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sweepstakes

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Posts posted by sweepstakes

  1. On 3/13/2020 at 10:18 AM, no part of it said:

    OEZ.jpg

    https://nopartofit.blogspot.com/search/label/interview

    One-Eyed Zatoichi is a preferred nomenclature from the spearhead of a noise project called Thirteen Hurts, which also has a leg of it separately titled "13Hz" for his modular work, as I understand it.  I think it's important to note, because I remember being told that there are no other sources beyond pedals for Thirteen Hurts, but to some, it does sound like a synthesizer is in there somewhere.   I met OEZ in Denver several times and again in St. Petersburg, Florida, in which case he drove 2,000 miles to play for 15 minutes at a noise fest.  At that time, he lived in some sort of solar-powered dome within the guts of Colorado foothills, six hours from any sort of civilization.   I've seen noise artists with too many pedals, and OEZ has more than those dudes, but he has a bizarre precision and intent with his performances.  They are cinematic and rowdy in nature.  Of course, he has a release on NO PART OF IT, but his previous two releases are also pretty starkly placed within the realm of what I'd want from a pedal noise/"heavy electronics" artist.  I also find his work to be unique in that I am taken to a specific abstract place when listening to it-- it has substance (which I regularly find off-putting in harsh noise releases) that suggests an intention and would be fitting for some sort of UFO hunter or a person digging around in tunnels looking for reptilians.  What I mean here, is not necessarily do I think OEZ is into that kind of thing, but I find his sounds to be inherently visual/exploratory in a way that I don't come across much.   It is entirely coincidental that this is the 13th interview in the series, by the way. 

    This interview series is will be published on the 13th of every month, all from people who answered the same questions at the same time, scheduled in February/March of 2019, and will go on for several years.  

    Thanks for posting this... I'm a basic bitch when it comes to noise, but I'm listening to UVB-76 now and it's really doing something for me.

    • Like 1
  2. 4 minutes ago, caze said:

    They just think their faith will protect them:

    That's horrifying, but surely not all these people are so staunchly anti-science? Even their leaders?

    I guess I'm in denial... I'm reminded of Philip K. Dick's certainty that Nazis were robots because actual human beings simply could not carry out their atrocities.

  3. 5 hours ago, Zeffolia said:

    i think it's a low intelligence and awareness induced lack of empathy

    My younger self would have thought so as well, but a lot of the people saying this kind of shit are wealthy and powerful. You can certainly become wealthy and powerful as an asshole, but generally not as a dumbass, unless you inherit your fortune.

    2 hours ago, dcom said:

    That would be the backfire effect ... in effect. Cognitive biases are all fun and games.

    As that first link indicates, though, that cuts both ways, and I am genuinely interested in understanding this perspective to the degree that I can. I find it very hard to believe that none of the people fixated on this strategy (or at least selling it on Fox News) consider the part after we prematurely restart the economy where the curve explodes, tons of people die, and the economy gets rekt much harder than it is now. Surely anyone with successful investments (outside of the very, very lucky) understands exponential growth, right?

  4. The whole "start the economy back up even if a fuckton more people die" continues to be a really popular idea among the religious right. I still can't tell if they are all, no shit, just dumb as fucking bricks, or if this is actually part of some horrible dystopian master plan. I just really don't get it. Maybe it has to do with rapture or end time prophecies or something... but even then why give a solitary fuck about the economy if Scottie is just gonna beam up all the good guys?

    • Farnsworth 1
  5. On 4/9/2020 at 6:49 PM, Hugh Mughnus said:

    Dat Bass.

    lol I was just listening to Dublin and I was like wow, that's some bass, I need to shitpost in the chat about it. then I realized I wasn't in mixlr anymore.

    • Haha 2
  6. 55 minutes ago, purlieu said:

    Hah I was wondering if anyone here would screencap that. Was gonna be all "look at the news my reply got" but then Warp ruined it all with the tweet anyway.

    haha Warp is probably perpetually trying to stay in front of DR leaking AE release deets

  7. 2 hours ago, Friendly Stranger said:

    Any time I need to have a self talk about my BoC fanboi-ism and how I really need to pump the brakes, Autechre will put out some music and the hardcore Ae heads absolutely lose their shit, reminding me that actually I'm not that insane.

    I'm here for it.

    thing is, Autechre actually delivers

    • Like 2
    • Thanks 1
    • Haha 3
    • Burger 4
  8. TROG > POV for me and that comes down to the Feels department, but POV had better production. Horses for courses indeed - I'd rather listen to POV in the car and TROG is a trustier companion for slogging through code and unreasonable deadlines. None of that shit matters though, what does is I have no doubt that this is gonna be good.

    • Like 1
  9. 31 minutes ago, fizzkinz said:

    I’ve seen plenty of your post about not liking Oversteps, and known everyone has different tastes (I’m underwhelmed by Quaristice as an album, but I know you like it, so how can I judge right?) 

    and to be fair, I’m not bowled over by oversteps overall, and my enjoyment varies greatly from “I like this a lot” to “this is patchy but OK-ish” 

     

    but one thing that has been a constant is that Treale is the absolute gem in this album, and the one track that always brings me back to the album.

    so.... I suppose I must just accept that whatever it is that draws us both to Autechre, we may have absolutely opposing taste. And I guess that’s ok 

    With Autechre it's so weird when it comes to taste. I guess because their catalog is so diverse, and they're so abstract, and the motivations for people to listen to them are necessarily so personal compared to other artists. It's easy (or maybe it's not, really, that just seems to be what it always boils down to) to say, welp, everybody's different, that's that. Why is Treale corny and arbitrary-sounding to me, and an absolute gem and the hook of Oversteps for you? Every album is a world unto itself, and I think people are drawn to different sound-worlds just like they're drawn to different weather, flavors, colors. And there's totally subjective cross-associations, too - Quaristice is almost perfectly synonymous with late October for me, mostly grey with bits of orange and brown, new-ish but worn rough around the edges like comfortable Autumn clothes.

