Draft78

bqbqbq is one of those tracks that initially hide a lot of its structure: it seems to hear the forced repetition of a screeching blips, but in my case at some point it's clicked, like when you manage to cross your eyes and see the 3d figure in a stereogram. Each blip is the sum of different heights, and each one, from blip to blip, follows its own path, building melodies and slowly becomes dark and melancholy ... try to give it another chance, it could do the same trick with you too

Yes, probably the reason lies in the combination of an immediacy which, apparently, does not hide particular textures behind the surface, and also in the sequence of notes, which I personally find very generic. For example, in the case of pce freeze 2.8i, I promptly have the mental image of a handful of hasty notes, jotted down as if it were a demo to test stuff like ableton presets, which are played in succession by all the instruments to get an idea of the various sounds of the archive. I mean ... 5 minutes of piriri pirì - pirì pi ri pi ... in this same category I also include splesh and elyc9 7hres, and I notice that in all these cases, the melody carries something common, and the sounds too are very straightforward, almost 8bit, all elements that are at the other end of the spectrum of reasons that lead me to Ae. Interesting how Ae, more than anything else I know, manages to be perceived through a sovereign subjectivity: not only among those who cannot listen to them and those who have become obsessed with them, but also within this second category, the points of view and tastes can vary immensely, with the same fluctuation of possibilities found in the first division (that between those who hate them and those who love them, in fact). This is interesting, in psychology there is a tendency to identify categories, certainly with a whole series of exceptions and singularities, but still more or less combinable under broad analogies, here instead this fact is largely eluded: the reason is not yet clear to me but it is certainly fascinating.

the main theme is a sequence of notes that is very distant from me (and is repeated with different sounds, equal to itself, from start to finish, without mercy), and even the rhythm on which it rests does not communicate anything to me except a slow dragging of boredom. There is a slightly more interesting moment, at 3:44, where some sort of solo comes to the surface (hard to tell if it's a heavily filtered vocal or a massacred synth ... the vocals certainly come shortly after): are the dissonances there? Even the glitch at 1:45 it's fine, but overall I feel pce freeze like a fracture in the MOT. The fact that I don't hear the dissonance tells me that I am missing something...

I can thus imagine that, probably, you are less tied to ovesrteps, which, although not lacking in obstinate, will rely more on "narrative" than mechanical paths ... ?

as a non-native speaker I could have written something completely wrong: I think it's an almost onopatopeic form, used when something suddenly starts to work, even in a figurative sense. Anyway yes, that's a good thing, but I realize that if I had used "work" it would have been better.

Generally, we know, many tracks take time to reveal themselves: sometimes they can appear anonymous until one day, when we think we already know everything well, listening distractedly we realize that those are extraordinary ideas (yes, this happens to me when I lower my guard and I don't listen analytically), and we are surprised at how we couldn't understand it from the first moment. Even on exceptionally minimal pieces such as TBM2, all of a sudden the combination of an elementary tempo and a few laconic sounds can turn into suggestions of barely hinted melodies, which are built on subtle relationships that, precisely in their not being manifest, put in motion of interpretative processes. Yet it happens that this does not happen. It is rare, but possible. I am not referring to pieces that leave us indifferent, but to cases in which listening is really tiring. Precisely because it's a rare thing, it's interesting to be analyze. For example, I've never been able to like pce freeze 2.8i or bnc Castl (yes, I know, it's a tribute to a track by Kraftewerk, but it's not enough). Yet, as much as these songs make me hives, are the product of the same minds that combined Sublimit, vekoS, parhelic ririangle, surripere, os veix3 and all the rest. What would you remove from Sum & Rumbla's discography? PS: I suspect I have already opened a similar post time ago, but my memory has long since left me...

I have the impression that we are losing sight of the point. Splash's comment did not want to "moralize" you, but she played with political correctness, in fact she took an attitude generically codified as "sexist", but applied to a case in which the gender is not known ("casual" is the key), thus creating a paradox: and this is specifically what makes it brilliant, the idea of a form of sexism when it is not directed at a gender is paradoxical. And this paradox underlines how paradoxical it is for you to react with serious and genuine impatience for a comment that really wanted to be ironic, which was Ilianne's comment, and its true meaning played benevolently on the absurd drift that often takes this thread

this new step by Melt Banana has something autechrish

sound like an extrapolation with an interpolation

^^^ ^^^

I'm not a native speaker, indeed, without the translator I struggle, but I think that All End rather than End All means that the whole track is made up of the end (specifically the bladelores ending: "all this is the end of bladelores"... and "all this - 1 fucking hour - is the end of NTS" ), and not that "everything is end" . Clearly being the final piece of an eight hour long work, and with epic tones, the idea wants to play a little in the balance between the two interpretations.

