Amazon.com's Best of 2001

Kieran Hebden is, it has to be said, something of a genius. The groundwork for Pause was laid when Dialogue--his debut solo album under the guise of Four Tet--landed in 1999, an album that redrew the parameters of inventive dance music. A peculiar mix of live-sounding instrumental jazz and technologically super-precise laptop dance trickery, it sounded nothing like Hebden's actual group--the post-rockers Fridge--and, as it happened, very little like anything else in existence. Where Dialogue employed jazz sax and flute in its evocation of a 21st-century jazz meltdown, Pause goes even further, coiling whispers of harp and zither over layer-on-layers of fidgeting, rattling percussion. His inspirations? Well, like his friend and protég&eacute:, Canadian tech-wizard Manitoba (whose Start Breaking My Heart is easily the equal of Pause), Hebden collects sounds and melodies from a dizzying array of places--ancient British folk music, the rattle of typewriter keys, the gurgle of running water, even a field recording of a children's playground. Genius? There really is no other word for it.--Louis Pattison ... Read more

Reviews (19)

already one of my top 3 cds of all time
not since the release of dj shadow's 'endtroducing' have i been so excited about an artist/album. this is some beautiful music. four tet(guitarist for fridge) uses sounds/samples/beats in the same fashion as dj shadow. this album is loaded with incredible sounds. don't get me wrong, it's not overly done, but the feel of the album is super solid. certain stand out tracks are, well, all of them. i don't really need to analyze any certain song for you because they are all equally great. four tet has another album prior to this release called 'dialogue'. if you like this album, have at the other. i listen to a lot of music. very rarely do i get an album that really re-instills my faith in music expression. four tet has done that with his two releases. i strongly suggest that you get his two albums. if you are into dj shadow, newer radiohead, boards of canada, fridge, or any other beat oriented instrumental music, you can and will not go wrong with these choices.

Only 5? You ask...
Pause is a majestic accomplishment combining the organic electronic sounds which remind me of Boards of Canada and NOBODY has ever reminded me of BoC before, with acoustic guitars making this CD possibly the most organic sounding electronic album that I've ever heard...
The beats are hypnotic and ydroponic and the use of voices of children, like in the beg. of track 4, and guitar sounds, make for a serene atmosphere in which one can easily loose one's self (which tends to be the point, right?) The song 23 is instantly likeable in that BoC kind of way and contains trippy samples and arresting beats and even has bells and horns!
This album has an upbeat, cheery feeling which is somewhat rare in IDM and Ambient music of recent years. The use of acoustic guitar separate Four Tet from the majority of his contempories and creates an added dimension and more sound possibilities to a genre that seems to be filled with as much sound as anyone could possibly desire in terms of layering and textures. Track 7 is a masterpiece of musical mayhem, the equal of any of the great one's works and exhibits Kiernan's creative mind as well as his insane skills.
The only negative aspect of the CD I believe is track 8 which I think was the single and contains an annoying repetitive vocal sample which begs for the skip button to be pressed.
Pause is one of the few albums worthy to be described as 'Brilliant' and Kiernan is one of the up and coming superstars (although he's been around - check out Fridge) who should be getting serious recognition...

Nice- but doesn't have that umph!
Four Tet is great. Great to just sit back and chill, great to excercise to, great cook to, clean to, drink to... etc. Unfortunately, sometimes that's just not enough! I'm left with a yearning for Four Tet to take it somewhere else... somewhere higher. But he never does.

For those hard-core electronic/ambient/whateveruguyscallyourselves heads, I'd say skip this album. It's not challenging enough for your finely tuned ears. But for your everyday ambient listener, it might be worth your while to take a gander.

Indeed worthy of the 5 Star Rating....
Producer/Composer/Mixer/Turntablist "Kieran Hebden", creates a unique record, by making a record that is parts "DJ Shadow", and taking the scratchy Trip-hop of "Portishead", and although on paper, it doesn't sound promising, 'Four Tet' creates rhythms, beats, interludes with a very unusual choice of instruments 'Acoustic Guitars, Harps, String arrangements, keyboards into a shuffling melodic experimentation of complex electronica / Hip-Hop, in a way that is unique to him. And his music demands more investigation for those seeking something a little leftfield in their music....but it's not just a form of 'Glitch Hip-Hop', as Kieran produces tracks with as much warmth & substance as any contemporary Trip-Hop artists you care to mention, with some tracks stretching into sevens minutes, and others weighing in at a light 2 ½ minutes..yet all this Cd space is used intelligently, to produce something of a 'unified' sound through the use of samples, Turntables, Progressive instrumentals, and magnificent composition.

Absolutely gorgeous
Captivating, organic, earthy, beautiful collaged music at its absolute best. Highly recommended. ... Read more

Amazon.com's Best of 2000

Amon Tobin's off-kilter rhythms and jazzy samples create a beautiful mess on Supermodified. Feeding off Latin rhythms, downtempo beats, and wildly adventurous musical jumbles, Tobin's manic bliss never allows the songs to wander, working a sense of method into a sea of crazy atmospheres. The result is focused, enticing, and fascinating. --Matthew Cooke ... Read more

Reviews (59)

Four Ton Fun
Usually I review an album after listening to it two or three times. I've listened to "Supermodified" even more than that, and I'm still having trouble conveying the intricate brilliance of this CD.

This is definitely *not* traditional drum and bass music. In fact, the breakbeats are hidden under layer after layer of ambient sounds and "noise" (for lack of a better term). Some of the tracks feel like you're listening to them from under a swamp. You have to hear it to understand.

What I really like about the CD is that Tobin has a number of "ethnic" samples, and a funky lounge feel to it. But then, some of the tunes (e.g. "Golfer vrs Boxer") are simply dark as hell. That's the beauty -- there's so much variety, but it's pulled in so tightly and expertly that it doesn't sound hashed together.

If you're looking for something mind blowing, buy this album immediately.

Eclectica
Amon Tobin has been an artist to watch for quite some time now, but now he has completely outdone himself on SuperModified. When I first stuck this record on turntable, I think a few minutes into it I completely stopped doing whatever it was in the interim, awestruck by how well put together these sounds were. I tend to be a very critical first time listener of recordings, usually leaning to the "oh well" emotional let down, but wasn't left behind on this one. The textures are so dense, combining orchestral string and brass sounds with his signature jazzy bass and drum elements. It's all electronically interwoven like a fine quilt with no room for error (and there is none..). This album is a graduation effort beyond his Permutation or Bricolage, which both had great music on them. The brazilian percussion influences are well intact, heavy hitting, and so eloquently put together that you hardly notice how immense the syncopations are amidst the sometimes tender melodies that accompany them. A very "acoustic" sounding effort, Supermodified is highly recommended, very groovy, and a sometimes loungy, if you will, album.

MIGHT AS WELL REVIEW THIS ONE, TOO!!!
I am a fool for not getting hip to "Amon Tobin" sooner! Honestly, I thought the guy was one of those DJs whose music is monotonous and can be heard in video games and cheerleader competitions! I shamefully stand corrected! Tobin is much more complex than that! And "Supermodified" is a true testiment! This has been herald as Tobin's best CD and I must agree. "Supermodified" is a bit dark and obscure at times, but the production value is excellent! Tobin is the MASTER--I dare you to disagree. The acid-jazz opener, "Get Your Snack On" sets the stage for what's to come. The ominous "4 Ton Mantis" keeps the jazz-effect going with a killer beat to boot! "Slowly" is as haunting as a Portishead cut, while "Marine Machines" with its orchestral embellishments have you wondering if there's an army of cyborgs coming to take us over!! Next, is the equally apocolyptic, "Golfer Vrs Boxer" that still scares the $#!^ outta me when I listen to it!! "Deo" is what all down-tempo music should sound like! "Precursor" has a stong jazzy bass line with some weird-other-wordly-scatting from Quadraceptor (???)--although it leaves one to wonder if this is a sample, or an actual person that Tobin has manipulated to sound like that! INCREDIBLE!! "Saboteur" keeps with the dark tone of this album, as does the gorgeuosly ominous, "Chocolate Lovely." However, "Rhino Jockey" loses me and sounds like filler garbage (it could've been left off, really), but I'm sure rave-heads everywhere will dig it! Bringing it down a few notches is "Keepin' It Steel" and the beautiful closer, "Natureland." Very impressive CD from a man who defies all conventional rules of D&B, Techno, Jazz, Trip-hop and Ambient music. In fact, with "Supermodified"--and let's not forget the equally amazing debut, "Bricolage" and the current, "Out From Out Where"-- Tobin has--what's the saying?--reinvented the wheel all together!

Heavy and Decadent Electro-Jazz
There's not much to add to what's already been said about Amon Tobin. The man is a sort of creepy genius and his music truly pushes the limits of what we'd call "progressive" with his unique Latin-flavored mix of lush samples, larger-than-life cinematic orchestration, futuristic jazz-inspired melodic runs, intricate schizo breaks and evolving drum patterns.

After discovering Amon Tobin, I felt as though I had found THE sound I was looking for my entire life and immediately began touting his stuff to everyone I met. Much to my dismay, I soon realized that this really isn't everybody's cup of tea. It's not terribly danceable, the tracks are on the long-ish side and take their time to reach a full boil. I guess when you say "jazzy drum and bass", some people expect you to bust out a pair of glow sticks and start bouncing off walls like a fool.

One critique I heard a few times is "it's repetitive." This made my jaw drop; however, I have to concede that, rarely, a track may seem to dwell upon one melodic theme for a little too long. Of course, the people who said that have unfortunately short attention spans and openly refused to acknowledge the amazing--AMAZING--manipulation of drum patterns. He's no Aphex Twin in that category, of course--but his beats combined with the gorgeous "noirish" melodies make his music more instantly accessible.

This album can be summed up in one word: HEAVY. When the drums aren't hitting with tremendous force, the subsonic bass lines and swooping atmospheric textures Tobin weaves in create a dense blanket of sound that just smothers you.

I loathe to say it, but this can create a problem, and this is why I've deducted one star from my rating. When I first listened to Supermodified, it sounded very mildly over-driven on my desktop speakers, car stereo and CD player's headphones. Honestly, not much that you would notice unless you were playing at high volume; however, I did hear it cranked-up on an excellent car audio system and it just blew me away. It's remarkably tight, but it could have been brought down a tad for those of us with cheaper equipment and still not lost any of it's punch. But this is really a minor issue, and the album does sound quite good on all my gear--maybe it's my fault for want of turning it up!

