Bang Bang Bar Band Talks Twin Peaks – An Interview with Au Revoir Simone’s Heather D’Angelo

au revoire simone twin peaks

As a fan of Twin Peaks, and specifically the music the show has produced over the years, Season 3 had me wondering, like many fans, about some of the musical acts that were featured at the Bang Bang Bar (commonly referred to as the Roadhouse).  Many of these performers were indie acts, with a few exceptions. 

The full list of musical performers who performed at the Bang Bang Bar during Season 3 include: Chromatics, The Cactus Blossoms, Au Revoir Simone, Trouble, Sharon Van Etten, Nine Inch Nails, Hudson Mohawke, Rebekah del Rio, Moby, Lissie, The Veils, Eddie Vedder, and Julee Cruise.

The Twin Peaks Season 3 Soundtrack expands on the above list with many other tracks from the show, with the overall musical effect of the entire track list being that of a tour de force.

twin peaks season 3 soundtrack

The music of Twin Peaks has always been exceptional, with the main theme song written by Angelo Badalamenti even winning a Grammy for Best Pop Instrumental Performance back in 1991.

music from twin peaks angelo badalamenti

The music of Twin Peaks remains unique.  In this article, I had the chance to interview one of the members of Au Revoir Simone, Heather D’Angelo, now a Bang Bang Bar band alum, and ask her about her own personal Twin Peaks experience. (skip to the interview)

But first, a bit of context…

About The Bang Bang Bar (The Roadhouse)

twin peaks bang bang bar

In Twin Peaks Seasons 1 and 2, the Roadhouse was established as a location on the show that fit into the nuanced plot written by David Lynch and Mark Frost, and would tie into the overall arc of the show sporadically, with drama between the shows’ characters playing out there from time to time.  

The concept of the “Bang Bang Bar”, as it was referred to as more so in Season 3, was also the show’s musical center in seasons 1 and 2.  However, Julee Cruise and her band were the only act we see play there during the first two seasons.

As viewers, we can only assume that Julee Cruise was only one act of many to pass through there, but we never get to see any other acts play.  Perhaps this is something Lynch sought to correct in this latest season of Twin Peaks.

During the first two seasons, Julee appears there several times throughout the entire run of the show (including the movie prequel, “Fire Walk With Me”), playing her soft, angelic music juxtaposed against some dark, depraved drama taking place in the plot, creating a juxtaposition of both tranquility mixed with violence – an unsettling combination to be sure.

With the Roadhouse being such a seedy juncture in the Twin Peaks world, the idea of such a pure and unfettered sound of one such as Julee Cruise performing in such a dark place was and still is an unlikely proposition.

Fast forward 25 years…

25 years later twin peaks

Enter: Twin Peaks, Season 3

Enter Twin Peaks: Season 3 (The Return), aired in 2017.  The plot picks up almost literally 25 years after the finale of Season 2, where Cooper becomes possessed by Bob and delivers his famous line: “How’s Annie?”

This final episode (called “Beyond Life and Death”) to a beloved TV series was not the ending many fans were hoping for, but that’s the way director David Lynch chose to end the show, when this final episode of Season 2 first aired on June 10, 1991.

The reasons for this ending to Season 2 were perplexing to fans, but no less perplexing than the entire run of the show itself up until that point, really. 

Still, while hardcore Lynch fans always appreciate a good Lynch-ian twist, more casual (and probably less fanatical for absurdist cinema) fans of the show were left with mild cases of PTSD from watching their beloved Cooper become possessed by the ultimate evil, and then: roll credits.

Perhaps it had something to do with David Lynch not directing the majority of Season 2, and walking away from the show until the final episode, where he comes back with the express purpose to, in his own special way, put an end to the show he started.

As has been reported by various sources (ie. Vanity Fair), David Lynch hates Season 2 more than anyone else could, with the tousle-haired cinematic maverick having been quoted publicly as saying it flat out “sucked”.

david lynch smoking

Fans would have to wait until 2017 when Season 3 of Twin Peaks finally reached airwaves to see how things would get resolved, and many were likely hopeful that such a gut-wrenching finale would indeed see some sort of satisfying resolution, once Season 3 finally concluded. 

Fans of Twin Peaks might have thought a positive outcome to be particularly imminent, considering this was David’s chance to right any directorial and plot-related wrongs done to the show throughout Season 2.

Well, did he?  To answer this question would take us well beyond the scope of this article, and so at this time, let’s now return to the topic of…The Bang Bang Bar, and the music we hear there throughout Season 3.

Back To The Bang Bang

One thing that seemingly had not changed much in the world of Twin Peaks was the Bang Bang Bar.

bang bang bar exterior

In the world of Twin Peaks: Season 3, it was still the place in Twin Peaks where various seedy drama and nefarious subplots play out.  But this time around, we’re treated to a variety of diverse musical acts.

It was as if the Bang Bang Bar was perhaps doing better business these days, busily booking more bands, and becoming an increasingly hipper place to be, which we, the viewers, we privy to seeing who would turn up week to week. For nostalgic fans, Julee Cruise and James Hurley both come back to the Bang Bang Bar to perform.  

Otherwise, we were treated to some fresh faces at the good old Twin Peaks Roadhouse.

Cue: Au Revoir Simone, playing their tune, “A Violent Yet Flammable World”, from Season 3: Episode 9.

Au Revoir Simone

Some of the choices for bands who performed at the Bang Bang Bar during the run of Season 3 seemed to be more in line with the world of Twin Peaks that fans know, while other performers were more unexpected.  

Au Revoir Simone, who perform on two episodes of the entire Season 3 run of the show , were at once a fitting, and yet somewhat unusual, choice.

au revoire simone

Why fitting?  Well, here we have, not 1, but 3 silky-voiced chanteuses playing ethereal, melancholic music in a slow, pulsating manner.  This is enough, perhaps, to qualify them as a good fit for the rather happening, and yet fictional, venue.

Why unusual?  It seems that in the intervening years between Seasons 2 and 3 of Twin Peaks, the always and forever-to-be stuck-in-the-past environs of the show have been forced to admit that yes, even in a seemingly timeless setting, time is passing. 

Hence, Au Revoir Simone have their synths in tow, and there is no particular attention drawn to their synthpop nature.  Perhaps now Twin Peaks is a world that has caught up to as far as the 1980’s, rather than being a throwback to the ’50’s or ’60’s.  

