Join WATMM Now! Register and Subscribe now for as little 3.00 USD for one year to gain Supporting Member access. We also have other subscription packages to choose from that grant you extra abilities and features.
![Download Download](/uploads/1/2/4/0/124019549/540261612.jpg)
A subscription is required in order to post, reply to posts, start topics, search, and other features. By joining and subscribing, you are helping support the forums, as well enable us to add new features and enhancements (and maintain them). Once registered and logged in, you will be able to create topics, post replies to existing threads, get your own private messenger, post status updates, manage your profile and so much more. To sign up for a subscription package, click your user name in the upper right, and choose 'Client Area'. Then, choose a package that suits your needs. This message will be removed once you have signed in. CD: 26 Mixes for Cash Classics Come To Daddy Donkey Rhubarb Drukqs Girl/Boy EP I Care Because You Do On On Remixes Richard D.
James album Selected Ambient Works 85-92 Selected Ambient Works II Windowlicker 2 Remixes By AFX Analogue Bubblebath Analogue Bubblebath 3 Analogue Bubblebath 4 Chosen Lords Hangable Auto Bulb Smojphace EP Caustic Window Compilation Mike & Rich Quoth EP Surfin On Sine Waves Confederation Through Rushup Edge Vinyl: Drukqs boxset VHS: Come To Viddy (and random fanboi stuff; rubber johnny sticker, 3 posters, 1 selfmade shirt, 1 official shirt, magazines, blabla). All on original CD apart from the titles followed with Download. Melodies From Mars (Download) Gak (WAPCD 48CD) SAW 85-92 AMB3922RM) SAW Vol 2 (WARPCD21).I Care Because You Do (WARPCD30) Ventolin (66143-2) US Maxi CD Richard D James Album (WARPCD43) Come To Daddy (WAP94CDX) Windowlicker (WAP105CD) Drukqs (WARPCD92) Classics (RS95035RM) 28 Mixes For Cash (WARPCD102) Hangable Auto Bulb (WARPCD138) Analord 1-11 (Download) Chosen Lords (CAT173CD) Compilation (CAT009CD) Surfing On Sine Waves (WARPCD7) Expert Knob Twiddlers (CAT027CD) Rushup Edge (CAT189CD) I have another delivery due Monday, and that should include the rest of the EP's and Analogue Bubblebath 3.
One of the indisputable classics of electronica, and a defining document for ambient music in particular, is ' earliest and most fully realized achievement. Reputedly created on homemade equipment deconstructed from standard synthesizers, the music within takes its cue from club beats and the techno rhythms of rave and acid-house culture. Upon these foundations, however, weaves melodic tapestries of great subtlety, beauty, and atmospheric texture. 'Tha,' for example, contains a muted bass-drum pulse that becomes the center for evolving patterns of sound - a kind of aural mandala. The more driving rhythm of 'Heliosphan' also gives rise to the ethereal play of melody. Several tracks, such as 'Schottkey 7th Path' and 'Hedphelym,' have a tense, telescoping ambience that evokes paranoia and a sense of gravity-free floating at once.
Other selections show working more firmly in the techno-dance idiom, but even these display a complexity, elegance, and delicacy rarely heard in the genre. This landmark recording is one of the essential building blocks of any electronica collection.
Here you can download aphex selected ambient Shared files found Uploaded on TraDownload and all major free file sharing websites like 4shared.com, uploaded.to, mediafire.com and many others. Just click desired file title, then click download now button or copy download link to browser and wait certain amount of time (usually up to 30 seconds) for download to begin. If file is deleted from your desired shared host first try checking different host by clicking on another file title.
If you still have trouble downloading aphex selected ambient or any other file, post it in comments below and our support team or a community member will help you! If no files were found or matches are not what you expected just use our request file feature.
Registered users can also use our to download files directly from all file hosts where it was found on. Just paste the urls you'll find below and we'll download file for you! If file you want to download is multipart you can use our to check whether multiple download links are still active before you start download. Our goal is to provide high-quality PDF documents, Mobile apps, video, TV streams, music, software or any other files uploaded on shared hosts for free!
If you found that any of above aphex selected ambient files may have been subject to copyright protection. Please use our page. How to download aphex selected ambient files to my device?
