Aphex Twin
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| Aphex Twin | |
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 Aphex Twin DJing, December 2007.
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| Background information | |
| Birth name | Richard David James |
| Also known as | AFX, Blue Calx, Bradley Strider, Caustic Window, DJ Smojphace, GAK, Martin Tressider, Polygon Window, Power-Pill, Prichard D. Jams, Q-Chastic, Tahnaiya Russell, The Dice Man, Soit P.P., and recent rumors of being The Tuss |
| Born | August 18, 1971 Limerick, Ireland |
| Origin | Lanner, Cornwall, England |
| Genre(s) | Electronic music |
| Occupation(s) | Disc jockey, musician, songwriter, remixer, businessman |
| Instrument(s) | Synthesizer, electronics, laptop, Softsynth, drum machine, computer, sampler, piano |
| Years active | 1985–present |
| Label(s) | Rephlex Records, Warp Records, R&S Records, Sire Records, Mighty Force, Rabbit City |
| Associated acts | Universal Indicator, Mike & Rich |
Richard David James (born 18 August 1971), better known by his moniker Aphex Twin, is an electronic musician who has been described as "the most inventive and influential figure in contemporary electronic music".[1] He founded the electronic record label Rephlex Records in 1991 with friend Grant Wilson-Claridge. Aphex Twin is known for covering many different styles and subgenres of electronic music, often times having a different theme with each release.
Contents |
[edit] History
[edit] Early years
Richard David James was born to Welsh parents Lorna and Derek James in St. Munchins Limerick Regional Maternity Hospital, Ireland. James grew up in Lanner, Cornwall, United Kingdom; he enjoyed (along with two older sisters) a "very happy" childhood during which they, according to James, "were pretty much left to do what [they] wanted".[2] He "liked growing up there, being cut off from the city and the rest of the world".[3] James attended Redruth School, located in Redruth, Cornwall.[4]
According to musician Benjamin Middleton, James started producing music at the age of 12. As a teenager he was a disc jockey at Shire Horse in St. Ives, with Tom Middleton at the Bowgie Inn in Crantock, and also along the numerous beaches around Cornwall. From ages 16 to 18 James studied for a National Diploma in Engineering and from 1988 to 1990 at Cornwall College. When talking about his studies James has said that "music and electronics went hand in hand".[5] James passed college although he, according to an engineering lecturer, quite often would have his headphones on during practical lessons, "no doubt thinking through the mixes he'd be working on later".[6]
[edit] Early career: early 1990s
In 1989 James met and befriended Grant Wilson-Claridge when working as a DJ on alternate weeks at the Bowgie pub, near Newquay in Cornwall. Wilson-Claridge was intrigued by James' sets and was surprised to discover that James was playing tapes of his own music.
James' first release was the 12-inch EP Analogue Bubblebath on Mighty Force Records in 1991. It was first released under the moniker of Aphex Twin, later changed to AFX. The track "En Trance to Exit" was made in collaboration with Tom Middleton, also known as Schizophrenia.[7] The EP got on the playlist of Kiss FM, an influential London radio station, which helped the release to become a success.[8]
In 1991 James founded Rephlex Records with Wilson-Claridge 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".[9]
Between 1991 and 1993, James released two Analogue Bubblebath EPs as AFX, and an EP under Bradley Strider, Bradley's Beat. James moved to London to take an electronics course at Kingston Polytechnic, but at the time admitted to David Toop that his "electronics studies were already slipping away as a career and the techno business took precedence". After quitting his course, James remained in London and released a number of albums and EPs on Warp Records and other labels under many aliases including AFX, Polygon Window and Power-Pill. A number of James' tracks (released under the aliases Blue Calx, The Dice Man, and others) appeared on various compilations. Local legend has it that James lived on the roundabout in Elephant and Castle, South London during his early years in the capital.[10][2]
[edit] Gaining success: 1992–1995
The first full-length Aphex Twin album, Selected Ambient Works 85-92, was released in 1992 on R&S Records. Despite the name, the genre of the album could best be described as downtempo rather than ambient, as it is very beat oriented. It recieved high ratings and praise from critics, John Bush of Allmusic described it as a "watershed of ambient music".[11] Rolling Stone wrote of the album: "Aphex Twin expanded way beyond the ambient music of Brian Eno by fusing lush soundscapes with oceanic beats and bass lines."[12] Pitchfork's review quotes: "among the most interesting music ever created with a keyboard and a computer."[13] Critics also noted that the songs were recorded on cassette and that the sound quality was "relatively poor".[12] In 1992, he also released the EPs Xylem Tube EP and Digeridoo (first played by DJ Colin Faver on London's Kiss FM) as Aphex Twin, as Power-Pill the Pac-Man EP based on the arcade game Pac-Man, and two of his four Caustic Window EPs. The song "Digeridoo" reached #55 on the UK charts, and was later described as foreshadowing drum and bass by Rolling Stone.[14] "Digeridoo" was recorded initially for the benefit of FIZZ-BOMB (at the Shire Horse, St Ives, Cornwall). These early releases came out on Rephlex Records, Mighty Force of Exeter, and R&S Records of Belgium.[15]
In 1993, James released the third installment of his Analogue Bubblebath, Analogue Bubblebath 3. He also released a single entitled "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" under the alias Polygon Window.