(The interview begins…)

Interview with Heather D’Angelo of Au Revoir Simone

heather d'angelo

It seems that curiosity got the better of me.  I felt the need to reach out to the bands who played at the Bang Bang Bar during the run of Twin Peaks: Season 3, in order to satisfy my fan-boyish urge to know more about these bands, and how they managed to appear on the show.

And so, here is my conversation with Heather D’Angelo, who is one third of Au Revoir Simone, discussing the bands’ appearance on the show and how it all came to pass.  Enjoy!

When did you start writing music?

Au Revoir Simone started out as a cover band, actually, working on covers of 80’s and 90’s songs from different genres.  We were just doing this for fun, as friends getting together and seeing how it went. 

Back in the early 2000’s, we (Annie Hart, Erika Forster, and I) used to jam together, when we were all living in Brooklyn, and decided to form an all-girl keyboard band, since all of us played keyboards and we thought that all of us playing synths would be pretty entertaining. Eventually, each of us was armed with multiple synths – sometimes we’d have 9 going at once!

As far as our covers went, it turned out that our covers were too idiosyncratic to be just covers – they had their own sound – so that gave us the notion to start doing our own songs.  And it all began there!

Eventually, we got enough material together for a little EP called Verses of Comfort, Assurance & Salvation.

Weirdly enough, a Japanese label and a British label picked up the EP, but we didn’t get any attention in the US – no one cared.

Funny thing was that the Japanese label had an english name – Rallye, and the English label had a Japanese-sounding name – Moshi Moshi

Moshi Moshi already were a well known indie label in England at this point, with bands like Hot Chip on their roster.  They were the ones that kind of operate on a new level, by saying “Ok, you guys are going to work with this PR company, etc.”, giving us tips on how to be a bit more professional.

So how did these labels come across your music, which then lead to your encounter with David Lynch?

They became aware of us through an indie music blog from the early days of the internet.

My good friend, Matthew Perpetua, is like the godfather of the music blogs. I think he actually had the very first music blog out there on the web in the late 90’s, called Fluxblog. There may have been one other one at the time, as these things tend to pop up in the zeitgeist at around the same time, but he was definitely one of the first.

Fluxblog was very popular for indie music and Moshi Moshi used to read his blog. Matthew used to write about our band when we first started, as he was a big fan of synthpop, and indie acts, and so Moshi Moshi read one of his features on us.

Steven Bass and Michael McClatchey then got a hold of our EP, which, at the time, was something we were screen printing ourselves in Annie’s bedroom and trying to distribute ourselves.

By the time we got to our first actual mature album, The Bird of Music, that was put out by both Rallye and Moshi Moshi, which had proper artwork and distribution. 

Listen to The Bird of Music on Spotify

The Bird of Music is what eventually ended up in the hands of David Lynch in 2007.

How did that come about?

There was a really cool event going on at Barnes & Noble in New York for some time, where they’d promote an author and then pair that author up with a band. 

A music supervisor for Barnes & Noble would seek out a band that they felt would match the author, and the author would do a reading from their new book, and a band would play during the reading, or between chapters.  It was pretty cool.

The music supervisor at Barnes & Nobles was trying to get us to do one of these events for some time, but it wasn’t working out, as we were always on tour, or the timing just wasn’t right.

But one day the music supervisor called and told us that David Lynch was promoting a new book, at the time, called Catching the Big Fish, and she thought that our music would pair really well with his work. 

catching the big fish

The book was about meditation, and she thought we could play some of our more dreamy material.

So we said “yeah”, because this time it worked with our schedules, and plus, it sounded really cool, so we did it!

But it wouldn’t have been possible if it weren’t for David’s sound supervisor, Dean Hurley, hadn’t heard our music, liked it, and passed it on to David, who also liked it.

So, we then met David at the actual Barnes and Noble event, where we played, and he read from his book.

(cue: a  short clip from that show in 2007)

This was the beginning of your collaboration…which would have been about 10 years before Twin Peaks: Season 3 aired.

Yes.  Back in 2007.

That’s pretty cool that you encountered him that way.  His output is very varied, so to connect with him on a book reading is very cool.  Were you aware of all of these things that he does at the time?  For example, the books, the albums, the artwork, and so forth.

We were aware of him, generally speaking, but we didn’t know just how many things he was involved with. 

The event at Barnes & Noble was amazing.  That particular location of Barnes & Noble was something else – it was huge, like 4 or 5 storeys, and jam packed with people.  Just a massive, massive, MASSIVE building.

And when he was there, it was unbelievable – every floor, just shoulder to shoulder people, all trying to catch a glimpse of him.

For those who weren’t on the top floor, there was kind of a play-by-play being piped through their sound system, like one big listening party, and everyone was there just soaking it up.  It was then that we clued in to just how huge his fanbase actually is.

Were you into his stuff prior to this show?

Yeah, I really liked Blue Velvet, and his movies in general, but I wasn’t really a fanatic.  Same with Annie and Erika – we just knew of him, as most people do.  I had not watched Twin Peaks, though.  It just never crossed my radar.  I guess I was just too young.

I didn’t catch the show when it came out either, but a friend of mine recommended I watch Twin Peaks when I was in high school, so around ’95, as he thought it would be up my alley, and it was.  Had you seen any of his other movies?

Some of them.  I saw Mulholland Drive, which I enjoyed, and I was going to watch Inland Empire, but a friend of mine saw it and he was so traumatized by it, I didn’t really feel like watching it.

Yeah, Lynch seems to be very good at making very unsettling films that confuse and disturb people, as well as anticipating peoples’ expectations (especially fans) and then defying them.  I couldn’t make it through Inland Empire either!  That’s why I was wondering how Season 3 of Twin Peaks was going to turn out, considering his work seemed to be getting progressively more abstract.

Well, we have had the opportunity to collaborate with David several times over the years, since 2007, and so we were getting comfortable trusting his creative and aesthetic choices.  For instance, we worked with him on a retrospective he did for his work in Paris at the Foundation Cartier.

(cue: video clip from that exhibition)

(interview…continued) He had rebuilt a setting from Eraserhead at the gallery, and we were to perform in this setting.  So, he managed to incorporate our music into this production, and we were like, “Hell yeah!” and so we did it, and it was great!

Another time he invited us to play at Silencio, his private club in Paris.  Again, this is a beautiful club with a red-draped stage, and he was gracious enough to invite us into his world, which we have always been more than happy to do.

(cue: Llorando scene, from Mullholand Drive, filmed at Silencio)

(back to the interview…)

Over the years, we’ve remained friends, and would visit him in L.A., checking in from time to time.  He’s been very encouraging, incredibly sweet, and a great mentor to us. 

