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Aphex Twin: Acoustica

CA21028
Released: 07/01/05

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Alarm Will Sound

Aphex Twin: Acoustica


Tracks

  1. Cock / Ver 10
  2. Logon Rock Witch
  3. Melyphace 6
  4. Blue Calx
  5. Fingerbib
  6. Gwely Mernans
  7. 4/ [ MP3 ]
  8. Prep Gwarlek 3B
  9. Omgyjya Switch 7
  10. Cliffs
  11. Jynweythek Ylow
  12. Mt. Saint Michel
  13. Avril 14th
  14. Prep Gwarlek 3B Remix
  15. Cliffs Remix

Notes

The long-awaited follow-up to their acclaimed all-Steve Reich debut is here. Alarm Will Sound, the young 22-piece new music band featuring voices, strings, brass, woodwinds, and percussionists takes on twisted techno master Aphex Twin in Acoustica.

Alarm Will Sound, who the New York Times calls "the future of classical music," with a cadre of 10 arrangers, painstakingly recreates and rethinks Aphex Twin's legendary electronic work for an all-acoustic ensemble. From creative new transcription ideas to using non-standard "classical music" instruments to ensuring that all four drummers are kept busy with Aphex Twin's unimaginably intricate beats, this sounds like no CD you've heard before. The CD also features bonus remixes by the emerging Berlin-based techno master Dennis DeSantis.

"A staggering palette of nuances and colors... expert execution."
-Billboard

"uberhip."
-Entertainment Weekly

"We strongly advise you to stop whatever you're doing and find yourself a copy of Acoustica right now. It's fascinating, maddening, scary, thrilling, menacing, sexy, brilliant work, destined to occupy your CD player like the world's savviest squatter."
-Splendid

"Having the New York Times off-handedly declare you as 'the future of classical music' would probably be enoughto intimidate anyone... Alarm Will Sound, however, seem to have risen to the challenge."
-Dusted

"A sonic scavenger hunt, as you wait to see how various chirps, noises, doodads, and chaotic episodes are represented orchestrally. Alarm Will Sound makes strikingly vivid realizations of what feel like synthetic sounds. Acoustica is a surprisingly effective rediscovery of the range and color of Aphex Twin's music but for many, the wild precision and brass balls of Alarm Will Sound will be the real discovery."
-Boston's Weekly Dig

"Impressively executed."
-Salon.com

"The results are astonishing... every string, horn and woodwind instrument is perfectly aligned. Acoustica is a high-wire act... masterfully balances the energy of the original tracks with the subtleties of classical music."
-Nylon

"AWS turn Aphex Twin's spasmodic IDM brain-twisters into acoustic facsimiles that - surprise - often resemble Raymond Scott and Carl Stalling's madcap cartoon music or ominous Stockhausen pieces. The professional musicians who translated Aphex's demonically perverse compositions are expected to make a full recovery."
-Seattle Stranger

"Whereas digital automata can feel chily, futuristic or robotic, Alarm Will Sound's live-musician interpretations give it a breathing and fallible quality. This is extreme virtuosity and, more interestingly, heart-felt playing."
-Atlanta Journal-Constitution

About the Music

The way the whole band eventually took to this project, you might assume we all thought it was a great idea from the start. Not long after we had done some remixing on one of our concerts Caleb suggested taking the process one step further. "Unremixing" was what we called this idea of making arrangements of electronica tracks which were themselves compositions based on sampled music. Something about adding one more layer, one more dimension to the practice appealed intuitively to most of us.

But not to all of us. Somebody asked ominously, "Could this end up being like The New York Philharmonic Plays the Bee Gees?" That was dealt with pretty quickly once we started discussing which electronica would be the most interesting source material for our arrangements. Unanimous: Aphex Twin. That music was complex and moving and imaginative and unique and intelligent - like all the music we love as performers - so we knew we could play it and be ourselves.

Then Dennis pointed out that even playing this music - no matter how authentically we did it - was a tricky proposition to begin with. Remixing is done on computers that can be precise down to the digitally manipulated sound wave flawlessly placed at this or that millisecond. There is a kind of pleasure in listening to the precision that only machines can deliver and that would be, by design, missing from our project. We definitely did not want the project to become a dumbed-down Man vs. Machine contest in which only virtuosity counts. So, we were conflicted about whether to make the leap from Aphex Twin?s originals - masterpieces for the digital medium - to our arrangements for live musicians.

In the end, we never fully resolved that tension, which actually turned out to be a good thing. The push and pull between machine precision and human performance, between electronic and acoustic sound, between sampling and arranging became the productive tension that drove the project. We fought over whether to recreate the tracks as faithfully as possible or to treat the arrangements like covers in which we would explore the music more freely.

Alan came down on the side of sticking as close to the originals as possible. So we listened to the tracks over and over again trying to transcribe every sampled sound into notation. We hit the aisles of Wal-Mart and scoured the crammed shelves of Larry?s Trading Post in Carlisle, PA, looking for objects that would make the strange sounds we heard on the tunes. We pushed our instruments to do things they were never intended to do. And we stretched our imaginations.

The difficulty of capturing the original Aphex Twin tracks on acoustic instruments called for a kind of forceful dedication, sure. But it also made us ask: why are we forcing ourselves to copy the originals and not allowing ourselves to be more open? Sometimes, we couldn?t even agree on what the rhythm of a track was; or what pitch a sound had; or whether an electric guitar is an acoustic instrument. Even level-headed Payton was getting angry. The unanimity we had in choosing to arrange Aphex Twin?s music seemed distant from the various conflicting takes on what an arrangement should be. At that point - while still making the arrangements - the tension didn?t feel very productive. It was just plain old tension.

Once we began to play, though - that?s when it was transformed. Instinctively we treated the arrangements as real pieces of music, not replicas, realizing in the first rehearsal that machine precision and human performance are not opposite: they are expressions of the same urge to make even the smallest musical detail matter in a big way. That's what we heard in Aphex Twin when we first came up with the idea, and that's what we had ended up committing ourselves to through all the work and frustration. By choosing to remain faithful to the originals, we opened new ways to hear the Aphex Twin tracks; we also found that interpretive nuance of performing creates the freedom to re-imagine digital sound. We discovered that the dimension we add by playing electronica on acoustic instruments turns out to be not just sonic; it is imaginative.

- Gavin Chuck

For more information on the performers and composers, please visit the artist page for Alarm Will Sound.