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.
1994 - Live At Hallam University EP
Who says there's no good American drum and bass? We (a trio consisting of the eminent DJs Once 11, Olive and Loop) have changed all that. Now even the snobbiest hardcore, hardstep Anglocentric junglists have no excuse but to give the American drum scene its due: just about everything on We's second album gives the best of the U.K. crew a run for their money. Granted, Square Root of Minus One starts out weak, with the shapeless, beatless and tuneless drone of "Birimbau," but things pick up immediately with the frenetic breakbeats and kid vocal samples of "Diablos" and they basically never let up. Thrill to the slow and smoky "Caya's Kids," with its dubwise effects, to the cool ethnic percussion and backward bass on "You Gone?," and to the eerie electric piano and reggae-fied beat of "Hielo." Marvel almost as much to most everything else, too. Excellent.
