Exploring the experimental possibilities inherent in acid and ambience, the two major influences on home-listening techno during the late '80s, Richard D. James' recordings as Aphex Twin brought him more critical praise than any other electronic artist during the 1990s. Though his first major single, "Didgeridoo," was a piece of acid thrash designed to tire dancers during his DJ sets, ambient stylists and critics later took him under their wing for Selected Ambient Works 85-92, a sublime touchstone in the field of ambient techno. James' reaction to the exposure portrayed an artist unwilling to become either pigeonholed or categorizable. His second Aphex Twin album, Selected Ambient Works, Vol. 2, was so minimal as to be barely conscious -- in what appeared to be an elaborate joke on the electronic community. Follow-ups showed James gradually returning to his hardcore and acid roots, even while his stated desire to crash the British Top Ten (and perform on Top of the Pops) resulted in a series of cartoonish pop songs whose twisted genius was near-masked by their many absurdities. His iconoclastic behavior surprisingly aligned with MTV audiences turned on to end-of-the-millennium nihilist pop along the lines of Marilyn Manson and Nine Inch Nails.