![Selected Selected](/uploads/1/2/4/0/124019549/662289763.jpg)
Click download file button or Copy aphex selected ambient URL which shown in textarea when you clicked file title, and paste it into your browsers address bar. If file is multipart don't forget to check all parts before downloading! In next page click regular or free download and wait certain amount of time (usually around 30 seconds) until download button will appead. Click it and That's it, you're done amigo! Aphex selected ambient download will begin.
Twenty years ago this spring, Richard James released an album called Selected Ambient Works Volume II. As, James was already something of a burgeoning star in the post-acid house electronic music world, having released both the brilliantly frenetic Analogue Bubblebath EPs and the ethereal near-pop of, but nothing that had come before could prepare his fans for the alien and austere SAW II. This was music that resisted interpretation, an auditory puzzle. There were no track titles; individual cuts were identified by instead of words.
The quality of the sound seemed to hover in in-between spaces, without fixed genre or emotional hue. Though much of it could be described as beautiful, there was also something foreboding about it, a continual sense of tension and pressure unusual for a branch of music so often concerned with relaxation. It remains James' most mystifying work to date, with a continually renewing cult of obsessives. Marc Weidenbaum, a veteran music journalist and one-time editor of Tower Records' in-store magazine Pulse!, has written an excellent book on Aphex Twin's masterpiece. He interviewed James for a piece back in the 1990s but, not surprisingly, wasn't able to speak with the elusive artist for his book. Instead, Weidenbaum attacks the album from a number of different angles, getting at how the music functions and what makes it work, as well as exploring its context before, during, and after its release.
It turns out that SAW II is an interesting lens for viewing a great many things about music in the last 20 years. It was a very early example of a record being anticipated, experienced, and, ultimately, analyzed in minute detail through online communication.
An email list called IDM (the genre name 'intelligent dance music' comes from the list's title) was a home for intensely fanatical Aphex Twin fans, and their collective experience surrounding SAW II had a profound influence on how the record came to be understood later. The most striking example of the community's influence has to do with the album's mysterious non-titles: A list member named Greg Eden, who kept a fanatically detailed Richard James discography, gave the tracks names based on a word or two that riffed impressionistically on their corresponding images. Not only did Eden's titles become canonical for referring to specific tracks—his are the ones that load from the Gracenote CDDB when you rip a SAW II CD—but he later went to work for, which has released James' most iconic work.
The IDM list and the story of the album's reception are a couple of many intriguing back alleys Weidenbaum explores in the book. I spoke with him over the phone from San Francisco about his experience with SAW II's music, and the album's legacy. Pitchfork: What were your first impressions of Selected Ambient Works II? Marc Weidenbaum: I didn’t like it very much at first. I sometimes compare it with Miles Davis', in that they’re both records that I didn’t really get initially. And then later they became favorites of mine. But while Bitches Brew was very violent and hard to get into for me, this album was the opposite.
I was a huge electronic music fan at the time, but I thought ambient was over. I thought its lessons had been subsumed into culture and Brian Eno's was really the last important, necessary, great ambient record. I was actually very enamored with Aphex Twin at the time, but I couldn’t love this record because I couldn’t figure out what I was listening to. I knew there were multiple tracks, but I’d have to go over to the turntable to figure out when they changed. I’d get lost in it. And then on CD, while the recognition of the specific tracks became a little easier, the CD player was across the room, and it was even more music to get lost in.
It took a lot of effort. We hear a lot about records that don’t age well and records that are timeless, but I’m really intrigued by a record that gets better with time. I think this is that sort of record. Pitchfork: Why do you think that is? MW: A lot of records are supplanted by things that do what they did, but more easily. As much as Aphex Twin has largely become normalized by culture—we hear music like it all the time on TV shows and movies, and on various people’s albums, and in classical music—no one has quite done it the same way. Maybe because the tools to do it now are a little easier.
