Joyrex

https://www.mixcloud.com/sinlopez/aphex-twin-livefm-1997-06-27-roskilde/
 
 
Liveset
1. Laughable Butane Bob
2. Heliosphan
3. [lichen]
4. Inkey$
5. Girl/Boy Song
6. Crappy
7. Digeridoo
8. Come To Daddy, Pappy mix

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https://www.mixcloud.com/sinlopez/aphex-twin-livefm-1997-06-27-roskilde/
 
Liveset
1. Laughable Butane Bob
2. Heliosphan
3. [lichen]
4. Inkey$
5. Girl/Boy Song
6. Crappy
7. Digeridoo
8. Come To Daddy, Pappy mix

Bucephalus Bouncing Ball (Remix)
Tech Edit (Omar Santana cover)
PWSteal.Ldpinch.D (AFX cover)
Revok (Caustic Window cover)
Rushup Edge (The Tuss cover)
73-Yips
Meltphace 6
Venus No. 17 (Squarepusher cover)
Afx237 V7
Inkey$
Cock/Ver10
Death Fuck Mental Beats (The Tuss cover)
Mangle 11 (AFX cover)

Friday, March 12, 2004 Royal Festival Hall, London
Ether 2004 – Royal Festival Hall (12 March) Reviewed by Richard Whitehouse
 
Two years ago, the underground electronica label Warp Records put on its first “Ether” festival at the South Bank. Last year, the festival featured collaborations between leading Warp artists and the London Sinfonietta that continues under the auspices of the Contemporary Music Network. The outcome this time round was an evening whose palpable sense of anticipation arose less from what was expected to happen, as from what might happen given the amalgam of musicians and succession of performances: in itself a vindication of an event which, as producer and Moondog-lookalike Glenn Max inferred in his opening address, could be going anywhere.
Admittedly the first half proceeded tentatively. Pianist Clive Williamson opened with a pleasant if unremarkable number from the Drukqs album by Aphex Twin (aka Richard James), a little akin to Javanese-mode Lou Harrison. An expanded Sinfonietta percussion line-up sounded not-quite-together in Edgard Varèse’s seminal Ionisation, while Fraser Trainer’s arrangement of either Aphex Twin’s I Wish You Could Talk or Conc 2 Symmetriac (at barely 2 minutes, it seemed too short to have been both!) was inconsequential in the extreme. Squarepusher (aka Tom Jenkinson) to the rescue – with a solo set in which his often-recondite take on electronics and programming created an audible frisson around the RFH auditorium, complemented by visuals which made graphic the rhythmic continuity and harmonic intricacy – even if they did bring to mind the 1970s’ ITV test-card.
Momentum rose again with a rare chance to hear George Antheil’s Ballet Mécanique in harness with the surrealist (or is that dadaist?) film of that name by Fernand Léger and Man Ray. Present-day reproduction enables a co-ordination as close as any of the instigators might have wished – though the film itself lacks the focus of contemporary experiments by René Clair or Luis Buñel, while the Antheil heard was neither the excess of the 1924 original (nine pianos, 11 percussionists and ’live’ alarms, sirens and propellers) nor the tame reduction of 1953 (akin to Les Noces without vocals – or invention). Poised between radical experiment and sensational publicity vehicle, Antheil’s conceptual magnum opus continues to inspire notoriety – the audience responding with a buzz all its own.
The second half began with Steve Reich’s early minimalist classic Violin Phase, Clio Gould not sounding entirely comfortable with its shifting intricacies, but heard to advantage against a sensitive ambient context courtesy of Sound Intermedia. Next up was Jamie Lidell: somewhere between Prince and Jeff Buckley, and an ace at sampling, his 20-minute set of ’treated’ vocals and manic gesticulations – as heard against a backdrop of ’virtual graphics’ created by Pablo Fiasco – was no mean performance art. Best heard (and seen) live, perhaps, especially when followed by John Cage’s First Construction in Metal and Steve Reich’s Six Marimbas; their intricate unfolding as absorbing for the mind as it is for the emotions – especially when the Sinfonietta percussionists, enthusiastically directed by Jurjen Hempel, were so audibly in command of both.
The evening ended with a suitable ’grand finale’: Aphex Twin’s Polygon Window, arranged by Kenneth Hesketh so the disparate line-up fused effortlessly. Whether the massed side drum recessional – redolent of a Boys’ Brigade march-past – was part of the original or the arrangement, it brought an already psyched-up audience cheering to its feet.
So, an evening to remember for aficionados of either ’stream’, and for newcomers to both. Whether such events herald a future in which contemporary music effectively becomes its own world, divorced from the classical and popular mainstreams and unified by a devotion to sound for its own sake, remains to be seen. But connections between genres, emergent throughout the 20th-century, are now more numerous than ever – and if the balance between art and entertainment can at least be maintained, the possibilities for synthesis on a meaningful level are there for the making.

