Autechre hey baby, don't make a fuss: you're getting this tuss

richard's back and he brought enough tuss for the whole family, following up the four track / two medium/format analord bastard child that is the "confederation trough" EP-- yes, true believers, we've been graced with a six track banger called "rushup edge"

at first glance i have higher hopes for this one when i see that there's a track called "death fuck" and two others with the word "rushup" in the title. ever since drukqs, aphex has released slower/analordier/older sounding tracks, see the "analord" series where some of those tracks appeared in live sets from as far back as 2002 (live @ primavera) -- so one thought is, akin to 26 mixes for cash, he decided to grab some old/er stuff and put it out there for the cash.

analord had its moments, why i reckon you could amass a solid ~15 track LP out of the highlights from analords 1-11. overall, the whole series was a more of a "watch richard rock the more conventional formats" exercise than the later-career madness borne of the HABs, rdj/girlboy EPs, cometodaddy, the windowlicker track, drukqs, and so on and so forth. in other words, yeah it's quality hearing an immensely talented beatmasher apply his skills and indelible perspective to a more str8forward format, but it wasn't quite posessing the wonder of going off on an aphex twin adventure, blowing up conventional versechorusverse song structure, in favor of constantly twisting and turning song fare, hitting you with wave after wave of new unforeseen directions for the track/s to perpetually embark on. it was aphex twin making techno, albeit quality techno, as opposed to making fully original aphex twin tracks.

that said, you start off rushup edge with synthacon 9, where you hear analord reborne initially: oldschool synthiness with a wobbling 303esque groove tapping drum machines juxtaposed with the wonderous ambient pads of yesteryear lore to offset the 303age. he shuffles to and fro with his patterns, fadeouts, and fadeins of trancey-type synths, coupled with some funky subtle mods to the drums circa 2 minutes, with a herky-jerky hihat shuffle: occasionally dropping in pure variance, such as a one-hit cowbell. of course, this builds up to an indistinguishable vocoder-addled breakdown before a reprise of the main groove offset by the contrived progression of ambientesque synthpads shows up, giving the drums a forum to rush, roll, and recoil themselves with a little more depth/funk to their sound. they evnetually give way to the synths/pads, which carry the emotion of the track heading into a second breakdown, which works itself into a little semi-automatic machinegun type 1-2-3-4 dit dit dit dit pattern, giving you more stabs than before (i reckon this is the climax of those patterns) -- it seems like the track shot its wad right b4 that second breakdown, as by 5:50 or so it slows down into a record player shutoff sound: solid fare.

last rushup (track 2) -- distorted uptempo breakbeats and stabbywobbly synthage? sign me up. exploding out of the gate, the beat is a definite headnodder early, leading up into another very distorted vocodery voice going wah wah wah, which itself leads up to what's apparantly the main course of synthiage: by ~1:30 or so, he kills off the vocoder and shuffles the track's main focus around a minimal drums-n-bass groove, working out wiht some accentuated drum patterns before reprising the first main synthline that was around pre-vocodoerwahwahwahing... hte drums seemingly grain anothe rlevel circa 2:20, leading the track into a breakdown: vintage aphextwin ambient pads with a slithering beat, emotive synths stabbing to-and-fro before the trademark afx ambient pads rejoin the fray, followed by a superdistorted vocodered voice. the drums eventually regain their full strength, only to die out into pure aphex ambient for about 10 seconds before a couple'a measures of drum solo surface, which are then killed to introduce a new "B" main synthlike, then the beats re-drop and let accentuated synthwork evolve on top of them, occasionally studdering/giddying up to give the track its feel of herky-jerky momentum. righteous emo lead-synthery rears its head before those drums re-drop AGAIN, but this time the synths are leading the parade, eventually giving way to the drums, which take over the lead again for a bit circa 5:45. ambient pads take us out, showing us the death of emo (yeap) -- so it goes.

