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4.7 out of 5 stars
4.7 out of 5 stars
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on 4 March 2000
From the opening line "I Want Your Soul!" - this album makes some serious statements. The opening track is full of anger, fast cuts, and heavy breakbeats. On arrival at track 2, the extreme nature of this mini album becomes clear, the soft, flowing analogue nature of "Flim" is in stark contrast to the assault that is Track 1. On Progressing through the album your ears are treated to awesome experimentation of sound, changing and evolving all the time, heavy and soft, hard and harsh - all at once, in a contradictive way. Funny Little Man needs a mention as perhaps one of the strangest tunes I have ever heard, For those with the determination to sit out the heavy stuff... The final track IZ-US is excellent - purposeful, rhythmic and laid back. Almost Aphex Twin at its best.
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on 19 June 2007
Before I bought this album I had only ever heard three Aphex tracks. One of those tracks was Come to Daddy and I purchased this album on the strength of that awsome song. The rest of the album did not dissapoint.

While Come to Daddy is the main attraction here and probably the best track, the rest of the album is not to be overlooked. Every single song is brilliant, especially the last one, which in my opinion is just as good as Come to Daddy and the other major reason for buying this album.

The tracks on this album are evil, beautiful, twisted, terrifying and wonderful all at once. This is brilliant and I am definitly going to be buying more Aphex Twin stuff.
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on 2 July 2003
This was the first piece of Aphex Twin I had ever heard, and to say that it's a great single really doesn't do it justice. Richard D James's aggressive drum programming and use of surreal samples are true to the Warped label's consistently quirky form.
The presence of an eternal metallic scream, giving the track it's title, adds weight to the effect this work has. Haunting? Indeed. Uplifting? Maybe. Certainly not for anyone who doesn't appreciate a broad spectrum of musical styles and backgrounds. Teeny boppers, leave your 'crazy' school disco outfits at the door.
Seriously cool people will appreciate 'Come to Daddy', but don't stop at this track. Do check out more of Aphex's work, along with other Warped signings - namely Squarepusher.
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on 21 March 2003
i have found that a lot of the people i have played this ep to commented that it didn't really have a tune/beat/any sort of structure. these people are lazy. on first exposure to the work of richard d. james it is hard to fathom exactly what the listener is supposed to gain from the mix of off kilter percussion, vicious white noise and atmospheric keyboard noodlings. yet perseveerance will reward. those who don't understand will argue that music needs to have a tune or at least a constant rhythm yet this is like claiming that poetry must rhyme or art must perfectly resemble the subject, a neo-classical attitude which has generally been made redundant in art and poetry yet still restricts the music industry to an extent. however, labelling aphex twin's work as post-modern may be doing it a disservice as it is a term often associated with the phrase 'weird for the sake of weird'. and there is certainly a lot more influences to the structure of his work than random psychological creative processes. although these processes are strong, yet perhaps not so random. the apparently sporadic beats are the heartbeat of most tracks and only seem random when compared to the static thud thudding of most chart dance music. the range of sounds used also challenges the listeners sense of rhythm as melodies are created by percussion sounding instruments confusing the layers of the compositions. closer attention reveals strong pulses and drum ostinatoes running through most tracks. yet these overly complicated weaving structures are uderpinned by an instinctive feeling of modern primitivism. the obvious delight richard d. james takes in every beat or sound in a track mirrors a tribal, even prehistoric joy in his music, which the listener cannot help but appreciate. but despite his percussion fetishes james comes across as an accomplished composer, lacing intricate and beautiful piano melodies into the harsh electric backdrop. with each track as breath taking an example of intellectual electronica you are ever likely to experience. this disc resembles the most complicated quadratic equation, the most inspired work by picasso or the darkest most soul touching piece by poe rather than simply another cd single.
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on 23 February 2016
IMPORTANT NOTE FOR THE VINYL FORMAT: The tracklisting for this EP is wrong - the 12" vinyl only contains the first four tracks: Come to Daddy (Pappy mix), Flim, Bucephalus Bouncing Ball and Come to Daddy (Little Lord Faulteroy mix). Apart from a rare promo version, there has never been an official Warp release on vinyl with all eight tracks – they're only available on CD (WAP94CDX). I told Amazon this and they said they'd update the tracklisting, but they haven't, so I'm leaving this here instead.

Still a great EP (with the added fun of slowing it down from 45rpm to 33rpm, which makes Bucephalus Bouncing Ball in particular into a whole new track), but I was slightly gutted not to own one of my favourite Aphex Twin tracks – To Cure A Weakling Child (Contour Regard) – on vinyl. So be aware.
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on 26 February 2015
the styles on this CD are all over the place, butapart from "Come To Daddy (Little Lord Faulteroy Mix)" it flows perfectly. Come To Daddy is one of Aphex's most known tracks and this album has enough different styles of aphex's that someone buying this for the title track is in for a pleasant surprise musical journey through the mind of richard d james
contains brilliants such as "Film" and of course the title track "Come To Daddy (Pappy Mix)"
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on 8 January 2000
Anyone who has heard any of Richard David James' work will know that he is one of the most varied and orignal artists of his genre.
This strange little mini album delivers to any fan of his more recent work. With more strange noises, scary voices and beats than you can imagine, this title has had me listening again again - during the wee small hours this recording sounds masive.
The title track will always shine the brightest for me - but Bucephalus Bouncing Ball is also a joy. And the scariest tune of all?? Funny Little Man will have you listening with bewilderment.
Probably not one for the uninitiated But anyone who knows what to expect will love it.
A classic.
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on 20 April 2006
Im only writing this review based on the first track.

I had never even heard of Come To Daddy until my recent magazine issue of NME layed out its top 10 loudest songs, with this being at number 1. This made me curious into what the fuss was all about.

Now that I have heard the song alongside its video, I can safely say its effected me in a way no other song has! This really is freaky stuff, and is the kind of thing that many people would think only complete weirdos listen to! Well I am not one of those weirdos - I enjoy anything from rock and indie through to hard house - and I simply love this track.

Its complete weirdness is what makes this so addictive, as well as its experimental beats. I thought bands like the Prodigy were good until I heard this - Aphex Twin blows the others away with his vast experimental sounds thats enough to test the best of hi-fi systems.

Combined with the video, though, this song is even more fightning. I wont say to much, but if you get a chance try to find it online, as it fits perfectly with the idea of the song. This isn't for the faint hearted though, as this video scared me beyond any horror flick.

All in all, a completely weird but amazingly addictive track. If you have an open mind of music like I do, youre sure to appricate it.
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on 29 July 2013
Richard has done an ace job on this album, with creepy and sadistic synth sounds and humorous bits from time to time that make you giggle and really indulge yourself in the music.
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on 18 January 2001
It's amazing how Richard D. James makes such a contrast in his music. To most people (excluding me) most of his music is barley listenable due to being very absract. Although nearly on every album he has made, there are delightful melodies which make you float around the room. This Mini Album is a perfect example. 'Come to Daddy' is a very disturbing rock/dance track, with the repeated lyrics "I WANT YOUR SOUL, I'LL EAT YOUR SOUL!" blasting from your speakers, you will be cowering behind your sofa. Then, all of a sudden, the next track 'Flim', takes you on a journey beyond the stars. The most abstract track on the CD has to be 'Bucephalus Bouncing Ball', which is the longest track on the album, which tells you that Richard must love playing with weird sounds and noises. Then, the Album ends with another heavenly melody 'IZ-US', making you thirsty for more of this musical genuis' work. A must buy for fans, if you're not a fan.... buy it anyway!!!
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