https://www.mixcloud.com/sinlopez/aphex-twin-1997-09-08-avalon-ballroom-boston-massachusetts/

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Bucephalus Bouncing Ball (Remix)
Tech Edit (Omar Santana cover)
PWSteal.Ldpinch.D (AFX cover)
Revok (Caustic Window cover)
Rushup Edge (The Tuss cover)
73-Yips
Meltphace 6
Venus No. 17 (Squarepusher cover)
Afx237 V7
Inkey$
Cock/Ver10
Death Fuck Mental Beats (The Tuss cover)
Mangle 11 (AFX cover)

Live @ ATP was a collection of the songs played during the perfomance of Boards of Canada at the 2001 All Tomorrow's Parties. Although unofficial and never released by Boards of Canada, they can be found widely on file-sharing networks in the complete form. As with all of their current live work, the collection includes songs that had never before been released and were unnamed.
All Tomorrow's Parties is an annual music festival. The 2001 edition, curated by Tortoise, took place at Camber Sands Holiday Centre, New Lydd Road, Camber Rye, East Sussex from April 6 through April 8. Boards of Canada performed on April 7th.

Early in 1996 Tom made the acquaintance of Talvin Singh who offered him a slot at his club night "Anokha" held at the Blue Note Club in Hoxton Square, London. Tom and Talvin went on to play together on several occasions during this period including improvised sessions at the end of the night at Anokha, one of which featured guitarist Guthrie Govan, and also at the first Big Chill Festival in 1996.
 
1996 Big Chill Gala - Hingham, Norfolk: LTJ Bukem, Squarepusher, Mr Scruff, Talvin Singh, Pork Recordings, Zion Train, Autechre, Andrea Parker, Bedouin Ascent, Wishmountain, Earthtribe, Muslimgauze, Sounds From The Ground.

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Friday, March 12, 2004 Royal Festival Hall, London
Ether 2004 – Royal Festival Hall (12 March) Reviewed by Richard Whitehouse
 
