AFX – Orphaned Deejay Selek 2006-08 - Electro Techno IDM Exp - 8 Trk 12" EP
A·F·X – Orphaned Deejay Selek 2006-08
Warp Records – WAP384
Vinyl, 12", 33 ⅓ RPM, 45 RPM, EP
21 Aug 2015
Techno, Electro, Acid
A1 Serge Fenix Rendered 2
A2 Dmx Acid Test
A3 Oberheim Blacet 1b
A4 Bonus Emt Beats
B1 Simple Slamming B2
B2 Midi Pipe1c Sds3time Cube / Klonedrm
B3 Neotekt 72
B4 R8m Neotek Beat
Phonographic Copyright (p) – Warp Records Limited
Copyright (c) – Warp Records Limited
Published By – BMG Chrysalis
Mastered At – Ten Eight Seven Mastering
Pressed By – Optimal Media GmbH – BF88646
Design – MITDR™
Mastered By – Beau
Producer – Richard D James
Comes in a custom die-cut cover, and an online download code.
Plays at 33 1/3 RPM, but states both 33 1/3 and 45 RPM on the labels.
Made in EU.
Barcode and Other Identifiers
Label Code: LC02070
Matrix / Runout (Runout Side A): WAP384 A BEAU @ TEN EIGHT SEVEN BF88646-01 A1
Matrix / Runout (Runout Side B): WAP384 B BF88646-01 B1
"Aphex Twin has gone full Energizer Bunny on us—which, given his interest in robots that bang drums, actually makes perfect sense. That the record is credited to AFX and not Aphex Twin is probably significant, although, as with all things related to James, there's room for interpretation. The AFX handle has come to mean different things at different periods: In the '90s, with the Analogue Bubblebath andHangable Autobulb series, it meant rugged, percussive workouts with a touch of acid. He's also not kidding about the "deejay" part of the title: These really are some of the most straightforward pieces of music that James has put his name to in years. They're far more focused on rhythm, on that ineffable quality known as the groove, than either of his other recent releases. James dives right in at 144 BPM on "dmx acid test" and doesn't let up, tearing through five tracks at the sort of tempos that haven't often been heard in techno since the '90s. "acid test" puts twin 303s through their paces while he lays down hissing, snapping electro rhythms; that track seamlessly gives way to "oberheim blacet1b", a slightly more baroque variation on the same theme that gives free rein to his wild, microtonal tunings. "simple slamming b 2" is just what the title suggests, right down to the four-to-the-floor kick drums and rolling, 16th-note hi-hats.
Towards the end he slows down. "NEOTEKT72" riffs on deliriously detuned synthesizers over a loosely funky beat, full of lanky tambourine and cowbell patterns; the closing "r8m neotek beat" recalls the spindly minimalism of 1994's GAK EP. The slowest track here might be the most surprising: "midi pipe1c sds3time cube/klonedrm" bumps away at 100 BPM, with wheezing synth-flutes and sad, sour bongo drums like some half-melted rainforest diorama in a gone-to-seed wax museum.
But the keystone of the entire record is the one with the most understated title: "bonus EMT beats". In DJ parlance "bonus beats" used to mean two- or three-minute filler cuts, often found on the B3 of a standard 12-inch EP, in which the A-side's beat, and maybe its bassline, was given a brief, stripped-down reprise. They were DJ tools, basically, meant to be juggled with. "bonus EMT beats" is clearly a rework of "dmx acid test": it's got the same hard, dry snare thwack, the same staggered kick drum, the same ricocheting rimshots. The bassline's been muted and the reverb pushed way up. It rolls so naturally that it may take you a moment to notice what's changed: the bonus beat is in 5/4 time, whereas the original counts out in four. What's stunning is that James could take a cadence so unusual and make it feel so natural." (Pitchfork)