Collapse EP is the release that adventurous Aphex Twin fans have been waiting for, whether they knew it or not. This is where the formerly reclusive artist finally moves well beyond his own monumental shadow.
This is the biggest mixtape I’ve ever made. I’ve pieced it together with every bit of leftover energy and stolen time as my life has been radically changing during these inescapably hot and humid Michigan summer days. I’ve been in transit, in transition, floating in zero gravity between two planets, my comfortable old past and my hard-won future. I’d been building this sound mood for weeks and I had to call it Off World.
This strange time has me thinking about my fondest fictional memories of adolescence, hours at home and across the galaxy spent wandering through virtual lands, riding the long arc of a grand narrative while taking plenty of time to slow down and soak in the uncanny beauty of it all. So I started making a mixtape that would reflect both the epic nature of my changing circumstances and the liminal experience of waiting while a major life process plays out. Most of all, I wanted it to remind me of that specifically youthful feeling of spending days at a time lost in the beguiling worlds of my favorite RPGs, no responsibilities to tether me to the real world. Yep. Here we go.
Imagine a planet of warm woodwind tones, humid, echoing percussion, and laser-etched neon synth shards, settling like confetti over a rubbery techno landscape. The second Call Super album zooms all over this place, restless as a pinball, crossing and recrossing the the edges of its established territory every few minutes. Arpo constantly shifts its appearance using only a handful of evocative elements, erupting in a parade of unexpected delight with every subsequent track, sounding as cohesive as it is unique.
Sharp Time sounds exactly like its cover art looks. No joke.
In an interview with Pitchfork last week, Oneohtrix Point Never explained how he needs weird breakages and colliding contrasts to happen for music to feel truthful, and how this also applies to all good film scores. After listening to his soundtrack for Good Time, a new film by the Safdie brothers, reading this passage felt like a tiny lightbulb flickering on.
It’s the rough, distinctive patina surrounding everything he’s ever recorded, the philosophy underpinning the very reason his music is so often astonishing. It’s something he’s expressing most clearly on this, a movie score that basically functions as a proper new album.
When I became a father this month, I decided to honor the moment by making a new mixtape. I’ve made mixes in all sorts of genres for all sorts of moods, but this time I had a new, very specific aim: to capture the feeling of being an exhausted, mildly ecstatic new dad.
To that end, I decided to make my first dad rock mixtape. But I couldn’t start with just any old stereotypical “dad” music. This had to be my vision of dad rock. So don’t expect any Springsteen or Steely Dan. This is another flavor entirely.
Wow. Just wow. This is Miles Davis at that stratospheric peak he seems to ride every few albums, the ones with mountains of praise written about them over the decades. For some reason it’s far less revered than the likes of Kind of Blue, Bitches Brew, and On The Corner, but it’s just as important to his development as an artist and just as incredible of a listen for jazz fans today.