The Listomania I make the lists, you shoot them down. Quid Pro Quo.

140. Aphex Twin – Avril 14th

You know the songs that are in no way representative of an artist’s catalog in terms of sound, but in terms of mythology, or aura, or feel, they perfectly encapsulate everything else about that figure? I don’t either really, this is the only example I can think of. But for some reason, when I think of Richard D. James, a.k.a. Aphex Twin, I always come back to “Avril 14th” from his 2001 album drukqs.

Most famous for his nimble-Eno early ambient work or his drill n’ bass glitch head trips, James usually hopped styles from album to album throughout the 90’s. In the 2000’s, though, the Twin began mixing styles up on an even more frequent basis, with albums completely changing from beginning to end. The result was songs like “Avril 14th” which very literally sounds like nothing else he had ever produced. A simple piano ballad that sounds more like water dripping quietly onto a metal roof than an actual instrument? From the master of beats ‘til your ears bleed techno? Yeah. But listen to the silent intricacies between each note, the empty spaces full of echo and room hum that tell more story than the tones themselves. At around two minutes, this song is a brief but beautiful foray into the understated genius of an artist more known for his off-putting crackle and thump. Like Damien Hirst exhibiting a 12” x 12” water color. And for some reason, that innate prettiness that seems to come to James so easily in this piece is entirely representative of a storied catalog, full of mystery and praise, even though Aphex Twin never has and never will release songs like it again.

Side note: you recognize this, I know. Can’t place it? Think Saturday Night Live, Andy Samberg, and a certain controversial leader of a Middle Eastern country. Samberg admitted they stole it, but amazing how once again Aphex Twin translates to just one more genre – shitty, shitty comedy.