APHEX TWIN WAS MISSING ITS MASSIVELY POPULATED FAN BASS THAT THEY GENERATED SOME TIME, STARTING UP BACK IN THE MID-TO-LATE 80’S #BACKINTHEDAY, WHEN THEY TRIED TO RELEASE WHAT I LIKE TO CALL PSYCHO-TECH, THIS SOUNDTRACK COULD’VE BEEN THE AUDIBLE SPINE TO A TETSUO THE BULLET MAN SEQUEL, OR PERHAPS EVEN AN ITS OWN ORIGINAL IP I GAVE IT THAT NAME BECAUSE OF THEE DRIPPINESS; WITHIN ITS ACIDITY, IN THE SYNTH(Y) ELEMENTS SOME OF THE LOFI CRUNCHINESS SOUNDS LIKE THE TRACKS ARE SPITTING A SORT OF STATIC, REALLY GIVES ME THE FEELING THAT I AM KOMPLETELY FRIED DURING MY SESSIONS WITH TRACKS LIKE 6. Revpok 26:46. THEIR GENRES OFFICIALLY COINED AS TECH-HOUSE. THEIR ALBUM WAS “SCRAPED” JUST ABOUT THE TIME ITS’ SCHEDULED “1994” RELEASE DATE WAS EXPECTED TO BE, ONLY TRAFFICKING A RATHER SMALL “HANDFUL” OF 5 OR SO DISTRIBUTABLE COPIES BEING CUT; FOLLOWING THE ALBUM WAS LATER ABANDONED.
ONE EDITION OF ITS RELEASE MANAGED TO FIND ITSELF ON THE CYBER SELF OF THE WEB DISTRIBUTION SERVICE DISCOGS in 2014, SHORTLY AFTER WAS PURCHASED AND WAS PROPED UP IN A KICKSTARTER FOR A LONG ENOUGH WINDOW FOR THEIR FAN BASE TO INCREASE LARGE ENOUGH, OR WHAT EXISTING FANS THEY HELD TO RAISE TO BE SOLD AFTER ON EBAY, FOR EXACTLY $46,300, OR SOMETHING.
Although if you care to listen to the decade old tech-house from Aphex Twin’s (Richard D. James’) “unabridged, long-ago-created-yet-recently-released” ‘Caustic Window’ LP. You can read all about it, where ever you may find it on the internet (kickstarting and all), but here you can actually listen to the album, in all its GOLDXX glory. #Endjoy.
1. Flutey – 0:00
2. Stomper 101mod Detunekik – 8:18
3. Mumbly – 15:42
4. Popeye – 21:11
5. Fingertrips – 22:31
6. Revpok – 26:46
7. Afx Tribal Kik – 30:30
8. Airflow – 31:35
9. Squidge In The Fridge – 36:33
10. Fingry – 40:40
11. Jazzphase – 45:26
12. 101 Rainbows (Ambient Mix) – 49:50
13. Phlaps – 58:38
14. Cunt – 1:02:29
15. Phone Pranks – 1:06:44
“Care To Know?’ Info:
To preserve dynamic range and prevent digital clipping, because these recordings are sourced from vinyl, what was made were some very minor, “unobtrusive edits”, like to know more, well the individual track volumes (between the L & R channels) were normalized, an overall amplitude increase/decrease from each track were adjusted to mantain a continuity, relative loudness. Finally some of the incidental record hissing need to be removed, strategically, the fade in/out, & the pops on “Jazzphase” were removed.”