Aphex Twin – Drukqs (2001)

Ever the provocateur in the electronic music world, Aphex Twin (a.k.a. Richard D. James) has consistently pushed the boundaries of what music can be and what sounds it can encompass. This ethos is very much alive in his 2001 double album, ‘Drukqs.’

At a sprawling 30 tracks, clocking in at over two hours, ‘Drukqs’ is a mammoth journey through James’ varied sonic landscapes. This is not an album for the faint of heart or those with limited patience; it requires and rewards deep, attentive listening. Each track, while discrete and self-contained, fits within the larger tapestry of the album, contributing to an expansive, immersive experience.

The album flits back and forth between complex, rapid-fire beats, dense soundscapes and surprisingly gentle, piano-led compositions. The tracks seem to oscillate between moments of frenetic intensity and serene calm, an auditory manifestation of the album’s seemingly tongue-in-cheek misspelled title, ‘Drukqs.’

Take ‘Vordhosbn’ for instance. It’s a whirlwind of feverish beats that are both chaotic and precise, presenting a soundscape that’s as complex as it is engaging. These intense numbers are contrasted by pieces like ‘Avril 14th,’ a beautiful, minimalist piano composition, which starkly contrasts the frenetic pieces, offering moments of respite and contemplation amid the chaos.

The tonal shifts on ‘Drukqs’ can sometimes be jarring, but they also reflect Aphex Twin’s adventurousness. Where many electronic artists stay within a specific niche, James delights in exploring all corners of the genre, from the frenzied breakbeats of ’54 Cymru Beats’ to the eerie ambiance of ‘Gwely Mernans.’ It is this exploration that really sets ‘Drukqs’ apart.

One critique of ‘Drukqs’ is its sprawling length and the disparate nature of its tracks. While the varied sounds on offer are part of its charm, they can also make the album feel somewhat disjointed. The contrast between the stormy, almost violent electronics and the placid piano pieces can sometimes feel a bit like whiplash, leaving the listener somewhat disoriented. Moreover, at over two hours, it is a heavy listening experience that might seem overwhelming to some.

Production-wise, ‘Drukqs’ is an absolute marvel. The intricate programming, the clarity of the sounds, the careful panning and spatial positioning of elements, and the dynamic mixing – all of these aspects underline Aphex Twin’s production prowess. This album is not just about the music; it’s a showcase of sound design, of what can be achieved when the boundaries of electronic music production are pushed.

‘Drukqs’ is a demanding but rewarding listen. It’s an album that encapsulates Aphex Twin’s ethos: the pushing of boundaries, the disregard for convention, the sheer joy in the manipulation of sound. It’s a kaleidoscopic journey that offers moments of beauty and serenity amid bouts of chaos, mirroring the artist’s idiosyncratic nature. Although it might not be for everyone, for fans of Aphex Twin and those who appreciate avant-garde electronic music, it’s a masterclass in exploration and sound design. Like much of Aphex Twin’s work, ‘Drukqs’ might be polarizing, but it’s undeniably the work of a unique and visionary artist.