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Aphex Twin Syro WARP247 Release date, Sept 22, 2014 http://warp.net/records/aphex-twin/syro Available for preorder on Bleep Tracklist: 1. minipops 67 (source field mix) [aka the Manchester track] 2. XMAS_EVET10 (thanaton3 mix) [aka the Metz track] 3. produk 29 4. 4 bit 9d api+e+6 5. 180db_ 6. CIRCLONT6A (syrobonkus mix) 7. fz pseudotimestretch+e+3 8. CIRCLONT14 (shrymoming mix) 9. syro u473t8+e (piezoluminescence mix) 10. PAPAT4 (pineal mix) [aka the Singapore track] 11. s950tx16wasr10 (earth portal mix) 12. aisatsana The japanese release will feature an additional bonus track: MARCHROMT30A edit 2b 96. Track ID's (Metz, Singapore) have been done by jasondonervan sleuthing his way via a youtube copyright detector algorithm. Here's a recent interview done by Fader magazine with Richard D James about Syro and upcoming projects: http://www.thefader.com/2014/08/25/aphex-twin-syro-interview-excerpts Here's a recent few snippets of a talk Pitchfork had with Richard: http://pitchfork.com/news/56459-aphex-twin-speaks-on-his-new-album-being-sampled-by-kanye-more/ UPDATE SEP 03: Brand new interview in Rolling Stone: http://www.rollingstone.com/music/features/aphex-twin-on-new-syro-lp-im-feeling-really-horny-about-it-and-very-smug-20140903?utm_source=dlvr.it&utm_medium=twitter The typeface on the album cover is Decima Mono Light. This information is all well and out there now, but we originally deciphered most of it from the official Aphex Twin Twitter account posting a TOR link featuring this: It's coming, ladies and gentlemen. Are your bodies ready?

