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RE the track itself.  Overall, lush af. Second half kills me.  But to nitpick, is anyone else NOT in love with the collapsing bit at the center?  In the Houston bootlegs, i just saw it as a pretext for making the second half more lush, and was hoping it would be a bit more refined in the final track.

yeah I agree, it's pretty heavy-handed

 

the track is pretty good but does it really feel different / like an upgrade from what he was doing in the mid 90s? the sound design is kind of distinctive but surely not any more than it was before he had a massive collection of rare, expensive synths. honestly maybe even less so.

 

I don't think richard actually has any "next level beats" in store for us--at least not until he finally decides to release them 100 years from now. I'd love to be wrong though

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just placed buy order for the ltd vinyl and cassette... no prob. 

 

also, did anyone notice/mention the glass house AFX apparently lived in makes an appearance in the vid? looks like the one... at 3:59

Edited by dudenorth

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Procédé Heliophore sleeve, eh?

 

zdlsgssqhfhx8i3bjr1orrtfd4.jpg

 

http://hardlybaked.blogspot.com/2017/12/avant-eye-candy-10-prospective-21e.html

 

"The sleeves were manufactured using “Procédé Heliophore”  - a technique originally developed in the 1930s by Louis Defay to transform aluminum paper for printing" - says Discogs

 
But the Prospective 21e Siècle sleeve designer(s) remain(s) unidentified and unknown!
 
The below is from an essay I wrote for a catalogue for an exhibition in France to do with ideas of lost futures and retro-modernism etc etc:
 
The LP series name derived from “prospective,” the philosopher Gaston Berger’s term for the study of possible futures.  Prospective 21e Siècle lived up to this futuristic promise with its startling packaging: glossy, reflective silver-metallic sleeves whose abstract geometric patterns evoked Op Art and the Space Age couture of 1960s designers like Paco Rabanne, with a hint of Art Deco.  
 
"Launched by Philips in 1967, Prospective 21e Siècle seemed to encapsulate the spirit and aesthetic of the Philips Pavilion of a decade earlier: that shockingly futuristic construction, also known as the Poème électronique, created for the 1958 World’s Fair in Brussels through the unique cross-disciplinary collaboration of Le Corbusier, Edgar Varèse, and Iannis Xenakis.  Prospective 21e Siècle scaled the Pavilion down to artifacts that could fit into the domestic living space as displayable consumer commodities (the series actually included a couple of avant-garde percussions albums by Xenakis, an architect-turned-composer). According to the insert that accompanied the four-disc box set Electronic Panorama, the series “quickly won its place as the most avant-garde, the most revolutionary of all record collections:  ‘revolutionary’ in its presentation...  in its exclusive [musical] repertory...  and in its price, putting it within the reach of all, and especially of young people, who are passionately interested in new sonic effects... 
 
 
"In 1969, the publisher Robert Laffont launched the literary equivalent of Prospective 21e Siècle: the imprint Ailleurs et Demain [which translates as Elsewhere and Tomorrow] dedicated to science fiction and under the direction of Gérard Klein. Over the coming years Ailleurs et Demain would publish translations of works by giants of the genre such as Philip K. Dick, John Brunner, Frank Herbert, and Arthur C. Clarke along with novels by French s.f. writers like Jacques Sternberg, Michel Jeury, and Klein himself .  Klein was an admirer of the Prospective series and decided to package A & D fiction using the same process, called Héliophore and originally developed in the 1930s by Louis Defay to transform aluminum paper for printing.  Some of the Ailleurs Et Demain designs closely resemble specific Prospective 21e Siecle sleeves, while others are new but clearly inspired by the series. (With both the albums and the novels, nobody seems to know the identity of the designers, who were in-house and uncredited).  The design style, which eventually extended beyond silver to gold and copper book covers, was maintained for over 20 years, before being abandoned."

 

 

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thanks for the fucking scoop nebraska

Edited by triachus

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"give me your hand my friend and i will lead you to the land of londons" :>

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RE the track itself.  Overall, lush af. Second half kills me.  But to nitpick, is anyone else NOT in love with the collapsing bit at the center?  In the Houston bootlegs, i just saw it as a pretext for making the second half more lush, and was hoping it would be a bit more refined in the final track.

yeah I agree, it's pretty heavy-handed

 

the track is pretty good but does it really feel different / like an upgrade from what he was doing in the mid 90s? the sound design is kind of distinctive but surely not any more than it was before he had a massive collection of rare, expensive synths. honestly maybe even less so.

 

I don't think richard actually has any "next level beats" in store for us--at least not until he finally decides to release them 100 years from now. I'd love to be wrong though

 

 

where is there for him to go? unless he starts making autechre tracks i can't see him ever progressing beyond the sound he has. for all his experimentation aphex is still a fairly accessible artist.

