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I just want to check in and, hopefully while not being a dick, say that this is a really strange thread with a baffling premise. Placing Autechre and Clark in the same boat, wanting music like this (whatever that is, stuff that's not very similar but seems so to the author) but feeling the need to mention that it should be electronic? Like nobody is going to recommend Gypsy Kings to you if you ask for music that sounds like Autechre (but, again, I can see why you might expect that given that you've lumped together a butch of acts that sound nothing alike, really, as the ones the you'd like something to resemble). NO VOCALS!!!...!!!!!!!!!!! It's just really weird. Good luck, though.

Front 242's Facebook & Instagram accounts report the JLDM has been hospitalized: Dear All, It is with great regret and sadness that Front 242 must cancel the 2 concerts of 01 and 02 April 2022 in Kortrijk De Kreun (Belgium). Our singer Jean-Luc De Meyer was hospitalized last night and his health is worrying. We are aware that all our fans were looking forward to this concert and we are all disappointed. Let's all keep our hearts with Jean-Luc. Front 242 There don't appear to be any further details in comments or elsewhere online yet. I hope that the "his health is worrying" bit isn't as ominous as it possibly sounds. 242's 1982 debut, Geography, changed my music/art life when I finally heard it at the end of 1998 (the fall semester of my senior year in high school). I'd been into the group for a while, but that record gave me a new set of priorities that led me away from a lot of the angsty, uninspired "industrial rock" that had been my thing prior, so I'm intensely grateful for Front. I owe seeking out and falling in love with records like Autehcre's EP7 to the ingenuity that Geography opened my eyes to.

Yeah, that track might be my favorite. The tonal / melodic elements throw a very similar mood to SURRIPERE and THEME OF SUDDEN ROUNDABOUT – like something mysterious but decisive is happening (or maybe it strikes me as more first person, that the author is doing something decisive yet mysterious). The swagger of the opening rhythm is also completely badass.

So, this one has really grown on my over the years. First, fairly quickly (I was really disappointed when it first leaked and suspected it wasn't genuine because it was so much, to my ears, less organic – the buildup in LCC was especially challenging). I picked up the CD the day it was released and found it worked a lot better in my car. The Second half of LCC won me over. But then, the sort of jack-in-the-box / xylophone bits that come in halfway through Ipacial threw me again (and remain my least favorite elements on the whole record). I also continue to have difficulty with the manic, almost accordion-like stabs that come in around 3 minutes and 40 seconds into Sublimit. Apart from those bits, I've been fond of the record for its almost two decades now (gosh, that's a bit nuts – two decades...). But! I have found a newfound appreciation recently for how crisp and physical (and hard) the whole thing sounds. And I'm not using "physical" to reference the use of hardware, although there is that too, but to describe the sound(s) as feeling very solid. Like everything is gunmetal and neon. Almost nothing is cushioned (Pro Radii is maybe the main exception, sounds a bit more rubbery and less metallic). I think the Elektrons definitely have something to do with this (going back and sampling bits of sequences from my Machinedrum has reminded me of those specificities), but it's also got something that is practically unique to it. Quaristice comes closest, but it still doesn't leave me with the same impression of physicality.

But it's really the other way around that various permutations of live tracks from AE LIVE and onesix / 2018 made their ways onto NTS and elseq. Similarly to how a live piece from 2010 (I think only one) found its way onto Exai (tuinorizn).

This is actually the one I meant to share: https://thequietus.com/articles/13899-autechre-interview-exai-l-event