found a really old doc with some articles in french that are already out there, but this one I haven't read before. its from a french magazine. thought of sharing because its a really nice read, google translated so, enjoy. Twintwin at the Syldaves The Inrockuptibles n ° 311 - October 30, 2001 Interview by JD Beauvallet After announcing his retirement the last, Aphex Twin returns with a furious and exciting double album: Drukqs. Very rare but generous in interview, this fundamental character of the electronic music is finally explained on his characters, his methods, his origins and his designs: a young man as sweet as his music seems indomitable, as close as his records seem Martian. For ten years, Richard D. James and his various incarnations, of which Aphex Twin remains the most famous, have largely contributed to the revolution of electro. Thanks to this former student of defrocked electronics (at the express course: he abandoned his studies after a few weeks), this often austere or simplistic language has discovered a grammar with unprecedented complexity, but also a virgin fluidity and wealth . Just as Brian Eno, his most prominent ancestor, had revolutionized the use of synthesizers in the 1970s (by refusing the bidding in virtuosity to favor a much more sensitive and refined approach), Richard D. James peeled the acid- house and cut up techno in the early 90s. Reduced to their only vital centers, techno and acid-house would thus become the unthinkable playground of this self-taught man who did not mention Satie at the Stockhausen, but felt that with a heart and a sampler, there was better to only what he heard around him. Like Eno, another child isolated from the English countryside, another proletarian son terrorized by the world of work, Richard D. James then folds into an imaginary universe, between lead soldiers and feather keyboards. It will be discovered by the fundamental Selected Ambient Works 8S-92, the first album in the logically enoeque title: a phenomenon of tension and dynamics, behind which a large part of electronic music still runs in vain today. Some unfortunate people will then attach to his music humiliating and haughty labels, like "intelligent techno". The claim, however, has never been convened in the dense and intractable discography of Aphex Twin who, on the other hand, will often flirt with wild humor, cowardly provocations or sadistic nihilism. At Aphex Twin, nicely slacker, the brain may control the discs, it is politely discarded speech: a word never theoretical, surprisingly ground to. earth compared to his disks, tight and bumped. It's enough to have once seen his videos (as scary as hilarious, made with his sinister accomplice Chris Cunningham) of Come to Daddy or Windowlicker to be convinced that Richard D. James is anything but a dark juice distiller from brain to water of pudding. It is besides after these two singles and their miraculous triumphs that Richard D. James announced last year his definitive retirement. A promise made obsolete this summer by the loss of a hard drive in a Japanese plane: literally panicked at the idea of ​​seeing his unreleased tracks run on the Internet, Richard D. James then embarked on the emergency double and dazzling Drukqs, a plausible testament to music that owes as much to the acid house jubilation as to Satie's melancholy, to drum'n'bass sonic research and to the fondness of toy music boxes. children. "A child in an adult body: it's all me, that I hope that the adult will never smother it", confirms Richard D. James in this rare and precious interview: the only one he has given a French newspaper this year. Our meeting looks like an obstacle course. to have the honor of arguing with the most discreet legend of English electronics, you first have to hang around in an ultra-gloomy mall in south London. A mall that was probably fashionable in 1967, but is today abandoned to shady shops syldaves, stalls of unidentified products between which men and murky (also women, identical) move their chair - and their conversation. Time to believe himself victim of a nice hoax and Richard D. James tumbles smiles to the lips, from his neighbor bunker: the former local bank in which he now lives, autonomous and entrenched. This visit to the mall is obviously the event of his day. The decor looks more and more like a chilling adventure of Hergé, as we engage in conversation under thirty inquisitive eyes, hidden behind black glasses - and gabardines. Men from the Zepo, the Syldave secret police. Aphex Twin or the art of making the most banal things perilous and strange. Last year, you announced your retirement, after your two biggest successes to date, Windowlicker and Come to Daddy. What motivated this rejection? Richard D. James - I have the impression of having retired for a long time already, since I was 20 years old. Since the day I decided not to work, I'm sort of pre-retired. And suddenly, last year, the music started to look like a job, you had to give interviews, attend meetings. That's why I seriously considered saying goodbye to the record industry. But I would have continued to make music, I needed her too much. My life would be useless and empty if I did not have music. However, in your reports to the industry and the media, you seem to have fun, blurring the tracks. It's a way of forcing me not to take this circus seriously. For this new album, I accepted only four interviews. Because before, during the interviews, I heard myself speak and everything sounded wrong. Sometimes I was sent abroad, where, for a whole day, I remained in a hotel, answering twenty interviews in a single file. I was so bored that I constantly lied, I invented characters, I decided that I was going to be aggressive with the next journalist, vain with another, shy with the one after ... As I did not never read the music press of my life, I did not know what to say. I quickly understood that I was not cut for this "trade", which has more to do with trade than with music. I seem very naive, but most of the musicians disgust me, they are only representatives of commerce. When I visit them in the studio, I am shocked to see that there can be a phone or a fax in the very place where the music is created. Me, I banished the phone from my studio, I do not want me to find it, I want it to remain a magical place, unrelated to the outside life. How can one create serenely when one has at the end of the line of the merchants who say to you "the music for the pub, I need it in an hour"? I am ashamed for them, they betrayed their gift, they became stooges. It is said that you come from a very wealthy background and that you would not need the music - and therefore the business - to live. This is probably a stupidity that I told a day when I was bored in interview. In truth, in my little village of Cornwall, my mother is a nurse and my father is a minor. When I started music, I was an electronics student, a fellow. Overnight, a Belgian label, R & S, sent me 10,000 F to release a first record. I could not believe it, I immediately dropped out of college. For the world of work, for me, was the scarecrow: I saw my parents fight all their lives to lead a decent life and I did not want that. They are now 60 years old and belong to this generation who feel guilty as soon as she stops working, who is ashamed to take five minutes to watch TV. In the evening, I saw them go home exhausted and very early, I dreamed of another life. Music was my way out. For example, when I engage with my girlfriend, I go to compose music. Anyone else would come home, let anger and frustration settle, and then try to pick up the pieces. I'm running away, totally. And sometimes, after two days, my girlfriend calls me: "You could still call me, I do not know where we are." And I, I erased everything, I left so far away from these everyday worries. Music is the best therapy I know. She is my blanket, my cozy refuge. Which is sometimes dangerous: because if I use the music to heal me and I only make shit, then here I am at the bottom of the hole. Yet, contrary to what my girlfriend says, I feel to be rather balanced, in a constant mood. Your music is however often melancholy. I'm really nostalgic, I'm upset remembering places I've been to, people I've met. It's sickly: I can not, physically, go past the house where I grew up. Otherwise, I'll go in and empty the people who live there now. "It's MY house, you have nothing to do there!" With music, you seem to have created a bubble around you, a bulwark. What held this role before the music? My toys have long held this role, my little cars and my soldiers. Then, around the age of 10, I started having fun with my tape recorder, recording noises around me, without telling anyone. This is always how I envision my music. a game, meant for me alone. I force myself to believe that my money comes from elsewhere, to keep the composition a secret hobby. The first real melodies, I composed them around 12 years, by chance, by dint of sticking, slowing down or speeding up bits of tapes. All of these were loopholes, a way of escaping my daily life. It was a stifling little town, where everyone knew each other. I felt like I was stuck away from everything, forgotten. I dreamed of coming to London, a city that would guarantee me excitement - but also anonymity. A city where you can be alone or in a group, but at least where you have the choice. I remember with horror the day my best friend refused to play the little soldiers and cars with me, telling me we were too old for that. I was shattered. I needed a substitute product immediately: I started by drawing, then the music was imposed. I drew mostly my hands, it was my only model. Or images of war, gigantic paintings of battle scenes. From time to time, I think I must think of the day when I am deaf. This is a serious concern. We do not do fifteen years of techno DJ without screwing up his ears. And then, I spend my life scratching my ears. It's a real obsession. Recently, I bought myself a perfect gadget in Japan: a kind of illuminated periscope to look inside the ears. We can thus go to observe the tympanum and the cochlea: a snail-shaped tube ... Since I'm a kid, I'm having fun with my ears because it's the only way to get closer to my brain . And that's an obsession: play with my brain, touch it, tap on this or that part. How did your entourage experience this seclusion that you imposed yourself, very young? I think my parents were delighted to see that at least I was not bored. I made my mother mad with rage listening to my techno maxis far too strong. I did not have that kind of problem with my father: years spent in the mines made him deaf. Most of the time, I was alone with the music. I did not read, because my brain is always on the alert, unable to follow the reading. It was my problem at school, where I did not understand anything, where the conversations seemed to be in a foreign language. I envy people when I see them reading: they seem to escape from everyday life. How has music become such an obsession? Kid, I did not listen to music at all, I did not like anything. I could hear through the floor the indie rock records of my sister and I found it atrocious. However, I forced myself: like her, I locked myself in my room, lying on the bed, to do nothing but listen to these guitars. But it did not cause anything in me, except boredom. I found this need to be expressed by very strange words. Until recently, I was very embarrassed at the very idea of ​​talking about my emotions, it seemed to me something old rocker. I wanted to play music that was rid of it, that's why I loved so much techno, based on repetition and not on feelings. The melodies, It was for me something with rose water. But after ten years listening only to