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Autechre - SIGN 16.10.20


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Met this badass dude today named Devil's Pool, a habitual ghoulish gobbler of young male swimmers. Salivating profusely, frothing o'er like it's cum 10.15.20 already.

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8 hours ago, sine nomine said:

I'm glad you mentioned autechre fatigue... I'm really hoping for something drastically different on sigh coz elseq, nts and ae live are kinda same same tbh

I love AE Live and NTS, but I've never really gotten into elseq. The first four tracks are quite good, and then there's a smattering of other pieces that resonate for me, but it's probably my least favorite work of theirs in the last ten years. I also don't think NTS and AE Live come off that similarly. NTS takes its time, feels very comfortable lingering and exploring. AE Live is a marathon, manic. It's like a special forces unit that comes in, clobbers everything, and then gets out.

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1 hour ago, Lianne said:

I’m glad people have brought up Sign’s track titles. Since there is no music yet, all I could do was stare at the artwork, and then at them, for hours. They got more analysis and staring than the artwork. I think they’re average as far as Ae track titles go; they’re the same kind of thing as usual - not much bite or surprise. 5/10. They have done albums with cooler sets of titles. Cornfield, Draft 7.30 and Untilted were good reads. 
 

  • 1M4 Lema8:49
     
  • 2F75:56
     
  • 3si005:51
     
  • 4esc desc4:55
     
  • 5au145:03
     
  • 6Metaz form86:00
     
  • 7sch.mefd 25:25
     
  • 8gr43:21
     
  • 9th red a6:35
     
  • 10psin AM6:20
     
  • 11r cazt7:12

I disagree. You didn't provide any context and criteria for your review of the track titles, so it's just a heavily subjective rambling.

Let's see these titles in context, and forst pf all take a brief history of Autechre track titles. On Incunabula and Amber a good portion of the titles are still regular words, another portion are distorted words ("Maetl"), and only a few seem to be so much "distorted", that tey are more like made-up words: "Kalpol Inrol" (second half is just distorted from Intro) and "Yulquen".

With Tri Repetae they shift to these kind of made-up words: if they are distorted from real words these aren't be detectable only for the initiated, but they have a word structure: they are built from clear syllabels, froma clear structure of vowels and consonants. The only track title on Tri Repetae hat contains a non-letter character is "c/pach". This is a pre-form of a new kind of track titles that seem more like a code, than a word. But in this early form the dash reads almost like a line so it's seems just a distorted version for c-patch or c-path, what you prefer to read into it. So it's closer to older track titles as "Maetl" as it seems, but has  it's roots more in a programming language, than "Eutow", or the other titles.

The track titles on Chiastic Slide, LP5 and Confield follow almost the same pattern, Lot's of distorted words "VI scose Poise" ~ viscose pulse, and titles that seem made-up words ("Tewe", Vose In", "Sim Gishel"). LP5 had "Fold4,wrap5" which kinda just seems as a folder name, so also hase this code- or programming-like character I mentioned before, in the sense that there is no meaning behind it, it could be just a sign for a location in a computer memory.

The titles of Draft 7.30 were all over the place: we had proper english titles ("Theme of Sudden Roundabout"), along with some distorted or made-up words ("Reniform Puls", "Surripere") - and lot of titles with non-letter characters and unresolvable abreviations ("6IE.CR", "P.:NTIL"), and I'm quite sure "IV VV IV VV VIII" has to be read as roman numerals. I call this kind of titles code-like.

Untilted back back from this ne approach, and the track titles are mostly distorted or made up word even one proper Word "The Trees", and has only one title built as an unresolvable abreviation: the opener "LCC".

With Quaristice code-like titles ("fwzE", "90101-5l-l") are back in the game, but along with distorted and made-up words. Oversteps is similar in that regard: code-like titles are teher, but not the common type ("pt2ph8" "O=0"). On Exai we have perhaps a bit more of this kind of titles, but there are the familiar distorted and made-up words too. We can see some title that mix these approaches like "irlite (get 0)".

