New Musik
Warp

In early 80s London, besides the more famous bands that have left their mark for posterity, there was a group that never managed to break through (like many others...) and ended their career after only three albums. The cold reception they received in America with their last two works led them to finally close up shop. A possible explanation for this phenomenon can at least be sketched out. The mix of synthesizers and drum machines that was all the rage at the time was reminiscent of a techno-sounding style, taking inspiration from Kraftwerk's great lesson to create a robotic danceability, with a very "open," clean synthetic sound. In short, it was the so-called techno-pop. The emblem of this movement was Depeche Mode. So what did these English pioneers produce that, even though they had a distinct dance quality, didn't work? After all, even very mediocre groups managed to have their moment of glory, albeit for a few months. New Music, especially those from Warp, had a different sound, a powerful beat like none other around, a voice unfiltered by "mechanical" vocoders, but by different effects that emanated warmth, not coolness as the fashion of the time dictated. The technique was rather one of overdubbing and looping, often creating real "jingles." The arrangements were not icy, inspired by futurism, they had nothing futuristic. They had nothing of decadent poses, nor the ultra-dandy clothes of the company. Indeed, gentlemen, their sounds were as close to house music as you could get at the time. Certainly, the means they possessed were very limited, you can hear the outdated sound of the "Roland bass," for example, but this record has aged beautifully.

Today, compared to a competitor from 1982, it fears no comparison. The "discovery" (like many discoveries) I believe happened unconsciously. Their goal, I think, was simply to make music "different" from the usual, something less standardized. Well, they succeeded perfectly. However, the audience wasn't ready for such a shift (keep in mind that we are in the midst of the techno-pop genre boom), and rewarded the trio with complete indifference. They didn't realize that "Hunting" was 10 years ahead of the average, and that in the future it would seem like a mix between Primal Scream's Screamadelica and Daft Punk's Homework. They couldn't know that the title track contained the essence of house music, that hedonistic spirit and that "electronic warmth" on a repetitive beat that characterize the genre.
And what about the amazing ambient touch of "chill-out room" in "24 Hours From Culture-Part2," kindly provided by Sony as a bonus track? Of course not all tracks are that successful, there are also boring moments, or at least less "foreshadowing". But it is undoubtedly an album to absolutely rediscover. It's a shame that even today, it's only available for the Japanese market, and this speaks volumes about the band's commercial consideration. But if you happen to listen to it, don't hesitate. It will be a pleasant surprise.
When they say they hit the nail on the head with the group's name...