Huge thanks to Alberto for providing me with these magazine scans. Cheers Alberto! I’m not entirely satisfied with the accuracy of this translation but I will try and create, acquire a more thorough translation of this interview and other foreign language interviews sometime in the future, AI translation tools aren’t getting it quite right i feel at the moment. If there a a fluent bilingual Japanese Aphex Twin fan out there who wouldn’t mind creating a better translation of this article out there I’d be very grateful for your help, cheers!
Text: Heiko Hoffmann (Groove Magazine)
Translation: Peter Kato
For me, music is not a business. But when it comes to releasing an album, that’s a different story.
Your previous release “Drukqs” was in 2001. This new work has been a long time coming. Why did it take so long?
Richard: In reality, I’ve been continuously making music since then. But I didn’t feel like making an album. I was out of that release-mode studio phase. But from now on, I’ll be making and releasing albums more regularly. It’s true that a considerable amount of calm is necessary before you can decide to write and compile songs into an album and release it through a record company. So, I think it’s quite difficult.
Nowadays, it seems you’re more involved in providing your work environment for other people’s long-term production. We’re also interested in your record label, but what is the intention behind helping other artists with their ideas and projects?
Richard: Yes, helping other people with their projects is interesting. I’m not planning to take business too seriously, but it’s fun to help others realize their dreams a bit. Often, I help with other people’s projects before returning to my own work, so in that sense, it’s a good change of pace.
Do you think partners or collaborators who help organize your ideas and assist with song writing are necessary to keep the process of making an album interesting?
Richard: Yes, I think about that too. To make what I want to make, it’s best if I do it myself. But having some help, and having someone else to confirm those ideas, it’s good because I’m stimulated by others.
Once you get into album production, has the time you spend on music increased unnecessarily? Or has it decreased?
Richard: That happens sometimes. If there’s a scheduled album release, I rush through the work. But in the case of the new album, which took more than four years to make, a lot of time was reduced, and major parts of the project were completed in advance, so it’s not mostly ad hoc.
Are there any technical changes in the current approach to making music?
Richard: Yes. I’m incorporating new technologies as well. Basically, now the software for composition and mixing is easy to use. But when it’s too simple, it’s boring. That’s why I’m interested in hardware. It has more creative possibilities. Can you be more specific?.
For example, do you think the act of creating new songs allows for more freedom and improvisation? Are there specific instruments or software you use to write songs? Also, where do your song ideas come from?
Richard: If we’re talking about hardware and software, I definitely find hardware more enjoyable. I use software too, but I prefer hardware for making music. Using hardware often leads to more spontaneous improvisation. Of course, software is great too, but the joy of playing with hardware is different.
Distortion and other effects on a computer are controlled.
Recently, we’ve heard that you’ve changed your production approach. For example, you introduced a video digital synthesizer and started working with hardware… Currently, do you prefer using software synthesizers or hardware?
Richard: I use both hardware and software. But I think I prefer hardware. Basically, working with hardware is more fun. However, I do use software sometimes. I also use some plugins, but I mainly use hardware for live performances.
For example, isn’t it difficult to use effects like pitch, delay, and distortion with hardware?
Richard: Of course. Hardware can be a bit difficult to handle, but that’s what makes it interesting. Basically, the sound would be the same whether processed with software or hardware, but hardware has its own unique flavour.
The current DAW software is too simple and not interesting. That’s why I’m more interested in hardware.
With DAW software becoming more professional, have you lost interest in making music with computers?
Richard: Yes, the software can be too simple and not very interesting. That’s why I might be more inclined towards hardware. But basically, both software and hardware have their own advantages, so using both is the best approach.
Synthesizers should be made from the perspectives of both engineers and musicians.
What is your favourite synthesizer model that you’ve used so far?
Richard: There are several, but I still like the old high-end class models. You won’t understand unless you’ve actually used them, but old model synthesizers have a unique charm. For example, the YAMAHA DX1, and the DX5 I used to have were also good. Recently, the YAMAHA GX-1 is also a favourite. Also, the ARP 2500 and SERGE modular are the best.
I asked a man who makes an excellent sequencer called SEQUENTIX Cirklon. He’s a genius from Scotland, and although it was actually possible to purchase it immediately, I put off buying all models. This is because the explanation about the additional functions of the original was insufficient.
For example, if you are thinking of collaborating with YAMAHA or ROLAND to create your own original synthesizer, is there a possibility of such a story coming to fruition?
Richard: One example might be that there are cases where the idea of making a unique synthesizer comes to fruition, but if I have a plan, I’ll proceed without hesitation. But basically, I want to make many of my ideas feasible. For example, I can collaborate with YAMAHA or ROLAND to make a synthesizer, or find a partner who can implement changes to fully utilize my ideas.
I found a Chinese programmer who helps realize other people’s ideas.
Is there any manufacturer involved in your recent production approach?
Richard: It’s not a collaboration with a manufacturer, but I want to create highly original sounds within myself. Therefore, I’m interested in making software based on a new concept, different from the software I made before. For example, I found a female Chinese programmer to make software with an infinitely expandable idea.
Have you ever used BUCHLA patches?
Richard: I’ve never met him in person, but I’ve spoken with him several times over the phone. I’m interested in his ideas, but I haven’t tried them yet.
By the way, you were one of the pioneers using NATIVE INSTRUMENTS Traktor as a PCDJ, do you still use it?
