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Utilizziamo cookie e altre tecnologie simili per migliorare la tua esperienza di acquisto, per fornire i nostri servizi, per capire come i nostri clienti li utilizzano in modo da poterli migliorare e per visualizzare annunci pubblicitari. Questa pagina offre prestazioni migliori con JavaScript. Yet in the early 1990s, culture was moving just as swiftly: “In a year, ambient has degenerated into little more than shoegazing with a beat,” wrote Reynolds in Melody Maker’s review of SAW II. SAW II was not initially greeted as an epochal event. Review: Aphex Twin, Selected Ambient Works 85-92 L ong before he became associated with the nihilistic drum n’ bass of “Come to Daddy,” Richard D. James (a.k.a. There’s nothing new about this re-release, aside from improved availability and decreased cost. For once, he appeared as if with a finger to his lips, head cocked, inviting us to stand beside him in his imaginary power station and revel wordlessly in the vibrations. But it may be that he mapped every square inch of this otherworldly zone in those two-dozen-odd tracks (give or take all the material that may have gotten left on the cutting-room floor). Lilting harp accents turn to steel drums and back. The aspects of James’ character that SAW II had briefly laid bare—beatific calm, transcendent focus, a wordless sort of vulnerability—were quickly papered over with madcap jags like “Milkman” and “Come to Daddy.” For a long spell, in interviews, his answers got shorter while the tales got taller. The title did not help elucidate the album’s mysteries. Criticism recognized it; marketing recognized it. Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. And despite its somewhat primitive origins, the final product remains among the most interesting ever created with a keyboard and a computer. SAW II can be warm and it can be chilly; it can be sentimental and it can be forbidding, but it would be hard to call it expressive, exactly. “It’s too restricting… I don’t like words in general because they mean something. Those blurry, abstract images were revealed to be objects from the apartment he and James shared at the time—radiators, “bits of metal”—photographed by James’ then-girlfriend; the logo on the cover turned out to have been done by James himself, carving up an old leather suitcase with a razor and compass. Good sound quality but lacking in space and atmosphere, Recensito nel Regno Unito il 15 gennaio 2020. James claimed to sleep just two hours a night; claimed, too, that he could control his dreams, even wrote much of his music in his sleep. The following year, he’d release two albums—Aphex Twin’s Selected Ambient Works 85-92, his full-length debut, and Polygon Window’s Surfing on Sine Waves—along with half a dozen EPs that, with their zigzagging rhythms and eerie, metallic timbres, quickly established James as one of UK techno’s foremost innovators. Indeed, these early works do a fine job of showcasing James’ ability to transform even the most seemingly mundane patterns into something unique and interesting. Dopo aver visualizzato le pagine di dettaglio del prodotto, guarda qui per trovare un modo facile per tornare alle pagine che ti interessano. Iscriviti ad Amazon Prime: consegne senza costi aggiuntivi in 1 giorno su 2 milioni di prodotti e in 2-3 giorni su molti altri milioni, film e serie TV su Prime Video, incluse le serie Amazon Original, più di 2 milioni di brani e centinaia di playlist senza pubblicità con Prime Music, centinaia di eBook Kindle su Prime Reading, accesso anticipato alle Offerte Lampo di e spazio di archiviazione per le foto illimitato. Aphex Twin, born in 1971, released his first album, " Selected Ambient Works 85-92". Visualizza tutti i dettagli per Selected Ambient Works Ii (2 CD), Visualizza o modifica la cronologia di navigazione, Pubblicità definita in base agli interessi. Stop me if this gets sappy. Most of the songs follow a relatively basic formula as well. The following year, SPIN favorably compared Aphex Twin’s 1995 record I Care Because You Do to the “largely drumless synth moans” of the “oddly hailed” SAW II, which “went on for longer than the Use Your Illusion albums combined.” Even Simon Reynolds, one of Aphex Twin’s staunchest early supporters, doubted that listeners might extract the same “use value” out of SAW II, in its “dearth of sheer loveliness,” that the more fetching SAW 85-92 provided. Only the beatless “I” suggested anything like the tone-poetic purity of ambient at its most ephemeral. In that sense, SAW was out of step with its pre-millennial peers. No matter how tall the tales grew around this Cornish Paul Bunyan, none of them ever came close to eclipsing the music itself. Consultare utili recensioni cliente e valutazioni per Selected Ambient Works Ii (2 CD) su Aphex Twin) was