Editing Warp Records (section)

== History ==
=== 1980s record shop origins ===
[[File:Division Street, Sheffield - geograph.org.uk - 2884164.jpg|thumb|[[Division Street, Sheffield]], where the Warp Records shop was located in the 1980s]]
In the mid-1980s, Steve Beckett and Rob Mitchell, then in their early twenties, were active in the music scene of [[Sheffield]], England.<ref name="King-2012">{{cite book |last=King |first=Richard |url=https://www.musicismysanctuary.com/the-history-of-warp-records |title=How Soon Is Now? The Madmen and Mavericks Who Made Independent Music 1975–2005 |publisher=[[Faber & Faber]] |date=5 April 2012 |isbn=978-0571243907}}</ref> Beckett described 1980s Sheffield, once a major industrial town, as "run-down and industrial".<ref name="Hadfield-2009">{{cite web |last=Hadfield |first=James |date=13 November 2009 |title=Warp Records hits the big 2-0 |url=https://www.japantimes.co.jp/culture/2009/11/13/music/warp-records-hits-the-big-2-0/ |url-access=subscription |archive-url=https://web.archive.org/web/20160307204422/https://www.japantimes.co.jp/culture/2009/11/13/music/warp-records-hits-the-big-2-0/#.Vt3oN-zP32c |archive-date=7 March 2016 |access-date=16 April 2025 |website=[[The Japan Times]] }}</ref> Sheffield's [[steel manufacturing]] was in decline, and abandoned warehouses were being used for illegal [[rave]]s as part of the growing subculture of [[club music]] and [[acid house]].<ref name="King-2012" /><ref name="The Independent" /> Sheffield had produced electronic bands including [[the Human League]], [[Heaven 17]] and [[Cabaret Voltaire (band)|Cabaret Voltaire]].<ref name="The Independent" />

Beckett and Mitchell worked at FON, a record store on [[Division Street, Sheffield|Division Street]] that was a focal point of Sheffield's music scene.<ref name="Birke-2007">{{cite web |last=Birke |first=Sarah |date=2 November 2007 |title=Label profile: Warp Records |url=https://www.independent.co.uk/arts-entertainment/music/features/label-profile-warp-records-398605.html |access-date=13 April 2025 |website=[[The Independent]] }}</ref><ref name="King-2012" /><ref name="Hadfield-2009" /> According to Beckett, the shop mainly sold [[Indie rock|indie]] and [[Alternative rock|alternative]] records before expanding to imports from electronic [[Chicago house]] records.<ref name="Morse-2010">{{cite web |last=Morse |first=Erik |author-link=Erik Morse |date=1 July 2010 |title=Warp Records and the birth of popular electronic music |url=https://www.thebeliever.net/warp-records-and-the-birth-of-popular-electronic-music/ |access-date=25 April 2025 |website=[[The Believer (magazine)|The Believer]] }}</ref> Beckett had a background in indie rock, and discovered [[electronic music]] while working in FON.<ref name="Simpson-2009">{{cite news |last=Simpson |first=Dave |date=16 April 2009 |title=Bleep of faith |url=https://www.theguardian.com/music/2009/apr/17/warp-records-20-years |access-date=13 April 2025 |work=[[The Guardian]] |issn=0261-3077}}</ref> FON also operated a recording studio used by artists such as [[David Bowie]], [[Yazz]] and [[Chakk]].<ref name="King-2012" />

In 1987,<ref name="Morse-2010" /> Beckett and Mitchell partnered with the Sheffield musician and producer Robert Gordon to refit the FON shop as Warp Records, funded by selling tickets for events at the [[University of Sheffield]].<ref name="King-2012" /> They originally named the store Warped Records, but this was difficult to hear over a telephone.<ref>{{cite web |title=BBC – 6 Music – events – independents day |url=https://www.bbc.co.uk/6music/events/indie/warp.shtml |access-date=19 April 2025 |website=www.bbc.co.uk}}</ref> The shop specialised in imports released by American dance labels such as [[Transmat]], [[Metroplex (record label)|Metroplex]], [[Trax Records]] and [[Underground Resistance]], which sold out quickly.<ref name="King-2012" />