But take note: if you're going to listen to this Amon Tobin album--and... YOU WILL want to listen to this album, oh yes--you should know that it will sound best on halfway decent stereo equipment if you don't already have it. To hear this music played the way it was intended is a real treat.

Fantastic...
This album is mindblowing. I liked Permutation but when I heard this, it took my breath away. One of my most favourite tracks is 'Deo'. This track is just delicious and immediately transports you to a new dimension. And of course, there is the '4 ton mantis'. Jazzy and yet something else...
And it only gets better with more listening - you start to relise just how many layers there are...
Beautifully crafted! I would most definitely recommend this. ... Read more

Amazon.com

Despite his dedication to free speech, Frank Zappa once dismissed music criticism by likening it to dancing about architecture. No surprise, then, that the British duo Autechre draws critical approbation by making music, seemingly, about architecture. With its pulsing, pneumatic beats, its favor for geometric rhythms, and its utterly mechanical sound sources, Autechre revels in the brittle, the desolate, and the mundane. Tri Repetae++ ranges from the Doppler effects of "C/pach;" to the elastic irritants of "Rsdio." Characteristic of its mission, the CD's scant liner notes admonish listeners: "Incomplete without surface noise." Not quite true, since the album provides much of its own noise, even in the relatively pure realm of digital playback. The U.S. edition includes two earlier EPs, "Anvil Vapre" and "Garbage." --Marc Weidenbaum ... Read more

Reviews (83)

Absolutely Astounding: One of the Best Albums of the 1990's.
"Electronika" had never sounded like this before its release in late 1996. Tri-Repetae++ came as somewhat of a shock, dividing critics left and right. There was never an album quite like it before. Many dismissed it as being repetitive, while others saw the complexity of the album, acknowledging its sheer beauty and architecture. Even six years after its release, the album still sounds fresh. This album changed the course of ambient music, if not ALL of electronic music, after 1996 and even now, it is universally accepted as the definitive IDM album. And for two discs, not once do Autechre step wrong. Tri-Repetae++ was easily the best album of 1996, and is also one of the greatest albums of the past decade.

A song-by-song review of this album is pointless. The album must be taken in as a whole. It is incredible and is guaranteed to change the way you perceive music. Tri-Repetae++ is truly a masterpiece.

Grade: A++

Lethal Anatomical Efficiency!
TRI REPETAE was originally released as a single disc in the U.K. in November 1995. Disc 2 contains two previously released EPs: ANVIL VAPRE and GARBAGE. Autechre: Sean Booth, Rob Brown. With TRI REPETAE, Sean Booth and Rob Brown's music undergoes a quantum evolutionary leap from the relatively muted modular mathematics of INCUNABULA and AMBER into a tortuous, insectoid cybernetic funk. Menacing robotic mandibles and steel-plated wings now render the electro tics and hiphop scratches, as though Booth and Brown have decided to work exclusively in the medium of rusty Erector-kit mechanics. For many Ae-heads, this third album and the EPs that preceded it (GARBAGE and ANVIL VAPRE) represent Autechre's pinnacle achievements. TRI REPETAE++ combines all three desirable items in one generous double-disc package. Such album tracks as "Clipper," "Rotar," "Leterel," and "Gnit" are like oversized cricket automatons--hulking scrap-heap assemblages of melody and shearing wrought-iron armature too ungainly to do more than flex a leg joint or twitch an antenna. In comparison, ANVIL VAPRE's "Second Bad Vilbel" and "Second Scout" are models of lethal anatomical efficiency. These are hydraulic super-ants, built for speed, purpose, and determination using the scant workshop remains of nosebleed-techno tracks and dismantled monster trucks. The melodically exquisite GARBAGE dovetails neatly with the album's less flattening moments ("Dael," "Eutow," "C/pach," "Overand," "Rsdio"), the circuit-board tweakings mimicking dub ("Piobmx19") or disclosing the human ghosts in Autechre's machine.

the best autechre album hands down
definitely the best autechre album i have heard - their best work yet. beautifully and intricately mixed - the electronic complexity of it all makes for one of the best experimental cd's i've heard.
and not without variety either - tracks such as 'leterel' and 'stud' compare to leftfield's 'rhythm and stealth' album while 'rsdio' sounds like a bass test track with middle eastern influenced percussion.
the general feel of the cd however is very experimental, with a distorted, noisy sound, very sweet drum beats to ride to (perfect for cruising or chilling) and still a unique, unexpectedly french flavor all to its own.
if your looking for that new, underground, experimental sound this is it.

Gripping electronic music
The first notes of the opening number recalled very early Human League to me, but then the track settles into a mechanical beat, like a conversation between machines. Clipper has a fuller sound, with bubbling beats and a slow, mournful melody, whilst Leterel is an impressive symphony of whooshes and Rotar is an edgy number, again with a melancholy tune over the jerky beats.

The next one, Stud, has moody synth loops and a slowly building ambient structure. My favorite is the hypnotic Eutow with its rousing synth lines, droning undertow and gripping arrangement, a challenging but compelling piece of music. Gnit, a charming sound collage of funky whirrs and burblings, follows the percussive industrial sound of C/pach. Overand is a soft gentle ambient piece and the album concludes with Rsdio, a mid tempo track with an impressive sonic and rhythmic mix.

The second disc provides further successful experimentation although no one track really leaps out at the listener the way that Eutow, Rsdio or Clipper does. Although complex, Autechre's evocative techno is surprisingly accessible. Tri Repetae is a feast of atmospheric sounds and varied rhythms, a most intelligently structured album of electronic textures.

Perfect IDM. . .
Autechre is the epitimy of IDM music. Tri Repetae ++ is a great way to start getting into IDM. For one, it has a full-length on the first disc and 2 EPs on the second disc. This way you are getting essentially 3 Autechre cds for the price of one. This was actually my first IDM music and I have now moved on a little bit and I think that Peel Seesions 2 is even better than TR++.

I have to say that IDM is a little bit of an aquired taste (my parents normally turn it off if I have it on in the car) but once you give it a real chance, it is really worthwhile. I was listening to this cd earlier today and I thought, wow. These guys have put so much effort into making this cd as good as they can make it and I think that there isn't much more room for improvement.

Tri Repetae (as with all of Autechre's music) is mechanical, it sounds as if robots are chattering and meeting (I know that I haven't made that up myself, but it is a perfect description of what it is). If you think that you want to get into IDM but only want to buy one album to start with, then this is the one to get! ... Read more

Album Description

2000 single release from Scottish electronica duo. Highly recommended for fans of Air, Kruder & Dorfmeister, etc.. B.O.C. and Broadcast are probably the only two melodic electronic bands signed to Warp Records. Tracks, 'Kid For Today', 'Amo Bishop Roden', 'In A Beautiful Place Out In The Country' & 'Zoetrope'. Standard jewel case. ... Read more

Reviews (50)

Beautiful and mysterious
I bought this CD on a whim in a used CD shop up in Berkeley, California, because I was am avid BOC fan. I have not regretted this purchase at all.

The complexity of their music along with the mysterious aura that they create is mindblowing. How can someone synthesize something so beautiful? I found it remarkable.

This music is very soothing after having a long, bad day, and you just need a rest. It is calming, and makes you think about past things. The beat is just enough to keep your pulse up, and it's quiet enough not to interrupt you while you think back. I found it great for driving at night, although I would not advise it if it's really late because my friend almost fell asleep listening to "Music Has the Right to Children" while driving home once.

Wonderfully done and fully worth the cost. It runs about 30 minutes and has very good tracks. I liked this better than "Geogaddi".

Boards of Canada has done it again
As a huge fan of thier first record, I was in the store buying this the day it came out, obviously without having read anything on it good or bad. These 2 guys are true genius on many levels. I have to say that this EP is more 'minimalistic' in it's approach then Music has the Right to Children was, and the songs build slower and are generally more subtle. The standout tracks are Kid for Today and In a Beautiful Place... My only criticism is the last song, Zoetrope, actually annoys me too much to even listen to unfortunately, and is comprised of one lonely keyboard track of a bells/string type with no percussion whatsoever - but it's obvious that this track was a tack on at the end to warrant the 8 bucks you will pay for this. Gone also from this entire release are the warped-in-the-sun fat analog synth leads that made the first record such an original and MOLDY sounding and cohesive listen. I hope the forthcoming album will have some of that same feel to it, and that this EP is just a taste of what is to come, with only one throwaway track... Well, OK, that just leaves 3 songs left. But Boards of Canada are allowed to do that kind thing because, frankly, they are Boards of Canada, and the rest of us are not. I knocked a star off for it though.

Kid For Today
Kid For Today is my favourite piece of music of all time, honestly. This track is not music, it is poetry, but without any lyrics(a voice sample appears, but nothing I could grasp of it). It is based on a simple pattern that alters three riffs on a synth and an ep, while the beat builds up(it is lead by a typing on a keyboard sample, I think). Subtle details and a constant background noise(it reminds me of a destant highway at night) make it pure magic.
The rest on this EP is not as good as Kid For Today - In A Beautiful Place Out In The Country stands out, and Amo Bishop Roden is also a good, although not very engaging track. Zoetrope is probably based on a mathematical pattern, because it repeats different arpeggios without developing at all.

One of the best
This is simply one of the best albums ever made...I am not employing hyperbole, folks. I bought this album somewhat on a whim, and it is one of the best eight bucks any music lover can spend. "Amo Bishop Roden" is one of the most beautiful songs ever. It is one of those classic electronica ballads that barely, I mean BARELY, climaxes and drifts away into oblivion...perfect. This album isn't very similar to "Children" or "Geogaddi", or even "Twoism". Much more ambient. Buy this before the world ends.

This Is Good, But It's Not IDM So Quit it.
Especially you Xltronic nerds. This isn't IDM, they just happens to be Warp-signees. Now onto my review of this album: I'll keep it short. This ep is excellent in every way; great ambience and perfect sound samples. A beautiful release. If you like this and want more, sucks for you cuz these guys haven't made anything else worth hearing other than a few cuts off that Geogaddi lp. ... Read more

Amazon.com's Best of 2001

Often proclaimed as electronica's one true genius, Richard James, a.k.a. Aphex Twin, returns with a double CD that showcases his cleverness as well as his inevitable inscrutability. Still, amid macabre birthday songs, unsettling screams, and other bizarre touches, Drukqs offers the most technically accomplished and beautiful tracks of Aphex Twin's career. Every aspect of the Aphex brain is on display here, from stark pieces performed on sampled piano and zither to Squarepusher-styled drum & bass implosions, all informed by that peculiar Aphex treatment of bittersweet melody and unparalleled programming. For an artist once engrossed in homages to his dead twin brother and grotesque videos, Drukqs shows James getting by purely on music alone.

