Type: Album
Genre(s): Drill and Bass, IDM
From: England, Cornwall / Ireland, Limerick
Release: November 4, 1996
Producer(s): Aphex Twin
Context-wise, this record boasts the very interesting element of having been crafted almost solely on a Mac computer, which is very impressive for its time. Aside from this commendable accomplishment, if I’m to talk about enjoyability, this record is highly endearing at its best — albeit tedious at its worst. The electronic percussion arrangements are constantly impressive throughout and are actually one of the most applaudable aspects of the album. However, in terms of immersion, it’s not as consistent as some tracks come across as an undeniable display of skill of production and sequencing, but with limited merit as something to listen to and appreciate for its musicality, in my opinion.
•Mid-High 7•
Highlights: 4, Girl / Boy Song, Logan Rock Witch.
Lowlifes: Cornish Acid, Peek 824545201, Yellow Calx.
Track-by-track review
4 features a small sample of Richard D. James and his father as a little snippet to add to the instrumental. Speaking about the instrumental, the groove is a hugely interesting one; additionally, it remains volatile and intricate without taking away from the whimsical attributes of the other synths and melodies. It’s. all in all, quite a playful and amicable opener.
Low-Mid 9.
Cornish Acid feels more explorative in nature. Funnily enough, it sounds a bit like the soundtrack to a lab experiment. The approach to this cut is appreciable; however, this abrasive and experimental composition —personally— ends up as less enveloping and evocative.
Low-Mid 5.
Peek 824545201 is similar to “Cornish Acid” in the overall feel. The transient melodies and watery textures are quite commendable. In a way, the sounds achieved are arguably more interesting on this song — although a bit more grating as well.
Mid-High 4.
Fingerbib brings back the more playful and carefree ambience of “4”, and does so in quite an enjoyably peppy way. This pep, however, is explored through slightly lacking compositional elements and straightforward synth tones.
Mid-High 7.
Carn Marth features highly compressed drums and more fast synth melodies. This track, again, sacrifices the more personally enjoyable carefree dispositions within the record, for more eccentric electronics. However, the tone of the percussive sequences is quite applaudable, and the structure of the song —in which, in the second half, it starts adding ambient synth work to contrast with the very erratic nature of everything else— is quite alluring.
Low-Mid 7.
To Cure a Weakling Child features quite a cryptic line that is repeated throughout; probably just listing off the things that make this child a weakling. This time around, there is quite an admirable balance between the experimental, fast-paced electronics and the more endearing aspects this record boasts. Aside from a needless albeit swift change of pace around the midway point and an ever so slight lack in emotion, it really is quite interestingly put together and —just simply— quite fun!
Mid 7.
Goon Gumpas: The usage of stock pizzicato strings is quite a funny addition to the album. Moreover, the comical and innocent arrangement they were given is quite a charming one, actually. It might not be the most breathtaking idea, but it’s still a pleasantly amusing one.
Mid-High 7.
Yellow Calx is rich in sonic experimentation and unique production. The more soothing synth sounds make for quite an ear-catching moment at first. However, there are a lot of passing elements and miscellaneous sounds that are added across the cut and distract from the more pleasurable aspects of it.
Mid-High 5.
Girl / Boy Song captures quite a captivating and childhood-driven simplicity, in its way making for a highly memorable and smile-inducing track. Moreover, the fast-paced drums also add an element of nuance to this simplicity in a way that makes the song all the more moving.
Low 8.
Logan Rock Witch is named after the rocking stone named “Logan Rock” from Cornwall, England. The combination of mouth harp, organ, and clop-like percussions on this cut is as unprecedented as it is original and delightfully entertaining. Especially for the organ, which brings an unconventionally although beautifully fitting arrangement to the mix.
Low-Mid 8.