repetitive music, to deaf, I changed my mind. And then I'm a little open, I have less difficulty and shame to evoke what I feel. For two years I have been frightened myself: I hear myself talking to others about what I think, what I feel. But I derive a great pleasure, a relief. For more than twenty years, I have been too shy for that. And unfortunately, that-was for arrogance. My girlfriend, when she met me for the first time, found me undrinkable. Before realizing that I'm pretty cute (laughs) ... Have the raves been your first contacts with people whose passion you shared? My only collective experiences, before the raves, were the fights with pebbles, in my village. I did a lot of sport, but always individually: climbing, cycling (I always do a lot) or swimming. And there, suddenly, in the raves, I discovered myself friends. The first, I organized with a friend, in a sheepfold - because nothing was happening in Cornwall, we could only rely on us. We managed to bring in one hundred and fifty people: that says a lot about the idleness of young people there. Especially since I was a DJ more than a beginner. A boyfriend kept talking to me and three times in a row he blew up the record I was playing. Especially since it was the first of the evening. I almost gave up my DJ career before I even started it (laughs) ... All the dancers looked at me with contempt. And yet, a few months later, I was invited to parties where I was paid 400 F to spend records for two hours only. That's what my school buddies earned in a month by filling the shelves of supermarkets all weekend. I was so happy to listen to this kind of music so loud, without my mother to shout at me, that I danced like crazy behind my turntables. Ironically, your house is located right next to the English temple of commercial dance music, the Ministry Of Sound. Some nights, the line to get in comes to my house. To kill time, I sometimes duck their customers with balloons filled with water. From home, I hear only bass, but it intrigues me: I measure the tempo, I monitor the sequences. Today, it has really become a tourist place, with a large majority of onlookers from around the world. My dream is to take turntables on a busy evening. to empty the track in a few minutes. I played it twice, but only in private parties. I could not resist the urge to play on what they describe as "the most powerful sound system in the world". But when I found myself on the turntables, the sound was shabby, I suspect they have changed the sound of the sound to punish me, because I drag a strange reputation: that of a DJ who screw up the sonos. In festivals, I'm told "We watch you, do not you dare to make the guy with our gear, seen?" Do you still enjoy playing DJ? It's a lot less exciting than when I started at age 16. I dreamed then all week. Today, I enjoy playing in less conventional places, in people for example. Next week, I'm going to animate a wedding and that, it explodes me. I also promised a student of art, whose visual work I liked, to come and play very hard records at her thesis presentation. And next to that, I also play in museums like Albert & Victoria, which is pretty perverse. It makes me feel good to play records without necessarily having to dance. Soon, I will play at the Barbican Art Center, for a tribute to Stockhausen. I learned yesterday that I will not be entitled to a big sound system, not to disturb the library and the galleries, but that each visitor would wear a wireless headset, connected to my turntables: instead of exploding the sound system, I'm going to explode the brains. I am going to take advantage of it to send out subliminal messages - and, above all, to finally meet one of my rare idols, Stockhausen. I will be very shy, but I would love to bring him to my house, smoke a joint and play it with my little instruments, with my acid-box, my 808 drum machine ... I'm sure he despises the dance -music, but I think I could penetrate his brain, make contact. Your records are nowadays more often diffused in art galleries than in this kind of shopping center where you give your appointments. Do you consider this a failure, as an inability to address the general public? The real failure, for me, would be to be broadcast only in shopping centers. I touched that at a time, when I found myself in the charts, and I did not like it. I think that basically I am made to belong to a minority. The more people like my music, as was the case at the time of Windowlicker and Come to Daddy, the more I freak out. Since childhood, I have never been used to being popular, to be appreciated: it would destabilize me to change sides. And yet, with this new album, I wanted to meet a wider audience, for the first and last time in my life, before moving away on more experimental adventures. Because I do not want to change my lifestyle. If I had the courage, I would do things in a big way, I would leave my London bunker and my habits. I dream of living in a lighthouse, in the open sea. Are you able to disconnect, take a vacation? I should because I end up losing myself, immerse myself until I do not know where I am. To make music becomes for me an activity more and more intense, exhausting. Wherever I go, I take my sampler and my computer. For example, I recently went on vacation to Mont-Saint-Michel and even there, I had to go up sampler the bells of the abbey church. The label that releases your records, Warp, is based entirely on your career. Is it a weight? This album is the last one I'll be recording for Warp, I'm tired of being the spearhead, the one that finances rarely interesting albums - except those of Squarepusher. All the bad advice they gave me, all the ideas they refused me, I put in a little notebook. I should never have listened to them ... Once I leave Warp and its ramifications all over the world, I'll be able to release small-scale, artisanal records again. There are already far too many records: what good is it to put others on the market if we are not sure to bring something else? Recognition of your influence by names more famous than you (such as Radiohead, Madonna or Björk) is it reassuring or annoying? I always found it weird. It could make me very pretentious, pushing me to say "It's normal: their records are null and it's still the least they find my best!" I am very fond of my music, she is the only one I listen to. But strangely, I do not understand how anyone can touch anyone else. It's so hard to make music in your corner, without compromise. People have the impression that my songs are obvious, that I do not know the doubt ... They have no idea of ​​the work and the reflection that they require. In this sense, these compliments have done a lot for my trust - even if, on arrival, what they expect from me is very disappointing. Especially from Björk. She finds it insulting that I refused to work with her, but I'm sorry, I'm not at the orders of anyone, they do not praise me for a remix or a song. You have to come to my house, drink glasses, smoke joints, see if we can get along before we consider collaboration. She calls me on the phone as if she were a business leader and, although I love her voice, I can not work by fax, by proxy. Even Philip Glass, who had made a version of my piece Icct Hedral, finally had to collaborate with me. He was furious that I asked him to review his copy under my supervision. This song is what comes closest to a BO signed Aphex Twin. How come you never really composed for the cinema? It has always been my ambition. It has been painful and depressing to admit it, but I can not keep a deadline. And in the cinema, it's vital. If I'm told, "You're ten years old to finish the orchestration," I'm sure you can not do it. I am unable to work under duress. So, I have no choice: for me to compose a soundtrack, I will also have to make the film. It will inevitably be a day. Your new album, Drukqs, has arrived fairly quickly. Who imposed you, this time, a deadline? My carelessness. I forgot on a plane in Japan, the MP3 player on which I had recorded three hundred of my songs. No master was lost, but I suddenly panicked: if these new songs were found on the Net, I lost my only wins, bread for ten years to come. That's why Drukqs came out in haste. Panic-stricken, I wanted to release everything in the form of a box of ten CDs, but I'm too lazy. And finally, it was not so bad, thing. it forced me to listen to all my tapes, to sort them out. These pieces should never have been together, but I find they work well together, in a haphazard, incoherent way. An old-fashioned album, with an immutable order, it can not exist anymore. everyone to do their own tracklisting, to sort through the thirty pieces of the album. That's why we created the MP3. Drukqs is meant to be turned upside down. Curiously, it is from far away the album that asked me the most time, concentration. The simplest pieces are the ones that asked me the most work: I had to purify, without end, remove the notes one after the other. This meticulousness surprised me myself. This is the big difference with your previous albums: we feel a real reflection, we can not find the instinct. Only two titles are based on instinct, the other twenty-eight have been elaborated, refined, sometimes over two years. The risk is that I never finish a piece: it is always at hand, ready to suffer the effects of my last fad in date. I want to push them further, to see how far they can be deformed without tearing. Moreover, it is not excluded that I completely remix Drukqs to bring out in ten years. I like Pierre Boulez's way of constantly coming back to his first songs. Curiously, I never feel claustrophobia when I am locked in my studio. I'm good at it, in my natural environment. I sometimes stay locked up for weeks at home, without the slightest idea of ​​what's going on outside. I do not care, I do not belong to this world anymore, I'm happy in mine. My house is really a bunker, I have enough to survive, all my toys. And especially your label, Rephlex. That's right, we can think of it as a toy. A toy that, I knew from the beginning, was not going to choose the ease but annoy people. It was a bit of a whim: get out the records I love, be it hip-hop, techno or more demanding music. My pride is that the label has existed for almost ten years and has remained true to its philosophy. On this label, I can go out under a pseudo remixes of old acid tricks of ten years ago and manage to penetrate the Top 5o, it is miraculous. I'm seriously thinking of releasing the next Aphex Twin on Rephlex, without any constraints. On the new album, you can feel the clear influence of composers like Debussy or especially Satie. Is this a way that you plan to explore further in the future? I collect, methodically, all of Satie's piano recordings. I listen to it constantly. I would have loved to hear him compose a drum'n'bass song, he would have been the providential man. For years, I knew I would come to the classic. This music waited for me, patiently, sure that I would get tired of the dance. And the more I have to find exciting maxi (I have to go through a thousand shits in review to find something new), the more I turn to the classic. It's far more rewarding. Your music has always evoked for me a very strong image: that of a child prisoner of an adult body. That's exactly why I love Satie so much for this childish, fragile side. I like this way of expressing myself while thinking in a complex way. There is no flamboyance, no demonstration, no show. A child in an adult body, yes, it's all me, that. I hope the adult will never choke him. To grow is to deny oneself, to limit oneself, to play a role. I'm often asked, angry, "But when will you finally grow up?" And me, secretly, I answer that I hope never to grow up.