    But if it's just subjective, what is there to talk about? What's the common language? Why even talk about Autechre at all? I honestly I want to believe in some universality of non-verbal, abstract communication like music (see: https://en.wikipedia.org/wiki/Bouba/kiki_effect ), maybe to enable me to pretend that my intuitive understanding of humanity and perception isn't fundamentally delusional, maybe to feel less lonely and solipsistic. The only way for me to get anywhere with that approach is to be humble and assume that I'm missing something in the things I don't enjoy. In these cases I tend to ask people what it is they like about it, but this tends to get people's defenses up (i.e. "what do you see in them?")

    So maybe your approach is wiser.

    • Like 2
  10. 15 minutes ago, Alcofribas said:

    Yeah I mean in my fanboy opinion autechre does not have bad albums. every one of them delivers so damn hard. 

    but @sweepstakes I completely understand having negative associations with it or even just outright not liking it. I enjoy reading your posts, makes me think more about it
     

    imo there are so many great tracks on oversteps but my fave is see on see. to me that felt like classic ae, almost like if something from amber mutated on another planet for a while and then dropped acid with Pule. 

    I appreciate it that and I appreciate your posts as well.

    see on see is fucking fantastic. That one is timeless without a doubt. redfall as well. And Yuop isn't necessarily an iconic track but I think it's a great closer in its own right. Actually if I think of the flow and the tracks individually, it's mostly really solid. There's just a couple legit cringe moments in there that I'm not used to hearing out of Autechre.

    It's weird though... Move of Ten came out right after Quaristice, and at first I thought Etchogon-S was the dumbest thing I ever heard. Now I think that rowdy, out-of-control energy is brilliant and I can't get enough of that.

    • Like 3
  11. 12 minutes ago, yekker said:

    When i was little my mom would make tacos/burritos which we could build ourselves with all the trimmings ?

    I loved that. Now that I'm older I appreciate that as an easy dinner, but when I was a kid, being able to stack the cheese high was like living the good life.

    • Thanks 2
  12. I honestly don't agree about it being one of their best but I don't mean that in a disrespectful way. I realize I've done a lot of shitposting about my feelings toward this record but I have a ton of respect for them and their work overall, so it not being their best for me is hardly even a criticism of it.

    Maybe the fact that my perception of it as "dated" is one of my primary takeaways of it, points to something else about it that I am not being open to as a matter of something underdeveloped in my own character. I guess that sounds maybe inappropriately earnest or personal or something. I just feel like you guys are describing maybe a sort of sincerity or imperfection in it that is some essential part of it. Like, I'm being too hard on it for not being perfect, but the imperfection is an essential part of the work. I mean, there's a screaming clue right there on the cover art, right??

    I think mostly I was annoyed at the time of release that we waited so long and didn't get BEATS or something, and maybe I never totally got over that association. Which is funny because I think about what I loved most on NTS, and g 1 e 1 was a real standout for me... no beat and probably the most skeletal textures they've ever done.

    So yeah I should clearly go back and give it another proper listen, even as I think about the first 2/3 of Treale, the drums in d-sho qub, and basically all of krYlon and cringe just imagining them.

    • Like 1
  13. You know I do strongly hear in this album (and of course Sean pops in very occasionally so he could certainly correct me) that they were trying to really put the elbow grease in to get the most out of Max and to make tools they could really feel fluent in. Which was a lot of work, even for them. And I don't think they quite got there by the time they were done with this album. Listening to the live sets at the time too confirms this for me. It's not that it's bad or phony, I just feel this sense of non-intentional restraint in it... like when you're using a sequencer live that only lets you do track mutes and pattern changes and you really feel the need to do some kind of fucked up morphing arpeggio.

    Also Sean confirmed in Mixlr that he's been basically MSP-only since Exai, but on this Oversteps there were still some VSTs. Fluorescent Grey was on there and he correctly guessed some physical modeling VST they used in one of the tracks. So I think there's some feeling of fragility and volatility with the tools being used that they went a long way toward resolving in the years right after the release.

    Just listen to some 2010 set and then anything from the 2015/2016 tours and you might hear what I'm talking about. For the latter, it sounded so alien and organic because I think they were able to do so much more, basically exactly what they wanted, when they wanted (at least comparatively).

    So that's mostly what makes it sound dated to me. But yeah I could be full of shit. That's just what it seems like to me.

    • Like 1
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  15. Sure, OPN was coming up and vaporwave was just starting to become a thing, trap was still experimenting with form a bit and Kuedo was combining it with Vangelis-type ambience in ways that were novel at the time, Actress really got on the radar with Splazsh, eurorack was also coming up and we got a couple KFW releases, Venetian Snares had a kind of optimistic moment with My So-Called Life, VHS Head had already released one of the best albums of the decade, Aarabmuzik was still getting a fair amount of attention for his finger drumming. There's certainly more to it, that's just what I remember.

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