Prior to the return of Twin Peaks, he was mentioning it would be good to work on something together, and we thought that would be great, although we weren’t counting on it. 

We knew that historically, David has worked with Julee Cruise, Angelo Badalamenti, and so we weren’t really expecting to work on any major projects with him, per se.  He seemed to have his inner circle of collaborators, and so we thought it was nice of him to suggest a collaboration, but, again, we weren’t expecting anything.

But then, we got the call from Dean Hurley, David’s longtime musical collaborator, who informed us that David was going to re-launch Twin Peaks, and was seeking out bands to be part of the show, and he was hoping we’d take part.  Before we knew it, we’d said “yes” and we were part of the production.

We’d never really worked with David before in terms of being part of one of his movies, and so we didn’t really know what we were in for.

None of Au Revoir Simone were actors, but we flew to L.A., and we arrived at this house, that looked like a community center from the outside, and we found that they had recreated, in minute detail, the Bang Bang Bar.  It was like, “Oh my god, I’m in the Roadhouse!”  Even though, outside it was hot and sweaty, this set made you believe you were in the Pacific north west, like Washington state.  It was insane!

There were extras everywhere, and everyone was dressed up like it was the ’90’s.  There were a few other bands there, like the Chromatics, and the Cactus Blossoms, who were playing that day.

We had no idea what was going on.  We didn’t know who was playing, or when, or how to dress.  We had no guidance of what to wear, which was particularly odd because the fashion of Twin Peaks is so particular.  We didn’t know which decade we were supposed to appear to be from.  ’80’s? ’90’s? Now?  Rock stars, or not?  We didn’t know.  We decided to just go with a “classic” look.  

We knew he was going to ask us to do two of our songs, which we did.  It was lip synched.  This wasn’t like Saturday Night Live.  We performed our songs, it didn’t take too long, and then we left.  Time passed, we didn’t hear anything at first.  Eventually, we heard from David, and he said “Great job!”, so we thought “Great!”

We were still very confused as to how this would all play out.  We still didn’t know if he was going to be using the footage of us playing, or just use our recordings on the soundtrack.  Would it be both songs, one song?  Just a snippet?  

We didn’t see how any of it turned out until the show aired.  Eventually, we were told to keep our eyes open for Episodes 4 and 9.  We saw it on TV like everyone else.

(cue: band playing their song, “Lark”, from their album, “The Bird of Music”, during Season 3: Episode 4 of Twin Peaks.

(back to the interview…)

For both episodes, I had Twin Peaks’ parties in San Francisco, but I told my friends that if I didn’t show up on screen, not to be surprised.  We weren’t promised anything, so then when we did appear, and we had a fair bit of screen time, I was shocked!

Both songs were edited, but that made sense, for the purpose of the episode sequencing.  Still, it was entirely a surprise that we even made it on the show at all!

I guess you didn’t get to sit down and watch the “dailies”, huh?

No, we are not from the film industry, so that didn’t even occur to us.  There wasn’t even hair and make-up, so how we presented ourselves was completely up to us.  Had there been a hair dangling in the wrong spot, I don’t know if David would have brought it up or not.  It all happened so fast. 

We had been on photo shoots before, where people fussed over our appearance a lot more than this instance.  So that’s surprising, that we were now committed to tape for an iconic show like Twin Peaks, which will be seen by our children and children’s children, and we weren’t really prepped in any way for this.  I just knew that we were performing, and David was there, behind the camera, capturing every bead of sweat.

Was the lip synching difficult?  What kind of direction did he give you?

We weren’t given any direction, so we just tried to channel our best collective Julee Cruise vibe.  We had basic instructions as to when to start lip synching, and that was about it.  

You were saying there were other bands there at that point?

We saw some of the other bands, but we didn’t really see too many other bands.  For the most part, we were just in and out.  We heard there was a shoot for the other bands on another day, but we weren’t there for that.  

Are any of you particularly influenced by Julee Cruise, what with the hushed, angelic vocals, and all that?  Were you told to emulate her in any way for the show?

No, not at all.  We are fans of hers, for sure – especially Erika – but there was no mention of us sounding like her, or us trying to sound like her.

Our influences are Stereolab, Bjork, Pavement, Air…Broadcast is a huge influence.  I personally am very into Air and Stereolab.

Pavement, really?

Definitely, I love Pavement.  

Are you guys formally trained musically in any way?

No, we’re all self-taught.

How do you come up with your songs, as a band?

We all have input in each others songs, although usually, someone writes a song, initially, and brings it in.  That’s when we begin to shape the songs to fit Au Revoir Simone.  Nothing is really off limits for discussion, and it ends up being an equal process in the end.  No one has more representation in the band – it’s equal parts all three of us.

No creative differences?  Wow, nice.

There are differences, but as a trio, there can always be a critical voice if someone is strongly against something, and we like it that way.  We can push and pull the songs until we are all happy with the result, but it’s not always easy to come to a consensus.  For instance, if someone doesn’t like a bassline, or some other musical element, we talk about it, until we can all agree on something.

How do you feel now that you are on the Lynch fan radar?  Do you consider yourself to be on that radar?

Yes, we are aware that his fans are now paying more attention to us, with many of them being very passionate.  It’s cool.  

And how has that balanced out with your entire fanbase overall?

Well, our old school fans are the best!  Like, if ever there’s any sort of hardcore Twin Peaks fans who don’t approve of us for some reason, our old school fans will jump to our defence.  It doesn’t happen much, and besides, that’s just how it is on Youtube.  People debate all the time.  For instance, why did we get picked for the soundtrack and not some other “dreamy” sounding pop band?  Maybe someone more like Julee Cruise should have been picked, some might say.  All in all, everyone has their own opinion.  We encourage discussion, and we appreciate different views.

Fair enough.  Did you bump into any other cast members at all while you were there filming?  I happened to watch some interview with Kyle MacLachlan, where he said that he didn’t even see any of the show until it was on the air, or really knew what was going to happen overall?  Kind of amazing, since he was basically the show’s star.

It doesn’t surprise me.  There’s an element of secrecy to all of this.  Plus, I think that everything was shot individually.  We didn’t really interact with the cast very much.

Did you talk to Mark Frost (Twin Peaks co-creator) at all?

twin peaks mark frost

No, I didn’t.  

So you never read any of this Twin Peaks books – The Final Dossier or The Secret History of Twin Peaks?

the secret world of twin peaks

No, I’ve just heard of them.  Haven’t read them yet.

