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Aphex Twin  

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Aphex Twin is one of the legends in the electronic dance music scene, being constantly regarded as one of the best artists in his genre and influencing countless acts over the years.

His live show is one of the best performances you'll ever see out of a DJ. He's a master at mixing and flawlessly transitions from one song to the next bringing his own brand of ambient electronic to the forefront and never lets a dull moment enter into his set. You'll either feel the need to dance to your hearts content or you'll just zone out to the mesmerizing beats that you'll hear all night. The light show he brings with him is ridiculous and will make even the most sober person in the room feel like their tripping on the most potent psychedelics.

You'll be transported to a world of wonderment and amazement with only the music as a guide. Crowd interaction with him is very limited but at the same time his live show doesn't suffer at all from it in fact I think more crowd interaction with bring it down.

Aphex Twin lets his music do the talking for him and that's all you really need.

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Dearly beloved Aphex:

Thank you for the music. You have no idea how much I’m gonna be listening to this set from now on. It was incredible. I fell in love with your Field Day set but this one was just so exquisite. I did not think it could be better than Field Day, which still was more agressive and bombing, but this was just so entrancing and groovy. I loved every second of it, thank you so much for having done such a cool, beautifully amazing set. Can’t really say much more about it. Just gonna go listen to it. Cheers.

Your biggest fan,

KitKat Levz A.K.A Andre Barthe.

My email is [email protected]

P.S.: I want to meet you someday. And talk about music.

Literally the best show I've ever seen, his BK set was better than the Houston set from Day for Night...never thought that would be possible.

Exceeded expectations and frankly he rocked everyone in there.

Fantastic, mind-blowing show! The best gig I have seen for many years. I had a blast, after AFX the crowd was pretty awesome too. Man and all the musicians did present amazing work!

The most expensive DJ set I have ever heard. The venue was a shambles. All this for €69.50. I think Richard had a good old laugh at the Berlin punters.

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Aphex Twin Concert Setlists & Tour Dates

Aphex twin at forwards 2023.

• Speech Songs: The Days Are Ahead
• Peace Maker (Remix)
• Reset [Femme Mix]
• Edit setlist songs
• Edit venue & date
• Edit set times
• Add to festival
• Report setlist

Aphex Twin at MEO Kalorama 2023

• Gauss Cannon
• em2500 M253X

Aphex Twin at All Points East 2023

• Crash Course
• Falling Free (Aphex Twin Mix)
• Schizm Track #2 Mix
• Black Pepper (Slikback Remix)
• laced blunt
• Splinters (Fausto Mercier Remix)
• Facebang (Acid Mix)

Aphex Twin at Dour 2023

• Beat In The Street
• TRANSSCRIPT
• Eternity (Spiritual Dub Mix)
• Mind You Don't Trip
• Sonar Distortion
• iKEA SUMMERS

Aphex Twin at Villafranca Festival 2023

• MARCHROMT30a Edit 2b 96
• Mine Sweeper
• black mouth

Aphex Twin at Sónar 2023

• Industrial Disease
• Barongan III
• Join In The Chant (Lies! - Instrumental)
• Odd Flute (UK Remix)
• All Acid Out
• Out to the Rider

Aphex Twin at Best Kept Secret 2023

• Two Moons of Quatermass: First Moon
• Love on a Real Train (Risky Business)
• clissold 101[dat28 otari] 48k
• Spiral Staircase (AFX Remix)
• Vibert Remix 5 Edit Max C
• Komusar (N1L Blood Red Moon Remix)
• Total Confusion (Reprise)

Aphex Twin at Rosendal Garden Party 2023

• Intensified Magnetron
• untitled ("Elephant song")
• Hope (KAVARI Mix)
• Inner Hurricane Triggered

Aphex Twin at Syd For Solen 2023

• P.S.K. “What Does It Mean”?
• Permutations (Klahrk Remix)
• Redruth School
• Nerve Damage
• Quadrasonic

Aphex Twin at The Warehouse Project 2019

• Leisure Techno
• Kritikal Thirst

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• Digeridoo ( 21 )
• Vordhosbn ( 18 )
• The Garden of Linmiri ( 17 )
• 180db_ ( 16 )
• PWSteal.Ldpinch.D ( 15 )

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Poll: Estimate When Aphex Twin Will Start Touring Again / New Releases Are Going To Drop Again

By o00o September 21, 2022 in Aphex Twin

New Aphex Twin Tour / Releases Timeline Poll   47 members have voted

1. new tour, 2. new releases.