Artist : Karsten Pflum Title: Love Canticles Label: Touched Music Cat no: TM37 Format: CD/Digital Country: U.K. Artwork: Hagar Faibish Style: IDM/Electronica Release Date Oct 24th Nov 2017 It's hard not to be biased when you get to listen to artists that you know and love but there's a reason you love them and this only adds fuel to the fire. Hot on the heels of the recent release from 'Ariande's Labyrinth', comes an offering from one of Touched Music's favorite artists, Karsten Pflum. 'Love Canticles' is a solid collection of squelch, rattle and drop - guaranteed to please our followers and make your feet tap. Kicking off with a dissonance that plays with your expectations of melody, the whole thing is solidified with a strong mix of conventional and broken rhythms. There are things you can't escape, notably the ethereal quality and a definite analogue feel that could easily be mistaken as Cornish in origin. Don't let this fool you however, this is the best of Danish through and through, although the keen- eared amongst you will hear the cat escaping the bag. Other nice touches include a peppering of vocoder, robotically enhancing certain tracks that already felt mechanical and industrious. Technical precision marks many of the tracks, 'I Am Ice' being a perfect example with ambience and crisp sounds aplenty, living up to its name. Not being satisfied with throwing a well-styled reworking into the mix to finish off the release, much- loved UK producer Ochre steps up and has offered his mastering & remixing skills to polish this great album. They're welcome bonuses that add to the already- delightful experience. Ochre's not the only remixer here, with contributions from Isan (Morr Music) & Humanoid (Aka Brain Dougans - One Half Of The Future Sound Of London) in the final stretch, the change is noticeable but well within the bounds of what Pflum has set out to do. All in all this is a spacious & thoughtful piece of work that carries on Karsten Pflum's tradition of style melding and refusing to sit in one box. It's great to know he's not going anywhere soon and even better to have him on the Touched roster. Support Touched - Music for Macmillan Cancer Support and get your copy from the 24th