They’re interesting, if you are into the sort of “bigger picture” of Twin Peaks, and the mythology and sort of subterfuge that goes into the show.  They act as companion pieces, and they’re really cool if a fan wants to dive deeper into that world, as they let you in on some of the more secretive elements.  For any fans out there, I’d totally recommend them!  But anyway, what happened after Season 3 wrapped up.  What changed for Au Revoir Simone?

I have seen David twice since the show aired.  One at the Festival of Disruption in Brooklyn, and another time back in L.A., after Season 3 had aired.  When I saw him last, I had just watched all of the episodes of Season 3 and I had a million questions that I wanted to ask him.  So it was hard to not geek out on Twin Peaks and ask him lots of questions.  I did get a few things out of him, but generally, we didn’t talk about that much. 

I did, however, mention to him how much I loved Episode 8, as it was so groundbreaking and probably the best thing to be aired on television ever.  I had a chance to dork out with Dean Hurley, but he really doesn’t have the inside scoop on Twin Peaks either.  No one but David and Mark know the whole story.  It’s always fun to speculate, though.

How did you feel about the ending of Season 3?

I liked it.  I am a fan of cliffhangers, though.  Besides, if you expect anything by David to wrap up with a neat little bow, you’ll probably be disappointed. So I didn’t expect the show to end in any neat and tidy way.  Which it didn’t.   

twin peaks season 3 ending

(interview end…) 

Check out Heather’s new fragrance line – Carta

Check out a list of all the music used in Twin Peaks: Season 3

Korg Triton Studio 88-Key Synthesizer Workstation Keyboard Review

This is going to be a fairly unorthodox review of the Korg Triton Studio keyboard synth workstation (88-key version), because I will admit to you off the top that I am basically a newb.  As such, I can’t say that I know everything about this formidable beast of a workstation / sampler / keyboard, but I do have some experience with using it, as it happens.  In fact, I recently made a full length album with the help of the Korg Triton, as well as several DAW’s like Reason and Ableton Live, with the help of my buddy Curtis Maranda from Tiger Suit (pictured right).  The album we made is called All The Rad Snakes and I will link to it at the bottom of this review, if you’re interested.  For the record, I am Young Coconut, musician and recording artist for Fauxtown Records.

So, rather than pretend to be a tech geek, which I’m not, I will try to keep this review on the level to what I actually know about the Korg Triton Studio.  So let’s get started.

Korg TRITON Studio 88-Key Workstation Keyboard review

Shop Korg samplers on Amazon now

One thing I can tell you about the Korg Triton off the top is that it is heavy and long.  And it takes up a lot of space.  I’m going to guess that it’s about 4 feet long, and frickin’ heavy.  Drop it on your foot and see.  Triton is a fitting name for this thing, because it is sort of all powerful in terms of what it can do.  In fact, I don’t even know all of what it can do – this machine is probably smarter than I am.  My familiarity with it comes from recording my album, and how I used it in particular.  I do know that this is more of a “retro” synth at this point, coming out in the ’90’s sometime, and possessing the ability to sound exactly like Fresh Prince of Bel Air if that’s what you’re after.  Many people use the Triton for beat making in a more serious and contemporary manner, such as this dude, King David of YouTube (BeatClass).

See, now this guy knows what he’s doing.  I couldn’t do that kind of thing by myself.  I still have miles to go when it comes to understanding all the ins and outs of this machine.  Be that as it may, let’s continue!

The Keyboard

Now, the Triton is foremost I would say a keyboard, and authentic one at that.  The one I used has the full 88-keys like a legit piano, and the keys are weighted like any good keyboard should be if you’re going to use it properly.  I’m not even a “real” piano player, but when I’m composing musical parts on a keyboard, I would say that the Triton has got to be one of the best I’ve ever used.  The keys are fully weighted as mentioned and when you bang something out on it, the sensitivity is there which you will need for certain dynamics in your song or playing.

Coupling the Triton with the Reason DAW in this case, I came up with many parts which we were able to make sound great just simply through performance on the Triton, and then in Reason we could make them sound even better by shifting a few notes around and changing the entire instrument sound as we are talking about MIDI notes here.  Here we are working on a new track and doing just that.  Playing stuff on the Triton and then fiddling around with the notes in Reason.  

For the album I did using the Triton, we did a lot of the changing of the sounds in Reason because it has some pretty good VST’s, but Triton also has countless synth samples that can be accessed, and you can refer to those in the guide which comes with it that shows your options for sounds, and there are a vast number.  I actually feel bad I didn’t use more sounds straight from the Triton, as you are definitely spoiled for choice in that department.  If you happen to get the manual along with this thing, it’s basically a monster tome of like 100-200 pages.  It’s not even called a manual, it’s called the “parameters guide” or something.  These guys at Korg back in the 90’s seriously expect you to be living the Triton life by handing you this guide.  You can put down the Bible or War and Peace because you will be too busy reading the guide to the frickin’ Triton and basing your life around that from now on.

Aesthetics and Body

Another thing I can talk about re: the Korg Triton is just the way it’s set up, and the overall look of it.  It looks great, IMO.  I love the silver grey body, and all of the switches and buttons are a uniform colour.  

This is sort of the opposite of a lot of synths and samplers today which light up and kind of look like the county fair.  The Triton is basically black white and grey, and I think it benefits from this utilitarian look.  You just get down to business right away – no distractions.  Even the computer screen it has sort of looks like a Gameboy – grey on grey.

Here’s a little joke video we made giving you a little tour of the Triton.  Sorry about the colour of the video – I accidentally turned the contrast all the way up and hit upload.  I kinda like it, I guess.

If I was shopping for a keyboard and I was a real piano player, I’d do well to have this thing because it can be a keyboard or it can be anything you want it to be.  It is durable as you can ask for in a synth keyboard, and I’ve had a couple others in my time, such as a very hefty Yamaha which was somewhat similar to this, with less functions.  Now, take a look at the back of this thing for a second…

This is where my non-tech background comes into play.  I know it has lots of places to run things in and out, but this isn’t really my area of expertise to be honest.

That said, it’s not too hard to understand.  You’ve got your in’s, your out’s, and they do what they do.  It’s all labelled quite clearly.  We had the Triton routed to some very large speakers – a Yamaha S215IV, as well as a Yamaha MSR800w.  This was for playback.  We also had it routed into the computer where we were using Reason and Ableton Live to put our tracks together.  We definitely weren’t using the full functionality of the Korg Triton.  For instance, we didn’t once use the SCSI port.  On the top side, we often used the toggle dial or the note-bender or whatever it’s called.  The thing on the left – definitely a cool thing.  What we didn’t do is play around with the ability to store samples and actually use this beast as the true workstation that it is.  You don’t *need* to route the Triton into your computer, but most DAW’s people use now are on laptops, so you’re probably going to have to.  That said, the Triton can be self contained.  If you use discs, it allows you to pop those in and save and load things that way, which we never did.  