Warp Records pressed and released a follow-up to Selected Ambient Works 85-92, Selected Ambient Works Volume II in 1994. The sound was much less beat and melody driven than the previous volume. All of 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, with exception for one song which was definitely named "Blue Calx". To decipher song titles, listeners had to pair each numbered symbol with the correct image (for example, the first title, which is often labeled "cliffs", is realized by pairing the first symbol with the first image, which is that of a rocky cliffside).[16] James claimed in The Wire magazine and other media that these songs were inspired by lucid dreams and synesthesia. Other releases are a fourth Analogue Bubblebath, GAK, derived from early demos sent to Warp Records, and Classics, a compilation album that includes "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 that would continue on many of his later records. The album was a compilation of songs composed between 1990 and 1994, and represented a mish-mash of Aphex Twin's various music styles. This was James' last record of the 1990s to use mostly analogue synthesizers. He collaborated with minimalist composer Philip Glass to make an orchestral version of one of the songs from this album, Icct Hedral, which appeared on the Donkey Rhubarb EP.
[edit] Jungle, DSP, and laptops: 1995–1999
In 1995 (primarily with Hangable Auto Bulb, a near anagram of Analogue Bubblebath), he began releasing more material composed on computers, combining a jungle sound with nostalgic childhood themes and computer-generated acid lines.
James' early adoption of software synthesizers predated the later popularity of using computers to make music. In late 1990s, his music became more popular and mainstream, as he released the Richard D. James Album (which included the previously released Girl/Boy EP in its US release), and Expert Knob Twiddlers (a collaboration with fellow dance producer µ-ziq) in 1996, "Come to Daddy" in 1997 (#36 on UK charts) and "Windowlicker" in 1998 (#16 on UK charts), two pop songs which heavily use digital signal processing/DSP techniques, both of which were shown on MTV and became cover features for music magazines such as NME. The videos for both singles were directed by British artist Chris Cunningham and caused controversy on release due to disturbing images and themes.
[edit] Prepared piano, laptops, and more DSP: 2000–2003
In 2001 Aphex Twin released his most personal album yet, drukqs, a two-CD album which featured prepared piano songs influenced by Erik Satie and John Cage. Many of the tracks' names are written in the Cornish language (e.g., 'jynweythek' translatable as 'machinemusic'). Also included were abrasive, fast, and meticulously programmed computer-made songs. Rolling Stone described the piano songs as "aimlessly pretty".[17] Some reviewers concluded that drukqs was released as a contract breaker with Warp Records — a credible guess, as James' next big release came out on his own Rephlex label. Richard claimed to interviewers he had left almost all the album's tracks on an MP3 player that he accidentally left on a plane with "Aphex Twin — unreleased tracks" written on it, and rushed its release to preempt an Internet leak.[18] He also released a short EP titled 2 Remixes By AFX the same year as Drukqs (in 2001) under his moniker AFX. It featured two remixes, the originals being from 808 State and DJ Pierre. In addition, there is one untitled third track which consists mostly of high-pitched sounds.