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Transcription from video (all credit to bridgetocherokee on Reddit who paused who knows how many frames to transcribe this):

 

this track is called collapse by the way coz when the bass bit kicks in and the tempo starts slowing down its like a collapse of sorts

I'm gathering visual references at the moment is there any other point cloud or other references you like I should look into nope I don't think so.. I still love ascii visuals also.. surprised it never got used more but maybe it has, i don't get out much.. sure,, I'll look into doing 3d ascii point-cloud cross over maybe when you get up close to the point cloud it's look more like ascii...

yeah i see you're doing point-cloud with midi <<yeah i see your point with midi.. but you could just edit tight to the beat manually anyhow can't you? Yeah i could, but with your kind of music, it would take forever With midi files would be instant and tight as f**k

What places to include would be relevant in London? deffo the silver box in elephant and castle that'll be one of the focal points in the video,, a bit like the monolith in 2001 collaged within the Cornish stuff

anything else in London? nah all crap how about sun on cafe next to Clissold park collage stuff, top yeah.. mad how quickly they add woods stuff in that star wars thing...crazy realistic

maybe we should do something with political slant in this video, like how media can manipulate things to make you think

oh been getting into simulation theory of late didn't realise a lot of prominent science are now saying the chance we are living in base reality is about 1 billion to one! love it.. simulations in simulations in simulations for ever probably..god is just an ai

I don't want to accept it although I agree its feasible,, I'd rather think it ?isnt? all these normal people who watch shit like "Britain's got talent" and such like is the proof it's not a simulation, (cos why would you bother simulating that) or its proof we are living in a failed simulation

i cant see why it would be a problem accepting, i quite like the idea I think thats what i hate the most about it,, that it opens the gate for creationism interpretation

yeah well science is not much better, can't explain how life started or what was before big bang and loads of other stuff just evolution and even that has gaping holes

was just chomping on a peanut butter toast with Swedish jam.. thinking the idea that code i.e. us can imagine something is pretty wild code re-writing itself and envisaging the future re-writing of itself this obviously applies to any act of imagination: imagination>making something>then observing it then re-writes ?the future version of itself? as you watch/experience what you made and then repeats if you do it again.

man what kind of jam was that? sounds like it was fermented or something to give this inspiration

and that tip, I've been well into Almond butter and manuka honey lately anyway was thinking if was all a sim,, the technology would be so advanced its probably beyond code ,,, like many levels steps further analogue-digital- like some semi organic technology like in Existenz..

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RE the track itself.  Overall, lush af. Second half kills me.  But to nitpick, is anyone else NOT in love with the collapsing bit at the center?  In the Houston bootlegs, i just saw it as a pretext for making the second half more lush, and was hoping it would be a bit more refined in the final track.

yeah I agree, it's pretty heavy-handed

 

the track is pretty good but does it really feel different / like an upgrade from what he was doing in the mid 90s? the sound design is kind of distinctive but surely not any more than it was before he had a massive collection of rare, expensive synths. honestly maybe even less so.

 

I don't think richard actually has any "next level beats" in store for us--at least not until he finally decides to release them 100 years from now. I'd love to be wrong though

 

 

where is there for him to go? unless he starts making autechre tracks i can't see him ever progressing beyond the sound he has. for all his experimentation aphex is still a fairly accessible artist.

 

my post wasn't necessarily about progression / being next level.  just that the synth-screeches (as in Circlont6a that i mentioned in orig post) as tn put it, I feel are a bit heavy handed.  but on the other hand, theres a giddy mischief to having that smack in the middle of the track that will surely get the most radio play.

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2a474e645fd0c62ab7e919nehs.png

 

- monolithic 'chre release ("the last album was too short")

- divisive Oneohtrix album bizness (and fancy live shows)

- hysteria-fuelled new aphex out of nowhere (just like ol' times)

 

Warp has been a good egg in 2018. Only thing left to top it off would be them remembering Boards of Canada are still on the roster (?) but perhaps they'll keep them stashed away until the focus turns to nostalgic reflection in the year of Warp30.

Edited by jasondonervan

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Yeah I just placed an order for the ltd vinyl with zero issues through the Afx blerp store, woohoo. Reading through the last 200 or so replies after that was a great way to spend my lunch break.

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Hmm could have waited two hours and got it piece of piss, nevermind.

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got my tape and ltd vinyl.... took a shit ton of f5 digit wizardy. thanks be to fuck

 

3294-2.png

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RE the track itself.  Overall, lush af. Second half kills me.  But to nitpick, is anyone else NOT in love with the collapsing bit at the center?  In the Houston bootlegs, i just saw it as a pretext for making the second half more lush, and was hoping it would be a bit more refined in the final track.

yeah I agree, it's pretty heavy-handed

 

the track is pretty good but does it really feel different / like an upgrade from what he was doing in the mid 90s? the sound design is kind of distinctive but surely not any more than it was before he had a massive collection of rare, expensive synths. honestly maybe even less so.

