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Aphex Twin


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Richard D. James mieux connu sous le nom d’Aphex Twin est un compositeur britannique de musique électronique. Auteur de différents titres acid ou electronica, il est surtout connu comme l’un des pionniers de l’ambient et de la musique électronique expérimentale, notamment sur les labels Warp et Rephlex (dont il est le co-fondateur). Alternant rythmiques complexes, rapides et déstructurées et boucles d’ambient épurées, la musique de Richard ne sonne jamais deux fois de la même façon.
Personnage discret, Aphex Twin utilise différents pseudonymes, se produit rarement en concert et ne donne que peu d’entretiens aux médias.

Ce bidouilleur de sons est né à Limerick, en Irlande, le 18 août 1971, et a passé son enfance en Cornouailles. Il est généralement considéré comme un des artistes majeurs de la scène techno, et comme ayant eu une influence notable sur les styles drum and bass, acid house, ambient et electronica.

Sa musique et son parcours musical

Selected Ambient Works 85-92 marque un tournant dans la carrière de Richard D. James. Salué par la critique, le disque va sortir Richard des sphères de la techno brute pour le tirer vers le sublime. Il signe alors avec Warp Records et se transforme en Polygon Window pour la sortie de (Surfing On The Sine Waves) en 1993. Il signe chez Sire Records (USA) la même année et sort en 1994, Selected Ambient Works Volume II que le New York Times qualifiera de musique classique pour le prochain millénaire.

En 1995, Richard atteint le statut de numéro un indépendant en Angleterre avec le disque …I Care Because You Do, et qui sera sa première sortie aux États-Unis. Beats déchiquetés couplés à des mélodies vérolées qui s’étendent jusqu’à une orchestration pure.


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  • scomatsho

    I think we will have to agree to disagree on this one....

    il y a 1 minute Répondre
  • optimistic_tour

    There's a tactile feeling in this recording that he was just touching in 2001 with Drukqs. Nothing before it had that approach to sound. I'm talking about how the music actually sounds, not the structures that underpine it. By that "1998" logic, every rock band sounds like 1962. They're using guitars and drums after all!

    Il y a 28 minutes Répondre
  • scomatsho

    I don't agree. There is nothing in Syro that he couldn't have produced in 1998. Complex beats? Hangable Auto Bulb 1995. Ambient? Been doing that since he started in 80s. Funky acid? Come to Daddy EP 1997. All the synths on Syro sound like they are that old or even older. Amen break is old. Composition experimentation seems similar Richard D James LP era 1996. So whilst i don't agree Syro is just average I also don't hear anything in there I didn't hear in 1990s from him. Ironically only thing he perhaps couldn't have done in late 90s was access so many retro synths or real pianos because he probably wasn't as rich then! Not that there is anything wrong with sounding like your former self as long as the quality is there, which it is.

    Il y a 40 minutes Répondre
  • optimistic_tour

    I think we can all just agree: Syro doesn't sound like it was released in 1998. That's a profoundly reductive and stupid thing to say.

    il y a 3 heures Répondre
  • GoatUser

    Shit, sorry - I've been confusing one thing with another this whole time, I'm so tired. I'll refrain from commenting anymore on the matter - Nevertheless, Afx did not started delving deeply into Acid until his Analord series, 'till then he was mostly toying with it. Analord was released in 2005, and Syro was made roughly around that time. So it sounds like something from those days - That, is essentially the bulk of what I was attempting to say.

    il y a 3 heures Répondre
  • scomatsho

    Acid started in the 80s when the 303 came out. It was very popular in 90s dance music and the sound was part of rave culture when everyone took E and wore smiley t-shirts and danced in fields around the London orbital motorway. The acid sound was all over the pop charts. Not sure where you are getting your info from? lol.

    il y a 4 heures Répondre
  • GoatUser

    Oh, and speaking of a more "Alien" sound - I wouldn't worry. According to himself in a Pitchfork interview, Syro is the last release of its type; By this point he has no desire to release anything else like it because he has nothing else to explore. He says from here on he'll start exploring more "noisy, weird, atonal stuff" which should be interesting, especially because artists like Autechre have already throughly explored areas like that repeatedly through their careers while he was absent, so whether or not he'll trote along on the back or he'll put a new, unique spin on that type of thing has me very curious (and excited) for his future. I guess in a way it will depend on how aware he is of the electronic landscape - He shapeshifted repeatedly in the past, but while he was away it has moved to other territories.

    il y a 4 heures Répondre
  • llllII

    New album strictly have Aphex touch, love it.

    il y a 6 heures Répondre
  • BLiZZARD___

    Please like my facebooksite: https://www.facebook.com/AlexAndTheAudience

    il y a 7 heures Répondre
  • optimistic_tour

    Yeah he sounds just like Kanye

    il y a 11 heures Répondre
  • GaaraGOinMusic1

    you are getting mainstream, Richard

    il y a 12 heures Répondre
  • obassista

    Off the charts. Couldn't get me in any better moment. I don't think it deserves all the hype though... It's just good. I can't stop listening to it though.

    Hier 01h19m Répondre
  • scomatsho

    I think Syro could have existed in the late nineties. Sounds like a mixture of AFX, Luke Vibert's funk, a bit of Drexciya, bit of jungle. Most of the synths sound analogue and retro. The drum programming isn't even as complex as he was doing back then with shitter software. I like Syro but I'd never call it cutting edge, even for 1998 really. But when you have such a amazing grasp on sound and creativity like he does that doesn't matter. Not everything has to be futuristic to be good. But I hope he puts out something more alien in the future.

    Hier 23h04m Répondre
  • scomatsho

    Also drill and bass was used commonly as a term in the late 90s, even NME used the term. Lunatic Harness / Feed Me Weird Things / Plug etc. If anything the late nineties was the golden age of Warp, they hit the big time for an underground music label and expanded from modest roots in Sheffield. Chris Cunningham's videos helped to propel Aphex and Squarepusher to a much wider audience. It was hardly underground at that point. Then all the indie kids jumped on the bandwagon when Radiohead and NIN started to namedrop Aphex Twin, that was right at the end of the 90s. Even Madonna was namedropping him. Little history lesson, lol.

    Hier 22h29m Répondre
  • scomatsho

    v i agree with you but acid and jungle were very much of the 90s

    Hier 22h09m Répondre
  • GoatUser

    "Could have been a great album in ... 1998" Even though it doesn't really sound like anything from the 90's much at all? It's very acidy and with drill and bass, and neither one of those practices were popular during the 90's. It just sounds like Analord series/The Tuss material to me - Which makes sense since most of the tracks were made around the time both of those things came out.

    Hier 22h01m Répondre
  • Tonari_No_Satan

    Instant eargasm to the japanese bonus track! *_*)

    Hier 21h07m Répondre
  • optimistic_tour

    couldn't have existed in 1998.

    Hier 21h01m Répondre
  • thefriendlydude

    Music is terrible. This isnt music. This is pretty good

    Hier 20h02m Répondre
  • Janekman

    he is with us again !!!!

    Hier 19h01m Répondre
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