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mTesc

Knob Twiddlers
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Everything posted by mTesc

  1. Yes, this is the kind of news I've been hoping for. Didn't spot that initially.
  2. Stumbled upon this and was pleasantly surprised when it wasn't a clickbait DAW tutorial or self-congratulation from some producer-minded person who doesn't get it: https://www.godisageek.com/2023/12/cookie-cutter-how-to-beat-autechre/
  3. I think Dead Son is probably my favorite of the aughts-onward material (along with the Big Noise Transmission live companion piece). I will say about Berserker and The Fury that they are both probably a bit of an acquired taste (for the aforementioned reasons of dated 80s funk elements & diva-like vocal accompaniment. But I think they're worth checking out. Speaking of compilations, Cleopatra (yeah, I know) put out a thing called "Remodulate" in the 90s that has some of the more readily digestible material from the mid-80s + Sacrifice (as it was also able to be licensed from Numa Records) and a second CD of live versions of tracks from the BB era.
  4. This seems (and has always seemed) to be a relatively rare opinion, but I'm very fond of Gary Numan's Berserker, The Fury, and (to a lesser extent) Strange Charm albums – particular some of the B sides. Tracks like "Empty Bed, Empty Heart," "Here am I," "Anthem," and "The Fear" are probably my favorite works of his, and I return to them more often than I do his coveted 1979-1980 records. I find them to be especially good winter listening in the car. There are definitely elements that haven't dated well (slapped fretless bass, diva-esque backing vocals, jarring FM bell patches here and there), but I would say that The Fury is probably my favorite Numan record, and yes I know that I'm probably inviting a fair amount of ridicule. Anyone have thoughts on this period of work?
  5. I really liked Move of Ten when it first came out but bored quickly of it and have remained pretty lukewarm over the years. I'm very into it right now, though. The opening track doesn't really grab me, but I'm pretty captivated throughout the rest. It's also interesting to be reminded of how much Oversteps DNA runs through it – some of it not particularly obvious – and yet it feels almost more like a proto-Exai to me despite its sister-city sort of relationship to its preceding album.
  6. He's got good taste in supervillain vistas. Not suggesting this is in any way redemptive.
  7. I'm not sure that Putin is a good candidate for anticapitalist of the year.
  8. I like it all. To be fair, I'm also keen to hear these "pieces" iterated differently, and I also appreciate the variety of the ongoing sets that have more of that London B DNA injected into them. For me, though, it's mostly because I enjoy the variety as opposed to my necessarily preferring elements that premiered in London B (although I would probably be in the mood to hear those London B elements more often than the material presented in the core sets because much of the core stuff is oddly anxiety-inducing or anxiety-enhancing for me in a way that I've never really found Autechre to previously be.
  9. That's probably what they felt like doing. Should they have consulted you first?
  10. It seems more likely that we could hear more specific anecdotes of this nature now than before. I remember Rob's having given an interview back in November, 2013 - https://thequietus.com/articles/13899-autechre-interview-exai-l-event - where he talked in some detail about what he, specifically, was doing and thinking when working on L-Event, and that was probably the first time I'd ever encountered any description of that nature's breaking through the mystique a bit. Before that, Sean had said things like "we never tell who does what," but since then, they've candidly revealed on occasion which of them had had a hand in which bits or which tracks. Some unlikely revelations like Sean's discussion of gamelan use, etc., so I think it's possible that we'll continue get more specific insight with that historical embargo's being lifted somewhat. I doubt there'll ever be a book (or even article) dedicated to it, but a diligent fan could cobble together a spreadsheet or something : )
  11. We've been pretty insular in the post-pandemic / intrapandemic landscape, so it's been slightly over a year since our previous live performance. The sound's a bit patchy (captured on a 21 year old Yamaha AW16G, which is still managing to prove useful after all this time), but I thought I'd share it since it was energizing to present some new pieces, etc. Thanks for taking the time to check it if so inclined!
  12. Agreed. I'm happy to listen to it year round, but I think of it as very autumnal.
  13. "North Spiral Superiore," I think it is ; )
  14. They sometimes are, though...albeit unseriously it seems. That said, I do really appreciate those live "exclusives" sets with the made-up names (which I simply don't pay attention to).
  15. Thanks, @djimbe! I've just put it on and am really surprised at how different it is so far (just over five minutes in). Does this opening segment appear as one of the interludes in London B? I'm not recognizing it specifically, but it sounds familiar, and I've only listened to L-B couple of times so far.
  16. mTesc

    AE_Live 2022

    This image from @stev & the Melbourne show (from the accompanying thread) is almost exactly what I had in my head in the above description. Thanks!
  17. mTesc

    AE_Live 2022

    I'm not really in love with it. I like it, maybe, as a color guide and for its atmosphere, but I would appreciate if there were a bit more to it. It also doesn't look a lot like the music to me. Something similar but with a lot of smaller white and red pinpricks of light would coincide better with what I'm hearing. But, thankfully, they didn't ask me : ) I feel kind of similarly about Sign & Plus. I try to think of orange & green a/e abstractions as if they're glowing, and I think that would have worked a lot more effectively. If it looked like they were sort of neon, giving off light - and, instead of static dark grey & light grey backgrounds, there appeared to be a sense of depth or maybe even some ghosting artifacts (like landscape abstractions or rows of windows, something very faint). I really liked the One-Six, NTS, elseq, & AE LIVE visual representations, though, so the last decade has been mostly hits from my perspective. Oversteps also had artwork that I found exceptionally unrelated to how I perceived the music, but I thought that the font was spot on.
  18. mTesc

    AE_Live 2022

    Re: "visualizer tune" mentioned by @jaderpansen I do think that, for instance, I'm getting some really similar vibes at around the 52 min mark of London A. I haven't really compared the two musically, but sonically and in terms of feel, there might be a relationship, yeah.
  19. I also hope that you're ok now. I'm sorry that you've had / are having that experience. On a kind of similar note (classic sci-fi / fantasy dynasty, etc.), I've wondered many times over the years if Autechre rated (as they would say) Twilight Zone. I notice a lot of little flourishes, over the last decade in particular that I find share a specific flavor.
  20. mTesc

    AE_Live 2022

    Thanks for reminding me about this, I really enjoy it and haven't revisited it since Sign was released. I don't specifically hear it in these sets, but there does seem to be a connection, and that makes sense because it was during some of the Twitch stream chats in the spring of 2020 that Sean said he and Rob had been working on the live material as their recent focus. It's likely contemporaneous. It seems to share some attributes with ecol4 as well, which also has its DNA in a lot of the live material (including London B, seemingly).
  21. I've got kind of mixed feelings about EP7's being a gigantic EP instead of an album. For years, I thought it might just be a bit of a joke that the name of album contained the idea that it should be regarded as an EP instead. I suppose I'll always defer (hard and gladly) to the artist (especially one that I respect so much as I do Autechre) on the foundations of how a work should be perceived / received even if my impressions are different, but I find EP7 to be quite cohesive and organic. It flows well, and I considered it to be my favorite record by Ae until Exai took that spot (I'm now probably more in love with / appreciative of NTS than anything else, but it, Exai, & EP7 remain pretty close for me). Speaking of NTS, I think that Zeiss Contarex has become possibly my favorite track despite its having not really stood out to me for the first 20 years of my loving the record because of its similarity to t1a1, which sounds to me as if it's about to converge with ZC before it abruptly shuts down. I'd love to find out if the similarity was intentional.
  22. I've just developed the audacity to ask if anyone has had a crack at mastering the Club Soda gig? Amni, are you out there?
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