|

Click here to expand and collapse the player

Aphex Twin

Rate It! Avg: 4.0 (2091 ratings)

Albums

Biography All Music GuideWikipedia

All Music Guide:

Exploring the experimental possibilities inherent in acid and ambience, the two major influences on home-listening techno during the late '80s, Richard D. James' recordings as Aphex Twin brought him more critical praise than any other electronic artist during the 1990s. Though his first major single, "Didgeridoo," was a piece of acid thrash designed to tire dancers during his DJ sets, ambient stylists and critics later took him under their wing for Selected Ambient Works 85-92, a sublime touchstone in the field of ambient techno. James' reaction to the exposure portrayed an artist unwilling to become either pigeonholed or categorizable. His second Aphex Twin album, Selected Ambient Works, Vol. 2, was so minimal as to be barely conscious -- in what appeared to be an elaborate joke on the electronic community. Follow-ups showed James gradually returning to his hardcore and acid roots, even while his stated desire to crash the British Top Ten (and perform on Top of the Pops) resulted in a series of cartoonish pop songs whose twisted genius was near-masked by their many absurdities. His iconoclastic behavior surprisingly aligned with MTV audiences turned on to end-of-the-millennium nihilist pop along the lines of Marilyn Manson and Nine Inch Nails.

James began taking apart electronics gear as a teenager growing up in Cornwall, England. (If the title Selected Ambient Works 85-92 is to be believed, it contains recordings made at the age of 14.) Inspired by acid house in the late '80s, James began DJing raves around Cornwall. His first release was the Analogue Bubblebath EP, recorded with Tom Middleton and released on the Mighty Force label in September 1991. Middleton left later that year to form Global Communication, after which James recorded a second volume in the Analogue Bubblebath series. This EP (the first to include "Digeridoo") got some airplay on the London pirate radio station Kiss FM, and prompted Belgium's R&S Records to sign him early the following year. A re-recording of "Digeridoo" made number 55 in the British charts just after its April 1992 release date, and James followed with the Xylem Tube EP in June. He also co-formed (with Grant Wilson-Claridge) his own Rephlex label around that time, releasing a series of singles as Caustic Window during 1992-1993. Available in cruelly limited editions, most of the recordings continued the cold acid precision of "Digeridoo" -- though several expressed humor and fragility barely dreamed of in the hardcore/rave scene to that point.

The climate for "intelligent" techno had begun to warm in the early '90s, though. The Orb had proved the commercial viability of ambient house with their chart-topping "Blue Room" single, and R&S scrambled to find useful material from its own artists. In November 1992, James acquiesced with Selected Ambient Works 85-92, consisting mostly of home material recorded during the past few years. Simply stated, it was a masterpiece of ambient techno, the genre's second work of brilliance after the Orb's Adventures Beyond the Ultraworld. As his star began to shine, several bands approached him to remix their work, and he complied, with mostly unrecognizable reworkings of tracks by St. Etienne, the Cure, Jesus Jones, Meat Beat Manifesto, and Curve.

Early in 1993, Richard James signed to Warp Records, the influential British label that virtually introduced the concept of futuristic "electronic listening music" with a series of albums (subtitled Artificial Intelligence) by ambient techno pioneers Black Dog, Autechre, B12, and FUSE (aka Richie Hawtin) among others. James' release in the series, titled Surfing on Sine Waves, was recorded as Polygon Window and released in January 1993. The album charted a course between the raw muscle of James' nose-bleed techno and the understated minimalism of Selected Ambient Works. A deal between Warp and TVT gave Surfing on Sine Waves an American release (James' first) by the summer. A second album was released that year, Analogue Bubblebath 3, for Rephlex. Recorded as AFX, the LP renounced any debt to ambient music and was the most bracing work yet in the Aphex Twin canon. On a tour of America with Orbital and Moby later that year, James clung to the headbanging material, to the detriment of his mostly unreplaceable gear. He later cut down on his live performance schedule.

In December of 1993, the new single "On" resulted in James' highest chart placing, a number 32 spot on the British charts. The two-part single included remixes by old pal Tom Middleton (as Reload) and future Rephlex star µ-Ziq. Despite James' appearance on the pop charts, his following album, Selected Ambient Works, Vol. 2, appeared to be a joke on the ambient techno community. So minimal as to be barely conscious, the quadruple album left most of the beats behind, with only tape loops of unsettling ambient noise remaining. The album mostly struck out with critics but hit number 11 on the British charts and earned James a major-label American contract with Sire soon afterward. During 1994, he worked on the ever-growing Rephlex stable, signing µ-Ziq (Michael Paradinas), Kosmik Kommando (Mike Dred), and Kinesthesia/Cylob (Chris Jeffs) to the label. In August 1994, he released the fourth Analogue Bubblebath, this one a five-track EP.

