1960s and 1970s life in Britain. Tracks titles like ‘Decimal Currency’, ‘Building the Bomb’ and ‘Giro Advert’ serve to make the collection an important document of social history too.

In-depth review of The John Baker Tapes Volumes 1 and 2

4. Squarepusher — Just A Souvenir

Tom Jenkinson expanded on the more live sound he has developed since Ultravisitor by producing this concept album inspired by a fantasy futuristic band from his daydreams. It’s a good device that allows him to become quite indulgent with his use of experimental electronic techniques, while also exhibiting his über bass and drumming skills. At the same time there are gloriously poppy songs like the irresistible ‘A Real Woman’.

In-depth review of Just A Souvenir

3. The Fiery Furnaces — Remember

The Fiery Furnaces don’t know how to do anything the conventional way, and they even found a way to completely change the way you can think of a live album. The recordings are pieced together from a variety of different concerts. And it’s not just different songs from different recordings. Different recordings of the same song are spliced together, mercilessly interrupting itself in the middle, complete with jarring changes in sound quality. It is not as annoying as you might think. Along with the fact that the live versions of songs are often radically different to the original studio recording, this is sure not to be a wasted purchase.

In-depth review of Remember

2. Autechre — Quaristice and Quaristice (Versions)

Autechre seldom fail to surprise. The often imitated but never bettered duo specialise in altering your perception of what music can be. With Quaristice they pushed on with their particular brand of pathbreaking electronic music. But it lacks the coherence of previous albums, jumping about in style and mood from track to track while previous albums had a well defined sound of their own. Instead of the eight or nine long tracks, Quaristice has 20 tracks more typically three or four minutes long. I originally felt that it was a weak album, but now whenever I listen to it I find myself completely loving it. Even a disappointing Autechre album is head and shoulders above what anyone else produces.

Quaristice (Versions), the extra CD that came with the limited edition version, is shaped more like a traditional Autechre album, but the music itself is more of the same — literally. Longer cuts give these tracks more room to breathe, making it a perfectly pleasurable listen, even if it did begin to feel like you were paying for the same music several times over (especially if you bought Quaristice.Quadrange.ep.ae, which I reviewed in the earlier post).

In-depth review of Quaristice

1. Portishead — Third

Hands up who expected this album to be crap? An 11 year gestation period did not bode well. But the end result is in fact excellent. Actually, I could hardly believe what a good job Portishead had done. Clearly having made a conscious decision to avoid the Portishead trademarks which turned into trip hop clichés, the band have set themselves a subtly new direction and have pulled it off magnificently. There is still that slightly dark and black-and-white sound. But now there is a rather more live feel to the music, albeit with more of an emphasis on jaggy and sometimes slightly unsettling electronic sounds. And the songs are absolutely top-notch. I hope it isn’t 11 years until the next Portishead album.