Draft78

well, if I had found myself in the helsinki circumstance, and then received the file, I would certainly not spread it everywhere, but for that handful of freaks who dedicate a slice of time to this page every day I'd make a deserved exception, no question about it...

... but ...that bastard is blasting with a single foot ... ok ok, off topic, sorry

"hyped" could be an understatement ... since yesterday I'm reloading this page at the pete sandoval blast rate. Should it take a full year for the soundboard, I don't plan to slow down

not to mention that one of the two autechre is starting to look like Moby

It's not excluded that the system problems play an important role in the experience you have had. It happened to me with onesix: the Turin date was heavily haunted by an inadequate system and, above all, by people screaming for music to dance. So I lost concentration, and for much of the live I was focused on telling myself to regain concentration. At that point I was out of the flow .. in a thing like that, if you fall out, everything seems random and boring. On the contrary, with the date of July of 222, I was sucked in: I didn't have any thoughts, I didn't even listen, I was simply in the autechre phenomenon. The spell still worked, as in past years. As for the experience, I wrote my impressions a few pages above (also regarding the absence of explicit plots such as crescendo, which in my opinion there were but in a completely new, submerged and disorienting form). Maybe I'm wrong, maybe the Helsinki date was not particularly successful (regardless of the problems), or maybe the line of this new set does not meet your taste, but I don't exclude that, listening to the soundboards, 222 may seem completely different to you

actually ... the press release spoke of the "what" (a code to download the Helsinki date for free), but not of the "when": this could also mean "when the soundboards will be published - 2023? -, that specific one will be downloadable with code". ...Here an opalescent mist of resignation envelops me, bringing me back to the familiarity of my sterile habits

I humbly join the chorus of desolation and pain: since I learned of the dramatic event in Helsinki my heart has broken, and finds no consolation

meanwhile, reading the word soundboard, I started wagging my tail, facing a sudden increase in salivation

...nope, the track was composed by Harris, Shane and Greenaway. Even if a little naive she still has a lot of what Scorn will be. Listened simultaneously with M39 Diffain, it feels like listening to a single piece

M39 Diffain: I always found a similarity with this and Scorn, I just couldn't find which track by Scorn ... then I remembered a Napalm Death piece from the ep "suffer the children" (1990): it was the only electronic episode by napalm death, probably composed by mick harrys alone, and has in a nutshell many elements that will characterize Scorn years later, when Mick leaves Napalm ... and, indeed, there are points of contact with M39 Diffain:

I'm referring to a recent interview, the question was "if you were to give an ae release to a young dude, what would you choose?". Sean said something like "confield: there would be the "what the hell is going on here factor". For Roberto It was fine, as long as he didn't have to talk too much

in an interview, Sean, said that if he were to play someone, for the first time, a track, he would probably choose from confield, because in its being "weird" it is very direct. It seems like a good point: even if you need more listening to get into it, the rhythmic fuckery is prominent, not to say cheeky, and since first listen you are immediately catapulted into another dimension. To give an opposite example: the current set seems very complex to me, perhaps one of the most ambitious things they have ever composed, but some friends - not too involved in the matter - have found it more immediate: I think it depends on the fact that the driving lines are more regular, while the luscious fuckery moves to a deeper level.

...I may have been fooled by excessive compression? I'll have to make a more careful comparison

probably, if a remastering was planned, it would have been advertised, it would not be a detail on the promotional plan. In the case of the two-piece vinyl press for touched, for example, it was a highlight (they actually sounded way better than the original). It seems that the intention of these warp reprints is a faithful replica of what the things were then

also in my case exai coincided with a "complex" moment (without being melodramatic, I can frankly speak of tragedy rather than bad time): the headphones were an emergency exit (50% to stall the thought, 50% for not to hear the storms of mourning that raged constantly in the waiting room of that ward), and I really wondered if I was burning forever what I was listening to. Indeed, the Pavlovian effect affected everything, except for Ligeti and Ae/exai, although they were the most present sounds. Perhaps these are things that are now so deeply rooted in my mental system, that are practically a component of my identity, and not experiences that can be associated with a specific moment. I do not know. But it's lucky, it would have been a castration (mechanical, precisely, not chemical) to lose them