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Computer Controlled Acoustic Instruments pt2
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| Computer Controlled Acoustic Instruments pt2 | ||||
|---|---|---|---|---|
 | ||||
| EP by | ||||
| Released | 23 January 2015 | |||
| Genre | ||||
| Length | 27:56 | |||
| Label | Warp | |||
| Producer | Richard D James | |||
| Aphex Twin chronology | ||||
| ||||
Computer Controlled Acoustic Instruments pt2 is an extended play record by the British electronic music artist and producer Aphex Twin. It was released on 23 January 2015 on Warp. It is meant as a companion piece to his fifth studio album, Drukqs (2001).
It received mixed reviews and placed in several international record charts, including the United States Billboard Dance/Electronic Albums chart, where it peaked at number one.
Background
[edit]Computer Controlled Acoustic Instruments pt.2 features acoustic sounds such as prepared piano, drums, and wood and metal percussion, controlled electronically.[3] James considers it the successor to his 2001 album Drukqs:
Part 1 is Drukqs, as that was the first thing I released that utilised computer controlled instruments, namely a modified Yamaha Disklavier, 2nd gen and a couple of midi controlled solenoid based drum mechanisms I made just after I got the Disklavier.[4]
The EP extends the ideas of its predecessor, according to Mark Richardson of Pitchfork, who noted that "where James used to offer his electro-acoustic pieces as a showcase for lyrical melodies, about half the music here consists of crisply arranged beats, with loping drum lines that occasionally veer toward funk".[3] Much of the album features breakbeat backing.[1] Exclaim! stated that most tracks "fall under the label of avant-garde jazz — some of it experimental and way out there — while other parts are coherent enough to sneak into the darker corners of Ninja Tune's back catalogue."[2]
Release
[edit]Computer Controlled Acoustic Instruments pt2 was announced for release on 9 January 2015 on Warp's official website.[5] The track listing, worldwide release date and a list of available release formats were published on Bleep.com alongside pre-orders of the EP. Released worldwide on 23 January, Computer Controlled Acoustic Instruments pt2 was made available as a 12-inch record pressed on 140-gram vinyl, a Digipak CD and a digital download in various digital formats, including MP3, WAV and FLAC.[6] An alternative mix of the EP's opening track—"Diskhat ALL Prepared1mixed [snr2mix]"—was made available for stream and MP3 download on Richard D James' official SoundCloud account a day prior.[7]
In Japan, Computer Controlled Acoustic Instruments pt2 was released on Beat Records and sold 3,627 physical copies in its first week of release.[8][9] The EP was particularly successful on the independent charts in Ireland and the United Kingdom; it peaked at number 8 on both the Irish Independent Albums Chart and the UK Independent Albums Chart,[10][11] as well as entering at number 7 on the UK Official Record Store Albums Chart,[12] where it peaked at number 4 in its third week of release.[13] Computer Controlled Acoustic Instruments pt2 placed in three separate Billboard charts in the US. It fared well on the Dance/Electronic Albums chart, entering at number 4 in its first week of release and peaking at number 1 the following week;[14] the EP also entered the Tastemakers Albums chart at number 24 and placed at number 10 in its second week.[15]
Reception
[edit]| Aggregate scores | |
|---|---|
| Source | Rating |
| Metacritic | 64/100[16] |
| Review scores | |
| Source | Rating |
| AllMusic |   [17] |
| Clash | 7/10[18] |
| Drowned in Sound | 8/10[19] |
| Exclaim! | 6/10[2] |
| Fact |   [20] |
| The Guardian | [1] |
| NME | 6/10[21] |
| Pitchfork | 8.3/10[3] |
| Resident Advisor | 3.3/5[22] |
| Spin | 7/10[23] |
At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, Computer Controlled Acoustic Instruments pt2 received an average score of 64, based on 17 reviews, indicating "generally favorable reviews".[16]
Felicity Martin of Clash called the EP "a difficult but enriching document [that is] compiled of often-jarring, disjointed instruments," noting the "really interesting part of this extended play—it's not about making the robots feel human, but feeling as though you're in the room with them, whirring about around you."[18] In his review for the NME Louis Pattison referred to the EP as "true, manufactured pop music" due to the instrumentation being "played not by human hands, but by signals zipping around circuit boards." He added that "as a challenge—to his audience, and to himself [...] it succeeds admirably.".[21] For Drowned in Sound, Benjamin Bland referred to the EP as "a welcome reminder of James's ability to utilise decidedly avant-garde ideas in a manner that, although acutely alien to our idea of musical normality, is nevertheless engaging and inspiring." Bland also regarded the EP as "highly listenable, no less so than Syro".[19] Pitchfork writer Mark Richardson praised the EP but called it "a release for established fans."[3]
Exclaim! writer Daryl Keating offered a mixed review, describing the EP as "the compositional scribblings of a sleepless man".[2] Resident Advisor's Jordan Rothlein's review described the EP as "a moody set that sounds a bit like either Tom Waits instrumentals, a gamelan ensemble going pop, or maybe just some bits from Syro played back at a fraction of their original speed." Rothelin added that "though there's a certain pleasure in listening to an artist figure things out, a full 28 minutes feels like overkill."[22] Writing for The Guardian, Ben Beaumont-Thomas was highly critical of the EP, saying that "if Syro was an inquisitive artificial intelligence ... then [this EP] is like the organic consciousness it was drawn from, its owner now tinkering with jigsaws in a retirement home."[1] AllMusic was almost entirely negative; reviewer Andy Kellman wrote that "nothing is particularly energizing ... the EP should be approached like a sequel—with low expectations."[17]
Track listing
[edit]All tracks are written by Richard D James.
