On
On
| Artist | Aphex Twin |
|---|---|
| Label | Warp Records |
| Year | 1993 |
On starts off with a beautiful piano, playing a very simple melody that borders on being an arpeggio, and delayed in sync with the song's tempo, so that some of the echoes sound almost like original notes in their own right, seemingly increasing the melody's complexity and introducing variation in velocity.
This is soon joined by a field recording of rain and thunder used to exquisite effect, giving the music a context. Most musicians, if they were adventurous enough to include such a recording at all, would probably take great pains to ensure it wasn't contaminated with other sounds. In stark contrast, this recording includes what sounds like distorted voices and the whirring of machinery, which adds to the music's charm.
Some strings provide some simple, repeating harmonies, adding to the emotional impact. Next, a distorted kick and snare drum, and a regular hi-hat give the music a solid foundation on which to rest. To call these percussive sounds such familiar terms is metaphorical at best, such is James's propensity to create his own sounds, but it gives you a good idea of the style of rhythm played on them, if not the timbres themselves.
Finally, woodwinds replace the piano, then augment it, providing a bit of variation to keep the piece from seeming static. Similarly, various instruments occasionally take breaks, so the music is broken down and built back up again, trying out various combinations of instrumentation.
It's rare for a piece of music over seven minutes long with only a single repetitive section to avoid seeming repetitive, especially when that music is upfront enough to (at least sometimes) avoid being classified as ambient, yet somehow James pulls it off.
As with much of James's output, On combines orchestral instruments, homebrew electronic sounds, and a field recording to create a unique soundscape that paints a vivid picture of a certain setting. If anything, the music itself (as in the notation; the melodies, harmonies and rhythms) takes a back seat to the sounds, which are the real star of the show. The other James hallmark that is typified in this piece is the juxtaposition of the serene and the harsh. In these ways, it's typical of his quirky style, and exemplifies the output of someone with a genuine passion for not just music but also sound itself.