=== First singles and bleep ===
[[File:Mark Bell (LFO) on stage in Moscow.JPG|thumb|LFO performing in 2013]]Mitchell and Beckett felt there was a market for dance music created by Sheffield musicians, which they felt "sounded fresher" than music being created in the US at the time.<ref name="Trask-1993">{{cite journal |last=Trask |first=Simon |date=December 1993 |title=Warped vision |url=https://www.muzines.co.uk/articles/warped-vision/7664?theme=2 |journal=Music Technology |publisher=Music Maker Publications}}</ref> In 1989, Warp released its first single, "Track With No Name" by Gordon's band [[Forgemasters (band)|Forgemasters]].<ref name="King-2012" /> Financed through a grant from the government's [[Enterprise Allowance Scheme]], they pressed 500 [[White label record|white label]] copies and distributed them to shops around the UK by car, selling out in a week.<ref name="Birke-2007" /><ref name="King-2012" /><ref name="Trask-1993" />

Beckett said they did not necessarily think they were creating a record label and instead wanted to see if they could "have an effect".<ref name="King-2012" /> However, they discovered the market was larger than they expected.<ref name="King-2012" /> Beckett conceived Warp as a northern independent label similar to [[Factory Records]], sharing 50% of their profits with artists.<ref name="Simpson-2009" /> The Sheffield company [[Designers Republic]] created Warp's logo and distinctive purple record packaging.<ref name="Simpson-2009" /><ref name="Anniss-2019" /> According to ''[[Resident Advisor]]'', the packaging became "instantly recognisable in an age when dance music was becoming increasingly disposable",<ref name="Anniss-2019" /> and ''DMY'' described it as "at one moment garish and brutal, the next pristine and beautiful".<ref name="Jones-2009" />

In 1990, Warp released successful dance singles by acts including [[Nightmares on Wax]], [[LFO (British band)|LFO]], [[Sweet Exorcist (band)|Sweet Exorcist]] and [[Tricky Disco]].<ref name="King-2012" /><ref name="Simpson-2009" /><ref name="Anniss-2019">{{cite web |last=Anniss |first=Matt |date=12 November 2019 |title=Label of the month: Warp Records |url=https://ra.co/features/3557 |access-date=13 April 2025 |website=[[Resident Advisor]] }}</ref><ref>{{cite news |last=Groves |first=Nancy |date=14 October 2014 |title=Music producer Mark Bell of LFO has died, label confirms |url=https://www.theguardian.com/music/2014/oct/14/mark-bell-lfo-died-label-confirms |access-date=13 April 2025 |work=[[The Guardian]] |issn=0261-3077}}</ref> The singles received attention from the influential [[BBC]] DJ [[John Peel]].<ref name="King-2012" /> Warp became associated with [[bleep techno|bleep]], a "minimal, funky" subgenre of techno emerging in Sheffield.<ref name="Simpson-2009" /> ''Resident Advisor'' described bleep as a "distinctly British mutation of techno that married the weighty sub-bass of '[[Steppers (reggae)|steppers]]' reggae with the rush of rave culture and futuristic vision of [[Detroit techno]]".<ref name="Anniss-2019" /> Beckett connected bleep to the advent of music technology such as [[Sampler (musical instrument)|samplers]] and software such as [[Logic Pro|Logic]],<ref name="Morse-2010" /> and said its sound evoked the Sheffield steelworks: "You'd almost see sparks and hear anvils clanging."<ref name="Simpson-2009" /> The journalist Richard King described bleep as "an evocation of the nocturnal energy of an industrial city in decline, whose empty, industrial spaces were being turned into illegal and autonomous party zones".<ref name="King-2012" />