Two years ago, the underground electronica label Warp Records put on its first “Ether” festival at the South Bank. Last year, the festival featured collaborations between leading Warp artists and the London Sinfonietta that continues under the auspices of the Contemporary Music Network. The outcome this time round was an evening whose palpable sense of anticipation arose less from what was expected to happen, as from what might happen given the amalgam of musicians and succession of performances: in itself a vindication of an event which, as producer and Moondog-lookalike Glenn Max inferred in his opening address, could be going anywhere.
Admittedly the first half proceeded tentatively. Pianist Clive Williamson opened with a pleasant if unremarkable number from the Drukqs album by Aphex Twin (aka Richard James), a little akin to Javanese-mode Lou Harrison. An expanded Sinfonietta percussion line-up sounded not-quite-together in Edgard Varèse’s seminal Ionisation, while Fraser Trainer’s arrangement of either Aphex Twin’s I Wish You Could Talk or Conc 2 Symmetriac (at barely 2 minutes, it seemed too short to have been both!) was inconsequential in the extreme. Squarepusher (aka Tom Jenkinson) to the rescue – with a solo set in which his often-recondite take on electronics and programming created an audible frisson around the RFH auditorium, complemented by visuals which made graphic the rhythmic continuity and harmonic intricacy – even if they did bring to mind the 1970s’ ITV test-card.
Momentum rose again with a rare chance to hear George Antheil’s Ballet Mécanique in harness with the surrealist (or is that dadaist?) film of that name by Fernand Léger and Man Ray. Present-day reproduction enables a co-ordination as close as any of the instigators might have wished – though the film itself lacks the focus of contemporary experiments by René Clair or Luis Buñel, while the Antheil heard was neither the excess of the 1924 original (nine pianos, 11 percussionists and ’live’ alarms, sirens and propellers) nor the tame reduction of 1953 (akin to Les Noces without vocals – or invention). Poised between radical experiment and sensational publicity vehicle, Antheil’s conceptual magnum opus continues to inspire notoriety – the audience responding with a buzz all its own.
The second half began with Steve Reich’s early minimalist classic Violin Phase, Clio Gould not sounding entirely comfortable with its shifting intricacies, but heard to advantage against a sensitive ambient context courtesy of Sound Intermedia. Next up was Jamie Lidell: somewhere between Prince and Jeff Buckley, and an ace at sampling, his 20-minute set of ’treated’ vocals and manic gesticulations – as heard against a backdrop of ’virtual graphics’ created by Pablo Fiasco – was no mean performance art. Best heard (and seen) live, perhaps, especially when followed by John Cage’s First Construction in Metal and Steve Reich’s Six Marimbas; their intricate unfolding as absorbing for the mind as it is for the emotions – especially when the Sinfonietta percussionists, enthusiastically directed by Jurjen Hempel, were so audibly in command of both.
The evening ended with a suitable ’grand finale’: Aphex Twin’s Polygon Window, arranged by Kenneth Hesketh so the disparate line-up fused effortlessly. Whether the massed side drum recessional – redolent of a Boys’ Brigade march-past – was part of the original or the arrangement, it brought an already psyched-up audience cheering to its feet.
So, an evening to remember for aficionados of either ’stream’, and for newcomers to both. Whether such events herald a future in which contemporary music effectively becomes its own world, divorced from the classical and popular mainstreams and unified by a devotion to sound for its own sake, remains to be seen. But connections between genres, emergent throughout the 20th-century, are now more numerous than ever – and if the balance between art and entertainment can at least be maintained, the possibilities for synthesis on a meaningful level are there for the making.
 
 
 
 
 
 

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Further details on this transmission here
 
http://rareafx.wordpress.com/unreleased-2/peel-session-1-1992/
 
 
Peel seems to first hear of Aphex Twin while reading the music press in early 1992 on how his music will transform the whole nature of dance music. Before playing Aphex Twin's "Digeridoo", he commented on his 22 February 1992 show:
"And this is record which I’ve being seeing write ups about in the music papers particularly the dance pages thereof for some weeks now saying that it was going to transform the whole of the nature of dance music and so forth. And I’m not much of an expert in this area, as I’m not much of a dancing man, particularly since the webbing slipped. But I think you’d be hard put to dance to this; but it is a great record"
Throughout the 90's and 00's, Peel continued playing Aphex Twin's music and the man himself did two sessions for Peel's show in 1992 and 1995: Ken Garner adds that James wrote on the sheet for his first session, "Thank you very much for your help, Richard D. James (age 21)." [1] Peel also manage to interview the Aphex Twin (he rarely does interviews) in the late 90's for his Sounds Of The Suburbs: Cornwall show, where he mentioned working in the mine as a young boy in Cornwall.

Live @ ATP was a collection of the songs played during the perfomance of Boards of Canada at the 2001 All Tomorrow's Parties. Although unofficial and never released by Boards of Canada, they can be found widely on file-sharing networks in the complete form. As with all of their current live work, the collection includes songs that had never before been released and were unnamed.
All Tomorrow's Parties is an annual music festival. The 2001 edition, curated by Tortoise, took place at Camber Sands Holiday Centre, New Lydd Road, Camber Rye, East Sussex from April 6 through April 8. Boards of Canada performed on April 7th.

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