The year 1995 began with the January release of Classics, a compilation of his early R&S singles. Two months later, James released the single "Ventolin," a harsh, appropriately wheezing ode to the asthma drug on which he relied. I Care Because You Do followed in April, pairing his hardcore experimentalism with more symphonic ambient material, aligned with the work of many post-classical composers -- including Philip Glass, who arranged an orchestral version of the album's "Icct Hedral" on the August 1995 single Donkey Rhubarb.

Later that year, the Hangable Auto Bulb EP replaced Analogue Bubblebath 3 as Aphex Twin's most brutal, uncompromising release -- a fusion of experimental music and jungle being explored at the same time on releases by Plug and Squarepusher. In July 1996, Rephlex released the long-awaited collaboration between Richard James and Michael Paradinas (µ-Ziq). The album, Expert Knob Twiddlers (credited to Mike & Rich), watered down the experimentalism of Aphex Twin with µ-Ziq's easy-listening electro-funk. The fourth proper Aphex Twin album, November 1996's Richard D. James Album, continued his forays into acid-jungle and experimental music. Retaining the experimental edge, but with a stated wish to make the British pop charts, James' next two releases, 1997's Come to Daddy EP and 1999's Windowlicker EP, were acid storms of industrial drum'n'bass. The accompanying videos, both directed by Chris Cunningham, featured the bodies of small children and female models (respectively) dancing around, all with special-effects-created Aphex Twin faces grinning maniacally.

James released nothing during the year 2000, but did record the score to Flex, a Chris Cunningham short film exhibited as part of the Apocalypse exhibition at London's Royal Academy. With very little advance warning, another LP, Drukqs, finally arrived in late 2001. Although James continued making frequent DJ appearances, he released no more material until 2005, when Rephlex issued the first installment in a lengthy, 11-part series of 12" singles titled Analord. The singles' minimalist acid techno harked back to his Caustic Window/Analogue Bubblebath material of the early '90s. Chosen Lords, a CD compilation of some of the Analord material, appeared in April 2006. James continued to DJ and play live, and in 2009 the Rushup Edge LP appeared under the performer name of the Tuss; although James and Rephlex denied that it was his work, rumors persisted that it was yet another Aphex pseudonym. Additional rumors during the late 2000s promised official releases from James, but they proved unfounded.

Wikipedia:

"Richard D. James" redirects here. For the album, see Richard D. James Album. For the scientist, see Richard D. James (scientist).

Richard David James (born 18 August 1971), best known by his stage name Aphex Twin, is an England-based electronic musician and composer. He has been described by The Guardian as "the most inventive and influential figure in contemporary electronic music", and is the co-founder of Rephlex Records with Grant Wilson-Claridge. Aphex Twin's album, Selected Ambient Works 85-92, was called the best album of the 1990s by FACT Magazine. In addition to Rephlex, James has released Aphex Twin records on Warp, R&S, Sire, Mighty Force, Rabbit City, and Men Records.

^ Lester, Paul (5 October 2001). "Tank boy". The Guardian (London: Guardian Media Group). Archived from the original on 10 June 2008. Retrieved 2008-06-14. ^ "The 100 Best Albums of the 1990s – FACT Magazine: Music News, New Music". Factmag.com. 2012-09-03. Retrieved 2014-02-20. 

Contents

History1.1 Early years1.2 Early career: early 1990s1.3 Gaining success: 1992–19951.4 Richard D. James Album, Come to Daddy and Windowlicker: 1996–19991.5 Prepared piano, laptops and DSP: 2000–20031.6 Synthesizers and drum machines: 2004–present

History[edit]

Early years[edit]

James was born in Limerick, Ireland and grew up in Lanner, Cornwall with two older sisters, in a "very happy" childhood during which they "were pretty much left to do what [they] wanted". He enjoyed living there, feeling apart from nearby cities and the rest of the world. James attended Redruth School in Redruth, Cornwall, and claimed to have produced sound on a Sinclair ZX81 (a machine with no sound hardware) at age 11:

When I was 11, I won 50 pounds in a competition for writing this program that made sound on a ZX81. You couldn't make sound on a ZX81, but I played around with machine code and found some codes that retuned the TV signal so that it made this really weird noise when you turned the volume up.

