children talking

APHEX TWIN. Aphex Twin. Aphex Twin. Aphex Aphex Aphex Twin. Aphexaphexa twin. Twin aphex twin APHEX twin aphex twin!

Everything I could say right now about Aphex Twin has already been said (except for as described above. totally original, I swear). But there's so much to say about Aphex Twin that hasn't been said. I simply couldn't say any more than anyone else can. Really, I can't come close to expressing about Aphex what I know exists deep inside his twisted barrages of sound, smacks and pops and strings of song.

Which is probably why there is so much that hasn't been said about Aphex in critical musical lit... because it's nearly impossible to verbalize the intricacies of shape and density and timbre in even ten seconds of his wildly beautiful sonic architecture, not to mention the wide array of images conjured and emotions felt and visceral impulses that it imbues in you. Do I talk about how the melodic rhythm counterpoints so vibrantly and unexpectedly with the ocean of polyrhythms swimming underneath? Or how it just makes you want to DANCE DANCE MOTHERFUCKER DANCE SHATTER YOUR TORSO ON THE NEAREST WALL SHAKE CRUMBLE BURST?

Either way, writing about it doesn't come close to experiencing it. I mean, you could say that about most music, but the descriptive/experiential gap with Aphex's music is like a fucking canyon. My comfort in not being able to convey this is based on one fact which I am 100% sure of, and it is that my Aphexian reverence will be vindicated when the efforts of Richard D. James will be considered alongside the likes of Steve Reich and John Cage. There are my words. Mark em.

Hooray for the Hangable Auto Bulb release! It is glorious, as expected. Now they just need to get the Analord series on CD.


what will i learn

Late fall, and I'm finally getting in the mood to listen to Grizzly Bear's Horn of Plenty and Hood's Outside Closer. They both remind me of The Notwist, which I have been growing nostagic for lately, so it only makes sense.

Speaking of which, I am growing nostalgic for my great albums of the past. I don't know about you, but it seems to me that 2005 was filled with an abundance of really solid albums, but few truly AMAZING albums. And I've been missing that experience. So, many returns to Grace and Greetings from Michigan and such.

Notwithstanding, I've been randomly observing this exceptional 2005 album(s?): Extraordinary Machine by Fiona Snapple is a great great great classic pop album for the traditional types. That is to say, it's heavy on the substance and fairly skimpy on the style (sort of vice-versa the popular/indie-approved "good music" these days).

I've found I like the Elizondo and Brion versions equally. It's quite simple to me, really... Elizondo produced the summer version, Brion the winter version. Each album caters to a different mood and atmosphere. Elizondo's is more flighty & wistful, pop-tastic, and structurally tight (unfortunately, it's also frequently tactless and emotionally distant). Brion's is more dramatic, tense, and thoughtful (but often overcontrolled, lacking a pop sensibility, and misses the forest for the trees). What to do? How to make up for the stylistic lamenesses?

Mix & match, y'all! I like the Elizondo tracklisting better...
1. Extraordinary Machine (Brion)
2. Get Him Back (Elizondo)
3. O' Sailor (E)
4. Better Version of Me (B)
5. Tymps (E)
6. Parting Gift (E, obv)
7. Window (B)
8. Oh Well (E)
9. Please Please Please (B)
10. Red Red Red (E)
11. Not About Love (E)
12. Waltz (B)
13. Oh, Sailor (B)
14. Oh Well (B)

I had to include both versions of "O Sailor" and "Oh Well" because they are both incredible in their respective ways. Also love the Elizondo "Window" and the Brion "Get Him Back," but you win some you lose some, I guess....