[[Jarvis Cocker]], a member of the Sheffield band [[Pulp (band)|Pulp]], created music videos for Warp acts between 1990 and 1993.<ref name="Crossan-2013">{{cite web |last=Crossan |first=Jamie |date=14 April 2013 |title=Rare Jarvis Cocker-directed music videos revisited as part 'BUG: Warp Records' special |url=https://www.nme.com/news/music/jarvis-cocker-19-1251635 |access-date=17 April 2025 |website=[[NME]] }}</ref> Warp created an [[Imprint (trade name)|imprint]], Gift Records, to release acts by pop and rock records including Pulp.<ref name="Morse-2010" /><ref name="Banks-2023b">{{cite book |last=Banks |first=Nick |title=So It Started There: From Punk to Pulp |date=2023 |publisher=Omnibus Press |isbn=978-1-78759-259-9 |edition= |location=London |chapter=Chapter 23: More Problems (Goodnight)}}</ref><ref>{{cite web |last=Paine |first=Andre |date=6 September 2017 |title=AIM Awards: Jarvis Cocker on how Warp rescued Pulp |url=https://www.musicweek.com/labels/read/aim-awards-jarvis-cocker-on-how-warp-rescued-pulp/069703 |access-date=17 April 2025 |website=[[Music Week]] }}</ref> After releasing some early Pulp singles, Gift closed after Pulp signed to [[Island Records]].<ref name="Morse-2010" />

=== Album focus ===
Warp signed a deal with the London label [[Rhythm King]] to distribute records. Beckett and Mitchell regretted the deal, as it did not grant them royalties.<ref name="King-2012" /> Coming close to bankruptcy, Warp signed a new distribution deal with [[Pinnacle Entertainment (United Kingdom)|Pinnacle Entertainment]].<ref name="Trask-1993" />  Warp resolved to remain independent and focus on building artists and longevity with [[album]]s rather than releasing singles by short-lived acts.<ref name="King-2012" /> Mitchell said many dance acts struggled with the album format: "There's a big difference between a compilation album and an album you put on and don't take off until the final track's played, which is what we're after doing."<ref name="Trask-1993" /> They also elected not to release rave music, which was popular at the time, a decision Beckett said bolstered Warp's reputation for ignoring convention.<ref name="Trask-1993" />

In 1991, Warp released its first album, ''CCCD'' by [[Sweet Exorcist (band)|Sweet Exorcist.]]<ref name="Stubbs-2011">{{cite news |last=Stubbs |first=David |date=5 November 2011 |title=Warp Records: Richard H Kirk looks back on a futuristic life |url=https://www.theguardian.com/music/2011/nov/05/warp-records-richard-h-kirk |access-date=13 April 2025 |work=[[The Guardian]] |issn=0261-3077}}</ref> It was followed by ''[[Frequencies (album)|Frequencies]]'' by LFO, cited by Beckett as a turning point for Warp.<ref name="King-2012" /> As of 1993, ''Frequencies'' had sold 80,000 copies, half in the US.<ref name="Trask-1993" /> The success saved Warp from bankruptcy.<ref name="The Independent" /> Warp used marketing techniques from rock, arranging mentions in the indie music magazine ''[[NME]]'' and encouraging their acts to tour.<ref name="Simpson-2009" /> In 1991, following disagreements with Beckett and Mitchell, Gordon left Warp.<ref name="King-2012" /><ref name="Jones-2009">{{cite web |last=Jones |first=Charlie |date=31 December 2009 |title=The Dummy guide to Warp Records |url=https://dmy.co/features/the-dummy-guide-to-warp-records |access-date=25 April 2025 |website=DMY }}</ref>

=== ''Artificial Intelligence'' and intelligent dance music ===
[[File:Aphex Twin 2.jpg|thumb|[[Richard D. James]] (Aphex Twin) has been described as the most important Warp artist.]]
In 1992, Warp released ''[[Artificial Intelligence (compilation album)|Artificial Intelligence]]'', a compilation of tracks by artists such as [[Aphex Twin]] (under the name Dice Man), [[Autechre]], [[B12 (band)|B12]] (Musicology), [[Plaid (band)|Plaid]], [[The Black Dog (band)|the Black Dog]] (AO) and [[Richie Hawtin]] (Fuse).<ref name="Birke-2007" /> Unlike other electronic music of the time, the music was intended to be listened to at home rather than in clubs.<ref name="Birke-2007" /><ref name="Trask-1993" /> ''[[The Guardian]]'' wrote that it "announced techno as music for the mind as well as the feet".<ref name="Cardew-2017">{{cite news |last=Cardew |first=Ben |date=3 July 2017 |title=Machines of loving grace: how ''Artificial Intelligence'' helped techno grow up |url=https://www.theguardian.com/music/2017/jul/03/artificial-intelligence-compilation-album-warp-records-idm-intelligent-dance-music |access-date=13 April 2025 |work=[[The Guardian]] |issn=0261-3077}}</ref>

