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Amen Lare

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About Amen Lare

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  1. Too late, they've already decided to pander to these horrible people, source: private chat
  2. Amen Lare

    AE_LIVE

    Well, you spit facts, can't deny you dat, aside from the "guy" part. Got no evidence boi I'm liberal left tho according to da tests, don't bomb me if you from Belgian ISIS cell, my caricatures are Western only, Allahu Akbar
  3. Amen Lare

    AE_LIVE

    https://theartsdesk.com/new-music/autechre-royal-festival-hall this1? why even mention skin colour. i legit dont understand that. i was at that one, skin colours pir l-event... just wtf It was painful to read, dude's a proper trendy "leftist" bitch. Though it seems almost homogenous now, i opened the Wire Rewind 2018 issue and it was all over the place.
  4. I asked Chris about the label Mesk Records that was supposed to release it (it was "7 years ago", no specific date shown in soundcloud), he replied with this Amhain hey man, Oh the mesk thing is a nonstop,nothing happening drama pit. I am not involved any longer with this guy. He is a friend and all, but he will not get it together. I tried and helped. He also has an autechre remix they did of one of my tracks from the seimlste album. For which he has had for ..umm.. 5 years now. He was also talking about a collab between i and conrad schnitzler. (Which you probably know is impossible now) for about the same time. I already am as frustrated with the treatment and run abouts my work gets. So it is healthier to have nothing to do with that label or guy in business etc. Though later - some years ago - i recall Chris wrote about plans to release it on his facebook page
  5. Met him once during Geometry of Now event he curated in Moscow (Feb 2017). It was actually quite a funny story, daughter of officially the richest man in Russia, Victoria Michelson, happened to walk into Fell and Luke Fowler's installation at the Barbican Center and decided to offer him the chance to treat this disintegrated pre-Soviet water-power plant recently bought by her father for future art center purposes. He invited a lot of his friends and favourites for sound installations, workshops, talks and live gigs, of course. You can check the line-up for names, some artists couldn't come, i guess, at least i know that he also invited the 'chre, but it was against their schedule (no tour at the time). He even brought some of his favourite printed texts for library section (just a large table with A4 prints of research articles and occasional books on philosophy and shit). Mat Steele was there, too, i forgot his exact role, but he was the main technical/sound producer of sorts. I saw Mark participating in the last talk (on curating contemporary sound art and music) and decided to greet him in person. But i didn't know what to say, so i kinda stood there trying to come up with anything and finally decided to go the idiot fanboy route by asking about his kids. I already deducted that Rian Treanor was his son (i was the one who shared the evidence with WATMM and started the rumour, if you recall), so i asked for his superfluous confirmation (he just gave a nod) and then asked about his daughter, whose track he played in the Headphone Highlights podcast, she also narrated his Composing with process series on radio web MACBA. So yeah, i'm there asking him about the track, he was ready to go into it but i already heard the story in the podcast, on to the next question with a slight interruption - what's Connie up to? And he goes on with his usual calmly drawn out talk and i'm not hearing half of it (she's twenty and?) so i interrupt him again by asking if she's making electronic music and he says no. Then some girl comes by to greet him and after a pause i awkwardly jump to the Mat Steele question (he already said about his participation in the public talk) and yeah, ok, thanks, bye go to the exit.
  6. There are only 5 totems on the page, already two cobras before Ae. It's either goat, cat, owl, bear or cobra. To hell with it, i counted dat shit ye: goat 1-7-13-16 (both metal tracks are goats of course) cat 2-8-12 owl 3-6-11-15 bear 4-9-14 cobra 5-10-17
  7. Well guys? Anyone feel like explaining how stuff like this fits into the 'ae tracks used to always have a lot of progression' narrative? I'm genuinely curious. There's no such narrative? These tracks have progression though, so it's a matter of defining when it becomes "a lot of" progression and i doubt it could be defined or counted. There's always some type of progression even in the most monotone NTS tracks, but it's not enough to keep someone's attention and that's arbitrary.
  8. Amen Lare

    Untilted

    I think he also said around that time that he was obsessed by J Dilla's Donuts. Pass over your subforum badges, gentlemen, if you can't properly reference the WATMM? What's WATMM? infamous 2008 interview And the actual quote went like this: https://forum.watmm.com/topic/30687-interview-with-sean-booth/
  9. I checked the upload date pause and it's between 198 (january) and 199 (july, youtube still shows no views for this one), so 444 could be a simple joke with a reference to 444 off Incunabula. Or perhaps 444 title meant something specific at that time and it's actual for this selection since we have 1984 VHS vids in it
  10. Who cares for yanks et al, it's a known fact that Belgium gets Ae https://trends.google.com/trends/explore?geo=BE&q=Phish,Autechre edit: and especially Russian comrades https://trends.google.com/trends/explore?geo=RU&q=Phish,Autechre
  11. I don't hear or feel anything Ligetic about mirrage, and column thirteen feels way more out of place (as it has obvious MoT period roots), if it's a bridge it's a bridge to closely related shimripl casual and a tunnel-esque sorta contained one at that, so the architecture doesn't really holds on this session. It's also a stand-out piece to me coz of its more fragmentary and evading nature. Be it half an hour of the same, my opinion would differ perhaps. It seemed to me to find a kinship between mirrage and the first two minutes of Lontano: even with some differences, the two pieces transport me in the same environment. I must confess that, beyond the common quiet adage, from a structural point of view, but also from an evocative point of view, I do not find any particular relationship between Move Of Ten and Column 13. In general, I find Column 13 less typically Autechre. It's a good song, but it could have been written by others too. Move Of Ten, on the other hand, is exclusively Autechre. There is a similarity with the first two minutes of Lontano i can agree, yet mirrage goes for a different, more tranquil and falsely static state, non-intro unlike in Lontano piece. I found it similar to Radiation by Pan sonic through one mate's suggestion, if we exclude tremolo-esque character of mirrage. I hear a lot of echoes from MoT/Oversteps tracks in column thirteen's timbres, reverb, melodic meandering structure etc. Mostly from iris was a pupil & no border segment of MoT and bits of some others. Well, try to play these two and column thirteen in a row, if you won't agree, perhaps it's not obvious at all then.
  12. I don't hear or feel anything Ligetic about mirrage, and column thirteen feels way more out of place (as it has obvious MoT period roots), if it's a bridge it's a bridge to closely related shimripl casual and a tunnel-esque sorta contained one at that, so the architecture doesn't really holds on this session. It's also a stand-out piece to me coz of its more fragmentary and evading nature. Be it half an hour of the same, my opinion would differ perhaps.
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