Richard David James, commonly known as Aphex Twin, celebrates the 30th anniversary of his release “On” on Nov. 15, 2023. The 24-minute extended play (EP) features four tracks, each offering significantly different musical styles. “On,” an early project for the idiosyncratic artist, is a milestone on his route to success in ambient music where he has built an iconic identity.
Aphex Twin’s discography varies wildly. His critically-acclaimed albums such as “Selected Ambient Works 85-92,” “…I Care Because You Do” and “Richard D. James Album” are three standouts among his nine released studio albums and 49 EPs released under James’s several aliases (AFX, Polygon Window and Caustic Window).
“On,” the artist’s third EP, was released between his first two albums “Selected Ambient Works 85-92” and “Selected Ambient Works Volume II.” It was his first release under Warp Records, and its title track reached number 32 on the UK charts. The album’s art features a dystopian depiction of Aphex Twin’s nameless logo, surrounded by abstract sketches and paint. The art represents an eerie and disorganized reflection of his iconic cover art for “Selected Ambient Works 85-92.”
“On” opens with the melodic title track featuring breakbeat rhythms reminiscent of “Selected Ambient Works 85-92.” The track starts with a delicate piano melody that is later expanded alongside layers of the sound of rain, exceptional sampling and a bass-heavy beat. The song devolves in the final 30 seconds to revive the intro of the track one last time. The title track is the showpiece song off the EP with its distinct melody and ambient qualities.
The next track, “73-Yips,” abruptly startles the audience through an industrial beat that drives clanging strikes to the listener’s ears. The track grows repetitive and sparks vexatious stimulation. The array of uniquely mechanical noises embedded between the throbbing bassy beat grows overwhelming by the end of the song.
“D-Scape,” a seven-minute track, begins with an ominous launch to the song through an echoey melody and eerie synth. The song sounds like it could have been featured in the soundtrack for a horror video game. The drumbeat is gradually layered into the mix, giving the track a sinister house beat ambiance. Ghostly samples of grunting voices are heard low through the mix in later parts of the unsettling track.
The final track, “Xepha,” is similarly ominous, starting with a layer of sampling that sounds like a slow, moaning animal. A complex beat is later layered over the repeating sample and the moaning develops into crunchy growling. This repetitive and uncanny track is the weakest on the EP.
Each song is considerably different from the last, assembling a collage of Richard D. James’s musical ability and innovative composition. The variety of each track lays a foundation that is representative of James’s extensive and developed catalog.
“On” is ultimately uninspiring compared to the innovative styles and colorful tones of Aphex Twin’s previous and following full-length releases. It feels detached compared to previous projects; “On” fails to effectively portray James’s innovative style. If you were not already a fan of Aphex Twin’s protruding styles and sweepingly industrial cadence, you may find little to enjoy throughout the EP.
Following the release of “On,” James released the bulk of his staple albums, along the way developing his other aliases. “On” was ultimately a lackluster EP, but the significance of its anniversary is in marking the dawn of Aphex Twin’s development, his start on Warp Records and the growth of his musical ability. Aphex Twin’s most recent release, the EP titled “Blackbox Life Recorder 21f,” demonstrates James’s development from earlier releases to today.
Crissy Saucier can be reached at [email protected].
