Autechre. NTS Residency. (_O_)

The NTS1 collection of track titles don't get enough love, very bro kitsch, something maturely full circle about it.

  On 4/11/2018 at 11:52 PM, Alcofribas said:

 

  On 4/11/2018 at 11:13 PM, jaderpansen said:

 

  On 4/11/2018 at 10:08 PM, Alcofribas said:

 

  On 4/11/2018 at 9:58 PM, playbynumbers said:

 

to be clear, not Max/MSP as such, I mean the giant network of coding that they've built WITHIN the program which seems to have locked them into a relatively limited palette of ideas/sounds, as they're using ONLY this custom programming/coding/setup within Max/MSP.  something like 'draft 7.30' had so much more texture/variety/etc than all their work since 2012 imo.

 

 

it's one thing to suggest that you think the music sucks but your limited palette argument runs against the grain of their work ethos as they've revealed it to the public over the years. autechre have always been about exploring limited palettes and much of their work is defined by this discipline.

 

to be fair he still got a point. i mean let's just say this present phase of theirs started with AE_LIVE, that's 4 years of the same setup. now compare that to, say, the 4 years from 1994 to 1998, amber to lp5... each one was a quite a landslide with a very distinctive palette, limited as they might have been within themselves. but to expect anyone to keep this kinda pace up for a lifetime would be folly of course. also this is "just" a session we're talking about after all, i mean think more in context, like, were the peel sessions game changers back in the day? hardly. do they still rock? at least i do think so!

 

tbh i'm wondering why there isn't more arguing about what of this is actually live or something lol.

 

 

this whole notion of "new ground" is quaint. this music sounds extremely fresh and ground-breaking to me; i certainly don't know of other examples that sound anything like what they've been up to the past few years. if they are taking their time here refining and exploring a certain system, that's a perfectly valid and interesting artistic experiment. and if one insists it isn't different enough, well "new ground" isn't the only purpose of an artistic work. furthermore, there is plenty of precedent of artists producing work that is longer, deeper and more singular over time. i mentioned coltrane earlier, take a look at that dude's progression -- his solos grew far more lengthy, almost insanely so, while at the same time he often repeated themes, took up motifs and scales and ideas again and again, re-imagined them, reconfigured them (you can find "my favorite things" and "giant steps" all through his entire recorded career. but if you just skipped through his solos and listened to random 30 second bits you could definitely play this "ugh, this is just the same thing, not much new ground here."

 

the new ae shit entails a different kind of listening than 94-98. if it's not some one's thing, cool whatever. i just hate this "oh they're only doing max there's no new ground" argument. the dudes are taking their time with this set-up and i for one think it's goddamn incredible.

yo, playing devil's advocate here.

i for one totally dig the current sound (so much more than the electron period) and think elseq e.g. is a late masterpiece that easily hangs with all my favs of olde (and that's damn hard for the fact alone that, well, i used to be fresher, too, lol... another aspect that should probably be considered). i second the notion that innovation / reinventing oneself shouldn't be considered the essence of art. well but IF you do, i think it's save to say they indeed used to do that more, quite objectively, for a while. within their own universe, of course. not even talking about breaking ground in a general sense. in that regard they indeed got fucking shit to prove to anyone forever, that's fo sho. nothing like the chre. :3

just one more night *sigh*.

My brain and ears are trying to work out if there's any connection between t1a1 and ts1a

  On 4/12/2018 at 12:02 AM, jasondonervan said:

Let the records show, I ran some youtube copyright ID numbers on the NTS biz last week when it was little more than a radio broadcast, and not as we now know it to be as part 1 of 'NOW THAT'S WHAT I CALL'TECHRE VOL. 1-4'. Pootube copycocked it within minutes, and the strike was noted as infringing on 'NTS Residency - Autechre'. Curiously, it wasn't for the whole duration of the recording, but only for the duration of... bqbqbq.

whatdoesitallmean!  WHAT DOES IT ALL MEAN!!

  On 4/12/2018 at 12:59 AM, Hawley Smoot Tariff said:

 

  On 4/12/2018 at 12:02 AM, jasondonervan said:

Let the records show, I ran some youtube copyright ID numbers on the NTS biz last week when it was little more than a radio broadcast, and not as we now know it to be as part 1 of 'NOW THAT'S WHAT I CALL'TECHRE VOL. 1-4'. Pootube copycocked it within minutes, and the strike was noted as infringing on 'NTS Residency - Autechre'. Curiously, it wasn't for the whole duration of the recording, but only for the duration of... bqbqbq.

whatdoesitallmean! WHAT DOES IT ALL MEAN!!

But what YouTube pre-supposes is... what if it isn’t??

Alcofribas is pretty much summing up my thoughts about this release tbh

  On 4/11/2018 at 11:57 PM, auxien said:

when modey posted that waveform (it always comes down to examining the waveforms doesn't it?) 

