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2025 has been an exceptional year for reissues - a rare convergence of seminal classics, long-out-of-print treasures, and newly unearthed works finally given the treatment they deserve. From cornerstone releases by Polygon Window, Autechre and Squarepusher to visionary statements from Arca, SOPHIE and beyond, these editions offered a chance to reconnect with the past while hearing it anew.
Here are the reissues and compilations that defined the year for us. Enjoy rediscovering them.
WARPCD7R
320 kbps, LAME-encoded
Originally released in 1993, Surfing On Sine Waves is the second album released under the Warp Artificial Intelligence series (the series also includes the two titular compilations, as well as contributions by Autechre, The Black Dog, F.U.S.E. and more).
Surfing On Sine Waves is also the sole album released under Richard D. James’ (aka Aphex Twin's) Polygon Window alias. The name “Polygon Window” originally appeared as a track name under Richard D. James’ other pseudonym The Dice Man, as the track title for his submission on Artificial Intelligence.
Surfing On Sine Waves was chosen as a title by Rob Mitchell based on a quote by Richard D. James. The album debuted at #2 on the UK dance charts.
The album was followed the same year with a companion EP titled Quoth. The EP’s title track originally appeared on the album, accompanied by additional songs who first appeared on this release.
Fast forward 32 years to 2025, Surfing On Sine Waves (Expanded Edition) sees the pair of companion releases as a single entity, out on vinyl, CD and cassette.
WARPLP333R
320 kbps, LAME-encoded
The music on Quaristice manages to make Autechre's complex sound designs feel simpler than before, which of course is an art itself. With a selection of tracks that sound like an album made on deep reflection, the whole album is kept exciting through the sheer range of music and ideas.
It's a more generous album than more recent albums by them, more playfull, with shorter tracks. At times tracks contain recognizable forms from electronic music's past, especially the pre 90's hip hop, electro and house that Autechre talk about as being the formative music of their youth, but these elements have all been made to adhere to the groups hands on approach to music making. On the surface tracks seem stripped down, but the subtlety of the production comes across in the same instance.
Surprisingly given it's Autechre, who have been known for some of the most extreme music on Warp in the past, it's got moments of utter beauty, in a way Autechre hasn't really shown before, it's melodic and impressionistic, more open and very engaging more so on repeated listening.
Instant MP3 Download with CD or Vinyl purchase.
SQPRLP002
SQPRCD002
Stock available Friday 30th January 2026
320 kbps, LAME-encoded
Originally self-released under the artist name 'Stereotype' in 1994, an hour of raw, dancefloor-focused early Squarepusher productions, fuelled by pirate radio and rave, remastered from the original tapes. A companion of sorts to the debut album under the Squarepusher name, Feed Me Weird Things, which was recorded around the same time before emerging on Rephlex Records in 1996.
Stereotype will be released on 24 October via Warp Records, recut as a 2 x LP vinyl edition (the original release crammed nearly an hour of music onto one 12” single!), and available on CD and digitally for the very first time.
Black vinyl
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XLCD834
320 kbps, LAME-encoded
Arca brings her vision of a truly twenty-first-century electronica to XL with what many are already calling her most concise, dynamically engineered set of recordings yet. Simply entitled Arca, these thirteen tracks build on her two entries for Mute to create a vivid and impulsive record that stands outside of any sound, style or genre you may try and place it within.
Morphing from Mute to her new home of XL, the Venezuela-born Alejandro Ghersi goes back to basics by dropping any sign of an album title by simply naming the album after her chosen artist moniker, Arca. This uncovered approach reflects the album's nature to reveal Arca at her most exposed; an artist who is constantly fighting against the grain and pushing himself forward creatively no matter what. This theme is catered strongly through the album's bruised yet hopeful face that adorns the sleeve design by longtime collaborator Jesse Kanda.
All the elements that make Arca's albums so puzzling yet frighteningly addictive are here, with the most striking element being her use of vocals. Letting her voice take centre stage within the sonic sphere of her electrolysis sound design, she tops off this new found melancholic croon with her usual highest standard nexxx level pop sensibility, that mixed with a taste for the avant-garde sounds like what we would imagine a SOPHIE and Coil collaboration would be like.
From the skin tight operatic slap of Saunter through to the drenched ambience of Urchin, Arca finds Ghersi facing endless grey skies with a far away look in her eye. Mixing the abstract with the abnormal, raindrop-like piano keys fall into an ocean heavy with oil and polluted by a feeling of loss. Desafío moves between Croation Amor style vocal hooks that reflect an angel getting its wings clipped to a sound that in a parallel dimension, could top the charts.
Shielded by a melancholic cloak, Arca drips with a falling vulnerability that is ripe at the core of her music, yet there is a true feeling of power behind each brush stroke that carries an atmosphere akin to Philip Glass being haunted by the twisted out of shape figure that crept onto the cover of Xen. Having previously produced some of her most fascinating work for FKA Twigs, Björk & Kelela, Arca gives us thirteen tracks that outshine anything he has previously done before, leaving an indelible, subconscious mark of synapse-snapping endlessly-transforming soundworld that can have only come from the studio of no one other than Arca.