| No. | Title | Length |
|---|---|---|
| 1. | "diskhat ALL prepared1mixed 13" | 5:22 |
| 2. | "snar2" | 0:20 |
| 3. | "diskhat1" | 2:26 |
| 4. | "piano un1 arpej" | 0:50 |
| 5. | "DISKPREPT4" | 1:53 |
| 6. | "hat 2b 2012b" | 1:25 |
| 7. | "disk aud1_12" | 0:10 |
| 8. | "0035 1-Audio" | 0:26 |
| 9. | "disk prep calrec2 barn dance [slo]" | 4:22 |
| 10. | "DISKPREPT1" | 3:30 |
| 11. | "diskhat2" | 0:38 |
| 12. | "piano un10 it happened" | 1:48 |
| 13. | "hat5c 0001 rec-4" | 4:46 |
| Total length: | 27:56 | |
The track length above is valid for CD, digital download and vinyl played on 33 rpm.
| No. | Title | Length |
|---|---|---|
| 14. | "diskhat ALL prepared1mixed [snr2mix]diskhat ALL prepared1bmixed [snr2mix],e,ru,+4" | 5:22 |
| 15. | "diskhat ALL [snr2mix] [fast],e,+3" | 4:52 |
| 16. | "DISKLVPRPT1 Equinox barn dance[fast]" | 2:20 |
| Total length: | 40:30 | |
Personnel
[edit]All personnel credits adapted from Computer Controlled Acoustic Instruments pt2's album notes.[24]
Performer
- Richard D James – keyboards, percussion, programming, production
Technical personnel
- Beau Thomas – mastering
Design personnel
- The Designers Republic (credited as "MITDR™") – design, cover art
- Atsushi Sasaki – liner notes (Japanese CD edition only)[25]
Chart positions
[edit]| Chart (2015) | Peak position |
|---|---|
| Belgian Albums Chart (Flanders)[26] | 80 |
| Belgian Albums Chart (Wallonia)[27] | 166 |
| Irish Albums Chart[28] | 32 |
| Irish Independent Albums Chart[10] | 8 |
| Japanese Albums Chart[9] | 24 |
| UK Albums Chart[29] | 36 |
| UK Independent Albums Chart[11] | 8 |
| UK Official Record Store Albums Chart[13] | 4 |
| US Billboard Dance/Electronic Albums[14] | 1 |
| US Billboard Independent Albums[30] | 24 |
| US Billboard Tastemaker Albums[15] | 10 |
Release history
[edit]| Region | Date | Format(s) | Label | Catalogue |
|---|---|---|---|---|
| Various[5] | 23 January 2015 | 12-inch, CD, digital download | Warp | WAP375 |
| Japan[8] | CD, digital download | Beat | BRE-50 |
References
[edit]- ^ a b c d Beaumont-Thomas, Ben (23 January 2015). "Aphex Twin – Computer Controlled Acoustic Instruments pt2 review: 'Sometimes unlistenably irritating' | Music". The Guardian. Retrieved 23 January 2015.
- ^ a b c d Keating, Daryl (23 January 2015). "Aphex Twin: Computer Controlled Acoustic Instruments Pt2". Exclaim!. Retrieved 25 January 2015.
