Aphex Twin SAW2 Countdown: Track 11 (“Domino”)

I am going to do this track - by - track countdown to the release , on February 13 , 2014 , the day prior to Valentine ’s Day , of my book in the honorable 33 1/3 series . It is a erotic love letter to Aphex Twin ’s album Selected Ambient Works Volume II , which will check its 20th day of remembrance this class , less than a calendar month after my Good Book ’s issue . More on my Aphex Twin book atamazon.comandBloomsbury.com . The plan is to do this countdown in the inverse rules of order , from last track to first . For reference , an early draught of the introduction is online , as isthe book ’s seven - chapter mesa of contents . The book of account ’s publisher postedan audience with mewhen I was halfway through the composition process .

There is some satire to doing this countdown since the book is already embark to folks who pre - range it via an online retailer such asAmazon , but the official escort stands , and that ’s the target — the end date — of this countdown , February 13 . And for what it ’s deserving , while the physical copy are post now from retailers , the Kindle version wo n’t turn on until February 13 . Still , the digital version costs less .

As I ’ve notice onTwitter , this track - a - twenty-four hour period approach is exactly the antonym of the book ’s glide slope , which is a solicitation of interrelated , reporting - based essays .

The track open with this rummy quality . What it signals is undecipherable , but that of line can be tell for the majority if not entirety of the album . The banker’s bill could be a sonar bleep , or it could be some equipment ’s routine ping , but on iterate listen it seems more like the automated announcement that the elevator has get at the desired level and the door has opened to unveil what ’s on display . tenth flooring : Counterpoint , Sedation , Reverb .

apace it becomes Steve Reich ’s estimate of club music . It ’s a bouncy course , these various ball of tone seeming to hit the foundational Earth’s surface of the composition and then to relay for a few beats . The end of the piece is neither fade nor composition , but the elements work their class . The intensity does decrease , but it does n’t have that artificial feeling of someone easy turn a pommel to subdued something that might otherwise go on forever . The mallets lay down their final figures — and then the echo runs out .

And here it is reversed :

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