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  1. Yes, i recorded it, as i'm sure others did too. Just thought i'd mention it... :embrassed:
  2. Ahem, with all the raving here that it's the greatest thing since sliced bread, I say to myself, "damn, maybe I need to give this yet another try." And after yet another listen, I always come to the same conclusion that, while it has it's moments, Confield is simply a difficult, moody, and just plain cranky Autechre album to me. And yet I imagine that it's for these very reasons that fans of it get so hot and bothered. It's not bad, but there are just so many other Autechre/Gescom releases that deliver for me that I can't be bothered to go through the mental calisthenics of listening to this. Bring the counterpoints, as if I need to ask for any! I do find it interesting that there's not a whole lot of middle ground for opinions on this album - either you love it or you don't.
  3. Not sure if this track has ever been posted or discussed, so apologies for that. I stumbled upon this after I stumbled upon these noise anthology compilations (which are very interestings, czech them out) http://www.youtube.com/watch?v=-EEn1h9k87Y Now I'm wondering how many awesome versions of tracks they have that didn't make it on albums.
  4. T ess xi starts off with a chord progression, 16 bars long, shown in the attached image. In bar 1 we have four notes (music harmony people: Eb major seventh chord). For our purpose here, think of those four notes as two intervals played simultaneously, the lower interval (coloured dark grey), and the upper (light grey) interval. From this initial position in bar 1, the movement of those intervals for bars [1..8] is as follows: move the upper interval down 1 row move the lower interval down 1 row move the lower interval down 1 row move the upper interval down 1 row Going from bar 8 to bar 9, the intervals change: their low notes are shifted up two rows (so whereas the intervals were perfect fifths in bars [1..8], they've now become perfect fourths for bars [9..16]). Following that, for bars [9..16] the "intervallic movement" stays the same as in bars [1..8], so again: move the upper interval down 1 row move the lower interval down 1 row move the lower interval down 1 row [!] move the upper interval down 1 row Notice what happens in bar 15 (indicated with [!]): as the lower interval is moved down 1 row, two notes now overlap (in F#) and are fused together. This progression is heard twice (so bars [17..32] are identical to [1..16]). After that, the entire process is repeated but lowered by a semitone etc.
  5. Hello knob twiddlers! I've been getting into stuff like Boards of Canada and Aphex Twin as of late (moreso Aphex Twin) and I want to check out Autechre, but since they have a monolithic body of work I'm not really sure where to start. I'm intrigued by the elseq 1-5 albums and the NTS sessions, but those things are so freaking huge that I don't think I should start there. What would you all recommend? Tri Repidae?
  6. I stumbled upon it by chance: https://cycling74.com/products/books.
  7. No official info yet but wanted to get a thread going.
  8. wredny


    Someone asked what will be the first track of Elseq with its own thread. I’d like to propose Latentcall. Why? It’s almost 15 mins of glory. I think that if his track was on say, Exai, we would write poems about it. People would cherish its monstrosity, length, grooviness, lush pads and shifting nature. Some could call it even the next Surripere. Latentcall starts as a regular post-Exai track. It has a great rhythm to which heads constantly boob, and it has flickering melody with pads of Exai provenience. It's all pleasantly engaging. At over 6 min mark things start to change. The rhythm collapses. The beats are slowly dying. Pads and keys take lead. The machine is falling asleep. Mood sombers and gets melancholic. The melody - wait a minute, is there even a melody there? It seems so, but it’s really discrete and not immediately obvious. The pads become less artificial. They sound like even being played by a human. Technology however, is never too far away. Around 11 mins , simple beat comes in. The machine has returned. The rhythm has been reborn. At this point, the track gets ecstatic. Beat covered in deep reverb drags melody into itself. The beat has this wobbly feel that I loved so much on Irlie get 0. Finally, both beat and melody slowly merge loosing its intensity and becoming more distant. The machine let it go and it starts to dissolve and melts away into darkness. At the end, there is nothing. Only thing that remains is silence. A true masterpiece! Thank you AE
  9. Guest

    Autechre Remixes

    So, does anyone have a complete list? or rather a complete collection of every Ae remix. If so, share?
