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Syro period interviews

Boris de Vries

By Boris de Vries
in Aphex Twin

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kausto Mentor

kausto

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"My five year old son has created six tracks with the software Renoise and I think they are better than my tracks. When he made his first track I was amazed but then he made 5 more and I thought 'oh shit!'. When my mother would hear the track should would think it's just noise. Put yesterday I played it for the people at Warp, and they said it remined them of this duo, SND"

 

hehe

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kausto Mentor

kausto

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I know that i'm going to perform an anal wannabe-forensics with this but i suspect that Renoise was mentioned mainly because of this:

http://forum.renoise.com/index.php/topic/41882-new-tool-30-cdp-lua-tool/?p=317355

 

This is the most usable CDP frontend now.

 

Yeah and I wanna thank rd1994 for his work

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Zephyr_Nova Grand Master

Zephyr_Nova

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The interviewer was a dick, but RDJ's answers made it a pretty good interview I thought. This is classic:

 

 

Many of my tracks are better if you play them at 33 rpm. I have never denied that. That’s also why my pieces are so short: you can only press them onto maxi singles if they are short at 45 rpm. If they go for too long, then they don’t fit onto the vinyl—and then you can’t play them slower. That’s also the real reason why my album ended up so short. Buy it on vinyl. Instead of 33 minutes, you actually get 45, you understand? And there you have it, an album of standard length.
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Hugh Mughnus Grand Master

Hugh Mughnus

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Pitchfork: Is that why you've used so many different aliases over the years?


RDJ: Actually no—I've just done that for a laugh. And I might keep doing it, just keep being anonymous and doing different names.


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Guest jasondonervan

Guest jasondonervan

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Pitchfork: Is that like the stuff Squarepusher was working on with his recent Music for Robots album?

RDJ: Well, when he released that, I was like, “Oh, fuck, I've been doing that for ages.” But mine's totally different to what he did. And I was reading about one of the Autechre guys, and someone had said to him, "Have you done anything with MIDI robots?" and he was like, "Every cunt's doing that now." [laughs]

 

Ask Autechre Anything

 

cult fiction: "Are you interested in exploring mechanical instruments, Pierre Bastien style? I think it'd be fun to have some good general purpose mechanical instruments, like a percussion system with a handful of surfaces and mallet types that could be combined easily, or a box with a few different tunable strings and various plucking and bowing attachments."

 

Sean: "nah every cunt's doing that. leave it to the aspirational types"

 

:emotawesomepm9:

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ZoeB Mentor

ZoeB

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So if you hear a C-major chord with an equal temperament, you've heard it a million times before and your brain accepts it. But if you hear a chord that you've never heard before, you're like, "huh." And your brain has to change shape to accept it. And once it's changed shape, then you have changed as a person, in a tiny way. And if you have a whole combination of all these different frequencies, you're basically reconfiguring your brain. And then you've changed as a person, and you can go and do something else. It's a constant change. It could sound pretty cosmic and hippie, but that is exactly what's going on.

So basically (and I personally picture this more as making your way through related and semi-familiar music to more obscure branches of the tree of possible music), by listening to a certain type of music (say a particular artist or genre, or scale or instrument), you end up at a point where they're pleasantly familiar, and anything else becomes weird and alien sounding through the lack of that familiarity. And then before you know it you're old and complaining about the music everyone else listens to.
I remember when I first got Selected Ambient Works 85-92, and the TR-808 samples, something I wasn't very familiar with at the time, gave me listening fatigue. Now it almost seems strange to listen to anything too far removed from that...
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schlucharski Mentor

schlucharski

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So if you hear a C-major chord with an equal temperament, you've heard it a million times before and your brain accepts it. But if you hear a chord that you've never heard before, you're like, "huh." And your brain has to change shape to accept it. And once it's changed shape, then you have changed as a person, in a tiny way. And if you have a whole combination of all these different frequencies, you're basically reconfiguring your brain. And then you've changed as a person, and you can go and do something else. It's a constant change. It could sound pretty cosmic and hippie, but that is exactly what's going on.

So basically (and I personally picture this more as making your way through related and semi-familiar music to more obscure branches of the tree of possible music), by listening to a certain type of music (say a particular artist or genre, or scale or instrument), you end up at a point where they're pleasantly familiar, and anything else becomes weird and alien sounding through the lack of that familiarity. And then before you know it you're old and complaining about the music everyone else listens to.
I remember when I first got Selected Ambient Works 85-92, and the TR-808 samples, something I wasn't very familiar with at the time, gave me listening fatigue. Now it almost seems strange to listen to anything too far removed from that...

 

 

There's lots of psychoacoustics happening when you listen to music, and especially when making music. noticed lots of them. It's hard to express. I even made a list.

Making a track for hours, coming back after a 2 minutes break, thinking thats not mine. losing "break points" losing "speed". experimenting with different tuning, suddenly feeling that it impacts a different sphere inside you. listening to a track for so long, that your brain starts transforming it...

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Damo Apprentice

Damo

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And I was reading about one of the Autechre guys, and someone had said to him, "Have you done anything with MIDI robots?" and he was like, "Every cunt's doing that now." [laughs]

ah someone bet me to it. Great Interview and I love how they set up the pages

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