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In May 1995 Mixmag had Aphex Twin’s manically grinning, ginger-bearded visage on its cover. Beneath the headline ‘TRUE LIES’, the intro for the feature inside offered three possibilities. The first was that Richard D James was “A genius, the MDMA Mozart”, the second that he was “a complete bullshit artist” and the third that he was “just having a laugh” to avoid “a proper job”.

At the end of five tightly written pages, accompanied by photographs of the electronic wizard brandishing a pump shotgun, the writer, Tony Marcus, was no nearer a conclusion than at the start. A quarter of a century later, the general consensus is towards the first assessment, but Aphex Twin remains swathed in a fog of enigma that’s only increased his critical acclaim. Consumer culture is dying to co-opt him, hurling every bauble it can muster his way – he even snagged a Grammy in 2015 – but this most perverse of musicians simply ignores it all.