Frederick Foxtrott

The Tuss
Confederation Trough
May 7th 2007
Rephlex Records

The Tuss- Rushup Edge Review
Frederick Foxtrott Battles the Tuss Cult
The Tuss- For Real Aphex Twin?

After lengthy discussion and little in the way of certitudes, we know that The Tuss is from England, is on Rephlex, and is very good. Plenty of people from We are the Music Makers, a site dedicated to acid electronica innovators like Richard D. James and Square Pusher, have their opinion as to who The Tuss actually is, and I have certainly had my thoughts on the matter. As I concluded in my article about The Tuss Cult, no matter who The Tuss is, the music deserves to be evaluated on its own merits, rather than some supposed or implied association with a master programmer.

The Confederation Trough EP was actually harder to get than I anticipated. I finally found a copy at Other Music in Manhattan. I noticed that they filed the EP under “Miscellaneous T” instead of Aphex Twin as they had earlier. I am not sure if this speaks to Other Music’s changed opinion on the matter, either way RDJ and Brian Tregaskin both be damned.

Confederation Trough is a great supplement to Rushup Edge, a Tuss LP also released in 2007, but it by no means matches it. Rushup Edge made many top 10 lists last year including Frederick Foxtrott’s with Rushup I Bank 12 serving as a perfect example of its greatness. There is nothing on Confederation Trough that is as smart or intense as what is offered on the LP follow up. The beats are danceable and quasi-accessible enough, but it is a softer, smoother collection more reminiscent of Aphex Twin’s earlier ambient work and his later Analord series.

Being that the collection is rather straight forward, it acts as a prelude to what would soon be released on Rushup Edge. As I mentioned, Confederation Trough is hard to find and can be a bit expensive, costing $10+ for three songs. Fredugolon 6, Alspacka, and Gxi Solo may seem too mundane for those out there who love brainy acid, but they are good tracks that will have an easy time finding their way on to your play list.

-FF

6/9

http://www.myspace.com/thetussofficial
http://www.rephlex.com

Also From The Tuss
Rushup Edge

Other Records as Other People
Aphex Twin
Selected Ambient Works 85-92 (1992)
Selected Ambient Works Volume II (1994)
I Care Because You Do (1995)
Richard D. James (1996)
Come to Daddy (1997)
Windowlicker (1999)
Drukqs (2001)
Analord 10 (2005)
Chosen Lords (2006)

As AFX
Analogue Bubblebath (1991)
Analogue Bubblebath 2 (1991)
Analogue Bubblebath 3 (1993)
Analogue Bubblebath 4 (1994)
Hangable Auto Bulb (1995)
Analogue Bubblebath 3.1 (1997)

As Polygon Window
Surfing on Sine Waves (1993)

Click for Review of Rushup Edge
***New “Official” Tuss Myspace Page began 1/29/08***
http://www.myspace.com/thetussofficial
Click for Review of Fluorescent Grey’s Gaseous Opal Orbs

I’ve never claimed to be a super-sleuth, although I suppose I believed I had gotten to the bottom of the whole Tuss mystery. The identity of The Tuss was fun to think about for a while, but over the last day or so I have decided it has become a bit too much for me. I never claimed to be an electronica expert and I’ll have you know that I am content to leave some things unknown. The identity of The Tuss has lost its mystery and appeal, not because the music is no good, but because the secret is being kept with an oddness that repels further investigation. I have decided that the intention of a hoax to mislead can be every bit as powerful as apparent facts are when trying to uncover the truth.

Frederick Foxtrott received a record for review by an artist named Fluorescent Grey, the name used by electronica producer Robbie Martin of Record Label Records. I was and still am very excited to review the disc. I had listened to some of Fluorescent Grey’s music and found it to be superbish. Others on the label were equally as talented. As I browsed through the album art I noticed something strange. Mr. Martin thanked a certain William Reid Dunn in the credits. Pausing to contemplate the moment of familiarity, I suddenly remembered that I knew this name. I remembered it from my research for the article The Tuss- For Real Aphex Twin? The “Band Member” section of Brian Tregaskin’s Myspace page lists Reid William Dunn and Robbie Martin as members of The Tuss. Clearly this Myspace page is a hoax and its dubious appearance begins a domino chain as one fact clicks and thuds onto the next, making the orchestrated nature of this whole fiasco just a bit more obvious.