• Please sign in or register to vote in this poll.

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Aphex Twin toured from 2016-2019 every year until the pandemic started. when will he reappear with releases / touring?

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• 1 yr o00o changed the title to Poll: Estimate When Aphex Twin Will Start Touring Again / New Releases Are Going To Drop Again

new release speculation based on facts we have?

Curious as to the pandemic’s effect on him, was he prolific during these past few years, did he retreat into the conspiracy mindset, did he secretly kill the Queen?

i predicted Aug/Sept a while back. i meant Plaid tho.... real soz

I wonder how much later people assume. like 2030?

20 minutes ago, o00o said: I wonder how much later people assume. like 2030?

Probably between Wu-lu fourth LP and Future Brown big comeback album, same time as the release of the new Lonelady EP produced by Nozinja. That's my guess.

23 minutes ago, Ski Nell said: tomorrow

His back catalogue is massive and keeps me busy so it’s not something that I think about that much. But I reckon a new record will appear way before he tours again. There might be a couple of big one off shows though. Maybe.

In my humble opinion.

Bleepstore soundclown and rephlex update pls. Thanks.

Freak of the week

he already released 3 albums this year in ylc

killabyte11

All I want is more material from the vaults.  Been going deep into the Soundcloud tracks and there are many which are among my favorite things he's ever done.  

koolkeyZ865

It's a much wiser financial move to release NFTs and put your logo on other people's musical equipment/plugins than it is to release music.

Seriously, though, I'd suspect something or other to come in a year or two.

if this isn't on it then I'll shit myself in public in protest

37 minutes ago, killabyte11 said: All I want is more material from the vaults.  Been going deep into the Soundcloud tracks and there are many which are among my favorite things he's ever done.  

i have to agree

although they lack the complexity of his more contemporary releases, i still find myself listening to his oldest tracks more than anything

23 minutes ago, diatoms said:                                

Did he DJ there? The tracks at the beginning sound like he performs them live

Ambient metal power trio with his kids 

Syro was 2014. Doubt there’s much longer to wait. I’m quite sure, though not 100%, he lives and breathes making music. Though family commitments will perhaps mean he’s not in the right headspace for creating tracks worthy of an album. But also maybe having kids has rejuvenated his imagination! Who knows. It’s impossible to complain really about Richard. Though I hope the next album is better than the last one. Just cannot vibe with Syro at all.  

3 hours ago, o00o said: Did he DJ there? The tracks at the beginning sound like he performs them live

                                        combo i think but i'm might be talkin out my arse

                      also aphex performed at forbidden fruit in 2011 & 2017

                                it gonna be another 6 years next year so fingers crossed for ireland

On 10/1/2022 at 5:10 PM, Ski Nell said: i have to agree although they lack the complexity of his more contemporary releases, i still find myself listening to his oldest tracks more than anything

Same here.  I find the material he released on Soundcloud to be significantly different than most of his commercial output.  It's like a sketchbook or sonic diary.

• 1 month later...

We already know he had at least an EP of sweet tracks 3/4 years ago. So I imagine he is just stockpiling like between Tuss and Syro and will begin releasing again in due time. I bet it will be next year or year after. Just going with his 5-7 year time tables between activity... Drukqs -> Analord/Tuss -> Syro and stockpiled music as EPs.

ill do you all a favor and let him know once you decide on your preferred date

your welcome

23 minutes ago, ilqx hermolia xpli said: ill do you all a favor and let him know once you decide on your preferred date your welcome

Let him know to release within a time frame 

• 4 weeks later...

WhitleyStriber

whenever he runs out of money so i think mayb 2024-2025

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News: Aphex Twin Announces New Tour Dates

Aphex Twin has released his tour dates from June to September which see’s him feature at Sonar, Dour Festival, Field Day and more.