  10. Autchre - JNSN CODE GL16 / spl47 Limited Vinyl Black On Black Matt black sleeve with spot gloss text and black inner Mastered for vinyl by Matt Colton and pressed to heavyweight 180gm black vinyl for ultimate sound quality Mastered by Matt Colton at Alchemy Mastering Design by Grid Pattern www.gridpattern.co.uk Producer – Ae Written By Brown & Booth Catalog Number TM88 Grab A Copy Here - https://touched.bandcamp.com/merch All Funds Rasied Go To Macmillan Cancer Support. Touched Music Justgive - http://www.justgiving.com/Touched-Music
  11. From what I've noticed most of the tours from a given album's time period are very similar Is there any basic list that will give an overview of the essential live sets, as in, the ones that characterize each tour the best, and are the highest quality? Also I can't find an organized list of every single soundboard, in one place. Is there one? I've searched, but if there is a thread about this sorry.
  12. Obviously a subjective topic since people will no doubt have different interpretations on a track-by-track basis. Nevertheless, I'm curious, name the Autechre tracks which give you the most feels.
  13. https://pitchfork.com/thepitch/autechre-interview-nts-sessions-david-lynch-where-code-meets-music/ https://www.irishtimes.com/culture/music/autechre-something-happens-when-you-listen-to-music-in-the-dark-1.3558048
  14. those panning arabian synths are lushhh, good house tune, played out in the wild a lot over the years but i've never been able to get an ID? anyone know??
  15. I must say that I'm quite puzzled nobody is really reacting to this. To be frank I have the feeling many are so thrown off guard by this collaboration, they just don't know what to think. Fact is that Mr. Funk isn't the most popular Artist in the game while Autechre rarely have to deal with much hating. I like all three of these guys, so for me this track was a nice treat. For others this must be like a slap in the face, having their honorable british progressive idols collaborating with the rotten amen abusing canadian. Some must now completly re-evaluate their dorky hate lists. It just makes me smile inside. The track itself is very interesting also. Kind of Huge Chrome Cylinder Box Unfolding + Last Step + ISS:SA + Quaristice I find myself liking it more with every listen. Cheers to more unforeseen collabs! maybe aphex vs clark next.
  16. Redruth


    ep7 has the feelings to it that r very different from all other autechre
  17. Made a autechre ambient playlist today and it made for a lovely sunday listen so thought I would share it with you. Altibzz Nine Pule VLetrmx21 Yulquen Overand Notwotwo Paralel Suns Altichyre Is there any ambient materpieces ive missed that people think I should add?
  18. It is with great joy (recounted with equally great sobriety), folks, that this morning I see, sitting waiting for me on the chair by the front door, a package, brown, approximately LP-sized, which I know can only contain one thing. Three days before the official release date and it has arrived! It's a hefty bit of kit which the packaging from Bleep, as always, does a beautiful job of preserving, and after carefully scissoring the green tape the flaps of cardboard fold out to reveal the beautiful monster which is Oversteps. We've seen the artwork on the net, but now to hold the whole thing all its heavy majesty is something entirely different. Those of you who care to get your hands of a copy will all see it in due course, so there's no need for a piece-by-piece description - even less a track-by-track run-through à la our old friend , bless him, since we've all heard the music - but I would like to offer a few impressions I have of it. First off, even before placing the first sacred disc on the turntable, for me it is a release of contrasts. We have the black spot on white background - entirely white all round; and then we go from the incredibly robust outer shell in to the fragility of the wafer thin poster at the centre of the release, along with the discs of Vinyl themselves. Such is its beauty that I wonder if there isn't meaning imbued in every part of it. For instance, would it be fanciful to suggest that even the chosen type of material has meaning? If so, the inner layers of it all - the two pieces of Vinyl and wafer thin poster in their own protective sleeves - could represent the soft heart of Autechre, buried underneath all of this robust packaging. Yet further flights of fancy could be made when we consider that the blacks and whites aren't actually those extremes of shade at all, but rather grey and beige; and the yellow underbelly of each layer, no hint of which is apparent from the black and white pictures with which we are familiar: what could that mean? But it is the music, we know, which is the main event. Even on my shitty 2xAll-in-one setup it sounds wonderful. The pieces (possibly excepting 'r ess', due to its extraordinarily long opening crescendo) begin with a sense of purpose which isn't necessarily there in the digital media. In the .mp3s and even the 24bit .wavs (which I admittedly can't fully appreciate because of my system) they may seem to begin almost incidentally - not so with the Vinyl. But the most beautiful part is that this music really allows the Vinyl to breathe, one of the characteristics we find in Vinyl which exists in no other recorded medium. It seems to me to be the perfect marriage of music and medium, and - as opposed to Quaristice, of which I remember reading that Autechre stated the .flac files were the product - Vinyl seems to be the intended medium on which Oversteps was always supposed to be listened.