When the name William Reid Dunn is Googled, the search reports an obscure page from Last*fm that reveals that W. R. Dunn uses the stage handle Wisp. On Myspace, this handle is used by an experimental electronica artist from Niagara Falls who calls himself Lord British. Listed among Wisp’s friends is none other than Fluorescent Grey, also known as Robbie Martin. At this point I became disillusioned at the prospect of ever knowing the truth. Little did I know I was only at the tip of a very large and disastrous iceberg. There are so many people who are involved in the hoax. How such a coordinated effort could go on unchecked is beyond me.

This Tussian cult has several Myspace pages associated with it. Some believe that the real Rephlex backed page is hidden among them. Others believe that they are all false. I am inclined to believe the latter prospect. I’ll examine a few pages claiming to be associated with The Tuss so that some of the dots can begin to be connected. It is worth noting that all these pages have or at one time had music on them. The tracks on the pages have a definite AFX/Tuss style and could be considered by some, including me, to be very good. So the individuals behind the faux websites are talented in more ways than one.

The Tuss Myspace Cult Pages

http://www.myspace.com/briantregaskin
http://www.myspace.com/briantrageskin
http://www.myspace.com/briantregaksin
http://www.myspace.com/karentregaskin
http://www.myspace.com/thetussmusic
http://www.myspace.com/cat189
http://www.myspace.com/patregaskin
http://www.myspace.com/thepussfuss

As mentioned earlier, the first page labeled “briantregaskin” lists Robbie Martin and Reid William Dunn as band members of The Tuss along with Richard D. James, and both Brian and Karen Tregaskin. Karen is listed as the writer and producer of the material on the actual CD titled Rushup Edge. In the “Friend” section of the page, Fluorescent Grey is listed as a top friend. In fact, he is the second friend listed in the section. In the “Influences” section, it lists Ghostbusters III as a favorite movie. Notably, Robbie Martin released a disc called Ghos Busters III in 2007 on Record Label Records.

While the “briantrageskin” page has been deleted, the “briantregaksin” page is still around. This is a mock Brian Tregaskin page with very good electronic-phonics. Humor seems to be a important aspect to The Tuss cult pages. Instead of Rushup Edge or Confederated Trough, this site lists the record names as Rushup Hedge, Pushup Egg, Mushup Reg, and Confederated Turf, with a song titled Deaf Fuck instead of Death Fuck. In a Q&A session threaded in his blog space, the hoaxter acknowledges having many Myspace pages with many aliases. His friends include both the original Tuss and Brian Tregaskin Myspace pages, both of which are clearly involved with Robbie Martin and W. R. Dunn.

“karentregaskin” is the URL for a beat layer Neil from Aurora Records. This is the first time we see another label other than Rephlex get involved. At this point it should be noted how many friends all these websites share. I would guess that these pages share a good 20% of their friend lists with one another. It is strange that the handle of this site is Neil, when it was clearly created as a hoax Karen Tregaskin page. While the artist on the page does not pretend to be Tregaskin, the pictures are of women and the comments left and accepted by the site’s host are often addressed to Karen or AFX. Neil is also friends with an artist named Brian Krapowski who is also on Aurora, both of whom are friends with Fluorescent Grey aka Robbie Martin of Record Label Records.

It goes on and on like this; loose connections waver in substantiality. Another Tuss music page, “thetussmusic,” makes a more concerted effort to convince the skeptic of its authenticity. The format is very similar to Rephlex’s home page. It is very minimal with a black background and neon green lettering. Although it is strange that Rephlex is a British label and yet its homepage ends in .com. On The Tuss Myspace page, there are no blogs with Q&A sessions or cutely rhymed song titles. In fact, authentic Rephlex labelmates like D’Arcangelo are top friends. This Tuss site is also friends with acid pioneer Mike Dred as well as Aurora Records, home to Neil, Brian Krapowski, and others.