"Mt. Saint Michel Mix" starts as maddening drum & bass, but is soon transfixed by glowing tones, hand drums, and police sirens. "Vordhosbn" is all acid beats and mad synths matched with fart-bombs and haunted cries. "54 Cymru Beats" sounds more like the tweaked-out, goofball techno of Wagon Christ than Aphex, while "Taking Control" goes metaphysical with cerebral synth-drums and muddled vocals. If Drukqs is the result of medication James has been imbibing during his three-year hiatus, then this is indeed better living through chemistry. Regardless, his music is still as beautiful and frothy as ever. --Ken Micallef ... Read more

Reviews (138)

Richard D. James revisited...
Richard D. James has been around the electronic music scene for quite a while now. Under the guise of Aphex Twin, he basically founded the gnere of iDmb, and released critically acclaimed works such as "Selected Ambient Works", "Richard D James Album", and "Windowlicker" EP. His compositions are so musically diverse, so surreal and schezophrenic, that many people have seemingly forgotten that Richard D. James is a human being.

In "Drukqs"--which is said to be Aphex Twin's final commerical release by many--James embarks on a journey of self re-discovery through his old sound mediums. "Drukqs" is filled with his classic signature sounds: the broken twitter box, dizzy drum n' bass, and distorted sound effects. The only difference this time, is that all the songs sound much calmer. James seems to be at a point of reflection in his career, and it is as if he was trying to find peace and solace with himself. Even his drum n' bass tracks seemed to lack the usual jubilancy and driven cynicism that we are so accustomed to.

What is really touching, though, are the piano works that he decided to include in this album (Most notably "Avril 14th" and "Nanou2"). They are all delicately simple, yet shows a emotional side of Richard D. James that we never knew for all these years. And while the sample of James's parents wishing their young son happy birthday (in "Lornaderek") is hilarious at first, it also makes your heart ache at the same time. Perhaps James' endeavors as Aphex Twin for all these years was a diversion to calm his sense of lost identity, or a search for his truest soul.

Have Richard D. James finally reached a state of grace with himself? We'll probably never find out...

Back in the saddle.
Let's go: After 4 years of dissappearance, Richard D. James alias Aphex Twin hits back the scenery with a new album called "drukQs" (drug use ?). There have been several innovative groups (Autechre, Luke Vibert's "TEK 9"), new projects (does drum 'n bass still exist ?) and groundbreaking new styles (two step !?) in those 4 years, and at a first glimpse it seems "drukQs" can't quite compete with RDJ's earlier stuff, which was always the most interesting, innovative and best electronic music at the time.
But:
"drukQs" is full of magic moments and contains everything you'd expect from an Aphex Twin recording, such as: sweet and tender melodies over brutal drum 'n bass breaks, complicated loops, clever samples and so on (there's also a "Happy Birthday to you" piece, which was sung by RDJ's parents (!) for their son's 28 birthday. There are many so called "interludes" in a way only Erik Satie could have made them. These piano pieces were entirely composed and created on a computer, simulating the illusion RDJ really could play the piano. They are not only beautiful, they also fit great into the whole concept and make the 102 Minutes (!) of playtime more even more "enjoyable".
You really should spend some time with the album and if you are familiar with Aphex Twin's earlier stuff (or Polygon Window, or AFX, or The Dice Man, or....) you surely won't be dissapointed.
RDJ's mother can be pround of her son's work.

?????
My friends and I listen to s*** loads of music of all kinds, but the only thing we never talk about is this. It quite simply excapes description. But, what the heck...
Every track a masterpiece, this presentation pulls the attentive listener through Richard James' consicousness, revealing the expanse of his emotions. Truely one of the few "electronic" albums which has the capacity to toy with your soul, it exudes personality of all tones; from the delicate, fine and gentle, through the cheeky, quircky and mundane, to the revelationary, infinite strata of hyperspacial reality - this recording truely has as much depth and content as the spectator could wish to find or even suppose. To put it another way, this is as close as those who havn't discovered the potentials of the inner landscape will currently ever get to experiencing the kind of continually evolving subconscious patterns that stir within us all. Drukqs exhibits a kind of artistry comparable to all the great masters that display a coherant understanding of the transcendent; and the personality of this genius displays a human originality of which will impact the art world as a strong reference for years to come.

great
Just great. I am a fan of his music for quite a while and all of his records are special in their own way. Tracks with a little twist only RDJ can add. Sometimes a bit sinister, but thats ok for me! Most of his tracks are sertainly refreshing and energy boosting. A philosopher teacher once said: "to enjoy and appreciate the quality of sertain aspects (of whatsoever) you have to have rotten spots besides it". In case of some of the tracks ("ventolin" (medicine for asthmatic patiens) for example in which you hear a sample of a person hyperventilating), annoying bleeps, cracks and sounds are added in such way that when they fade away in a track you almost feel a releef....a contrast between serenety and rotten (no offence)

a little twisted
Just great. I am a fan of his music for quite a while and all of his records are special in their own way. Tracks with a little twist only RDJ can add. Sometimes a bit sinister, but thats ok for me! Most of his tracks are sertainly refreshing and energy boosting. A philosopher teacher once said: "to enjoy and appreciate the quality of sertain aspects (of whatsoever) you have to have rotten spots besides it". In case of some of the tracks ("ventolin" (medicine for asthmatic patiens) for example in which you hear a sample of a person hyperventilating), annoying bleeps, cracks and sounds are added in such way that when they fade away in a track you almost feel a releef....a contrast between serenety and rotten (no offence) ... Read more

Amazon.com

Slabs of dub, slices of surrealism, and disembodied "found" voices make their appearance on the latest offering by ambient dub commandos The Orb. Bicycles & Tricycles offers little in the Orb oeuvre that wasn't stated back on Orblivion and it's not the seismic paradigm shift of "Little Fluffy Clouds," but that's not to say there isn't plenty left in that fertile cumulus to explore. There's the Augustus Pablo melodica and dub bass on "Towers 23," and "Abstractions" lifts Frippertronics, something The Orb has been doing for over a decade. Except for a rap by MC Soom T on "Aftermath," the Orb has abandoned the trip-hop vocals of Cydonia. Instead, Bicycles & Tricycles returns to the original Orb concept which isn't about songs, but lysergic landscapes. Industrial grinds propel you through one moment, only to be untethered into infinite space the next, before being snagged into synchronicity by a dub groove. This album has been available as an import for a while, but the Orb's founder and master controller Alex Patterson has re-sequenced and re-mixed the disc into one of what are probably infinite permutations of flow. --John Diliberto ... Read more

Reviews (1)

The most brash, amazing Orb album yet?
OK, so first off... BRASH-Full of fresh raw vitality
NOW! With that said, This is the most awesome Orb album in YEARS! I was unsure of their most recent work, on account I thought it seemed forced... that is until this album came out. It should go down as one of the Orb's finest hours! A whole new and unclassifiable genre of music is, once again, created by the Orb. The album blends Trance, Ambient, borderline Hip-Hop, Acidy beats with masterfully placed samples, to create a once in a lifetime masterpiece. I really tried to find a highlight to this album, but the whole thing is
1) So hard to peg into one category, and thus difficult to say X is better than Y
2) So good that one song can't be picked
Any one who has ever been to a party (read as rave) will love it, and for anyone who likes the Orb... You owe it to yourself to get every version of this album you could find. There's just enough remixes on each to make them ALL worth having. ... Read more

Reviews (8)

Listen to the samples
Endless Summer is a good example why you should never trust written music reviews. It has all the ingredients for an intelligent-sounding review e.g. acoustic guitar meets computers, noise meets kitch and some subtle references to whatever. After the wave of praise-reviews talking about the above someone was bound to look through it all and be smart and say 'well it has all the right ingredients but its not really that good' or just plain 'it sucks'. The reason for this review-war is of course that the real qualities of this album (and all music) are not academic but abstract emotional personal stuff which cant be put into words. Personally i cant explain why i love this album.

fascinating
Fennesz is my new favorite music discovery. Whenever I go see a rock show and there is a guy up there with a guitar and a huge cabinet amp full of processors and gadgets, I get excited. Fennesz is that guy but with a laptop. Ambient music gets a good seeing to with an element of live instrumentation. Fennesz, along with Squarepusher (the nuttiest bass player ever), gives me hope for the future of my guitar.

Conceptually successful but with few musical peaks
Fennesz garnered so much acclaim so quickly for Endless Summer that the album quickly sold out before most folks could ever find a copy. You can see why: harnessing glitch and guitar with equal aplomb, Endless Summer, from title to warm processed drones inside, soundtracks your ideal Ibiza screensaver.

Meaning, if underwater somulent moods sound intriguing, the vast echoscape of
featured cut "Endless Summer" offers low-key, filtered guitar and fuzzy feedback in hazy harmony. "Caecilia" adds playful gurgles and some marimba-like touches to the formula. "A Year in a Minute" and "Got to Move On" focuses on hum that unfortunately crosses the nuance/repetitive threshold. Closer "Happy Audio," for all it's seven minute build, never truly blossoms to the spectacle it aches to be.

While consistent (a good thing) a lack of tuneful exploration leaves this album conceptually successful but with few musical peaks.

