Aphex Twin Under BOAC is Ae's attempt at being Aphex Twin

  On 8/6/2015 at 12:05 AM, fizzkinz said:

 

  On 8/5/2015 at 7:24 PM, drillkicker said:

Not at all. If anything, LP5 is more similar to Boards of Canada. Tri Repetae, on the other hand, sounds to me like it's half-way between SAW 85-92 and Twoism, maybe with a bit of Bluff Limbo thrown in there.

Dude, I'm not talking about the whole album just that one specific bouncing ball sound in one specific song

How are you not seeing this

 

Oh, if that's what you're referring to, Autechre said that the bouncing ball sound was actually a subtle reference to their track Drane. Drane2 was then done as a reference to the bouncing ball. So yes, it was somewhat intentional.

 

My comment was in response to the OP, though, not to you.

Ae over that redhaired freak any day; ️

Edited August 6, 2015 by sine nomine

Not trolling, just a bit sensitive when it comes to comparisons like this. Especially if the op assumes that Ae would try and sound like RDJ. I mean, is that I thing that they would deliberately try and do for shits and giggles? I'm ill informed if so.

Edited August 8, 2015 by sine nomine

That melody at 1:41 is really aphexted too..: https://www.youtube.com/watch?feature=player_detailpage&v=PhQD1sMGIvA#t=101

but it's just a short homage... from 3:22 to the end, there is an eruption of 100% pure autechre, in percussion and melodies:

https://www.youtube.com/watch?feature=player_detailpage&v=PhQD1sMGIvA#t=202

  On 8/5/2015 at 7:24 PM, drillkicker said:

Not at all. If anything, LP5 is more similar to Boards of Canada. Tri Repetae, on the other hand, sounds to me like it's half-way between SAW 85-92 and Twoism, maybe with a bit of Bluff Limbo thrown in there.

Nope nope & nope

great metallic sample manipulation on under boac. AE were really fucking good sample smiths, i wonder why they don't use more crisp field recording type sounds like this much anymore

So this whole "bouncing ball" thing was specifically addressed in AAA:

 

Q: "on lp5 was there any conscious reference to bucephalus bouncing ball? the end of vose in always sounded slightly reminiscent of the end of bbb and drane2 obv has a "bouncing ball" effect."

A (Sean): "yeah we did the track drane, which had that exponential speeding-up delay thing happening, and then rich did that bouncing ball track, and we answered it with drane2 which was the same delay trick but feeding percussion into it instead, as a kind of tease

he said he made a bouncing ball revenge track to it once but i guess he didn't release it, prob cos we all got better things to do than get into a tricks war"

 

Seems like a pretty definitive answer to me.

 

edit: I guess it's not specifically about Under BOAC. But I think it addresses the Ae/Aphex connection and bouncing ball sounds, at least.

Edited August 18, 2015 by blanketforts

I always thought Cichlisuite was the one that sounded to riff the most on Aphex. There are some very HAB/RDJ album style moments on that EP. I know a lot of people say there was just cross influence happening and that 'AE would never bite off aphex' but i've always automatically assumed AE was inspired by that era of aphex twin just from hearing various tracks and the times they came out. HAB came out in 1995 and predated any of AE's stuttery/bouncing ball kinda stuff.

this song in particular is the first time the thought occured to me

compare Yellow Calx from the RDJ Album (sept 1996) to some of the songs off Cichlisuite and the influence become even more apparent

in terms of these being examples of 'bouncing ball' they aren't, they just using lots of rolls and stutters which is eventually what sort of culminated with the bouncing ball 'war' tracks they're talking about

:41 in yellow calx (released november 1996)



3:19 in yeesland (released August 1997)


Autechre is even sampling some field recording acoustic sounds (the sort of low knocking sound) and mixing it in with electronic stutter/rolls just like Aphex. Its possible they thought of these ideas completely independently of each other, but thats not what it sounds like to me. The references are just too specific. In fact when I first heard Yessland I thought maybe that little bridge in the middle was an intentional nod/homage to Aphex

edit: for the record 'under boac' never sounded like Aphex to me. Its one of the most unique types of production from AE i feel because the song sounds almost entirely constructed out of little chopped up field recording one-shots that sound really clean. I wish they would make more music like this because i think most people who make music out of real samples like this rarely ever nail such a cold/electronic sound from it, its awesome Edited August 19, 2015 by John Ehrlichman

this one might be a stretch (more so than the examples I posted above) but this one gives me a Tewe vibe (the melody at the end makes the comparison seem not as ridiculous)

(start at 2:14)
https://www.youtube.com/watch?v=KEUFLwl-Ac8

edit: In terms of a 'bouncing ball' effect being an invention of either aphex twin or autechre is of course not true. Im sure it even predates Kabuki Theatre Nagauta music (started in 1740) which regularly uses a very slow to very fast percussive tempo acceleration

Edited August 19, 2015 by John Ehrlichman

  On 8/18/2015 at 9:36 PM, John Ehrlichman said:

great metallic sample manipulation on under boac. AE were really fucking good sample smiths, i wonder why they don't use more crisp field recording type sounds like this much anymore

Real-life recorded samples would sound out of place in ae's current surreal, digital sound.

