jaderpansen
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Everything posted by jaderpansen
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T_T ... fuk.
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aaaaaaaaaaaaaaaaaw
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HALF TIME BITCHES. U RDY FO MO?! it's like looking over the damage pt.1 did now. quite :(
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haha, yes.
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It's not been clear to me whether some of the transitions constitute progressions or new tracks. Flows more like the live sets than the last batch, which I like. yeah, it's hard to tell, was just some vague estimation... it's also quite consistently dark and effed up so far, which makes it even harder to tell. not very carefree.
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well we're only 45 min in an already on track 6 or so (?). shit's loaded with events.
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and we're only 30 min in... jeesh
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ligeti choir mixed with edit: this is pant shitting amazing. fuck.
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those bg noises... onesix?
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+1
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it's literally the sound of watmm cums squirting in all directions.
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flol
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i can't even--- tac lacora anyone?
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YAAAAAAAAAAAAAAAAAAAAAAAAAAAA EDIT: THE FLUIDITYyy
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Now That Trump's President... (not any more!)
jaderpansen replied to Nebraska's topic in General Banter
good news! ww3 delayed til after aepril: "Never said when an attack on Syria would take place. Could be very soon or not so soon at all! In any event, the United States, under my Administration, has done a great job of ridding the region of ISIS. Where is our “Thank you America?”" -
5293secs
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Hi Jader, just to nitpick a bit, I want to push back on the composition vs meditation on a theme thingy. Looking at their past interviews, I would argue that the boyz are in total control. In the prehistoric Confield era they mentioned that all sounds were intentional ie composed. Not sure if these days their approach is very much different and they have fully unleashed their Maxes to perform generative magic totally on their own. I think that what we are hearing is composed! yo! well if you take the meditation thing and interpret it as impro / slider fumblin as opposed to mousin it i think the lines can be blurry. like, i think sometimes they define the macro-structure / overall dramaturgy but certain elements / singular events within are derived from improvisation, l3 would be a recent example which i believe belongs to this category. or think of quaristice, that was basically its concept, edited jams. but that's not even what i meant. compare their music to typical western classical tradition or popular song structures. they do dabble in these concepts sometimes like in irlite or ipacial section, but usually their tracks have more of a monolithic quality, like setting up a scene but instead of immediately (or after a fixed set of repetitions) going to the next in a straight narrative way they circle around, light it from different directions etc. for extended periods of time ... few elements might be popping in and out but usually there's only one or two "drastic" breaks, if any. thousand examples follow this formula: xylin room, 11 is, 444, vose in, you name it. dunno how to explain it better, really. can't focus, NTS 2 so close D: ... gnah.
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7700secs
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nah, that's absurd imo. why would they hold back tracklists for the other volumes then and release only the current one. if this'd turn out to be true it'd be legendary trolling really.
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north spiral: ______ not hoping for anything in particular... hm then again something like an extended second half of fleure would be cool, just formless wobbles n wooshes n shit. yeah.
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yeah but after exai being 2 and elseq 4 hours isn't this just too obvious? what about some innovation and releasing a grindcore 15 min album now? ... or was quaristice actually their grindcore album already, having 20 tracks on one cd? hmm... (actually i always thought of quaristice as their own little "punk revolution" with untilted kinda marking the bloated ass "prog rock" era before (... diggin both)).
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it's one thing to suggest that you think the music sucks but your limited palette argument runs against the grain of their work ethos as they've revealed it to the public over the years. autechre have always been about exploring limited palettes and much of their work is defined by this discipline. to be fair he still got a point. i mean let's just say this present phase of theirs started with AE_LIVE, that's 4 years of the same setup. now compare that to, say, the 4 years from 1994 to 1998, amber to lp5... each one was a quite a landslide with a very distinctive palette, limited as they might have been within themselves. but to expect anyone to keep this kinda pace up for a lifetime would be folly of course. also this is "just" a session we're talking about after all, i mean think more in context, like, were the peel sessions game changers back in the day? hardly. do they still rock? at least i do think so! tbh i'm wondering why there isn't more arguing about what of this is actually live or something lol. this whole notion of "new ground" is quaint. this music sounds extremely fresh and ground-breaking to me; i certainly don't know of other examples that sound anything like what they've been up to the past few years. if they are taking their time here refining and exploring a certain system, that's a perfectly valid and interesting artistic experiment. and if one insists it isn't different enough, well "new ground" isn't the only purpose of an artistic work. furthermore, there is plenty of precedent of artists producing work that is longer, deeper and more singular over time. i mentioned coltrane earlier, take a look at that dude's progression -- his solos grew far more lengthy, almost insanely so, while at the same time he often repeated themes, took up motifs and scales and ideas again and again, re-imagined them, reconfigured them (you can find "my favorite things" and "giant steps" all through his entire recorded career. but if you just skipped through his solos and listened to random 30 second bits you could definitely play this "ugh, this is just the same thing, not much new ground here." the new ae shit entails a different kind of listening than 94-98. if it's not some one's thing, cool whatever. i just hate this "oh they're only doing max there's no new ground" argument. the dudes are taking their time with this set-up and i for one think it's goddamn incredible. yo, playing devil's advocate here. i for one