On elseq we had some code-like titles sometimes in conjunction with more word-like elements: "13x0 step", "elyc6 0nset", some of them were pure code-like ("feed1", "c7b2") but there are titles that seem like distorted or made-up words ("eastre", "curvcaten").

The NTS Sessios follow suit, but introduces an element that probably was there since "Fold4,wrap5", but here it's obvious: additional titles describing their own quality: so we have famousy "gonk" as "steady one" and as "tuf hi". There are more than some code-like titles "t1a1", "l3 ctrl", "e0", etc. but still some with a clear word structure ("violvoic", "nineFly") and even one with a more then fitting proper title ("all end")-

Now we have a context to examine to titles for SIGN. And as the album title already suggests, the almost all read like code-like titles to me, or at least have a code-like part ("Metaz form8") and only two titles of the 11 can be read as titles from the ditorted words category ("esc desc", "psin AM") but in the context of the other titles of the album also these seem more like codes than distorted or made up words trying to decribe the track.

Not that we weren't used already to this kind of titles from the guys: but in comparison with the preceeing albums it sticks out that all of them go in that direction. A direction to deprive the titles from the forms of human language and replace it with elements more representing a programming language. I can't decide if this is a more abstract ore a more direct and objective approach. I like to think it's more the latter: as like in classical music titling only with the tempo and/or orchestration of the piece ("Adagio for Strings") as trying to decribe the mood it tries to evoke ("La Mer"). The first approach seems more objective, that the latter. So in analogy, a code, that might (or might not) have something to do with the programming of the track as title seems more objective to me, as a describing one (even if with the sound of a a made-up word).

Are these titles "better" or "worse" than titles on other albums? It's like asking, which word do you like better: "horse" or "socks". Every person could have a different answer to it, so I dislike this kind of measuring. 

But now we can discuss: why is it so, that these kind of titles, that were present since at least Draft 7.30 but always only in a few number, are the new norm for this album?

Perhaps it's beacuse that's how Sean (or Rob) likes to title his tracks he made alone - and SIGN is really a "solo album". Or it might be just a coincidence. Or a conscious decision coming from both of the guys. Who knows?

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6 minutes ago, Chabraendeky said:

The NTS Sessios follow suit, but introduces an element that probably was there since "Fold4,wrap5", but here it's obvious: additional titles describing their own quality: so we have famousy "gonk" as "steady one" and as "tuf hi". There are more than some code-like titles "t1a1", "l3 ctrl", "e0", etc. but still some with a clear word structure ("violvoic", "nineFly") and even one with a more then fitting proper title ("all end")-

As a non-native speaker I always wondered - is all end grammatically correct as it is? Because from my limited knowledge of the english language it doesn't seem it's the case but I can never be sure. Is it just a combination of two words without a grammatical connection? How does the title all end sound/look to a native speaker?

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To me, another non-native engleze speakaa, all end doesn’t mean that all (everything) ends (life, an album... wat evaa) but as an abstraction of an ultimate collection of all possible ending tracks. Sounds like that too (to me)

edit: what? No

Edited by xox
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17 minutes ago, Chabraendeky said:

I disagree. You didn't provide any context and criteria for your review of the track titles, so it's just a heavily subjective rambling.

Let's see these titles in context, and forst pf all take a brief history of Autechre track titles. On Incunabula and Amber a good portion of the titles are still regular words, another portion are distorted words ("Maetl"), and only a few seem to be so much "distorted", that tey are more like made-up words: "Kalpol Inrol" (second half is just distorted from Intro) and "Yulquen".

With Tri Repetae they shift to these kind of made-up words: if they are distorted from real words these aren't be detectable only for the initiated, but they have a word structure: they are built from clear syllabels, froma clear structure of vowels and consonants. The only track title on Tri Repetae hat contains a non-letter character is "c/pach". This is a pre-form of a new kind of track titles that seem more like a code, than a word. But in this early form the dash reads almost like a line so it's seems just a distorted version for c-patch or c-path, what you prefer to read into it. So it's closer to older track titles as "Maetl" as it seems, but has  it's roots more in a programming language, than "Eutow", or the other titles.

