Aphex Twin THE HERALD UK Triptych: Aphex Twin, Barrowland, Glasgow

THE HERALD UK Triptych: Aphex Twin, Barrowland, Glasgow

AMY PARKER May 1-2006

A rare chance to catch the infamously unpredictable and elusive Richard D James. With an aesthetic that transcends the traditional boundaries of dance music, James, aka Aphex Twin, is acknowledged as one of the most innovative and intelligent artists of electronic music. His brand of experimentalism stretches from the symphonic minimalism of 1995's I Care Because You Do to the haunting if slightly impenetrable Drukqs, and combines acid-house beats with such embellishments as ambient doodles, prepared pianos and squeaking chairs.

On Sunday night, though, Aphex Twin was in danger of seeming wilfully frustrating. Sitting on a monolithic stage, hidden behind a computer and a bottle of beer, he chose to give little in the way of generosity or display, performing a set that was unaccommodating of the clubber's need for euphoria. Formally, the music was claustrophobic and unremitting; a collage of tiny vignettes, each texturally highly studied and controlled, and each lasting no more than two minutes before being edged out by another idea. It was music of perpetual motion that never went anywhere, and his sounds were impossibly difficult to engage with - especially after three hours of sets from other equally demanding noise artists, including unison headbanging and screaming from Wolf Eyes.

As a gig it was incredibly self-indulgent - arrogant, almost - yet undeniably brave, with James displaying an imperious determination to do his own thing and refuse to supply the good time. Enjoyment of such avant-garde experimentalism can often be worn as a badge of cultural machismo, but on this occasion it was all too easy to see it masking a lack of real understanding.

A rare chance to catch the infamously unpredictable and elusive Richard D James. With an aesthetic that transcends the traditional boundaries of dance music, James, aka Aphex Twin, is acknowledged as one of the most innovative and intelligent laptop artists of modern electronica. His brand of experimentalism stretches from the symphonic minimalism of 1995's I Care Because You Do to the haunting if slightly impenetrable Drukqs, and combines acid-house beats with such embellishments as ambient doodles, prepared pianos and squeaking chairs.

On Sunday night, though, Aphex Twin was in danger of seeming wilfully frustrating. Sitting on a monolithic stage, hidden behind a computer and a bottle of beer, he chose to give little in the way of generosity or display, performing a set that was unaccommodating of the clubber's need for euphoria. Formally, the music was claustrophobic and unremitting; a collage of tiny vignettes, each texturally highly studied and controlled, and each lasting no more than two minutes before being edged out by another idea. It was music of perpetual motion that never went anywhere, and his sounds were impossibly difficult to engage with - especially after three hours of sets from other equally demanding noise artists, including unison headbanging and screaming from Wolf Eyes.

As a gig it was incredibly self-indulgent - arrogant, almost - yet undeniably brave, with James displaying an imperious determination to do his own thing and refuse to supply the good time. Enjoyment of such avant-garde experimentalism can often be worn as a badge of cultural machismo, but on this occasion it was all too easy to see it masking a lack of real understanding

wow he played twice :-)

wow he played twice :-)

i preferred his second show.

hmmm.....people had problems dancing to aphex twin :undecided:

gee...if only he played a set of danceable house music......of danceable house music