One of electronic music’s most allusive and admired acts Aphex Twin has released his forthcoming tour dates for the coming months. Richard D. James better known as Aphex Twin will play 9 shows from May to September this year.

Aphex Twin hasn’t played live since his Inner City Electronic performance in 2020, so his return to touring his highly anticipated. As always Aphex is very selective with his performances, so there is limited opportunity to catch him play over the summer.

You can see Aphex Twin’s full tour dates below.

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About Aphex Twin

Classic interview: Aphex Twin - “I hate the idea of using other people’s equipment - I’ve just got a bit obsessed, I suppose”

Back in 1993, Richard James’ techno and ambient electro music was already being raved about, and Future Music's Dave Robinson was on the case...

Speed restrictions? Who needs ‘em? In January ‘92, The Aphex Twin showed the techno world that his frenetic Didgeridoo could smash the 150bpm barrier effortlessly and still keep the punters dancing.

It’s taken a few months for his legend to spread, but now Richard James - aka The Aphex Twin, aka Polygon Window, aka AFX, aka God-knows-how-many-other-pseudonyms-he’s-got - is being lauded and applauded everywhere.

Jesus Jones seem to talk about him in every interview they do; Curve play Didgeridoo before their gigs; we’ve even mentioned him in three out of the first five issues of Future Music (cor!).

His two recently released albums, Surfing on Sine Waves (under the name Polygon Window) and Selected Ambient Works 85-92 (as the Twin) have shown that he’s not just a speed terrorist: he’s capable of producing music that’s electronic, but always varied, fluid and thoughtful.

The general agreement is that Richard and his music are something different in a scene where bands and tracks burn brightly for a few weeks and are then forgotten.

With Richard’s rise in reputation have come the stories. Yes, he does build or modify nearly all his gear; yes, he started doing it when he was 12; and yes, he comes from the depths of Cornwall. In ‘85 and ‘86 he was writing a style of music that would emerge two years later as acid house - pretty much a hint of genius in a guy who claims that, at the time, nothing but mainstream music was available to him.

“I didn't have any equipment when I started,” Richard recalls. “I used to make tape loops and put them on ghetto-blaster motors or reel-to-reels that I could get for five quid from junk shops. I did a hell of a lot with those, like creating finished collages of sound that I'd then make, say, five copies of. I’d sync up all the motors and play the tapes back, fluctuating the tape speed to create effects like flanging, chorus and phase-shifting.

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“I bought a Roland 100M monosynth when I was 13 - it’s like an [SH-]101 - but I got really pissed off with it. I started customising my keyboards, then changing the components. When we started secondary school there was an electronic course, so music and electronics went hand in hand. Plus the fact that I didn't have any money! If I wanted to get anything different, I had to change what I had or make something.

“Through customising the stuff I got a working knowledge of the keyboards and the circuitry. I started building little modules, and that’s gone on to building whole circuits. I never made these from magazines; I like to do it myself. I just made filters and oscillators and stuff.

The biggest thing I built was a sampler - it took about a year as a college project. The teachers didn't know what a sampler was, so it was all down to me. It worked for about eight weeks and then packed up.

“The biggest thing I built was a sampler - it took about a year as a college project. The teachers didn't know what a sampler was, so it was all down to me. It worked for about eight weeks and then packed up. Half the time it didn’t sample, it just made really good noises - mad stuff - so I’ve got a massive library of sounds from that.

“When it came to getting an act together, I realised that making the stuff and coming up with sounds that no-one else could was my main asset, so I decided to keep working on it.”

It’s immediately apparent that Richard is a determined bloke. But his sense of purpose - impatience, even - has now taken him to a point where he can practically do what he likes; he’s inundated with offers of remixing, and several major record labels want to talk contracts. And all this without a Top 40 single, too.

The Aphex Twin is happy to talk about his music and his machines, but he’s loath to reveal his creations to the world, in order to keep up some sense of mystery about his methods. 