Though Warp proposed the term "electronic listening music", ''Artificial Intelligence'' popularised a genre that instead became known as electronica or [[intelligent dance music]] (IDM).<ref name="Anniss-2019" /><ref name="Cardew-2017" /><ref name="Richardson-2005">{{cite web |last=Richardson |first=Mark |date=25 August 2005 |title=Various Artists: ''Artificial Intelligence'' / ''Artificial Intelligence II'' |url=https://pitchfork.com/reviews/albums/11714-artificial-intelligence-artificial-intelligence-ii/ |access-date=17 April 2025 |website=[[Pitchfork (website)|Pitchfork]] }}</ref> Though the IDM term was criticised as denigrating other forms of dance music, it endured.<ref name="Davies-2018">{{cite web |last=Davies |first=Sam |date=1 August 2018 |title=The IDM List gave intelligent dance music its name and geeky legacy |url=https://www.vice.com/en/article/idm-list-25-year-anniversary-warp-hyperreal-2018/ |access-date=18 April 2025 |website=[[Vice (website)|Vice]] }}</ref><ref name="Cardew-2017" /> ''Artificial Intelligence'' is credited for introducing electronic music to rock listeners, particularly in the US,<ref name="Simpson-2009" /> and helped launch the careers of Aphex Twin, Autechre and Hawtin.<ref name="Cardew-2017" />

Warp continued to prioritise albums, with releases by acts including Aphex Twin, Kirk, [[Squarepusher]], [[Seefeel]], the Black Dog, Autechre, Sabres of Paradise and B12.<ref name="Anniss-2019" /><ref>{{cite news |last=Amin |first=Tayyab |date=31 January 2020 |title=Squarepusher: Be Up a Hello review – devilish, danceable return |url=https://www.theguardian.com/music/2020/jan/31/squarepusher-be-up-a-hello-review-warp-records |access-date=27 April 2025 |work=[[The Guardian]] |issn=0261-3077}}</ref> Warp released ''[[Artificial Intelligence II]]'' in 1994, accompanied by an hour-long music video, ''Warp Motion'', created by the Sheffield artist Phil Wolstenholme and released on [[VHS]] and [[LaserDisc]]. ''Resident Advisor'' described the video as "a pioneering attempt to mix music and cutting-edge 3D computer animation".<ref name="Anniss-2019" />[[File:Mira Calix.jpg|thumb|261x261px|The Warp press officer, Chantal Passamonte (pictured in 2016), also released music as [[Mira Calix]].]]''[[The Independent]]'' described Aphex Twin as Warp's most important artist, creating its "creative commercial core", as [[the Smiths]] had done for [[Rough Trade Records|Rough Trade]] and [[Arctic Monkeys]] later did for [[Domino Recording Company|Domino]].<ref name="The Independent" /> Though Aphex Twin also released work through [[Rephlex Records]], Warp released his most successful releases, ''[[Richard D. James Album]]'' (1996) and the singles "[[Come to Daddy (song)|Come to Daddy]]" (1997) and "[[Windowlicker]]" (1999).<ref name="The Independent" />

In 1996, Chantal Passamonte, who also worked as Warp's press officer, became the first female Warp artist with her debut EP, ''Ilanga'', released under the name [[Mira Calix]].<ref name="Anniss-2019" /> Passamonte was critical of the gender imbalance, but said it came from "a lack of women putting themselves forward and a lack of opportunity" rather than hostility at Warp.<ref name="Davies-2018" /> In 1998, Warp signed the electronic duo [[Boards of Canada]], whose debut album, [[Music Has the Right to Children|''Music Has the Right'' ''to Children'']], released that year, became a defining album in British music.<ref name="Birke-2007" />