Sure, I know there’s a ton more that can be said about the Korg Triton Studio.  But at this point I’m too ignorant to be the one to say much more.  I would say if you have access to this studio workstation, do use it.  I can’t see how you’d regret it.  If you get the chance to buy one, I’d recommend that also if you have a music production studio with all the trimmings.  This thing calls itself a “studio” and it is not kidding. 

If you have any comments about your experiences with the Korg Triton, please let us know in the comments below.  We love to hear from people!  Also, here’s my album that I made with the help of the Triton.  I can answer more specific questions if anyone has any.  Thanks for reading!

Talking Chiptunes with 8-Bit Retro Gaming Music Maker Daniel Kern

Today YTMS had the opportunity to sit down with Daniel Kern, Austrian music producer and someone who makes retro style gaming music known as chiptunes, AKA 8-bit music.

daniel kern


young coconut youtube

In addition to indulging in several other genres, Daniel has spent some time playing around with making chiptunes, both for work and for fun.  Indeed, he has spent several months working on a chiptune album with Young Coconut, resident Fauxtown Records musician and creator of original songs in his own capacity.  As it happens, Young Coconut (heretofore referred to as YC, and Daniel as DK) conducted the interview himself with DK, and the two musos talked chiptunes late into the eve, with the first question being “What is a chiptune?” and then going off of that into a colourful discussion on the topic of said tunez.  Enjoy!

YC: Hey Daniel, how are you?

DK: Hey there! I’m fine, how about you?

YC: Good, good! I wanted to grill you about chiptunes for a moment.

DK: Sure! Shoot.

YC: For those who don’t know, what is a chiptune?

DK: Well, a chiptune is 8-bit music. You know, back when games were developed on consoles like the Atari or even Gameboy. The soundchip, as it was called, couldn’t process the huge amount of sound information that a computer can now.

YC: I’ve heard this type of chiptune music referred to by different names. C64 music, Amiga music, Atari.  Just naming it after the type of gaming platform in those cases, really.

DK: Yeah the Commodore was one of the earliest computers that had music of this sort. Same idea. Keep the amount of files to be processed to a minimum.

YC: Yeah, I get that.. small files.

DK: Never heard those other names.  I just know the terms Chiptune or 8-bit…”retro gaming music” I suppose, but it all makes sense though.

YC: I remember cause I used to have Commodore 64 since I was 3 years old.

DK: “Gameboy music” would be near to the mark in terms of a name for this genre as well.

YC: The music for these old platforms I always thought was interesting, very raw, and exciting!

DK: Uhh yeah, thats great you got into gaming early! Then I guess you got more experience with the” real thing” than me, in terms of the original platforms you played on when they were first released.

YC: Yeah, I had like 50 floppy discs with like 1000 games.. lol…I started early, glued to the screen for hours in my room.. I was a gaming addict from a young age…played Commodore for like 7 years or so…then Nintendo came along, and eventually switched over.

DK: Haha damn thats great! Which one was your favourite Commodore game?

YC: Oh man.. there were so many great Commodore games.. the graphics weren’t very sophisticated, but I prefer the old school graphical style in many cases.  More focus on gameplay and story.  Umm…Moon Patrol comes to mind.. Jumpman was definitely a favourite…Jumpman Jr. as well lol.. Impossible Mission was always kinda creepy and good…but man I could go on all day about those games…there were so many…but the soundtracks always interested me a lot.  Anyway, do you think nowadays chiptune music is a genre that gets a lot of props or respect?  Or do people just see it as a novelty genre or just some retro thing?

Check out a quick playthrough Jumpan Jr. and enjoy the sound FX

DK: I thing most of the people see it as a retro thing..BUT..history repeats…So I think especially in the time we are in now, where guys like us, who grew up with old school game, from Commodore to Nintendo consoles are the “grown ups” now, and still like the classics best.

YC: Are you a fan of any particular type of chiptunes?  Any series, game, etc?

DK: I loved the Metroid Prime Soundtracks.

Check out some awesome Metroid Prime soundtrack music below

YC: Any other ones?  Are you into battle music at all?

DK: Pokemon on the Gameboy was also very nice as far as I remember.. and yeah the battle tracks were definitely very, very fine in Metroid Prime and in Pokemon you actually had very different styles in effect.

YC: Chiptune seems to have some subgenres as well, from what I hear.  There’s like chiptune dubstep, breakcore, ambient.. you can get really creative with it I guess as a composer.

DK: Definitely!  But you have much less of a variety of sounds you can use. I mean, still a huuuge amount..but no “real” instruments, so to speak.

Check out this chiptune by Daniel Kern below called Mr Midnights

YC:  So by sounds you mean VSTI’s?…is that where the sounds are coming from?  Virtual instruments?

DK: Well not only that.  That is one way to produce 8-bit nowadays. Back in the time of Commodore, etc, the sound was produced by PSG’s…ie. the soundchips, and there are some ways to simulate these soundchips called “tracking”.

YC: Is that what Milky Tracker is all about?

DK:  I guess so.. Im not that well educated in using trackers, to be honest.

YC: I remember once using a C64 sound player.  It was like a jukebox for C64 games and the sound files were.. different, I can’t recall the format.

DK:  By having the opportunity to work in my “normal environment” I was quickly convinced that I can get to nice results by using VST’s, otherwise it would have taken me years to finish a track…Different how?

YC: I don’t know, I forget the file format but the emulator was just kind of interesting…it had sound files that I don’t recall but i think they were original C64 sound files. Oh ok, I just looked it up.. they’re called SID (sound interface device), which is what the sound chip was.  I just dug up a sample of the music.

Check out this compilation of C64 SID music

DK: It’s a whole different approach to work with those emulators.  Most confusing is at the beginning I guess is that instead of showing the track you’re creating horizontally, it goes vertically.

YC: oh like uhh kind of like Renoise does?

DK: Yeah like Renoise!  But, I’m also not that familiar with Renoise. I just heard about it and researched it a bit…I’m a cubase guy at heart haha I know how stuff works there, so I’m comfortable using that DAW.

YC: So is that your normal DAW environment.. Cubase?

DK: Yes…exactly.

YC: So how many VSTI’s will you actually use for a chiptune?

DK: That depends completely on the track I’m creating.  It can go from 5 – 50.  Sometimes more with some chiptunes.  Most of the time I use about 5-10.

