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Autechre Digital Exclusive Ep
This message will be removed once you have signed in. I feel like somebody screwed a tank of nitrous oxide into the intake valve of the Autechre subforum ventilation system.
Everybody's on some fluffed, Ae-can-do-no-wrong cloud. Any criticism is immediately met with STFU!! OMG PLAZ IF U DNT LIEK AWTEKER JUST LEAVE OKAY GOSH WY R PPL SO RUDE? I guess what I'm trying to say is that these downloads are very lazy and uninspired electronics that any of us would be able to lay down given some Elektrons and reverb petals. And I'm an 18 year fan of Autechre with almost all of their discography as it came out (yes I'm old) so I'm not just a hater stepping in out of nowhere. But, I know I stand alone and 468 n00bs from across the continents are preparing to descend on me so.I'll get my coat. EDIT: Sorry, to answer the point of your thread: I've always loved getting the physical copy and immediately using it in the car and at home but I'm trying to kill that in me since it's a dying system.
In this case, I'm thrilled to bits that they're downloads because I was able to hear the sad programming effort inside without buying (see above). Edited by jcounts, 26 May 2008 - 11:35 PM. Similar background to you, pretty obsessive since about 1997. And a similar conclusion.
These reworkings are not great leaps forward in music and I am starting to feel a little milked. BUT - this year they have also given me a 12-hour, eclectic, cool DJ set. The album was pretty excellent.
And their overall impact on my experience of music has been immense. I can afford it and I don't begrudge giving money to artists who have been significant in my life, but with multiple rehashes they are diluting their significance a bit. I read somewhere in an old autechre interview that they were pretty fond of how some acts such as mantronix back in the 80's would release a song then a week later you could get a 12 inch vinyl with about 5 better versions of that same song. I think their trying to do something similar, even back with cichlisuite (which was awesome). I don't see the tracks as autechre milking people, their just giving people the option to hear more of something they already enjoyed albiet expanded and more 'behind the scenes'. Edited by musicforairports, 27 May 2008 - 01:51 AM. Being an old cunt who grew up loving music, without the internet and even remembering when CD was 'new', I don't thnk there'll be any substitute for getting a physical copy of a record on the day of release and playing the fuck out of it without having heard it before (unless I happened to catch it on the radio, which was rare).
I'm enjoying the gradual release of Quadrange and wouldn't knock Autechre for it, but I see it as something of a novelty. I wouldn't want Ae or any of my other fave artists to repeat this too often. Yeah, I'm a nostalgic dinosaur, but it'll be a sad day for me when music is a purely digital medium. A ridiculous question: i use foobar2000 for converting flac to wav. I plan to burn it on cd coz my little finger tells me that on good set upcd player/ampli it will sounds better than flacs on winamp.
But so far, the quadrange (flac or wav) do not sounds as good as other wav trax bought from elsewhere. Is it normal?
Well the sound is still pretty decent but hey my quarisitce cds sound better than the flac. i know this question will be totally alien for people who enjoy music via mp3 on their laptop speaker but. A ridiculous question: i use foobar2000 for converting flac to wav. I plan to burn it on cd coz my little finger tells me that on good set upcd player/ampli it will sounds better than flacs on winamp. But so far, the quadrange (flac or wav) do not sounds as good as other wav trax bought from elsewhere. Is it normal? Well the sound is still pretty decent but hey my quarisitce cds sound better than the flac.
i know this question will be totally alien for people who enjoy music via mp3 on their laptop speaker but. You're comparing apples to oranges son. On the same equipment (with same eq, etc) the flacs/wavs/burned cd are gonna sound exactly the same because they're the exact same pcm audio. Any difference is in your head. Being an old cunt who grew up loving music, without the internet and even remembering when CD was 'new', I don't thnk there'll be any substitute for getting a physical copy of a record on the day of release and playing the fuck out of it without having heard it before (unless I happened to catch it on the radio, which was rare). I'm enjoying the gradual release of Quadrange and wouldn't knock Autechre for it, but I see it as something of a novelty. I wouldn't want Ae or any of my other fave artists to repeat this too often.
