APHEX TWIN - "SYRO"

[The Boss]

Whichever way you paint it, this was always going to be a big deal.

Any APHEX TWIN has never required more than one, instant, listen for me to just go "AHHHHHHHHHHHHHHHHHHHHHH" - in much the same way a non-opiate user would experience an opiate hit.

But "SYRO" . . . I don't know. Repeated listens are necessary? Or has he finally run out of ideas?

As far as my exposure to real electronica goes, I run the Hyperdub label pretty hard, and whatever gems you people cough up here. But I've been a huge APHEX TWIN fan for a while, because it's fucking APHEX TWIN.

I'm feeling a little deflated. But willing to give it some serious commitment. At the moment, however, I'm not confident my commitment will pay off.

Thoughts?

[not tyson]

I going to ostracize myself here, I never got Richard D. James.

I remember purchasing Selected Ambient Works as a teenager, playing it in my mates car, got about ten minutes in, ejected it and threw it out the passenger side window.

He made some great film clips though.

I always preferred Squarepusher.



¯\_(ツ)_/¯

[not tyson]

8.7


It’s 2014 and there is a new Aphex Twin album, which means the most conspicuous musical drought this side of My Bloody Valentine has ended. Syro, unlike the Caustic Window LP released earlier this year, is not a collection of material cut during Richard James’ prolific 1990s heyday and shelved. It’s a new album of new music recorded in the last few years, and it’s said to be the first of more to come. Unlike MBV, it’s not that James went away entirely—in 2005, he released a series of Analord 12" EPs as AFX, and there were a couple of low-key EPs as the Tuss. But with many-monikered electronic musicians, branding is everything: it’s not an Aphex Twin release unless it’s presented as an Aphex Twin release.

Syro is an unusual album to contemplate because its overall approach is not particularly unusual. Older fans of electronic music who followed along with James’ shape-shifting in the 1990s may need to adjust their expectations slightly. On the evidence here, he has no interest in re-inventing his sound. Syro has few extremes, no hyper-intense splatter-breaks or satanic “Come to Daddy” vocals or rushes of noise. On the other end of the spectrum, Syro doesn’t cast James in a quasi-classical light; there's no “serious composer” tracks like “4” or “Girl/Boy Song” that beg to be arranged for string quartet. And there are no “Windowlicker”-like nods to pop, no attempts to smuggle some truly weird music onto the charts.

Without all that, what’s left? Sixty-five minutes of highly melodic, superbly arranged, precisely mixed, texturally varied electronic music that sounds like it could have come from no other artist. James throughout the ’90s was an influence sponge; part of his genius was how he took ideas and ran them through his highly idiosyncratic filter. The bizarro highlights came when he put his own spin on genres, making jungle weirder, pop more unsettling, and piano music more gorgeous. Syro also absorbs many different sounds, from loping breakbeat to drum’n’bass to techno proper to hints of disco, but in a more subtle way. It has a way of making other genres seem like they exist to serve this particular vision. And it’s a confident album precisely because it’s not self-consciously pushing the envelope. Electronic music with a strong beat not intended for the dancefloor was, if not invented by this guy, certainly perfected by him. So with his first trip back from the wilderness, he’s demonstrating exactly how it’s done.

Syro scans as “’90s” in terms of form but is quite modern in its particulars. Music sounded like this in 1996, but it didn’t sound quite this good. Whether James has acquired better machines or improved the way in which he records them, Syro contains some of his most tactile music; it’s a headphone record par excellence, an hour-long feast for the ears. But as exquisite as all the fragments are in isolation, the heart of the record is its steady sense of momentum, all the more remarkable since the tempos are mostly relaxed and uniform. James has spoken of tricks he uses in sequencing to free his music from a ridged digital grid; whatever his methods, his rhythmic DNA is as identifiable as John Bonham’s. There’s a playful swing to his rhythms, with accents that dance on and around the beat, and that unmistakable drive is the frame upon which the album is built.

The album’s formal simplicity keeps the focus on the arrangements, especially in the first half. The ten-and-a-half-minute “XMAS_EVET10 [120][thanaton3 mix]” glides forward like a smooth stone over polished ice, allowing a new element—a sly melodic twist, a stuttering shift in the beat, an unusually bassy groan—to enter seamlessly in every bar. It’s complicated but never busy, myriad parts cohering into a logical whole. “4 bit 9d api+e+6 [126.26]” mixes muted acid squelches with twinkly keyboard melodies, with barely-there voices intoning a few layers beneath, while the opening “minipops 67 [120.2][source field mix]” has wordless singing presented straight—the one new wrinkle on the album—and it’s so naked it’s disarming. The album gets a few clicks harsher in places, as on “CIRCLONT6A [141.98][syrobonkus mix]”, with its assertive bass grind and rubbery video game noises, but it never goes too far in that direction. The care and virtuosity with which these tracks were assembled is immediately obvious, but nothing feels difficult; the record’s easy flow despite it all is one of its primary virtues, and there’s something new to uncover with every listen.