[edit] Synthesizers and drum machines: 2004–2008
In late 2004, rumours of James' return to an acid techno-based sound were realised with the Analord series. Analord is an 11 part series of LPs with 42 total tracks, averaging 2-4 tracks per LP. The series was created by playing and sequencing analogue and digital electronic music equipment such as synthesizers and drum machines, which is notable to differ from some of his previous albums, which were made entirely by computers, or software synthesizers. The series was written and recorded on magnetic tape and then later pressed to vinyl.
James was meticulous about the whole process of recording, mastering and pressing. James has said Rephlex Records were strict on quality control, trying out various pressing plant companies until they felt it sounded perfect. To James' ears vinyl or tape is better than digital, as no two copies are the same. However, label co-owner Grant Wilson-Claridge convinced James to release a digital CD, Chosen Lords, which included 10 selected songs from the Analord series, with some tracks slightly altered to improve the flow of the album. For the Analord records, James used his collection of Roland drum machines, bought when they were still at bargain prices. He also used synthesizers of his generation, the Synton Fenix, and the notoriously difficult to program Roland MC-4 sequencer (a sequencer with a reputation for excellent timing), as well as the famous Roland TB-303 for his trademark acid melodies.
Recently, rumors in the media suggest Aphex Twin is now recording under The Tuss. It is unknown if The Tuss is actually Aphex Twin.[19][20]
[edit] Background details
[edit] The Aphex Twin name
The name Aphex Twin is derived from Aphex Systems Limited, a brand of audio signal processing equipment. It is used with permission, as was recognized on the back sleeve of his Richard D. James and drukqs albums. He has explained in interviews that the Twin is in memory of his older brother, also named Richard James, who died at birth.
[edit] Artwork
James has done his own photography for some of his releases' artwork. Some artwork shows James' own face, grinning or slightly distorted in some way, as it can be seen in some of his video clips ("Come to Daddy", for example). Towards the end of the second track on the "Windowlicker" single (commonly referred to as "Equation") a photo of James' face is revealed when run through spectral analysis.[21] The picture illustrates his famous toothy, evil grin (with a spiral also visible at the end of "Windowlicker"). In addition to this, the cover of "Two Remixes by AFX" is actually contained only on the CD, encoded in SSTV format.
[edit] Influences
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This section needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (October 2008) |
At age 17, Richard D. James mentioned these influences: "Phonic Boy, Computer World, Mental Telepathy, Industrial Inc, Tomita, Tangerine Dream". Mixmaster Morris mentions on the "I Luv AFX" BBC Radio 1 Breezeblock session that James' preferred moniker while working as a DJ in Cornwall was Phonic Boy on Dope. More recently, he has said that he gets inspiration from "everyday sounds that can be emulated/reconstructed electronically, quality techno, especially from Europe which overshadows the current hardcore pop crap". When asked about what is next for electronic music, he said "acid-techno, ambient-techno". Avante Garde music has been an influence on James, including artists such as Brian Eno, Kraftwerk, Can, Neu!, Tangerine Dream, Conrad Schnitzler, Tod Dockstader, Xenakis, Piero Umiliani, Bernard Parmegiani, Stockhausen [22], John Cage, and the French composer Erik Satie for his piano works and his ideas for furniture music.
The BBC Radiophonic Workshop influenced Aphex Twin, and he released a compilation of music recorded by the pioneers of that studio, for example Delia Derbyshire,[23] called Music from the BBC Radiophonic Workshop on his own Rephlex Records label.
Many songs include sounds from and references to the ZX Spectrum. For instance, "Carn Marth" from the Richard D. James Album includes the tape loading noise of the game Sabre Wulf.
[edit] Influence on others
American fans of Aphex Twin made an Internet discussion list in August 1993 to talk about Aphex Twin and Warp Records, called the Intelligent Dance Music List. From then on, Internet fans, mostly Americans, have called Aphex Twin "intelligent dance music" and used "drill and bass" to describe James' novel approach to drum and bass. In the UK, Aphex Twin's music is normally referred to as electronic music due to Aphex Twin's influence coming from electronic musicians such as Parmegiani and his study of electronics in technical college. The official genre name from Rephlex Records is Braindance. Aphex Twin refers to his own breakbeat tracks as breakbeat, jungle, or drum and bass interchangeably.[24]
Perfect Sound Forever: Another term that's been used to describe your work is 'intelligent dance music.'
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, [25]
Advice from Aphex Twin
Future Music: What pisses you off about the current music scene?