Set I played last year at rave on a farm in the Scottish Highlands. House/Braindancey. Stay tuned for the Colundi Cowbell Solo at the end. Crazy Penis - There's A Better Place Axel Boman - Son of A Plumber Dave Monolith - FlenHix Soul Center - Boot Box Luke Vibert - Officer's Club Kornel Kovacs - Dance... While the Record Spins Liz Torres - Your Love is All I Need (Dub Mix) Claro Intelecto - Dependant Wav Fuzz - Neo's Jam Throwing Snow - Lumen Aphex Twin - Windowlicker (Acid Edit) Lusine - Eyes Give In Tim Wright - Section 7 Marc Houle - Undercover Lone - Vapour Trail Dapayk Solo - Tyffaniecell (Sutekh's "March of the Valkuries" Remix) Aleksi Perala - UK74R1512130 Cursor Miner - Mad Cow (Free Range Version)

(01) Scanner :: Dimension [sub Rosa] (02) Minilogue :: Clouds and Water (Rrose remix) [Enemy] (03) Conrad van Orton & VSK :: Interaction [Modularz] (04) Acid Arab :: Theme [Versatile] (05) Regis :: Blood Witness [blackest Ever Black] (06) Pearson Sound :: Tsunan Sun [Pearson Sound] (07) Randomer & Hodge :: Second Freeze [Livity Sound] (08) Alex Coulton :: Candy Flip [idle Hands] (09) Gesloten Cirkel :: Zombie Machine (Acid) [Murder Capital] (10) Mall Grab :: Black Palms [unknown To The Unknown] (11) Randomer & Cadans :: Lottarump [Clone Basement Series] (12) Aphex Twin :: D-Scape [Warp] (13) Post Scriptum :: Isdat [infrastructure New York] (14) Lakker :: Halite [R & S]

