Spamlet

elseq is the peak btw, how many of u are on that page confield if you want something you can hold in yr hands

Probably

It's my great pleasure and distinct honor to announce that I have just changed my vote from option 3 to SIGN

As a structural conceit I guess it makes sense for the most cloying pop song to mark the transition into abstraction. It's just that Auto & Allo and Long Road Home kind of push it to the limit right away, IMO - there's no buildup. The repetitious twin-peaks-ass crooner of No Nightmares doesn't seem to mark a measured climax, more like a deep overindulgence. Everything after that is golden but has to earn its goodwill back. The structure here is sound in theory but in execution really uncalibrated In My Opinion

Definitely gonna take some getting used to this one. The second half is lovely, feels like it would sit better if the centerpiece the transition from pop to experimental hinges on wasn't, y'know, trash

Early impression here but I'm leaning toward "SIGN has a more cohesive artistic identity which stands out in a special way among their work, PLUS is more fun"

TM1

I think a lot about how BoC once said they had like a fully acoustic version of MHTRTC but they didn't wanna release it out of fear of "alienating their fans." How much cool stuff have they done that they didn't feel fit their brand well enough? Just let us hear stuff, don't be scared of your own shadow!! Anyway PLUS is sick

The first set of tracks seemed really promising to me, but parts of these five really sound like self-parody to me. Bummed about it

hey yall just wonderin which free vst i can download to make mesh cinereal

I don't think it would be too bitchy to send a pic to the label asking politely if a replacement for just the broken cover is possible

it probably takes a lil more thought to achieve odd time signatures in yr own environment than ableton, which lets you just punch it in and have the piano roll show where everything you're doing is relative to the measure??? i do wish AE would do it more often though, and electronic music in general! this album would have been a great opportunity to - tho to be fair tracks like metaz form8 feel like they're basically playing in legato-mode throughout, which is the apotheosis i do see what's meant by calling this a step toward the "traditional," but clearly not a total surrender to it. i think something that's surprising in these tracks when viewed in that light is that they generally continue to lack clear out-in-the-lead melodies, tho many of them certainly imply some. it gives the mic to synthetic possibility spaces rather than particular sequences of notes, dunnit?

I put their entire discography at the time on shuffle while playing Destiny, for probably hundreds, maybe something like a thousand hours. Really made a nice fit for the baroque and mysterious sci-fi atmosphere the first game had (in the sequel the bombastic tone of military heroism has kinda taken over, disappointingly). But yeah I kinda absorbed it through the second thread of my ADHD brain. Peak experience honestly. To this day I haven't listened to most of their albums linearly lol, but I do feel like I have an equal appreciation for all their different sounds. I truly believe that the chaotic pace of their tracks helped me get in the zone to parse the game's PVP, and more importantly, vice versa

My brain keeps mashing up esc desc with fantas by caterina barbieri

it's not like they're the only ppl in the world who make their music mostly/primarily in a visual coding language or whatever vOv ain't so farfetched. i won't complain if they're not above using a VST now and then but they've been messing with kit for so many years, it's doubtful they much feel the need to take shortcuts

ahaha i'd been trying to remember that guy's name for years, thx. he does a nice thom yorke impression

Yea I don't think I would like this near as much if I wasn't listening on good headphones. Wanna give it a shot loud on the stereo sometime soon, sometime I don't feel like I'd be annoying the ppl I live with. (Car stereo would be a cool format too I bet.) The sound design is top-notch no doubt, such that it genuinely plays an active role in what you'd traditionally call the "composition." I don't think that in itself is really new for Autechre, but I admire how the album seems constructed in a way which foregrounds that tendency. And that's kind of what I mean when I say it's accessible... there's a clarity to the purpose of this thing, which I don't think you need to already know their stuff to recognize. But there are tracks whose core structure wear on my ears, because all the interest is in the role played by what I'm calling sound design. th red a sounds like those chords are generating lovely trails of polyphony - but six and a half minutes sure is a long time to lean on the chord loops driving those trails. On older albums, that (truly great) secondary voice burping away would simply be louder in the mix, I think, and also there would be some drum chaos. And maybe that would make those chords feel less underwhelming simply by obscuring them? Maybe it would also make those trails of polyphony even more intriguing in the same way - can't hear them as clearly so they sound even more intriguing. So maybe letting sound ideas play soloist in tracks which lack all the "noise," elements which could be said to be obscurantist (I'd personally say maximalist instead) makes this a more confident album, arguably a more honest one, and probably a necessary one in a complete exploration of their sound. psin AM feels like it may be the track which demonstrates the uncompromising logical extension of this concept: everything that's not that three-chord synth loop is really quiet in the mix. The details back there are tight, but for me, keeping my attention on them instead of the dullness of the loop requires active attention. The minimalism at this point is no longer in service of foregrounding the sound design, now the simple part is the obscuring element. And it's genuinely an intruiging thing, if we accept some immediate unpleasantness as a necessary ingredient in plumbing the artful depths (which we do) For me though, the style of austere minimalism presented on elseq in tracks like spaces how V, eastre, and pendulu casual is more immediately pleasing. how come autechre's like always in 4/4, anyway

It's kinda the exact album I was wanting them to make, the gorgeous synth textures with the drums peeled back a bit! If that idea turns out to have limitations then it's my fault, sorry guys. But I think Metaz form8 and M4 Lema are gonna be some of my favs from them forever, and that different ppl seem to gravitate toward different tracks (as usual) is a good sign i'd say

I haven't figured out my own opinion on this yet, hello, some parts are really beautiful, I bet it would be a good introduction for somebody curious to get into their not-early material but finding the heavier mixes of exai and elseq a bit too inaccessible. This one's more focused on a particular section of the sound and I think it's really cool to hear that, but maybe it lacks some range

would love if sign meant sine waves... more stuff that's smooth not sharp, like the cover. the altibzz yulquen vibe or not, the lads are always welcome to just fuck me up ofc

the jams you've posted are real cool, how fun it must be to get your hands on those patches

the all end disc is the part of the vinyl set that has seen the most use by me

Not sure where I stumbled upon this, thought it might've been this thread but seems not https://plumus-nanonum.bandcamp.com/ edit: nvm it was totally this thread (had to search "vimeo" instead of the artist's name) - still great though

i dont mean to be a buzzkill because im sure lots of folks will like this album more than me and that's super cool, but having listened to my super special vinyl a few times now i agree with this - i feel like his weird superstar status is leading daniel to punch way above his weight. the concepts behind replica and r plus seven could have fueled a few more classics imo, and while im super happy to see the dude continuing to experiment im definitely left with a feeling that a lot of it is a little... dumb still, nothing else out there really sounding like this. 100% a worthy listen however you end up coming down on it

All I recorded was one minute of Same and almost all of... Chrome Country (they played it as part of the encore), but if you wanna see some of what the show looked like to an iPhone, here! Some other highlights included: -Pre-show music was just an ominous drone track (release it as a b-side daniel) -The cowgirls from the music video (probly not the actual same dancers) moseying from out behind the stage, thru the audience, and out toward the exit -Quite abstract percussion and cello solos -While you weren't looking, a giant hillscape of garbage bags inflated on either side of the stage -Final track that isn't on the album with (intentionally?) dreadful lyrics about the astonishing-ness of being alive, the waves on the shore, the wind in the trees, the birds and the bees and the butterflies, ending with bright lights coming on pointed directly at the audience so the dang stage got hard to see