wredny
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jävla review pa svenska: http://www.synth.nu/recension_autechre.html and another one in English: http://www.methodsunsound.com/autechre-elseq-1-5-album-review/ By the way, did anyone notice how only few people/sites decided to put out an elseq review?
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and this: "A criticism leveled at many parts of elseq 1–5 is that tracks lack progression, are too long or fail to evolve, but personally I think that misses the point. By taking their programmed music to the next level, what Autechre have presented here is a snapshot of what Brian Eno has been perfecting all these years: generative and constantly shifting music that could effectively just run forever, with every moment unique as a snowflake. You could run most of the tracks on elseq 1-5 and then stream them in perpetuity for anyone to tune in and out of whenever they wished and each time hear something different yet the same." This basically proves the excellence of AE. Even if I might hear the similarities, common threads, ideas or patterns, each time the music is different. There is progression and with each release the boundaries are pushed despite having seemingly same ingredients. The only question that remains is what comes next? Can they reinvent themselves again or is this their opus? As it was easy to connect the change of sound&style to the different equipment used for each record, but how this progression will happen in the software environment? The boys mentioned in the Joe Muggs interview that they haven't bought any equipment for years and all contemporary sounds are based on elaborated MAX patches. Any ideas what could be the long-term impact on their music?
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There is a review of elseq in the newest The Wire (386, July 2016) by Derek Walmsley. Really brilliant piece with good quotes: ' elseq can be as dense as 2013's Exai, as gently reflective as 2010's Oversteps, and as obsessively detailed as 2001's Confield' (quite fitting but it doesn't say much) or "'eastre' explores a hypnotic melodic figure, which shudders into shape as it from a twang and groan of lift cables, for 22 minutes, at the end of which you're uncertain whether the music has changed or you have'. Go and grab it!
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imo "elseq" does not definitely sound like jams. this review is only echoing what lots of people on here have been taking for granted, that this release is autechre jamming or improvising or running software that's being controlled in real-time. it's certainly possible that this is true, or that at least some of the tracks employ such methods. but imo there is nothing about this music that is just so obviously "jams" like pitchfork and some peeps on this forum are suggesting and if it wasn't for the fact that sean has talked a lot about computers and spitting out albums in real time i'mnot sure what it is about this release that's justscreaming "this is just some edited jams by the electronica duo the 'chre." fact is we have no real idea about autechre's compositional processes. and this seems like a fairly deliberately contrived mystery on their part; for all their willingness to discuss software stuff or how they make albums by pressing record and jamming away, they also seem to walk back many of these claims and insist tracks are made meticulously note by note or sean will get pissed and tell people they don't know what they're talking about when they employ the term "generative." personally, i don't think they're being mysterious to construct some cool idm identity, i just think they're artists who don't wish to be pinned down by cheap shop talk in lame interviews. anyway, this pitchfork review is, unsurisingly, shit. there's no way some reviewer sat down, listened to 4 hours of autechre and just came to the conclusion that these are jams. the reviewer probably played elseq on his computer while browsing the internet to find things to write in his assignment and came up with "it's long" and "it's jams." love this bit: "the Brown and Booths violent squelches." (...) Progressions rather slow and not that abrupt as on their previous releases. (...) this applies to pretty much their whole output up to untilted, tho. even on exai the average number of distinct "parts" per track was 2~3 max... meandering tracks with shitloads of microvariation is pretty much what autechre is (with obvious exceptions). this release is not particularly jammy imo. 'meandering tracks with shitloads of microvariation is pretty much what autechre is' exaclty same feelings, here! My point was that it might feel 'jammy' since I imagine that it's easier to handle microvariations then totally smasheverything (surripere or transition between 'FLeure' and 'Irlite (get 0)' are my favourite examples) and recreating sth new - remember everything in realtime! On the other hand, who knows?! Maybe their soft is already so warped with patches that they can do whatever they want. Mix everything: rhythm, keys, reverb, structure at the spot, right off the bat... Besides, great quote jader! It think we should compile a WATMMs review from snippets like this! It would set the standards high...