true, this media silence is the "promotional" transposition of who plays in the dark: they have removed any frills intended for visibility

Instead I find it likely that at some point they give us a gift, freeing the download of the entire album a few days before

I too was trying to understand the warp moves. Generally before a release there is an advertising phase, but with Ae this happens less and less, although they are still the most influential name in the catalog. In the case of soundboards practically nothing has been done. The only answer I give is that, aware of the target that will be interested in the release, they realized that they can afford a minimal line, as cryptic as ae themselves. It is probably music that, although it has created a significant space, is aimed at a niche that does not need an advertising campaign, especially now that a lot of expectation has been created thanks to revamped system, with a possible stylistic change. After all, a prewiev finds reason in its being representative of an album, and in the case of pop it's for sure, but with autechre it could only be misleading, since usually each piece is a world in itself, and at the same time is something that needs to be assimilated slowly: they are certainly not known for immediacy (and in the perspective of a promotion, immediacy is essential), so I believe that leaving the total mystery on the impending album is perhaps more strategic than disclosing a single passage. How else can we explain all the singularities that happen only with them?

...Ae have reached a status that does not need prew, an announcement seems to be enough, a little to place orders, a little to drag us into a lusty spiral of dementia for 2 months

robert, do you really want 46 more pages? Is October 16 really necessary?

there is the suspicion that such a long time of waiting has precisely the purpose of watching us regress Warp, c'mon

I was prepared for the knockout: in writing the encyclical I had put a mattress on the ground to cushion the fall

j. conwell

so... the beauty of Ae graphics lies essentially in the idea and the ability to synthesize that captures in an elementary sign that extremely vast set of characters found in sound. For example, exai's graphics are not "beautiful" in themselves (a seemingly occasional set of dark squares and rectangles on a little more clear background), but it's fascinating, it has a cryptic feel, and one lets oneself be seduced by the suspicion that there both a deeper reference behind (which eventually resulted in the game of life hypothesis, which is fairly confirmed since Sean streamed his voice the day he died). Elseq is interesting because it combines circles and squares, but arranged in such an irregular way that it gives a sense of imbalance, although the circle and square are the regular geometric figures par excellence. I like the graphic for Sign, it has a breaking role with the line of recent years, introducing warm colors and harmonious shapes (yes, like all, I hope there is a relationship with the new sound route), but maintaining that essentiality that give back something enigmatic ( however, I must say that the original shape has given its best in the screen prints for Onesix: there is something Kubrickian in that image). On the contrary, I find the incunabula cover totally wrong, those hasty glitches just to associate themselves with a consolidated and generic aesthetic. The same is true of Anvil Vapre. Confield seems to me to lack any personality, my eye wouldn't be caught if I didn't know that it covers music written to evoke Pazuzu. I must confess that even draft art leaves me very perplexed: the black streaks that create three-dimensional fantasies and the digital fades remind me demos for graphics softwares of 2000. On the other hand, I like Untilted, the combination of colors, the (almost) loss of three-dimensionality of geometries for a completely abstract aesthetic, and in general the shapes.. seems to me that they center the mood of untilted. For now, however, my favorite image is Oversteps. Here too there is a break with the past: an expressly manual gesture that tries to get closer to the perfection of the circle. In its elementary nature it strikes me, i just surprised myself interested in something as common as a circle, like if it hide something archetypal (for the same reason I find Richard Serra's works attractive ). in any case I find it impossible to separate those graphics from the music they echo: it is through cognition that they represent that specific music, which are enriched with charm: once again, it is a mental fact, not of universal immediacy.

Bambi's death was a tragic but necessary event: without his sacrifice today we would not have David

sorry that sad events have ruined newbound. The second part of notwotwo is affecting too

unfortunately my tear glands are not so generous to activate trough sound, but for some reason I find a balmy sadness in M62 ... and it's like a trick by Ae: it deceives because it has funky sounds, and a very lively rhythm yet in the combination of harmonies they manages to arouse a sense of placid, languid resignation

thank you! beautiful ! I listened to the whole album, when it seems to go to a known place, something unexpected always comes