Kid Lukie

I found this short video breakdown quite helpful in understanding Ae's percussion just a little bit more. I mean, I knew it wasn't just random, but this guy articulates and demonstrates an example fairly well, combing two common-ish rhythms with some variation to get some classic Untilted-era beats. https://youtu.be/d-Srn_Ypk3I?si=MTJtgkzjW9Zb7Q4M

Gotta wonder if the "Cold Earth" snippet they're referring to in The Guardian interview is from an ultra rare, vintage Bandmaster Powerhouse. Some of the samples Hainbach demonstrates sound relatively close to those one-shot warbling hits in the track.

No joking, hey. And their defunct Twitter account has some mad anti-LGBTQIA+ and conspiracy theory shit. https://twitter.com/melomintmusic 2. What does the $107,008 price tag include? 143 hours of curated music, an exclusive Melomint party where you are the main star in one of three selected locations. 7. How will the exclusive Melomint party be organized? Upon purchasing the Quintessential Playlist, you'll have the choice between three party locations. Every detail will be consulted together with you prior to and during the organization as this is no small event. This party will be the focus of the entire world for the night, and we'll accomplish that together with your influence.

Sydney set is sounding quite a bit harder than the Melbourne one, having attended the latter. Maybe that's down to the nature of the events. The Melbourne event (Now or Never) struck me as an AV-technology showcase and Ae's set seems to have had more sublime variations and ineffable transitions. Whereas the Sydney event (Switched On) seemed more generalised to contemporary electronic music, and their set there is sounding more industrial, more rhythmically simple, but much more of a banger start-to-finish with clear transitions between different phases. Really do hope they release the recordings from both as they are totally different, but both awesome for completely different reasons. And yeah, it's really difficult to capture how much inaudible / sub-bass fuckery was going on with these shows, at least the Melbourne one. Definitely felt it through my body at the gig, and not just because the floor was vibrating. An all-over electrifying tingle head-to-toe. There is something seriously ineffable going on with their live shows that I haven't experienced elsewhere.

What's the go with the guys putting those 4 monitors right in front of their desk? Know they've been doing that for years but never understood how it helps their performance. Do they just block the view or is there some other purpose?

3rd time seeing them down here (Sydney '10, Melbourne '18) and this one was an absolute beast. No comparison. Walked outside after for a breather, totally disorientated and feeling like my brain had be reprogrammed. Hard, fully immersive, a heap of variation. There was a beautiful little melody tucked away toward to the end of the set that briefly peaked out on its own once or twice. After being percussively assaulted all set, it was sweet little treat. Also, shout out to that persistent, rattlesnake-y wood block hit that hung around for a while about a third the way through. It was so clear and crisp and resonated beautifully in the venue. It was mixed dead centre and was this lovely consistent, grounding pulse as pure chaos unfurled around it. Took about 15mins or so for them to really get into the swing of it. That rogue light was switched off around then and there were some cheers, lol. Maybe related? I dunno how having a light on in the venue affects their performance. But after that the rest of the set was pure banger, worthy of an ae_live release. The venue was incredible. Absolutely cavernous with excellent acoustics. Ultra wide spatialisation. Was interesting being able to easily pinpoint certain sounds in space like that. Does anyone have a hi-res photo of the message on the screen before they played? I know it's about the lights, but I missed it and just want a squizz.

VID_20230125_100700_014.mp4 rare footage of the ae creative process

so fucking raw.

That midsection <3

wait what??

Parhelic Triangle: percussion sampled from rubbers bands in a shoebox into an EMU, with crappy timing due to shit playing of gamelan gongs. To be fair, he did answer my Q, and he thinks round rooms are shit acoustically.

fucked me right up that last one. epiiiic!

Official measure of which lad is hotter. https://aefestival.gr/festival_events/autechre/ (Live at the Acropolis!)

Message received by Patricia.

One of my favourites for it's juxaposition between classic sweeping Vengelis pads, flutes, and African drumming.

so i just rang the lads up who just putting the finishing touches on their next 3 LPs to be released in the Age of Gemini (3x2 = 6) and they defo confirmed that this would get a release sometime after these LPs likely on the 6th June 6666 which makes for 6 6s or thirty SIX hence 666.

immediately the track I went for on hearing the news. big sads, too young, too early ?

gosh warp will sign just about anyone these days

Would love to get a proper release of this! The CHANEL 2021/22 Métiers d’art show by Virginie Viard took place inside ??19M, the new Parisian building created by CHANEL dedicated to the Fashion Métiers d’art. The model, musician and CHANEL ambassador Soo Joo Park AKA Ether joined Daniel Lopatin on stage after walking the show to sing the finale song of the artist’s exclusive soundtrack especially composed for the collection. Tracklist: Crystallization music by Daniel Lopatin, performed by Daniel Lopatin Wou music by Daniel Lopatin, performed by Daniel Lopatin Strings and Diamonds music by Daniel Lopatin, performed by Daniel Lopatin Clavier Story music by Daniel Lopatin, performed by Daniel Lopatin Haenim - DL Rework music by Joong Hyeon Shin, Johnny Jewel, Ether, Daniel Lopatin performed by Ether and Daniel Lopatin 1221 - DL Rework music by Ether and Daniel Lopatin, performed by Ether and Daniel Lopatin

this post slaps. wild analysis.

Autechre's music is too pure? I mean, if their recent stuff is just machine algorithms generating tones, then it's really just an sonification of mathematics, a pure universal language, where maths is too dense for a good number of people. Maybe Autechre should stick to y=mx+c if they want to produce sanitised pop music.