=== Online ===
Warp was an early adopter of [[E-commerce|internet for commerce]].<ref name="Anniss-2019" /> In 1996, Warp launched the online store Warpmart to sell physical products.<ref name="Billboard-2003">{{cite web |date=21 November 2003 |title=Billboard bits: Puddle Of Mudd, the Roots, Warp |url=https://www.billboard.com/music/music-news/billboard-bits-puddle-of-mudd-the-roots-warp-68049/ |access-date=19 April 2025 |website=[[Billboard (website)|Billboard]] }}</ref><ref name="Anniss-2019" /> The Warp Records shop closed in 1997 and was sold to the retailer [[Fopp (retailer)|Fopp]].<ref name="Birke-2007" /><ref name="Jones-2009" /> In 1999, Warp's tenth anniversary, it released the compilation album ''Influences, Classics & Remixes''.<ref name="Jones-2009" /> In January 2000, Warp relocated to London to facilitate better access to the wider music industry.<ref name="Anniss-2019" /> That year, Warp signed an album deal with the filmmaker [[Vincent Gallo]].<ref>{{cite web |last= |date=13 December 2000 |title=Warp go to the Gallo! |url=https://www.nme.com/news/music/nme-2509-1392457 |access-date=18 April 2025 |website=[[NME]]}}</ref>

In 2003, ''[[Billboard]]'' reported that Warp had annual revenues at US$10&nbsp;million, with Warpmart contributing 10%.<ref name="Billboard-2003" /> In 2004,<ref name="Billboard-2003" /> Warp launched [[Bleep (store)|Bleep]], one of the first [[Music download|download]] stores,<ref name="Anniss-2019" /> and made its entire catalogue available to purchase.<ref name="Orlowski-2004">{{cite news |last=Orlowski |first=Andrew |date=15 January 2004 |title=DRM: who needs it? UK label stands up for its customers |url=https://www.theregister.com/2004/01/15/drm_who_needs_it_uk/ |archive-url=http://web.archive.org/web/20241109050858/https://www.theregister.com/2004/01/15/drm_who_needs_it_uk/ |archive-date=9 November 2024 |access-date=18 April 2025 |work=[[The Register]] }}</ref> Its prices were slightly higher than competing online stores such as [[ITunes Store|iTunes]], and its [[MP3]]s were available at a [[variable bitrate]] of 205&nbsp;kbit/s, higher than the more common 160&nbsp;kbit/s of the period.<ref name="Orlowski-2004" /> Unlike other labels at the time, Bleep sold files free of [[digital rights management]] restrictions.<ref name="Orlowski-2004" /> ''[[The Register]]'' wrote that this was a "positive statement" demonstrating faith in its catalogue and customers.<ref name="Orlowski-2004" />

Beckett estimated that Warpmart and Bleep generated 25% of Warp's [[Asset turnover|turnover]] as of 2007.<ref name="Red Bull Music Academy-2007">{{cite web |date=2007 |title=Steve Beckett |url=https://www.redbullmusicacademy.com/lectures/steve-beckett-the-warp-factor |access-date=13 April 2025 |website=[[Red Bull Music Academy]] }}</ref> In January 2009, Warp merged Warpmart into Bleep, selling records from more than 300 independent labels, including [[Beggars Banquet]], [[Domino Recording Company|Domino]] and [[!K7 Music|!K7]]. That year, Warp reported that Bleep had sold more than 1.8&nbsp;million downloads.<ref>{{cite web |last=Wilson |first=Jen |date=30 November 2024 |title=Bleep.com merges with Warpmart |url=https://www.billboard.com/music/music-news/bleepcom-merges-with-warpmart-1275769/ |url-access=subscription |archive-url=https://web.archive.org/web/20241130123021/https://www.billboard.com/music/music-news/bleepcom-merges-with-warpmart-1275769/ |archive-date=30 November 2024 |access-date=18 April 2025 |website=[[Billboard (magazine)|Billboard]]}}</ref>

=== Death of Mitchell and Warp Films ===
Mitchell died from cancer on 8 October 2001, at the age of 38, leaving Beckett as the head of Warp.<ref name="Simpson-2009" /><ref name="Anniss-2019" /> Beckett described him as "like a brother", and said his death made him realise how important it was to "put love and creativity out into the world".<ref name="Red Bull Music Academy-2007" /> Passamonte said: "Between them Rob and Steve were responsible for signing and managing the label's artists. Without being emotional about it, when Rob died that changed. Ultimately, the sound of Warp up until Rob's death was the sound of two people's music taste."<ref name="Anniss-2019" />