- ^ a b c d Richardson, Mark (27 January 2015). "Aphex Twin: Computer Controlled Acoustic Instruments pt2 EP | Album Reviews". Pitchfork. Retrieved 27 January 2015.
- ^ aphextwin (February 2015). "Diskhat ALL Prepared1mixed [snr2mix]". SoundCloud. SoundCloud. Retrieved 14 April 2015.
- ^ a b "Aphex Twin / Computer Controlled Acoustic Instruments pt2 EP". Warp. 9 January 2015. Retrieved 9 January 2015.
- ^ "Aphex Twin – Computer Controlled Acoustic Instruments pt2 EP". Bleep.com. 9 January 2015. Retrieved 9 January 2015.
- ^ "Download a new Aphex Twin track, 'Diskhat ALL Prepared1mixed [snr2mix]' – Music News, New Music". Fact. 22 January 2015. Retrieved 22 January 2015.
- ^ a b "Warp Records / Aphex Twin – Computer Controlled Acoustic Instruments pt2 EP". Beatink (in Japanese). Archived from the original on 2 February 2015. Retrieved 2 February 2015.
- ^ a b "オリコン週間 CDアルバムランキング 2015年01月19日～2015年01月25日 21～30位" [Oricon Weekly CD Album Index: 19 January 2015–25 January 2015 – Places 21–30]. Oricon (in Japanese). Archived from the original on 1 February 2015. Retrieved 1 February 2015.
- ^ a b "Top 10 Independent Artist Albums, Week Ending 29 January 2015". Chart-Track. Archived from the original on 2 February 2015. Retrieved 30 January 2015.
- ^ a b "2015-01-31 Top 40 Independent Albums Archive". Official Charts Company. Retrieved 1 February 2015.
- ^ "2015-01-31 Top 40 Official Record Store Albums Archive". Official Charts Company. Retrieved 1 February 2015.
- ^ a b "2015-02-07 Top 40 Official Record Store Albums Archive". Official Charts Company. Retrieved 9 February 2015.
- ^ a b "Aphex Twin – Chart history: Dance/Electronic Albums". Billboard. Retrieved 21 August 2018.
- ^ a b "Aphex Twin – Chart history: Tastemaker Albums". Billboard. Retrieved 21 August 2018.
- ^ a b "Reviews for Computer Controlled Acoustic Instruments, Pt. 2 [EP] by Aphex Twin". Metacritic. Retrieved 6 February 2015.
- ^ a b Kellman, Andy (26 January 2015). "Computer Controlled Acoustic Instruments, Pt. 2 – Aphex Twin | Songs, Reviews, Credits, Awards". AllMusic. Retrieved 27 January 2015.
- ^ a b Martin, Felicity (26 January 2015). "Aphex Twin – Computer Controlled Acoustic Instruments Pt2 | Reviews". Clash. Retrieved 26 January 2015.
- ^ a b Bland, Benjamin (29 January 2015). "Ep Review: Aphex Twin – Computer Controlled Acoustic Instruments pt2 / Releases". Drowned in Sound. Archived from the original on 30 January 2015. Retrieved 30 January 2015.
- ^ Finlayson, Angus (3 February 2015). "Aphex Twin: Computer Controlled Acoustic Instruments Pt2". Fact. Retrieved 7 February 2015.
- ^ a b Pattison, Louis (23 January 2015). "Reviews – Aphex Twin – Computer Controlled Acoustic Instruments Pt 2". NME. Retrieved 23 January 2015.
- ^ a b Rothlein, Jordan (28 January 2015). "RA Reviews: Aphex Twin – Computer Controlled Acoustic Instruments pt2 EP on Warp Records (Single)". Resident Advisor. Retrieved 30 January 2015.
- ^ Weiss, Dan (3 February 2015). "Review: Aphex Twin Takes Us to His Toy Factory on 'Computer Controlled Acoustic Instruments Pt2' EP". Spin. Retrieved 5 February 2015.
- ^ Computer Controlled Acoustic Instruments pt2 (Liner notes). Aphex Twin. Warp. 2015. WAP375.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ Computer Controlled Acoustic Instruments pt2 (Liner notes). Aphex Twin. Beat Records. 2015. BRE-50.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ "Aphex Twin – Computer Controlled Acoustic Instruments Pt2" (in Dutch). Ultratop. Retrieved 30 January 2015.
- ^ "Aphex Twin – Computer Controlled Acoustic Instruments Pt2" (in French). Ultratop. Retrieved 30 January 2015.