Fading idealism and regret, from atomic to digital age
Wishful thinking in the face of irreversible decay, or raw-nerve exposure of the wires and circuits that were always beneath the romantic artifice of recorded popular music? Fennesz makes it easy on the ears, but not on the soul: his beautiful, skittery, irregular constellations within constellations of sound carry melody and longing as surely as the Beach Boys album this wasn't named after. It's difficult to decide if the evisceration of these tunes is a Deleuzian molecularization into flux-as-form, or a craftier Romantic device in deconstructionist's clothing. Maybe it's best simply to marvel that something so sharply digital in its immanent tactility changes emotional shades depending on the listeners vantage point or current place in life and the world. That an an album not even two years old has proven so contextually sensitive says something about the power of association, and the power of this music. Will this responsiveness to context and listener mood hold five, ten years from now? Perhaps the appeal of this sort of prickly digitalia will fade with time like so many of the sounds over the course of this album. Perhaps remembering its former appeal will add yet another layer of nostalgia. This music is too of its time, and brilliantly so, to speculate beyond the cochlear tickle of its more immediately grasped pleasures.

a virgin blows my mind in Paris
fennesz is able with this album to present something new for the genre mixing noise elements with delicate melody and tonality in way that in my opinion really shows a sophisticated aesthetic lacking in a lot other electronic composers right now. endless summer is much more listenable than his other work, delivering on earlier promising tracks on previous albums like hotel parallel while maintaining an independent beauty that seeps through the clipping and post-digital trend of abusing technology. my friend says he's a jerk though. ... Read more

Amazon.com

The dense, mathematical music Autechre pioneered on their debut album Incunabula is given a new twist on their follow-up, Amber. While percussion took center stage on their previous works, highly evolved melodies and textures dominate here. The spirit of electro still lives in the muted beats, rhythmically complex and strangely funky. But they don't merely provide a background; they meld seamlessly into dense layers of strings, wandering synth hooks, and massive shards of white noise. It's highly intellectual, but by no means is it unemotional. While tracks like "Glitch" and "Peizo" are dense and impenetrable, most of Amber covers emotional territory from quirky and upbeat ("Slip") to melancholic ("Nine"). This highly emotional "machine music," continued to great effect on their later albums Tri Repetae++ and LP5, makes Autechre one of the few genuinely memorable artists of modern electronic music. --Matthew Corwine ... Read more

Reviews (45)

Top electronic listening music
The Autechre sound reaches it's apex with "Amber". Hard, ever-developing electro rythms form a solid foundation where frail, beautiful melodies thrive. Clocking in at 74 minutes, the album is not a second to long. Each of the 11 tracks on the album stands out in its own right, although the best track is saved for last; "Teartear" is a highly emotional finale to an excellent album. 4 years on from it's original release in the autumn of 1994, it still sounds as fresh as if it was put out yesterday (or tomorrow for that matter). Truly a masterpiece. Anyone who likes passionate, emotional music should own this album.

Beauty and Death
Amber is perhaps Autechre's most low-key album. Understated, brooding, expansive. But be warned, Amber is not easy-listening. It is neither an Enoesque ambient exercise nor is it a chill-out record to slap on at the end of the night's festivities. It is like listening to Death. Beautiful, powerful, SERENE yes, uplifting, life-affirming, no. It's easy to gush when talking about Autechre. The fact is, however that this listener hasn't heard music as powerful as this since...well, ever. My particular favourites are Slip and Teartear, but I do not suggest that they are the best songs. It's just a matter of taste. What's so good about Autechre? They have an instinctive knack for layering loops and rhythms that are intriguing, surprising and sometimes very danceable. On Foil, for instance, there's a sexy, almost tango-like groove that may well have ypou bopping around the room. Autechre also have the Aphex Twin talent for juxtaposing staccato rhythms with haunting strings and synth pads to great effect. There's drama too. Teartear IS the sound of impending doom, an apocalyptic soundtrack depicting the final deaththrows of civilisation. Yes, really.
For all it's beauty I would say that Amber is their bleakest album. But if you can take that you're in for a very enjoyable listening experience.

Nine
The best and most depressing track from Autechre...."Nine". Just take some time and listen for yourself.

Amber.
The deconstruction of classic musical arrangements and melodies has always worked for Autechre, who, after 1994's Incunabula and before 96's Tri Repetae++, created the next complicated piece in their ambient saga entitled Amber. In the same vein of Incunabula, Amber deconstructs melodies and molds and reshapes them in new forms, inducing transient states of euphoria in the listener. While Incunabula has more of a sense of internal buildup to climactic ambience and controls the texture and soundscapes with silence and subtle manipulation, Amber controls you in immediacy: its extremely external and variant. Minimalist beat loops and patterns are evident in sharp and abrasive coherency. But the euphoria instead comes from the innovative obscurity of mixing various sounds and creating new musical soundscapes that are at times brilliant and others horrific. But this is what Autechre got together to do, and its nearly impossible to say that Autechre have failed in creating a compelling follow-up. They have, and they will continue to evolve in abstract style and substance, even if IDM does not. Amber is a brilliant mix between the melody based music of Incunabula, and the chaotic and brilliantly deconstructed atmosphere of Tri Repetae++.
Essential tracks: Silverside, Slip and Nine.

Beautiful ambient sounds
Their final album before they got too harsh for my liking. This album is considered their best by many fans of the group, but I'm sure fans of the harsher material like 'Tri Repetae' would have something to say about that! (I think 'Incunabula' is their best anyway!)

But for me, this is a snapshot in time. Warm melodies combine with shimmering electronics to form magical electronic pieces. Sure, there are harsh and abrasive elements on here too, and they are also enjoyable. It's a perfect balance. ... Read more

Amazon.com essential recording

None of the chirpy, intricate, eclectic tracks on I Care Because You Do sound dated, certainly not in any heinous way. Richard James's work stands outside any genre cages and continues to satisfy dedicated listeners. This is at least partially due to James's twisted, British-bad-boy sense of humor: the title of the disc alone is something of an ironic display. I Care Because You Do is a sound introduction to James's peculiar, personal work, which ranges from symphonic to spartan to relaxing to unnerving, though it generally manages to be all those at once. The disc is cleverly constructed and juicily modern, and it's easy to see why critics, struggling to understand James's emergent "ambient techno," early on compared him to minimalist composers such as Philip Glass and Steve Reich. James was clearly influenced by these pioneers, but his music is more about stretching the limits of what one perceives to be music, of sound itself. --Mike McGonigal ... Read more

Reviews (61)

Classic
This is my favourite of all James' output. Worth purchasing for the first three tracks alone, each containing subtle, repetitive but gorgeously orchestrated melodies. At first all you hear are beats, and then almost subliminally the music sinks in. Thrill to swelling highs of 'Wax the Nip', the string hooks of 'Icct Hedral', the sparse brilliance of 'Alberto Balsalm' and haunting march of 'next heap with'. Lot's of humour on this album too. If you have patience with ambient sounds, a tolerance for techno beats (you don't need much), and an ear for music with a decent shelf life you should get into this. I've been listening to this one regularly since 96' and it's just as good as ever. Thanks.

Totally Awesome Stuff!!!!!
I was amazed when I first heard the Richard D. James album, but this one is head and shoulders above the previously mentioned album. This album, "I Care Because You Do", is a much more mature album whereas the Richard D. James album sounds very childlike, but no doubt that was his intention, hence the song titles Goongumpas, To Cure a Weakling Child, etc. This album is a more ambient album, but mostly it should probably be called hard ambient because it's not like anything I've heard from SAWII. Songs like "Start as You Mean to go On", and "Acrid Avid Jam Shred" have loud drums throughout the song with ambient tracks beneath, but yet they still captivate you while you listen, and are very hypnotic even with the loud percussion. Other songs like "Mookid" especially, but also "Alberto Balsalm" (one of the coolest songs ever), "Wet Tip Hen Ax", "Icct Hedral", and "Next Heap With" are closer to the ambience of SAWII. "Mookid" and "Alberto Balsalm" are both absolutely beautiful. "Icct Hedral" is one of the most awesome songs I've ever heard. It is such a dark, evil sounding song, and it just sucks you in that it becomes scary. I was listening to this track on night when I was pretty close to being asleep, in other words I was lying down totally relaxed, and with a clear mind while the music was playing. I was totally relaxed just letting the music wash over me, then this track Icct Hedral reachs, somewhere around the 5 minute mark, and I literally had the breath sucked outta me, it was such an intense experience. You'll have to listen to the song to understand what I mean, but in the state I was in it totally affected me in a way I have never been affected by music. It was almost like I fell down a trap door, and my god, it was cool!!! Anyways, check this album out if you like the Richard D. James album, or the Come to Daddy EP, or if you just like music of all kinds. My favorite tracks are Alberto Balsalm, Mookid, Icct Hedral, Start as You Mean to go On, and Wet Tip Hen Ax.

a little twisted
Just great. I am a fan of his music for quite a while and all of his records are special in their own way. Tracks with a little twist only RDJ can add. Sometimes a bit sinister, but thats ok for me! Most of his tracks are sertainly refreshing and energy boosting. A philosopher teacher once said: "to enjoy and appreciate the quality of sertain aspects (of whatsoever) you have to have rotten spots besides it". In case of some of the tracks ("ventolin" (medicine for asthmatic patiens) for example in which you hear a sample of a person hyperventilating), annoying bleeps, cracks and sounds are added in such way that when they fade away in a track you almost feel a releef....a contrast between serenety and rotten (no offence)

A masterpiece
This album does not seem to draw from the musical 'fads' or movements of the day (like drill'n'bass or spinach-tune), but is just a distilled potion of Richard's musical sense.

Plenty of contrasts in frequency and hardness, a general lucidity of tone and timbre, and an obvious talent for balance and proportion are the hallmarks of this album.

Highly recommended.

One of his most consistent, and subliminal works
This album came right before RDJ became famous (though "fame" may seem like an oxymoron when describing the still-niche electronica genre, a level of fame which might make Britney Spears scoff seemed to have a profound impact on the outlook of this bedroom knob twiddler). So forget the incessant images of a grinning/leering Richard, and Chris Cunningham's perversely brilliant videos. Though Richards face does appear on the cover, ironically I think at this point it was as much a bid for celebrity as a comment on it; I remember when the album came out I thought "Ugh, what an ugly portrait, who is this guy?" Now everyone knows. I wonder if Richard has ever received any award for self-promotion - aspiring musicians should follow his inspired example. Squarepusher, ever the slow learning idiot-savant, just seems to have caught on fifteen years later with Ultravisitor, featuring his emotionless mug.