Most of his kit resides in the Rephlex studio in Cornwall, but he’s currently working and mastering in London, where his gear includes kit such as a Roland TB-303 , a DX7, an old Korg analogue sequencer, an Atari ST and monitor, plus the usual CD player, DAT machine and amplifier. But there are a lot of disfigured synths, open circuits and devices decorated with copious helpings of wire and patch leads. 

Bodge and butchery

Very little survives without being butchered to some degree. “The only keyboard I haven't changed is the Korg MS-20; I’ve got three of those,” says Richard. “It’s a mad keyboard, it’s got a great range of sounds and I like it the way it is.”

The SH-101 certainly didn't survive the surgeon's screwdriver: “It doesn't look like a 101 anymore - I use the sliders, but for different things,” Richard explains. This is typical of how he works: if he hasn't got a sound, he’ll build something to make it using whatever is available.

“A lot of things I make don't respond over a keyboard range - they’ll make one sound, which I’ll sample. Some stuff I control with triggers and control voltages; I put a lot of control on these so I can alter the sound while they’re being triggered.

“I used to spend all my time building the stuff, but now I haven't built anything for ages,” he continues. “A lot of my stuff breaks down, so at the moment I’m just a technician repairing things I’ve built over the years.

“I don't need to make anything new now - I’ve got everything I need. I know I won't get bored with the things I’ve got for years to come. It could be five years before I build anything, apart from the odd little thing to fill a gap. I’ve got too many possibilities to mess around with.”

To ensure that these possibilities are fully explored, Richard has come to a decision over the last few months; to use only his own inventions in his music-making, and to leave conventional synths and drum machines alone.

“I really hate the idea of using other people’s equipment - I’ve just got a bit obsessed, I suppose,” he admits. “I don't want to use pre-programmed drum sounds. I’ve used modified [Roland TR-]808 sounds on Ambient Works, but that's because the tracks are around four to five years old. And the Polygon Window tracks use updated 808 sounds because the original recording quality is so abysmal.

“I’m surprised the ambient stuff came out as well as it did. Someone phoned up to ask how we got the quality so good; I thought ‘What are they talking about? It’s shit!”

The recordings do seem a tad rough in places on the Ambient Works album, as though they were recorded on just a four-track at home. But the truth is even stranger.

“Everything was originally mastered on standard tape on a hi-fi cassette deck. I’ve only had a DAT for just over a year,” Richard reveals. And considering that the tracks were selected by his friends in Cornwall, who were listening to the tapes on car stereos and Walkmans, some of those masters have seen the wear of around 50 cassette players, so he reckons. “With the first track [Xtal on Ambient Works], the tape had chewed in about seven places.”

Richard resisted the temptation to edit the tracks for the album. “Not much has been EQ’d. It would have been easy to edit out the glitches digitally, but it's a retrospective look, and the tape munching was all part of the stuff I was doing, so I’ve left it in.”

I’m surprised the ambient stuff came out as well as it did. Someone phoned up to ask how we got the quality so good; I thought ‘What are they talking about? It’s shit!

The sampler - a Casio FZ-10 with custom filters tacked on - is used on a surprising 80% of Richard’s tracks. Samples either come from home-made electronic sounds, or from an afternoon spent in a scrapyard with beaters and hammers - Quoth, on Surfing on Sine Waves uses such rattling ‘found sounds.’

In keeping with his ideals, Richard is opposed to using samples from others - though Julie Andrews and Gene Wilder do make the occasional appearance…

“I don’t sample records I buy,” he says, which must be difficult to resist when you're buying about several dozen techno records each fortnight. “That's not the way I work. I mean, a lot of the BBC sci-fi sounds effects records are wicked. Some of them are like ambient tracks - I don't know whether they realised they were writing music or just doing it for people in theatres! I like to listen to it, but I won't sample it. I generally only sample sounds I’ve made. I’ve got three DATs’ worth of breaks that I’ve made over the years.”

The FZ-10 is a MIDI sampler, so maybe synth communication is not all triggers and CVs, then?

“Some of the old stuff is converted or triggered. I’ve bought a few MIDI-to-CV converters; some are good and some not so good. I’ve never made my own, I’ve messed around with ones I’ve bought. I like some of the converters, but I think they’re a bit expensive for what they do, ‘coz they’re quite easy to make. I don't think they put enough controls on them for things like cutoff frequencies.”