Aphex Twin Selected Ambient Works Youtube
![Download Download](/uploads/1/2/4/0/124019549/223553267.jpg)
He was really doing it for the first time in his own way—and really struggling with it. That effort is still inherent in the music. 'Richard James has a really weird mix of introvert and extrovert to him—he saw his successes as a means to retreat from the public eye, but the more he retreated, the more he would put his face on things and become really proactive.' Pitchfork: It always seemed like James was such a gearhead, you hear about how he made his own synths and figured out circuit bending as a kid. Do you have a sense of what the actual process was for him making this record? MW: I know stuff through what I’ve read and I’ve talked a little bit about it with people who worked with him but, ultimately, they didn’t really know. He built up a lot of myth.
But I’ve had many people who know a lot more about the technological side of things than I do point out certain parts of the record and say, 'This is fairly clearly an off-the-rack such-and-such item.' There’s no doubt that he did interesting things with them, because the music itself is interesting, but he has always been pretty good at playing with people’s expectations. He has a really weird mix of introvert and extrovert to him. On the one hand, he saw his music making and successes as a means to retreat from the public eye, but the more he retreated, the more he would put his face on things and become really proactive.
Pitchfork: In 1994, when SAW II came out, one element of acid house in the UK was this idea of the chill room, where you would be dancing hard and then you would want to go someplace to relax and there’d be a DJ in there mixing sound effects and Eno records. Was this album heard in that kind of context? MW: Yes—that's the culture out of which this record was revealed. One of the interesting things about the chill room is how it reflects back on the origins of what we call ambient music, which is the reason Eno's ended up coming to be—ambient music in many ways originated as sickbed music. Eno had been in a car accident, he was laid up, someone brings him a record and put it on, they leave, and the record is famously played at a low volume, and one of the speakers is dead.
And rather than seeing this as insult added to his literal injury, he decides, 'Wow, this is a beautiful form of listening. When I’m healed I’m going to make music that sounds like this.' So the idea that ambient music would later be used in a kind of sickbed space is interesting, because that’s sort of its origin. Pitchfork: How do you usually listen to the record? MW: I have various MP3 versions and the original LP, as well as. I have plenty of copies of the CD, too, because it’s a CD I give out a lot as gifts. My preferred version is the CD.
I think of it as a digital release. I like listening to it on vinyl, but it’s hard to get lost in it the way I once could. There’s a lot of back and forth as to what sounds better, but I don’t care what sounds better. 'Better' to me isn’t a word I tend to use very much.
They just sound different. Pitchfork: What was the most striking you learned writing this book?
MW: I’ve written a lot of really long stories about records and artists I’m intrigued by or that were assigned to me, like, I’ve written cover stories about Harry Connick, Jr. And Missy Elliott, and I found things in their music to really dig, but I’ve rarely have had the chance to write a very long piece about someone whose music I absolutely love. Given the opportunity to study this record in incredible detail, I could get into the amount of compositional intrigue inherent in the music. With a song like “Rhubarb”, in particular, I was able to listen to it and realize that it starts out with five notes, then there’s six notes, then that sixth note goes away and it’s five notes with this space—I remain astonished by the simplicity of it. That’s -level quality, repetition, and thoroughness. And that’s just one track.
Every track has this level of sound design-as-composition that just blows me away. Pitchfork: Looking back, do you feel like it was the start of something for electronic music, the end of something? MW: I definitely see it as the start of something.
In 1985, when Eno's Thursday Afternoon came out, I thought the final bookend on ambient music had been laid down. After that, so much work that Daniel Lanois and others did both as musicians and as producers was informed by ambient, so I felt like it had become subsumed into the culture and pop-ified. Little did I know that, in the early '90s, ambient music would return, largely as a result of the success of this record and the one that came before it, and now there’s just endless amounts of it out there. It’s amazing to me that what was once esoteric has become a normal for such a huge number of musicians. Pitchfork: In the last few years, artists like and have brought new age back into the fold, which is different than ambient or drone music, but they share these functional, atmospheric qualities. MW: One of the interesting ideas behind functional music is how pretty much all music is functional in a way, and ambient music is comfortable with that fact. But yeah, it's everywhere from the movie scores of people like, and, to the work of record labels like and, and so much that comes out of Warp.
And the fact that now there’s all these popular apps, where people are making music on their phones and experimenting with sound—it’s become mass culture. Pitchfork Music Festivals: /.