blos
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Posts posted by blos
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I finally 'get this album' and only draft is left now. It all makes prefect sense now
Unlocking Draft will truly be a Divine Moment of Truth. Go in peace.
The key to unlocking Draft is to play Surripere at gut punching volume, literally twice as loud as you feel you should. In fact the whole album is much better insanely loud.
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In a genre where pretty much any sound, and any sequence and any composition is possible, the only thing which counts is taste and instinct. That's what Ae have more than any other artist I've heard.
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How could I not?
Confield - hermetic, horizon-stretching
Amber - singleminded, minimal, endless
Untilted - dazzling, breathless
Exai - rich
Draft 7.30 - arid, baffling
Chiastic Slide - broken, organic
LP 5 - direct current
Oversteps - fluid, cavernous
Quaristice - elemental
Tri Repetae - insistent, maximal
Incunabula - small, sequential
NB: all rankings incorrect. -
Yeah, you mentioned it somewhere in this thread already. Well, this is a one incredibly lucky track mix-wise then. I mean even in the context of your whole discography, this is the one that is the most stunning mix-wise for me. And you have constantly great mixes so it means something. Big up for this one.
thanks
i'll consider what u said, i never thought of that track in that way before
You can add Drane to the "perfect mixes" list, that track causes me problems whenever it comes on because my mind just stops until it finishes.
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That said, your good/evil thing is absolutely super-subjective.
Except for recks on of course. Shit is evil, man.
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are you touchy about opinions on your music ? like if some friends points bad remarks towards one of your track, it might ruin your day ?
also please do not post pic of your studio. i was disapointed/amused that Fennesz's studio is in his garage (i thought he was making tracks at the top of some epic mountains, face to the wind). i always have the feeling your music was composed in some death star environnement. :-)
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And further back, Bach's cello suites are ridiculously good.
ok, duly noted ta.
I don't know shit about classical but the 1955 Glenn Gould recording of the Goldberg Variations is incredible too. Actually you guys might like the Well Tempered Clavier for its "full workout of every key" mindset.
And if you like the Goldberg Variations there is a pretty straight line from that to Bill Evans Trio "Waltz For Debby" which is like the most restrained jazz ever, the phrasing and micro detail presses some of the same buttons that Ae presses.
All the real-deal classical and jazz people are probably rolling their eyes like I just recommended Miley Cyrus.
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various ways, sometimes it's all programmed step by step, sometimes played in, and sometimes defined in advance and then run off in realtime (i guess you could call that algorithmic)
my spellcheck was turning realtime into teatime then
How hard is it to hit the spot, just a feel thing? Or trial and error?
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I'll be seeking damages for the effect that Parhelic Triangle had on my mental state then.
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Over-thought question time: one of the main differences between "early Ae" and "later Ae" is the tension between rhythm and arrhythm - at least that's one of the main things I get. Obviously "flutter" was consciously in that vein but it wasn't a major part of the toolkit until maybe cichlisuite / chiastic / envane. At least that's how it seems to me. Obviously we all like a massive 4/4 boom-bap, and that's like junk food when you guys do it well (e.g. 6IE.CR, IO, 1 1 is, etc) but my very favourites (e.g. Pencha, Osla for n) seem to scatter beats around like confetti while a steady pulse runs invisibly through it.
Oh yeah, the question. How does that come about? Is it usually programmed? Some kind of time-scatter algorithm that you push right up to the bleeding edge of rhythm v chaos? Micro-editing? Played live and tweaked?
The reason I ask is that it's probably the number one thing I like about Ae and the most difficult to describe.
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yeah sometimes i work with next to no sleep
rae was made in that kind of warm fuzzy state
So much love for that track.
Any others really put you back in a particular place or mental state?
Thanks for doing this.
PS: if you keep releasing shirts with enigmatic square patterns I'ma buy them all.
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Dunno if this is a stupid question. I am about the same age as you guys and my job relates to an interest which is kind of a deep core of my personality. When I burn out or feel overstressed, I think "fuck it all" but I can't help getting interested again after a little while. Is music like that for you? Like something you can't escape?
I can't decide if that's a good thing or not.
Or if that's too indulgent - over the years Ae has had a very consistent "taste" and I don't know (nor am I interested) in who does what. But do you both "know" Ae when you hear it? Ever had to talk the other into including something on a release?
And - fan moment - I expected to be a little let down by the live set I saw in 2010, but the sound and the dark room pretty much blew my mind, got to the point where I kind of hallucinated sounds as rising textures in the space in front of me. No hallucinogens involved although I was pretty tired. That was outstanding, thanks.
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I am still spinning the fuck out of this album and getting a lot out of it. WAY more than Oversteps and MoT combined I think. Exai has a feel, like some other Ae records do (Amber, Envane, EP7, Confield, Draft) and the feel is like a dense solid that breaks in a very particular way, like fire-lighter cubes crack.
But mostly I just enjoy the music on the discs.
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So this hasn't been brought up in any of the 400 pages of talk about Exai besides here?
It's obviously straight off John Conway's idea.
It popped up maybe 40 pages into the original Exai thread - certainly one of the early things that came to mind when I saw the artwork.
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I LIKE DIS RECORD
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Ya know, it's the oldest thing we've heard from Exai, but the flying saucers at the end of spl9 are just the best.
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London Boys vs. Autechre
in Autechre
Posted
https://filetransfer.io/data-package/XfE97j4T#link