According to musician Benjamin Middleton, James began producing music the following year. As a teenager he was a disc jockey at the Shire Horse Inn in St Ives, with Tom Middleton at the Bowgie Inn in Crantock and along the beaches around Cornwall. James studied at Cornwall College from 1988 to 1990 for a National Diploma in engineering. About his studies, he said "music and electronics went hand in hand". James graduated from college; according to an engineering lecturer he often wore headphones during practical lessons, "no doubt thinking through the mixes he'd be working on later".

Early career: early 1990s[edit]

In 1989, James befriended Grant Wilson-Claridge when they were working alternate weeks as a DJ at the Bowgie pub near Newquay. Wilson-Claridge was intrigued by his sets, and when he discovered that James was playing tapes of his own music he suggested that they make records. At first, putting Aphex Twin’s recordings on vinyl was a way of making music the duo's friends wanted to hear; because of their geographic isolation they could not access the music they wanted to hear, so they decided to create their own.

James' first release as Aphex Twin, later changed to AFX, was the 1991 12-inch EP Analogue Bubblebath on Mighty Force Records. The track "En Trance to Exit" was recorded with Tom Middleton, also known as Schizophrenia. The EP made the playlist of Kiss FM, an influential London radio station, which helped it become successful.

In 1991, James and Wilson-Claridge founded Rephlex Records to promote "innovation in the dynamics of Acid — a much-loved and misunderstood genre of house music forgotten by some and indeed new to others, especially in Britain". From 1991 to 1993 James released two Analogue Bubblebath EPs as AFX and an EP, Bradley's Beat, as Bradley Strider. Although he moved to London to take an electronics course at Kingston Polytechnic, he admitted to David Toop that his electronics studies were being evacuated as he pursued a career in the techno genre. After leaving school James remained in London, releasing albums and EPs on Warp Records and other labels under a number of aliases (including AFX, Polygon Window and Power-Pill); several of his tracks, released under aliases including Blue Calx and The Dice Man, appeared on compilations. Although he allegedly lived on the roundabout in Elephant and Castle, South London during his early years in the city, he actually lived in a nearby unoccupied bank.

Gaining success: 1992–1995[edit]

The first full-length Aphex Twin album, Selected Ambient Works 85–92, was released in 1992 on R&S Records to critical praise; John Bush of Allmusic described it as a "watershed of ambient music". In 2002 Rolling Stone said about the album, "Aphex Twin expanded way beyond the ambient music of Brian Eno by fusing lush soundscapes with oceanic beats and bass lines." Pitchfork Media called it "among the most interesting music ever created with a keyboard and a computer". However, critics noted that the songs were recorded on cassette and their sound quality was relatively poor.

In 1992 James also released the Xylem Tube EP and Digeridoo (first played by DJ Colin Faver on London's Kiss FM) as Aphex Twin, the Pac-Man EP (based on the arcade game) as Power-Pill, and two of his four Joyrex EPs (Joyrex J4 EP and Joyrex J5 EP) as Caustic Window. "Digeridoo" reached #55 on the UK Singles Chart, and was later described by Rolling Stone as foreshadowing drum and bass. He wrote "Digeridoo" to clear up his audience after a rave. These early releases were on Rephlex Records, Mighty Force of Exeter and R&S Records of Belgium.

In 1993 James released Analogue Bubblebath 3; a single, "On"; his second Bradley Strider EP, Bradley's Robot; two more Caustic Window EPs and his first releases on Warp Records, Surfing on Sine Waves and "Quoth", as Polygon Window. Warp Records released Selected Ambient Works Volume II in 1994, with a less beat- and melody-driven sound than the previous album. The track names were described with pie chart symbols, each of which was meant to be paired with a corresponding image in the album jacket (except "Blue Calx"). To decipher the titles, listeners had to compare the length of each track with the size of the pie-chart symbols; for example, the first title (often called "Cliffs", is realised by pairing the first symbol with the first image (a rocky cliffside). James said in The Wire magazine and elsewhere that the songs were inspired by lucid dreams and synaesthesia. Other releases were a fourth Analogue Bubblebath; GAK, derived from early demos sent to Warp Records and Classics, a compilation album with "Digeridoo" and the Xylem Tube EP.