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imo "elseq" does not definitely sound like jams. this review is only echoing what lots of people on here have been taking for granted, that this release is autechre jamming or improvising or running software that's being controlled in real-time. it's certainly possible that this is true, or that at least some of the tracks employ such methods. but imo there is nothing about this music that is just so obviously "jams" like pitchfork and some peeps on this forum are suggesting and if it wasn't for the fact that sean has talked a lot about computers and spitting out albums in real time i'mnot sure what it is about this release that's justscreaming "this is just some edited jams by the electronica duo the 'chre." fact is we have no real idea about autechre's compositional processes. and this seems like a fairly deliberately contrived mystery on their part; for all their willingness to discuss software stuff or how they make albums by pressing record and jamming away, they also seem to walk back many of these claims and insist tracks are made meticulously note by note or sean will get pissed and tell people they don't know what they're talking about when they employ the term "generative." personally, i don't think they're being mysterious to construct some cool idm identity, i just think they're artists who don't wish to be pinned down by cheap shop talk in lame interviews. anyway, this pitchfork review is, unsurisingly, shit. there's no way some reviewer sat down, listened to 4 hours of autechre and just came to the conclusion that these are jams. the reviewer probably played elseq on his computer while browsing the internet to find things to write in his assignment and came up with "it's long" and "it's jams." love this bit: "the Brown and Booths violent squelches." I'm not going to pretend that I know why the reviewer referred to jamming, but I think this can be valid point. The tracks are long. Progressions rather slow and not that abrupt as on their previous releases. So yeah, I can understand that for some this is jamming - things move rather slowly like being manipulated in realtime. If the tracks had been edited & shortened, the vibe probably would be different. TBM2 is a grower. A short hip-hip respite after the monstrosity called eastre.
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I 100% am with you on this.. the release sounds flat, especially compared to past Autechre releases. If i may put on my audiophile dork hat for a second.. i've listened to this on floor standing KEF speakers and also through Chord Mojo with Ultrasone headphones, i can say for certain this release wasn't mastered in the same way past Autechre releases have been. The sonics of the album are overall flat, nothing jumps out and the highs almost sound clipped. This takes nothing away from the release for me, i love it and still think its their best in years. I just find it interesting that the mastering came out the way it did. why do you think the mastering is to blame for? I'm not necessarily blaming the mastering, if the sounds aren't there in the master recording it's going to be hard for a mastering tech to bring it up to snuff. But the release does not sound like an Autechre release in terms of clarity or dynamic range. I have the same. It somehow lacks, as you wrote, clarity & dynamic range. Interestingly, I had the same feeling with the AE_Live batch... Nevertheless, great release!
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buzzkiller! ej Jev! Stop cherrypicking! My whole post was uberpositive and you have picked one sentence. Come on! But coming back to the point: On all of their records, there are moments that don't work for me, but it doesn't mean that they AE aren't great. They are. Deal with it and stop moaning. FUUUUUCKKKKKK part5 is just stunning! the dreamscapes in 'oneum' are glorious!
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So... the weekend has arrived! High-times with Autchre! I've came back from work, cancelled all appointments and there it is. My perfect autistic evening with Autechre. I've started listening to it and it's been 3rd hour and I'm only in part 4. The amount of music, as always in their case, is shocking. In the age of abundance, do we really need so much music? Quantity, not quality? No! During my first listening, I can only say that practically every piece is interesting. Each one offers something surprising: a disturbingly hip-hop beat? Straightforward rhythms, which they have avoided for the past years? Melody? Details and spatiality of sounds? Yes. All at once! It's all present there. The Internet is right, this is 'the next level shit'. Interestingly, AE has been 'the next level' for more than 20 years. Incredible achievement in fast ageing world of electronic music! Of course, it is not only plain ejaculation all the time. There are weaker moments, annoying, or not developed ideas (the best example is 'Eastre' from Part3 so far - 20 minutes of boredom). Despite this.chapeau bas Rob&Sean. PS. I feel slightly embarrassed bout my ae fanboyism
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Why so quiet? Sets started to be boring? Dull? Too overwhelming? Exhausting? Dear lord, GRAFENHAINICHEN is the BLAST!!!!
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Exactly! With different font would be much better!
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For me it was Confield. I had no idea that this wasn't the album to start with. Nevertheless... I tried several times and found it extremely dry and boring. Then I wasn't listening to AE for quite a while (didn't even bother to check their other output) and then suddenly years after, while jogging in winter forrest just outside of Warsaw I had a shuffle mode on on my phne and I heard Altibzz. I felt mesmerized and needed to stop runing. The music was a complete match to being alone in a grey forrest. That's how my obsession has started...
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Krems is insane! Second half is just one blissful mindfuck.
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yessssss it is! This is the most progressive music available now. All these pretentiously avantnoise artists wouldn't even deserve to reboot AE laptops!
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I agree. This is definitely next level shit. Far ahead of everyone else. I am just wandering about lack of any promotion. Such a groundbreaking relaese and no reviews in 'professional' portals, not even a brief snipped/announcements (FACT being a small exception). Warp WTF?!?
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@YELLOW, Jason Colaegues, how is the work? Sorry to rush you, but it would be ubercool to listen to some new AE vibes at the beginning of 2015! Please post whatever you have. The list can always be amended!
