Aphex Twin - Collapse EP

[Pirtek]

Hotness.

 

Coupla thoughts after reading the last couple of pages here:

 

- The T69 extended version. I just think it's pretty fucking amazing that after (likely) reading comments on Weirdcore's instagram post with the extra bits, and the comments here from folks who missed sections from the live version, that this got released. Essentially for free. I really can't think of another artist of this stature who has so kindly catered to their audience, in a total "show don't tell" way. There's wasn't some sort of "HEY GUYS, CHECK THIS OUT, YOU ASKED FOR IT, YOU GOT IT YAY ME!" sort of announcement, shit just got dropped in our laps. It's just so incredibly generous. Wish, before diving in to why people hate the transition, doesn't think it flows, why it's not in 24 bit, etc., people would take a moment and just say "thanks" for the opportunity to have something to critique at all. I mean, it's totally fine, reasonable, etc. to have an opinion, and forums like this are where people go to voice theirs, but a modicum of gratitude (or at least recognition) might be nice?

 

I write this all with the acknowledgment that the above is my opinion too. Some may not agree, and that's fine. It just makes me a little sad that people (myself included) so often jump straight deciding why they do or do not like something, without taking a moment to appreciate the beauty of existence itself.

 

- The actual EP (with acknowledgements, again, this is only my opinion): It is utterly inspiring and life affirming to hear someone who is approaching their 50's continue to evolve. Drukqs has (had) always been my favorite album, and it's partly because it seemed to take elements of every prior Aphex release and combine them, while adding new techniques and ways of approaching music to the mix (everything from the microediting to the prepared piano, for example). A song like Mt. St. Michel or Ziggomatic blend incredibly intricate, evolving beats with equally moving melodies, layered with textures that, on their own, wouldn't be out of place on SAWII.

 

A while ago I posted a thread asking how people would feel if Aphex released an EP of Drukqs outtakes. Most people indicated they would be (somewhat predictably) chuffed. Recently, someone here posted that they are grateful they got this EP instead of that. I absolutely concur. This EP feels like the culmination of the expert mastery of analogue equipment combined with the intricate programming of Drukqs, with new techniques added (e.g., the footstep stuff people keep talking about and the "collapse" elements that appear, etc.). Like my favorite songs on Drukqs, these tracks feel like a journey - pick any track and play the first 30 seconds and then play the last 30 seconds and consider how amazing that these tracks go from point a to b, seamlessly, and then consider all the different twists and turns they take along the way. It's utterly astounding. A masterclass in taking what you know, continuing to grow with it, learn new things, and apply it all in a way is both expertly composed and organic.

 

One day, inevitably, mankind will perish, and likely by our own hand. It's nice to know these wavelengths were released into the world before that day, and I'm grateful to have had them reach my ears, and enter my brain, ending up in my heart. Namaste, bitches!

Very Good!

[Pirtek]

I dunno I just get tired of the same people complaining about their vinyl, never positive conversation about the music like most of us. Always the same thing over and over again about the materialistic nature of their precious vinyl

 

it's just one big downer all the time isn't it? and it's well fucking boring

I hear ya!

[bunty]

Hotness. 

 

Coupla thoughts after reading the last couple of pages here:

 

- The T69 extended version. I just think it's pretty fucking amazing that after (likely) reading comments on Weirdcore's instagram post with the extra bits, and the comments here from folks who missed sections from the live version, that this got released. Essentially for free. I really can't think of another artist of this stature who has so kindly catered to their audience, in a total "show don't tell" way. There's wasn't some sort of "HEY GUYS, CHECK THIS OUT, YOU ASKED FOR IT, YOU GOT IT YAY ME!" sort of announcement, shit just got dropped in our laps.  It's just so incredibly generous. Wish, before diving in to why people hate the transition, doesn't think it flows, why it's not in 24 bit, etc., people would take a moment and just say "thanks" for the opportunity to have something to critique at all. I mean, it's totally fine, reasonable, etc. to have an opinion, and forums like this are where people go to voice theirs, but a modicum of gratitude (or at least recognition) might be nice? 

