# xmcd CD database file
# Copyright (C) 1993-1996 Ti Kan
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# Disc length: 3832 seconds
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# Revision: 1
# Processed by: cddbd v1.4b14PL0 Copyright (c) 1996-1997 Steve Scherf
# Submitted via: xmcd 2.0
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DISCID=a60ef60c
DTITLE=Aphex Twin / I Care Because You Do
TTITLE0=Acrid Avid Jamshred
TTITLE1=The Waxen Pith
TTITLE2=Wax the Nip
TTITLE3=Icct Hedral (Edit)
TTITLE4=Ventolin (Video Version)
TTITLE5=Come On You Slags
TTITLE6=Start As You Mean To Go On
TTITLE7=Wet Tip Hen Ax
TTITLE8=Mookid
TTITLE9=Alberto Balsam
TTITLE10=Cow Cud Is A Twin
TTITLE11=Next Heap With
EXTD=\n   "I've always been into banging things," says Richard James, 
EXTD=better\n   known in the ambient and techno worlds he dwells in by
EXTD= the handle,\n   Aphex Twin. The eccentric artist's fondness for 
EXTD=things colliding,\n   however, goes far beyond mere drum sounds. 
EXTD=Contradictions abound in\n   the musical and philosophical prism 
EXTD=from which James views his morning\n   toast. Hailed by several c
EXTD=ritics as the only genuine prodigy that the\n   rave scene has pr
EXTD=oduced, he's also been assailed as the kind of\n   crackpot-idiot
EXTD= savant that some critics still feel the misunderstood\n   genre 
EXTD=deserves. A quick once-over of the Aphex Twin rumor checklist\n  
EXTD= reveals a refreshing litany of mercurial musings. He cites no\n 
EXTD=  influences, though feasts up to buying well over 3,000 records
EXTD= in the\n   last three years. Heralded as the heir apparent to st
EXTD=udio masters\n   Kraftwerk and Brian Eno, he's made most of his c
EXTD=ritically acclaimed\n   tracks from the confines of his bedroom. 
EXTD=He readily admits to a\n   preference of only wanting to remix ot
EXTD=her artist's "shitty tracks,"\n   while purposely destroying some
EXTD= of his own best works. And last, but\n   not least, he has been 
EXTD=known to drive a Ferret Armored Scout Car (kind\n   of a layman's
EXTD= mini- tank) through an occasional front door, now and\n   then. 
EXTD=Bang, Bang.\n\n   His new Elektra album, I Care Because You Do, co
EXTD=ntinues his\n   groundbreaking assault on the senses. James mines
EXTD= his previous\n   obsession with organic sounds, as well as new t
EXTD=erritory. He even spun\n   off the temporal collaboration with th
EXTD=e legendary composer Phillip\n   Glass on the eerie "ICCT Hedral.
EXTD=" The chameleon-like James is more\n   used to collaborating with
EXTD= his own different personalities, having\n   performed under many
EXTD= different pseudonyms (Polygon Window, AFX, The\n   Dice Man, to 
EXTD=name a few) in his career. He's been having a go at\n   tapes, kn
EXTD=obs and effects boxes since the age of 12, never satisfied\n   wi
EXTD=th the store bought sounds the wizardry produced. "When I bought
EXTD= my\n   first synthesizer I really didn't like it," says James. "
EXTD=l thought it\n   was a piece of shit and I really didn't have any
EXTD= money to buy anything\n   better so I had to go about tweaking i
EXTD=t. I just started with basic\n   alterations, but as the years we
EXTD=nt by the alterations got bigger and\n   bigger." That bit of und
EXTD=erstatement doesn't do justice to the massive\n   library of soun
EXTD=ds James has produced over the years. Experimenting\n   with ever
EXTD=ything from vacuum cleaners to blenders, critics have worked\n   
EXTD=overtime trying to describe the results. At one D.J. stint he\n  
EXTD= performed in New York, he had people dancing to the blissful so
EXTD=unds of\n   sandpaper and a food-mixer.\n\n   "I guess you can say 
EXTD=I'm a modified Brian Eno," James told one writer\n   recently, "t
EXTD=hough I never heard any Brian Eno before I started making\n   rec
EXTD=ords." Instead, the young James unwittingly was challenging the\n
EXTD=   staid 'musical rules' that most people took for granted. With
EXTD= a\n   precocious "Cat in the Hat" sensibility he's bucked the co
EXTD=nventional\n   wisdom as to what makes sound appealing in the fir
EXTD=st place. He studied\n   electronics at school, learning to build
EXTD= circuits from scratch. This\n   lead to his penchant for homemad
EXTD=e noise boxes, which James would\n   unleash during his first D.J
EXTD=.'ing stints as a teenager. Many critics\n   credit him with maki
EXTD=ng "Acid" tracks 2 or 3 years before the scene\n   first exploded
EXTD= in Chicago. "When my friends first heard the house\n   stuff fro
EXTD=m Chicago, they couldn't believe it," says James. "They\n   thoug
EXTD=ht I was the only one doing it."\n\n   James' first release as Aph
EXTD=ex Twin was "Analogue Bubblebath" (he's\n   also known for schizo
EXTD=id song titles) on the Mighty Force label. It\n   became a sort o
EXTD=f a cult favorite for the underground club scene in\n   Germany. 