Anyway, moments of "f**k with the listener's head" music do appear here, eg. on the track Ventolin, but at this point they were the exception rather than the rule. What you get is a continuation of the subliminal vibe present on both Selected Ambient Works albums, only with harsher beats(I think Autechre took many of the harsh beat/fragile melody innovations on display here, and ran with them in their own direction.) When I say subliminal, I mean it; another reviewer here said it was "mind control music" and he has a point. If I were a psychologist studying music (or perhaps Boards of Canada, who seem fascinated with discovering the mathematical underpinnings of great music), I would dissect this album to try and figure out how the simplest of tones, and the simplest of contrast in melody and rhythm, evoke such vivid mental images and strange feelings. Incidentally, Richard said he used to have the ability to lucid dream, and that all of his pre-Drukqs music sounded "yellow" to him. I'm somewhat dubious of his synesthesia claims given his penchant for self-promotion, but I bet there's something to this. It's funny how you can tell if something is made for the artists' enjoyment, or to satisty/annoy his fans (this sort of evaluation has little to do with artistic merit - there have been many pop albums with clear target demographics that were nonetheless brilliant.) To my ear, I Care Because You Do is one of the best examples of the former type of album; it sounds like Richard made it for himself, though you can see him toying with the idea of celebrity in the cover art and playful song titles, many of which are near anagrams of "Aphex Twin."

Back to the music. Well, it's hard to classify. I will say that this album has a "cowboy western" motif not present in RDJ's other work. Really. Listen to Wax the Nip, Wet Tip Hen Ax, and Mookid and I swear there is a whistling sort of melody that brings to mind Ennio Morricone and Clint Eastwood squinting at the sun. As others have said, there's also a serious "classical" vibe to the melodies, that caught Philip Glass' attention among others. If you've listened to Drukqs and find the idea of Aphex Twin aspiring to Erik Satie legitimacy sort of sad, don't fret: the "classical" arrangements here sound much less forced and are really beautiful.

I'm a bit tired of people labeling RDJ a "genius," as though everything he puts out is pure gold. I think somehow the label genius is only applied if an artist has a prickly, attention-getting personality, a dash of charisma and fame-hunger. Why do people never say, for example, that Orbital are geniuses, when their Snivilization and In Sides albums show better consistency and have tracks that to my ear blow much of Aphex Twin's work out of the water? Who knows. Anyway, point being that this album is still a bit uneven like all Aphex Twin stuff. As is often the case with electronic artists, it seems as though RDJ has trouble finding good bridges for songs. Even the much-praised Alberto Balsam has a boring drum breakdown in the middle that bugs me every time. Like I said it's subliminal, and much more likely to put you in an altered state of consciousness, than stimulate the way the Richard D. James album does. Nevertheless it fully rates five stars, and if you are someone who's just curious about this "Aphex Twin" guy, you can't go wrong with this album or the Richard D. James album, though I'd start with the Come to Daddy EP, which is the purest distillation of RDJ's "genius" to date IMO. ... Read more

Reviews (97)

good creativity music despite being scary and disturbing
i found this music to be weird,scary disturbing but i guess that was the point of aphex twin with these songs.

here are my favourite songs/tracks

Come To Daddy (Pappy Mix)

i remember seeing the video for this song(on a large screen tv with the sound up at 2am) and its probably the most scariest song i've ever seen or heard and definatly the scarierst thing i've ever seen on a tv screen, no movie or anything comes close to this, it was a horrific experience.

The music starts off with this spooky guitar 3 notes playing while with the heavy drum and bass sound with this evil growling voice yelling "i want your soul,i will eat your soul,come to daddy" simular to that voice of that demon from the movie the "excorcist" but that wasn't even scary compared to this. I managed to watch the whole video untill near the end as i found the "middle" and "end screaming part" the most painfull and disturbing to watch and listen to. Its certainly not something that i would listen to too often or even while driving or before bed becuase of the nature of it but it deserves at least one listen or watch, though be warned because of the nature.

film

this is a nice song with a nice melody that i can listen to anytime.

Come To Daddy (Little Lord Faulteroy Mix)

this song is my favourite, its not scary just a little creepy maybe but its listenable. It sounds like a 2-step hi-hop type beat with these voices(sometimes kids) singing or talking with this wierd melody or notes playing, i like this song becuase of its weirdness.It sort of makes me think of something from the x-files or walking through the haunted mansion at a theme park.

Bucephalus Bouncing Ball

this isn't a track i like much but its a great song to listen to for the beats and they are all made from sounds of bouncing balls, the song does get noisy especially the 2nd half but it is interesting.

To Cure a Weakling Child (Contour Regard)

this is another weird song but its also a little creepy a kid would be singing this but its really samples of kids singing put in a loop,"my feet,my arms!" e.c.t. Its a good song becuase of the beats and the song makes me think of a great song the kids from the adams family tv show would dance to or if you lived in the haunted mansion then your kids would dance to this music.

Funny Little Man

this is my least favourite track but i thought it was a joke just as the aphex twin song "milkman" comes to mind sounded when i first heard it, this would be a great song on a soundtrack for a weird comedy movie.

Come To Daddy (Mummy Mix)

this song sounds alot different from the other come to daddy remixes and its not scary at all. The song is just a bunch of beats and there is no melody or lyrics. Some people said this song was noisy?? well it is if you have the trebble on full with the volume up but otherwise its listenable.

IZ-US

this song is just as nice as "film" a really peacefull song that i really like listening to and is my 2nd favourite on this cd.

well i hope i can help with this review, it is certainly an experience and i hope other can share it as i have.

Mr. Inconsistanty
This mini-album/EP is a bit too harsh sounding to stick it on repeat in your CD player, but... it's a guilty pleasure that warrants a spin once every fortnight or so.

1. Come to Daddy [Pappy Mix]

This is the video death-metal version. Splintered beats rattle behind a heavy three-note guitar riff with mad Richard screaming "I want/will eat your soul". Like Windowlicker, it loses quite a bit without the excellent Chris Cunningham video backing it up.

2. Flim

Not as ground-breaking as others may have you believe. Basic playful melodies with a skittering jungle beat. Serves as a good contrast to the mayhem that precedes it, but it's minutes too short to amount to much.

3. Come to Daddy [Little Lord Faulteroy Mix]

Better than the Pappy mix. This features the typical Aphex 'sick keyboard' sound combined with suitably creepy skewed kiddy vocals chanting 'Ooh you dirty little boy' and something about watching swans and listening to birds singing. It's quite catchy too which is unfortunate, as any attempts to sing it on the bus will get some pretty strange looks.

4. Bucephalus Bouncing Ball

Fast junglish beats coupled with metallic bouncing effects. The first half is nice enough, but it deteriorates into a mess of noise towards the end.

5. To Cure a Weakling Child, Contour Regard

Probably the EP's highpoint, although I can't really point out why. It's the most tuneful anyway.

6. Funny Little Man

A funny Daft Punkish electro tune with "Oh you funny little man" samg over the top in a warped computer voice. Amusing in a mentally ill kind of way, but nothing that you'd listen to too often.

7. Come to Daddy [Mummy Mix]

Not really a tune, just screeching white noise with jagged breakbeats. The worst side of Aphex in my opinion, but it's a side he likes to excercise on most of his newer releases. Noteworthy because of his mother's voice fed through his PowerMac.
"You've got so many machines Richard".
"I 'aven't got that many."
Funniest is a slowed down Mrs. James intoning over ear-splitting white noise, "Oooooohhhh, thaaat's a naaastyy noise... but I like those faaast bits."

8. IZ-US

Mellow synths with unusually paced beats. Like Flim, too short to do anything worthwhile.

About Flim
If any of you cats got the vinyl of Come To Daddy, put song 02- Flim on slower speed (which on a normally 45 speed LP would be 33rpm), I swear it sounds so much better. It's almost as if RDJ intended it to be that way but released it faster to trick his fans. The rest of the (cd) album is great, the cd has more songs, some of the best songs. Mummy remix is terrific, Contour Regard fantastic, Iz-Us compelling.

Daddy Meat
This guy just scares the crap outta me. Listen to "Come To Daddy (Pappy Mix)" in the dark at 1:49 AM with headphones after (enter chemical amusement aid here) like I'm doing right now and tell me Richard is not one disturbed man. Brilliant, but what a nut job. Excellent beats, interesting melodies, twisted, disturbing, funny. Great EP. I think the cover tells you best what to expect inside, yowch.

Aphex Twin - "Come To Daddy EP"
This is my first Aphex Twin album and I just bought it about 1.5 hours ago. And since it's an 8-track EP, i've already heard the whole thing. For the past few years, I have been strongly into rap music, listening to artists such as Ludacris, Eminem, 50 Cent, etc. Then someone I know introduced me to artists such as Mum (Iceland), Boards of Canada, Prodigy, The Crystal Method, etc. So I decided to try Aphex Twin...and I am very pleased with this album. I'm going to go through each track and tell you what I rate them.

01. Come To Daddy, Pappy mix (4:23)
RATING: 7/10

02. Flim (2:57)
RATING: 9/10

03. Come To Daddy, Little Lord Faulteroy mix (3:48)
RATING: 8/10

04. Bucephalus Bouncing Ball (5:45)
RATING: 9/10

05. To Cure A Weakling Child, Contour Regard (5:10)
RATING: 8/10

06. Funny Little Man (3:55)
RATING: 6/10

07. Come To Daddy, Mummy mix (4:24)
RATING: 5/10

08. IZ-US (3:03)
RATING: 8/10

I am very pleased with my first Aphex Twin album and it motivates me to look into buying some of Richard D James' other albums like, "I Care Because You Do", "Richard D James Album", "Selected Ambient Works, Volume II", etc.
Another thing: if you don't agree with me that this CD has one of the most interesting/disturbing covers...you must have not seen it yet. ... Read more

Reviews (20)

bang a gong
I am not sure if this is a live record or a studio record. There are sounds of the audience. But it doesn't really sound like it was all done before an audience. I haven't heard the last few Squarepusher albums. This might be a little chill compared to Hard Normal Daddy. There are some fast beats and quick bass lines. The first song "Ultravisitor" is like a catalogue of his sounds of the past. He touches on drum & bass, jazz, and experimental noise. His notes on the inside cover remind of Duchamp's notes for "Large Glass." I am not sure if my leg is being pulled, or it has any relationship to the music. It's a fine album despite itself.

One of the best! Balanced
I never know what to expect from Tom Jenkinson (sp?) (AKA Squarepusher). I do know that I have never heard anything bad from him. I confess that I was not overly thrilled with the Do You Know..? album. Ultravisitor brings him back on track and BEYOND.

The thing I sense that Tom is going for artistically is a fine balance between his Drill and bass jazzy sound juxtaposed with some ambient type of musical interplay. He has pulled it off on this record folks. It is some Good...!