http://www.ebay.co.uk/sch/CDs/176984/m.html?_nkw=&_armrs=1&_ipg=&_from=&_ssn=danielaphex Got quite a range on there including many the folks on here will probably be interested in.

It would be useful to collect all these tracks together. Incidentally these tend to be really sick tracks.

Nice to see sigils getting mentioned in the mainstream press. Anyone else use them? i've done 'em from time to time, i find them an artistic way of stating my intent and bringing what i intend to do to the forefront of my experience/consciousness. I don't believe in them. Most of them have worked. How i define 'working' i'm not so sure but strange outcomes have occurred and i'm in a better place than I would have ended up had i flapped around not focusing on what I intended to do and just floating rudderlessly thru life only doing what I thought others expected of me. Not sure if that is 'magick' or just decision making. Or maybe 'deciding to do magick'. As I said, I don't believe in them but i can see the merit of actually doing them. It's not mandatory to believe in anything, so i don't. Intent and the creative process seem to me to work outside of (or parallel to,) consensus reality, they are personal and subjective and, if successful, they result in actualizations that can seem a bit strange and synchronistic. I don't usually go around telling people I enjoy a spot of witchcraft now and again but I thought i'd use this opportunity to share my experience. Like i said, no-one has to believe anything they don't want to. Here's an example of some i made a few years back and that have only just recently resurfaced (in a service manual for an 808 no less.)

Is this like a V/VM thing? I googled these but found nothing about them. My guess is they aren't actually him. Any thoughts? Should I buy these?

File Name: Aphex Twin - Live @ Wireless Festival, Hyde Park (2011) File Submitter: Herr Jan File Submitted: 07 Mar 2016 File Category: Aphex Twin Recording by user House Guest (thanks!) "Sound quality isn't great and batteries ran out about three quarters through. Shame because it ended with some of the best extreme noise I've heard him do." Click here to download this file

File Name: Aphex Twin - Live @ Primavera Sound Festival, Barcelona File Submitter: Herr Jan File Submitted: 01 Oct 2015 File Category: Aphex Twin Soundboard recording @ 128 kbps Click here to download this file

5 hour mix of my favourite Aphex tracks, from almost all his pseudonyms and styles. Enjoy https://www.youtube.com/watch?v=4OtwLY9HpE0 I'm expecting this to get removed by youtube at some point

Never seen this one before, this was the day after that legendary Rome 2002 gig (my fav btw) Some older footage of this set uploaded earlier:

