Aphex Twin's Selected Ambient Works Volume Ii (33 1/3)
by Marc Weidenbaum /
2014 / English / EPUB
592.3 KB Download
Extravagantly opaque, willfully vaporous — Aphex Twin’s
Extravagantly opaque, willfully vaporous — Aphex Twin’sSelected Ambient Works Volume II
Selected Ambient Works Volume II, released by the
estimable British label Warp Records in 1994, rejuvenated ambient
music for the Internet Age that was just dawning. In the United
States, it was his first full length on Sire Records (home to
Madonna and Depeche Mode), which helped usher in Richard D.
James, for whom Aphex Twin is but one of numerous monikers, as a
major force in music, electronic or otherwise.
, released by the
estimable British label Warp Records in 1994, rejuvenated ambient
music for the Internet Age that was just dawning. In the United
States, it was his first full length on Sire Records (home to
Madonna and Depeche Mode), which helped usher in Richard D.
James, for whom Aphex Twin is but one of numerous monikers, as a
major force in music, electronic or otherwise.
Faithful to Brian Eno’s definition of ambient music,
Faithful to Brian Eno’s definition of ambient music,Selected
Ambient Works Volume II
Selected
Ambient Works Volume II was intentionally functional: it
furnished chill out rooms, the sanctuaries amid intense raves.
Choreographers and film directors began to employ it to their own
ends, and in the intervening decades this background music came
to the fore, adapted by classical composers who reverse-engineer
its fragile textures for performance on acoustic instruments.
Simultaneously, “ambient” has moved from esoteric sound art to
central tenet of online culture. This book contends that despite
a reputation for being beat-less, the album exudes percussive
curiosity, providing a sonic metaphor for our technologically
mediated era of countless synchronized nanosecond metronomes.
was intentionally functional: it
furnished chill out rooms, the sanctuaries amid intense raves.
Choreographers and film directors began to employ it to their own
ends, and in the intervening decades this background music came
to the fore, adapted by classical composers who reverse-engineer
its fragile textures for performance on acoustic instruments.
Simultaneously, “ambient” has moved from esoteric sound art to
central tenet of online culture. This book contends that despite
a reputation for being beat-less, the album exudes percussive
curiosity, providing a sonic metaphor for our technologically
mediated era of countless synchronized nanosecond metronomes.