For his 1995 release ...I Care Because You Do James used an image of his face for the album cover, a motif which would be repeated on many of his later records. The album was a compilation of songs composed between 1990 and 1994, a melange of Aphex Twin musical styles. This was James' last record during the 1990s to emphasise analogue synthesizers. He commissioned Western classical-music composer Philip Glass to create an orchestral version of "Icct Hedral" (a song on this album), which appeared on the Donkey Rhubarb EP.

In November 1995 The Wire published an article, "Advice to Clever Children". During the production of an interview a package of tapes with music from several artists (including Aphex Twin) was sent to Karlheinz Stockhausen, who said:

I heard the piece Aphex Twin of Richard James (sic) carefully: I think it would be very helpful if he listens to my work "Song of the Youth", which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repetitions, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it varied to some extent and if it did not have a direction in its sequence of variations.

James (an admirer of Stockhausen) replied, "I thought he should listen to a couple of tracks of mine: "Digeridoo", then he'd stop making abstract, random patterns you can't dance to".

Richard D. James Album, Come to Daddy and Windowlicker: 1996–1999[edit]

Richard D. James Album, James' fourth studio album as Aphex Twin, was released on Warp Records in 1996. The album includes his personal name (Richard David James) in the title and features use of software synthesizers and unconventional beats. The album garnered high acclaim from music critics, and was named 40th in Pitchfork Media's "Top 100 Albums of the 1990s" list. It was also placed #55 on NME's Top 100 Albums of All Time in 2003.

James garnered attention the following year after the release of the Come to Daddy EP, which was concieved as a death metal parody when he was visiting his house. Accompanied with a music video directed by Chris Cunningham, he became disenfranchised with its success. It was followed by Windowlicker, another critically and commercially successful EP promoted with a music video also directed by Cunningham.

Prepared piano, laptops and DSP: 2000–2003[edit]

In 2001 Aphex Twin released Drukqs, a two-CD album featuring computer-controlled piano (influenced by Erik Satie and John Cage) and abrasive, fast, meticulously-programmed songs. Many track names are written in Cornish—for example, "Jynweythek" ("Machine Music"). Rolling Stone described the piano pieces as "aimlessly pretty". Some reviewers believed that Drukqs was released as a contract-breaker with Warp Records, since James' next major release was on his own Rephlex label. The musician told interviewers he accidentally left an MP3 player with a large number of new songs (labelled "Aphex Twin—unreleased tracks") on a plane, and rushed the album's release to preempt an Internet leak. In 2001 James also released a short EP, 2 Remixes By AFX, with remixes of songs by 808 State and DJ Pierre. It also had an untitled third track, consisting of a SSTV image with high-pitched sounds which can be decoded to a viewable image with appropriate software (such as MultiMode for Macintosh or MMSSTV for Windows).

Synthesizers and drum machines: 2004–present[edit]

In late 2004 James released his Analord series: 11 EPs with a total of 42 tracks (initially averaging two to four tracks per EP). The series was created by playing and sequencing analogue and digital electronic musical equipment such as synthesizers and drum machines, recorded on magnetic tape and then pressed on vinyl.

James was meticulous about the process of recording, mastering and pressing. He has said that Rephlex Records was strict about quality control, trying a number of pressing plants until they were satisfied. James prefers vinyl or tape to digital. However, label co-owner Wilson-Claridge convinced him to release a CD compilation (Chosen Lords) with 10 tracks from the Analord series. James used his collection of vintage synthesizer and drum machines, some of which were rare by that time, on Analord. Some record inserts have photos of rare synthesizers like the Synton Fenix, the notoriously difficult-to-program Roland MC-4 sequencer and the Roland TB-303.

Media specualtion in 2007 suggested that Aphex Twin was recording under a new alias, The Tuss. Although Rephlex Records has denied that Aphex Twin is The Tuss, fans and media have treated The Tuss as another Aphex Twin project; all Tuss tracks are published in the BMI repertoire under "James Richard David".

Twenty more tracks were added in December 2009 to the Analord series (available by download from the Rephlex Records website), and each EP now contains up to nine tracks. In an October 2010 interview with the British magazine Another Man, James said that he had completed six albums (one of which was a remake of the unreleased Melodies from Mars, originally produced around the time of Richard D. James Album). In June 2011, he spoke to the Spanish newspaper El País. When asked about the six albums, James answered: "More than 10 or 11 are already compiled, and many more songs are orphans". He also said that a new album "[would] show in a while" and the reason for the delay since his last album was that he was divorcing his wife. However, no new material has emerged in recent years and there is increasing speculation that there will be no new releases- either due to writer's block or retirement from music making.