Watch this video of Daniel making a chiptune in Cubase, his favourite DAW

YC: So back to the soundchips…and how chiptunes try to emulate is that done?

DK: Well while we have up to 32 bit sound right now.  Back then, it was only possible to use 8-bit…which made the sound quality more “edgy”.

YC:  Have you ever seen one of these sound chips up close?

DK: Just on pictures…I never wanted to destroy one of my retro-consoles.  Those VST’s like Peach or Bitkits (in Kontakt)…they try to emulate the well known sounds from different games but give you the option to change and adjust them – so you could have completely new ones.  How Peach works, I spoke about in another article.

Read Daniel Kern’s article about working with Peach by Tweakbench

YC: Ah yes, so when you say you use 50 VST’s, you mean totally different VSTs, or like using Peach but like 10 different things within it?  I’m not quite clear on how that works.

DK: With chiptunes I mostly use Peach and Bitkits, using different settings and create various stems with it…but with some orchestral works it could go up to 50 different VST’s, although that of course is a totally different style of music.

YC: Right.

DK: Or, let’s say, maybe 30-40 and 50+ stems.  It can really accumulate once you get into the music and what it requires compositionally.

YC: So what’s the most stems you’d use for a chiptune, do you think?

DK: Well thats a tricky question.  It has to be one good end product, so that’s the bottom line. I’d say that in chiptunes, generally speaking, the drums are not that important, while the most important element there is would be the lead melody.  But, you know, its kinda like choosing which of your fingers is the most important.  No reason to sacrifice a finger if you don’t have to!

YC: Right.  There’s only so many elements that can be the focus, like any song.

DK: Yeah, but like I said.. with the lead melody alone you could show somebody a chiptune, and they’d get the idea.  With the drums alone, not so much.  Still, it works as a whole thing all together and it just depends on what you want to create.

Listen to this chiptune Daniel made covering Childebeast called Death Mask

YC:  Hm hm, so when you’re making a chiptune you kind of go for the sound of which retro console mainly? Just one, or it depends?

DK: It really depends.  If Im trying to work on a “chiptunes cover version”, I will use the sound that it reminds most on the original one.  For example, an e-guitar might sound distorted and bending, if that’s what the original has.

YC: Yeah, so in that case it’s more like a real cover.. copying the feel, etc.

DK: Exactly!  If I’m working on own compositions, I just go with the flow…Feel what fits and do it.

YC: Would you say most chiptunes artists are doing covers and stuff? Care to generalize?

DK: Well, I guess thats what brings most attention to somebody – if you cover a well known song. But I wouldn’t generalize.  I personally just do what I want, or, if it’s a job, do my best to capture the spirit of the original.

YC: Because chiptunes, as a genre, has gotten pretty big wouldn’t you say?  Lots of artists, big fanbase, etc.  

DK: I would say so!  I guess many of the millenium-generation like to get reminded on how things were, and that’s the appeal to them.  I guess thats a big plus for the chiptunes genre.  But very often it’s used in a more modern way.  

Check out this chiptune 8-bit fest in Philly called 8static from 2017

YC: Do you not think there’s some forward thinkers in the genre or is it pure nostalgia?

DK: No, no, there is, but there is a difference in producing chiptunes in a retro manner and using the 8-bit sounds for modern projects like electronic dance music.

YC: Yeah, I see the difference, but would you say if its not retro then it’s not a chiptune?  Kind of a philosophical question.

DK: Yes, I would say so.  Chiptunes is a music genre I would say, soo, if you are using 8-bit in a modern genre it doesn’t make it chiptune, just like using a electric guitar in a jazz tune doesn’t make it rock.

YC: Yeah, definitions of these kinds just get confusing to me anyway.  It’s interesting to think about, but really, is it that important?  But some people are always concerned about that stuff.  The technical qualifications of this or that.

DK: Yeah.

YC: So, in a way, it doesn’t really matter but I guess there is no right or wrong.

DK: I’m completely with you there!

YC: That said, as far as you’re concerned, you have a loose definition and you go by it and consider yourself somewhat of a chiptunes guy, because you’re following the formula more or less.  Is that it?

DK: Well, if I am making actual chiptunes haha.  If I’m creating something else and use 8-bit sounds, well, then, I’m just doing something else entirely.  It’s a bit easier in jazz, which is a genre I work in a lot as well.  I mean, if something is outside of the “regular” style or “box”, you can just say its “fusion” xD

YC: Yeah lol gotta love fusion!  But it’s all cool anyway, whatever it is. So, besides the names of the VSTI’s you use, do they have other names that are like made up by the industry?  By this, I mean, generic genre names for certain things.  I’m thinking like a sine wave or something.  Dedicated chiptune instruments that don’t fall under “guitar” or “drums”.

DK: Ok, so to try to answer your question: Bitkits I mostly use for drums, they have about 6 drums “samples” in each of the 10 presets.  With Peach, I try to emulate sounds like bass and guitar, but because all the sounds in chiptunes being digital, it’s pretty hard to name them. All of them created by sound waves.  Is it square, saw, or sine?  Know what I mean? haha

YC: I guess people will just have to read our other interview on how to make a chiptune to see more about your hands on approach to it.  Hey, have you been to any good chiptune concerts?

Read our article with Daniel, “How To Make A Chiptune”

DK: No, I have not.  I haven’t been to a concert in a while, actually, and when I do go, it’s usually live jazz.  I do love chiptunes though.  Maybe they will become the “new goa” style haha.  8 bit music can be definitely trippy, that’s for sure!

YC: It’s a cool sound. 

DK: Goa or 8-bit? 🙂  I like both, at a normal dose.

YC: What’s goa?

DK: Well actually, it’s an area in India, but it’s also a genre.

YC: ohh, I think I knew that…maybe.

DK: And thats where the goa music style came from.  Pretty trippy stuff, with thousands of sub-genres.

YC: Cool, would you say goa is similar to chiptune somehow?

DK: Not really, besides that its also electronic music.  Maybe vaguely similar.

Listen to some Goa trance music

YC: Daniel, do you know any other musicians who make chiptunes other than yourself, or are you just a chiptune guy living in your own 8-bit bubble when it comes to that genre?

DK: I would say the second one!  I don’t really know anybody who makes chiptune type music other than me, so I guess I’m a bubble boy!

YC: What got you into it? 