Although this Tuss site has all the looks of a real Rephlex publication, the tracks on the site, while amazing, are not tracks released on any record by The Tuss. The presence of the electronica artist named FaultyDL from New York City also bothers me, as he appears on multiple websites involved with this hoax and he comments on Robbie Martin’s music page. The other Tuss website “cat189” is obviously referencing Rephlex Catalogue Number 189. This is the Rephlex catalog number for Rushup Edge. This Tuss music page is also friends with the likes of Rephlex labelmates D’Arcangelo, Aurora programmer Brian Krapowski, and notably with Mike Dred. It is perhaps the most authentic looking of the group, except the telling Q&A session in the blog space.

The Tregaskin family is represented by more than just Brian and Karen. Patskin or Pat has his own music page on Myspace listed as “patregaskin” in the URL. The good music and familiar friends are characteristic of the Tussian cult. This page really exemplifies the redundancy of the hoax. On the other hand, the music page “thepussfuss” is delightfully twisted. The Tuss becomes a play on words as a Cornish Tuss (cock) needs a Puss(y). Brian Tregaskin becomes Brian Treforeskin and song titles reflect the absurdity of the hoax of The Tuss’ identity. Of course the usual suspects are befriended by the parody. Found in The Puss’ friend pages are FaltyDL, who is regularly featured on other Tuss/ Tregaskin pages, Robbie Martin, alias Fluorescent Grey himself, and Wisp, also known as the beloved William Reid Dunn.

It is clear to me that all of these pages are a hoax. It does not surprise me to know that Robbie Martin is involved. Martin released a fake Autechre album in 2005 that he says was “spread so successfully that Sean Booth was asked about it in an interview.” He even sports a “PRANKOGRAPHY” section on his Myspace page where he recounts all his practical jokes. What is different with The Tuss as opposed to Autechre is that we have no one to question or confront. Only surrogates and Myspace pages presume to speak for the artists. The media hasn’t interviewed Brian or Karen Tregaskin to confirm or deny anything, and representatives from Rephlex aren’t making anything clearer. All they do is deny Richard D. James’ involvement in The Tuss, and then confirm that the Tregaskins are the real artists. If Robbie Martin and friends are the hoaxters then why doesn’t Rephlex dismiss them directly?

Brian Tregaskin was said to be discovered after an exhaustive talent search on Myspace, yet all the Myspace accounts for The Tuss and their affiliates seem to be fake. If The Tuss hoax is driven by people living in Santa Cruz California, Niagra Falls, and New York City then why doesn’t Rephlex have anything to say? After finding Dunn’s name in a CD that was sent to me because of Frederick Foxtrott’s Tuss coverage, I think that this should have been obvious all along. I am probably the last person to connect some of these dots. Like I said, I am not a super-sleuth.

But something strikes me as odd when very talented artists from Record Label Records and Aurora Records perpetuate a band into obscurity. The strangest part is that nearly all the tracks on all these false pages are excellent. Robbie Martin is excellent, so are the yahoos from Aurora, whose music page uses the same black/green format as The Tuss‘ and Rephlex’s home page. No matter the identity of The Tuss, I think that Rushup Edge was one of the best records released in 2007. Without a doubt it is one of the most intricate and smart electronic albums I have heard in quite a while.

