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That inescapable-for-48-hours Saturday Night Live spoof featuring Maroon 5’s Adam Levine and SNL’s Andy Samberg–the zzzz/overlong one about which some of you were griping we neglected to post in favor of Kanye’s self-mocking appearance–has been mercifully yoinked from the Web before we had a “Lazy Sunday” moment, thanks to Samberg using an ill-begotten sample from Aphex Twin.
Awesomely sad comment: “Who is Aphex Twin? They should be thanking SNL for the publicity.” I can understand TV Guide’s readership not necessarily checking for Surfing On Sine Waves, but has America really forgotten the “Come To Daddy” video already? This is why MTV needs to bring back AMP. Maybe they can squeeze it in after Subterranean.
SNL Digital Short Nixed Due to Music Clearance Snafu [TV Guide]
Well, since Timbaland is lifting a lot of IDM moves for his shtick, I’d say Aphex Twin’s influence is far bigger than just Andy Samberg right now.
a lot of Timbaland’s recent work sounds like MODs i downloaded in ‘95 or slowed down trance records that i hated in ‘98.
btw, kudos on “aphexboobies.jpg” probably the best file name i’ve seen in awhile.
shit, did i just give props for a file name?
*shuts computer down*
It’s just so sad, for a reason I can’t quite put my finger on. I mean, I haven’t listened to Aphex in years, but once upon a time, I thought Richard D. James made the planets revolve. With LSD.
In 96 it was I want your soul, in 2007 it’s I want you to clear all samples before I sue your ass.
I found it funnier than the Kanye bit, but I think it’s been established that my taste is compromised.
This reminds me of when Squarepusher said “NO” in an cryptic, introverted way when a BBC reporter told him that Outkast wanted to collaborate with him.
As for the Aphex case, I believe that it’s Crystaliis’s battle, not James’s.
I once heard a song from Selected Ambient Works, Vol. 2 payed during the closing credits of “The Sopranos”. It fit perfectly, actually.
You should have the Samburg link point to the “Rubber Johnny” short film.
[www.youtube.com]
That’s what happens to my soul when I hear Maroon 5. I would gladly nestle lovingly in Aphex boobies than have to see or hear that Levine douchbag ever again.
Richard has said on occasion that he constantly licenses music for commercials, though it’s never under his usual monikers. It was funny to hear that on Saturday night, but the first thought I had was “jeez, somebody else bought the marie antoinette soundtrack, too!”.
@rogerniner: Wow… it’s been, how many years? I STILL can’t watch that thing all the way through.
I mean, I can barely get 30 seconds in before my skin starts to pull away from my bones.
I heard Richard’s music in a Bank of America ad about 10 years ago. His songs also appeared in documentaries about the Weather Underground and Miss America.
The more I reflect on my years of Aphex-loving, the more I begin to wonder: does RDJ deliberately license music for ads (and occasionally try to create it, a la “Aphex Air”) as an attempt at detournment? Especially with his most recent releases being “26 Mixes for Cash” and the Analord series, both on completely opposite ends of the “music as a commodity” spectrum.
If so, we need to get him to hang out with Rockman Rock, ASAP. King Boy D can come along too, I guess.
I wonder if Aphex Twin (or Warp) paid Kate Bush before ganking the violin part from “Experiment IV” that provides the hook for his track “4″ on 1996’s “Richard D. James LP.”
@armchairdj: Going out on a limb, i’d say yes.
AFX FTW!