- ^ "Top 100 Artist Albums, Week Ending 29 January 2015". Chart-Track. Archived from the original on 24 September 2015. Retrieved 30 January 2015.
- ^ "2015-01-31 Top 40 Official Albums Chart UK Archive". Official Charts Company. Retrieved 1 February 2015.
- ^ "Aphex Twin – Chart history: Independent Albums". Billboard. Retrieved 21 August 2018.
External links
[edit]- Computer Controlled Acoustic Instruments pt2 at Discogs (list of releases)
- Computer Controlled Acoustic Instruments pt2 at MusicBrainz (list of releases)
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| As The Tuss | |||||||||
| As Polygon Window | |||||||||
| As Bradley Strider | |||||||||
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| Related articles | |||||||||
Computer Controlled Acoustic Instruments pt2
View on Grokipediafrom Grokipedia
Computer Controlled Acoustic Instruments pt2 EP is an extended play by British electronic musician Aphex Twin, released on 23 January 2015 through Warp Records.[1] The EP features 13 tracks spanning about 28 minutes, showcasing acoustic sounds generated via computer control of instruments such as prepared pianos, percussion, and a Disklavier player piano.[2][3]
All music on the EP was written, produced, and performed by Richard D. James under his Aphex Twin moniker, incorporating his playing of percussion alongside MIDI controllers and computers to automate the acoustic elements.[2] The tracks blend crisp rhythms, detuned melodies, and experimental textures reminiscent of James's earlier acoustic explorations on albums like Drukqs (2001), but executed purely through mechanical means without electronic synthesis.[3] Notable pieces include "diskhat ALL prepared1mixed 13" (5:22) and "Disk Prep Calrec2 Barn Dance (S L O)" (4:22), which highlight the prepared piano's altered timbres and loping drum patterns.[2]
The release arrived shortly after Aphex Twin's 2014 album Syro, serving as a focused companion emphasizing his interest in automated acoustic performance.[3] It was issued in formats including CD, 12-inch vinyl, and digital download, with artwork designed by The Designers Republic.[2] Critics praised the EP for its innovative fusion of technology and traditional instrumentation, earning it designations like Pitchfork's "Best New Music" with an 8.3 rating.[3]
Background and Concept
Development History
The development of Computer Controlled Acoustic Instruments pt2 began as an extension of Richard D. James's longstanding fascination with automating acoustic instruments, which originated in the early 2000s during the sessions for his 2001 album Drukqs. James first experimented with computer-controlled pianos using a modified Yamaha Disklavier, recording tracks like "Avril 14th" in a former bank manager's office to capture unique reverberations from the wood-paneled space.[4] These initial tests marked his entry into electro-mechanical music production, blending electronic precision with organic instrumentation.[5] Conceived as a companion piece to Drukqs, the EP drew from unused material and ongoing experiments in acoustic automation, positioning Drukqs retrospectively as "part 1" due to its pioneering use of MIDI-controlled devices.[6] James's interest in robotic instruments evolved from these early efforts, incorporating elements like prepared pianos and automated percussion that echoed the textural contrasts of his 2001 work.[3] The 2014 release of Syro, James's first major Aphex Twin album in over a decade, provided momentum to revisit these acoustic control themes, leading to the rapid production and announcement of the EP.[7] On January 9, 2015, James revealed the project via a post on his Twitter account, accompanied by details on Warp Records' website, confirming a January 23 release date for the 13-track EP.[8][9] This surprise follow-up capitalized on Syro's critical acclaim, allowing James to explore refined iterations of his robotic instrumentation concepts.[10]Instrumentation and Technology
The production of Computer Controlled Acoustic Instruments pt2 centers on a modified Yamaha Disklavier grand piano, a second-generation MIDI-enabled player piano that permits computer-driven control over key strikes, velocity, and sustain pedal operation for highly precise and repeatable performances.[6] This setup facilitates prepared piano techniques, where objects are inserted among the strings or on the soundboard to generate dissonant, metallic, and percussive timbres, evoking the experimental aesthetics first explored in James's earlier work on Drukqs.[3] The Disklavier's optical sensors also capture acoustic output for real-time feedback, allowing synchronization with digital sequencing to produce layered, evolving textures.[11] Complementing the piano are custom MIDI-controlled percussion mechanisms, including solenoid-driven robotic systems designed to replicate electronic rhythms on acoustic drums. Notable among these is the Snar_2, a Ludwig snare drum automated by 13 independent beaters that strike the membrane from within, controlled via standard MIDI protocols to achieve variable dynamics and timbral shifts for glitch-like patterns.