Drukqs is truly a modern masterpiece.

  On 8/16/2024 at 1:42 PM, shelly said:

the cheapest one i saw recently was ~400 australian dollars. but theres rumour of a repress soon. im not a full on believer yet, but i dont think its impossible anymore.

Pretty good read:
https://lannerchronicle.wordpress.com/2024/10/26/snoozer-magazine-april-2003/

it seems like some of analord tracks where planned to be a next post-druqks albumn

 

What’s the new album like? Depending on when it was made, the style has changed a lot, from Philip Glass-style to metal to hard breakbeats.

“You’re right. The new album is a mix of a lot of different things. I use a lot of prepared piano.”

Just like Drukqs?

“Yes, but it’s more complicated. I’ve developed it by combining it with other things, and I’ve put a sequencer on it.”

Was prepared piano influenced by John Cage?

“It’s true that he was the first to introduce the instrument under the name ‘prepared piano.’ But if anyone uses their imagination a little, they can easily think of things like what would happen if they put this between the piano strings, or what would happen if they tweaked this part. You can get a sense of it before you try it. I don’t think of it as a prepared piano, I just like to play with it.”

What else?

“I used a lot of analogue synthesisers. It’s a very simple trick. I recently discovered the beauty of analogue. I happened to have some money at the time, so I bought a bunch of old synths.”

Did you sell anything you had before?

“I have a few, but I have most of them at home. Recently I found two old hardware sequencers from the ’80s – one analogue and one from the early days of digital. I was curious to see how people made music back then, so I tried using the analogue one. It was so difficult! The old ones had a lot of limitations, and you could only program up to 12 steps. But if you connect several of them together, you can do all sorts of things. After experimenting, I found that if you shift the length of each takt? (LC: will look into this) (one beat), there are infinite possibilities, and you can get infinite variations. For example, one could be 16 beats and the other 15 beats.”

Even though one machine hasn’t completed a full cycle yet, the other machine has already started repeating?

“Yeah, you get a lot of variety out of it. If you chain three or four sequencers together it’s pretty crazy sight. I just sit there with a joint in my hand and wait to see what happens.”

  On 10/27/2024 at 2:29 PM, kausto said:

Pretty good read:
https://lannerchronicle.wordpress.com/2024/10/26/snoozer-magazine-april-2003/

it seems like some of analord tracks where planned to be a next post-druqks albumn

 

What’s the new album like? Depending on when it was made, the style has changed a lot, from Philip Glass-style to metal to hard breakbeats.

“You’re right. The new album is a mix of a lot of different things. I use a lot of prepared piano.”

Just like Drukqs?

“Yes, but it’s more complicated. I’ve developed it by combining it with other things, and I’ve put a sequencer on it.”

Was prepared piano influenced by John Cage?

“It’s true that he was the first to introduce the instrument under the name ‘prepared piano.’ But if anyone uses their imagination a little, they can easily think of things like what would happen if they put this between the piano strings, or what would happen if they tweaked this part. You can get a sense of it before you try it. I don’t think of it as a prepared piano, I just like to play with it.”

What else?

“I used a lot of analogue synthesisers. It’s a very simple trick. I recently discovered the beauty of analogue. I happened to have some money at the time, so I bought a bunch of old synths.”

Did you sell anything you had before?

“I have a few, but I have most of them at home. Recently I found two old hardware sequencers from the ’80s – one analogue and one from the early days of digital. I was curious to see how people made music back then, so I tried using the analogue one. It was so difficult! The old ones had a lot of limitations, and you could only program up to 12 steps. But if you connect several of them together, you can do all sorts of things. After experimenting, I found that if you shift the length of each takt? (LC: will look into this) (one beat), there are infinite possibilities, and you can get infinite variations. For example, one could be 16 beats and the other 15 beats.”

Even though one machine hasn’t completed a full cycle yet, the other machine has already started repeating?

“Yeah, you get a lot of variety out of it. If you chain three or four sequencers together it’s pretty crazy sight. I just sit there with a joint in my hand and wait to see what happens.”

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well fuck me sideways, I've been listening to a lot of pitched down music lately, not just electronic and I find that druqks is not actually a master piece... I could say that the beats are quite OK when u listen to them at normal speed, played at normal speed it sounds complex but actually they're no that intricate... the samples and drum loops just keep repeating track after track... composition wise the melodies are not that bad but all the synths sound mostly the same, thin harsh distorted pads and 303's... I thought that that aestethic at first was what makes this album great but now listening to it slowed down I got disappoint... 

I listen to the tuss and this doesn't happen, there's so much going on... everything is fkn colourful and detailed, nothing clashes, everything's breathing giving space to whichever instrument comes in... there's fat bass lines, glowie synths, I dunno, fight me... well actually don't cause I couldn't care I'm always right... 

I've been listening to the slowed drukqs tracks from the account that other thread was referencing recently too and actually finding I appreciate them even more

Mostly for the rhythmic tricks and accent sounds that get more room to breathe, yes a lot of it is sequenced delay techniques but that's always been one of his best tricks.
I do kinda get you on the synth sound aesthetic but I really hear it as the culmination of RDJAlbum-core, with little hints of what was to come in Syro if you listen for them.
I do agree Tuss is super lush and I listen to it a bit more often, but after all it is a different style alias.

  On 11/7/2024 at 9:00 PM, Hodorsbn said:

I've been listening to the slowed drukqs tracks from the account that other thread was referencing recently too and actually finding I appreciate them even more

Mostly for the rhythmic tricks and accent sounds that get more room to breathe, yes a lot of it is sequenced delay techniques but that's always been one of his best tricks.
I do kinda get you on the synth sound aesthetic but I really hear it as the culmination of RDJAlbum-core, with little hints of what was to come in Syro if you listen for them.
I do agree Tuss is super lush and I listen to it a bit more often, but after all it is a different style alias.

 

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What do you mean sequenced delay techniques? selectively turning on delay for certain sounds?

In an old interview he talks about how delay can be sequenced, which I took to mean 2 possibilities- sequencing parameters on a delay effect (like we are used to being able to do today, and is almost certainly what his quadraverb experiment tracks are centered on), but also manually programing in notes or hits that are in-time as if they were the result of a delay effect, and then manipulating those individual delay 'hits', changing up what the ear 'expects' from a rhythmic delay, which can be pleasing if done artfully and plays into the way he likes to hit you with the unexpected in the details.

  On 11/14/2024 at 8:35 PM, Hodorsbn said:

In an old interview he talks about how delay can be sequenced, which I took to mean 2 possibilities- sequencing parameters on a delay effect (like we are used to being able to do today, and is almost certainly what his quadraverb experiment tracks are centered on), but also manually programing in notes or hits that are in-time as if they were the result of a delay effect, and then manipulating those individual delay 'hits', changing up what the ear 'expects' from a rhythmic delay, which can be pleasing if done artfully and plays into the way he likes to hit you with the unexpected in the details.

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I'm trying to replicate some of those tricks in Max (I know it can be done by hand or other software). Nothing to share yet, but I think they are relatively easy to figure out.