DK: Well I tried a bit before, just for fun, but I’d say the Young Coconut album was the first thing that made me take it more “seriously”.  Still, I was always interested in it 🙂

Listen to The Spiders of Old Montreal, another Daniel Kern chiptune

YC: Oh yeah that guy lol

DK: Growing up with Nintendo games, it gave me that nostalgic feeling to make the music now, way later on…and haha yeah that guy xD

YC: You do a lot of other stuff right, like totally opposite styles.

DK: I wouldn’t necessarily say opposite styles, because its still music, after all.  You can learn tricks from every genre, as a composer.  I do dabble in many styles, yes.  

YC: I mean in terms of the samples being like high def you could say vs. bleepy chiptune sounds…those textured orchestral suites, etc.  I just mean the VSTI’s you use are vastly different in sound from one another.  For instance some of your hip hop stuff uses fancy sounds, not 8-bit at all.

Check out this song by Daniel Kern that sounds a bit like Massive Attack

DK: Yeah in that case, you are right 🙂  but hiphop and electronic music are somewhere between I’d say.  I do try to work on (nearly) everything in between.  Chiptunes is just a passion of mine.

YC: Yeah for sure.  It’s good to have that variety!

DK:  Lately, I’ve gotten into those chinese instruments haha

YC: riiight, that stuff hehe…get anywhere with that yet?  I remember you said it was tough to pick up.

DK: Well, I am proud to say that I can play twinkle twinkle little star at last haha.  That erhu (chinese violin) is really hard to play, as I said.

YC: Oh, that raises an interesting question.

DK: Yeah?

YC: Are there any VSTI’s for chiptunes that aren’t like bass/drums/guitar…what about chiptune erhu?

DK: Well, I guess you could try to emulate it.  It’s a lot about bending, based on the fact that you have 2 strings and pretty much “glide” over them.  Nearly the same approach like an electric guitar, just no distortion and waaay less attack, because you are bowing it and not plucking.  If somebody would recognize it is another question haha

YC: Right, so do chiptune VSTI’s never try to emulate like.. a flute? Or something other than typical rock shit?

DK: Sure I guess they do.  I mean let’s take Zelda 🙂 It never really sounds like a flute, just like it never sounds like an e guitar.  It’s just the 8bit equivalent to it id say, with the next generation being 16 bit.

YC: Is there a chiptune VSTI called “sax”…I mean that you know of?

DK: I wouldn’t know of any.  

YC: With Zelda, it has some fake ocarinas and stuff, right?

DK: Actually I think they are real ocarinas.

YC: Oh well then.. my bad.

DK: But with the 16 bit soundchips, it was just possible to sample reaaally short sounds, so they played them very fast behind each other, trying to make it sound as one long note.

YC: Ah, interesting.

DK: Thats why Id say somehow you are right about the fake ocarina 🙂

Check out Gerudo Valley from Ocarina of Time

YC: Can one combine 8-bit and 16-bit chiptune VSTI’s to create a hybrid?

DK: There are still a lot of digital sounds in 16 bit that could have originated from the 8 bit sounds, but chiptunes don’t use samples.

YC: Hmm..

DK: So if you combine it, I would say it’s a 16 bit sound with 8 bit elements.

YC: So it’s using.. what? if not samples, it’s just making some noises?

DK: Yeah pretty much haha, it’s using sine waves (and square and saw) to produce digital sounds, synthetic, basically what synthesizers like the moog are doing.

YC: Yeah, but in plugin form, or VSTI I should say.

DK: What do you mean with in plugin form? Combining 8 bit and 16 bit? I think 16 bit is already the combination of samples + advanced 8 bit sounds.

YC: I just mean that chiptune VSTI’s are plugins, right?  Plugins that you use in, say, Cubase, to produce the sounds, whereas a synth is a synth, and it makes sounds on its own.

DK: Yeah but so do the plugins, eg. virtual instruments.  There is the original Moog, and then there is a digital version of the Moog as well, called the Moog modular.

Hear the Moog Modular 15 synth in demo form

YC: Right, but with chiptunes it’s VSTI’s you download, played on a midi controller type of thing, correct?…and then recorded in your case through Cubase.  Chiptune sounds don’t come from a chiptune device, right?

DK: Well, they do come from the chiptune PSG soundchip.  You also have a soundchip in modern synths.

YC: So there is an actual chip?

DK: in the VST’s, there is an emulator of that soundchip, yes, but still the sound is produced in the VST.  That’s why many VST’s you also can run as a standalone, without Cubase or any equivalent DAW.

YC: Ah, so that soundchip…when did they stop putting that into consoles?  I‘m getting more at the history of chiptunes now I guess.  They just called it a “soundchip”?

DK: Well, PSG, or Programmable Sound Generator.  I guess things changed with the arrival of the SNES…Because, like I said before, 16 bit sounds were using samples, not any kind of sound chips.

YC: Right, so certain devices have the chip and others lack the chip and rely on other ways to make the sounds.

DK: Yeah, I think until Gameboy colour and maybe the Advanced as well, Gameboys were completely 8 bit sound wise, but SNES came earlier than gameboy, if I remember right.

YC: Umm…yeah i think so?

DK: I suppose that’s also because of the size. SNES was a bit bigger than a Gameboy, so, yeah, with the fourth generation of video games, the change came, from 8 to 16 bit.  

YC: I’m sure some old Nintendo employee would know these things better than we.

DK: haha definitely! And I’m sure he could explain it better as well.

YC: Well, it’s just us and Google at the moment.

DK: I’m in china at the moment, so for me no Google haha

YC: I guess whatever the Chinese search engine is, you could look this stuff up.

DK: haha yeah Baidu, but that’s just cruel.  I’ll pass!

YC: A bit off topic, but I guess it (Baidu) sucks?

DK: Yeah it does haha

YC: Sad!  Ok, so yeah i think we’ve covered a lot of things along the way, even if we were postulating a bit on some stuff.  If people read this far, god bless em!

DK: haha word! If somebody reads that far – please leave a comment guys!

YC: Alrighty then. Well kids, if you want to hear some of Daniel’s chiptunes, here’s another one.

One more chiptune called Mind The Gap

DK: Yes, please do comment and if you have any questions, again.. throw those in the comments as well and we’ll do our best to answer them!

YC: We’ll see everyone later!

DK: Goodbye, until next time!

Putney VCS 3 and Vintage Analog Synth Interview with Funkatology’s Hugh Hitchcock


Today we sat down with Hugh Hitchcock to chat about the Putney VCS 3, which is a vintage analog synth that features a joystick and some fairly funky sounds.  


The Putney VCS 3 was created in 1969 by Peter Zinovieff’s Electronic Music Studios Limited (EMS), based out of London, England, and pioneered a lot of unique and awesome music gear. 