Aphex Twin: Too many sheep and not enough shepherds. Let's all sit back and have a long hard think, then make something different! We can all do it, surely?[26]
The London Sinfonietta has performed arrangements of Aphex Twin.[27] In 2005, the orchestra Alarm Will Sound released Acoustica: Alarm Will Sound Performs Aphex Twin. The album consists of acoustic arrangements of some of James' electronic tracks. Aphex Twin has said, "I don't really like rock & roll." Despite this, he has had an influence on rock bands like Radiohead.[28] However, he has dismissed the idea of going on tour with them: "I wouldn't play with them since I don't like them."[29]
[edit] Braindance
Richard's own Rephlex Records label, which he co-owns with Grant Wilson-Claridge, coined the term "Braindance" in 1991 to describe Aphex Twin's otherwise uncategorisable music.[30][31][19] Rephlex Records' official definition of Aphex Twin and his followers' music is quoted as follows: "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."[32]
"Braindance" applies to "forward-thinking" electronic music that can appeal to the mind as well as the desire to dance and party. Examples including Ed-DMX's Breakin' records label, µ-ziq's Planet-mu label, the Aphex Twin EP Come to Daddy and Astrobotnia Parts 1, 2 & 3.[33]
[edit] Aphex Twin's press
James described himself in The Guardian as follows: "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."[1]
James said he composed ambient techno music at the age of 13; he has "over 100 hours" of unreleased music; he made his own software to compose with, including algorithmic processes which automatically generate beats and melodies; he experiences synesthesia; and he is able to incorporate lucid dreaming into the process of making music.[34]
Rumours suggest James owns a 1950s armoured scout car, the Daimler Ferret Mark 3, and a submarine bought from Russia. He lives in southeast London in a converted bank, which was formerly the Bank of Cyprus and then HSBC. Contrary to popular opinion, however, he does not own the silver structure in the centre of the roundabout at Elephant and Castle. This is, in fact, the Michael Faraday Memorial, containing a power transformer for the Northern Line, which James jokingly claimed to be buying in an interview with The Face magazine in 2001.[2] He was called by some "a child prodigy" and has been raised to a mythical status with these and other types of stories, including that he nearly precluded John Cage with his youthful experimentation using a piano in his own tunings or plucking the strings instead. Some of these rumors are hard to confirm as he has been known to spread mistruths in the prankster tradition, making such claims as only sleeping two to three hours a night.[35]
[edit] Stockhausen vs. The Technocrats
In the November 1995, The Wire published an article titled "Advice to Clever Children." In the process of producing the interview, a package of tapes containing music from several artists, including Aphex Twin, was sent to Karlheinz Stockhausen.
He commented:
| “ | I heard the piece Aphex Twin of Richard James 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 were varied to some extent and if it did not have a direction in its sequence of variations.[36] | ” |
Aphex Twin responded: "I thought he should listen to a couple of tracks of mine: 'Didgeridoo,' then he'd stop making abstract, random patterns you can't dance to".[36]
[edit] ZX81 Competition
Richard claims to have produced sound on a Sinclair ZX81 (a machine with no sound hardware) at the age of 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.[2]
By displaying patterns that induced excessive sidebands in the video signal, the lower sideband was forced to spill over into the audio portion of the TV signal's spectrum. While the ZX81 was designed to filter the lower sideband of the video signal out, its simple circuitry did not remove all of it, and James' software was able to overcome the filtering.
[edit] Discography
[edit] References
- ^ a b Lester, Paul (2001-10-05). "Tank boy", The Guardian, Guardian Media Group. Retrieved on 2008-06-14.
- ^ a b c d O'Connell, John (October 2001). "Untitled". The Face. EMAP. Retrieved on 2008-06-14.
- ^ Stern, Theresa (September 1997). "Interview by Theresa Stern". The Aphex Twin Community. Retrieved on 2008-06-14.
- ^ "Rephlexology". mad.co.uk (2003-11-28). Retrieved on 2008-06-14.
- ^ Robinson, Dave (April 1993). "The Aphex Effect". Future Music.
- ^ Murray, Janet (2007-06-12). "College days", The Guardian, Guardian Media Group. Retrieved on 2008-06-14.