shiz ko E (track 3) --- dirty bouncy leadsynth teases us early, building up into a distorted marching clapheavy drum beat accompanying the synths in what sounds to be a vaccuum tube. circa 37 seconds in, the main synthlike shows up, joining a kickdrum/clap beat waiting to fully start as the synths flare to and fro, eventually establishing hte main synthline, then dropping to a synth-n-clap solo to build up anticipation for the emotional release that is evidently the MAIN DROP, which starts, but then auspiciously waits for the synths to gain momentum to restart before totally breaking down for a second, reprising into the main groove (again, think of a warm fuzzy vaccuum tunnel, clapheavy light beats, and of course, 3/3 on the very distorted indistinguishable vocodery) the lead synths are cheesy, envoking thoughts of CASIOs and other best buy arpeggiated store-demo greatness, and as always you can't understand what the vocodered voice is saying. the track then ends at 3:07

rushup 1 bank 12 (track 4) --- it starts off with tweaking synths and an uptempo beat (MY African American!@!) before giving way to an emo synth solo that leads to a pounding drum buildup to a pattern that reminds you of drukqs style madness. eventually juxtaposed by beautiful twirling piano fare, whcih earns the solo treatment after a little while, leavint the track in a state where it builds up momentum/anticipation-for-the-main-part. this leads to the drums raining in at a drop circa 1:33, they bang, they climb up pitchwise, they roll, the highhats hiss at you, and they have their fun befoe ambient pads rinse out the synths, accompanying the drumbeat which starts rocking out with all kinds of variance/cuts/rushes/rolls aplenty, leading to an ostentacious kill where the tweaking lead synth rejoins the pads, the drums still rolling highhats raining and bangery to and fro, invoking memories of "taking control" off'a druks with the sound of the actual cuts/rushes. there's anotehr tweakysynth/pad solo, killing/reprising the drums within a 10 second span to give the track more oomph, leading to a tingly total kill for 3-5 seconds, before the bassynth kicks back into a "B" part, accompanying a drumbeat workout, featuring dirty distoryted grimey loopy rolls, which quickly turn into silence.

TIME FOR TEH DEATH FUCK%#@$#@%

death fuck (track 5) --- grandiose ambient intro with drums roll9ing in anticipation of some banging. AYE! here comes teh aggro, with a very preset/vintage pad accompanying the madness into a pattern slowdown/breakdown, the drums roll and grind before speeding up to full attack speed, while hte synths get drowned out in the background in the midst of this madness. the synths tweak into the actual drum pattern as the track breaks down, with the same pattern working for both drums-n-synths for about a measure or two, before the drums reassume control of the track, but then a total breakdown comes and guess what? VOCODER CIRCA 2:15#!@ we're 5/5 i think, or 4/5 at worst, the distorted voices prattle on while the main drum pattern comes back to juxtapose the wailing lead synth, tho circa 3:25 THE FUNK RETURNS#!$!@ the drums slow down, the synthwork is touchier, and many hardcoreish bassdrums kick around while the vocodering gets even more distorted. eventually, the track drops to solo notes of that superdistortedvocoder (methinks one of the most rockstar aspects of electronic music is having an amalgamation of sound, then dropping to one of the single sounds for a second, showing just how tightly constructed the sammich is) the drums then get lighter, but still stomp around some, devolving into a solo piano breakdown in the 4:20s... then electricity crackles around the skies of the track and BAM, a dark jungle roller emerges, droping to a measure of classic aphex children's music style fare invoking memories of ziggomatic off'a drukqs. eventually, the full track catches back on after teasing the vocoder again, then the foreboding guitaresque synth accompanies wailing drill-n-bass drums that are accentuaing the bassline with pads-o-ambient-wonder, before soloing the rocking-out guitaresque synths with a more simplistically minimal twitching beat circa 5:40. this part absolutely rocks. the track outright fully wails @ 6:03, the drums are chopped up horrorshow, juxtaposed with the children's music type synth notes before ending in an outright growl circa 6:20.

wow. the last two minutes of this track absolutely pwnd.

the last track is boring. after five tracks of relative madness, i need no post-ejacyulatory veritable cuddle session of nice campy ambient-with-beats music to allow me to reminisce on the great journey i have just experienced, so thats where my play by play review ends.

