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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.

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.

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.

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).

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.

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?

NICE! I was at the Atlanta gig featuring this set, and I've appreciated the fairly good recording quality of several from this era, but this one is tops. I'm surprised to have never encountered it (although I was mostly looking in the aughts. THANKSKSKSSSSKS!

Yeah, this is up there with Hemsby & Glasgow/Art School (the two best of that extended Until / Quar era that I'm aware of - does anyone have any other high quality favorites?) - two of my all-time favorite "records" for listening to on long highway drives.

No party ruination here, all seems like good news. It is slightly suspicious that this excellent recording which is also quite different from any of the bootlegs that I've previously encountered would appear in 2021. Does anyone think it could be a skillful reproduction using the Elektron patches / sequences? I'm not saying that I believe it to be that, just that it's curious timing and departure-ish enough.

WOW and wtf!? Where did this come from and where has it been hiding for fifteen years?

Bit heartbreaking if taken ironically. Not sure if that's the intention / spin.

I appreciate that sentiment, absolutely. Speaking of silliness, by degrees, I think it was a bit of a joke above about Ae doing shows from home under the cover of live venue darkness, but I would actually be interested in the inverse. Despite the typical lack of any significant visual information / accompaniment when they're playing out, I would absolutely pay to watch live Autechre webcasts if only for the principle (and if the sound quality was direct from the board). Again, probably more enjoyable in principle than in practice, but there's always something to knowing that what you're experiencing is real-time / more or less in synch with the perception of others.

Also...your name is Splitradix? Really?

Yeah, I don't recall precisely what he said they had during the (I think second?) Twitch AMA, but it was a significant step forward from previous lack of interest. He listed several potentially releasable live recordings from throughout the years, which was encouraging. Does anyone recall which ones he mentioned?

Sounds about right. And mean Covid restrictions that prioritize public safety over having a good time at the fucking rave, seems.

I saw Autechre at the Roxy in Atlanta, May 2001 and the Orange Peel in Asheville, October 2015. No recollection of how much the tickets were; both shows were great.

My sentiments exactly. I always found LP5 and EP7 to seem companion pieces of sorts, but EP7 was the more compelling of the two for me. I didn't look at the next five years of material as being in any way lesser, but EP7 remained my favorite. I found myself a little less in love with Untilted, Quaristice, and Oversteps (although each has since grown on me), but Exai was transcendent. AE Live and NTS, as well. Probably some combination of those releases would now constitute my favorite AE, even if I'm unable to pinpoint a single release.

Which track from elseq are we hearing part of here? I love this set (I think this Youtube version is actually better quality than the file that I have...), but I'm not connecting this with elseq. There's that bit that made it onto tuinorizn, though.

That + the L Event mischief def spring to mind.

I apologize that this is a kind of useless / spammy thread that probably doesn't deserve your attention, but I'm very excited for this Spotify glitch that emerged yesterday while listening to my Autechere complete discography playlist.

Amber. Incunabula is my least favorite AE by an impressive margin (although there's some very nice moments, no doubt).

It's true. People have often mentioned finding the more, again, frenetic moments anxious for years. They haven't been for me. When Confield came out, a lot of people seemed to find it very bleak, but I thought it was really inviting if a bit trippy and challenging. Pieces like elyc6 can be kind of grating but not really disturbing. This is really the first time where I've noticed feeling on edge and then realized that the music has seemed to be informing (or at least heightening) that.

Does anyone else find certain passages of the new live stuff to be unusually anxiety-inducing? I don't typically have that kind of relationship with more frenetic stuff, etc., but I think there's an element of urgency and relentlessness rhythmically combined with suspenseful tones that (were we dealing with cinematic context, or whatever) might indicate that something ominous is underway.

Not trying to be negative, but I think it would be a significantly stronger record if it were a bit less BOC-esque. To whatever extent Boards is just as much psychedelic trip-hop as "IDM" (yeah, the latter is a non-thing, basically), the less psychedelic and less trip-hop cuts from ABCDEF...etc. are the strongest ones (the faster tempo, more acid-like ones, for instance). The synths that don't waver with BOC's signature faltering harmonics are also more appealing. Listening to the record feels like there was a checklist being employed to make sure that BOC's aesthetics weren't strayed too far from while there was a more genuine pull in a different direction. I'm not suggesting that this was actually the case, it's just the impression I'm left with.