Extravagantly opaque, willfully vaporous -- Aphex Twin's Selected
Ambient Works Volume II, released by the estimable British label Warp
Records in 1994, rejuvenated ambient music for the Internet Age that was
just dawning. In the United States, it was his first full length on Sire
Records (home to Madonna and Depeche Mode), which helped usher in
Richard D. James, for whom Aphex Twin is but one of numerous monikers,
as a major force in music, electronic or otherwise.
Faithful to Brian Eno's definition of ambient music, Selected Ambient
Works Volume II was intentionally functional: it furnished chill out
rooms, the sanctuaries amid intense raves. Choreographers and film
directors began to employ it to their own ends, and in the intervening
decades this background music came to the fore, adapted by classical
composers who reverse-engineer its fragile textures for performance on
acoustic instruments. Simultaneously, "ambient" has moved from esoteric
sound art to central tenet of online culture. This book contends that
despite a reputation for being beat-less, the album exudes percussive
curiosity, providing a sonic metaphor for our technologically mediated
era of countless synchronized nanosecond metronomes.