OVERALL --- this EP was a very pleasant surprise, as i swore confederation trough was just analord outtakes... tho if i didnt know any better, i'd say this was an analord outtake or two coupled with some leftover drukqs outtakes (seriously, the drums in track #4 really really sound like they do in "taking control" off'a drukqs, and parts of death fuck invoke hte style of ziggomatic v17 or whatever its called) -- nonetheless, when the pseudonym is that of THE TUSS, aka a hardon, you know there's a pisstaking mentality prevalent that is very condusive to quality aphexedvexing. maybe this is just pure rehash, and htats why he's calling it hte tuss, like he's giving you the shaft in selling you "new" music that isn't "new" to him at all?

i won't look a gifthorse in the mouth. in this, the first proper standalone EP since drukqs (well one of like 6 tracks, a nice robust length) it's good to hear, and it has my hopes up for the proper aphex twin LP which is still coming, right? methinks he's got an ego and pride for the name APHEX TWIN. the one track that has my hopes up the highest is the tahnaiya russell vibert remix for futuresound, as that track, in terms of hte age old convention "if you had a woman that fine you wouldn't know what to do with her" -- in the case of that track, the woman, aka the groove/vibe/flow IS that fine, but it wreeks of just fucking around since it doesnt really do all that much, but the actual main groove of the track is so fucking sickeningly raw that it captivates me to spasmodically twitch around hte car like a retard when it comes on.

these tracks, if they're new/ish, show a nice laid back approach because, to quote the immortal words of guns-n-roses ugitarist slash -- "it's not a fucking symphony, axl, it;'s rock-n-roll" -- sure enough, in an age where autechre has been boring deconstructing themselves on their last two LPs, and squarepyusher started taking happypills or smething and made a NICE ACCESSIBLE lp like hello everything (goodbye hardcore fans with high musical standards) and whatnot, it's good to see htat tricky dick james is taking it easy and making ostentaciously cheesy music where you sometimes laugh when you hear the synthage that makes you thinK CASIO and whatnot.

so yeah, this EP doesnt really tell me anything definitive one way or another, as i suspect it's just old previously unreleased music put out to make a few bucks, but still, ir eally hope his ego-n-pride are ubiquitous for when it comes to this forthcoming proper aphex twin LP, as i like to think the name APHEX TWIN means something, dammit, and i really hope he feels the same way.

Just cause it's in spoilers doesn't mean you don't need to mark it NSFW.

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  david said:

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well said. quite probably my favourite non-substansial kneejerkreactiontoasinipostwithin2minsofsinipostingit-post ever

icbyd

  vik said:

icbyd

supermasochist bob flanagan, when asked why he does things like putting 13 nails through his dick in the process of nailing it to a board, said: "because i can"

same sentiment applies here.

i couldnt be bothered to read all of that

oops

  sinicalypse said:

  vik said:

icbyd

 

supermasochist bob flanagan, when asked why he does things like putting 13 nails through his dick in the process of nailing it to a board, said: "because i can"

 

same sentiment applies here.

youve got to be fucking joking, that must be 2000 words

  Coalbucket PI said:

youve got to be fucking joking, that must be 2000 words

faekjazzband

  Quote

the last track is boring. after five tracks of relative madness, i need no post-ejacyulatory veritable cuddle session of nice campy ambient-with-beats music to allow me to reminisce on the great journey i have just experienced, so thats where my play by play review ends.

that's my favorite track of the bunch! the other tracks are cool as well.

Can we make general banter a Tuss free zone. I cant go near the AFX board, it makes the people on the BOC board seem rounded and well balanced.