a pioneer of what would become known as “intelligent” dance music. If you have never heard this record then you should just stop reading now and buy it! ), The album’s secrets were only amplified by its packaging, beginning with a cover that rendered Aphex Twin’s glyph-like logo as a relic from some strange future-past, like alien markings discovered on some weathered desert pyramid. That tension—between disturbing and reassuring, trouble and calm, mutation and stasis—is the album’s defining characteristic. Il sogno lucido fatto da Richard D.James riportato nella realtà. All the five stars reviewers...Eternal Truth, Recensito nel Regno Unito il 13 giugno 2019. Across its 23 (or 24, 25, or 26, depending upon the format and edition) mostly untitled tracks, the balance tends to tip from one extreme to the other, like someone nervously shifting body weight from foot to foot. (The titles that fans today frequently use to refer to the album’s untitled tracks grew out of discussions in places like Hyperreal’s IDM listserv. But few have done so much with so little; few have shown less interest in being any more forthcoming than they are, in meeting the listener anywhere near halfway, in making the slightest attempt at articulating their own ambiguous emotional terrain. The indifferent balance leaves some tracks “flat” and this detracts from the ambient feel as there is a loss of the feeling of spaciousness. “Blue Calx” was the last track he ever recorded in the bedroom studio in his parents’ house; the indistinct voices of #22 turn out to be a murderer’s taped confession, provided to James by a friend who used to mop floors at the local police precinct. The creeping basslines, the constantly mutating drum patterns, the synth tones which moved with all the grace and fluidity of a professional dancer, the strange noises that I’d be unable to identify even if I tried. A somewhat disappointing recording. Finally, though, one of those friends connected James with an Exeter record shop called Mighty Force, which inaugurated its in-house label with James’ debut 12"—Aphex Twin’s Analogue Bubblebath EP—in 1991. Did he really drive a decommissioned tank? “Hedphelym,” for instance, is built around a relentless headache-throb cliché of a house beat. Si è verificato un problema durante il salvataggio delle preferenze relative ai cookie. I don’t think James ever made anything up maliciously; I think he just liked to talk, to amuse himself, to keep himself from getting bored in the endless parade of interviews a rising star gets subjected to. Back then, Aphex Twin was making music like nothing I’d ever heard before. whatever..IT IS Aphex Twin at his BEST. The fan response detailed in Weidenbaum’s book, in online spaces like the Hyperreal IDM list and the WATMM forums, helped buttress the album’s totemic reputation. The four tracks that open CD2 (both the US and UK editions; tracks #13-16 of the digital release) make for a particularly compelling stretch. But James was still the poster boy, the presumed ringmaster, single-handedly defining a style of music in the minds of many. Riprova. These freezer-hum fantasias were the opposite of James’ class-clown personality; they were radically introverted, defiantly private, almost shockingly serene. The album opens with a subtle tension: soft synth pads, the most basic, three-chord progression imaginable, cycling uneventfully round and round, while a breathy syllable—a voice, or something remarkably like one—bobs overhead, like a loosed balloon rapidly fading from view. Whereas electronic stuff—because it’s so abstract and doesn’t have any meaning… you can interpret it in so many ways.”. But then, improving on this package would be near impossible. James thrived on ambiguity, possessing a gaslighting nature, David Toop wrote in his 1996 book Ocean of Sound, that “indicates either a serious person who has never been taken seriously or a practical joker who has been taken seriously for way too long.”. For a fan of the album, it’s easy to wish that James might return to its charged air, its field of pure electricity. Wordlessly, instantly, Selected Ambient Works Volume II marked a freeze-frame moment. That’s totally dream-like for me.”. Al momento, è presente un problema nel caricamento di questo menu. In addition to techno, ambient music—more than that, really, the idea of ambient music—was in the air in the early 1990s, even if nobody could quite agree on what the term was supposed to mean. (It seems entirely possible there were: The New York Times reported that the album’s triple-LP, double-CD final form had been “reluctantly cut down from quintuple length”—leaving open the tantalizing possibility that there are at least two more LPs’ worth of SAW II-era material that has yet to see the light of day.

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