Aphex Twin: Computer Controlled Acoustic Instruments pt2 EP

[MassfreeKid]

Sooooo....next EP/LP of richie full with aphex acid and dancey stuff?

 

*wets pants*

 

"Generelly, I think, I listen to old stuff more than to new stuff. At the moment I listen to lots of early 90’s Techno, I’m pretty obsessed with it. I really like that, because it’s so raw and basic not so complicated or detailed like my own tracks."

 

Source: http://www.groove.de/2014/12/25/25-questions-for-aphex-twin/

 

Are you planning on releasing more new music soon?

I'm in that mode now, so hopefully I'll stay in it for a while. I've got a few more things planned – at least a couple more albums, some EPs, things like that. Some more dance-y things I did about 10 years ago.

 

Source: http://www.rollingstone.com/music/features/aphex-twin-on-new-syro-lp-im-feeling-really-horny-about-it-and-very-smug-20140903?utm_source=dlvr.it&utm_medium=twitter

 

-

 

Might be coming sooner than we think. :)

[goDel]

[Guest Atom Dowry Firth]

I posted it on my facebook page for now if anyone wants to give it a try. Would love to hear what Wisp, Techdiff, Heorge Garrison, wAgAwAgA, Jodey Kendrick or Amen Warrior can do with these...

 

You know Heorge's identity?

[psn]

He's releasing the upcoming HG EP.

[khov]

 

Also, I think this may be the last we see of Richard's little piano ditties.

 

 

I imagine this to be the case as well.

 

He said he released syro as it was the end of an era for him, the end of that sound. I imagine this might be the same deal?

 

 

i dunno, from what i can observe, the people who have a piano at home, well they love it for life, you can get a bit bored with it at times, but you never really get rid of your piano (even if its played via computer) & iirc, there's a 2001 interview where aphex said he enjoyed playing the piano in the middle of the night. the acoustic sound of a piano seems pretty unique.

[awepittance]

KZSU stanford seems to be having a quasi Aphex marahton right now, started with Syro now on Computer Controlled Acoustic Instruments http://kzsu.stanford.edu/

 

I posted it on my facebook page for now if anyone wants to give it a try. Would love to hear what Wisp, Techdiff, Heorge Garrison, wAgAwAgA, Jodey Kendrick or Amen Warrior can do with these...

 

You know Heorge's identity?

 

in theory yeah, but i still feel like i'm being played somehow, lol but i love the music so to me it doesn't really matter who it is.

He's releasing the upcoming HG EP.

true

[modey]

 

 

 

 

Also, I think this may be the last we see of Richard's little piano ditties.

 

I imagine this to be the case as well.

 

He said he released syro as it was the end of an era for him, the end of that sound. I imagine this might be the same deal?

i dunno, from what i can observe, the people who have a piano at home, well they love it for life, you can get a bit bored with it at times, but you never really get rid of your piano (even if its played via computer) & iirc, there's a 2001 interview where aphex said he enjoyed playing the piano in the middle of the night. the acoustic sound of a piano seems pretty unique.

Yeah. I really wish I had the space for a piano. I lived in a house with a digital piano once and even that was constantly interesting and a big source of inspiration.

[Guest bitroast]

yeppp. my dad had an upright .. used to love playing it and coming up with little melodies on it. if i had a piano + if i had a piano that you were able to write melodies for and have it play itself... copy and paste melodies and have it play on loop. shit. you would never get sick of that?? surely??

[Aphex_Squarepusher_Twin]

i don't understand you, you're told that they're not looped samples, but you're ignorant or you think a joke. You're told that it is experimental, but you prefer to put it in the head that it's electronic music like Drukqs LP... i'm convinced that there's no instrument in the name of Disklavier but a robot-piano or robot-prepared piano... Then say what you want, but you like to write well what you prefer to write ... Richard, for once, is serious with us. But you think it makes fun of you because he creates samples for us to create new tracks with that! But then why not sample does not last more than a minute ... Stop your delusions ... Otherwise, I'll rave like Bourbon Kid and it will hurt you very very...

 

 

 

 

 

 

 

EDIT : http://www.factmag.com/2014/09/04/these-are-the-robots-that-aphex-twin-has-in-his-studio/

[Boris de Vries]

Here is a HAT piece written by Godfries Raes:

http://www.logosfoundation.org/mp3/lpd019/study0.82a.mp3

and another one by Kristof Lauwers

http://www.logosfoundation.org/mp3/lpd019/study11.mp3

[Vaaler9]

 

 

 

 

haha talking to rich!