On 16 June 2014, the 1994 Caustic Window LP (originally a test pressing, of which at least five copies were made and given to µ-ziq, Cylob and Rephlex co-founder Grant Wilson-Claridge) was released as a digital download to backers of a Kickstarter campaign to buy a copy of the vinyl record from an anonymous seller on Discogs. The purchase of the vinyl and the subsequent vinyl rip was organized by We Are the Music Makers, an online electronic-music forum. The crowdfunding was approved by Rephlex Records and James, with each contributor receiving the right to keep their digital copy of the album. When the campaign finished, the LP was placed for auction on eBay and purchased by Markus Persson, author of the video game Minecraft.

^ O'Connell, John (October 2001). "Untitled". The Face. EMAP. Archived from the original on 15 June 2008. Retrieved 2008-06-14. ^ Stern, Theresa (September 1997). "Interview by Theresa Stern". The Aphex Twin Community. Archived from the original on 2008-04-02. Retrieved 2008-06-14. ^ Stuart Aitken (28 November 2003). "Rephlexology". mad.co.uk. ^ Middleton, Benjamin (October 1992). "~~ rephlex ~~ aphex ~~ drn ~~". ^ Robinson, Dave (April 1993). "The Aphex Effect". Future Music. ^ Murray, Janet (12 June 2007). "College days". The Guardian (London: Guardian Media Group). Archived from the original on 26 June 2008. Retrieved 2008-06-14. ^ Middleton, Benjamin (30 October 1992). "~~ rephlex ~~ aphex ~~ drn ~~". alt.rave. Archived from the original on 14 June 2008. Retrieved 2008-06-14. ^ Turenne, Martin (April 2003). "Aphex Twin - The Contrarian". Exclaim!. Archived from the original on 3 June 2008. Retrieved 2008-06-14. ^ Wilson-Claridge, Grant (30 November 1992). "~~~ The definitive RePHLeX ~~~". alt.rave. Archived from the original on 21 June 2008. Retrieved 2008-06-14. ^ Toop, David (March 1994). "Lost in space". The Face. EMAP. Archived from the original on 2008-06-03. Retrieved 2008-06-14. ^ Bush, John. "Review". Allmusic. All Media Guide. Retrieved 2008-06-14. ^ Blashill, Pat (19 November 2002). "Selected Ambient Works 85-92". Rolling Stone. Wenner Publishing. Archived from the original on 12 June 2008. Retrieved 2008-06-14. ^ Pecoraro, David (20 February 2002). "Selected Ambient Works 85-92". Pitchfork Media. Archived from the original on 20 September 2008. Retrieved 2008-10-19. ^ "Biography". The Rolling Stone Encyclopedia of Rock & Roll. 2001. Archived from the original on 22 June 2008. Retrieved 2008-06-14. ^ Robinson, Dave (April 1993). "The Aphex Effect". Future Music. ^ Hobbs, Mary Anne (6 December 2005). "tracklisting". Mary Anne Hobbs. BBC. Retrieved 2008-06-14. ^ "The Saw II Graphical F.A.Q". The Aphex Twin Community. 2001. Archived from the original on 2008-03-04. Retrieved 2008-06-14. ^ "The Aphex Twin Community / Learn / Interviews & Articles / Eponymous Rex Interview". Aphextwin.nu. Retrieved 2014-02-20. ^ Witts, Dick; Young, Rob (November 1995). "Advice to Clever Children". The Wire 67 (141): 553. doi:10.2175/106143095X135840. Retrieved 2008-06-14. ^ "Top 100 Albums of the 1990s". Retrieved 2009-01-16. ^ "2003 NME 's 100 Best Albums Of All Time". Retrieved 2 March 2013. ^ "Index Magazine". Index Magazine. January 14, 2001. Retrieved October 19, 2011. ^ Blashill, Pat (17 October 2001). "Drukqs". Rolling Stone. Wenner Publishing. Archived from the original on 12 June 2008. Retrieved 2008-06-14. ^ "Synths, drukqs and rock'n'roll". The Sydney Morning Herald (Fairfax Media). 9 January 2004. Archived from the original on 12 June 2008. Retrieved 2008-06-14. ^ Pattison, Louis (26 May 2007). "Dancing in the dark". The Guardian (London: Guardian Media Group). Archived from the original on 18 June 2008. Retrieved 2008-06-14. ^ Phelan, Benjamin (24 July 2007). "Ghost in the Machine". The Village Voice (Village Voice Media). Archived from the original on 8 June 2008. Retrieved 2008-06-14. ^ "BMI's entries for RICHARD DAVID JAMES". Retrieved 25 November 2008. ^ "Aphex Twin Says He's Got Six Albums Completed | News". Pitchfork. 2010-10-29. Retrieved 2014-02-20. ^ "Google Translate". Translate.google.com. Retrieved 2014-02-20. ^ "CAT023 Caustic Window - Own The Legendary Record by RDJ!". Kickstarter. Retrieved 16 June 2014. ^ "APHEX TWIN’S CAUSTIC WINDOW TEST PRESSING BOUGHT BY MINECRAFT CREATOR NOTCH". Factmag. 24 June 2014. Retrieved 30 June 2014. 