The title track takes the listener to a place they really have not seen before. I agree as well that it is hard to tell if the way in the background audience was live in the studio or not. But what became very clear to me is that Tom DOES actually play all the instrumentation and is an exceptionally talented young man! He grows with each record and I find that, in and of itself, refreshing. Excellent spin!

Not an easy album for me to review
I am beyond conflicted with the release of Squarepusher's Ultravisitor. Originally, I believed it was the artist's modus operandi. A few months later, I still find myself infatuated with it but not as much as I was before. As it stands right now, Ultravistor stands as being yet another extremely solid release from one of my favorite electronica acts, but still is just shy from making his true masterpiece.

All of the elements for a groundbreaking album were in place. It has the frantic bass work of his early works. It has the played jazz elements of his middle work. It even has the super-speed breaks of his more recent works. What makes Ultravisitor different from any thing else the man has released is that this is the first time we're hearing them all fused together onto one album. The concept and execution feels fimiliar, sort of been there, done that but also feels fresh and new at the same time. Case in point is the masterpiece Iambic 9 Poetry. The song itself is not too far removed from its older cousin, using a similar base line and downtrodden melody. What helps make it different and fresh is how he takes a melody and slowly and steadly wraps around the increasingly complex drums he's playing. They continue to do this for the song's 7 minute life span till it eventually passes out. The song's concept is like I said, familiar but still stunning.

Which is why I'm so conflicted. Yes its a stellar album with some of the most human sounding, most powerful and most intriguing songs in this man's catalog. The problem is its just not that far removed from anything he hasn't already explored. The good news is that it all sounds just as good if not better than anything that preceeded it. Whether or not that's what he wanted I'm not sure.

Like Aphex Twin, Squarepusher might be locked into a holding pattern. Widely considered to be two of the most forward thinking acts of IDM, Aphex Twin and Squarepusher played it safe in their return back to the game. Whether its 26 Mixes or Ultravisitor, it shows that even old ideas can still sound good, even if they are recycled. The question is, how long can they keep doing it?

Modern Jazz and Dance
This album is definitely in a class of its own. 'Squarepusher' plays the bass and snare drum in this album. Some of the songs, such as Iambic 9 Poetry, you would expect to hear in a nightclub. Others incorporate more sound distortion and 'techno' sounds. In other songs, one can see the influence on Squarepusher that classic Jazz artists had such as Miles Davis.
A great album to feel the beat and dance or to relax to the grooving modern jazz beats... A must for all followers of modern or 'hip' music...Highly recommended.

another positive review
I've liked sp a long time, but after Maximum Priest and Select 16
i thought it was getting moldly, but this one brings it back; kinda makes up for GO plastic and Do you know..? This one kinda legitimizes the direction he was going in, like he finally found the source of it, and that's why it works now, and his face is out there now.

it's just that the middle of the album is noise, and it makes you kinda turn the volume down, and you can't really play the album for a lot of people. And if you do, some tracks you can't play all the way through. But the most difficult albums turn out to be the best. I listen to this one all the time. I don't think it should've cost me $16 at the store, though.

it's surprising how fake everything's become, and from genre to genre how it all sounds/has been recorded like it should be on an '80s pop station. This work can break you out of that, and start you off to seeing the world as it'll be again, moving ahead with some soul & determination in it. ... Read more

Album Description

Don Tiki captures exotic sounds, party spirit...this isMartin Denny for the millennium. 13 tracks. Taboo. 1997. ` ... Read more

Reviews (8)

good stuff
If you like music by Les Baxter and Martin Denny, then you will enjoy this CD also.

the real deal
ive been a fan of denny and baxter for years, and thought i would never see the day when a combo would capture the vibe of these archtypes. So i put off buying this record with the fear of being let down, what a mistake!!! this record is brilliant!!!
all the elements are there including the production,and it can be safely said that don tiki is of the caliber of his influences.
if a hammock in the sun or the smell of the sea are your ideas of pleasure, this record will transport you where you want to go.

Pure lounge
How i love this album! Listening to it is like sliding into a luscious dream where beautifull people sip martini's by the pool, skies are blue and all worries seem distant. It has this great cinematic feel to it, taking you back to the late
fifties/early sixties. It reminded me allot of the early Bond movies. Apart from the beautifull atmosphere this music airs, it's also brilliantly composed and produced.
My advise: Book your flight to Don Tiki island now!

Lounge Exotica done right!
Put this CD in. Get out the Rum, fruit juices and tiki mugs. Mix up a batch of Myrtle Bank Punch. Leave your cares behind.

The Forbidden Sounds of Don Tiki is filled with gongs, flutes, marimbas, organs, drums, birdcalls, jungle ambience and island crooners. As if that wasn't enough, the legendary Martin Denny even sits in on a few tracks.

If you need a soundtrack for your backyard hipster BBQ or you just want to drift away on your own island fantasy, this CD is essential!

Way out, and yet so in.
I just recently began to listen to lounge and exotica music. I've primarily been collecting the works of Les Baxter and Martin Denny. When I found out that Martin Denny was on this CD playing the Les Baxter tune "Quiet Village" I figured I'd give it a shot. Boy am I glad I did. This CD has quite a few gems on it. The music is definitely Exotica, but has a modern twist. Very good vocal work, and beautiful percussion arrangements make this CD a must have for any collector. ... Read more

Album Description

This is quality dub with a generous topping of bass andlashings of pure melody. 'Smokers Delight' captures theessence of chilling out. A TVT Records release. ... Read more

Reviews (16)

Top Trip Hop
Out of all of Nightmares on the Wax CDs this has to be the best!!! It screams trip hop with the trippy sounds effects and awesome mixes. It totally surpases DJ Kicks and Caboot Soul. Even compared to other trip hop groups like Kruder and Dorfmiester or Massive Attack, Smokers' Delight ranks top in its category. Ever since I have heard this CD, I have bought it and shown it to my friends- after that everyone ran out to buy their own copy.

Sick of the radio?
Here's your album. Shut off that blasted FM and their inane lyrics and get down low with Nightmares on Wax. Everyone from your mom to friends will like this CD - at least, that's what happened in my case.

The smooth rhythms and beats will hit someone who hasn't heard trip-hop (sorry G. Evelyn) /acid jazzy stuff before with a big fist to the ear. Listening to the samples here on amazon may be okay, but to really get the experience you have to get the album and listen to it completely uninterrupted - once you do, you'll want to do it again, and again, and one more time. It's anytime music, good for doing homework to, washing dishes, or just relaxin'. Absolutely wonderful, I hope more people discover this sort of music.

excellent
Unboubtedly one of my favorite albums of all time. This album is
the most influential in my collection.

A Delight for Smokers and Non-Smokers Alike
I am a goddess...at least I was proclaimed to be one by the sales clerk at the record store where i bought this CD--without listening to it first!!(Actually it was my third copy...my backup was "borrowed" by a friend who neglected to return it)

I absolutely love this Disc...its one of the few on which i skip no tracks at all, even though track 3 makes me wish i were a pothead so i could enjoy it even more. standout work by G.Evelyn, Firth and collaborators. Standout Tracks include: Nights Interlude (check out the revamp on Carboot Soul as "les nuits"), Dredd Overboard, Pipes Honour, Stars, Cruise, Mission Venice, Rise (and its subsequent reprise) and Gambia via Vagator Beach (excellent percussion).

If you love music, and I don't mean mainstream pop/rock, but contemplative, intellingent, and mind-bending music, you will adore this cd. I have two copies. One for whatever happens to be my cd player at the time, and one stored in my handbag for emergencies. You will not regret buying this CD.

christmas ooze
Listening to earstroking records like this one helps me put things in perspective again afer a hard days work. Dealing headshots on UT while bouncing my head to Nights Interlude is what I think the best way to get ready for five hours of massive sleep. Also Id like to thank Toshinori Kondo for bringing Ki Oku to live. ... Read more

Amazon.com

Named for a Robert Crumb character, Wagon Christ is a combo of crackpot British tinkerer and ingenious sound sculptor, a jungle and trip-hop outcast jamming with a juvenile, sex-crazed clown. Pals with fellow lunatics Aphex Twin (Richard James) and Squarepusher (Tom Jenkinson), Wagon Christ (Luke Vibert) is nobody's sampling fool. Rather than use the "Apache" or "Amen" loop for the zillionth time, he creates stuttering beats and surreal string arrangements from dilapidated funk and '60s orchestral honchos Arthur Lyman and Serge Gainsbourg. Tally Ho! could be heard as an orchestral-jungle joke, but deeper listening reveals more than jungle's tired dance-floor demeanor. Christ weaves friendly organs, harrumphing Humpty Dumptys, balmy strings, Mad Max techno, and horror-movie samples together like Lawrence Welk dropping acid with Flavor Flav. "Memory Towel" recalls a Disneyesque nightmare, "Lovely" combines cooing Caribbean females with rubbery, roller-rink ska, "Juicy Luke Vibert" lampoons a lurid sex act for one. Tally Ho!--better to fungle in the jungle than dance with the dead. --Ken Micallef ... Read more

Reviews (20)

Piano Playa Lover
Luke Vibert (deranged genius trading as Wagon Christ) is THE only bearded Cornishman you should allow to whisper sweet nothings in your ear. The reason for this is simple - the sweet nothings, accompanied by fairground ride-style organ music and stuttering beats make up "Juicy Luke Vibert", just one of the playful, bouncy tracks Vibert has created for Tally Ho! The overall feel of the album is happy and warm, so the occasional scream jarrs badly, and there is a strange vein of sexual perversion running through it, too. Maybe I was a little hasty in trusting Vibert...

When will we get another Plug album?
This album is typical Luke Vibert trip-hop. When the beats slow down Vibert doesn't sound as good. His best stuff is undoubtedly the drum and bass which he did under the name of Plug. Still, this is better than his previous Wagon Christ efforts, and is pretty funny in places. It is similar to the album that he had done previously under the name 'Luke Vibert', with funny sounds and funny samples. Not his best musical effort, but lots of fun.