 

lol about a track of yours :-)?

 

Nah I wish! It was on a dubstep track that the kid who was hating on his accoustic track made haha

 

 

he's showing the hater some love haha

 

Haha. I love this. It's so ridiculous. Random kid making generic "dubstep" on soundcloud gets a comment from fucking Aphex Twin saying he likes it.

[fenton]

take some of the loops _with_ piano over the top and resample them. reckon the pitchshift will make them very quaintly jungle. like james brow's "you bad" sounds in old squarepusher etc.

 

 

will report back.

[Guest skytree]

Was honestly quite confused with this release after 3 listens. The obvious loops are so amateurly cut that they seem like a grinning "fuck you" to anyone listening even somewhat closely - they remove a sense of continuous space and fluid arrangement in the tracks, and honestly seem rather unnecessary given the concept of the EP, as do other clearly edited portions. Perhaps it's just a joke, but if so the punchline seems lost in translation.

There are also quite a few tracks with peaking throughout, which sounds frankly like the recordings were made too hot (similar to some of his early recordings). He obviously knows better, or simply prefers the distortion. For me it just renders those portions unlistenable, but I suppose I respect his appreciation for really grating dissonance and murkiness. Sounds only a mother could love but someone's got to...

Compositionally I can't help but notice a significant difference in complexity and emotiveness between these tracks and the interludes a long time ago on Drukqs. It feels like these were made first, not ten years later, and none feel very complete. So much more that he could have done with this concept that I'm quite surprised he and Warp decided to release it. The whole thing has left me scratching my head and wondering if this really is just a big joke?

I know this is probably a deeply unpopular opinion on here. He's welcome to do whatever the fuck he likes at this point. There are great bits here and there, and reading about how some of the machines were built made it worthwhile personally. Fascinating work in that regard and immense amounts of potential - just only see glimmers of that here and it would be great to see him or someone else do it better...soundwise I love the character of the prepared, handbuilt instruments vs. mechanical precision of the Red Bull machines that Squarepusher tried his hand at (and did quite well).

[apriorion]

Was honestly quite confused with this release after 3 listens. Not sure if I'll be playing it more than that. The obvious loops are so amateurly cut that they seem like a big "fuck you" to anyone listening - they remove a sense of continuous space and fluid arrangement in the tracks, and honestly seem rather unnecessary given the concept of the EP, as do other clearly edited portions. Perhaps it's just a joke, but if so the punchline seems lost in translation.

 

There are also quite a few tracks with peaking throughout, which sounds frankly like the recordings were made too hot (similar to some of his early recordings). I can't help but feel this are likewise a big "fuck you" to anyone listening, as he obviously knows better, or simply prefers the distortion. For me it just renders those portions unlistenable, but I suppose I respect his appreciation for really grating dissonance and murkiness. Sounds only a mother could love.

 

Also, compositionally I can't help but notice a significant difference in complexity and emotiveness between these tracks and the interludes a long time ago on Drukqs. It feels like these were made first, not ten years later, and none feel very complete. It feels like there's so much more that he could have done with this concept that I'm quite surprised he and Warp decided to release it. It seems quite baffling that this is the best set of tracks he's come up with using this format, esp. given the precedent already set.

 

I know this is probably a deeply unpopular opinion on here. He's welcome to do whatever the fuck he likes at this point. It just seems like the weakest point in his discography, which is odd after such a long hiatus. That said, reading about how some of the machines were built made it all worthwhile for me. Fascinating work in that regard and immense amounts of potential.

 

 

Why would it be a "fuck you" to anyone, if he simply prefers these things this way (a possibility you acknowledge)? I see people frequently throwing this interpretation of the psychological state of the producer when there isn't really a whole lot to base it on, imHo.

[apriorion]

Also, you're a musician and I'm not, so perhaps you could help me with a crucial part of your criticism: where do you hear the "obvious looping" or "amateurish looping" or whatever you're talking about? Could you specify specific points to me, with times and everything? I'd like to think more carefully about this criticism. I'm not saying you're wrong or rabidly giving knee-jerk defenses in response to your post. Rather, I genuinely would like to understand these points more. Thanks.

