Bleep

Infamously the first artist signed to Warp that used guitars, Seefeel return with their first full-length album in fifteen years – Sol.Hz - a beautiful, hazy and blissed out collection of fractured melodies and vaporous textures.

In some ways, this can be regarded as Seefeel’s ‘dub’ album – the deceptively cloud-like arrangements of Mark Clifford are somewhat ambient adjacent at low volume, but blasting out of a proper sound system, the cavernous bass undertow and skilful employment of effects are more apparent, messing with the listener’s perception of time and audio placement. As always with Seefeel though, it never drifts too far into cold experimentalism or synthetic texture, the heavily manipulated vocals of Sarah Peacock lending the tracks a vital human element, with processed guitar loops allowing slivers of melody to drift through the trails of delay.

Stylistically, it builds on their 2024 mini-album Squared Roots, in the way that the material has been microscopically dissected and reversioned until it reaches the perfect iteration, shape perhaps being the wrong word for a group who blur the lines between solidity and space to such a radical degree. The much-reappropriated line from The Communist Manifesto, “all that is solid melts into air”, could be used as shorthand to describe the experience of listening to a Seefeel record. The album title Sol.Hz can be translated literally as sun plus electricity, although the exact interpretation is ambiguous and left open to debate, just like Marx’s oft-quoted line.

Seefeel’s first full-length album in fifteen years, Sol.Hz, is available on the first pressing edition clear vinyl and CD, as well as across all streaming platforms. The Bleep exclusive bundle edition includes a risograph print and a mix CD, Rapture To Rupt: an immersive, hour-long journey through Seefeel tracks from 1994 - 1996, put together by Kenyan sound artist KMRU, previously available as a limited edition cassette which has long since sold out.

About Seefeel: Seefeel signed to Warp in 1994 after releasing a well-received debut album on Too Pure, Quique. They were originally bracketed in the music press as part of the shoegaze scene, viewed as an extension of the approach taken by bands such as My Bloody Valentine. However the band’s incorporation of dance and dub music influences, and overt use of samplers, led to them also being linked to the emerging ‘electronic home listening’ sound, codified by the Warp label on their Artificial Intelligence compilation. This was reinforced when Aphex Twin (a big Seefeel fan) did two different remixes of “Time To Find Me” for free, on the agreement that they would make a record for his Rephlex label, a promise they eventually fulfilled with (Ch-Vox). They were also closely associated with Cocteau Twins, who also championed the band, inviting Seefeel to record in their September Sound studio and taking them on tour as an opening act. The relationship was cemented further when Mark Clifford remixed four of their tracks for the Otherness EP, and toured with the band, performing a live remix segment as part of the Milk & Kisses tour.

The second Seefeel album, Succour, came out on Warp in March 1995 and moved away from the melodic and guitar-led elements of their first album, exploring more rhythmic and quasi-industrial textures, trailed by two EPs from the previous year, Starethrough and Fracture/Tied, and appearing on the Artificial Intelligence II album, alongside more techno-affiliated artists such as B12 and The Higher Intelligence Agency. Warp co-founder Steve Beckett commented in an interview: Seefeel were the first band that Warp signed who had guitars...they were brave to sign to us because they became the 'older siblings' in the family and took all the flak by breaking the unwritten rules of an (up until then) purely dance label.

The 6-track (Ch-Vox) mini-album followed in 1996 on Rephlex, and showcased an even more desiccated and minimal direction, mostly made by Mark Clifford on his own, and presaging the solo electronic records he would make for Warp under the names Woodenspoon and Disjecta. Seefeel went on hiatus in 1997, focusing on the individual members' own projects. They returned with another self-titled album for Warp in 2011, after an impressive live performance at the Warp20 celebrations (with a new line-up featuring DJ Scotch Egg and ex-Boredoms drummer Kazuhisa Iida).

In 2021, Warp anthologised their 1994 to 1996 material in the Rupt & Flex boxset, complete with unreleased tracks and a rare Autechre remix, also releasing the long-form mixtape Rapture To Rupt, featuring the material from the boxset arranged into a seamless mix by producer KMRU. In 2024, they made a tentative return to putting out new music with a pair of critically acclaimed mini-albums on Warp – Everything Squared and Squared Roots. In 2025, Beggars Arkive reissued both their debut album, Quique, in an expanded edition, and a compilation of their early EPs, Pure/Impure.

The band continue to play live, though the exact line-up of the group that appears on stage is as amorphous as their music, most commonly varying between a trio of Mark Clifford, Sarah Peacock and Daren Seymour; and Mark Clifford performing solo Seefeel A/V dub sets. Recent live highlights include an appearance at A Warp Happening at The Barbican in London, Primavera Sound in Barcelona, and the Extreme Chill Festival in Reykjavík. This mutating live formation of the band continues to evolve in 2026: the forthcoming European dates will be undertaken by a duo of Mark Clifford on guitar and electronics, and Daren Seymour on bass and live visual triggering. Future dates featuring the vocals and guitar of Sarah Peacock are planned, and Clifford has even spoken of bringing a live drummer back into the fold for select shows.

The longtime perception of the band as sitting at the overlap point between electronic music and experimental guitar music meant that they were often overlooked during their original lifespan, not making music that was instantly recognisable to either scene. Over the years though, this blurring of genre lines increasingly looks prescient of where music was headed, steadily building a catalogue of music that hasn’t aged in quite the same way as some of their contemporaries. Their influence has been cited by a new generation of artists such as Maria Somerville and Yu Su, and they return in 2026 with Sol.Hz, a collection of new tracks that further reinforce the idea that Seefeel’s time has finally come.