- The second coming of Aphex Twin has been a fascinating occurrence in the world of IDM. Richard D James, one of the genre's most legendary and elusive originators, returns after a 13 year hiatus and continues releasing music as if he never left. 4 years later and fans have had no shortage of material to pore over.
First came 2014's Syro, an album I was personally underwhelmed by, but one that for many provided the perfect re-introduction to James' work. Next, a slew of brief EPs that felt more like Richard exploring obscure musical technologies than fleshed out projects. Then finally, the hundreds of assorted tracks released anonymously onto Soundcloud, each bearing James' signature touch. It seemed like Richard was intent on clearing out his archives, preparing himself for whatever came next.
Which brings us to Collapse, this latest offering features 5 gloriously mind-bending electronic workouts that significantly advance Richard's iconic sound. Announced in typical Aphex fashion, a guerrilla marketing campaign led to the release of lead single T69 Collapse. This cut kicks off the record somewhat deceivingly, placid synthesizers paired with a buzzing bassline, heavily recalling the sound palette of Syro. But things begin to deconstruct, a little at first, then all at once. Before you know it, stuttering kick drums give way to a frenzy of cluttered percussion, dragging the track down into a rhythmic abyss until droll organ chords eventually return it to normality.
This sonic thunderstorm sets the template for the rest of Collapse, which sees James drawing influence from an unlikely place, footwork. The Chicago genre, characterized by its' rapid-fire rhythmic samples and propulsive sub-bass, has recently undergone somewhat of a resurgence in the modern electronic scene, with artists like El Murki and Jlin incorporating forward-thinking production techniques to elevate it above a strictly dance music.
Following a similar path, I believe Richard has completely outdone many of his contemporaries in crafting compelling electronic compositions which don’t just incorporate elements of footwork, but a host of other genres as well. Just look at the disruptive turntablism and cacophonous vocal samples of 1st 44, or how gracefully pthex hops between footwork and techno. It's obvious James' technical prowess is hard at work, but it's taking him somewhere new this time.
Even ignoring the relentless detail worked into each track, their structural development is something to behold. All running at around the 5-6 minute mark, each piece is allowed to gradually unfold, revealing itself through fragmented sampling and a tangled network of melodies. Grooves build and progress only to collapse in on themselves, making for thoroughly engaging listen.
Honestly, I'm completely enamored with this direction for Aphex. It feels like the footwork influence has breathed new life into Richard's primarily techno-based style. Take it from someone who's been relatively unimpressed with Aphex Twin’s recent work, this is the one.
- Boddhi Farmer.