Having lived with it for the weekend, there’s a few things about the new Aphex Twin that seem to be sticking with me. First listen, it felt like a pretty guileless return, bountifully melodic rather than perverse or abrasive, with hints of his mid-’00s pseudonym the Tuss. But frequent listens reveal deeper complexity: the shift into a cryptic minor-key around the one-minute mark, the oozing, mutating vocals that run throughout. Richard D. James has hinted the voices of his family crop up on SYRO: could that be him and his wife harmonizing around three minutes in? And is there anything to decipher from the closing part, which hints tantalizingly at speech, then melts away? Some critics have expressed disappointment this isn’t pushing things forward, but not me: Sounds like there’s a private world to explore here.