The Aphex Effect

Half way across the world from the jazzy filled streets of Frank Ocean’s hometown of New Orleans, is the small town of Cornwall, United Kingdom, home to Richard D. James better known as Aphex Twin. An electronic artist who would go on to leave a massive trail in the music scene, often regarded as the greatest electronic producer of all time. Richard would synthesize his vision and ear for melodies, resulting in some of the most abstract, bizarre and otherworldly pieces of music to date.

(track titles are underlined & will take you to the track being spoken about)





Decades later, Richard’s influence can be seen peppered throughout Frank Ocean’s career. From wearing his merchandise, mimicking drum patterns to literal shoutouts, here’s a look at the Aphex effect on Frank Ocean.



Frank wearing an Aphex Twin “Come to Daddy” shirt, New York, 2015





The Use of Birds

Listed among the 360 paged “Boys Don’t Cry” magazine are some of Frank’s favourite songs, one of them being “Aisatsana” by Aphex Twin. A serene, melodic piano piece with sounds of nature and bird chirpings blended in the back. The use of birds have become a mini-staple within Richard’s music and can be traced back much further than 2015′s Syro.

In 1992, Richard released an EP titled “Digeridoo”. The first track “Digeridoo” featured a swift drum line, heavy bass syntheziers using a Roland TB-303 which gets tied by the constant twittering of birds.

In May, 1992, Richard debuted an untitled track on BBC Radio 1 during the John Peel session. In 2015, he released a cleaned up version and dubbed it “Slo Bird Whistle[peel Sesh]”. It begins with a high pitch bird chriping which continues throughout.

In 1994, Richard released his fourth EP, titled “Analogue Bubblebath 4″ under the alias AFX. The project features a track called “Cuckoo”, an almost arcadey-esque track with slapping percussions, rapid drum patterns and naturist sounds. The use of grasshoppers and owl’s smoothly intermix with the sonic environment resulting in a totally discrete sound.

In 2017, Richard released his “London 03.06.17″ under the alias AFX. Track 5, “em2500 M253X” has a vintage soft piano melody littered with bird chirpings evoking a relaxing sonic atmosphere.

Richard’s use of birds and animals are often used as a source that provide a layer of tranquility. They’re present in both of his electronic based and relaxing tunes. In tracks like “Aisatsana” and “em2500″, the use of birds transport the listener and paint an image of serenity.





Frank Ocean’s summery tales of his first love told in 2012′s “channel ORANGE” introduced a fresh wave of lucious and silky production paired with creative and cinematic songwriting.

On track 8, “Pilot Jones”, a bass heavy tale about the effects of drug use on his relationship, Frank sings: “In the sky up above, the birds, I saw the sky like I never seen before” The production here transitions from the darkside of drugs into a different realm, one with sunny skies and birds chirping. Frank also changes up his cadence here, choosing to sing the verse softly. Much like Richard, the birds are used as a drop of calmness.





In 2016′s “Blonde”, Frank Ocean had the vision to rebrand the entire blueprint and foundation of how an urban contemporary album should sound. Forming a super-team of producers, the critically acclaimed album housed inspiration from all aspects of art. The production was innovative, avant-garde and idiosyncratic with tracks like “White Ferrari” and “Seigfried” pushing the boundaries of normality.

Birds have a minimal yet major role on Blonde. Just as in Aphex Twin’s music, they’re used as a film of peace in the atmosphere. On Blonde, they’re also used to demonstrate the important day and night split (discussed in-depth here). They can be heard during the “day” half, on the “Pink + White”, “Be Yourself”, “Skyline To” and “Self Control”.

On “Pink + White” they’re heard throughout all throughout the track, most notable as the quick strings commence at the beginning of the track. They’re also isolated at the very end of the track.

The birds from “Pink + White” are smoothly transitioned into “Be Yourself” and can be heard until 8 seconds.



“Skyline To”, a dreamy ballad of long drives and forbidden sex features quietly chirping birds under the melancholic production. The birds complement the laid-back vibe as Frank recalls his most memorable summers. There’s also a high pitch sound stretched out at the back end of the track that is similar to what Aphex Twin had used throughout in his track “Slo Bird”. It also sounds similar to a Termenvox, an instrument Frank learned how to play very early in his career however it is not listed in credits.



On “Self Control”, birds can be heard in the opening seconds of the track. It is the last time birds are heard on the album as the focus heads into the night half.





On 2016′s “Endless”, Frank channelled Richard’s use of drum and beat programming. He mainly took inspiration from 1996′s “Richard D. James Album” and 2015′s “Syro” focusing on swift drum patterns, abbrasive percussion and quick rythyms.





Drum & Beat Programming

On the 6th track of “Syro” titled “CIRCLONT6A”, Richard implements a glitched/warped technique throughout the song making it sound as if it’s being split very quickly. The same technique is used on “Sideways”.

On “Rushes To”, Frank replicates a similar yet slower percussion and drum pattern heard on Aphex Twin’s “Girl/Boy Song “

The final track on “Endless” titled “Mitsubishi Sony” ends off in an epic electronic instrumental that sounds alike to “Carn Marth” off of the “Richard D. James Album”





Shoutouts

On “Provider”, Frank sings “stiff smile just like I’m Aphex Twin (yeah come to daddy)”

Synonymous with the Aphex Twin image is the smile seen plastered across some of his biggest albums. Frank’s suppressed adlib of “yeah come to daddy” is a nod to one of Aphex Twin’s most popular tracks titled “Come To Daddy” off of his 1997 EP of the same name.

Among the 50 tracks Frank listed as his favourite, Richard’s music is listed twice. One is the previously mentioned “Aisatsana” and the other is “The Garden Of Linmiri” by Caustic Window, an experimental acid house track produced under a different alias.

In an interview with John Doran on BBC Radio, Vegyn shares a brief story about listening to “Alberto Balsalm” in the studio with Frank.

Frank also added “IZ-US” from the 1997 album “Come to Daddy” on “blonded Los Santos 97.8 FM”

During the Christmas season, Frank showcased an Aphex Twin Christmas ornament and was also wearing the logo on a mask while going through the airport.