Pink vinyl
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Crystal clear vinyl
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Black vinyl
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NMBRS48CDR
320 kbps, LAME-encoded
It is no overstatement to say that SOPHIE changed the landscape of electronic, dance, and pop music with PRODUCT. Even as a collection of singles preceding her debut album proper OIL OF EVERY PEARL’S UN-INSIDES, they form a foundational, sucrose sweet compilation which firmly placed her on the map. A necessary introduction to the pioneering sonic worlds she created (and visuals ones, having iconicised colourful 3D slides and Karl Nawrot and Radim Peško’s Lÿno typeface in the process), PRODUCT found SOPHIE going where few producers dared; ten years later, it goes further still, and this anniversary reissue is here to remind us of her undeniable legacy.
‘BIPP’ was the first taste of what we now understand to be a pinnacle in dancepop: indescribable and uncategorisable when it first dropped, it eluded genre classification with whirring, bubbling sounds as it created infectious movement with almost no percussion at all. It speaks to her talent for creating new sounds and wittingly representing concepts through synthesis, like with the tongue in cheek ‘LEMONADE’ ingeniously fusing fizzy, carbonated, and whistling sonics, or the rubbery liquid and whipping beats of ‘HARD’, where tungsten tough clangs and slams break for divine glittery electropop catharsis. Fan favourite ‘OOH’ glosses that creativity in bonafide invigorating heartbreak synthpop, as expressive percussion snaps like telephone wires.
SOPHIE also flexes her sometimes glossed over penchant for grime on PRODUCT, with the high pitched melodies and splashes of ‘ELLE’, the pulsating, fragmented ‘MSMSMSM’ splintering ping-ponging chiptune into eerie hairraising drones like horror movie strings or a swarm of locusts, and the helium powered ‘GET HIGHER’ with glitchy pinpricks and squeaky candy carnage. Whether dark and drilling or cheery and irreverent, the ultra sharp and clean digital software sounds of these tracks have been detonating dancefloors ever since they dropped in a riot of neon-coloured bursts, glistening textures, ultra-poptimistic vocals, and rude bass science.
TRR300LP
TRR300CD
320 kbps, LAME-encoded
One of the most influential ambient projects of all time. Voted #3 alongside great works by Brian Eno and Aphex Twin in Pitchfork’s top 50 ambient albums of all time. In some ways, The Disintegration Loops series is anti-preservation. When William Basinski found that the archival tapes he was digitising in 2001 were quite literally falling apart before his very ears, he didn’t try to salvage what was left of the delicate media, but rather decided to wear the tapes thin. That lack of sanctity for the music contained within birthed something far greater than the sum of its parts, as the series would become his most well known work, and a cornerstone of 21st Century ambient and musique concrète.
There are two sides to these pieces: how these sounds begin, and what they soon become. As each recording decomposes over their lengthy runtimes, the compositions become ghostly afterimages of themselves. But they also start as ghosts too, doused in reverb and having already fallen victim to the processes of time and weathering. We never get to hear the music as it was originally made, accurately representing each instrument in their pristine conditions. Instead, we enter shortly before the end, past the point where the original recordings are rendered irretrievable, sonic rubble being the only evidence that anything was ever performed.
Haunted by its own decay the music took on even further resonance by the fact the project was finished hours before the 9/11 attacks in New York City where Basinski was living and working at the time. Its meaning changed in the catastrophic events shortly after its creation evidenced in the artwork for the original series of albums sourced from videos Basinski took of the aftermath in Manhattan from the rooftop of his apartment building in Brooklyn.
Having become a form of eulogy to all those who died in the attacks, to whom the releases were dedicated, there's great beauty to be found in the reverent tones and crumbling analogue glitches the tapes generate, woozy and gauzy like angelic foghorns from afar as they warble with the soft ripples of stormclouds, blurring and decelerating until they become stuttering geysers. The ripping wash and rhythmic drive of crashing distortion in tracks like ‘dlp 3’ sound speak to an ongoing fascination with the manipulation and breakdown of musical loops that William Basinski has made his own immortal mark on. A testament to the enduring power of the work it would also go on to be inducted into the National September 11 Memorial & Museum permanent collection in 2012 also marking its 10th anniversary.
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LMS1725319
Black vinyl
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LMS1725323
320 kbps, LAME-encoded
After presenting their debut self-titled album Orbital in 1991, Orbital returned two years later with... Orbital! The Brown Album was an evolution for the Hartnoll brothers’ far reaching rave, refining their fledgling techno stardom with newly explored atmospherics enhancing the robust, roaring club beats. Incorporating globally sourced sounds from looping chants to churning didgeridoo, the album gradually builds a rave euphoria through bustling boxing rhythms, synth zipping from ear to ear, and gliding mosquito strings, culminating in the peak brightness of ‘Halcyon + On + On’ warping Opus III’s ‘It’s A Fine Day’ into continuous bliss.
SLANG50596LP
320 kbps, LAME-encoded
Originally released in 1999 and now available again as an expanded edition, To Rococo Rot's ‘The Amateur View’ submerges the listener in a gulf of lush electronic manipulations and esoteric patterns of sound design. It's a seminal piece from the trio of Stefan Schneider and brothers Robert and Ronald Lippok and easy to hear why it's widely hailed as one of the definitive records of late ’90s analog electronica.