Sean has said in the past that they never reveal who does what, but since then, in a few interviews, there has been talk of certain things as having come from one or the other. I've found a few examples, but I'll keep looking for more: Specifically, Sean has talked about his and Rob's sending M4 Lema back and forth to one another and the rhythm section becoming more and more recessed in the piece per Rob. https://www.nytimes.com/2020/10/13/arts/music/autechre-sign-interview.html Rob did an interview about L-Event where he specifically talks about his contributions to the tracks on the EP. https://www.factmag.com/2013/10/25/autechre-interview-rob-brown/ There's this bit from the recent Groove interview (Google Translated from German): "Since we first met, we've been pursuing different approaches that lead to the same result." Rob Brown So producing and remixing are the same for you guys? SB: All the same. I find it arbitrary to differentiate between them. RB: To justify that ends in the semantic. I'm a little more focused on details than Sean, which is why we work so well together. If I can't recreate something myself, it drives me crazy. Sean, on the other hand, would turn it all upside down. SB: I like to get Rob's tracks into my setup and destroy them. In the process, completely new directions develop in which I can go. I enjoy working on something that already exists more than starting from scratch. How do you like it when Sean shreds your tracks, Rob? RB: Culturally that's totally fine, geographically we grew up in the same region. That suits Manchester. And our approach has always been this constant editing. SB: I am also jealous of him sometimes because he makes such weird stuff out of my patches that I would never have thought of. So he uses my ideas in a critical way, just more subtle. RB: Since we met for the first time, we've been pursuing different approaches that lead to the same result. SB: With Rob it happens gradually, I'm more volatile.

I actually find Tri Repetae and Chiastic Slide to be quite summery / spring-ish – hazy skies, etc. Oversteps is very wintry for me (with perhaps the exception of Treale, which sounds like a summer evening). LP5 is quite wintery and overcast. Exai feels more warm-weather. Most of the more recent stuff doesn't evoke seasons particularly for me. Re: the "Confield is inscrutable" or whatever comments above, that was definitely the median take back when it was released, but I've always found it very accessible. Lots of groove and atmosphere even if the details are sometimes jittery and gritty and weird (especially for the time, of course). Opening track feels quite polar. Beyond that, it doesn't sound very wintery to me, personally. It came out in the spring, and so maybe it recalls that spring too strongly for me to consider its sounding like it belongs to another season to a greater extent.

Never trust a people to know what's what.

Meaning this in the very best way, but Ae doesn't typically "surprise" me. Everything new that they release seems track aesthetically with what they have / had been up to with the previous couple of releases even though it often goes to weirder, (and until the last few years) increasingly fragmented places. Untilted did genuinely surprise me, actually, because its general vibe (although not necessarily its details) seemed so much more square than what they'd been doing for the previous seven years or so. One Six surprised a bit as well, but not to the same extent. Similar sound to other recent material but such a slow burn by comparison. I don't know what I'd like to hear next. I would actually love some more distillations of the material that manifested in various ways during the AE LIVE, el-seq, One Six, and NTS era. Maybe they've already explored that as much they want, but it somehow felt like some of those pieces were still advancing toward their final form. There was that one live 2010 bit that made its way onto EXAI as well. I liked how those different versions played with my continued enjoyment on multiple listens. Sort of sabotages my ability to anticipate exactly what the next modulation will be when listening from having heard those different iterations. The last ten years of Autechre have been, hands down, my favorite, so I'm confident that whatever is next will be delightful whether or not it's surprising.

Thank you for that mention!

Allo, all! I wanted to take a moment to share the news of our new EP, which we released via Bandcamp and the various streaming platforms on Friday: https://tesconpol.bandcamp.com/album/object-or-entity Begun through file sharing in June of 2020 and finished, outdoors, in person, on the cool October evenings that followed, this project became more involved than we'd originally intended - primarily because it was conceived to be, like our self-released "4nineteen” micro-EP, comprised of very short sketches, but it developed an identity that we wanted to continue exploring. Five months, for us, is a relatively short period of working gestation, however, so perhaps we didn't stray too far from our intentions. File between The Andromeda Strain and The Outer Limits.

Hey, Auxien, thanks for that!

We've just released a video for one of the tracks off the aforementioned LP created by Andrew Duff (aka allthesixes666), who does some really tangible, beautiful, visceral stuff with oscilloscopes:

Yeah, I was hoping that would make it onto the Gantz Graf DVD, but alas. I would have watched it (at least once or twice).

Someone posted a picture above. Just commenting.

Karl Pilkington is very un-Autechrean....BUT! When Sean requested the video from Electric Café / Techno Pop played on EmptyV, I did get some Pilkington-esque vibes in that one fleeting moment.

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.

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.

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...

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?

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.

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

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.

Thanks for posting that! Yeah, I've been reading Igloo for 20 years, so it's quite nice to get such a warm reception.