I still have my convictions about the identity of The Tuss. I don’t think the Tregaskins exist, not as people anyway. Richard D. James released 41 tracks on Rephlex from the Analord series and a condensed CD called Chosen Lord on a label that he started in the early 90’s. He has released records under different names in the past and it seems as if he has done it again. The Tuss called their record Rushup Edge after a ridge in the Derbyshire Peak district in England. The highest point of Rushup Edge is Lord’s Seat. This fascination with the word Lord is not particular to AFX though. As mentioned before William Reid Dunn, also calls himself Lord British. Fluorescent Grey has a labelmate named Brian English, which reminds me of Brian Krapowski, and of course Brian Tregaskin. I suppose any number of things could be true. Robbie Martin gets off on hoaxes. I suppose I like to talk about them. But any investigation is meaningless when Rephlex and the band themselves do not see fit to substantively set the media straight. It is made meaningless when disinformation is spread so thick throughout the community of listeners that it is impossible to make sense of anything. No matter what facts are known, no order can be discerned. This was truly a marvelous experiment.

Rushup Edge is an album without an author.

It is a record without association or baggage.

I suppose Richard D. James would have it kept that way.

http://www.rephlex.com
http://www.lastfm.jp/music/Sk%C3%B8nflap
http://www.myspace.com/fgrey
http://www.myspace.com/wisp
http://www.myspace.com/aurorarecord
http://www.myspace.com/krapowski
http://www.myspace.com/mikedredacid
http://www.myspace.com/darcangelo2
http://www.myspace.com/brianenglishdotcom
http://www.myspace.com/faltydl
http://www.recordlabelrecords.org

I have recently returned from the Midwest, where I spent Christmas with my family and my wife. It was great to see old friends and how my home town has changed in the years that I have been away. My favorite bar has been by some accounts blacklisted by those who disapprove of new ownership, the intrusion of a malformed elevator shaft into the stage space, and a shift in demographics. Hip kids perceive the fraternity types to be taking over and thus have moved elsewhere. This xenophobia has been transliterated onto the music scene itself. I visited a new venue in Nebraska called Box Awesome. Immediately upon entering, I knew that this joint had collected the cool juice that had spilled over from downtown’s once great music venues. Everything from the art on the wall to the position and quality of the stage and the people circulating the room left the impression that Box Awesome was attached to a scene. It was a happening place that I could easily imagine running into on the Lower East Side or in Williamsburg.

To some the energy that is derived from such a venue is coveted. The covetous nature of what I saw that night is a microcosm of what seems to be happening in independent music. When I entered Box Awesome a band called UUVVWWZ was slated to play. I had recognized Jim, the main guitar player and writer from Mr. 1986, and was expecting a great show. As the band completed their sound check, the lead singer Teal began to hum and moan into the mic. What ensued captivated the audience and had the house moving. The music was nicely awkward with solid riffs punctuated by the jammy interplay between the bass and guitar. But I could not help but scoff at the shrieks of Teal Gardner. UUVVWWZ sounded as if Veruca Salt bitched and screamed until her father bought her a band. They incorporated some of the more vocal forward elements of Sleater Kinney and the more mundane aspects of Deer Hoof. She mostly failed to utilized her words or proffer her utterances as anything other than the whiny shenanigans of a preschooler. When Ms. Gardner sang with a more tender tone it was evident that the band had promise. Even when she screamed there was a raw vociferousness that was pleasurable. But the fact remains that most of the time, she just sounded like a girl whose shtick was to sing by singing badly. UUVVWWZ then came off as noise. This describes a major trend in independent music that has culminated in 2007.

The quest to become the oddest of the odd is not one taken by fools alone. There have been many great and glorious records to come out of such attempts. Others however fail with attention too often placed on what is possible, or what can be done, rather than any consideration of what effect or aesthetic the music might have when it is listened to. Importantly, a premium has been placed on what is disconnected. Caché is derived from the anti-structured expletives that valiantly discourage mainstream attention. The Fiery Furnaces had their try and stumble with Widow City in 2007, while Battles succeeded with Mirrored to produce interesting rhythmic weirdness. Perhaps Battles did well because of the lack of worded vocals. Either way, the critics of 2007 loved any attempt to reformulate the way we listen to music, giving praise to records that if critiqued at another time would be recognized as trite and be doomed to be forgotten. Noise can only be new a few times.

