Windowlicker was released by Aphex Twin in 1999 through Warp Records, standing as one of Richard D. James's most recognizable and provocative short-form releases. Coming after the 1997 Come to Daddy EP, it continued his late-1990s pattern of using the single or EP format not simply to promote one track, but to present a compact world of warped rhythm, uncomfortable humor, technical precision, and unexpected beauty. The title track is the center of the release. Built from elastic beats, distorted vocal fragments, slippery funk-like movement, and sudden structural shifts, 'Windowlicker' plays like a mutated version of pop and R&B filtered through James's experimental electronic language. It is catchy, strange, and deliberately unstable, constantly pulling the listener between groove, parody, and digital sabotage. The track became one of Aphex Twin's most successful singles, reaching the UK Top 20 and later becoming one of Warp's most celebrated releases. The EP's other pieces widen its identity. The second track, commonly known as 'Formula' because of its long equation-like title, is more abstract and chaotic, pushing James's rhythmic and sonic manipulation further away from the title track's twisted accessibility. It also became famous among fans because a hidden image of Richard D. James's face can be revealed when part of the track is viewed as a spectrogram, turning the audio itself into a visual joke. 'Nannou' closes the release in a completely different mood, using delicate mechanical-box textures and soft melodic writing to show the gentler side of Aphex Twin's work. The visual presentation of Windowlicker was crucial to its impact. Chris Cunningham, who had already directed the video for 'Come to Daddy', created the artwork and directed the long-form music video. The video twisted the language of glossy late-1990s music television, especially luxury-car and R&B video imagery, into something grotesque and absurd, with Richard D. James's face digitally imposed onto dancers and models. The result became one of the most discussed electronic music videos of its era and was nominated for Best British Video at the Brit Awards. Windowlicker remains important because it captures Aphex Twin at a rare point where experimental electronic music, chart visibility, music-video culture, and underground weirdness all collided. It is not a full album, but it functions like a concentrated statement of James's late-1990s persona: mischievous, technically brilliant, unsettling, melodic, and unwilling to let pop culture remain comfortable.