Richard: I still use it. Basically, it’s one of the main tools for live performances. The convenient thing about PCDJ is that you can freely manage and edit tracks. I used to DJ with analogue records, but now PCDJ is mainstream. Especially, Traktor is the best tool for realizing my ideas.
DE DE MOUSE × mito Aphex Twin enthusiasts thoroughly discuss “Syro”!
To commemorate the release of “Syro” after 13 years, we present a discussion between DE DE MOUSE and mito, who are known as Aphex Twin enthusiasts in the editorial department. While reflecting on their excessive enthusiasm for Aphex Twin, what were their impressions of the new album?
Text: Kentaro Shinozaki
Photo: Takashi Yashima
Q: How did you both first get into Aphex Twin?
mito: It was when I was in the second grade of middle school. I heard AFX’s “Analogue Bubblebath” and it was a shocking experience. However, I didn’t immediately become a fan. It wasn’t until later, in high school, that I got into techno. I joined the programming club, and while doing computer music, I encountered artists like “Zuckerzeit” by Cluster, which opened up a whole new world for me. Meeting people who shared this passion was a significant moment.
DE DE MOUSE (aka DE DE): My journey started a bit later. As I was about to graduate from high school, I got into drum ‘n’ bass. It was through that interest that I discovered Aphex Twin. I was more into the intense beats and breaks rather than the ambient side. At that time, I was focusing on programming and creating music on my own, which led me to explore more of Aphex Twin’s work.
Q: What are your thoughts on the new album “Syro”?
mito: I was struck by the balance and structure. Each track is crafted meticulously. Tracks like “F7” and “F8” demonstrate a clear progression from his previous works. I was particularly drawn to the track “XMAS_EVET10 (thanaton3 mix)”.
DE DE: I felt that there was a lot of revisiting past ideas, but with a fresh perspective. The way he mixed familiar sounds with new ones was fascinating. It’s like he’s constantly evolving while staying true to his roots.
Q: How do you see Aphex Twin’s influence in your own music?
DE DE: It’s immense. The way he approaches sound design and rhythm has influenced me a lot. For instance, in the late ’90s, his work with DMX Krew and Rephlex was ground-breaking. It’s that innovative spirit that I admire and try to incorporate into my own music.
mito: I agree. Even now, the way he constructs his tracks, blending complexity with simplicity, is something I strive to achieve. His ability to make the intricate seem effortless is a constant inspiration.
Q: Were there any specific tracks from “Syro” that stood out to you?
DE DE: Yes, the track “minipops 67 [120.2]” really resonated with me. It felt like a culmination of his past works while pushing new boundaries.
mito: For me, “syro u473t8+e [141.98][piezoluminescence mix]” was a standout. The way he manipulates sound is just on another level. It’s both technically impressive and emotionally engaging.
Q: While incorporating various external elements, it seems that your fundamental approach hasn’t changed much.
mito: I feel like I’ve been doing what I’ve always done. The track “XMAS_EVET10” from “Syro” has a part that reminds me of an old-fashioned house sound. When listening to “Syro,” I think the reaction of the computer as a whole shifted from house to techno.
Q: Aphex Twin released “Syro” after a 13-year hiatus. What was your impression when you first listened to it?
mito: When I first heard the “Analord” series, I felt a sense of craftsmanship. It was like he had returned to his roots of analogue synthesizers, and I think he took time to reflect on his previous recordings.
Q: What did you think of the “Analord” series?
DE DE: At that time, I was happy that new material was being released, but I felt like it was just continuing where he left off. I was expecting something new and ground-breaking (laughs). So, when “Syro” came out, I felt like he finally stepped forward again. It’s like “I knew you could do it!” (laughs). It was a pleasant surprise. The series was nice, but when I listen to “Syro,” I get a sense of completeness.
mito: Yes, I feel the same way. This time, there were a lot of tracks that appealed to me.
Q: Did you feel any particular way when you saw the detailed gear list included with the CD?
mito: The recorder is a 192kHz, 2-track SOUND DEVICES 722, which is quite a high-end piece of equipment. However, looking at the list, it seems like he mostly used an EVENTIDE H3000 and an API 2500 compressor.
DE DE: The ROLAND TR-909 is still in use, isn’t it?
mito: Yes, but the main sequencer seems to be the SEQUENTIX Cirklon. It feels like he’s brought in modern technology while still maintaining his original sound.
DE DE: I agree. Even though he’s using modern gear, he hasn’t lost that classic Aphex Twin touch. For example, the track “aisatsana [102]” has a piano melody that feels nostalgic yet fresh.
mito: I thought so too. It feels like he’s blending old and new seamlessly.
Aphex Twin’s major works (selected)
1991 “Analogue Bubblebath” (EP) AFX name
1992 “Selected Ambient Works 85-92”
1994 “Selected Ambient Works Volume II”
1995 “I Care Because You Do”
1996 “Richard D. James Album”
1997 “Come to Daddy” (EP)
1999 “Windowlicker” (EP)
2001 “Drukqs”
2005 “Analord” series
2006 “Chosen Lords” (selected from the 12-inch “Analord” series under the AFX name)
DE DE MOUSE
Profile: DE DE MOUSE is a Japanese music producer, known for his unique style blending various genres and his sophisticated use of rhythm and melody. He’s active in both recording and live performances. His latest album “farewell holiday!” continues to push the boundaries of his musical exploration.
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