 

I write this all with the acknowledgment that the above is my opinion too. Some may not agree, and that's fine. It just makes me a little sad that people (myself included) so often jump straight deciding why they do or do not like something, without taking a moment to appreciate the beauty of existence itself. 

 

- The actual EP (with acknowledgements, again, this is only my opinion): It is utterly inspiring and life affirming to hear someone who is approaching their 50's continue to evolve. Drukqs has (had) always been my favorite album, and it's partly because it seemed to take elements of every prior Aphex release and combine them, while adding new techniques and ways of approaching music to the mix (everything from the microediting to the prepared piano, for example). A song like Mt. St. Michel or Ziggomatic blend incredibly intricate, evolving beats with equally moving melodies, layered with textures that, on their own, wouldn't be out of place on SAWII.  

 

A while ago I posted a thread asking how people would feel if Aphex released an EP of Drukqs outtakes. Most people indicated they would be (somewhat predictably) chuffed. Recently, someone here posted that they are grateful they got this EP instead of that. I absolutely concur. This EP feels like the culmination of the expert mastery of analogue equipment combined with the intricate programming of Drukqs, with new techniques added (e.g., the footstep stuff people keep talking about and the "collapse" elements that appear, etc.). Like my favorite songs on Drukqs, these tracks feel like a journey - pick any track and play the first 30 seconds and then play the last 30 seconds and consider how amazing that these tracks go from point a to b, seamlessly, and then consider all the different twists and turns they take along the way. It's utterly astounding. A masterclass in taking what you know, continuing to grow with it, learn new things, and apply it all in a way is both expertly composed and organic. 

 

One day, inevitably, mankind will perish, and likely by our own hand. It's nice to know these wavelengths were released into the world before that day, and I'm grateful to have had them reach my ears, and enter my brain, ending up in my heart. Namaste, bitches!

100% - it's a very nice touch to release a version he presumably considered inferior to the video version in response to a few fans disagreeing with that notion. All the better that it was free as well

[Zephyr_Nova]

lets say it arrives not fucked up like its been hit with sledgehammer from all sides after sitting at the bottom of a one tonne skip of other parcels, just like Gollum in his cave with his 'precious', it seems to be fruitless waste of obsessive time

 

In this day and age, with mobile loseless audio (sit in the garden, go for a walk, cycle through the countryside, climb a mountain, have picnic, go for a drive etc etc etc) why the fuck bother with an expensive ball ache of plastic that can only be played while sitting a few metres away from a machine that you have to turn over every 20 minutes

 

I dunno I just get tired of the same people complaining about their vinyl, never positive conversation about the music like most of us. Always the same thing over and over again about the materialistic nature of their precious vinyl

 

lol well put.  You're not wrong.

[Joyrex]

 

 

example of the noise on right channel. Recorded after I had cleaned the record and stylus.

Has anyone contacted blerp yet about the quality of the pressing? I haven't seen if anyone has. 

 

Since there are so many people it might be worth it. 

 

It's pointless for me to contact Blerp, since I bought from Norman Records (tired of fuck-ups with Blerp).

 

I can't even complain to Warp though, because they'll just refer me to the retailer I bought the record from. I've emailed Norman to see what, if anything, can be done.

 

I'm sure fuck-all will be done, since it's a one-off pressing...

 

I would still contact WARP and let them know - they can't correct quality control mistakes like this unless they are aware of them...

[oscillik]

 

 

 

example of the noise on right channel. Recorded after I had cleaned the record and stylus.

Has anyone contacted blerp yet about the quality of the pressing? I haven't seen if anyone has. 

 

Since there are so many people it might be worth it. 

 

It's pointless for me to contact Blerp, since I bought from Norman Records (tired of fuck-ups with Blerp).

 

I can't even complain to Warp though, because they'll just refer me to the retailer I bought the record from. I've emailed Norman to see what, if anything, can be done.

 

I'm sure fuck-all will be done, since it's a one-off pressing...

 

I would still contact WARP and let them know - they can't correct quality control mistakes like this unless they are aware of them...