Edited August 21, 2015 by drillkicker

  On 8/21/2015 at 2:48 AM, drillkicker said:

 

  On 8/18/2015 at 9:36 PM, John Ehrlichman said:

great metallic sample manipulation on under boac. AE were really fucking good sample smiths, i wonder why they don't use more crisp field recording type sounds like this much anymore

Real-life recorded samples would sound out of place in ae's current surreal, digital sound.

 

strongly disagree, mostly because of the genius that is

 

and AE are such good sound designers they would be able to incorporate real sounds in their current musical trajectory without making them sound 'out of place'

 

in other words you need more faith in the boys

Edited August 21, 2015 by John Ehrlichman

Well there must be a reason why they're choosing not to use recorded samples. Or maybe they are and they're just so heavily manipulated that they aren't recognizable.

  On 8/22/2015 at 7:07 PM, drillkicker said:

Well there must be a reason why they're choosing not to use recorded samples. Or maybe they are and they're just so heavily manipulated that they aren't recognizable.

M39 Diffain is full of field recordings; they stated as such directly in The Quietus interview for that EP.

 

To my ears, there are quite a few tracks in Exai that sound like elements of samples and field recordings are worked in in various ways: cloudline, Flep, vekoS come to mind immediately. And that's only touching on their most recent output...

 

Sent using magic space waves

deco Loc has the voices, as well, but I don't know whether that was recorded or sampled.

  On 8/18/2015 at 9:36 PM, John Ehrlichman said:

great metallic sample manipulation on under boac. AE were really fucking good sample smiths, i wonder why they don't use more crisp field recording type sounds like this much anymore

didnt sean say once if he could only have one piece of gear it would be a condenser mic and motu? the mind runs wild with what would become of that

I saw this thread and thought "I TOTALLY AGREE!!!!" and then realized I made this thread 6 years ago.

 

I still agree though.

Any idea what BOAC is supposed to stand for (if anything)?

  On 8/24/2015 at 5:46 PM, dr lopez said:

 

  On 8/18/2015 at 9:36 PM, John Ehrlichman said:

great metallic sample manipulation on under boac. AE were really fucking good sample smiths, i wonder why they don't use more crisp field recording type sounds like this much anymore

didnt sean say once if he could only have one piece of gear it would be a condenser mic and motu? the mind runs wild with what would become of that

 

 

yeah, he said he'd use an akg c-1000 and digital performer. bc he's a badass i presume.

 

sam pls

  On 9/7/2009 at 5:51 PM, sweepstakes said:

444

  On 9/8/2015 at 11:21 PM, jellyrajah said:

Any idea what BOAC is supposed to stand for (if anything)?

It's a British airline acronym or some such thing, from what I remember reading way back when.

 

Sent using magic space waves

I got into Autechre much later than Aphex. Actually RDJ was one of the first artists I listened to that was full on instrumental electronic. I got SAW 85-92 when I was like 12 and it opened up so much for me. I was 24 when I started listening to Autechre (last year). I had heard their name but never bothered to check out their music. As a seasoned AFX listener, after hearing Autechre's catalog, I never really thought any of it reminded me much of AFX. Sure maybe some sounds on a few tracks but while simmilar, they have very distinct styles.

Tho I guess I remember thinking, wow this is even more out there than Aphex Twin! (I made the comparison probably cos they were both on Warp) and I didn't discover them until 12 years later? And so probably cos I'm older now I've come to associate æ with this point in my life, and AFX with my youth. Don't get me wrong tho, I love both æ and afx equally, just for different reasons.

That being said, boc's Basefree sounds a lot like autechre to me… or rather it creates a mood and has simmilar sounds that I associate with æ. I listened to Twoism years ago but didn't remember much of it, and over this past summer I bought the vinyl repress, so it was kinda like listening to it for the first time again, and when I heard Basefree I was like wow, this is quite dark and autechre-esqe.
While they are all unique… overall, if I had to make a comparison, I think I find boc to be more æ like than afx.

  On 9/9/2015 at 5:42 PM, auxien said:

 

  On 9/8/2015 at 11:21 PM, jellyrajah said:

Any idea what BOAC is supposed to stand for (if anything)?

It's a British airline acronym or some such thing, from what I remember reading way back when.

 

Sent using magic space waves

 

British Overseas Airways Corporation, if I remember right. Remember reading it on a site called Lingua Autechrea back in the early 2000s, which someone designed specifically to decipher Ae trac titles. Seems to have lost purpose since Quaristice tho.

I also heard Aphex's "Come To Daddy" EP before I heard AE's "[LP5]", but I was immediately struck by the similarity of sonics on both releases--which were both released within a couple of years of each other, right?--and I have ALWAYS wondered, since then, if the two had shared/used the same kind of software (& hardware?) on those two releases? They are both somewhat unique releases in the discography of both, although both AE & Aphex have been very eclectic and "different-sounding on each album" (especially AE, in my opinion): the blips, beeps, boops, drum-pattern capabilities, funky/cool tempo-bending, etc--all sound similar to my ears. (But still distinct, of course. As someone above wrote, "Aphex is Aphex and Autechre is Autechre.") The most well-known example of the two releases' sonic similarities is "Drane2" and "Bucephalus Bouncing Ball".

Edited October 3, 2015 by Brandon

14 years after buying LP5, I've only just realised quite how good this track is.