[12] James also employed the HAT (Hit Any Thing) robot, featuring heavy-duty solenoids for striking larger percussion such as bass drums and cymbals, enabling rapid, quantized rhythms that mimic drum machine precision while retaining organic resonance.[13] These devices, built in collaboration with the Logos Foundation, extend acoustic percussion into automated domains, producing unpredictable interactions between mechanical action and instrument vibration.[12] Additional acoustic elements incorporate modified string and harp-like instruments interfaced through software for automated plucking and bowing simulations. MIDI-controlled pipe organs, sourced affordably and retrofitted for digital triggering, add sustained, harmonic drones akin to detuned strings, integrated via custom interfaces to blend with the core ensemble.[11] Richard D. James developed bespoke software to orchestrate these components, synchronizing MIDI signals with acoustic feedback loops in environments like SuperCollider, which facilitates real-time processing for glitchy, emergent timbres through algorithmic variations in timing and intensity.[14] This integration highlights innovations in hybrid automation, where digital precision unlocks the inherent unpredictability of acoustic materials.[15]Production
Composition Process
The composition process for Computer Controlled Acoustic Instruments pt2 centered on iterative experimentation with looping acoustic phrases, designed to replicate Richard D. James's signature intelligent dance music (IDM) patterns while emphasizing dissonance and minimalism. James programmed electro-mechanical instruments, such as the Disklavier piano, to generate these loops, prioritizing the unpredictable physical interactions of acoustic elements over synthesized sounds for greater sonic depth.[5] This method involved repeated trials to capture subtle variations in timing and timbre, creating fragmented, atonal motifs that evoke tension without resolution.[3] James developed 13 core tracks alongside three bonus pieces, structuring them as short, fragmented compositions averaging around two minutes in length to maintain a sense of brevity and ephemerality. These pieces emerged from an intuitive workflow, where James rearranged studio setups multiple times during creation, allowing ideas to evolve organically across sessions spanning several years.[5] The result was a collection of concise vignettes that prioritize rhythmic interplay and sparse arrangements over extended development.[7] James's layering technique started with raw acoustic recordings from the controlled instruments, followed by subtle electronic processing to craft hybrid textures that retained acoustic authenticity while introducing digital nuance. Techniques like re-amping—routing sounds through speakers or amplifiers and recapturing them—added spatial depth and harmonic overtones, bridging the mechanical and the electronic without overpowering the source material.[5] This process ensured the final arrangements balanced clarity and intricacy, underscoring James's preference for real-world acoustics enhanced rather than replaced by technology.[7]Recording Techniques
The recording sessions for Computer Controlled Acoustic Instruments pt2 took place at Richard D. James's home studio in Cornwall, UK, spanning from 2014 to early 2015, where high-fidelity microphones were used to faithfully capture the acoustic nuances of the robotic performances.[5] These sessions focused on electro-mechanical instruments such as MIDI-controlled pipe organs, a Disklavier piano, and percussion robots, emphasizing the natural resonance and "something in the air" produced by physical sound sources over digital samples.[5] Synchronization posed significant challenges due to the mechanical nature of the robotic instruments, especially in preventing latency during percussive elements that required tight timing. James addressed this by employing real-time MIDI feedback loops, which enabled precise control and calibration of solenoid timing and velocity to ensure stability across takes.[5] This approach mitigated issues like mechanical instability, allowing the automated systems to perform complex, multi-instrument pieces without audible delays.[5] In post-recording editing, effects were applied minimally to preserve the inherent acoustic purity of the captures, with light compression introduced solely for dynamic range control and overall cohesion.[3] The final standard edition clocks in at a total runtime of 27:56, while the extended version incorporating bonus tracks reaches 40:30, achieved via careful trimming of improvisational elements generated during the automated sessions.[2]Release and Promotion
Announcement and Formats