Musical style[edit]

In a September 1997 interview with Space Age Bachelor magazine, James said he composed ambient techno music at age 13, had "over 100 hours" of unreleased music and had invented music-composition software consisting of algorithmic processes which automatically generated rhythm and melody. In the interview, he also claimed to have experienced synaesthesia and could incorporate lucid dreaming into his compositions.

James' Rephlex Records, which he co-owns with Grant Wilson-Claridge, coined the word "braindance" in 1991 to describe Aphex Twin's music. According to the label: "Braindance is the genre that encompasses the best elements of all genres, e.g. traditional, classical, electronic music, popular, modern, industrial, ambient, hip-hop, electro, house, techno, breakbeat, hardcore, ragga, garage, drum and bass, etc." In a review of Astrobotnia's Parts 1, 2 & 3 Rephlex release, a Pitchfork Media writer said in 2002:

Breakbeats liberated producers from the impositions of relentless four-to-the-floor stomping, and "braindance" escaped the mind/body binary opposition of electronic music--here was a rhythmically hyper, complex genre that retained its club roots by appending fantastically supple limbs to the listener's fervid imagination.

In 2001, The Guardian described James' musical lineage as Karlheinz Stockhausen, John Cage, Kraftwerk, Brian Eno and May. Acknowledging another influence, James released Music from the BBC Radiophonic Workshop: a compilation of music recorded by the pioneers of the BBC Radiophonic Workshop (including Delia Derbyshire) on Rephlex. Although he has said "I don't really like rock & roll" he appreciates Led Zeppelin (as a source of "great breakbeats") and Pink Floyd (for their psychedelic music).

Intelligent dance music (IDM) is mentioned on the home page of the Intelligent Dance Music (IDM) mailing list (created in August 1993) about the music of Aphex Twin and the Artificial Intelligence Series released by Warp Records. The series features James' recordings as Polygon Window and early productions from artists including Autechre, Black Dog, Ritchie Hawtin's FUSE project and Speedy J. The term spread to the United States and internet message boards. James responded to the IDM term in a 1997 interview:

I just think it's really funny to have terms like that. It's basically saying, "this is intelligent and everything else is stupid." It's really nasty to everyone else's music. (laughs) It makes me laugh, things like that. I don't use names. I just say that I like something or I don't.

—Aphex Twin

In an essay for the UK magazine The Wire published in February 2013 (15 years after James' comment in the 1997 PerfectSoundForever interview), Joe Muggs reflected on the Artificial Intelligence Series in relation to the IDM label:

So, although genre speciation was accelerating even as these albums were being made, and even though they have been seen as representing a separation of non-dancefloor Electronica as a gentrified genre in its own right, the Artificial Intelligence series could equally be seen as an extended attempt to hold on to the rave explosion's all-inclusiveness in opposition to its fragmentation. This stands in direct opposition to the philosophy of Intelligent Dance Music (IDM) which followed, and which tended to consider itself above mere dancefloor music. Post-1994, the idea of ‘listening Techno’ would become lost as IDM, Triphop, chill out and mellower strains of drum ‘n’ bass occupied its place in the ecosystem, while the Artificial Intelligence diaspora would follow wildly different routes ...

In June 2014, electronic-music producer Patrick Gräser (who records as Answer Code Request) quoted James in a feature on the Ransom Note website: "It sounds really arrogant, but my music's my favourite music ever. I prefer it to anyone else's."

