#aphextwin — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #aphextwin, aggregated by home.social.
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #textuumusic #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #textuumusic #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #textuumusic #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #textuumusic #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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🎵 Aphex Twin - Didgeridoo 🎵
Un classique acid-house de 1992, conçu pour "achever" les raves en Cornouailles. Paradoxalement, ce titre ne contient aucun didgeridoo : Richard D. James a passé trois jours à créer un drone électronique pour imiter l'instrument . Sorti sur le label R&S, il reste un incontournable de la techno expérimentale. ⚡
#music #textuumusic #AphexTwin #AcidHouse #Techno #R&SRecords #IDM
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If These Trees Could Talk – The Hidden Hand Review By KilljoyIf These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?
By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.
If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.
The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.
Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.
Rating: 2.5/5.0
#25 #2026 #AmericanMetal #AphexTwin #IfTheseTreesCouldTalk #InstrumentalMetal #Jul26 #MetalBladeRecords #Pelican #pgLost #PostRock #PostMetal #Review #Reviews #RussianCircles #TheHiddenHand #WeLostTheSea
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026 -
If These Trees Could Talk – The Hidden Hand Review By KilljoyIf These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?
By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.
If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.
The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.
Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.
Rating: 2.5/5.0
#25 #2026 #AmericanMetal #AphexTwin #IfTheseTreesCouldTalk #InstrumentalMetal #Jul26 #MetalBladeRecords #Pelican #pgLost #PostRock #PostMetal #Review #Reviews #RussianCircles #TheHiddenHand #WeLostTheSea
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026 -
If These Trees Could Talk – The Hidden Hand Review By KilljoyIf These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?
By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.
If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.
The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.
Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.
Rating: 2.5/5.0
#25 #2026 #AmericanMetal #AphexTwin #IfTheseTreesCouldTalk #InstrumentalMetal #Jul26 #MetalBladeRecords #Pelican #pgLost #PostRock #PostMetal #Review #Reviews #RussianCircles #TheHiddenHand #WeLostTheSea
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026 -
If These Trees Could Talk – The Hidden Hand Review By KilljoyIf These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?
By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.
If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.
The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.
Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.
Rating: 2.5/5.0
#25 #2026 #AmericanMetal #AphexTwin #IfTheseTreesCouldTalk #InstrumentalMetal #Jul26 #MetalBladeRecords #Pelican #pgLost #PostRock #PostMetal #Review #Reviews #RussianCircles #TheHiddenHand #WeLostTheSea
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026 -
If These Trees Could Talk – The Hidden Hand Review By KilljoyIf These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?
By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.
If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.
The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.
Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.
Rating: 2.5/5.0
#25 #2026 #AmericanMetal #AphexTwin #IfTheseTreesCouldTalk #InstrumentalMetal #Jul26 #MetalBladeRecords #Pelican #pgLost #PostRock #PostMetal #Review #Reviews #RussianCircles #TheHiddenHand #WeLostTheSea
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026 -
#MusiQuinta com tema "te deixa feliz":
Depende muito do humor que eu tô qual tipo de música vai me deixar feliz. Então pensei numa que faz isso independente do humor, ou quase: #3 de Aphex Twin.
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#MusiQuinta com tema "te deixa feliz":
Depende muito do humor que eu tô qual tipo de música vai me deixar feliz. Então pensei numa que faz isso independente do humor, ou quase: #3 de Aphex Twin.
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I like that Aphex Twin has a gentle, ambient side to him as well as the noise terror
There is balance. -
I like that Aphex Twin has a gentle, ambient side to him as well as the noise terror
There is balance. -
I don’t think it will surprise anyone that this album (common nickname SAW2) is near the top of my all-time favorite things in any medium, and obviously it’s widely acclaimed as a like at least a high-9s/10 sort of genius record of its type and lives up to the hype as one of those just generational, like changed all of music into before and after kind of works. I just mean no one could call it underrated and I’m not gonna try
what I do wanna recommend, as usual, is it really rises to another level when you crank it up very loud, and think of it as a very particular sort of atmospheric noise music, for very deep listening at serious volume
#AphexTwin– Selected Ambient Works Volume II
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I don’t think it will surprise anyone that this album (common nickname SAW2) is near the top of my all-time favorite things in any medium, and obviously it’s widely acclaimed as a like at least a high-9s/10 sort of genius record of its type and lives up to the hype as one of those just generational, like changed all of music into before and after kind of works. I just mean no one could call it underrated and I’m not gonna try
what I do wanna recommend, as usual, is it really rises to another level when you crank it up very loud, and think of it as a very particular sort of atmospheric noise music, for very deep listening at serious volume
#AphexTwin– Selected Ambient Works Volume II
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Expert Knob Twiddlers - Still one of my fave feel good tracks after all this time (30 years)...