 

I don't think richard actually has any "next level beats" in store for us--at least not until he finally decides to release them 100 years from now. I'd love to be wrong though

 

 

where is there for him to go? unless he starts making autechre tracks i can't see him ever progressing beyond the sound he has. for all his experimentation aphex is still a fairly accessible artist.

 

ask him. he's the one who's been saying that he 'totally has some groundbreaking shit just around the corner, he's just not going to release it quite yet'... for the past four years.

 

he's got the talent / resources / technical knowledge to do pretty much anything.

 

but maybe I just personally wish that, if he's going to stick with a very specific sound, he'd go with one I like more than the usual rephlex "braindance" tropes (e.g. releasing saw iii instead).

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Finally got to checkout, tried multiple times to pay, but i only got "error processing" msg right back in my face,

and then bleep charged me for two orders  :sad: i'm sure they will correct this, but i ain't happy with how this matter unfolded.

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he's a nostalgist who peaked in the late 90s. he's obsessed with gear now and has been for the last decade. if you're looking for innovation there are other artists. i think aphex has settled nicely into making extremely good electronic music that is still built around a pop framework, which is what he's always done well. his days of pushing the genre ahead are probably over.

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2a474e645fd0c62ab7e919nehs.png

 

- monolithic 'chre release ("the last album was too short")

- divisive Oneohtrix album bizness (and fancy live shows)

- hysteria-fulled new aphex out of nowhere (just like ol' times)

 

Warp has been a good egg in 2018. Only thing left to top it off would be them remembering Boards of Canada are still on the roster (?) but perhaps they'll keep them stashed away until the focus turns to nostalgic reflection in the year of Warp30.

 

I also would like to know what Squarepusher has to offer tbh. If he steps ups his game from his last release, shit might get intense.

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he's a nostalgist who peaked in the late 90s. he's obsessed with gear now and has been for the last decade. if you're looking for innovation there are other artists. i think aphex has settled nicely into making extremely good electronic music that is still built around a pop framework, which is what he's always done well. his days of pushing the genre ahead are probably over.

 

 

Not sure if i'd agree, pushing the genre isn't just about what new sounds one can muster from new technologies. I think there is a ton to be said for composition and thats definately my favorite part of what this latest release has got to offer.

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he's a nostalgist who peaked in the late 90s. he's obsessed with gear now and has been for the last decade. if you're looking for innovation there are other artists. i think aphex has settled nicely into making extremely good electronic music that is still built around a pop framework, which is what he's always done well. his days of pushing the genre ahead are probably over.

 

Not sure if i'd agree, pushing the genre isn't just about what new sounds one can muster from new technologies. I think there is a ton to be said for composition and thats definately my favorite part of what this latest release has got to offer.

Yeah, and who’s pushing the genre nowadays I’d like to know? Don’t say Autechre...

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Is it too soon to be talking about "new favourite track" etc? Probably, but it's fucking good innit! The MP3 obviously sounding a lot nicer than the Youtube balls. This is the stuff I was hoping he'd release, know it's not blowing enough minds for some but it's right up there IMO, can see it having enough depth to keep me going for a good while, like our friend Ziggomatic. 

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he's a nostalgist who peaked in the late 90s. he's obsessed with gear now and has been for the last decade. if you're looking for innovation there are other artists. i think aphex has settled nicely into making extremely good electronic music that is still built around a pop framework, which is what he's always done well. his days of pushing the genre ahead are probably over.

 

Pushing the genre, eh – who cares? Good music beats new sounding music because the new gets old fast whereas good music stays fresh a long time. Just my two cents.

 

Fine track imo.

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Seems like they fixed regular Bleep about 15ish mins ago.

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glad i remembered that 10am eastern is usually when stuff goes live on bleep. looks like there were lots of hiccups after i got my order in at 1005. 

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801061942342y7fs3.jpg


 

2a474e645fd0c62ab7e919nehs.png

 

- monolithic 'chre release ("the last album was too short")

- divisive Oneohtrix album bizness (and fancy live shows)

- hysteria-fulled new aphex out of nowhere (just like ol' times)

 

Warp has been a good egg in 2018. Only thing left to top it off would be them remembering Boards of Canada are still on the roster (?) but perhaps they'll keep them stashed away until the focus turns to nostalgic reflection in the year of Warp30.

 

I also would like to know what Squarepusher has to offer tbh. If he steps ups his game from his last release, shit might get intense.

 

 

Ooh yeah, that as well  :squarepusher_logo:

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