Draft78

The related vimeo channel is amazing too : https://vimeo.com/titled

nah, i mean "take off irlite from exai because it's a flat song is like to say ..."

I have an obsession with 2001 started hard 37 years ago (i mean "AE35unit" is not by chance)

it's like removing 2001 ASO from Kubrick's filmography because it's his least dense film in meanings

you raised a fundamental point: what we are looking for here. Personally I am not looking for music like Autechre, which, being like Ae, would consequently be good. If anything, I try to post music that seems good to me, as autechre is. The principle is this: my taste in music finds its apex in Ae, so, if something seems interesting to me, for some sort of transitive property, I find it possible that this may also apply to others who have a similar orientation, this even if the music in question is not necessarily similar to autechre. It must be said, then, that i never find somewhere what I find in autechre, nothing - except for some things by Ligeti - has managed to move certain gears in me, so the question must be taken according to a much broader meaning: "things that those who is addicted of Ae might find interesting". Among these, then, also ends up music that, in fact, takes Ae as a model, and William Fields could be among them, even if he is positioned very far. In other words, I don't open the post hoping to have a revelation that competes with Ae, but a series of ideas given to me by people who have a taste in sound not far from mine.

I understand, but in the case of Autechre we all start with the precognition that we will have to dig repeatedly to get to the Holy Grail, with others instead we may not be willing to sacrifice, and stop at the first impact: an experimentation in lack of emotions. This also applies to me, it is not an ad personam "criticism", it is rather a possibility that haunts me.

William Fields has already been reported, but I think not with this: https: //williamfields.bandcamp.com/album/bewilderment

RB: No, there’s a better way – let them choose. Like, (singing as in a commercial) I believe in the children of the future! It’d be good to let them pick for themselves. done

os veix 3 lush drums impro

I agree, it's a music-focused interview and goes into their approach. After all, they answer the questions: it's not their fault if they are repeatedly asked to historicize the electronic music of the 90s, or how they met. However, it is curious to read their point of view on a specific scene, on the flows and influences in pop, they, who play something that is out of every category, even from the idm itself

“We wanted to have something where we could change, at the last minute, any detail or any event.” https://www.tinymixtapes.com/features/autechre

I will try to identify the interview, but it is not easy: 11 years have passed since Oversteps, and the interview could be from any of these ... I remember, however, that this stuck with me because that statement expressed, implicitly , that on the other albums the level of control would not have been total. However, it was a vague statement, it did not refer to a specific method (for example to the generative composition), but to the album as a whole, this therefore does not exclude that the generative aspect is also consistent in oversteps.

I'm not so sure that in the case of Oversteps there is a significant generative imprint: the pieces have such a concise structure and often thought according to a "song" criterion as the return to the previous motif, which suggests an arbitrary composition, note by note, parameter by parameter. In an interview they spoke of Overs. like the album on which they had absolute and capillary control over every single event, a statement that could be read in many ways, but which contributes to making me doubt a massive generative presence

wtf if I were to be the editor of a dictionary of synonyms, under the heading mindblowing I would put Oversteps, Untilted, AE_LIVE. At this point we need to understand what you mean by minblowing. Oversteps is the most condensed Ae work in terms of inventions, of the infinite combinations of fugues and subplots, 11 years later, even today, when I listen to it I don't seem to listen to the same album. There is always a way to look at it from a new point of view. Instead of describing a track, I will point out a single detail among the hail of things that falls in my ears: at the end of d-sho qub, choruses emerge that wink at Ligeti. But they are not common choirs, no. They are fucking autechre's choirs: they seem to be composed of unstable vocal particles, incomprehensibly amalgamated into a single sound. Every time those voices enter my vestibular nerve my mind is blowed. but what am I saying? All d-sho drugs my amygdala Violvoic makes me strip, there is no doubt, but I am not sure that in 2028 I will still find something unexpected there. Oversteps is still a universe to explore, but it is a subtle exploration.

Sublimit .. that zone around 5:25 where the odd time meshes is one of the things that I would most like to rediscover in the autechre of the future

but .. apocalypse is a catharsis... The highest, possibly

os veix3 : the precise moment in which it is clear that what you find in autechre cannot be replicated

draft7.30 VS nts too: https://exmat.bandcamp.com/track/chain-pa

new exm >> huge tripping inside https://exmat.bandcamp.com/album/post-acuem?fbclid=IwAR1pm-0m-PZ89LMi9b6pKG5Je45WX54NRvMecBAYKhwTZYj2wakFjX9GHbI

It is true, listening in K can be precarious, sometimes part of the frequencies are lost together with the ability to orient oneself on the structures, then, if you exceed even a little, you lose every coordinate of world and life and goodbye, but if I may say , the situation changes drastically if K is associated with something else. Specifically, the most deep experiences, where listening sublimates into something that goes beyond the discovery of sound, and becomes an ontological act that touches and transforms the cognition of being, have happened by associating opium with a minimal - really minimal - quantity of K. They are both depressants of the nervous system, when combined a lot of caution is needed, but the effect of the two things changes, merging into something gentle, immensely elegant; no more distinction between mental and physical. And the thing can go on for hours, reproducing a sense of perpetual revelation. There is no other substance or combination among those that I have come across that has led me to such an essential and primitive relationship with music. In my case music primarily translates as autechre: oversteps, mot, quadrange, elseq5, nts4 are the psychopomp. Glasgow 2005 is a relentless vision generator too. The next day there is no way to get out of bed: this is the inconvenience.

I didn't know eticycline and I didn't understand the relationship with numbers, but since I am dyscalculic as fuck, if it's a kind of ketamine that also makes me reconcile with numbers, then I'm in btw, MOT with K. = perfect journey... but which Ae is not? Once a friend - who doesn't like Ae - tried ketamine for the first time. He was a little wary but curiosity won him; when the situation got up, just before slipping into the hole, he struggled to whisper "I'm not surprised you like this stuff, it's autechre".

It will be more than ten years since I went to a rave, and in the period in which I went I was not inside the movement but more than transversal, so I am the last one who has an interest in taking position, however I am not so sure about this generation gap, where once there was a revolutionary attitude and now the revival of conventions, I mean, here it is a few years ago, and it does not seem the reconstruction of a fashon club atmosphere (lol)

Thanks Joseph and thanks Jed

...I had forgotten the extension