The track titles on Chiastic Slide, LP5 and Confield follow almost the same pattern, Lot's of distorted words "VI scose Poise" ~ viscose pulse, and titles that seem made-up words ("Tewe", Vose In", "Sim Gishel"). LP5 had "Fold4,wrap5" which kinda just seems as a folder name, so also hase this code- or programming-like character I mentioned before, in the sense that there is no meaning behind it, it could be just a sign for a location in a computer memory.

The titles of Draft 7.30 were all over the place: we had proper english titles ("Theme of Sudden Roundabout"), along with some distorted or made-up words ("Reniform Puls", "Surripere") - and lot of titles with non-letter characters and unresolvable abreviations ("6IE.CR", "P.:NTIL"), and I'm quite sure "IV VV IV VV VIII" has to be read as roman numerals. I call this kind of titles code-like.

Untilted back back from this ne approach, and the track titles are mostly distorted or made up word even one proper Word "The Trees", and has only one title built as an unresolvable abreviation: the opener "LCC".

With Quaristice code-like titles ("fwzE", "90101-5l-l") are back in the game, but along with distorted and made-up words. Oversteps is similar in that regard: code-like titles are teher, but not the common type ("pt2ph8" "O=0"). On Exai we have perhaps a bit more of this kind of titles, but there are the familiar distorted and made-up words too. We can see some title that mix these approaches like "irlite (get 0)".

On elseq we had some code-like titles sometimes in conjunction with more word-like elements: "13x0 step", "elyc6 0nset", some of them were pure code-like ("feed1", "c7b2") but there are titles that seem like distorted or made-up words ("eastre", "curvcaten").

The NTS Sessios follow suit, but introduces an element that probably was there since "Fold4,wrap5", but here it's obvious: additional titles describing their own quality: so we have famousy "gonk" as "steady one" and as "tuf hi". There are more than some code-like titles "t1a1", "l3 ctrl", "e0", etc. but still some with a clear word structure ("violvoic", "nineFly") and even one with a more then fitting proper title ("all end")-

Now we have a context to examine to titles for SIGN. And as the album title already suggests, the almost all read like code-like titles to me, or at least have a code-like part ("Metaz form8") and only two titles of the 11 can be read as titles from the ditorted words category ("esc desc", "psin AM") but in the context of the other titles of the album also these seem more like codes than distorted or made up words trying to decribe the track.

Not that we weren't used already to this kind of titles from the guys: but in comparison with the preceeing albums it sticks out that all of them go in that direction. A direction to deprive the titles from the forms of human language and replace it with elements more representing a programming language. I can't decide if this is a more abstract ore a more direct and objective approach. I like to think it's more the latter: as like in classical music titling only with the tempo and/or orchestration of the piece ("Adagio for Strings") as trying to decribe the mood it tries to evoke ("La Mer"). The first approach seems more objective, that the latter. So in analogy, a code, that might (or might not) have something to do with the programming of the track as title seems more objective to me, as a describing one (even if with the sound of a a made-up word).

Are these titles "better" or "worse" than titles on other albums? It's like asking, which word do you like better: "horse" or "socks". Every person could have a different answer to it, so I dislike this kind of measuring. 

But now we can discuss: why is it so, that these kind of titles, that were present since at least Draft 7.30 but always only in a few number, are the new norm for this album?

Perhaps it's beacuse that's how Sean (or Rob) likes to title his tracks he made alone - and SIGN is really a "solo album". Or it might be just a coincidence. Or a conscious decision coming from both of the guys. Who knows?

Nerds |  NERDS!!!!!! | image tagged in nerds | made w/ Imgflip meme maker

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14 minutes ago, eclipsis said:

As a non-native speaker I always wondered - is all end grammatically correct as it is? Because from my limited knowledge of the english language it doesn't seem it's the case but I can never be sure. Is it just a combination of two words without a grammatical connection? How does the title all end sound/look to a native speaker?

I'm not a native speaker, indeed, without the translator I struggle, but I think that All End rather than End All means that the whole track is made up of the end (specifically the bladelores ending: "all this is the end of bladelores"... and "all this - 1 fucking hour - is the end of NTS" ), and not that "everything is end" . Clearly being the final piece of an eight hour long work, and with epic tones, the idea wants to play a little in the balance between the two interpretations.