[Guest skytree]

Also, you're a musician and I'm not, so perhaps you could help me with a crucial part of your criticism: where do you hear the "obvious looping" or "amateurish looping" or whatever you're talking about? Could you specify specific points to me, with times and everything? I'd like to think more carefully about this criticism. I'm not saying you're wrong or rabidly giving knee-jerk defenses in response to your post. Rather, I genuinely would like to understand these points more. Thanks.

The drum loop on the second track is one. If he made it appear as if it was cut as a loop just using acoustic means, that'd be pretty genius, but the repetitions are so identical they seem to have just been cut and pasted, essentially. There's a little gap and transient from the cut at the end that's blatantly audible if you're familiar with the process, which is incidentally also very easy to smooth over.

 

 

Why would it be a "fuck you" to anyone, if he simply prefers these things this way (a possibility you acknowledge)? I see people frequently throwing this interpretation of the psychological state of the producer when there isn't really a whole lot to base it on, imHo.

 

Personally I think music released publicly is best used as a conversation, not as a monologue...this one's obviously just for Richard. He most definitely has the right, but that doesn't mean I want or need to listen. Watching how he interacts (or rather, doesn't) over the years has honestly taught me a great deal about how to do the exact opposite. I also can't think of any utility in releasing music that annoys. It's just a creative preference ultimately. Its his shtick and he owns it, so that's what matters.

[Audioblysk]

I still haven't heard it

[apriorion]

Thanks, Skytree. I've listened to that track closely after I first saw another person raising the same criticism, and I must say that I don't see how it's improbable that he could achieve that effect acoustically. More importantly, though, I don't hold a grudge against him if he prefers to use loops. I mean, lots of musicians use drum loops. So he effectively sampled one of his own machines to create a loop that he liked: why not? Should a project called "computer controlled acoustic instruments" entail that every track is played in real time for the duration of the track? I didn't have that assumption, myself.

 

Thanks again for the response.

[auxien]

Was honestly quite confused with this release after 3 listens. The obvious loops are so amateurly cut that they seem like a grinning "fuck you" to anyone listening even somewhat closely - they remove a sense of continuous space and fluid arrangement in the tracks, and honestly seem rather unnecessary given the concept of the EP, as do other clearly edited portions. Perhaps it's just a joke, but if so the punchline seems lost in translation.

 

There are also quite a few tracks with peaking throughout, which sounds frankly like the recordings were made too hot (similar to some of his early recordings). He obviously knows better, or simply prefers the distortion. For me it just renders those portions unlistenable, but I suppose I respect his appreciation for really grating dissonance and murkiness. Sounds only a mother could love but someone's got to...

 

Compositionally I can't help but notice a significant difference in complexity and emotiveness between these tracks and the interludes a long time ago on Drukqs. It feels like these were made first, not ten years later, and none feel very complete. So much more that he could have done with this concept that I'm quite surprised he and Warp decided to release it. The whole thing has left me scratching my head and wondering if this really is just a big joke?

 

I know this is probably a deeply unpopular opinion on here. He's welcome to do whatever the fuck he likes at this point. There are great bits here and there, and reading about how some of the machines were built made it worthwhile personally. Fascinating work in that regard and immense amounts of potential - just only see glimmers of that here and it would be great to see him or someone else do it better...soundwise I love the character of the prepared, handbuilt instruments vs. mechanical precision of the Red Bull machines that Squarepusher tried his hand at (and did quite well).

I've got no problem with anyone having any opinion as to what they enjoy or don't, and props for stating your opinion in a well-thought-out manner.

 

I noticed some of the loop cuts after repeated listens, but it certainly didn't take me out of the track. The odd layering and strange cuts surely could've been taken out, re-recorded so that they weren't they were continuous, etc. He obviously chose not to, I would guess because he likes them like that. I know that I've intentionally left mistakes in my music because I grew to like them after dozens of listens whilst writing, perhaps he did as well and grew to enjoy them, or couldn't be bothered to try and replicate the original recording conditions/etc.

 

I personally couldn't care less about the way it was recorded; sure, it's interesting, but even if anyone else had released this EP with no information whatsoever, I would've enjoyed it.

 

I do not agree at all with the amateur/"He's welcome to do whatever the fuck he likes at this point." stuff you mentioned. Anyone creating any kind of art is encouraged to do whatever the fuck they like at any point, imho, whether or not other musicians, or audio-techies, or just your average fool, takes issue with it. In my mind, breaking the rules is encouraged.