Mike Paradinas & Richard D. James aka µ-Ziq & Aphex Twin are offering you to enjoy:
Mr. Frosty (1996)
https://www.youtube.com/watch?v=gAaBbFmCWoE -
Expert Knob Twiddlers - Still one of my fave feel good tracks after all this time (30 years)...
Mike Paradinas & Richard D. James aka µ-Ziq & Aphex Twin are offering you to enjoy:
Mr. Frosty (1996)
https://www.youtube.com/watch?v=gAaBbFmCWoE -
Die Klimaanlage im ICE 529 der #DeutscheBahn näselt mäandernd vor sich hin, wie das Digeridoo von #AphexTwin … ich sitz hier ja nur 3:15h :neocat_googly_woozy:
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You think Aphex Twin's beats are impossible to play live? Guess what, so did I. That is until I discovered this Flim cover by DOMi and JD Beck. WTF? I guess, not all is lost after all.
https://www.youtube.com/watch?v=oL_LLeMcbfc -
You think Aphex Twin's beats are impossible to play live? Guess what, so did I. That is until I discovered this Flim cover by DOMi and JD Beck. WTF? I guess, not all is lost after all.
https://www.youtube.com/watch?v=oL_LLeMcbfc -
As #TaylorSwift joins one of the many halls of whatever, here I share what is BY FAR her greatest work.
#APHEXSWIFT
Created by #DavidReesWhile #Starlightlicker gets the plaudits, my standout track is 'You Belong To Avril'. It has all the yearning and melancholy that the original sadly lacks.
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Aphex Twin (Richard David James)
Seine Musik klingt nicht nach Zeit. Sie klingt nach einer Einstellung. Irgendwo zwischen Kinderzimmer, Reaktorhalle und Windows-95-Fehlermeldung.
https://looprituals.de/darum-ist-aphex-twin-so-einzigartig/#PeaceLoveMusic #Music #MusicProduction #AphexTwin #RichardDavidJames #Techno #Rave #Breakbeat #IDM #Ambient #Producer #DJ #Musiker #Labelinhaber #RephlexRecords
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🇺🇦 #NowPlaying on #BBC6Music's #6Musics90sForever
Aphex Twin:
🎵 Xtalhttps://cryingface.bandcamp.com/track/aphex-twin-xtal-cryingface-remix
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🇺🇦 #NowPlaying on #BBC6Music's #6Musics90sForever
Aphex Twin:
🎵 Xtalhttps://cryingface.bandcamp.com/track/aphex-twin-xtal-cryingface-remix
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#nowplaying Aphex Twin - Come To Daddy
The song started as a joke/silly experiment and then became much more popular than Richard ever expected.
My main reason for owning this maxi is not the title track, but it's about the only way to have "Flim" in its best form on vinyl.
I did love the CTD music video, though. Chris Cunningham is a mildly deranged master, so a good fit for AT tracks :D
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#nowplaying Aphex Twin - Come To Daddy
The song started as a joke/silly experiment and then became much more popular than Richard ever expected.
My main reason for owning this maxi is not the title track, but it's about the only way to have "Flim" in its best form on vinyl.
I did love the CTD music video, though. Chris Cunningham is a mildly deranged master, so a good fit for AT tracks :D
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I don't care if it's a parody. "Come To Daddy" is a fucking fun song and I want to hear more like it. Unhinged and frenetic #AphexTwin.
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A rare moment of digital serendipity; when #xscreensaver randomly kicks off the "drift clouds" screen saver the instant Cliffs by #aphextwin starts playing (the orchestral rendition by #AlarmWillSound)
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A rare moment of digital serendipity; when #xscreensaver randomly kicks off the "drift clouds" screen saver the instant Cliffs by #aphextwin starts playing (the orchestral rendition by #AlarmWillSound)
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A rare moment of digital serendipity; when #xscreensaver randomly kicks off the "drift clouds" screen saver the instant Cliffs by #aphextwin starts playing (the orchestral rendition by #AlarmWillSound)
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A rare moment of digital serendipity; when #xscreensaver randomly kicks off the "drift clouds" screen saver the instant Cliffs by #aphextwin starts playing (the orchestral rendition by #AlarmWillSound)
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They were amazing live in their prime, for example covering #AphexTwin
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Scrolled down the toots already posted for the #TuneTuesday #WindowsAndDoors theme for inspiration. Anything from The Doors was too on the nose... Then I saw someone post Window Sill from #AphexTwin, so I had to post 'the Windowlicker music video, which hasn't been done yet to my surprise. 😲
The music video film itself is a work of art as well, but if you are not interested and want to skip directly to Aphex Twin's music, then go to timestamp 4:21 or there about... 😆