Animal Collective rose to the occasion and released a record with intense creativity when times were fertile for their brand of music. They were not lazy just because it would have been easy to crank out a crap record and still have gotten recognition because of their “pioneer” status. They took it upon themselves to step it up when more people would be looking, although Animal Collective member Panda Bear released what some have erroneously called the best record of 2007. This record was possibly the least important release of the year, but alas, he cloned The Beach Boys in a way that Band of Horses did not. Kudos for that, but I’ll probably never intentionally listen to Panda Bear’s Person Pinch again. This year has been a year in which the discombobulated has thrived and the straightforward has succumbed to the rise of distracted glitchy antitheses.

In 2007 Wilco played us simple songs uncovered and bare of what otherwise might have been expected from a band that pushes their songs to the textural limit of pop. Bright Eyes recorded Cassadaga, leaving Lincoln Nebraska’s former recording landmark Presto Studios for the wider scope of pan-America. Similarly Bright Eyes’ music ranged from intimate to epic, teeming with themes of isolation, alienation, and the large scope of the American experience. Beirut has given 2007 an expanded and improved collection of tracks that out perform much of their previous catalog, proving to us that Zach Condon will be around for a very long time.

This year has acquainted me with bands such as Pela who have written and recorded one of the most undervalued American rock albums of this decade. Other bands like The National and The Twilight Sad have altered indie rock’s accumulated stigma as poorly recorded cock rock. Groups molded into the archetypal formulas of Jet and The Strokes are getting less and less attention. On the unsigned front, Yes, I Attempt from Montréal have recorded a few tracks that should be getting noticed any time now. Once they book shows, I know it will only be a matter of time. Immovable Objects and The Depreciation Guild have put together two very beautiful and encouraging records. They are delicate, tender, and dense. I am very curious to read what other critics make of these acts as they achieve greater prominence.

This year I have sat in disbelief at critical reactions to many albums. I have a place reserved in my heart for Rilo Kiley, but another release like Under the Blacklight will most certainly jeopardize the charge of my opinion. I almost mistook Spoon’s Ga Ga Ga Ga Ga for an Oasis record…and that is a bad thing. Stars have been noted for their retro nuanced pop, but they come off sounding like pretentious hacks, who are too self infatuated that they have over looked the fact that they are perhapes the most derivitive band I have heard in a while (Sorry Amy Millan, I’ll always love you). Another much loved artist to make new songs from dated styles is Jens Lekman, who is touted as the ultra euro-romantic. While he is by no means awful, Lekman’s mannerisms never quite have the pop appeal of Belle and Sebastian or the sassy nature of Morrissey, yet he tries to fuse the two into a seamless product. When I listen to him, I am reminded of what he is not, rather than what he has to offer. I know…too bad for me.

The internet has seen a few antics this year. The identity of The Tuss has fueled more controversy with people who usually wouldn’t care. Radiohead released an amazing record and distributed it themselves via the internet for a price to be named by the buyer. They caused a false scandal when it was discovered that In Rainbows would be initially downloadable at only160kbs. Idiots finally found Radiohead’s flaw… they are money grubbing leaches… hmmm. Au Revoir Simone has risen from a relatively little known band to an internet sensation. Based on the amount of internet buzz I expect these ladies to do well in the coming year. While I did not give them the most stellar review, after listening to Under the Blacklight, I am convinced that The Bird of Music has done more musically in 2007 than Rilo Kiley ever dreamed of or cared to try. In fact Rilo Kiley loaned everything cool about themselves to the Brooklyn trio.

After much consideration I have decided to include a Frederick Foxtrott Top 10. It is flawed and conflicted but it covers a good portion of what 2007 had to offer.

Top 10 of 2007
1 Iron & Wine- The Shepherd’s Dog
2 Radiohead- In Rainbows
3 Múm- Go Go Spread the Poison Ivy
4 Pela- Anytown Graffiti
5 Bright Eyes- Cassadaga
6 The National- Boxer
7 Band of Horses- Cease to Begin
8 Wilco- Sky, Blue Sky
9 Modest Mouse- We Were Dead Before the Ship Even Sank
10 The Tuss- Rushup Edge

*Elliot Smith’s New Moon and Sigur Rós’s Hvarf/Heim are respectfully excluded from consideration.

