Warehouse Project was truly a gathering of Shepherds for Aphex Twin

With no introduction to speak of, it was fairly difficult to tell exactly when it was that Aphex Twin began to play. This was something I actually quite liked about the whole evening. There was no annoying little man running on stage trying to get everyone to scream or applaud, or whatever; there were just sets that bled into each other almost seamlessly. Though no doubt annoying for those who like to relieve their bladders, or stock up on booze in between sets, it meant the flow and atmosphere of the night was intact and solid.

Richard D James began his set (as far as I could tell) with slower more Hip Hop influenced sounds. He progressed and spanned all kinds of electronic music, generally increasing the BPM as he went through Drum 'n' Bass until by the end of the set the speed and intensity of the music he was playing were just about the only discernable attributes it had.

As expected, I pretty much didn't recognise any of the music he played and I can imagine this would be a disappointment for many people. Not that music has to be familiar to be enjoyed, but that people going to see this show would be going because they are fans of the music of Aphex Twin. To then be faced with an epic DJ set spanning all kinds of music that may or may not bear any resemblance to the aspects of Aphex Twin that attract them may be an alienating experience.

For me, and the more open (or less sober) members of the crowd, the unfamiliarity, unpredictability and intensity of the whole experience is what made it so unique and enjoyable. Too many shows are centred around just a few tunes that are bound to get a good reaction. As a result the majority of sets, electronic and rock alike, become predictable. To have an artist who will, every time you see him, play a set that is unique is a rare treat and should be applauded, not subject to wining from over zealous fans who wanted to hear track five from Quoth (for example).

Supposedly, Aphex Twin's music is inspired by lucid dreaming and synaesthesia, two qualities that were very much present in his set. While the man himself stood almost entirely, enigmatically, in shadow, the loud, ephemeral repetitive noise emanated from him. With it were some of the most impressive visuals I have ever seen. Huge sweeping lasers of every colour danced above, occasionally lowering down oppressively overhead. All at once with the heat and jostle of the heaving crowd, and the vibration of the bass as well, this extension to the music had every sensory input filled and left me open mouthed and gratified.

In an interview with Future Music, Aphex Twin said that the problem with the music industry is that there are "Too many sheep and not enough shepherds. Let's all sit back and have a long hard think, then make something different!" This Warehouse Project was truly a gathering of Shepherds.

Latest Updates