Yeah, I'm a nostalgic dinosaur, but it'll be a sad day for me when music is a purely digital medium. Yeah, i remember sitting down at the only decent record store in town, waiting for ups guy to show up.
Every now and then the owner would get a promo tape or something and he'd loan them out to me and my friends, but you wouldn't hear anything of the new releases until you put em in your stereo. I also miss going to record stores in new cities and looking for rare stuff. Nowadays it's all just a click away. I miss the old days too.
It's been said already, but it's so true. There is a whole ritual to 'new release day'. After waiting for a long time for the new release, it's a countdown until you get to hear the new music. The day before it officially goes on 'sale' is like waiting for Christmas to come when you're 5 years old. The record store I shop at will sell new releases on Monday night at midnight, right when they close. I would assume most shops do this. You can bet I was there at 11:55 to pick up Quaristice.
The ritual doesn't stop with the purchase. First you get the shrinkwrap and that STUPID sticker off the top. Then you OPEN it, for the first time.
The anticipation is mounting, what do you do next? Put it in and listen immediately? Look at the artwork and track names before listening?(that is assuming you haven't looked at every inch of the c.d.
Case already) Or do you listen to it and look at the artwork and such while listening? I would bet that most people follow one of these patterns of new c.d.
Purchase almost exclusively. Something that is instantaneously on your computer and ready for your ears lacks the tactile, physical interaction that makes going to a record store on the day a c.d. Is released and literally 'picking it up' so special. It will never be the same, or better. Back in my day we paid 15 cents for an LP.
Record players had to be wound up by hand, increasing the anticipation, like waiting for an orgasm or something. Kids today with their iPods and Googles and torrents can never understand wading through 15 feet of snow to the nearest record store(usually 5 towns away). After all, it's not the music that's important, it's the disc of laboratory made vinyl that gives music its soul. Fuck digital downloads.
My lawn is pristine and I aims to keep it that way. → → → unknown track played by aphex twin, autechre, john peel etc. Started by impotentwhitecapitalist, Yesterday, 12:58 PM, and 3 more. 12 replies. 365 views → → → a few “idles,” a few “casuals,” a few “heavies.” Started by auxien, 10 Aug 2018, and 2 more.
2 replies. 489 views → → → Spaces How V Started by mushroom, 31 Jul 2018. 19 replies. 898 views → → → Started by NorthernFusion, 03 Jun 2018,. 76 replies.
2,601 views → → → Another wormhole thru the ae caetalogue Started by Quaristuff, 15 May 2018, and 2 more. 9 replies.
496 views.
. Associated acts Website Members Sean Booth Robert Brown Autechre ( ) are an English duo consisting of Rob Brown and Sean Booth, both from,.
Formed in 1987, they are one of the most popular acts signed to UK electronic label, through which all of Autechre's full-length albums have been released beginning in 1993 with their debut. They have also worked closely with the label. The music of Autechre has shifted gradually throughout their career, from their earlier work's roots in, and to later albums often considered experimental in nature, featuring complex -based drum programming, subdued melodies, and few stylistic conventions.
Their work has been heavily associated with the 1990s electronic genre later known as (IDM). Contents. Pronunciation Booth and Brown pronounce the name Autechre with a ( ). However, they have explained that the name can be pronounced in any way one sees fit.
Booth explains: 'The first two letters were intentional, because there was an 'au' sound in the track, and the rest of the letters were bashed randomly on the keyboard. We had this track title for ages, and we had written it on a cassette, with some graphics. It looked good, and we began using it as our name.' History Early years (1987–1992) Brown and Booth met through 's scene in 1987 when they both lived in. Heavily influenced by and, they began trading and then creating their own while collecting a handful of cheap equipment, most notably a and a.
Their first release was, a 12' recorded under an alias of the same name brought out by Manchester's. Their first release as Autechre was the single ' in 1991, released on Hardcore Records.