- ^ Middleton, Benjamin (1992-10-30). "~~ rephlex ~~ aphex ~~ drn ~~". alt.rave. Retrieved on 2008-06-14.
- ^ Turenne, Martin (April 2003). "Aphex Twin - The Contrarian". Exclaim!. Retrieved on 2008-06-14.
- ^ Wilson-Claridge, Grant (1992-11-30). "~~~ The definitive RePHLeX ~~~". alt.rave. Retrieved on 2008-06-14.
- ^ Toop, David (March 1994). "Lost in space". The Face. EMAP. Retrieved on 2008-06-14.
- ^ Bush, John. "Review". Allmusic. All Media Guide. Retrieved on 2008-06-14.
- ^ a b Blashill, Pat (2002-11-19). "Selected Ambient Works 85-92". Rolling Stone. Wenner Publishing. Retrieved on 2008-06-14.
- ^ Pecoraro, David (2002-02-20). "Selected Ambient Works 85-92". Pitchfork. Retrieved on 2008-10-19.
- ^ "Biography". The Rolling Stone Encyclopedia of Rock & Roll (2001). Retrieved on 2008-06-14.
- ^ Hobbs, Mary Anne (2005-12-06). "tracklisting". Mary Anne Hobbs. BBC. Retrieved on 2008-06-14.
- ^ "The Saw II Graphical F.A.Q". The Aphex Twin Community (2001). Retrieved on 2008-06-14.
- ^ Blashill, Pat (2001-10-17). "Drukqs". Rolling Stone. Wenner Publishing. Retrieved on 2008-06-14.
- ^ "Synths, drukqs and rock'n'roll", The Sydney Morning Herald, Fairfax Media (2004-01-09). Retrieved on 2008-06-14.
- ^ a b Pattison, Louis (2007-05-26). "Dancing in the dark", The Guardian, Guardian Media Group. Retrieved on 2008-06-14.
- ^ Phelan, Benjamin (2007-07-24). "Ghost in the Machine", The Village Voice, Village Voice Media. Retrieved on 2008-06-14.
- ^ "The Aphex Face". bastwood.com. Retrieved on 2008-06-14.
- ^ http://www.guardian.co.uk/culture/2001/oct/05/artsfeatures3
- ^ Sweet, Matthew (2002-03-17). "Queen of the wired frontier", The Observer, Guardian Media Group. Retrieved on 2008-06-14.
- ^ "Drill'n'bass". Allmusic. All Media Guide. Retrieved on 2008-06-14.
- ^ "Interview by Jason Gross". Perfect Sound Forever (September 1997). Retrieved on 2008-06-14.
- ^ Future Music Future Music 2006
- ^ Llewellyn, Kati; Solarski, Matthew (2006-09-13). "London Sinfonietta Tackles Aphex Twin, Squarepusher". Pitchfork Media. Retrieved on 2008-06-14.
- ^ Tranter, Rhys (2003-06-17). "Everything in its Right Place...". Collective. BBC. Retrieved on 2008-06-14.
- ^ Perez, Arturo (2002-03-16). "Interview: Aphex Twin". Kludge Magazine. Retrieved on 2008-06-14.
- ^ "Rephlex - the Record Label". h2g2. BBC (2002-08-28). Retrieved on 2008-06-14.
- ^ "The Braindance Coincidence". The Milk Factory (May 2001). Retrieved on 2008-06-14.
- ^ "what is braindance?". rephlex.com. Retrieved on 2008-06-14.
- ^ Cooper, Paul (2002-10-04). "Astrobotnia Parts 1, 2 & 3". Pitchfork Media. Retrieved on 2008-04-16.
- ^ Anderson, Don (1999). "Aphex Twin : Mad Musician or Investment Banker?". Space Age Bachelor. Retrieved on 2008-06-14.
- ^ Reynolds, Simon (1998). Generation Ecstasy. Little, Brown and Company, pp. 186, 189. ISBN 0316741116.
- ^ a b Witts, Dick; Young, Rob (November 1995). "Advice to Clever Children". The Wire 67 (141): 553. doi:. Retrieved on 2008-06-14.
[edit] External links
- Aphex Twin links at Open Directory Project.
- Aphex Twin discography at Discogs.
- Aphex Twin discography at xltronic.com.
- Aphex Twin discography at MusicBrainz.
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