Here are the album reviews I wrote for the November issue of EL Magazine, which was distributed in Tokyo on October 25.

Syro
-Aphex Twin (Warp/Beat)
The Physical World
-Death From Above 1979 (Last Gang/Victor)
Richard James may be the most emblematic musician in the history of techno. His reputation for innovation has as much to do with his crafty sense of self-image as it does with his technique, whether musical or electronic. Since his 90s heyday as Aphex Twin, he’s resurfaced occasionally, usually under a new moniker, to throw out something completely unexpected and not always comprehensible, a gambit that seemed to have more to do with keeping followers off-balance than anything else. It’s thus surprising that his first collection of actually new material under the AT name in more than a decade-and-a-half sounds very much like his best-loved stuff, only better, because rather than split the difference between bonkers pop parodies and neo-classical stumpers he presents 12 tracks of finely calibrated music that, while not exactly qualifying as songs, have enough structure and melodic sense to appeal directly to the heart. Given that the titles are elaborate techno-inspired nonsense, it’s obvious James didn’t want to give too much of the game away, but when you get down to it this is what techno always promised but rarely delivered. Since James was never much of a club maven, there’s little here that will appeal to the IDM crowd, but its “intelligence” is undeniable. Using equipment that sounds more 90s than 00s, he limits his palette to familiar forms and creates textures through juxtaposition and isolation. It’s an album that is definitely arranged in that all the note placements feel deliberate in relationship to one another. The result is a collection of cuts each of which entertain on their own while coalescing into an integrated whole. And even when the music becomes “difficult” it rarely strains the imagination. As the saying goes, it’s hard to make it all seem so easy. Toronto’s Death From Above 1979 hasn’t taken as long to release their latest album—their previous one, which happened to be their debut, came out in 2004—but since they don’t have the cachet James enjoys it feels like forever. Made up of drummer-vocalist Sebastian Grainger and bassist/keyboardist Jesse F. Keeler, the duo broke up for a number of years before reforming in 2011. The band’s touch point, as heralded by the title of their debut, You’re a Woman, I’m a Machine, was the uncontrollable id, a theme made aural with a harsh, ear-splitting combination of metal sentiment and industrial noise, but melodic all the same, which is why they were, for a brief period, the hottest live act on the underground circuit. The Physical World doesn’t so much take up where the previous album left off as repeat the formula with a little more humility. There’s a greater effort to be conventionally enjoyable while maintaining the caustic volume levels. The riffs are as muscular as they’ve ever been but the pair don’t resort to as many spontaneous bursts of discomfort as they once did. As with James, maturity has made them more amenable to entertaining. Continue reading