Two more tracks appeared during the following year, under the now finalised Autechre name, on the Warp Records compilation, part of. The compilation contained 'The Egg', later reworked for their first full-length release under the title 'Eggshell'. Incunabula and Amber (1993–1994) In 1993 Warp released their debut album, which became a surprise success, reaching the top of the UK Indie Chart.
The album had a cool, calculated feel, with clear techno and electro roots, but also showed hints of the rhythmic flourishes and tuned percussion that would later become an important feature of their work. An EP of remixes of Incunabula's ' was released in 1994, with animated computer graphics for the Bcdtmx version created by Jess Scott-Hunter. This music video featured on 's Party Zone when Autechre were interviewed during the show in September that year. 1994 also saw the release of, an album featuring a more, less percussive approach than their debut. The was released shortly before Amber and is, as of yet, the only Autechre release to have an explicit purpose: it was a protest against the, which would prohibit raves, defined as any gathering of nine or more people where rave music is played. Rave music was defined as music which 'includes sounds wholly or predominantly characterized by the emission of a succession of repetitive beats'.
The record came wrapped in a seal, on which was printed a legal warning: 'Flutter has been programmed in such a way that no bars contain identical beats and can therefore be played at both forty five and thirty three revolutions under the proposed new law. However we advise DJs to have a lawyer and musicologist present at all times to confirm the non repetitive nature of the music in the event of police harassment.' In a 2008 interview with, Rob Brown mentioned that Incunabula and Amber retrospectively sounded 'cheesy'. Brown later clarified that 'they were perhaps more simple, but not in a shit way.'
Tri Repetae, Chiastic Slide, and LP5 (1995–1999). A frame from the video for 'Second Bad Vilbel' 1995 saw the release of, their third album, as well as the EPs and, featuring a monochrome cover designed by, with whom Autechre have long held a close association. Tri Repetae and its associated EPs were combined into a two disc set entitled Tri Repetae, which was released in the United States. An official promotional video was created for 'Second Bad Vilbel' from Anvil Vapre by English visual artist (his first).
The 'Second Bad Vilbel' video featured rapidly cut shots of industrial machinery and robotic movement, synchronized with the music. Cunningham later re-edited the video in 2002, following his disappointment with the original: 'It was intended to be completely abstract but it didn't quite work out that way'. A two track vinyl-only EP entitled, similar in style to Tri Repetae, was available to buy during certain concerts and via mail order during 1996.
Also in 1995, Autechre's track 'Nonima' was featured on, a Belgian compilation of electronic music. Autechre released three records in 1997: the full length, and the EPs, and (pronounced 'sickly sweet'). The latter EP consists of five remixed versions of 'Cichli' from Chiastic Slide. Radio Mix was also released in 1997; a rare CD-only promotional recording, it contains an hour-long DJ mix of other artists' tracks, some of them remixed by Autechre, as well as a short interview edited sometimes to the point of incomprehensibility.
An untitled record (typically known as or simply Autechre) followed in 1998. It has been seen as a transitional work, with Brown commenting in 2005 that 'a lot of people have cited it as a classic Autechre album because it bridges the gap between the guys who liked our old stuff and the guys who got propelled on to our new stuff.'
1999 saw the release of, consisting of three tracks broadcast on 's show for in October 1995, as well as a vinyl-only limited edition promotional EP entitled. 1999 also saw, which is classed by the group as an EP despite being over an hour in length. Confield, Draft 7.30, and Untilted (2000–2007). Cooper, Sean.
Retrieved 29 January 2017. —. 9 February 2005 at the.— Disquiet.
Com. ^. ^ — Sound on Sound. Retrieved 23 December 2009.
David Stubbs, ', April 2003, p. 32. ^ —. Mike Barnes (29 April 2001).
Retrieved 23 December 2009. Retrieved 4 February 2017. Retrieved 5 July 2012. 18 February 2008. From the original on 26 November 2009. Retrieved 22 December 2009. November 2013.
