Come To Daddy
Everyone seems to like Aphex Twin man. Whether you look like Moby, or if you have a black Flag tattoo (still look like Moby) or if you're pony-tailed waiter who jogs and watches Aqua Teen Hunger Force, chances are you have an Aphex Twin album.
Come to Daddy shows Richard D. James cutting his work into two sides; one side is a very textural side that uses steady but not overtly complicated beats and various drum, and piano loops. The other side, however, shows James going deep into the lake of insanity, and surfacing with some eeire, yet often highly enjoyable results. The first Come to Daddy song, the Pappy Mix, is a very static song with an underlining drum beat, and a very distorted rhythm. The experimentation of the song does not overshadow the horrifying and Industrial mood of the song, but the experience is interesting enough to take a listen or two. The second Come to Daddy mix, Lord Faulteroy, is lead by a very simple drum beat, and an eerie vocal that sings "ooh you dirty, dirty boy, dirty dirty boy". It's not as funny as it is creepy, but it still shows a bit of non-seriousness, in contrast to most of Aphex Twin's dark ambient work.
But the distorted experimantion is not found everywhere on the record. The most brillinat song is probably Flim, a track orchestrated by a beautiful Piano loop and a distorted, yet fitting drum beat. It's ambientt, but not overly ambient, and manages to keep that bit of focus alive. Another beauty is the longest track, Bucephalus Bouncing Ball. It features a few time changes but sticks to the overall lush textures. He continues to brink that beautiful, yet focused sense alive on the fragile melodies that ensues beautifully on the closer, IZ-US. The beats are interesting, and the ambient piano tracks keep the song alive.
While the album is eccentric and pretty varied, it still is slightly bland. The major reason is that the album is uneven, there are no tracks that connect the opposing sides of the record. The distorted and often scary tracks bump right into the melodic and pretty tracks. It makes the listening experience somewhat of a rollercoaster, and not always in a good way.
That said, Come to Daddy's biggest plus is that it rarely feels like a phony shtick. All of the Come to Daddy remixes feel genuinely like his art and not some kind of shock tactic used by Marilyn Manson to hump Evan Rachel Wood.