I am looking forward to 2008. It will be the year that Eagle Seagull tours across the nation with their new record, finding their name on many a critic’s top 10 list. Head of Femur will take this year to watch their hard work pay off with their new release Great Plains. Born Ruffians and Stardeath and White Dwarfs will release their debut LPs to audiences eagerly awaiting full lengths. Born Ruffians will be one of the best bands to hit the shelves in 2008 and if Stardeath’s shows are any indication of their abilities in the studio then I am afraid to hear how good they’ll sound next year. As Paper Garden increases its roster of notable artists, both past and present, they continue to impress me with their sensibilities and nose for great music. Peasant will no doubt have huge success in the coming year. Thanks for reading Frederick Foxtrott and we hope to make next year’s reviews more abundant and informative. While from my perspective 2007 was not a great year for independent music, I predict that 2008 will be an exceptional year, serving to define a most crucial time for the independent industry.

Bands Mentioned
Click to access more information

Animal Collective
Au Revoir Simone
Band of Horses
Battles
Beirut
Born Ruffians
Bright Eyes
The Depreciation Guild
Eagle Seagull
Elliot Smith
The Fiery Furnaces
Head of Femur
Immovable Objects
Jens Lekman
Modest Mouse
Múm
The National
Panda Bear
Peasant
Pela
Radiohead
Rilo Kiley
Sigur Rós
Spoon
Stardeath and White Dwarfs
Stars
The Tuss
The Twilight Sad
UUVVWWZ
Wilco
Yes, I Attempt

The Tuss
Rushup Edge
June 25th 2007
Rephlex Records

The Tuss- Confederation Trough EP Review

Every shop I have toured that actually stocks this disc does so in the Aphex Twin section. So in some ways I feel validated about what I believe to have been a rather obvious assertion that The Tuss is Richard D James, although there are certainly differences between Rushup Edge and previous releases. Particularly, Rushup Edge seems more suited for the mainstream dance floor. Rushup I Bank 12 best exemplifies this with urban beats programmed through an analog keyboard. The snare snap and handclaps from Sythacon 9 are very reminiscent of the talent show finale as performed by the Revenge of the Nerds crew.

As the album begins, there is a definite attempt to mask some of the more blatant Aphex attributes. However, as it progresses Richard D James betrays himself- signature Aphex Twin modulations become more explicit. Death Fuck borrows heavily from or was conceived in the same creative moment as Bucephalus Bouncing Ball from the Come to Daddy EP. The album itself leads the listener back to Aphex Twin. So with the mystery discarded, The Tuss can be reviewed in context.

As a whole Rushup Edge has a gritty-retro aesthetic. Rather than a modern speculation about what futuristic music might be, Rushup Edge sounds like a replication of what movie scorers from the mid-eighties might have thought music of the future would sound like. I am shuttled back to Double Dragon or Jean-Claude’s Double Impact. But I am done so with the master sequencing of Richard D James. His ability to program chaotic chains of snaps and pauses, drill beats and ethereal synth melodies, is unmatched and unique. It is Richard D James’ individuality that makes even his rare missteps enjoyable, absorbable, and listenable.

Oddly enough, it is with The Tuss that he credits not himself, but a group of people for the sounds engineered. Make no mistake, the official line for The Tuss does not suggest that James is the primary music maker and that the rest of the crew play an auxiliary role. Brian and Karen Tregaskin are the official beat layers. They are the success story of Rephlex records. They are a hoax.

If you enjoyed Come to Daddy and Drukqs, then Rushup Edge will be a welcome addition to your menagerie. Fracturing credit for this high energy effort does not diminish its individuality or tear asunder its uniqueness. Simply put, Richard D James has made an artful, quirky, and well timed record that constructs a distinct environment for the listener. The Tuss comes to market with accessibility and originality.