Although it is relatively unknown these days, some people will instantly recognize the sound of the VCS 3, as it has been used on a number of big radio hits from the ’70’s, including The Who’s “Who’s Next” album, not to mention Curved Air’s song “Young Mother”.  Other notable musicians and groups who have made use of the Putney VCS 3 include Brian Eno, Jean-Michel Jarre, King Crimson, Pink Floyd, The Alan Parson Project, and Hawkwind.  In fact, the more you dig into its history, the more you realize that this list of fans, admirers, and artists who actually used it just keeps on going.

That said, on the whole, there aren’t a lot of musicians who have laid their hands on the Putney VCS 3 console, but Hugh Hitchcock is someone who has.


Hugh is a multi-instrumentalist and owner of Funkatology Records out of Miami, Florida.  Hugh had the unique opportunity to use this synth in the 1970’s, when he was attending the Royal Conservatory of Music in Toronto at a young age.  Hugh has tracked with this analog instrument, and he even managed to snag the user manual, which he still has and is quite familiar with.  

Indeed, Hugh’s knowledge of the Putney VCS 3 and other analog synths is extensive.  As such, we wanted to pick his brain on the topic of the Putney VCS 3, not to mention vintage analog synths in general. 

Please enjoy our rambling one-hour interview with Hugh Hitchcock on along the lines of vintage synths like the Putney VCS 3 and other things!

Aphex Twin’s Top Gear – The Unknown Facts


Who Is Aphex Twin?

Aphex Twin, also known by his original name Richard D. James, is an Irish-born British musician and electronic music maker. Due to his amazing work in electronic music styles such as IDM and acid techno, Richard has been praised worldwide by critics and loved by fans who seem to get his surreal, unorthodox musical stylings and dark of sense humour.

Some of his first and popular albums were his 1992 album called Selected Ambient Works 85-92 and the one in 1994 named Selected Ambient Works Volume II. However, his popularity skyrocketed with his 1997 EP Come To Daddy and his single “Windowlicker”.

His most recent album released in 2014 “Syro” won him a Grammy Award for the best electronic album.

Richard’s Face

James decided to use his face, grinned or distorted, on his covers and songs because techno producers used to hide their identities.

He explained that there is an unwritten rule in techno, where performers can’t show their face on songs and covers.

aphex-twin kid

Aphex Twin’s Top Gear

PlayerPro Tracker

This is a complete music editing software and player, which is available for Mac. To work with it, you are not required to have a specific hardware. Currently, it is considered as the best music editing software available for Mac devices.  Richard said that he recorded the majority of the album Drukqs with PlayerPro Tracker.

Here is a link to PlayerPro Tracker on Sourceforge that we dug up

Akai MPC60

MPC60 is a music production studio, created by the Japanese company Akai and designed by Roger Linn.

Akai MPC60 aphex twin

MPC60 offers 99 patterns, 99 sequences and 99 tracks per sequence that can be created & edited seamlessly. You can easily edit samples, loop, and transform with the lo-fi Sampler section. There’s also a built-in drum machine. Those who want to create Hip Hop, then there are 18 voices of polyphony available for you.  

Richard has been known to use the MPC60 on a number of occasions, especially live.

Check out the Akai MPC Professional on Amazon for something similar


This is an electronic music studio especially created for Mac devices. With it, you can create, compose, transform and design music the way you want. You can quickly produce full-length compositions with the six rooms it has to offer.  You will find it used extensively in his song, Windowlicker…


Roland TR-808 Rhythm Composer

TR-808 uses analog synthesis to create its drum sounds that are of very high-quality. Many performers use this hardware to create R&B, dance, techno and hip-hop music.

The machine offers 16 drum sounds including low/mid/high toms, congas, rimshot, snare, 808 kick, maracas, cowbell, open hi-hat and lots more. In fact, a large number of these sounds can be easily edited.

You can find some of these sounds on his Ambient Works tracks, or on Polygon Window.

Feature Pick

Roland Tr-8 Rhythm Performer With 7X7-Tr8 Drum Machine Expansion Bundle

Buy On Amazon

Sequentix Cirklon

Cirklon is a MIDI sequencer made in small batches by Colin Fraser. An interesting fact about this niche equipment is that you have to be on a waiting list to buy one.

The quality of this machine is incredibly high, and Colin will help you out in case something gets broken. With Cirklon you can create patterns, which can be either piano roll style with high-res or rigid step sequences.

There are around 64 tracks, and each one of them can play a pattern. All the information, regarding which patterns are played, is carefully stored and organized.

richard d james

Aphex Twin even said himself in a recent interview: “it is the best sequencer ever made til now, in terms of analogue i/o, timing man that box…its got a long way to go but I can’t endorse it enough ! I’ve never been into endorsing anything, I’ve been asked by a lot of people but i hate the idea of it, makes my skin crawl, there can be good combos for sure between artist and maker but when its too business it all goes wrong, people gotta make a living but you can tell easily when people got their priorities wrong anyhow, anyway colin is totally on it and in it for the right reasons.
i hope colin does really well out of it, he deserves to , guys a genius and he’s got my gx1 still for midi -ing! but at the mo id rather he kept o.s updates flowing:)”

Check out

You can hear this slick synth on his album Syro, for which he won a frickin’ Grammeee brah! Watch his tear jerking speech here:

10 Unknown Facts About Apex Twin

  1. What many people don’t know is that Richard took his pseudonym from a single processing equipment brand known as Aphex Systems Limited. “Twin” is in memory of his older brother who died at birth (a story he has trolled the media with on more than one occasion).  
  1. “Drukqs” was released in 2001, even though that he had said that he would compose music only for him. However, his laptop with hundreds of tracks was stolen, and he feared that somebody would upload them. Thus, he decided to release the double album himself.
  1. James once revealed that he had spent five weeks without sleeping because he had to make music. That’s a person who is ready to go the extra mile for his performance.
  1. Once Madonna requested a remix, but he was willing to do it only if she made pig noises on the track.
  1. Richard used to scare his girlfriend by putting his “Come to Daddy” silicone mask in bed. He puts it, cuddles next to her and waits for her response when she turns around. Crazy, isn’t he?
  1. Back in the days, Aphex remixed a Craig David track only with one sole purpose: to irritate him. According to James, he has hundreds of unreleased tracks stored.
  1. Back in the days, when James was a young kid, he used to mess with the wires and hammers of their piano. This had established a special connection to music from an early age

We leave you with this nice interview with Richard talking about God knows what…