Their eye-popping designs burst out of Sheffield in 1986, making them the toast of the music scene. Founder Ian Anderson reveals why some fans think his art is worth remortgaging the house for

Forty years ago in Sheffield, Ian Anderson founded one of the most influential UK design companies by mistake. “The name the Designers Republic was a joke, because we weren’t designers,” he recalls. “Early on, everything we did was in black and white because we didn’t know how to make it colour.”

With co-founder Nick Phillips, The Designers Republic (TDR) quickly became synonymous with music, designing record covers, packaging, logos and campaigns for everyone from Aphex Twin to Autechre, Pulp to Nine Inch Nails. They worked on groundbreaking video games, such as Wipeout and Grand Theft Auto, collaborated with brand behemoths like Coca-Cola and Adidas, and their work is held in the MoMA and the V&A. There exist such obsessive collectors of their work that Anderson cites one person who remortaged his house twice to keep up with their output.

The mysterious Cornish electronic music pioneer has gained an extraordinary second life in the TikTok era. Writers and musicians explain why his glitchy slipperiness is so in tune with life today

QKThr, an obscure cut from Aphex Twin’s 2001 album, Drukqs, sounds like an ambient experiment recorded on a historic pirate ship. Shaky fingers caress the keys of an accordion to create an uncanny tone; clustered chords cry out, subdued but mighty, before scuttling back into dreamy nothingness.

This 88-second elegy has always been overshadowed by another song on Drukqs, the Disklavier instrumental Avril 14th, which alongside Windowlicker is the Cornish producer’s best-known track. But QKThr has become a weird breakaway success, featuring on nearly 8m TikTok posts, adorning everything from cute panda videos to lightly memed US presidential debates, and a fail video trend dubbed “subtle foreshadowing”.