Tag Archives: Braindance

A Look Back at Aphex Twin & Grant Wilson-Claridge’s Rephlex Records


The best record labels don’t just release music, they shape the culture around them as well. So was the case with Rephlex Records. Founded in Cornwall, UK in 1991 by Grant Wilson-Claridge and Richard D. James, whose innovative productions as Aphex Twin were just beginning to find an audience, Rephlex specialized in a playful, psychedelic take on the acid techno sound coming out of Chicago and Detroit. They even had a name for this unusual sub-genus: braindance.

More widely, this music became known as IDM, and throughout the 1990s, Rephlex seemed to work in parallel with the bigger, London-based independent Warp Records to sketch out the parameters of the genre. While high-profile Aphex Twin albums went to Warp, James used Rephlex as a home for work under his lesser-known pseudonyms, AFX and Caustic Window. Meanwhile, the pair worked to develop an idiosyncratic stable of artists, mixing up the likes of Detroit techno heavyweights Drexciya with releases by homegrown oddballs like Cylob, DMX Krew, and The Railway Raver.

Even early on, Warp Records had the feel of a brand, their crisp visual aesthetic and Designers Republic-designed sleeves giving them the sense of a mini-corporation.

By contrast, Rephlex felt like a more anarchic affair—psychedelic, humorous, and a little bit mysterious. “It was a very Cornish attitude,” says Mike Paradinas, aka µ-Ziq, who debuted on Rephlex with Tango N’Vectif in 1993.  “There were lots of aliases, a lot of misinformation, a lot of releases. Maybe this record was going to come out, maybe it wasn’t, maybe it didn’t exist—things like that.” But Rephlex had the feel of a collective endeavor, and when Paradinas set out to found his own label, Planet Mu, Rephlex offered a template of sorts. “Rephlex was always a little family,” he says. “They had an office in a flat on Arnos Road [in North London], and it was always nice to go over there—you’d have Rich and Grant, Cylob, Mike Dred, and Manny, their friend from Cornwall as well, who designs as Optigram. Everyone just there hanging out.”

After 23 years in business, Rephlex officially closed its doors in 2014. Rumors persisted that the label had been suffering from financial difficulties; as James told German magazine Groove that year, “It got to a point where I’d actually rather be [Grant’s] friend than be in business with him.” The closure of an idiosyncratic independent label like Rephlex can often be a sad thing: releases slip out of print, and the label gradually slides out of collective memory. But following Rephlex’s closure, all rights reverted to the artists, meaning many of the label’s best releases are now available on Bandcamp. Here are 10 of the best.

Continue reading

Exploring Aphex Twin Subculture Through Braindance

Aphex Twin by Mark Towning
photo by Mark Towning

The last time public interest in Aphex Twin was as fevered as it is right now, people were stockpiling food in anticipation of the world ending at the turn of the millennium. Ever since the release of Syro, and the epic uploading of nearly 300 unreleased tracks to the internet last year, it’s been clear that Richard D. James is both back and fully engaged. Every time a rumor of a new album circulates—whether via street art or mock advertisements—there are tens of thousands of retweets of the news, Reddit threads a mile long on what Thom Yorke might think of the record, and a stampede of think pieces. All of this is continued evidence that there’s a legion of fans dying to be the first to decode James’s cryptic utterances and sonic doodles. The new Cheetah EP, and the forthcoming expanded re-release of his 1995 Mike Paradinas collaboration Expert Knob Twiddlers on Planet Mu, further stimulate this global ultra geek-out.

Continue reading