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AAA - Ask Autechre Anything - Sean and Rob on WATMM!


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It has come to my attention that the beginning of Rsdio sounds very familiar to the percussion in this Merzbow track from Ecobondage, somewhere between 1:47 and 2:55

 

 

 

 

I asked on this forum if you guys sampled the Merzbow track, but the response was lukewarm, lots of doubters. I even went to whosampled.com and they rejected it.

 

If it's not from Ecobondage, then it's from another Merzbow track called Enclosure (from Enclosure / Libido Economy, Merzbow CD24) , which has similair percussion at some point

 

 

 

My question, so that it is made clear once and for all: Did you guys sample Merzbow's Ecobondage for Rsdio?

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I've always had ideas for music in my head but never tried to make any tracks, what are one or two things I would need to start making tracks?

Even just one thing or program.

 

Btw, loving Exai and L Event ;)

 

ableton is quick to learn if you want to do looping stuff

logic is better for more complex arrangements, also quick to learn

or any daw to be honest they all steal each others' features eventually

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During the Oversteps warehouse gig in London I swear I heard the drums from "Lcc" at one point. My mate passed out in the skanky portaloo's at the back after Haswell's insane set and missed the entire show. Lol at him.

 

I was also at Bloc festival so heard a massive difference in sets across the Oversteps tour; Bloc was very bass heavy with very little melodic content (or was that just the soundsystem?), Bocking St. was lush and full spectrum (ala the awesome Domino recording). Do your live shows evolve organically as you tour between places, do you respond to how audiences react, and do you perform differently to different nations?

 

Basically, i'm really interested in your live shows and hope for more. 2010 was a long time ago.

iirc bloc was quite early on in that particular set, i remember not being able to hear the system properly, and the gig ended up a bit more ad hoc. Some venues have impeccable sound system and we get full confidence in what we hear is what you get, so it tends to fully kick off at those shows, domino was one of them, bloc turned out well under the circumstances tho.

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Thanks a lot for your answer! I'm also interested in how developments in electronic music are shared and become developments rather than personal preference... I was asking about facelessness because in architecture and industrial design there's a lot of talk about humbleness and ego and most of it is just a load of bollocks to be honest, and electronic music while also being a form of design seems to do things in a different way, the community and the way innovations are received seem to be different, and I thought it could be interesting to study different structures of how design is organised.

 

i'm a #1 shit talker anyway so sorry about that

 

By the way, what do you think about Amiga demos, that kind of aesthetic, that kind of product and that kind of community?

 

architects are worse than rockstars

 

i think the main difference is the social element is more readily acknowledged in music circles, but architects (and to an extent designers) position themselves above it or outside it a lot. i think that's why there's been this drive toward functionalism again lately (altho even by framing it as an -ism they still manage to achieve some kind of intellectual superiority)

 

ok so i know nothing about architecture, pls disregard prev paragraph

 

as far as retro computing - well i like it if i see people doing new things with old machines, same as i like new things on new machines

it's more about the actual output for me, if it's too much about the computer itself or about the past i get bored (that's more like a fashion thing really tho)

 

 

I understand where you're coming from in regard to architects and designers (i'm a graphic design and my brother is a architect but we do not try to remove our selves from the politics of our work, that in its self is a political statement anyway.) forgot where i was going with this, anyway, do you like the work of architect peter zumthor or graphic designer karel martens? two people i adore

 

both of you obviously know how to use synths and music programs very well, i find some people dismiss music if it doesn't show a certain level of technical know how which gets on my nerves because early wiley (i think he now has a good technical undestanding) or tracks like more fire crews 'oi' i love as much as autechre tracks. i doubt you do this. this is a statement not a Q, currently filling out a application form for a job, needed a break. :wacko:

 

edit: complete rambling mess from me...

 

 

 

oi is unreal imo

still sounds futuristic to me now, prob still will in another 20 years

 

aye its a stupidly good track, i still remember the first time i heard it, more fire crew performed it live on the pepsi chart show on channel 5, blew me away.

 

dizzee rascals 'i luv u' is also very futuristic imo, listen to kanye's album doing the minimal distorted beats but no way as good, lacks the attitude.

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inb4 awepittance says something petty

Man, you know this place too well :lol:

 

which makes me wonder...Sean, do you remember answering "Watmm? What's Watmm?" to an interview back in 2008? Guess you've been dipping in a bit since then :biggrin:

 

 

i was trying to be polite

yeah i mean, i come here, not as much if we don't have anything out but around release

everyone does it, they're all in here

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Holy shit, autechre in my watmm. Thank you so much for the many years of great music, all the memories. *waxes nostalgic*

 

There is no question.