The EP Computer Controlled Acoustic Instruments pt2 was officially announced on January 9, 2015, as a surprise release from Aphex Twin, with digital pre-orders becoming available that day through Warp Records' platforms, including Bandcamp.[7] The announcement included artwork featuring a blurred image of a prepared piano and confirmed a global release date of January 23, 2015.[16] It was issued in multiple physical and digital formats to accommodate various listener preferences. The standard physical editions comprised a 12-inch 140-gram vinyl LP pressed in black vinyl with a spined sleeve, and a CD packaged in a six-panel Digipak with a promotional sticker.[1] Digital downloads were offered in high-resolution formats such as MP3 at 320 kbps, 24-bit WAV, and FLAC, often bundled with physical purchases for immediate access.[17] A region-specific Japanese edition was distributed by Beat Records, featuring a limited-edition CD in Digipak format with exclusive liner notes written by Atsushi Sasaki, providing context on the EP's acoustic instrumentation themes tailored for local audiences.[18] This version maintained the core 13-track lineup but included Japanese packaging elements like an obi strip on select pressings.[2]Marketing Strategies
Warp Records and Aphex Twin employed a low-key yet effective digital-first approach to promote Computer Controlled Acoustic Instruments pt2, leveraging social media to announce the surprise release and drive immediate pre-orders. On January 9, 2015, Richard D. James shared the EP's cover art and details via his official Twitter account, directing fans to Warp's online store for purchases and underscoring the "pt2" designation as a nod to the computer-controlled acoustic piano experiments featured on his 2001 album Drukqs.[19][8] This succinct tweet generated significant online buzz among fans still energized from the 2014 Syro campaign, positioning the EP as an extension of James's ongoing exploration of mechanized acoustic sounds.[7] To foster exclusivity and collector interest, the promotion highlighted limited physical formats, including a 500-copy run of 12-inch vinyl pressed exclusively for Bleep.com at £22.99. This scarcity tactic proved successful, with the edition selling out rapidly upon announcement, appealing to dedicated listeners seeking tangible artifacts of James's experimental output.[7] The strategy built on the momentum from Aphex Twin's 2014 Syro tour, where live sets had reintroduced audiences to his intricate electronic textures, priming them for the EP's acoustic-focused innovations without direct previews.[8] Although no official teaser videos were released prior to launch, the EP's full tracks became available for streaming on Warp's site on the release date of January 23, 2015, allowing fans to experience the robotic piano and prepared instrument demonstrations digitally and share snippets organically on platforms like YouTube.[20] This direct-to-consumer model, combined with the EP's January 23 release date, emphasized accessibility while maintaining an aura of spontaneity consistent with James's enigmatic persona.[8]Musical Content
Style and Influences
Computer Controlled Acoustic Instruments pt2 blends avant-garde jazz elements with intelligent dance music (IDM), characterized by sparse piano motifs and glitchy acoustic percussion that evoke a sense of mechanical improvisation.[3][21] The EP's sonic palette features de-tuned melodies, prepared piano dissonances, and loping drum patterns played by robotic instruments, creating an uncanny fusion of organic timbres and precise digital control.[3] This approach draws from experimental traditions, with connections to gamelan music and kinetic film scores, as well as musical automata like Pierre Bastien's Meccano orchestra.[3][21] The release marks a departure from the denser, synth-driven electronics of Syro (2014), shifting toward purer acoustic experimentation that emphasizes eerie, mechanical minimalism over layered algorithmic textures.[15][3] Tracks unfold with brevity and restraint, prioritizing the tactile vibrations of physical instruments like the Disklavier piano and MIDI-controlled percussion over the "crisp pulses and algorithmic wiggles" of prior works.[15] This evolution positions pt2 as a spiritual sequel to Drukqs (2001), extending its acoustic explorations—particularly the prepared piano pieces—into a more automated, robot-orchestrated domain while retaining Richard D. James's signature sense of playful disorientation.[3][21]Track Listing
The standard edition of Computer Controlled Acoustic Instruments pt2 features 13 tracks with a total duration of 27:52. All tracks were written and produced by Richard D. James under the pseudonym Aphex Twin.[22]| No. | Title | Duration |
|---|---|---|
| 1 | diskhat ALL prepared1mixed 13 | 5:22 |
| 2 | snar2 | 0:19 |
| 3 | diskhat1 | 2:26 |
| 4 | piano un1 arpej | 0:50 |
| 5 | DISKPREPT4 | 1:52 |
| 6 | hat 2b 2012b | 1:25 |
| 7 | disk aud1_12 | 0:08 |
| 8 | 0035 1-Audio | 0:26 |
| 9 | disk prep calrec2 barn dance [ s l o ] | 4:22 |
| 10 | DISKPREPT1 | 3:29 |
| 11 | diskhat2 | 0:38 |
| 12 | piano un10 it happened | 1:48 |
| 13 | hat5c 0001 rec-4 | 4:46 |