Fewer artists command the degree of prestige amongst critics and musicians that Richard David James, better known as Aphex Twin, does. His twistedly beautiful electronic works have been ludicrously influential in electronic music and in 21st century music as a whole. Despite this influence, Aphex Twin is far from a household name. However, in August of 2014, a series of cryptic images and hints were released in a dramatic fashion that one might expect from a more mainstream figure. Perhaps it was the blimp bearing the Aphex Twin logo or the symbol adorning the sidewalk outside of Radio City Music Hall but the return of Aphex Twin was dramatic to say the least.
Does the music justify the means? I’d certainly say so. Syro is many things, but none of them dull. The songs vary between ominous synths and off-kilter programmed drums that hypnotically weave in and out throughout the songs. Throughout the record there is an underlying sense of restraint and deliberateness, a sharp contrast to the bombastic, overloaded works of many of today’s contemporary electronic artists. The album’s flow is commendable as well. With track names like “PAPAT4 [155]” (pineal mix)” or “4 bit 9d api+e+6 [126.26]” it’s hard to pick out a favorite song yet it helps to strengthen the idea of listening to the album as a whole. The ending’s a nice change as well, a solemn four minute piano piece that adds an emotional, cinematic conclusion to the album.
All in all it’s a great return for Aphex Twin. Many artists struggle to return to their former glory when returning from an absence but Syro hits the ground running, returning back to form as good as ever. It may not be as groundbreaking as some of James’ earlier works but still sounds fresh and original thirteen years after his last album. Syro showcases James’ rhythmic command and deft ability to create soundscapes that never feels overindulgent. A fine effort, Richard David James has cemented his spot as a titan of electronic music.
