Drukqs

by

Aphex Twin

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To me, this is definitely the best Aphex Twin album. James alternates his signature programmed meltdowns with calm pieces for piano/tape loops, synthesizer, and prepared piano (it sounds like he's listened to John Cage's "Three Dances for Prepared Piano" [1944] a lot). As usual, on many of the tracks the drum machine becomes the lead melodic instrument, processed halfway to incoherence with delay and chorus and probably every effect he could muster. But the structures are less abstract, tighter, and fuller. He creates a perfect balance between lull and storm, like fractal music made at the edge of chaos. This is what Eno should be doing.

As enjoyable as this record is, however, I believe it should have been released as two separate albums.

If you are a Richard James enthusiast expecting him to reinvent himself with this record, you will be slightly dissapointed. Instead of going into new directions, Aphex Twin improves upon what has been done on previous records, and very well I might add. But the thing is, the high speed drill 'n bass tracks are the only ones I can stand to listen to. I had to literally take all of them off both discs and burn them onto one disc just so I could listen to them all the way through. It wouldn't have irritated me so bad if they would have all been on the first disc. Instead, the most impressive track on the entire CD is on the second disc all by its lonesome with a load full of chamber pieces (54 Cymru Beats). Usually when Richard James has produced an album in the past, it's either an all slow, ambient album (Selected Ambient Works, Vol. 2) or a high energy drill 'n bass album (Richard D. James Album). On this one he tries to mix 'em up, which I don't particularly enjoy.

Although I believe the chamber and drill 'n bass songs should either be on separate discs or should have been released as two separate albums, there is still some very good material here and is very much recommended.