Chabraendeky

weird, I feel some LP5 vibes too

banger ahead

this is only the fourth track yet, do you realise?

i'm melting

fuuuuuuuuuuuuuck, the BASSSSS

that is the question!

That's true. His full name is Maximillian Dash Emespey.

With mixlr I came up with the solution, using my TV as an internet browser and sending the sound to my receiver. Same will have to do this time too, I guess.

I hope that I can somehow stream it to my network player and listen through speakers.

On what platform will they stream it? Ae-Webshop?

Nope, I remember too, Sean said explicitly, that these are no spoilers, he was just playing snippets from some older tracks.

TBH I didn't read any books by Wagner, but know that he was a great admirer of the aesthetic theories of Schopenhauer. Hence the association. ?

I want this track on the green one... wagnerian Autechre?

I think that main theme is very funky. And it's fascinating how many shapes it can hold with the different sounds. The way it's modulated makes it resemble on acid techno, but the modulations are much more distorted and extreme. Like it compares to acid techno like heavy metal to death metal. Funny, I listened to "bnc Castl" too, and I think they both have a very funky, groovy vibe. Is that something you don't like perhaps? For me, both are pretty straightforward tracks.

You're right, my bad. 6-36 is 13 seconds longer ?

I didn't mean it just rhetorical, but I'm enjoying our discussion! Quadrange is foreshadowing elseq/NTS for me not just in dumping many tracks (an so being definitely longer than an anything before), but also in the jamming-based production, something, that also the elseq nd the NTS stuff is often accused of - so I can"t be the only one who feels an aethetically similarity in the structural build of these tracks. The other - and in my opinion not minor - point is that we have here their first attempt in a long-form in a 50-minute track. The next time we see this approach to the long-form is on elseq/NTS. I must make me clear here: I see this tracks as intented to be long, and built in an appropriate way for that purpose, and not just "shorter track sletting run for long". That the gusy were interested in the long-form, was obvious before, but Perlence subrange 6-36 was their first really long track, only be topped in length by All End. Sonically Oversteps might be very different as Quaritice, in that point I give you full credit. But some new new approach for melodies, building rhythmic tension with not-percussive elements were shown here first (Perlence) - but explored really first on Oversteps. From a technical, and sound-metarial standpoint, you might be absolutely correct - but I was talking more from a compositional standpoint. And so I still think, that a lot of ideas, how to find new way for the Autechre project in the futre, was founded here. Now to your send point of critic: editing. I have absolutely no experience and knowledge in music editing, but if I understood the statements made in interviews, the goal for the editing process was to select the best moments of longer jams, and edit them to shorter pieces. That doesn't mean just cutting out a sample from a longer track, but selecting different musical moments and takes from the run of a loger track and creating a more concentrated version from them. A lot of tracks on Quaristice have 3 or 4 musical "parts" in just 3 or 4 minutes. What is this if not "boiled down"? I don't know shit about programming and sound designing. All my thoughts refer mostly the compositional approach of the guys. And as we can agree on that the guys needed that "liberation from painstakingly crafting", I just want to point out, that in these more improvisational sessions they tapped into some musical ideas, they wanted to explore in more detail in the following recordings.

I see Quaristice as a turning point after "Untilted"., that the guys very much needed artistically. For me it sounds like a fresh start from scratch after a point, where nothing more was left to explore. Tbh I still feel Draft and Untilted a bit of shying back from what they have already reached with Confield - but at the same time exploring some ideas of it deeper. Quadrange was very much a foreshadowing, what become elseq 1-5 and the NTS Sessions. And the experiment to boil down this bigger, more organically built pieces to they very essence, to 3-5 minute-long, very concentrated moments and fuse these musical moments to a greater narrative (the album itself), is in my view something genial. But i can understand, it's not everybody's taste to drink undiluted concentrates... but for me it's perhaps their most entertaining record. I see almost everything they've done since, as growing out from ideas planted in Quaristice. As Confield was a divisive record upon it's release, because it pushed so hard on the alreday established aesthetics, Quaristice still remains divisive because it's approach is so different from anything they worked on in the Confiled-Draft-Untilted-era. When I listen to the NTS Sessions, it's clear to me, that it is clarly a similar aesthetic endpont, they already reached once with Untilted. I'm convinced, Sign will be something disturbingly new. I can't wait to be disturbed.

I checked the autechre.ws site, and the barcode under the text grabbed my attention. I thought, perhaps there is something hidden behind it. So I made a screenshot and run it trough a few online barcode readers- For my sorry, all of them said that there is no barcode in the picture... any ideas? Just some fake design?

