Nil

https://www.instagram.com/p/C6LtGaeNaEU/ Not much info so far aside from that Instagram post, but considering how brillant his Carrier output, I can't wait. FATHOM is some of the coolest, boldest yet stuff I've heard lately.

Bought a 200€ SMSL D-6S DAC. Nothing fancy when it comes to features, aside from 2024 state of the art digital to analog conversion, 32bit / 700 something kHz specs, ridiculously low THD / SNAD and balanced XLR outputs. Here are some measurements if one's curious : https://www.audiosciencereview.com/forum/index.php?threads/smsl-d-6s-balanced-dac-review.48813/ TBH, I was curious to see if there'll be a difference with my good ol', mastering grade, German made, boutique SPL Crimson. The D-6S slays it, such a drastic difference my jaw dropped. I'm not sure I've ever heard such pristine sound comoing out of a computer (that includes top studios I've attended sessions at). I'll keep the Crimson for its gorgeous pres and DAC though. I've heard details in my own tunes I didn't even know were there, and I think I have great monitoring and decent ears. But fuck me that's insane one can buy something so affordable which can output such neutral, transparent (sound-stage / frequency balance) and fast (transients) sounds. I'm gobsmacked. Sound-design and mastering will be even more pleasant now, so cool! Ps: the equally cheap and stunning E1DA 9038SG DAC/headphone amp in the picture (forground) is banana too. D-6S is the unit in the back, feeding my Amphion amp & monitors.

I've been offered a Kobo years ago and never looked back, no matter how much I love a book as a physical item.

I envy you if you're reading them for the first time, I've read the whole thing twice and it's stunning sci-fi. I'll mostl likely re-ead them all again.

Yes, yes.

@xox wrote wonderful tunes and a stellar LP.

I believe @Jafs will be in Bxl too.

I've read the whole trilogy a couple of times, I love the books. I'm a few episodes in the series and think it's pretty great entertainement. It can't possibly rival with my imagination, but I'm super curious to see what they'll do, and how they'll visually / narratively translate some of its most mind-bending mindfucks. If you think they've fkd it, do yourself a favor and never watch Foundation eh. Ps:

You're in for a treat !

I think it's an amazing track, very Lanark. Fantastic emotional impact.

LP

Just a wild guess, I wouldn't be that surprise if it was out on Raster. He's headlined a label party a few months ago, so who knows ? The recent live snippets sounds incredible as always, and there seems to be some evolutions in his experiments. Can't wait.

So… I’m now beta-testing the stripped-down teaser of a synth that been discussed a few posts earlier (that synth yeah) : it’s astonishing. And these 1024 partials are delicious, so sharp, paradoxically hyper digital and organic sounding at the same time. The full synth will be a masterpiece, I can’t even imagine how deep it will be. And now back to patching

Bought too.

fuck me. Ryoji Ikeda, Rrose and Autechre ? edit: at Nuits Sonores I mean. Just grabbed my tickets for Ikeda and Rrose, and about to so too for the 'chre.

Deliberate loudness is something you favor from the get-go, so pretty sure his loudest, most agressive sounding LPs were consciously written, arranged, produced and mixed with that clear aim in mind. Can't get such loudness nor agression from the mastering alone (or else, without massively altering the mixdowns).

Weren't they supposed to form a Rephlex LP, Methyl Orange if memory serves me well, that even got to be mastered / pressed to a few test copies ? Basically same story as the Caustic Window LP resurrected by WATMM ?

Forgive my heresy, I'm more into what æ has done since (and including) Oversteps and I gel 10101% with everything they've done since then. Even though in hindsight I haven't listened that much to Sign and Plus, I'm delighted by everything they've released this past decade or so. But yeah, I should definitely revisit Confield / LP5 era too. To go back to >[], I've always had a soft spot for Selection 16 too. Playing Tomorrow World as I type.

If discussing his mixing choices, DYKS (the tune) is the most refined of that ultra dynamic take, with evolving loudness throughout and super wide dynamic range to reinforce the narrative arc... that volume crescendo with each and every new deflagration is nuts, and masterfully done. Ultravisitor shares some of these qualities, along with some of his best trademark SH-101ish lead melodies. Too many fillers in that record though, and I'd have put Tundra 4, Venus no 17, Squarewindow instead in the LP... Damn, I remember the almost religious aura his 2005 Breezeblock set had, I remember the goosebumps while discovering it during its broadcast, Mary Ann Hobbs speechless between tunes, f*ck I miss that. Now his stuff all sounds clipped to oblivion, and while TJ certainly knows his craft, I like that esthetic much less. I bet it sounds massive live though, no doubt. Go Plastic is pure electronic jazz without being jazzy, for a while I was convinced Feed Me Weird Things was a better record as a whole, but now GP steals the show IMO, it's simply perfect : the tunes are immense, the overall flow is flawless, and it's not too long either, so you can listen to the whole thing in a go easily. But eh I'm bitter I guess, the Warp20 tunes (like that infamous tune Cylob once played), long mistaken to be RDJ's (remember the 2000 something Rephlex Disco Assault in Romo videos when Aphex played some ?), have obsessed me for nearly two decades and I still can't accept I can't purchase a copy of the bunch (I'd play it repeatedly, endlessly hehe). I don't want him to be stuck in the past, I'm just sad he went in another direction that I hoped for. And now I'll leave the thread, glad you guys enjoy the tune, and crossing fingers the whole record will be equally as enjoyable to you all.

Go Plastic still is his masterpiece IMO, by far his best album. DYKS is one of the most insanely mind-blowing popsong ever, along with Windowlicker. Ultravisitor-era has some of his finest work - many tunes of the accompanying EPs should have been on the LP (the opener, Iambic 9 poetry, Menelec IIRC and Tetra Sync 13 are such bangers though), and it's a pity the Warp20 tracks are unreleased to this day. For me, it's been a downhill releases after releases to me, I desperately miss the subtlety of his work before Hello Everything : even for the most radical tunes had tons of finesse to them. I'm all hopeful whenever there's a new one announced, and keep on being disappointed. Sadly (for me) that new one isn't to my liking either.

My jaw dropped during the additive engine part. It's crazy how far you can push a single oscillator, with so little effort. Zebralette 3 will be all over my upcoming stuff once it's available, from day 1. I can't even imagine how insanely powerful Zebra 3 will be.

Sendai* vibe yeah, though more functional (which isn't a bad thing, just different). On a related note, do you guys know if there's some releases / recordings of his Sync project with Atom™ ? *speaking of which, I need to listen to the 3 recently released Yves De Mey EPs, love his stuff.

We Are The Music Makers | Volume One by Various Release : March 1st, 2024 on vlek Along with Rrose and a handful of artists, Peter Van Hoesen produces the most exquisite, forward thinking and sharpest techno around. I for one can't wait for that new one, that 1st preview track is incredible. Preordering now.

Trying not to get my hope too high...

His Shifted LP on Avian is pretty cool too. Fathom's hands down my very favorite of all these releases, can't wait to hear where he's heading next.