[AnalogueCreamPie]

Reading this thread is frustrating & entertaining in equal measures. Why anyone should have to justify their tastes & opinions when it comes to music is beyond me. It's the most subjective thing in the world. God forbid someone couldn't like an Aphex release! I've seen perfectly reasonable posts here with someone explaining that this new EP is not really to their taste, and occasionally they then try to explain why it's not really to their taste. The response? Anger, vitriol and a sincere desire to make these people stand up in the court of 'braindance' & explain themselves. Why? It's not disrespectful to dislike some of Aphex's material. He doesn't care. Aphex is one of my fave artists, and I probably like about 95% of the stuff he does. That's more than the percentage of stuff I like from my other fave artists which is usually around 80%. YOU ARE NOT GOING TO LIKE EVERYTHING EVERYONE DOES, EVEN IF MOST OF THE TIME YOU DO.

[apriorion]

To be clear, I'm NOT asking anyone around here to justify anything. I just like thinking about the things I like, and I enjoy hearing other people's explanations for their different perspectives. It helps me to think more deeply about the stuff I like. On the other hand, pure aesthetic relativists are as annoying as fuck, too, so you have that. That's just my humble opinion, which I should never have to justify to anyone.

[Amen Warrior]

Diskhat1 - my brain is so used to the massive Cuts got Flavour /Dominion break that comes in on the youtube vide, I was expecting it on the record

[auxien]

To be clear, I'm NOT asking anyone around here to justify anything. I just like thinking about the things I like, and I enjoy hearing other people's explanations for their different perspectives. It helps me to think more deeply about the stuff I like. On the other hand, pure aesthetic relativists are as annoying as fuck, too, so you have that. That's just my humble opinion, which I should never have to justify to anyone.

 

Agreed! It seems everyone's been having a nice discussion thus far.

 

Reading this thread is frustrating & entertaining in equal measures. Why anyone should have to justify their tastes & opinions when it comes to music is beyond me. It's the most subjective thing in the world. God forbid someone couldn't like an Aphex release! I've seen perfectly reasonable posts here with someone explaining that this new EP is not really to their taste, and occasionally they then try to explain why it's not really to their taste. The response? Anger, vitriol and a sincere desire to make these people stand up in the court of 'braindance' & explain themselves. Why? It's not disrespectful to dislike some of Aphex's material. He doesn't care. Aphex is one of my fave artists, and I probably like about 95% of the stuff he does. That's more than the percentage of stuff I like from my other fave artists which is usually around 80%. YOU ARE NOT GOING TO LIKE EVERYTHING EVERYONE DOES, EVEN IF MOST OF THE TIME YOU DO.

 

Dissent isn't being forced out. We're all just chatting...this is a forum, ya know. I only like maybe 50ish% of what RDJ does, honestly. So yeah.

[Ivan Ooze]

can't stop playing this wonderfull album

[Guest skytree]

It's not disrespectful to dislike some of Aphex's material. He doesn't care. Aphex is one of my fave artists, and I probably like about 95% of the stuff he does. That's more than the percentage of stuff I like from my other fave artists which is usually around 80%. YOU ARE NOT GOING TO LIKE EVERYTHING EVERYONE DOES, EVEN IF MOST OF THE TIME YOU DO.

Yep exactly. In the off chance that he reads this I'm sure he can take it - I have immense respect for the guy as a whole, and I suppose that's what I meant by "he can do whatever the fuck he wants". He's already earned that respect and secured an immutable place in electronic music history. For others starting off, doing something like this could cut a career short. He is in a rare position to pull something like this off.

 

 

I've got no problem with anyone having any opinion as to what they enjoy or don't, and props for stating your opinion in a well-thought-out manner.

I noticed some of the loop cuts after repeated listens, but it certainly didn't take me out of the track. The odd layering and strange cuts surely could've been taken out, re-recorded so that they weren't they were continuous, etc. He obviously chose not to, I would guess because he likes them like that. I know that I've intentionally left mistakes in my music because I grew to like them after dozens of listens whilst writing, perhaps he did as well and grew to enjoy them, or couldn't be bothered to try and replicate the original recording conditions/etc.

Cheers. I suppose they're just more noticeable to me since I spend all day editing stuff like this, so my ears are tuned in and get thrown off. Again, in the off chance that he mimicked this type of artifact mechanically or acoustically, my opinion would be totally different. Context can, for good or ill, be a huge factor in experimental art. It'd be interesting to know why he chose some of these elements, including the reversed audio bits and hot line levels, etc.