With mysterious artwork appearing everywhere from Turin to Kippax - on people's coffee cups, on the back of tea towels, on the last sheets of loo paper - it's that time again: a new Aphex Twin marketing campaign. Which means only one thing - new music from the maverick electronic producer. This time, a 12" issued with bizarre sprawling text and a video already banned for failing an epilepsy test.
Staff note from Benn:
Very catchy and very likeable, but kinda' very different. One for both the fans who hold a PhD in all things Aphex and one for the fans who might be new to the party. Enjoy. We did.
Vinyl 12" £11.25 WAP423
Standard 12" EP on Warp. Includes download for bonus track 'pthex'.
- Shipping cost: £3.35 ?
- Includes download code
CD £7.99 WAP423CD
5-track CD EP in 4-panel wallet on Warp.
- Shipping cost: £1.05 ?
Limited Vinyl 12" £17.99 WAP423X
Limited Edition First Pressing 'Procédé Heliophore' silver foil sleeve includes download for bonus track 'pthex'. 1 copy per person. Anyone ordering multiples will have their orders canceled.
- Limited edition
- Includes download code
Absolutely joyous EP from the undisputed master, with classic Aphex hallmarks and cheeky new tricks galore. You’ve all no doubt had your eyeballs melted by the “I’m not on acid but I feel like I’m on acid” video that accompanies ‘T69 collapse’. Or ordered a pizza, only to open the box, revealing a spiralling cheese and tomato vortex with an Aphex logo at the bottom. It’s a gorgeous track with that ever so funky twanging bass. It all falls apart and heads into some freaked out “I’ve got the fear, man” spannered nightmare zone and then reassembles back into that lush, pure Aphex magic.
‘1st 44’ mutates between frenetic skittering electro drums and a vocal sample that sounds like it coulda been snatched from some ‘91 hardcore tape alongside slow serene twinkling with some satisfying big bass drops. This thing will fucking crash your BPM counter as it swerves from B-boy electro into spooked ambient and back into percussive shrapnel mayhem. ‘MT1 t29r2’ has what sounds like the eerie voice of a possessed child alongside some proper Aphex breakbeat chaos and ever so pretty music box like melodies. Again, it swerves in and out of opposing tempos and energies effortlessly. The utopian ‘abundance10edit[2 R8's, FZ20m & a 909]’ is too - one of the aforementioned hallmarks -- a child's voice offers to lead us to the land of abundance, joy and happiness. That’s exactly where I am listening to this record. I ain't downloaded ‘pthex’ yet, so you’ll have to check that for yourselves, but suffice to say, I reckon this EP is exquisite.
10/10 simon 4th October 2018
Keep going back to this over and over...got totally lost in it..several times.
Like the fact it's an EP, hit's the spot, keeps it more concentrated, I would love more mind you but I guess will have to wait, hopefully not too long though.
MT1 is my fave so far, that could change, ominous micro-tuned vocals, don't think he micro-tuned vocals before?
The first and the 3rd tracks sound like hardware, MT1, 1st44 and pthex sound like itb but hard to say, what do you think?
Also love the longer version of T69 durichroma, that's been posted on his Aphex store, more for home listening than dancefloor or YTube hit.
Has extra sections..the micro-tuned acid is brilliant, how does one do that anyway?
7/10 Jonny 27th September 2018
With the exception of ‘T69 collapse’ this album sounds to me like radically updated Polygon Window era Aphex. The mood shifts with each new passage – sorrowful, eerie, rowdy, absurd – and drum machines are used brilliantly, almost forming textural backdrops in places. One of the highlights for me is a delicate melody built out of 808 cowbells, strung across erratically retriggering percussion.
This is definitely the most interesting record of Aphex’s recent clutch. Syro felt like beautifully crafted Analord runoff; Cheetah had one excellent track on it but it felt like we’d heard it before and it went on too long; Orphaned Deejay Selek 2006-2008 had an absolutely monstrous dancefloor track from over a decade ago crowning a pile of scraps and chaff; Computer Controlled Acoustic Instruments pt2 sounds like it was great fun to make, but the results make for extremely boring listening.
Unlike those others, Collapse feels like a proper record. Well honed, stylistically coherent, familiar but new. I suspect I will keep returning to this EP and will likely keep noticing new details and progressions I’d missed.
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