  19. When I heard Dummy Casual, it drove me insane because I just knew I had heard that "melody" before. It took a few weeks of random listening both to NTS and the back catalogue but I finally figured it out: Dummy Casual has the same "melody" as tac Lacora! Forgive me if this is obvious to everyone else, but: Listen to Dummy Casual, 0:00 - 0:50 or so. Listen to tac Lacora from 0:49 - 1:58 or so. I have to say, I prefer Dummy Casual to tac Lacora, even though they are brothers (and even though L-event is way high on my list of EPs)...Dummy Casual has this sinister shuffling, feels like you're in a strange land feeling going on. There's a few spots in the NTS sessions where I've discovered wormholes not just to other material from the el seq era on but also going further back. If I think of any more wormholes I will update. I just love when artists have recurring melodies or themes across their catalogues, it makes the whole listening experience that much more intense and rewarding. There's not a ton of artists who do it. I suppose Neil Young comes to mind, as does Mount Eerie, in the rock sphere. Electronic-wise, AFX has certain pads and sounds he's very fond of but not necessarily melodies. Of course, in AE's case, the fact that portions of certain patches are probably re-used modularly also can explain why these pieces of songs appear in other songs as well. With AE, it's not always (or often) melody, but can be any portion of a patch that can be brought in, so the sonic wormhole possibilities are endless. God bless these boys, each and every one.
  20. http://www.recordlabelrecords.org/aelive2001.mp3 (just started uploading to my faster server now should be done in 20 minutes) or download this slow torrent - http://That Other Site™.com/downloads/tracker/btdo...ard.mp3.torrent i'm not sure where this was recorded, but it popped up on the planet-mu forum yesterday. I have a suspicion autechre leaked it themselves. edit: whoops, someone put this in the autechre forum
  21. I could have resurrected an ep7 thread, but I want to praise this song specifically. It is: • hands down, my favorite Autechre track • The best album opener out of any of Autechre's • The first bit always makes me think of Baba O'Reily, making it even more epic • Easily one of the funkiest Autechre tunes • Ridiculously awesome textural mashing • It leads into the rest of the album, which is all fucking golden RpegRpegRpegRpegRpegRpeg RpegRpegRpegRpegRpegRpeg RpegRpegRpegRpegRpegRpeg RpegRpegRpegRpegRpegRpeg RpegRpegRpegRpegRpegRpeg RpegRpegRpegRpegRpegRpeg RpegRpegRpegRpegRpegRpeg RpegRpegRpegRpegRpegRpeg RpegRpegRpegRpegRpegRpeg
  22. hi folks I'm trying to make a d e f i n i t i v e spreadsheet out of the uncomplete (but very helpful) spreadsheets that are already around, documenting the many many Autechre and Gescom remixes, comp tracks, rare tracks, leaks, etc.. The definitive archive!! Comments are enabled, so if you see something's wrong, missing, or improvable, either leave a comment on the spreadsheet or post here. ------------> https://docs.google.com/spreadsheets/d/1gh9WmE-Vp8vbUEPpCRMnz2PtycbNshCbo7_HDEYrK-o/edit?usp=sharing <----------- Ignore the lossy/lossless columns they're my personal checklist. Copy the doc, clear the columns and use it if you want. All tracks acquired legally. WATMM and its users do not condone piracy cheers
  23. At the risk of erasing any originality from the my music, does anybody know any good books on Electronic Music Theory (if there is such a thing) or just general music theory books? And are they actually worth reading? I get to a certain stage where I just don't know where to take a track, I have no musical training or anything like that but I suppose I am heartened by the fact Autechre did not have any of that either...
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