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I've always had ideas for music in my head but never tried to make any tracks, what are one or two things I would need to start making tracks?

Even just one thing or program.

 

Btw, loving Exai and L Event ;)

 

ableton is quick to learn if you want to do looping stuff

logic is better for more complex arrangements, also quick to learn

or any daw to be honest they all steal each others' features eventually

 

 

Thanks ;)

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inb4 awepittance says something petty

Man, you know this place too well :lol:

 

which makes me wonder...Sean, do you remember answering "Watmm? What's Watmm?" to an interview back in 2008? Guess you've been dipping in a bit since then :biggrin:

 

 

i was trying to be polite

yeah i mean, i come here, not as much if we don't have anything out but around release

everyone does it, they're all in here

 

like a dark room in a specialised club

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Here's something that's more of personal interest to me, but I'll ask anyway - How did you get in touch with the directors for your videos back in the day? Did you know them before, or did Warp suggest some to you, ... ?

 

There haven't been any official ae-videos lately, and I don't know whether there are any plans for the future, but I'm wondering whether you ever look at "submissions" of wannabe- or low-profile-directors and such? Let's say, I have a showreel or something, send that to Warp or directly to you - would you even consider working with someone you haven't met or is it a waste of time?

I'm not thinking of anything in particular right now, I don't have anything, but your music is quite "visual" for me and I like to do music videos (ones that aren't just After Effects plug-ins..), so I'm thinking it'd be pretty neat to make one some day - Just a thought for the future.

 

If not, just tell me to fuck off now, I can take it. :happy:

Especially after I just got "removed" from the position of directing an upcoming video on Not Not Fun records (long story, it was porn-related ... )

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Not sure if intelligible: Are there any artists who have works which came after yours but are similar in style/build to yours that you enjoy/admire/are flattered by?

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During the Oversteps warehouse gig in London I swear I heard the drums from "Lcc" at one point. My mate passed out in the skanky portaloo's at the back after Haswell's insane set and missed the entire show. Lol at him.

 

I was also at Bloc festival so heard a massive difference in sets across the Oversteps tour; Bloc was very bass heavy with very little melodic content (or was that just the soundsystem?), Bocking St. was lush and full spectrum (ala the awesome Domino recording). Do your live shows evolve organically as you tour between places, do you respond to how audiences react, and do you perform differently to different nations?

 

Basically, i'm really interested in your live shows and hope for more. 2010 was a long time ago.

iirc bloc was quite early on in that particular set, i remember not being able to hear the system properly, and the gig ended up a bit more ad hoc. Some venues have impeccable sound system and we get full confidence in what we hear is what you get, so it tends to fully kick off at those shows, domino was one of them, bloc turned out well under the circumstances tho.

 

last two times you played berlin at berghain had absolutely terrible sound unfortunately... you could virtually hear nothing but the bass, really annoying crowd there too. and way too much light.

that's not a question though - so: maybe next time you come around you could choose another venue pls?

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i was trying to be polite

yeah i mean, i come here, not as much if we don't have anything out but around release

everyone does it, they're all in here

 

 

*leans head back and groans as that last line slams my G-spot*

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have you ever met Gaz and Brian of FSOL? Are they really pompous, or just insane?

 

actually yeah

in 88 i was in salford college and brian was there, i would see gaz but like, down the corridor waiting impatiently

a guy on my course booked them to play at the riverside in hyde as stakker, and there were tapes going round college as well, they were college celebs for a brief time

i left college to buy gear after that, partly cos of their stuff being so good and him making it at home (rather than in the college studio)

they were key to us even existing, looking back if they hadn't been there i would prob be an engineer in some studio by now

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Hello!

 

I hope these few questions are not too intrusive:

 

If you had to pick one, what is your favorite Max/MSP object?

 

What were a few barriers, or failures you two had to break through in Max/MSP before you could really start flowing with music creation?

 

Do you use RME converters?

 

Your rhythms in your last few albums have been entrancing to me because of how natural they sound. Do you program your sequences in a gridless format, with a lot of steps (64, 128, etc) or are you doing long jams with velocity sensitive pads to keep yourselves interested?

 

Just a few random questions, thank you for any answers! You two are both my musical heroes. =)

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