Thirteen years passed between
Drukqs
and
Syro
, the fifth and sixth
Aphex Twin
albums. The long stretch, however, wasn't short on new material from
Richard D. James
. From 2005 through early 2014, the frequently dazzling
Analord
EPs (all but one of which was credited to
AFX
), an EP and LP as
the Tuss
, and a liberated
Caustic Window
LP all reached the public. In August 2014, a nylon
Aphex
blimp -- not quite as immense as
the S.O.S. Band
's presumably decommissioned aircraft, yet transfixing nonetheless -- was spotted over London, and the following month,
arrived on
Warp
. Low on frenetics,
is anchored by rotund and agile basslines that zip and glide, and it's decked in accents and melodies that are lively even at their most distressed. It also flows easily, a notion epitomized by the sequencing of "XMAS_EVET10 [Thanaton3 Mix]" and "Produk 29," where a mesmerizing combination of snaking low-end synthesizers (10:31, not 12:24 in length) is trailed by an avant-rap body mover that bears some resemblance to
Dabrye
's lithe and sprightly early releases. Components of certain tracks, like the squiggled
Mr. Fingers
spin-cycle bassline in "4 bit 9d api+e+6" and scrambled rhythms of "CIRCLONT6A [Syrobonkus Mix]," make the album seem like a bright progression from the
releases. Apart from the straight-ahead slamming drums in "180db_," the most striking aspect of
is the funkiness of its synthesizers relative to
James
' previous output. His playing here is far too fidgety to be grafted onto the likes of "You Dropped a Bomb on Me," "You're the One for Me," and "Just Be Good to Me," though some of the lines in, uh, the title cut, have that grimace-triggering quality. Only a trace of the indiscriminate sequencing and stylistic switch-ups heard on
remains. It's saved for the end, with a rather elegant, part-drum'n'bass excursion as the penultimate number, followed by a placid piano-only piece in the vein of those heard on the 2001 album. These tracks actually enhance, rather than hinder, one of
' most inviting and enjoyable releases. ~ Andy Kellman