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The Tuss


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6 hours ago, nikisoko said:

i remember seeing the russ records at amoeba back in the day. i passed on them and now it haunts me.

I feel ya. :cattears:

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Posted (edited)

Lets not FORGET the many tuss fakes ( prefer to call them fan tracks) that were actually pretty good by past members here: 

 

https://www.youtube.com/watch?v=nAChs-gE9tQ
https://www.youtube.com/watch?v=oFYfxBnRf9s

https://www.youtube.com/watch?v=1h_-kgrOr5M

http:// https://www.youtube.com/watch?v=iCBMdaK9qFA

https://www.youtube.com/watch?v=GT6o2fUGCzE
There are more just posted these

Edited by Brisbot
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Posted (edited)
On 10/15/2019 at 4:46 AM, Bubba69 said:

I feel like The Tuss was an extension of the style afx developed for analord 10.

It was such a refreshing style for Richard at the time, it seemed like nobody had ever heard anything like it before (what a tease for richard to release analord 10 and then slowly release analords, none of which sounded anything like analord 10). A totally new direction. Way different than CTD, or drukqs, or windowlicker, or RDJ. Different than everything he or anyone else had ever done really.

 

Especially in how it is mixed, I feel like this is where richard got completely vintage-synth-nerd mixing desk technique crazy, it just oozes mixing perfection. Beautiful use of reverb, panning, eq, fade-ins and fade-outs galore all used to glue together  tracks featuring analog and digital synths, recorded claps and other percussion, drum machines, classic breaks, organ leslie speakers, tape delay, real and digital room reverb, spring verb, so many different reverbs! The Tuss took this entire approach and ran with it. If he didn't multitrack this and recorded it like the other analords (into a minidisc recorder) then I'm doubly impressed. Considering the other "takes" we've heard (fenix funk and synthacon 1) sound like they were recorded live I almost believe they weren't multitracked, but who knows they probably were, the fades are too smooth for me to believe it.

 

The last remnants of the tuss-era sound came in the form of xmas-eve track, minipops and some other tracks on syro and bits of orphaned deejay selek. I think soundlab20 has a bit of the tuss feel too but nothing sounds quite like the tuss IMO. What a great couple of records.

this post sums it up really good imo 10/10

 

tuss = better than syro imo 

i miss the emo richard in syro. i mean listen to goodbye rute

Edited by Berk
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  • 2 weeks later...
On 5/19/2021 at 8:46 AM, thefxbip said:

I will never accept H949 as the new Death Fuck title.Just saying.

Death Fuck Mental Beats Foreverrrrrr

I can feel my baby moving

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The pad-ish organ synth-ish sound on Goodbye Rute that comes in @ 1:39 is one of my top 10 aphex sounds/synths. 

2:14-3:27 on Fredugolon 6 is absolute master wizardry. In general amazing on both albums, so many little things. It's like audio porn on all the tracks. 

The Tuss is next to Analord in my top two Aphex eras. Can't say enough good things about those albums. Masterpieces. 

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  • 3 weeks later...
On 5/15/2021 at 8:32 PM, Brisbot said:

Lets not FORGET the many tuss fakes ( prefer to call them fan tracks) that were actually pretty good by past members here:

There are more just posted these

 

                                                                         does anyone have a hq rip of rip acid, please thanks

 

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2 hours ago, perunamuusi said:

I have them all (tusticles) in 320kb mp3 or wav somewhere

                                                                             wav would be awesome please

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  • 2 months later...
On 6/9/2021 at 8:52 AM, Berk said:

How the hell did he write synthacon 9 it's so goddamn perfect

These things blow with the wind but I'm very close to selecting this as essentially the pinnacle of everything he's been trying to say musically as far as I'm concerned. If you can levy a criticism of the alleged genius of Richard, it's that he is indeed "kitchen sinking" us. Edits per millisecond, ideas per millimeter, fidgety tracks that don't rest due to all the clever making its way out. I feel like it all came together on synthacon in a bulletproof manner though.

The way he moves among the hissy organ-like drum machine (what is it?), the 808, the DMX and the dad funk cop show break to direct the energy of the track is just mindblowing. You know he loved the straight abuse of the last 2 minutes of "54 Cymru Beats" and I did too but there's something to be said for restraint. Calling in a single aerial snare rush at 3:21 or doing staggered strafing runs on the DMX makes you ready for action without the fatigue.

All synth bases covered: mewling Gameboy arpeggios from Drukqs, fat analogs that reflect the princely sums accumulated in mid-life, ghosty SAW II whispers in the periphery, vocoded phrases and spectral/experimental washes. There's not a box left unchecked but not in a way that sounds like you're scrolling through a preset menu. Every part "talks" to the other in a reciprocal and organic way. XMAS_EVE is obviously brilliant in the same respect but I'm doing a hard freeway exit at 7:29. I love the detour but more as an epilogue of sorts rather than the main body of the tale. 

I actually had this realization back in summer of 2019 when I did a Tuss nightwalk but after 2 years of deliberation, I'm ready more than ever to call it. "Pointless Thoughts and Observations" for sure but what else do you do in this life? Distraction and distraction hierarchy. A picture in Vanity Fair of drum machines on a red carpet asking "who programmed it best"?

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1 hour ago, xxx said:

These things blow with the wind but I'm very close to selecting this as essentially the pinnacle of everything he's been trying to say musically as far as I'm concerned. If you can levy a criticism of the alleged genius of Richard, it's that he is indeed "kitchen sinking" us. Edits per millisecond, ideas per millimeter, fidgety tracks that don't rest due to all the clever making its way out. I feel like it all came together on synthacon in a bulletproof manner though.

The way he moves among the hissy organ-like drum machine (what is it?), the 808, the DMX and the dad funk cop show break to direct the energy of the track is just mindblowing. You know he loved the straight abuse of the last 2 minutes of "54 Cymru Beats" and I did too but there's something to be said for restraint. Calling in a single aerial snare rush at 3:21 or doing staggered strafing runs on the DMX makes you ready for action without the fatigue.

All synth bases covered: mewling Gameboy arpeggios from Drukqs, fat analogs that reflect the princely sums accumulated in mid-life, ghosty SAW II whispers in the periphery, vocoded phrases and spectral/experimental washes. There's not a box left unchecked but not in a way that sounds like you're scrolling through a preset menu. Every part "talks" to the other in a reciprocal and organic way. XMAS_EVE is obviously brilliant in the same respect but I'm doing a hard freeway exit at 7:29. I love the detour but more as an epilogue of sorts rather than the main body of the tale. 

I actually had this realization back in summer of 2019 when I did a Tuss nightwalk but after 2 years of deliberation, I'm ready more than ever to call it. "Pointless Thoughts and Observations" for sure but what else do you do in this life? Distraction and distraction hierarchy. A picture in Vanity Fair of drum machines on a red carpet asking "who programmed it best"?

That's a beautifully precise write-up that I identify with.

XMAS_EVE, I feel, is a blockbuster pop-friendly version of the same kind of energy and the epilogue part is a refusal to stop pouring it (the preceding bells part is also problematic in keeping it focused).

I would say this is a sublimation of experience rather than distraction.

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