totally dig the current sound (so much more than the electron period) and think elseq e.g. is a late masterpiece that easily hangs with all my favs of olde (and that's damn hard for the fact alone that, well, i used to be fresher, too, lol... another aspect that should probably be considered). i second the notion that innovation / reinventing oneself shouldn't be considered the essence of art. well but IF you do, i think it's save to say they indeed used to do that more, quite objectively, for a while. within their own universe, of course. not even talking about breaking ground in a general sense. in that regard they indeed got fucking shit to prove to anyone forever, that's fo sho. nothing like the chre. :3 just one more night *sigh*. imo they are spending more time with a much more complex system than they’ve ever had. I think a significant aspect of their previous innovation had a lot to do with the way they exhausted more limited systems. even for the brothers, there’s only so much you can do with the elektrons. at the moment, it seems like there’s still a fuck ton to explore within their system than in prior iterations. i get that the results are less dramatically different or less novel but i’m not getting any sense that this is some dull meandering, it has all sounded really intense and powerful and compelling to my ears. in the liner notes to the 90s performance/recording of “music in twelve parts” philip glass remarked that in the 70s his ensemble was “creating a musical language” and that only after two decades of work were they “fluent in it.” I see something similar throughout autechre’s career and i find the fluency of recencent years really inspiring and quite literally awesome. oh yeah, the meandering thing. well fact is autechere always was about meandering, as in: meditating on a theme / mood and exploring different angles of it. most tracks they ever done consist of "only" 2 or 3 distinctive parts plus transitions, not like they used to compose operas or something (closest would be untilted, i guess). atm they just allow themselves to do it longer and more extensively, obviously enjoying less restraint from (physical) media. can't even fathom the complexity of their current setup (or any other for that matter), so dunno. but yeah with max basically being a turing complete programming language the possibilites might indeed be pretty much limitless. well apart from the equipment exhaustion thing i do think there was quite some "formwille" involved on sidesteps like oversteps (no pun intended, actually). at that point in time that was probably the ballsiest thing they could've done. that was one adventurous album. i also hardly listen to it nowadays, lol, kinda case in point. (it's a cool and accomplished album no doubt, i just hardly find myself in the mood for it). fluency... hm ya, session 1 sounds quite "effortless", in a good way.
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it's one thing to suggest that you think the music sucks but your limited palette argument runs against the grain of their work ethos as they've revealed it to the public over the years. autechre have always been about exploring limited palettes and much of their work is defined by this discipline. to be fair he still got a point. i mean let's just say this present phase of theirs started with AE_LIVE, that's 4 years of the same setup. now compare that to, say, the 4 years from 1994 to 1998, amber to lp5... each one was a quite a landslide with a very distinctive palette, limited as they might have been within themselves. but to expect anyone to keep this kinda pace up for a lifetime would be folly of course. also this is "just" a session we're talking about after all, i mean think more in context, like, were the peel sessions game changers back in the day? hardly. do they still rock? at least i do think so! tbh i'm wondering why there isn't more arguing about what of this is actually live or something lol. this whole notion of "new ground" is quaint. this music sounds extremely fresh and ground-breaking to me; i certainly don't know of other examples that sound anything like what they've been up to the past few years. if they are taking their time here refining and exploring a certain system, that's a perfectly valid and interesting artistic experiment. and if one insists it isn't different enough, well "new ground" isn't the only purpose of an artistic work. furthermore, there is plenty of precedent of artists producing work that is longer, deeper and more singular over time. i mentioned coltrane earlier, take a look at that dude's progression -- his solos grew far more lengthy, almost insanely so, while at the same time he often repeated themes, took up motifs and scales and ideas again and again, re-imagined them, reconfigured them (you can find "my favorite things" and "giant steps" all through his entire recorded career. but if you just skipped through his solos and listened to random 30 second bits you could definitely play this "ugh, this is just the same thing, not much new ground here." the new ae shit entails a different kind of listening than 94-98. if it's not some one's thing, cool whatever. i just hate this "oh they're only doing max there's no new ground" argument. the dudes are taking their time with this set-up and i for one think it's goddamn incredible. yo, playing devil's advocate here. i for one totally dig the current sound (so much more than the electron period) and think elseq e.g. is a late masterpiece that easily hangs with all my favs of olde (and that's damn hard for the fact alone that, well, i used to be fresher, too, lol... another aspect that should probably be considered). i second the notion that innovation / reinventing oneself shouldn't be considered the essence of art. well but IF you do, i think it's save to say they indeed used to do that more, quite objectively, for a while. within their own universe, of course. not even talking about breaking ground in a general sense. in that regard they indeed got fucking shit to prove to anyone forever, that's fo sho. nothing like the chre. :3 just one more night *sigh*.
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i think it sounds ok just that it's a bit bland compared to the rest... ah anyway: h5 :3
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it's one thing to suggest that you think the music sucks but your limited palette argument runs against the grain of their work ethos as they've revealed it to the public over the years. autechre have always been about exploring limited palettes and much of their work is defined by this discipline. to be fair he still got a point. i mean let's just say this present phase of theirs started with AE_LIVE, that's 4 years of the same setup. now compare that to, say, the 4 years from 1994 to 1998, amber to lp5... each one was a quite a landslide with a very distinctive palette, limited as they might have been within themselves. but to expect anyone to keep this kinda pace up for a lifetime would be folly of course. also this is "just" a session we're talking about after all, i mean think more in context, like, were the peel sessions game changers back in the day? hardly. do they still rock? at least i do think so! tbh i'm wondering why there isn't more arguing about what of this is actually live or something lol.
