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Knob Twiddlers
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About mFing

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  • Birthday 05/30/1981

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  1. Tie-ish between 1998-2003 & 2013-2018, personally It's a bit difficult to know where exactly to envision boundaries or how to encapsulate certain periods, though, and I know there have been plenty discussions and differing opinions. Like, with my above preferences, it seems odd to include LP5 and Draft in the same "era," but it totally makes sense to me that Confield and LP5 belong together, and Draft and Confield also definitely feel like part of the same "era" to me, so it's maybe problematically diverse but, in the end, checks out.
  2. I've enjoyed reading about the "early days" a lot over the years. I feel like it's pretty well-trod territory now, though, although this interview did seem to shed more light on some of it. The family support, I got a kick out of. I kind of didn't expect that because of the sort of chip-on-shoulder-ish attitude that you can pick up on a bit in their 90s interviews, but, at the same time, I also suspect there was a kind of tongue-in-cheek quality in that early gruffness there that just doesn't come through in print.
  3. But, then, did they proceed to use Ableton when making SIGN? It appears that's why Sean brought it up, and that's what the text seems to imply, and I'm, in turn, inferring that he's suggesting that had an impact on how they approached working on the material? But, then, other statements about how it came together don't suggest this...
  4. I got a bit confused about the SIGN / SOPHIE remix / Ableton connection. Suspect Google translate has mangled that a bit, but did anyone feel they understood that part?
  5. Definitely. One of the best looking films I've ever seen. Didn't care much for anything else about it, but visually (and atmospherically), it's quite impressive.
  6. Got zero faith at this point. When he started posting screen captures of time zone differences to explain his absence, I knew all was lost : D
  7. Nice! Yes, Haze & Slip were, as you mention, always jockeying for position in my Discman in the spring of 2001; along with Schematic's Lily of the Valley, they kind of defined that moment for me.
  8. Thanks for posting that! Yeah, I've been reading Igloo for 20 years, so it's quite nice to get such a warm reception.
  9. Thanks, dcom & ARPA!! Love the seal as well 😄
  10. Allo, all! My project has just had our proper debut LP released a few hours ago via Concrete Collage Records. Please check it. https://tesconpol.bandcamp.com
  11. My best friend (who, staying on forum form, saw Autechre with me in Atlanta back in 2001 at the Roxy) gave me a bottle of Prairie's Christmas Bomb, appropriately enough, a few days before Christmas this year. Comes off like a bit of cross of two of my favorite ales, Untitled Artwork's Chocolate Macaroon Stout and Wicked Weed's (sadly retired) Xibalba. Cacao nibs, a kiss of chiles, and 12% alcohol. Very cozy and great for a cold afternoon.
  12. Yeah, it's mostly their opinions and observations. It would be a lot more interesting if they quoted interviews or had researched the albums before talking about them. I don't really need to listen to a couple of blokes just responding to the music, basically. Good name, though. Maybe it will evolve into something more informative that compiles more objective insight into the making of various records.
  13. How can you tell? I mean, I trust you to know your chicken, but there seems to be a kind of curiosity welling up to me. A dawning and desire to investigate 😄 I've got my mom staying with me these days (health concerns, etc.) and her parakeet loves anything with pairs of percussive elements in quick succession. Neubauten's "Ten Grand Goldie" appears to be exceptionally choice. Side note: Does anyone else (always) hear the voice of Seth Brundle saying "cheeseburger" whenever someone uses the hamburger icon/emoji in response to a post?
  14. Nice! Yeah, it specifically reminds me a bit of Tour de France Soundtracks, which I was listening to a lot during the same autumn (2003) as I was Monolake's Momentum, so the mashup is kind of surreal and makes me think of the photo internship I was doing in Montréal at the time.
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