File Name: Aphex Twin - Live @ Øya Festival, Oslo (2011) File Submitter: Herr Jan File Submitted: 13 Oct 2015 File Category: Aphex Twin Recorded and mastered by psn. Tracklist by psn. 320kbps 1:25:12 00:00:00 Aphex Twin - buchla 200 quad eg,fm osc fb network edit master edit+3 00:01:38 Aphex Twin - (Vocal outtakes from Penderecky rehearsal?) 00:03:00 Aphex Twin - nqz9 chaos rave. 1st edit +6 00:04:00 Warp9 - Nunk 00:07:56 (...) 00:09:00 (...) 00:10:00 Death Grips - Cut Throat 00:11:36 (...) 00:13:30 (...) 00:14:14 Shades of Rhythm - Homicide 00:16:12 (...) 00:18:07 (...) 00:19:25 Anthony Shake Shakir - One Beat (Just Won't Do) 00:22:10 AFX - Untitled (Analogue Bubblebath 3.1 track 5) 00:24:00 Subject 13 - Eternity (Spiritual Club Mix) 00:26:37 AFX - (Some remix of On?) 00:28:40 (...) 00:29:30 (...) 00:30:30 D.H.S. - House of God 00:33:24 (...) 00:35:12 (...) 00:36:47 (...) 00:38:19 (...) 00:41:05 Addison Groove - Footcrab 00:44:20 Oscar Mulero - Going To Nowhere 00:46:03 Aphex Twin - Rhubarb 00:48:19 (...) 00:50:25 (...) 00:51:00 (...) 00:52:45 (...) 00:54:05 (...) 00:55:11 (...) 00:55:27 Paradox - Paroxysm 00:58:00 Paradox - Paragon of Virtue 00:59:32 AFX - 3 Notes con 01:01:45 AFX - VBS.Redlof.B (Bass Version) 01:03:17 Jeff Mills - I9 01:05:45 AFX - Simple Slamming 01:08:36 The Tuss - Rushup I Bank 12 (Edits!) 01:12:30 (...) 01:13:08 Caustic Window - The Garden of Linmiri 01:15:18 Hellfish & Producer - Theme From Fuck Daddy 01:17:50 (...) 01:19:41 Hellfish & Producer - Rude Attitude 01:20:14 Aphex Twin - nqz3 singing chaos montage+6 Click here to download this file

So this is the third (and for the time being) the last of the three threads on my favourite mixes of the man, the first two being the Pukkelpop set and the Ultrasound radio broadcast. Just like the other two, I rinsed this mix to death for years and years, thanks to the relatively good soundboard recording... and the obviously great selection of lush tracks. Reason I started this thread is because suprisingly this set wasn't in the download section yet, until now that is. Besides that, it's also being referred to a lot recently because of the amount of gems contained in here that were unreleased at the time of playing: The Tuss, an Analord bonus track, 180db and a track from the soundcloud dump. Also, there's a few noise tracks from Florian Hecker played over the dance tracks, constantly being panned, which makes this a particularly interesting document because a few years later he would expand on this idea but actually have Hecker next to him on stage with an amazing sound setup (I remember some people being disappointed because they mostly just heard noise from where they were standing). I've found a pretty complete tracklist from a blog and I've added a tiny bit myself now, but it's still not complete. Feel free to try and ID the unknown ones! [00:00] Osé - Computer Funk - Bound Sound Records -1993 [00:33] AFX - Analord 04 - B1 Halibut Acid - Rephlex - 2005 [05:47] AFX - Analord 03 - Midievil Rave 2 - Rephlex - 2005 [06:57] Aphex Twin - Syro - 180db - Warp - 2014 [08:47] AFX - Soundcloud dump - mooow [Dixons Theft mix] - 2015 [11:06] The Tuss - Fredugolon 6 - Rephlex - 2007 [15:20] AFX - Analord 03 - Klopjob - Rephlex - 2005 [20:01] AFX - Soundcloud dump - mooow [Dixons Theft mix] - 2015 [21:50] 808 State - E Talk - Rephlex - 1999 [23:41] The Flying Lizards - Money (That’s What I Want) - Virgin - 1979 [24:55] Marcus Mixx - Psychousic - Missing Dog Records - 1987 [25:46] The Neon Judgement - The Fashion Party - Scarface - 1985 [28:12] Skykosis 451 - Hurricane - Bad Ass Toons - 1991 [30:05] The Mover - Frontal Sickness Part 2 - Planet Core Productions - 1992 [32:45] ID - Old Skool Sample [33:42] AFX - Analord 01 - Where’s Your Girlfriend - Rephlex - 2005 [35:32] Plasticman - Death By Stereo - Rephlex - 2004 [37:47] Sub System III - Robocop (To Serve & To Protect) [39:18] AFX - Analord 11 - 3 Notes Con - Rephlex 2009 [41:53] The Tuss - Synthacon 9 - Rephlex - 2007 [47:43] AFX - Analord 04 - A1 Crying In Your Face - Rephlex - 2005 [48:14] Ceephax Acid Crew - Arterial Acid Part III - Breakin’ Records - 2003 [50:02] Hecker - Acid 245 Ph.Inv 9T2 - Rephlex 2006 [51:02] 69 - My Machines - R & S Records - 1994 [53:23] Jaquarius - Love is Happiness (Acid Rain Mix) - Rockin’ House - 1988 [55:10] Green Velvet - La La Land - Music Man Records - 2001 [57:25] Acen - Dirty Raver - Thursday Club Recordings - 2004 [61:17] ID [65:31] ID - “My Body” [66:40] Gescom - Split Series #2 - Viral [68:28] ID - “Veronika” [71:43] ID Click here to download this file