TRULY "CHRIST"-LIKE!!!
Luke Vibert a/k/a Wagon Christ has compiled a CD of utter brilliance and sheer genius! Not your typical hum-drum and bass or electronica for that matter, Wagon Christ takes songs and "mangles" them into beautiful-funky soundtracks, just like mix-master-phenom Amon Tobin would do it. In fact, some of the breaks and samples on "Tally Ho!" are quite reminiscent of Tobin's work only with a more fun, carefree, "vibrant" aura to them. Wagon Christ had to grow on me, and once it finally did, I could write an impartial review. This is a great CD for you electro heads and should satisfy you until the next big thing comes along!

Just a Masterpiece
..this album have an special self feeling thats not easy to find out there and thats maybe why not everybody thakes it as an master piece; its hard to indicate some highlight song because every song sounds better than another ...strong melodies, well constructed beats and sounds ,60s orchestrations..realy a nice one..

One of the greatest.
I am writing this review mainly to disagree with trs-1's comment that Musipal is a much better CD than this one. Firstly, I don't disagree that Musipal is great... just not as good as Tally Ho! Tally Ho has all the freshness, innovation, uniqueness and depth one would expect in a debut album. Musipal is, well, sophomoric. It may be easier for some people to listen to than Tally Ho precisely because it does not take as many chances, and has less avant garde weirdness (which--in the hands of Luke Vibert--equates to brilliance). While Musipal is like a cross between Amon Tobin (who is mentioned on the inside sleeve) and Mixmaster Morris, many more influences come to mind when listening to Tally Ho. Such "influences" include YMO, David Van Tieghem, Logic System, The Orb, FSOL, Throbbing Gristle, Brainticket, etc.

In short, Tally Ho! is a joy to listen to. It has 4 utterly outstanding tracks: 2, 3, 5 & 8; while Musipal only has 1 I feel belongs in that category (13)... the remainder of these releases are merely outstanding. They are both keepers, and ones you will keep coming back to (if you are musically up-to-date and open minded). ... Read more

Album Description

U.S. edition of the popular chillout series is a laid backmix of blissful beats, & classic atmospheric tunesspecifically for American audiences. This lush finelycrafted mix features exclusive tracks by Radiohead, Massive Attack, The Stone Roses, Thievery Corporation, Zero 7, &Sigur Ros. Slipcase. Ministry Of Sound. 2002. ... Read more

Reviews (16)

Great chillout, lounging CD
Just picked this up at the store yesterday and I love it! I was hearing so much about the release of this CD that I had to check it out! And I must say that I am not disappointed at all. The CD blends a great mixture of electronic and alternative downtempo music. I listen to a lot of electronic music, but this is great because it captures certain moods that other genres do not. I suggest going out and buying this CD! Ministry of Sound definitely releases some of the best dance and chillout compilations out there!

This is a great and interesting compilation
Well, this is weird I don't usually write reviews. I was actually looking for a Badly Drawn Boy Cd for my girlfriend and I ran into this Cd.[...].Anyway, I listened to the Cds (2CD pack) and immediately found that the Cd had a very good mixture of soothing music with some interesting electronic verse alternative feel to them. I heard of Massive Attack before so I immediately recognized their track on this compilation. Some of the songs I found kind of amusing like Roygbiv - Boards of Canada. All and all, while looking for a present for my girlfriend I ran into a really really good compilation of "Chilled" music (I guess you call it), and a present for myself. Additionally, here are some other songs I think you (people out there) should check out from this compilation. Les Nuits - Nightmares,I'll be waiting - Shena, I love my man - Bent. I guess you could say this a great mix of relaxing music.

Another Great One
I have all of the MOS chillout CDs and like them all very much, this one included. There are a few mix points that don't go as smooth as they perhaps could but that is a minor note in an otherwise excellent selection of tracks. Great for at work or in the car or when relaxing at home.

Quite Good
I like every one of the MOS Chillout CD's with the 2002 one being my favorite. This one is quite good as well, I listen to it all the time at work (along with other MOS chillout CDs and some Cafe Del Mar stuff and others)and it makes the day go by smoother. It is also good to for listening to in the car or after a night out dancing. While I do not much care for their dance selections (too pop dance for me) whoever is in charge of choosing the chill stuff at MOS is doing a good job.

Great for Rush Hour traffic
I got this CD last year and its still a keeper in my car's 5 Disc CD player. Although this album comes with 2 CDs, only the second CD is worth listening to. Play it in car on a nice sunny day while you're stuck in traffic, definetely will calm you down... ... Read more

Reviews (7)

A Must Have
I remember first listening to this cd in middle school. I didn't really get it that well for all i listened to was Korn. I liked some of the songs though. Now i can't stop from listening to it. It was definately one of squarepushers best cd's and everyone should have a copy of it. It is definately his more Jazzy works in his earlier years. His previous cd's like Feed Me Weird Things and Burning 'n' Tree are good but this is a much perfected art that he has made.

most approachable
I thought I knew a thing or two about drum & bass until I was introduced to the tune "Beep Street." That song was my first taste of Tom Jenkinson, and I haven't been the same since. While I own almost all the Squarepusher albums, I'd have to say that this one is the easiest to digest. Where on some albums, Jenkinson can go off the deep end with music concrete that could make John Cage say, "I've had enough," this album shows him using his talents to give props to the jazz and fusion community. The results are wickedly ingenuitive, intelligent songs that can be understood in jazzy musical contexts (and actually groovy and catchy). Fans of--or creators of--music like Weather Report, Yellowjackets, even Chick Corea should definitely do themselves a favor and hear fusion for the digital age.

I don't know what to say about the dance aspect of this music. In Chicago, I will never see people dancing to stuff like this; if, however, in other places in the world people have a more open mind as to what has a groove, then more power to them. (Actually, in Chicago, I have never met a person who owns this album. Remind me to go to all the jazzers I went to college with and shove this album down their throats.)

The current Squarepusher champion
Strangely, Hard Normal Daddy is probably Squarepusher's best album not because of what its got, but what its lacking. For probably the first and only time in his entire career, Hard Normal Daddy actually shows signs of restraint and actual consideration to composition and songs. This is not to take away from the stunning brilliance of the jazz indulgent Music Is Rotted One Note or the boarderline pyschotic sounds of Go Plastic. But when you strip him of his little mindsex gimicks, Jenkinson really does show of that not only does he have a knack for writting songs but writting really good ones too.

Like a more focused Feed Me Weird Things, Hard Normal Daddy runs the gamut of musical sounds and influences as he shows of that he loves old dub and electro as much as he loves the sound of his own drum programing. First thing that should be noticed by all is that most of the rough production edges of Feed Me Weird Things are gone. Replacing them are much crisper, fuller, and far more smoother sounds and melodies then before. Secondly, his blow your mind and ears frantic drum programing is actually toned down a bit. Sure its jawdroppingly fast and complex, but it doesn't go overboard which some of the tracks on Weird Things had.

The biggest shocker of all on Hard Normal Daddy is the suprising amount of melody and hooks found on the album. There are a suprisingly large amount of catchy tunes that lay ontop of the drum programing and hyperspeed bassplaying that actually make Hard Normal Daddy a blast to listen to. Even on some of the hardcore drum n' bass tracks(some of the shorter of the rank as some of my favorite Squarepusher tracks) are still melodically packed and fun to listen to. The whole CD finally displays some consistancy from a man who normal has one or two stinkers(if not more) per album. For all the characteristics normally present in a Squarepusher album, HND is surpisingly lacking in them, for better or worse.

Still I can see why Jenkinson started pushing his music in a different direction. With Hard Normal Daddy he really did push his evolution into a corner that would require something of a radical change to keep from stagnation. Whether that change is jazz fusion or a turn towards LFO inspired drill n' bass, Hard Normal Daddy will always represent a high point for Squarepusher's career and a highlight in the drum n' bass comunity. It doesn't define the genre like Roni Size's New Forms or Goldie's Timeless, but its still an exceptional work and probably his best yet.

........
I've had this album for a few years now,and all I can say is Tom Jenkinson is,in my view,a genius--and that's not a word i throw around lightly. When it first came out I'd never heard anything remotely like it. It's definitely maniacal,but that's what he was aiming for in the first place. But aside from that,he jumps around from one form of music to another--this is ADD under some semblance of control,and man,what beautiful things can come of that! As a musician you listen to him and can't help but be absolutely blown away; the guy's a virtuoso on everything,let alone the fact that you'd never imagine drum machines could be used in this way. To this day I still put it on occasionally,and I can't help but laugh my head off. It's been how many years since it came out,and still,no one can touch him. Easy listening this is NOT. but when you're in the mood for it,go ahead--put it on. God bless SquarePusher.
Lastly,if you happen to like this,try to get your hands on the EP,Vic Acid. Brilliant.

hard normal daddy
You have to realy be open for music to dig squarepusher. I don't like everyhing Tom Jensinson (Tom Jenkinson=Squarepusher) has done, but this album is amazing. The combination of jazz, techno, drum & bass and soul is realy unique. Listening it the first time I was a bit confused; I had not heard anything like this before. The album is mellow and loud at the same time, which gives you a strange feeling. You should listen it intensive for a couple of times like I did. Now I recommend this album to everyone. the first two songs are the less freakiest: You can even dance on it! But their both realy good though. Coopers world is a funky stuctured drum track. On this opening track you will also hear that Jenkinson is a fabulous bass player! The second song is kind of a drum & bass song although the jazzy and mellow keys make it sound much more warmer than the usual drum & bass I know. The rest of the album is more progessive. Altough I like the whole album I do have my favourites. 'Papalon' is the most jazz orientated song. It has a realy warm sound. The jazz melodies on the keys, the brilliant bass-track and the rhythemly freaky but mellow sounded drums makes this defenetly one of my favourite songs on the album. Antoher favourite is 'Rustic Raver'. This shows you the roots of squarepusher: freaky beats with funky techno sounds over it. I can review every song but I will not. I tried to give you an impression. You should listen it yourself! ... Read more

Amazon.com

Originally issued in 1995, Boards of Canada's Twoism EP makes it clear the Scottish duo of Michael Sandison and Marcus Eoin were on to something from the start. As their first recorded work, scarce, vinyl-only copies of Twoism have been lustily sought after by rabid fans since the 1998 release of BoC's amazing, impossibly original Music Has The Right To Children and the quieter, but equally devastating Geogaddi. While not as adventuresome as those records, this EP is still Boards Of Canada all the way, as ample chunks of the band's unsettling and deeply involving style are easily found in songs like "Smokes Quantity" and the title track. Other songs such as the almost danceable "Seeya Later" show a more straightforward ambient/techno side that, while presented more nakedly here, is still quite apparent in their later work. While some might be disappointed after spending God knows what on a copy of Twoism only to find it suddenly available anywhere, others looking for more of BoC's melancholy, spellbinding compositions should take fast advantage. --Matthew Cooke ... Read more

Reviews (10)

WHICH CAME 1ST...THE CHICKEN OR THE EGG...
What I mean by that is if "Twoism" is actually the first album released by Boards of Canada, then wouldn't that make it their ground-breaking release in the IDM style of music instead of "Music Has the Right to Children"? I mean let's face it, nothing on "Twoism" really sounds any different than the music on "Music Has the Right to Children"--in fact, they almost sound like the same album in some instances. Which is not a bad thing at all, mind you, it just bothers me that "Twoism" is getting/has gotten less favorable reviews than "MHTRTC", which is unfair...but hey, different strokes for different folks. "Twoism" is still a classic in its own right and a brilliant piece of work from the boys of Boards of Canada, and it still sounds ten times better than "Geogaddi"...However, I find it hard to believe that one of the original 100 releases of this CD was bought online for a $1,000!! GOOD LAWD!!! Then, I ain't gonna trip too much about whoever the person was that did that, because I would pay twice that for a CD copy of Prince's infamous "BLACK ALBUM!"