 

The contact page on warp.net doesn't really have an email address that's appropriate for this kind of thing. I could try sending to the UK Press Enquiries one I suppose…

[Ivan Ooze]

 

lets say it arrives not fucked up like its been hit with sledgehammer from all sides after sitting at the bottom of a one tonne skip of other parcels, just like Gollum in his cave with his 'precious', it seems to be fruitless waste of obsessive time

 

In this day and age, with mobile loseless audio (sit in the garden, go for a walk, cycle through the countryside, climb a mountain, have picnic, go for a drive etc etc etc) why the fuck bother with an expensive ball ache of plastic that can only be played while sitting a few metres away from a machine that you have to turn over every 20 minutes

 

I dunno I just get tired of the same people complaining about their vinyl, never positive conversation about the music like most of us. Always the same thing over and over again about the materialistic nature of their precious vinyl

 

it's just one big downer all the time isn't it?

1. I haven't made any comment about the music, because in this subforum, unless you're giving complete praise you are a fucking heathen. I find it best to just avoid that discussion entirely.

 

2. A lot of people paid £17.99 for a record that, by many accounts, has a pressing defect. Along with the issues with NTS Sessions vinyl that arrived very warped and with pressing defects, Warp's quality control has slipped drastically. While I was dismissive in the NTS thread about 'bent sleeves', I completely understand why someone would want the actual records to be playable.

 

3. Out of my collection of records, only a very few have problems of this nature. To claim that vinyl as a listening format has these defects inherently is to show how clueless one is to make such a statement.

A bit savage from beerbeast but he has a point.

Just let go, download the wavs and have a good time

Also give us your opinion about the music so we can nail you to an inverted cross if necessary

Edited September 17, 2018 by Ivan Ooze

[cloud capture]

was hoping this would be waiting for me when I got home today

[oscillik]

 

 

lets say it arrives not fucked up like its been hit with sledgehammer from all sides after sitting at the bottom of a one tonne skip of other parcels, just like Gollum in his cave with his 'precious', it seems to be fruitless waste of obsessive time

 

In this day and age, with mobile loseless audio (sit in the garden, go for a walk, cycle through the countryside, climb a mountain, have picnic, go for a drive etc etc etc) why the fuck bother with an expensive ball ache of plastic that can only be played while sitting a few metres away from a machine that you have to turn over every 20 minutes

 

I dunno I just get tired of the same people complaining about their vinyl, never positive conversation about the music like most of us. Always the same thing over and over again about the materialistic nature of their precious vinyl

 

it's just one big downer all the time isn't it?

1. I haven't made any comment about the music, because in this subforum, unless you're giving complete praise you are a fucking heathen. I find it best to just avoid that discussion entirely.

 

2. A lot of people paid £17.99 for a record that, by many accounts, has a pressing defect. Along with the issues with NTS Sessions vinyl that arrived very warped and with pressing defects, Warp's quality control has slipped drastically. While I was dismissive in the NTS thread about 'bent sleeves', I completely understand why someone would want the actual records to be playable.

 

3. Out of my collection of records, only a very few have problems of this nature. To claim that vinyl as a listening format has these defects inherently is to show how clueless one is to make such a statement.

A bit savage from beerbeast but he has a point.

Just let go, download the wavs and have a good time

Also give us your opinion about the music so we can nail you to an inverted cross if necessary

 

He doesn't have a point, actually.

 

Out of the 118 pages on this thread, there are a few posts that are making valid complaints about the pressing quality. But that constitutes as "never a positive conversation about the music"?

 

Bullshit.

 

It's just an underhanded way for someone to shit on a particular persons choice of listening format, whilst trying to justify why their choice of listening format is superior.

 

Always the same old people making those kind of comments too, by the way, but you don't see me pointing that out every time they bike in.

 

As far as my opinion on the music—comments like this (beerwolfs) are exactly why my posting on WATMM over the years has declined considerably. Everyone's a winner.

Edited September 17, 2018 by oscillik

[BaggerMcGuirk]

Mine hasn't shown yet either, but I'm in the US and ordered the special edition.  I guess that comes from a further distance.  

[andrd]

Mine hasn't shown yet either, but I'm in the US and ordered the special edition.  I guess that comes from a further distance.  