Sequential style

There’s far more sequencing in Richard’s work than the sometimes improvisatory-style suggests, too. “It's 99% sequenced,” he says. “Strings I’ll play, but everything else has to be accurate. Music that's out of time does my head in.

“I used to write my own sequencing programs on the [Sinclair] Spectrum, believe it or not. I then used the Atari stuff live, but it kept overheating and crashing. So I’ve built another sequencer; I write something on the ST, then transfer the data down to my sequencer for live work. I really like the Korg analogue sequencers ‘cos you can control every note and change all the frequencies. It’s a different approach.”

So with all these wonderful toys at his disposal, how does he compose? 

“Sometimes I have a plan that I've got to get out from start to finish. Other times I've got no pre-set ideas: I just sit down in front of the stuff and see what happens.”

“I never keep sounds on disk,” he adds, dropping another bombshell. “This does record companies’ heads in ‘cos they like you to remix, but I just don't like to do it. Sometimes I might spend three of four days to get the sounds together, then do a track with them. The next time I work on something, if I have a wicked idea for a melody and I’m feeling lazy, it would be too easy to use a disk of drums that I’d used before. That's why I don't save anything because I like everything to be different.” 

I prefer to remix something I don’t like and then turn it into something I do - it's more fun that way.

Remixing is something the Aphex Twin is keen on. And he reckons he can turn his hand to most things remixable.

“I don't have to like the band or the music to remix something, I get more satisfaction making something good out of something that's shit. If something is good in the first place it's not too hard to make it as good; I prefer to work on something I don’t like and then turn it into something I do - it's more fun that way.

“I listen to the track and pick out the bits I like, then get the engineer to put it down on DAT. Originally, remixing meant just making it ten seconds longer, or adding a different drum track, but now you have to rewrite, which is exactly what I want.”

But Richard sees another cause begging for his talents.

“I want to get into film scoring. Soundtracks have been stuck in a groove for so long - I think people are pissed off with bad filter sounds in scary films, and Tangerine Dream type soundtracks. What they lacked was a beat, which is where my new stuff comes in.”

Asked if he’s heard of the soundtracks of John Carpenter, Richard answers; “Like most things, it's not essential for me to know what other people do. I know what I want to do.”

And let nothing get in his way. 

This interview originally appeared in issue 6 of Future Music in 1993.

Future Music is the number one magazine for today's producers. Packed with technique and technology we'll help you make great new music. All-access artist interviews, in-depth gear reviews, essential production tutorials and much more. Every marvellous monthly edition features reliable reviews of the latest and greatest hardware and software technology and techniques, unparalleled advice, in-depth interviews, sensational free samples and so much more to improve the experience and outcome of your music-making.

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Kendall Jenner posts Aphex Twin’s ‘Aisatsana [102]’ on Instagram

Kendall Jenner shared what she was listening to yesterday (9 October) to her Instagram audience of 259 million followers.

Aphex Twin ‘s aisatsana [102] – the closing track from 2014’s Syro – was her chosen soundtrack. Jenner posted a screenshot of the track playing with “sunday” overlayed. Previously on her story, Kendall had gone horse-riding before playing a jigsaw puzzle with her sister, Kylie.

https://twitter.com/carryymeout/status/1579236278276849666?s=20&t=dwAsf8tiVLbwG2ql0BaGag

Syro , released via Warp Records, is the last full-length album released by Aphex Twin despite releasing a handful of EPs and other projects since including 2016’s Cheetah EP. aisatsana [102] (102bpm) is the last track on the hour-long album.

Fans on the r/aphextwin Reddit have noted that the track has featured on a number of Spotify playlists including Chill and Modern Classical.

Recently, Aphex Twin launched a free sample matching software called Samplebrain. Designed by Richard James – aka  Aphex Twin  – and built by engineer Dave Griffiths, the pair has been working on Samplebrain for the past two decades. In  a detailed blog post , James explained that the idea for the sound design software came to him “when mp3s started to become a thing” and was inspired by Shazam.

Read:  Aphex Twin’s Mask Collapses .

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