Edited by Draft78
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18 minutes ago, eclipsis said:

As a non-native speaker I always wondered - is all end grammatically correct as it is? Because from my limited knowledge of the english language it doesn't seem it's the case but I can never be sure. Is it just a combination of two words without a grammatical connection? How does the title all end sound/look to a native speaker?

Note: I am not a qualified or degreed expert of English, so what I have to say may be entirely incorrect.  Or as I like to (mis)quote Isaac Asimov; "English is my favorite language to abuse".

 

"all end" is not a complete sentence and thus, strictly speaking, is not grammatically correct.  But as a word poem or a poetic title, 'all end' conjures up a suitable image that fits the music well.  More importantly, song titles serve a purpose quite different than a literary sentence and thus the necessity of being grammatically correct mostly falls away.  On the other hand, there are countless examples of song titles so cringe worthy(*) as to wish poetic license could be revoked.

 

* - Not necessarily AE; I'm thinking some of the really horrid death metal, gangsta rap, country pop, et al, titles in existence.  And at glance a Sir RDJ.

Edited by tailings
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What if All End is a truncation of be-all-end-all - defined as something or someone who is considered to be a perfect specimen or the best and most desired; a thing or person regarded as being the ultimate or utmost; chief or all-important element?

Edited by dcom
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37 minutes ago, tailings said:

Note: I am not a qualified or degreed expert of English, so what I have to say may be entirely incorrect.  Or as I like to (mis)quote Isaac Asimov; "English is my favorite language to abuse".

 

"all end" is not a complete sentence and thus, strictly speaking, is not grammatically correct.  But as a word poem or a poetic title, 'all end' conjures up a suitable image that fits the music well.  More importantly, song titles serve a purpose quite different than a literary sentence and thus the necessity of being grammatically correct mostly falls away.  On the other hand, there are countless examples of song titles so cringe worthy(*) as to wish poetic license could be revoked.

 

* - Not necessarily AE; I'm thinking some of the really horrid death metal, gangsta rap, country pop, et al, titles in existence.  And at glance a Sir RDJ.

i think it's grammatically correct and a complete sentence. i have 500 books in my phone. all end.

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it’s actually just a reference to a sentence they’d posted on Myspace back in the day.

all underwear that exists can hold rob’s end.

there was speculation for a time that it had some larger meaning but it’s probably just a bit of a joke, being ‘cheeky’ get it? lol

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ショーン:“all end”は、『Exai』の“Bladelores”というトラックに似ている。そして、最後のセッションだ。“all end”は、『Exai』の“Bladelores”のアイディアのいくつかを展開したもので、NTSのためのスペシャル・ヴァージョンと言えるよ。だから“Bladlores”の終章、終りということだね。
Sean:All End is similar to a track called Bladelores from Exai. And it was the end session. All End is an expansion of some ideas from a track on Exai. Bladelores. Kind of a special NTS version of that track. So the name is about, how it’s the end of Bladlores.

ロブ:終りのすべて、全部。
Rob:And it’s all of it.

source: http://www.ele-king.net/interviews/006477/

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1 hour ago, jaderpansen said:

Exai. Bladelores. Kind of a special NTS version of that track. > So the name is about, how it’s the end of Bladlores.

So, would that be an extrapolation or an interpolation?

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1 hour ago, jaderpansen said:

ショーン:“orr end”は、『Exai』の“Braderores”というトラックに似ている。そして、最後のセッションだ。“orr end”は、『Exai』の“Braderores”のアイディアのいくつかを展開したもので、NTSのためのスペシャル・ヴァージョンと言えるよ。だから“Braderores”の終章、終りということだね。
Sean-kun:Orr End is simirar to a track corred Braderores from Exai. And it was the end session. Orr End is an expansion of some ideas from a track on Exai. Braderores. Kind of a speciar NTS version of that track. So the name is about, how it’s the end of Braderores.

ロブ:終りのすべて、全部。
Rob-chan: And it’s orr of it.

source: http://www.ele-king.net/interviews/006477/

fixt

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