^ Anderson, Don (1999). "Aphex Twin: Mad Musician or Investment Banker?". Space Age Bachelor. Retrieved 2011-03-10. ^ Cite error: The named reference pattison was invoked but never defined (see the help page).^ "Rephlex - the Record Label". h4g2. BBC. 28 August 2002. Retrieved 2008-06-14. ^ "The Braindance Coincidence". The Milk Factory. May 2001. Retrieved 2008-06-14. ^ "what is braindance?". rephlex.com. Archived from the original on 2001-03-02. Retrieved 2008-06-14. ^ Cooper, Paul (4 October 2002). "Astrobotnia Parts 1, 2 & 3". Pitchfork Media. Archived from the original on 7 April 2008. Retrieved 2008-04-16. ^ Lester, Paul (5 October 2001). "Tank boy". The Guardian (London). Archived from the original on 29 May 2010. Retrieved 2010-04-25. ^ Sweet, Matthew (17 March 2002). "Queen of the wired frontier". The Observer (London: Guardian Media Group). Retrieved 2008-06-14. ^ Perez, Arturo (16 March 2002). "Interview: Aphex Twin". Kludge Magazine. Archived from the original on 2009-05-01. Retrieved 2008-06-14. ^ Brian R (18 June 2014). "The Intelligent Dance Music Mailing List - Hosted by Hyperreal.org". The Intelligent Dance Music Mailing List. Hyperreal.org. Retrieved 18 June 2014. ^ "Interview by Jason Gross". Perfect Sound Forever. September 1997. Archived from the original on 11 June 2008. Retrieved 2008-06-14. ^ Joe Muggs (February 2013). "The Wire 300: Joe Muggs on Warp’s Artificial Intelligence series". The Wire. The Wire. Retrieved 18 June 2014. ^ "INFLUENCES > ANSWER CODE REQUEST". Ransom Note. The Culture Space LTD. June 2014. Retrieved 18 June 2014. 

Use of James' face[edit]

James' face, grinning or distorted, is a theme of his album covers, music videos and songs. According to him, it began despite techno producers who concealed their identities:

I did it because the thing in techno you weren’t supposed to do was to be recognized and stuff. The sort of unwritten rule was that you can’t put your face on the sleeve. It has to be like a circuit board or something. Therefore I put my face on the sleeve. That’s why I originally did it. But then I got carried away.

—Aphex Twin

The cover of ...I Care Because You Do features a painting of James, and that of Richard D. James Album has a close-up photograph. His face is superimposed on the bodies of other people in the music videos for "Come to Daddy" and "Windowlicker". Near the end of the second track of the "Windowlicker" single (known as "Equation"), a photo of James' face is a steganogram which is revealed as a spectrogram. Another image of James and collaborator Tom Jenkinson is embedded (in SSTV format) with text in the third track of 2 Remixes by AFX, "Bonus High Frequency Sounds". He has used his own photography for some releases, including the album sleeve for Selected Ambient Works Volume II.

^ "Aphex Twin Interview By Heiko Hoffmann". Retrieved 2013-05-22.  Cite uses deprecated parameters (help)^ "The Aphex Face". bastwood.com. Archived from the original on 17 June 2008. Retrieved 2008-06-14. 

Pseudonyms[edit]

James has recorded as Blue Calx, Bradley Strider, Brian Tregaskin, Caustic Window, The, Smojphace, GAK, Karen Tregaskin, Patrick Tregaskin, Martin Tressider, PBoD, Polygon Window, Power-Pill, Q-Chastic, Dice Man, The Tuss and Soit-P.P.

^ "Richard D. James". Richard D. James on Discogs. Discogs. 2014. Retrieved 18 June 2014. 

Influence and legacy[edit]

The London Sinfonietta has performed arrangements of Aphex Twin songs. In 2005 Alarm Will Sound released Acoustica: Alarm Will Sound Performs Aphex Twin, acoustic arrangements of James' electronic tracks. Although he has influenced Radiohead, he does not wish to tour with them: "I wouldn't play with them since I don't like them."

However, James premièred new music with Radiohead guitarist-composer Jonny Greenwood in a 2011 collaboration with Polish composer Krzysztof Penderecki. Animator David Firth has much of his work soundtracked by Aphex Twin.

Thomas Bangalter of Daft Punk has cited Aphex Twin (particularly "Windowlicker") as an influence. Former Red Hot Chili Peppers guitarist John Frusciante said that Aphex Twin is "the best thing since sliced bread", and his Outsides EP and PBX Funicular Intaglio Zone are examples of James' influence.