The dubious nature of the as of yet unseen band, begs the question of why this role playing was done in the first place? I was, and to an extent still am, excited about the buzz surrounding the identity of The Tuss, but with other internet hoaxes designed to increase interest in music of other bands popping up, I feel a little bored. All the same, I am bugging to get the Confederation Trough EP.

I think it is interesting that the last two Aphex Twin records were released as Analord and Chosen Lords and that Aphex’s next release would be under the pseudonym The Tuss, which produced an album called Rushup Edge, named after a ridge in the Derbyshire Peak district in England. The highest point of Rushup Edge is Lord’s Seat.

7/9

http://www.myspace.com/thetussofficial
http://www.myspace.com/thetussmusic

Also From The Tuss
Confederation Trough EP

Other Records as Other People
Aphex Twin
Selected Ambient Works 85-92 (1992)
Selected Ambient Works Volume II (1994)
I Care Because You Do (1995)
Richard D. James (1996)
Come to Daddy (1997)
Windowlicker (1999)
Drukqs (2001)
Analord 10 (2005)
Chosen Lords (2006)

As AFX
Analogue Bubblebath (1991)
Analogue Bubblebath 2 (1991)
Analogue Bubblebath 3 (1993)
Analogue Bubblebath 4 (1994)
Hangable Auto Bulb (1995)
Analogue Bubblebath 3.1 (1997)

As Polygon Window
Surfing on Sine Waves (1993)

The Tuss- Rushup Edge Album Review
The Tuss- Confederation Trough EP Review
Frederick Foxtrott Battles The Tuss Cult

The Tuss
2007
Rephlex

Are bloggers across the country on to something? Somewhat of a mystery has developed concerning the true identity of the Acid Techno group The Tuss. On MySpace there are two different music profiles both of which contain music that could be said to be Richard D James, the reclusive genius behind Aphex Twin and many other pseudonyms. The question being, are The Tuss, Brian Tregaskin, and Karen Tregaskin simply more pseudonyms to list after Aphex Twin. Some might think that RDJ has returned from the dead after a retreat from the public sphere. His Drukqs album recieved mixed reviews some pop-critics saying it was convoluted and flat.

“Much of “Drukqs” sounds like two different albums competing and thus canceling each other out…. An ambitious but ultimately failed experiment.”- Billboard

“The resulting cavalcade of “decent bits” seldom leaves an imprint in your memory, let alone your heart.” -Spin

“Represents a giant leap backwards.”- Mojo

“His most irrelevant album to date: a double CD, thirty-track compendium of indecipherable song titles, gratuitously weird sounds and occasional wisps of ersatz classical piano that are aimlessly pretty.”- Rolling Stone

Is The Tuss RDJ’s attempt to answer whether, after Drukqs, the public will judge him on the content of his work rather than the expectation of his name? To be fair on Brian Tregaskin’s MySpace page he lists, first even, Richard D James as a band member among others (Richard D James, Robbie Martin, Mike Podolak, Brian Tregaskin, Reid William Dunn, Karen Tregaskin).

Certainly, however, there are those who simply say that The Tuss is a new brother-sister act out of Cornwall England, and that RDJ’s only association is that he owns the record label Rephlex. TheTuss’ online offerings are great and I can’t wait to own the record, never mind who is behind it. But I am intrigued as I am sure others are. It is just too Aphex not to be Aphex. I greatly encourage feedback, thoughts, comments, insights, and more information on this topic. While it really isn’t all that important, it is kinda cool to think about. Is there a mad genius holed-up in England somewhere releasing music under other peoples names?

Again, please comment on this article.

http://www.myspace.com/thetussofficial
http://www.myspace.com/thetussmusic
The Tuss- Rushup Edge Album Review
The Tuss- Confederation Trough EP Review

Related Sounds
Aphex Twin
AFX
Etc…etc…etc