Syro’s tremendous focus on detail marks it as a more muted release in Aphex Twin’s discography. The “What the hell was that?”, once an Aphex touchstone, is nowhere to be found; there’s little here in the way of brute-force appeals to the lizard brain, and Syro is on balance more sophisticated and cerebral. And that silliness, that bratty desire to be noticed, was part of what made the Aphex Twin experience special. Some will miss it. But this record—virtuosic, precise, but also alive with feeling—has something else in mind. It’s telling that the most extreme moment here is also the quietest—the closing “aisatsana [102]”, a painfully lovely minimalist piano piece recorded on a creaky upright with birds chirping away in the background. By that moment, the feeling of “I’m listening to a new Aphex Twin album” has fallen away and the deeper beauty of Syro starts to sink in.

[The Boss]

I going to ostracize myself here, I never got Richard D. James.

I remember purchasing Selected Ambient Works as a teenager, playing it in my mates car, got about ten minutes in, ejected it and threw it out the passenger side window.

He made some great film clips though.

I always preferred Squarepusher.



¯\_(ツ)_/¯

"I" or "II"?

Because "II", in my mind, is specifically for reeeeeaaaaally late at night by yourself, or early in the morning with a bunch of your friends trying to drink off the ecstasy comedown.

Makes terrible study music. And a last resort for Tai Chi music.

Read into that what you want.

[not tyson]

I can't remember so I didn't specify, both would have been justified throw that shit out of the window music at that age.

PAAAAAAAAAAAAAAAAAAAAARTY!!!!!!!!!!!!!!!!

[The Boss]

I can't remember so I didn't specify, both would have been justified throw that shit out of the window music at that age.

PAAAAAAAAAAAAAAAAAAAAARTY!!!!!!!!!!!!!!!!

So you've never heard ". . . I CARE BECAUSE YOU DO"? Any of the touchstones of his discog?

Fair enough. How you like BT and not APHEX TWIN is a head-scratcher, but hey - man is a complex beast.

[not tyson]

I guess I've never went back to AT, why bother when I had Squarepusher & BT.

I know I should, but I should do a lot of things.

Content being a window licker.

[The Boss]

I guess I've never went back to AT, why bother when I had Squarepusher & BT.

I know I should, but I should do a lot of things.

Content being a window licker.

You should Start As You Mean To Go On.

[not tyson]

I'm good.

[Calfium Jay]

Not "the greatest" Aphex album by a long shot - but certainly a worthy entry into the mystery man's back catalogue.

SYRO stands on its own both as a work of meticulously crafted IDM (yes, a lazy term but it's been a long day and it will do for now) and as a snapshot of Aphex circa 2014.

Can't help but feel that it needed the odd "pop" melody here and there to break up the "sameness" and at times it swerves frightfully close to monotony. It doesn't really pull any punches and lacks the "wow" factor that made
both Drukqs and SAWII such cornerstones of the genre.

Still, I never found myself losing concentration nor rolling my eyes at any point during the 65 minute initial run through.

I am glad he didn't attempt to pull a Drukqs Pt II on us.

I'd give it so far a 7.7.

- - - - - - - - - - - - - -

Also, Caustic Window was incredibly disappointing.

[The Boss]

Not "the greatest" Aphex album by a long shot - but certainly a worthy entry into the mystery man's back catalogue.

SYRO stands on its own both as a work of meticulously crafted IDM (yes, a lazy term but it's been a long day and it will do for now) and as a snapshot of Aphex circa 2014.

Can't help but feel that it needed the odd "pop" melody here and there to break up the "sameness" and at times it swerves frightfully close to monotony. It doesn't really pull any punches and lacks the "wow" factor that made
both Drukqs and SAWII such cornerstones of the genre.

Still, I never found myself losing concentration nor rolling my eyes at any point during the 65 minute initial run through.

I am glad he didn't attempt to pull a Drukqs Pt II on us.

I'd give it so far a 7.7.

- - - - - - - - - - - - - -

Also, Caustic Window was incredibly disappointing.

Not bad at all, brother. Thanks for the review.

Yeah, I think I got caught in the hype a bit. Rightly so, I'd argue; but I'm old enough now to know when things just aren't going to deliver.

Will hit again with fresh ears. Still not overly excited though.

[joeypants]

All I've heard so far was the minipops single, and I fucking loved that one. Anxious to dive into this but probably won't be until next week.

[joeypants]

Loooooooooooove the first half of this thing. Second half is interesting but I'm a sucker for the more musical end of Aphex Twin.