(2015 Update:
Oh God, there's such a glaring hole in this review, a critical piece of information I left out. Or forgot. Or didn't bother researching for some lazy reason. Richard D. James Album is officially the first album Richard D. James produced using soft-synths as his primary music hardware, which should be totally obvious by the tonal shift in these tracks. The tickity-tack sounds, cut-up rhythms, micro-sliced sampling, and braindance glitch is common for compositions by way of computer trickery, of which this album his filled with. His prior work, still on analog gear, is more straight-forward in their arrangements, though filled with their own sonic oddities because it's Aphex. Even if that distinction is obvious though, it's an important piece of RDJA's make-up, an essential piece of music journalism I neglected.
Speaking of, man does this review ever read like a stock 'music journalism' piece. I guess that's sorta' good, in that in TranceCritic's late run we were finally coming off polished and professional. Can't say I like reading it now though, much of it feeling functional while sandpapering personality off. Probably didn't like it much then either, at least on a subconscious level. Two year hiatus was nigh.)
IN BRIEF: Aphex-Pusher? Or Square-Twin?
After so many years of being an eccentric pioneer, the perpetually creepy-grinning Richard D. James suddenly was not. Rather, he started following the lead of another eccentric pioneer, Tom Jenkinson. Legend goes James was so impressed by then-unknown Jenkinson’s live show that he quickly signed him to his Rephlex label and released the first Squarepusher album. Then, James himself went and started making tracks with similar aesthetics, where frenetic jazz-fusion rhythms were thrown into a mixing bowl of real-world noises and samples for use in sound banks.
For the Aphex Twin moniker, this was quite new. Granted, there were dabblings here and there (most famously Didgeridoo), but James had carved out his name with gritty drill’n’bass beats, strange yet lovely ambient textures, and, most famously, unique sounds that only he seemed able to create –which is no surprise since the Cornwall native's hobby was gleefully dissecting and experimenting with equipment like some kind of evil vivisectionist. Why would a guy who made a career of sounding like no one else suddenly make music that potentially did (and would when others followed his and Squarepusher's lead)?
Well, aside from the aforementioned Jenkinson influence, fact of the matter was electronic music in general was in transition in the mid-90s, and James was no exception. As a part of the old guard of rave musicians and partiers, he, like so many others, found himself at a crossroad once the original rave scene finally crumbled into separate niches: either find a way to become highly successful in the music industry, or retreat the other way to satisfy the muse. If this album is anything to go by, his initial gut reaction was to retreat – let the other guys (Orbital, Prodigy, et al) have their mainstream. Ironically, the Aphex moniker too would see mainstream success, thanks in huge part to a series of Chris Cunningham videos, but that came later.
Back to the album at hand, it isn’t nearly as over-indulgent as you might expect from the likes of James. It is, however, somewhat jarring on first listen, if for no reason than opening track 4 has some of the tinniest, blunt percs offered from any Aphex Twin tune. Sure, the melody is charming enough, but where are those trademark big crunchy beats, eh? Not here, my friends, and nowhere on this album either. The early-90s Aphex Twin has moved on.
Fingerbib aside, the first half of Richard D. James is probably going to sound like a bunch of glitchy, abrasive, noisy nonsense for those uninitiated to IDM’s more screwy, intense drum programmers. Granted, we’ve had over a decade to get accustomed to such screwbars and nutballs (Venetians Snares, Bogdan Racyzinski, to just name-drop a couple we’ve already covered [at TranceCritic]), but way back in ye’ old 1996, this was some radical sounding stuff. Poor folks were coming into this album looking for more ambient bliss like Blue Calx or drill’n’bass delights like Come As You Mean To Go On, and instead get bizarre metallic clanging in Peek 8245yadayada or contortions of modem dial-up squawks in Carn Marth. You could still hear some of those old Aphex tropes littered about - the melodies James came up with, no matter how distorted or buried they got, still sounded great - but you had to give this album repeated listens to actually get it. Aphex Twin had always been a bit challenging in that regard, but he at least could be counted on cuts that you could easily digest in one sitting. Not so much here though.
Moving on to the second half in short time, James leaves behind most of the harsh sounds in favor of cute’n’cuddly silliness. Result: something far more accessible for those untrained IDM ears out there, and a good load of giddy adulation at the cleverness of it all from the rest. For instance, the brilliantly titled To Cure A Weakling Child splices together pieces of children singing along with infantile melodies (and, of course, intense clippity-cloppity skitter-beats), creating something that’s ridiculously twee, yet very disconcerting whenever James goes into a ‘drum solo’. Yellow Calx aside (which has more in common with older Aphex material due to the synthy backing melodies), Richard D. James wraps up on such silly charming sentiments, even going so far as to include a slide whistle in the final track. It does work wonderfully in a track like Girl/Boy Song, bringing nutty grins to your face in spite of the frenetic drum work, but is simply wacked in Logan Rock Witch, which seems to be James messing around with a bunch of left over samples.
Whatever the case, Richard D. James Album is definitely one of those Must Have releases for connoisseurs of IDM. Along with Squarepusher, it set a precedent for the future direction of this wildly eclectic genre, as several others began following suite and diving off the deep end with such experimental albums (unfortunately to ever-increasing patience-trying results).
For the rest, though, I can sense a little trepidation, especially considering the short running time (finishing out at just under thirty-three minutes). Frankly - and I know this point has been hotly contested over the years - this isn’t the best starting point for Aphex Twin material. Actually, I’m not even sure which album would be, but Richard D. James Album definitely is not it. Due to the very short running times of most of these tracks, the album comes across more like a collection of jingles than songs; great jingles, mind, but jingles nonetheless.
Unless you’re already well versed in IDM sample-skitter-step, I’d hold off on this album until you’ve already taken in one or two Aphex Twin releases. You will eventually enjoy Richard D. James - if not for the eccentric attributes, then for discovering the warmth underneath the eccentric attributes - but at least this way you’ll soften that initial “WTF?” blow to your ears.
Written by Sykonee for TranceCritic.com, 2009. © All rights reserved.
ACE TRACKS:
4
Girl/Boy Song
To Cure A Weakling Child
No comments:
Post a Comment