I disagree. You didn't provide any context and criteria for your review of the track titles, so it's just a heavily subjective rambling. Let's see these titles in context, and forst pf all take a brief history of Autechre track titles. On Incunabula and Amber a good portion of the titles are still regular words, another portion are distorted words ("Maetl"), and only a few seem to be so much "distorted", that tey are more like made-up words: "Kalpol Inrol" (second half is just distorted from Intro) and "Yulquen". With Tri Repetae they shift to these kind of made-up words: if they are distorted from real words these aren't be detectable only for the initiated, but they have a word structure: they are built from clear syllabels, froma clear structure of vowels and consonants. The only track title on Tri Repetae hat contains a non-letter character is "c/pach". This is a pre-form of a new kind of track titles that seem more like a code, than a word. But in this early form the dash reads almost like a line so it's seems just a distorted version for c-patch or c-path, what you prefer to read into it. So it's closer to older track titles as "Maetl" as it seems, but has it's roots more in a programming language, than "Eutow", or the other titles. The track titles on Chiastic Slide, LP5 and Confield follow almost the same pattern, Lot's of distorted words "VI scose Poise" ~ viscose pulse, and titles that seem made-up words ("Tewe", Vose In", "Sim Gishel"). LP5 had "Fold4,wrap5" which kinda just seems as a folder name, so also hase this code- or programming-like character I mentioned before, in the sense that there is no meaning behind it, it could be just a sign for a location in a computer memory. The titles of Draft 7.30 were all over the place: we had proper english titles ("Theme of Sudden Roundabout"), along with some distorted or made-up words ("Reniform Puls", "Surripere") - and lot of titles with non-letter characters and unresolvable abreviations ("6IE.CR", "P.:NTIL"), and I'm quite sure "IV VV IV VV VIII" has to be read as roman numerals. I call this kind of titles code-like. Untilted back back from this ne approach, and the track titles are mostly distorted or made up word even one proper Word "The Trees", and has only one title built as an unresolvable abreviation: the opener "LCC". With Quaristice code-like titles ("fwzE", "90101-5l-l") are back in the game, but along with distorted and made-up words. Oversteps is similar in that regard: code-like titles are teher, but not the common type ("pt2ph8" "O=0"). On Exai we have perhaps a bit more of this kind of titles, but there are the familiar distorted and made-up words too. We can see some title that mix these approaches like "irlite (get 0)". On elseq we had some code-like titles sometimes in conjunction with more word-like elements: "13x0 step", "elyc6 0nset", some of them were pure code-like ("feed1", "c7b2") but there are titles that seem like distorted or made-up words ("eastre", "curvcaten"). The NTS Sessios follow suit, but introduces an element that probably was there since "Fold4,wrap5", but here it's obvious: additional titles describing their own quality: so we have famousy "gonk" as "steady one" and as "tuf hi". There are more than some code-like titles "t1a1", "l3 ctrl", "e0", etc. but still some with a clear word structure ("violvoic", "nineFly") and even one with a more then fitting proper title ("all end")- Now we have a context to examine to titles for SIGN. And as the album title already suggests, the almost all read like code-like titles to me, or at least have a code-like part ("Metaz form8") and only two titles of the 11 can be read as titles from the ditorted words category ("esc desc", "psin AM") but in the context of the other titles of the album also these seem more like codes than distorted or made up words trying to decribe the track. Not that we weren't used already to this kind of titles from the guys: but in comparison with the preceeing albums it sticks out that all of them go in that direction. A direction to deprive the titles from the forms of human language and replace it with elements more representing a programming language. I can't decide if this is a more abstract ore a more direct and objective approach. I like to think it's more the latter: as like in classical music titling only with the tempo and/or orchestration of the piece ("Adagio for Strings") as trying to decribe the mood it tries to evoke ("La Mer"). The first approach seems more objective, that the latter. So in analogy, a code, that might (or might not) have something to do with the programming of the track as title seems more objective to me, as a describing one (even if with the sound of a a made-up word). Are these titles "better" or "worse" than titles on other albums? It's like asking, which word do you like better: "horse" or "socks". Every person could have a different answer to it, so I dislike this kind of measuring. But now we can discuss: why is it so, that these kind of titles, that were present since at least Draft 7.30 but always only in a few number, are the new norm for this album? Perhaps it's beacuse that's how Sean (or Rob) likes to title his tracks he made alone - and SIGN is really a "solo album". Or it might be just a coincidence. Or a conscious decision coming from both of the guys. Who knows?

Totally agree. The whole feeling of the new Squaerepusher album was kinda ruined for me because of the lot's of preview tracks. Hearing the already familiar tunes along with the new ones made them feel boring. I wished I could listen to the whole album at once. And the other thing: the albums of Autechre always have this stong dramaturgy, just releasing a single track from it as it would be a single would be completely un-autechrish for me. I don't mind to wait. But I would like to know, when the green one will be dropped!

What if all of it?

Baroque is comin' up in 2020... the new 'pusher has it's baroque moment too. Went buying some perruque.

Yeah please do a complete discography review, we need the green album too.

I'm with Berkeley. If perceived, it's real. Esse est percipe. So is the slowly ascending scale melody line in the third "movement" just before the big fortissimo cluster. Favourite moment.

I don't know if this makes sense for anybody else than me, but "all end" was the Ae-tack I was waiting for since I first heard "Drane2"... I couldn't explain the mental connection between the two, but so it is.