Welcome to my blog, I write about the music I like.
On Tall Tales, Thom Yorke and Mark Pritchard paint nightmarish and hallucinatory landscapes populated by monstrous entities, which are brought to eye-popping life by visual artist Jonathan Zawada.
Hard Normal Daddy was Squarepusher's first album to come out on Warp Records, the label that would remain his home until the present day. Released in 1997, it’s a far more consistent and comprehensive artistic statement than his debut. Check out my video review
Unusually for Aphex Twin remixes, these bear some resemblance to the originals, albeit taking them in unexpected directions. Both cuts are peak Aphex for me, demanding your full attention with their insatiable energy as soon as they come on.
The Windowlicker track and video are so entwined it's difficult to separate the two. Landing in that confluence between analogue warmth and rubberised digital weirdness; the r'n'b cadences and human moans and groans always at the mercy of being overpowered by atonal walls of static and undanceable programmed rhythms.
The Come to Daddy mini album unites the disparate strands running through James' music as the time, with a deeply odd sense of urban decay.
The Richard D James Album is all the more impressive for its short duration, given the sheer breadth of creativity on display and how comprehensively James builds a self-contained sound-world that fizzes with contemporary influences yet exists purely on its own terms.
The title track is notorious as perhaps one of the most unlistenable pieces in electronic music.
Donkey Rhubarb is an odd release, as idiosyncratic and unsettling as Aphex Twin always is.
The album's beauty lies in the counterpoint between the hard and soft edges, jagged percussion and soothing melodies, screeching clamour and woozy respite.
Despite containing mainly sketches and off-cuts, there's a huge amount of creativity on display on this EP.
George's Music Blog 