Inverted Audio. Retrieved 24 August 2014. 15 April 2005. From the original on 21 January 2010. Retrieved 23 December 2009.
Retrieved 2 May 2012. From the original on 4 December 2008. Retrieved 24 December 2008. Retrieved 22 December 2009. Tingen, Paul (April 2008).
Retrieved 24 December 2008. Retrieved 22 December 2009. Laurence Phelan (6 April 2003). Retrieved 11 March 2009. 6 February 2008.
From the original on 15 February 2009. Retrieved 11 March 2009. 30 January 2008. Archived from on 1 February 2008.
Retrieved 30 January 2008. 29 January 2008.
Retrieved 23 December 2009. 15 February 2011. Retrieved 19 March 2011. McGovern, Kyle (13 December 2012). Retrieved 13 December 2012.
18 September 2013. Retrieved 18 September 2013. Retrieved 2 November 2015. Warp Records. Retrieved 2 November 2015. Warp Records.
13 August 2014. Retrieved 2 November 2015. 29 October 2015. Retrieved 2 November 2015. 1 November 2015. Retrieved 2 November 2015.
1 November 2015. Retrieved 2 November 2015.
Warp Records. Retrieved 19 May 2016. Retrieved 19 May 2016. Retrieved 19 May 2016. Retrieved 19 May 2016.
Sharp, Chris (March 2010). 'Review: 'Autechre – Oversteps '. The Wire: Adventures in Modern Music (313): 98. Morley, Paul.
From the original on 21 January 2010. Retrieved 4 March 2010. 'Listening Room'. The Wire: Adventures in Modern Music.
Richards, Chris (8 October 2015). The Washington Post. Retrieved 10 October 2015.
— CreateDigitalMusic. Com. ^ 19 November 2009 at the.— The Wire Magazine.
— Reverb Magazine. — Cavity Job External links. – official site. on. at Curlie (based on ) Wikimedia Commons has media related to.
Mainstream references. at. discography at. discography at.
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at Interviews and other. on 's Party Zone (September 1994). with (April 2004). with (April 2005). with (April 2005). with (May 2005). with (January 2008).
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Digital Exclusive is not that great. It ranks only higher than Cavity Job, in my opinion, out of all the Autechre releases. See below for details. I have a hard time enjoying the IOs.
I've only rated IO (mons) slightly higher than the album version. I find the vocals grating and unrelenting. When I do sit down to enjoy a bit of IO (mons) I tend to skip to the 3:07 mark, where the album track ends, and go from there. The beats are mostly enjoyable, but more often than not, I tend to skip all iterations of the song when giving Quaristice, Versions, or Digital Exclusive a listen through. I do love the distorted effect that starts at 6:18 though, but it’s short lived.
IO (mons) seems to be the same song on both Versions and the Digital Exclusive EP, however the EP version is 12 seconds shorter, the ending having been truncated. The 12 missing seconds are the coda that lead the song more smoothly into Phylopn. 2.5/5. 90101-51-4 has some fascinating parts, but as a whole the song is a bit too repetitive to me. 5:40 has some really cool glitches, synths, and effects, but they quickly give way to the rolling drone of the song again just before the 6:00 mark. The knocking sound that I dislike so much in Perlence is back with a vengeance for the entirety of this song albeit at a faster tempo and in a more contextual environment.
3/5. Blyz Castl is better than bnc Castl. There I said it.
Blyz song is the definite, undisputed, highlight of this release (not the most enjoyable, but the highlight nonetheless). I don’t think I ever expected to hear breakbeats from Autechre, but it works surprisingly well. I’m glad this song is as rare and isolated as it is. Though an interesting excursion, I think one visit is enough to get the full effect. Elements of bnc still show up, but in a more palatable fashion.
Is the release worth tracking down for this song? Probably only for completionists, which is good since it’s next to impossible to find anyways. 2.5/5 Digital Exclusive Average Rating: 2.66667/5=53.