In 2001, Warp established a film production company, [[Warp Films]]. It initially produced and released short films by [[Chris Cunningham]], who had created music videos for Warp artists such as Aphex Twin, and the satirist [[Chris Morris (satirist)|Chris Morris]].<ref name="Anniss-2019" /> According to Beckett, Warp found that some video directors they were working with, such as Cunningham, had similar personalities to the musicians, "pushing the boundaries" of their medium. Additionally, new technology was making it cheaper to create films.<ref name="Red Bull Music Academy-2007" /> The first Warp Films release, Morris's ''[[My Wrongs 8245–8249 & 117]]'', won the 2002 [[British Academy of Film and Television Arts|Bafta]] for best short film.<ref name="bafta_2002">{{cite web |title=BAFTA: Film Nominations 2002 |url=http://www.bafta.org/awards/film/nominations/?year=2002 |url-status=live |archive-url=https://web.archive.org/web/20100921081630/http://www.bafta.org/awards/film/nominations/?year=2002 |archive-date=21 September 2010 |access-date=23 June 2008}}</ref><ref name="The Independent" />

In 2004, Warp released its first feature film, ''[[Dead Man's Shoes (2004 film)|Dead Man's Shoes]]'', directed by [[Shane Meadows]], which was nominated for a Bafta. Meadows's next film, ''[[This Is England]]'' (2007), won the Bafta for Best British Film.<ref name="Simpson-2009" /> In 2022, ''The Independent'' described ''This Is England'' as Warp Films' "crowning glory to date: as visceral as any early Warp record, but with the bleeding humanity its best artists have found in their maturity".<ref name="The Independent">{{cite news |last=Hasted |first=Nick |date=28 August 2009 |title=20 years of the Warp factor |url=https://www.independent.co.uk/arts-entertainment/music/features/20-years-of-the-warp-factor-1778146.html |archive-url=http://web.archive.org/web/20220706195724/http://www.independent.co.uk/arts-entertainment/music/features/20-years-of-the-warp-factor-1778146.html |archive-date=6 July 2022 |access-date=16 April 2025 |work=[[The Independent]] }}</ref> In 2009, ''The Independent'' wrote that Warp Films had "quickly become the UK's most consistent and challenging indie production company".<ref name="The Independent" /> In 2006, Warp launched [[Warp X]] to seek new talent in film, with funding by the [[UK Film Council]] and [[FilmFour]].<ref name="Jones-2009" />

=== Genre expansion ===
[[File:2014-09-06 Maximo Park at ENERGY IN THE PARK 016.jpg|thumb|[[Maxïmo Park]] in 2006]]
In the 2000s, interest in electronic music declined following the resurgence of guitar bands.<ref name="Simpson-2009" /> In response, Warp signed acts creating different kinds of electronic music, such [[the Sabres of Paradise]] and [[Broadcast (band)|Broadcast]],<ref name="Simpson-2009" /> [[experimental hip-hop]] acts such as [[Prefuse 73]], [[Antipop Consortium]] and [[Flying Lotus]],<ref name="Anniss-2019" /> and rock bands such as [[Maxïmo Park]], [[!!!]], [[Battles (band)|Battles]] and [[Grizzly Bear (band)|Grizzly Bear]].<ref name="Birke-2007" /><ref name="Hadfield-2009" /><ref name="Simpson-2009" />

The diversification drew criticism from some fans.<ref name="Simpson-2009" /> Beckett said the acts' experimental nature and influences fit the ethos of Warp and their roster,<ref name="Red Bull Music Academy-2007" /> and noted that the Warp shop had stocked indie music.<ref name="Hadfield-2009" /> The !!! member [[Nic Offer]] said guitar bands were providing "new and cutting edge" music at the time and were true to Warp's "experimental ethos".<ref name="Anniss-2019" /> In 2009, ''[[Pitchfork (website)|Pitchfork]]'' said Warp had "wisely invited pop-structured acts that carried the spirit and sensibility of electronic music into its fold".<ref name="Plagenhoef-2009">{{cite web |last=Plagenhoef |first=Scott |date=6 November 2009 |title=Various artists: ''Warp20'' (box set) / ''Warp20 (Chosen)'' / ''Warp20 (Recreated)'' / ''Warp20 (Unheard)'' |url=https://pitchfork.com/reviews/albums/13668-warp20-box-set-warp20-chosen-warp20-recreated-warp20-unheard/ |access-date=19 April 2025 |website=[[Pitchfork (website)|Pitchfork]] }}</ref> ''The Independent'' wrote that the Maxïmo Park singer, Paul Smith, "fitted the label snugly, even if the guitars did not", while the American band Grizzly Bear, "with their careful sculpting of sound and veiled emotions [...] could be a warmer, softer Autechre".<ref name="The Independent" />

