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I'm still loving this album. I have only taken it out of my car CD player on two or three occasions since buying the album.
It's taken a while for me to appreciate the fact that the album is more of an "extended-release" high than a fast rush. Many reviewers have made a point of discussing how unlike “Windowlicker” and “Come to Daddy” and SAW2 it is, but the truth is that it's got a little bit of everything in it, and it almost plays out like one long, seamless track that kinda feels like “a brief history of...” all things Aphex Twin. An excellent strategy, considering the fact that the 18-25 demographic (which still makes up a hefty chunk of music buyers) were -- ahh, let's see-- between FIVE and TWELVE years old when Drukqs was released.
So it's a good way to rope in new fans, inspiring them into investigating RDJ's massive back catalogue. It's also a respectful dose of good old fashioned fan-service: SYRO may not feature any obvious “Windowlickeresque” anthem, it certainly captures a similar vibe in fleeting micro moments (the climax of “minipops...” is probably the most obvious example: hell, the chopped vocals sound like they could have been pulled right out of the "'licker" chorus.
The only element of Aphex Twin's legacy that's left out of SYRO is the grinding industrial drum-n-bass horror show of “Come to Daddy.” Thankfully no attempts were made to bring that particularly '90s sound back to life. I have nothing against "Come to Daddy" or
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