My special edition shipped from the US, but I think it depends on when you ordered it. They probably fulfilled orders through the UK after their initial US shipment (stock for record stores and a limited amount of US orders) sold out. Edit - I order from Bleep a lot, most UK orders take 7-8 days to reach me in the US. 

Edited September 17, 2018 by andrd

[Skeletron]

Lol at the 90s ravers just discovering footwork. Shit's the most interesting thing rhythmically to happen to bass-heavy electronic music in the past decade and it's been influencing wider artists at least since Machinedrum - Room(s) in 2011. It shouldn't be surprising to see RDJ still exploring and applying his mastery to new genres as he's done countless times before. If you can get past the abrasive vocal samples used as percussion in the earlier footwork releases, turn up the bass and give it a chance.

 

Required listening:

Bangs and Works vol. 1 & 2, Planet Mu

DJ Diamond - Flight Muzik

DJ Rashad - Double Cup

Jlin - Dark Energy and Black Origami

countless Chicago footwork battles on youtube

[KovalainenFanBoy]

I gotta agree though this doesn't really sound like footwork to me other than Aphex having borrowed Jlin's sample pack

[worms]

footwork and juke are k-lame

 

acid forever 

[eczem]

I'm tempted to say "Richard did it better"... but i think some of us on here might be biased.

[perunamuusi]

[Joyrex]

 

 

 

 

example of the noise on right channel. Recorded after I had cleaned the record and stylus.

Has anyone contacted blerp yet about the quality of the pressing? I haven't seen if anyone has. 

 

Since there are so many people it might be worth it. 

 

It's pointless for me to contact Blerp, since I bought from Norman Records (tired of fuck-ups with Blerp).

 

I can't even complain to Warp though, because they'll just refer me to the retailer I bought the record from. I've emailed Norman to see what, if anything, can be done.

 

I'm sure fuck-all will be done, since it's a one-off pressing...

 

I would still contact WARP and let them know - they can't correct quality control mistakes like this unless they are aware of them...

 

The contact page on warp.net doesn't really have an email address that's appropriate for this kind of thing. I could try sending to the UK Press Enquiries one I suppose…

 

I'll drop a line to my contact, for what it's worth...

[oscillik]

 

 

 

 

 

example of the noise on right channel. Recorded after I had cleaned the record and stylus.

Has anyone contacted blerp yet about the quality of the pressing? I haven't seen if anyone has. 

 

Since there are so many people it might be worth it. 

 

It's pointless for me to contact Blerp, since I bought from Norman Records (tired of fuck-ups with Blerp).

 

I can't even complain to Warp though, because they'll just refer me to the retailer I bought the record from. I've emailed Norman to see what, if anything, can be done.

 

I'm sure fuck-all will be done, since it's a one-off pressing...

 

I would still contact WARP and let them know - they can't correct quality control mistakes like this unless they are aware of them...

 

The contact page on warp.net doesn't really have an email address that's appropriate for this kind of thing. I could try sending to the UK Press Enquiries one I suppose…

 

I'll drop a line to my contact, for what it's worth...

 

That would be cool, thanks for offering! Hopefully QC issues like these can be minimised for future releases.

[Skeletron]

I gotta agree though this doesn't really sound like footwork to me other than Aphex having borrowed Jlin's sample pack

Agreed 100% though Jlin comes out of footwork so the two are pretty intertwined.

[Stock]

Collapse EP is awesome. It incorporates the more "focused" or thematic approach of his recent eps but with a depth and an attention to details they lacked (imo).

 

I already see myself going back to this release quite frequently in the forthcoming years!!!

[dr lopez]

wow guys can we cut the autistic record quality and this is footwork talk please?

 

fucking boring esp when we have a great great ep on our hands

[mushroom]

the genre 'footwork' seems to have some connection to the content of the EP, dr lopez.

[BaggerMcGuirk]

Just got my record.  

[Ivan Ooze]

He start making music in 1988, and approximately 10000 000 beers later he still make album everyone like

Edited September 17, 2018 by Ivan Ooze

[Lane Visitor]

wow guys can we cut the autistic record quality and this is footwork talk please?

 

fucking boring esp when we have a great great ep on our hands

Rich, is this you??

Man today getting out of bed, I slammed the door on my FOOT ... WORK has been hard today ever since.