  Dirty Protest said:

Can we make general banter a Tuss free zone. I cant go near the AFX board, it makes the people on the BOC board seem rounded and well balanced.

i'm sorry that the likes of me and people generally cursed enough to be me sometimes accidentally end up in close proximity of you and your ilk. sometimes i forget that my place is right there in the back of the bus, what can i say? delusions of grandeur, no doubt.

i apologize profusely for causing you all kinds of mental anguish and other moronic suffering.

and to everyone else, i would like to cordially apologize for posting this review. clearly, it's so long-winded it has no place on a forum like this one, as the main objective is to cater to each and every one of the lot of you by writing short, concise, and witty three-sentence-top posts that require absolutely no thought, investment-of-time, or inevitable eye damage from having to use them so damned much.

i often wonder just what the fuck is wrong with me, why i'm drawn to doing the same oft-corrected-thing over and over again. you figure i would've gotten the hint; maybe i'd have learned to evolve into exactly what people tell me i should be, cuz to be brutally honest with the lot of you: it is very lonely being a word-spouting-fountain of unadulterated babble: women tend to be scared of me, most guys think i'm a smarmy asshat trying to show off his consumate thought-to-be-intelligence in a fit of pure ego, and actual musicians/rappers/writers/important-people see through my weak guise of a potential renaissance man and realize that i am merely a drug-addled shit-talking jagoff in the purest sense of the word JAG-OFF.

as such, i am going to study the lot of you and your daily meanderings in these forums and figure out just what it is that makes y'all so much cooler/better/worthwhiler than me, then and only then will i be able to cop your styles and methodologies, which are requisite for my master plan to become 100% anonymously typical and otherwise uninteresting.

thanks for the admonishment, guys, someone had to do it!! it's like when you see that kid at school who never cuts his fingernails and you figure that someone has had to say something to him at some point, but they keep getting longer and longer and dirtier and dirtier and eventually you just have to say FUCKIT!$%@# CARPE DIEM$!#@ and tell the primate that he is in dire need of some trimmed fingernails.

not to mention new pants, as sweatpants are so late 80s/early 90s middle-school.

(i can still remember damn near perfectly the day in 6th grade where i walked into class sporting my new black w/white-stripes adidas shelltoes and mike greco goes "WOAH SCHAEFER FINALLY GOT SOME ADIDAS#$@# [standing ovaiton from him and his friends] GOOD JOB!# NEXT YOU'LL HAVE TO LOSE THE SWEATPANTS"

for that one moment in time, i was perfectly at peace because i had MADE IT, dammit.

thanks for being mike greco, watmmassive.

Sorry I lost interest second paragraph, least your consistent

Sinicalypse: lowest content/noise ratio since the KC Royals.

anyone who quotes Guns and Roses should be shot

there were times everyone jacked-off to posts like these. apparently there's more of a backhanded love atmosphere nowadays. refreshing actually. such a bunch of lovable sad fuckers.

  Dirty Protest said:

Can we make general banter a Tuss free zone. I cant go near the AFX board, it makes the people on the BOC board seem rounded and well balanced.

AFX is better than silly old BoC

This is where Sini goes and shoots up a school isn't it?

*tunes in to CNN*

  goDel said:

there were times everyone jacked-off to posts like these.

i still do

wait, did i get ultrapissed last night, create a new username on watmm and make this thread?

...the original post sounds just like me ..... great read, keep going!

fuck it, so good im going to read it again while blasting the tunes (especially death ffuck).. !!! love the wailed ending

fuck ya! SHIZZZZZZZZ KO EEEEEEEEEEEEEEEE

oh, and you're right about the future sound remix

i blast the shit out of that (i think staz or someone from xlt normalized it / cleaned it up a bit) ill upload my copy when i get home.

the melody i think is the only thing i can tell from the orig song (a few notes, maybe just 1 or 2)

!

when i read posts like the original its very hard for me not to think somebody has been up all night on speed pills