BoC are experts at their craft
I downloaded a few of the tracks from Twoism when I first heard of BoC. After purchasing the album, I tried their more recent work on Music Has The Right To Children. Comparing the two, Twoism is very minimalist; however, it still retains that gorgeous BoC feel, nostalgic yet an even stronger sense of something sinister in the air. BoC always seem to save the best for last in their albums. The final track, "1986 Summer Fire" is the simplest of all the tracks, yet it gives rise to the entire spectrum of emotions. The entire album is class.

Darkest Boards Release
This is a really bleak album, more than even Geogaddi, which has a backbone of aggression that keeps it from becoming depressing. Not that fans expect upbeat, but usually there's a Nlogax, ROYGBIV, Aquarius, or Dawn Chorus to leaven the mood. Here Iced Cooly plays that role, but the synths are distorted to the point that the effect is more queasy than whimsical. For me a hallmark of the BoC sound is emotional ambivalence - innocence with a menacing undercurrent, psychedelia with a hint of madness - but the cumulative effect of these tracks is just dour.

A case in point would be the opener, Sixtyniner. The twinkling, autumnal synths are great, until this oboe-like sound and plodding beat come in and make it sound almost comically sad. The highlights of the album for me are Oirectine and Melissa Juice. The former is the epitome of minimalist composition; the opening tones alone vibrate at the perfect pitch to make your flesh creep and your hair stand on end. The reverb and distortion make the song sound as if it was recorded in a culvert or train tunnel; towards the end, a backward, loping beat is introduced that gives it a sinister, funky intensity. Totally eerie and unclassifiable. Melissa Juice is a slight composition that captures a nostalgic feeling in the way only BoC can.

Of course BoC completists have to have this EP; in fact, thanks to the miracle of filesharing, most of them already do. As far as I can tell the remastering is great and definitely justifies a purchase if you already know you like the material. And despite the downer mood it induces, there is a sense of vast open space on this album that makes it stand out when compared to, say, the more self-conscious and fanatically detailed Geogaddi. Still, for those new to the music of BoC, I would start with the superior Hi Scores EP, or either full length album, Music... or Geogaddi.

The legacy of Twoism
Board of Canada's discography is a source of consternation for their fans. Several of their releases only quasi-exist- no one has heard them. Twoism for many years has only been around in the form of low quality mp3s. The poor fidelity of the sound only served to augment the listening experience. A seminal, obscure album of broken sounds further degraded by poor reproduction that still took resourcefullness to track down.

Hearing the proper release has been a bit of a revelation. For the most part I knew what to expect. (some of the songs here have been been recycled on subsequent BoC releases) However, there are new levels of detail present in the sound. That being said nothing about Twoism is overly polished. The synthesizers used sound as if they are drawing their last breath. The melodies are distant and suffocated.

Boards of Canada at this point in their career were even more minmalist then they are now. The signature Boc formula was already perfected on these tracks. Vintage synthesizers spitting out chilhood melodies over slow breakbeats. The melodies are happy, but they evoke a fake, drug-induced happiness that enhances the distance and detachment.

Probably the two most interesting tracks on Twoism are "Oirectine" and "Basefree". They sound unlike anything else Boards of Canada ever released. There's a definite industrial influence, interpreted as only the boys could. "Basefree" sounds like it should have been on Autechre's "Tri Repetae", but I think "Basefree" is actually predates that album. "Oirectine" features a severaly damaged, overly sinister, melody. "Twoism" and "Sixtyniner" are the prototype early Boards of Canada tracks.

Twoism is essential for any Boards of Canada fan and any fan of electronic music. Twoism was ostensibly a demo which got them noticed by Skam records. The rest is history.

The beginning... or so we're told...
Twoism by Boards of Canada: The sound is there, organic, dreamy, and of course... microtonal. These brothers compose music that is timeless. Read between the lines... that's where BoC is controlling you! ... Read more

Reviews (1)

Two cd's , two different listening expierences.
Another difficult project is again handled masterfully by DJ Spooky. The first cd is a collection of remixes from different volumes of the Blue Series. Since the original songs were difficult as originals remixing them would be anyones nightmare.
DJ Spooky demonstrates that he has no equal at deciphering these abstract pieces and then adding his own flavor. The result is a dish for those who don't mind the well prepared exotic dish, prepared by the master himself, DJ Spooky. ... Read more

Reviews (1)

not bad
apparently one of the members in the band has some background in audio engineering which shows because the drum sound on this album is extremely nice. the crisp and punchy drums provide the foundation for some quirky dorky yet catchy songs... Bank in particular is hard to get out of your head... there isn't enough on here is my only complaint. the album is short and i find it difficult to totally immerse myself in this album. shows great promise though. for fans of Out Hud ... Read more

Amazon.com essential recording

The Orb's third full-length studio album states its intention with its title: where their first two records had explored the outer cosmos of dance music, Terrarum is an earthier, less spacy ambient record, more devoted to mapping the sounds at hand. It goes to extremes to avoid the hooks of their early work, and there's barely even a hint of dance beats.When they do appear, they're mutated, bassy, more to pass through the body than to move to. Considered as music to "listen to," it's mostly pretty dull (though the 17-minute "Slug Dub" is worthy of the Augustus Pablo records and stoned realizations that inspired it). But then Orbus isn't meant to reward attention--it's an album to sit down and dream to. --Douglas Wolk ... Read more

Reviews (54)

Kingdom Orb!
The Orb's Orbus Terrarum is smartly crafted chill-ambience, beautifully programmed and pure ear-candy.

From the timeless passage of the beautiful 'Plateau' to the eclectic kingdom music of Oxbow Lakes, this magical 78 minute structure weaves delightfully imaginative music. Slug Dub is an experiment in dub, telling an odd fairy tale of laughing slugs eating little Timmy's lettuce in the process. Occidental is a groove-friendly treat and is more beat structured than most of the other tracks.

They incorporate different levels of percussion, not the former dance beats or reggae tinged ones, but the percussion feels more natural and quite varied. There's an abundance of different synth sounds but all the while you'll never stop being aware of what you're listening to. In other words, the Orb demand your attention on this release because it's so good. They don't cover the base of their tracks with an abundance of samples and sounds like Irresistable Force, FSOL's Lifeforms, or Heavenly Music Corporation. Instead they opt to let their musical prowess speak for itself without many added bells and whistles. Amazing music.

I will be leaving for Constantinople tonight....
By now any REAL Orb fan will have known never to know what to expect. Sure enough, we got what we didn't expect again but, that doesn't mean that this album isn't a very good one! It is probably the most complex, ambient album since 'Lifeforms', it being reportedly made on 48 tracks! Valley and Plateau are past Orb live favourites at last being reworked for studio release, they open the album and set the flavour for the rest of the album.

Oxbow lakes is the single, it's got some piano in and makes you feel like you are sinking through your mattress into another dimension, which is nice. Montagne D'or was previously heard in a Peel session and is much more considered on this album, the track being stripped down and gradually builds to a belting crescendo. The end of which sounds like a metal pole falling down a long lift shaft, if you can imagine that.

White River Junction contains some ramblings which sound like a BAD agaony aunt trying to lift the self-esteem of a hopeless romantic. I swear that I hear the phrase 'listen to radio' almost subconciously amongst the analogue manifesto. Occidental is a mistake and probably doesn't belong here but, in the middle of Pomme Fritz - there is however some fantastic sound generation in this track.

That brings me to..... SLUG DUB! and indeed who can argue, one of the Orb's dubbiest efforts since Towers and Perpetual Dawn. This track conveys an east end of london market atmosphere with autechre's EP7 coming at you from one side and childrens cartoons from the other. Wow.

Strange and different
When I bought this, I had UFOrb and Ultraworld. This one is entirely different so beware. It it a much more subtle listen. There aren't nearly as many beats, and no straightforward songs. You won't find any "Little Fluffy Clouds" on this album. Everything is much deeper down, buried in the mix. I must say that i still have trouble with it. If you haven't heard the orb before, or don't own any albums, buy Ultraworld or UFOrb first. This album will take a lot of time, but it is rewarding in the end. "Plateau" is a great song, and most of the others are too, once you get used to them.

Genius
Honestly, I can't say much more than was evidenced in the past stellar reviews. This album is THE most sophisticated ambient/electronic work I've ever heard in my life. No other album has been so appropriately named (this album continues the ORB irony, in that you feel like you are anywhere BUT on a terranious field).
The intracacy and the depth of the excursion is BEYOND any ultraworld that I could have imagined in earlier years. Patterson and Fehlmann have synergized to a state in which I could only imagine as euphoric beyond imagination.

Sonically Organic Singularity
Orbus Terrarum is a sonically organic singularity; there is nothing else even remotely like it. For me, listening to this disc is a tear jerking experience, but it may overwhelm those lacking the ear to find a solid perch from which to witness the beauty of this gift.

If that is not enough I will finish with this: I have access to thousands of discs and this is my overall favorite. I must warn you however, that I, like the majority of other 5 star reviewers of this disc, am a total Orb fanatic (for the uninitiated there are many reasons to be an Orb fanatic - listen to their catalog and learn) ... Read more