EXTD=But it was in 1992, with the release of the speed-barrier\n   min
EXTD=d-fuck anthem "Diggerido," that his reputation as a crazed techn
EXTD=oid\n   of the first magnitude began to spread. The Cornwall, Eng
EXTD=land native\n   (the town where the legend of King Arthur suppose
EXTD=dly started) began to\n   conjure up a myth of his own.\n\n   Rumor
EXTD=s abounded about this new Tek-head. Stories were rampant that he
EXTD=\n   never slept, that he favored artificially induced mind alter
EXTD=ing states\n   before he'd even turn his tape recorder on and tha
EXTD=t he had hundreds\n   and hundreds of hours of music stored in hi
EXTD=s computer from\n   somnambulist work binges brought on by those 
EXTD=altered states. The\n   legend was born. Remix work poured in. Ja
EXTD=mes was notorious for leaving\n   the original tracks virtually u
EXTD=nrecognizable, all the more reasons for\n   many dance music crit
EXTD=ics to hail whatever he touched as\n   mini-masterpieces in thems
EXTD=elves. He's sliced up sides for a varying\n   range of artists, e
EXTD=veryone from Jesus Jones, to Meat Beat Manifesto,\n   to the Lemo
EXTD=nheads. He even admitted to NME about the latter: "The\n   doorbe
EXTD=ll rang (it was the courier) and I realized I'd forgotten, so I\n
EXTD=   just told him '15 minutes', went upstairs, found an old track
EXTD=, taped\n   it off and gave it to him."\n\n   The British press beg
EXTD=an to find his candor refreshing. With post-punk\n   clones prete
EXTD=nding to thumb their noses at the music industry by\n   smashing 
EXTD=guitars and diving through amps, James had sort of become\n   the
EXTD=ir 'post-post' modern rebel. One that's not merely content to bi
EXTD=te\n   that hand that feeds him, but to show that such big gulps 
EXTD=are expected\n   of any pop star who's ever made it to the now ob
EXTD=ligatory long in the\n   tooth stage. The 'record caper' is how h
EXTD=e likes to refer to it. 'I\n   make records because I don't want 
EXTD=to hold a job," he states whenever\n   he can. He's quick to poin
EXTD=t out, however, the difference between\n   making music, which to
EXTD= him is something of a bodily need, and putting\n   out 'records'
EXTD=, a system he's been contemptuous of from the start. This\n   typ
EXTD=e of provocation started at an early age. One of James' earliest
EXTD=\n   memories is 'mucking' with the strings of his mother's piano
EXTD=. His\n   parents would implore him to play the keys, but James i
EXTD=nsisted on\n   plucking the innards. Something he's devoted himse
EXTD=lf to ever since.\n\n   His most critically acclaimed release was 
EXTD=1992's Selected Ambient\n   Works 85-92. Once again ahead of the 
EXTD=curve, James traded in the\n   blinding speed of hard edged techn
EXTD=o for a much more sublime direction.\n   He then signed with the 
EXTD=feisty independent label Warp Records,\n   transforming himself i
EXTD=nto Polygon Window for the 1993 album, Surfing\n   On The Sine Wa
EXTD=ves. The follow up single later that year, was even more\n   ecce
EXTD=ntric. James utilized sounds he gathered from his day job diggin
EXTD=g\n   tunnels, calling the single, "Quoth". Showing his ever- pre
EXTD=sent flair\n   for the dramatic, he sees fit to delete all the so
EXTD=unds that went into\n   making the L.P. on the day it was release
EXTD=d. Signed to Sire records in\n   1993, James released Selected Am
EXTD=bient Works Vol. II in the spring of\n   1994. More somber in it'
EXTD=s tone than any previous work, the album\n   shocked a lot of his
EXTD= more hard-core fans, but helped cement yet\n   another building 
EXTD=block in the fun house style maze that has mapped\n   James' care
EXTD=er. The New York Times referred to it as "classical music\n   for
EXTD= the next millennium."\n\n   Which brings us to I Care Because You
EXTD= Do. The range of James' current\n   soundscape is breathtaking. 
EXTD=Featuring titles like "Wet Tip Hen Ax",\n   more surprises are in
EXTD= store for those who think they've seen just\n   about everything
EXTD= from Aphex Twin. The album delights in the\n   juxtaposition of 
EXTD=sounds, from the floating opener, "Acrid Avid\n   Jamshred," to t
EXTD=he bass-heavy "The Waxen Pith." James' knack for\n   striking a d
EXTD=uality between noise and ambiance shears through every\n   track.
EXTD= "ICCT Hedral," is an ominous sounding, almost cathedral-like\n  
EXTD= cut that seems to confirm the New York Times assessment of Aphe
EXTD=x\n   Twin's place in pop music: forever future bound.\n\n   The ar
EXTD=tist himself, who says "people are just blood and electricity,"\n
EXTD=   doesn't spend too much time thinking about what's up next, th
EXTD=ough he\n   did dedicate the first single from the album "Ventoli
EXTD=n," to England's\n   asthma sufferers. His quirky philosophy exte
EXTD=nds to his own mortality,\n   as well. "I'm obsessed with sound,"
EXTD= he says. "I'll be making sounds\n   until the day I die."\n
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