'How will u react if Aphex Twin says he will release Melodies from mars at the end of the year?' -quoted from Jessica Cortes, a musician in the genre of IDM who has gotten a lot of public attention for achieving an enthusiastic if not cryptic response from Aphex Twin on Soundcloud. In advance of any guffaws, please observe that social media sources of this sort are considered credible, and this topic is suitable for public release as opposed to confidential or higher compartmentalization. This thread is created with the benificent attemt to inform as well as possibly amuse. The editor of this post, Skibby, is citing fair use, using typical media and communications guidelines. Original content will be created in thread form via comments.

[soundcloud] [/soundcloud]

Has anyone else notice the trend where in one breath, reviewers and 'celebrities with opinions' both ridicule Aphex Twin's copycats, while praising Mr. James for being influential? And why don't they seem to catch themselves doing that? Are they literally all stupid or are they reading some sort of script? What's the harm in people repeating things that are worth parroting? That's what DNA does init. (edit, theres very few who are anywhere close to being aphex copycats anyway.)

Before we all knew about SYRO, Virtual Urban Records had been planning a cover/tribute album in honor of the almighty AFAX TWENS. Well, it's now available over at the VUR bandcamp page. Personal highlights are Face Cullers interpretation of Minipops (created via the many live sets we've seen, before we all knew what it would sound like) along with Iconic Black Suit's and Mopfunk's Analord covers. Sadly, due to licensing issues there's no preview on Bandcamp, however you can stream the previews of the album on soundcloud VUR decided to pay the extra $$ for streaming licenses, so you can now preview it: http://bandcamp.com/EmbeddedPlayer/album=2940314660/size=medium/

Thought it'd be worth having a thread for the London listening event; meetups, any info on location etc. Seems that replies to the RSVPs are now being sent out, keep an eye out.

https://soundcloud.com/aphex-twin-official-1 Is this for real?

Just spotted this - http://rareafx.wordpress.com aeioux

Greetings watmm. I wanted to make sure I posted this mix because there is a watmm fellow who goes or went by the Moniker "Lights Set North" and I just want them to know that their song Strangelet is one of my favorite songs ever and I play it a lot for people and they get excited about it too. I included it on this mix. Dude if you are here please post up links to more of your music. Anyway this is a mix around 120-130 bpm that I broadcast last week over on my island (please don't take this as spam I just want to be friends and enjoy the music) and thought some of you might enjoy the flow here. I used Virtual DJ, Goldwave, and my reverb pedal to blend everything together. Cheers. Tracklist: 2.Wash Over Me by Shifted 3.Spectral Source by Millie & Andrea 4.Heliosphan by Aphex Twin 5.Strangelet by Lights Set North 6.Ember by Function 7.Arpeggiated Love by The Field 8.Scurvy by Fishermen 9.Continuum by Akkord 10.The Way You - The Cyclist Remix by Soosh 11.Natalia's Song by Zomby 12.Burning Tyres by Shifted 13.Black and White Stripes by Aphex Twin Also please ignore my stupid voice at the beginning you can just skip ahead to about a minute thirty in where the actual mix starts with Shifted (such an incredible song btw, wow)

Well, that ones are not like to be done by Richard itself, but sounds, from a composition perspective, intriguingly similar... I found myself clicking and clicking in loops to listen. To taste the flavour of this computer algorithms, try the 3rd link first and optionally, enjoy as much as I do =D_ http://xifeng.weebly.com/bytebeats.html