In 2001, Warp funded an imprint created by the Warp employee Tom Brown, [[Lex Records]], which focused on hip-hop and released records by [[Sage Francis]], [[Boom Bip]] and [[Danger Mouse (musician)|Danger Mouse]].<ref name="Anniss-2019" /><ref name="Jones-2009" /> Warp specified that Lex could not release albums, sign long-term deals, or release music by acts Warp was considering signing.<ref name="Anniss-2019" /> Through Lex, Warp funded the unsuccessful campaign to release ''[[The Grey Album]]'' (2004) by Danger Mouse, a [[Mashup (music)|mashup]] of [[the Beatles]]' ''[[White Album]]'' and [[Jay-Z]]'s ''[[The Black Album (Jay-Z album)|The Black Album]]'' that was blocked due to copyright problems.<ref name="Montesinos-Donaghy-2014">{{cite web |last=Montesinos-Donaghy |first=Daniel |date=25 July 2014 |title=We spoke to Tom Brown, the man behind Lex Records |url=https://www.vice.com/en/article/warp-25-tom-brown-lex-records-interview/ |access-date=19 April 2025 |website=[[Vice (website)|Vice]]}}</ref> When Warp decided to close Lex Records, Brown bought it in 2004.<ref name="Anniss-2019" /><ref name="Montesinos-Donaghy-2014" />

In April 2003, its 10th anniversary, Warp held a retrospective show hosted by the comedian [[Adam Buxton]] at the [[BFI Southbank]] cinema in London.<ref name="Crossan-2013" />   From the mid-2000s, Warp expanded its roster to include more experimental work, including [[avant-garde]] film soundtracks, [[neoclassical music]] and more "academic" [[ambient music]].<ref name="Anniss-2019" /> [[Brian Eno]], a pioneer of ambient music, signed to Warp in 2010.<ref>{{cite news |last=Michaels |first=Sean |date=3 August 2010 |title=Brian Eno gets the Warp factor |url=https://www.theguardian.com/music/2010/aug/03/brian-eno-warp-factor |access-date=13 April 2025 |work=[[The Guardian]] |issn=0261-3077}}</ref>

In 2009, its 20th anniversary, Warp held a party in an old steelworks in Sheffield, along with events in Paris, New York City and Tokyo.<ref name="Hadfield-2009" /> It also released the ''Warp20'' box set, comprising tracks chosen by listeners and Beckett, cover versions, remixes, unreleased tracks and [[locked groove]]s.<ref name="Plagenhoef-2009" /> According to Beckett, as of 2017, Warp employed 60 people in six offices around the world.<ref name="Nicolaides-2017">{{cite web |last=Nicolaides |first=Will |date=5 July 2017 |title=Warp Records' Steve Beckett to receive AIM 2017 Pioneer Award |url=https://www.musicweek.com/labels/read/warp-records-steve-beckett-to-receive-aim-2017-pioneer-award/069053 |access-date=19 April 2025 |website=[[Music Week]] }}</ref> That year, Beckett received the Pioneer Award at the [[AIM Independent Music Awards]].<ref name="Nicolaides-2017" /> In 2019, its 30th anniversary, Warp released ''WXAXRXP Sessions'', a 41-track box set compiling radio sessions by Warp artists recorded from 1990 to 2019.<ref>{{cite web |last=Hogan |first=Marc |title=Various Artists: ''WXAXRXP Sessions'' |url=https://pitchfork.com/reviews/albums/various-artists-wxaxrxp-sessions/ |access-date=18 April 2025 |website=[[Pitchfork (website)|Pitchfork]]}}</ref>