In June 2014, Patrick Gräser (Answer Code Request) called James "one producer who always inspires" him in the "Influences" section of the Ransom Note website. Gräser used the Aphex Twin song "Analogue Bubblebath 1" to exemplify James' influence: "I guess being obsessed with your own music is what makes him that brilliant."

In June 2014, Wes Borland of Limp Bizkit stated "Cliffs" off of Selected Ambient Works II is the song he would listen to for the rest of his life - if he had to pick one.

^ Llewellyn, Kati; Solarski, Matthew (13 September 2006). "London Sinfonietta Tackles Aphex Twin, Squarepusher". Pitchfork Media. Archived from the original on 21 June 2008. Retrieved 2008-06-14. ^ Tranter, Rhys (17 June 2003). "Everything in its Right Place...". Collective. BBC. Retrieved 2008-06-14. ^ Cite error: The named reference Perez was invoked but never defined (see the help page).^ Robbins, Winston (11 September 2011). "Video: Jonny Greenwood, Aphex Twin perform alongside Krzysztof Penderecki". Consequence of Sound. Retrieved 2011-09-12. ^ "Re: Salad Fingers". Semantikon.com. Retrieved 2014-02-20. ^ "Daft Punk: Voyage of Discovery". MTV Networks. Retrieved 12 April 2014. "MTV: Were there any specific events or records that affected the shift in styles between albums? Bangalter: The only one that I can really see is "Windowlicker" [the 1999 single] by Aphex Twin. We asked ourselves what would be the meaning of the music we were doing: Could electronic music, outside of a club, be the soundtrack of our lives? "Windowlicker" was a real shock for us because it was neither a purely club track at one extreme of the electronic-music spectrum, nor just a very chilled-out downtempo relaxation track at the other end. Right now the two categories in electronic music are this downtempo music and DJ/club music, and we found that there is a middle that could have a very strong emotional dimension and that was instantly accessible to our ears and very experimental at the same time." ^ Cite error: The named reference Pat was invoked but never defined (see the help page).^ https://www.youtube.com/watch?v=YZkC8RdgGT0

Personal life[edit]

James described himself in a Guardian interview: "I'm just some irritating, lying, ginger kid from Cornwall who should have been locked up in some youth detention centre. I just managed to escape and blag it into music." He lives in southeast London, in a converted bank which was formerly the Bank of Cyprus and HSBC. James does not own the silver structure in the centre of the roundabout at Elephant and Castle (the Michael Faraday Memorial, which contains a power transformer for the Northern Line), although he jokingly said in a 2001 interview with The Face that he was buying it. He is known for untruths, including a claim that he sleeps only two or three hours a night.

^ Cite error: The named reference lester was invoked but never defined (see the help page).^ Cite error: The named reference oconnell was invoked but never defined (see the help page).^ Reynolds, Simon (1998). Generation Ecstasy. Little, Brown and Company. pp. 186, 189. ISBN 0-316-74111-6. 

Equipment[edit]

^ Dave Robinson (April 1993). "The Aphex Effect". Future Music. ^ "Aphex... At Last!". Future Music. 2006. ^ "Music Thing: Aphex Twin sleevenotes, scrawled on a vintage synth". Musicthing.blogspot.com. 2007-07-16. Retrieved 2014-02-20. ^ Dartmouth Symposium on the Future of Computer Music Software: A Panel Discussion, Computer Music Journal (2002) Vol. 26, No. 4, Pages 13-30 doi:10.1162/014892602320991347
more »more »

eMusic Features

0

Who Is…Leila?

By Andrew Perry, Contributor

Leila registered a blip on the electronic-music radar in the late '90s, after associations with musical heroes Björk and Aphex Twin saw her debut record on Aphex's Rephlex label, Like Weather, earn a warm reception for its lush, slo-mo textures. A second album, 2000's Courtesy of Choice, spread her name a little wider. Some critics said she was trip-hop; Ms Arab vehemently disagreed. But even without a cosy niche, her future looked rosy. All that was… more »

0

Why Dance Music is Bigger than Ever

By Michelangelo Matos, Contributor

In 2010, the unthinkable occurred. I was 35, and I had never been so excited about electronic dance music. That's not usually how it works - dance music's turnover rate often leads to early burnout even among diehards, and particularly among diehards over 30. But throughout the past half-decade, dance music has been both cutting-edge and conscious of its own legacy; an irresistible combination for anyone who wants to have a good time first and… more »