 

lol, I actually heard reversed stuff in it at first (without looking at the waveform) and thought to try reversing it.. then I thought.. waaaait a minute

  On 4/12/2018 at 12:25 AM, jaderpansen said:

 

  On 4/11/2018 at 11:52 PM, Alcofribas said:

 

  On 4/11/2018 at 11:13 PM, jaderpansen said:

 

  On 4/11/2018 at 10:08 PM, Alcofribas said:

 

  On 4/11/2018 at 9:58 PM, playbynumbers said:

to be clear, not Max/MSP as such, I mean the giant network of coding that they've built WITHIN the program which seems to have locked them into a relatively limited palette of ideas/sounds, as they're using ONLY this custom programming/coding/setup within Max/MSP. something like 'draft 7.30' had so much more texture/variety/etc than all their work since 2012 imo.

 

it's one thing to suggest that you think the music sucks but your limited palette argument runs against the grain of their work ethos as they've revealed it to the public over the years. autechre have always been about exploring limited palettes and much of their work is defined by this discipline.

to be fair he still got a point. i mean let's just say this present phase of theirs started with AE_LIVE, that's 4 years of the same setup. now compare that to, say, the 4 years from 1994 to 1998, amber to lp5... each one was a quite a landslide with a very distinctive palette, limited as they might have been within themselves. but to expect anyone to keep this kinda pace up for a lifetime would be folly of course. also this is "just" a session we're talking about after all, i mean think more in context, like, were the peel sessions game changers back in the day? hardly. do they still rock? at least i do think so!

 

tbh i'm wondering why there isn't more arguing about what of this is actually live or something lol.

this whole notion of "new ground" is quaint. this music sounds extremely fresh and ground-breaking to me; i certainly don't know of other examples that sound anything like what they've been up to the past few years. if they are taking their time here refining and exploring a certain system, that's a perfectly valid and interesting artistic experiment. and if one insists it isn't different enough, well "new ground" isn't the only purpose of an artistic work. furthermore, there is plenty of precedent of artists producing work that is longer, deeper and more singular over time. i mentioned coltrane earlier, take a look at that dude's progression -- his solos grew far more lengthy, almost insanely so, while at the same time he often repeated themes, took up motifs and scales and ideas again and again, re-imagined them, reconfigured them (you can find "my favorite things" and "giant steps" all through his entire recorded career. but if you just skipped through his solos and listened to random 30 second bits you could definitely play this "ugh, this is just the same thing, not much new ground here."

 

the new ae shit entails a different kind of listening than 94-98. if it's not some one's thing, cool whatever. i just hate this "oh they're only doing max there's no new ground" argument. the dudes are taking their time with this set-up and i for one think it's goddamn incredible.

yo, playing devil's advocate here.

 

i for one totally dig the current sound (so much more than the electron period) and think elseq e.g. is a late masterpiece that easily hangs with all my favs of olde (and that's damn hard for the fact alone that, well, i used to be fresher, too, lol... another aspect that should probably be considered). i second the notion that innovation / reinventing oneself shouldn't be considered the essence of art. well but IF you do, i think it's save to say they indeed used to do that more, quite objectively, for a while. within their own universe, of course. not even talking about breaking ground in a general sense. in that regard they indeed got fucking shit to prove to anyone forever, that's fo sho. nothing like the chre. :3

 

just one more night *sigh*.

in the liner notes to the 90s performance/recording of “music in twelve parts” philip glass remarked that in the 70s his ensemble was “creating a musical language” and that only after two decades of work were they “fluent in it.” I see something similar throughout autechre’s career and i find the fluency of recencent years really inspiring and quite literally awesome.

  On 4/12/2018 at 1:16 AM, fizzkinz said:

 

  On 4/12/2018 at 12:59 AM, Hawley Smoot Tariff said:

 

  On 4/12/2018 at 12:02 AM, jasondonervan said:

Let the records show, I ran some youtube copyright ID numbers on the NTS biz last week when it was little more than a radio broadcast, and not as we now know it to be as part 1 of 'NOW THAT'S WHAT I CALL'TECHRE VOL. 1-4'. Pootube copycocked it within minutes, and the strike was noted as infringing on 'NTS Residency - Autechre'. Curiously, it wasn't for the whole duration of the recording, but only for the duration of... bqbqbq.

whatdoesitallmean! WHAT DOES IT ALL MEAN!!

Well everyone knows this is brand new Autechre

But what YouTube pre-supposes is... what if it isn’t??

 

I .... I think I might've picked the wrong month to stop sniffing glue.

..in the meantime, 15 hours are left for AE02 and I am already impatient for AE03

  On 4/12/2018 at 1:37 AM, Alcofribas said:

 

  On 4/12/2018 at 12:25 AM, jaderpansen said:

 

  On 4/11/2018 at 11:52 PM, Alcofribas said:

 

  On 4/11/2018 at 11:13 PM, jaderpansen said:

 

  On 4/11/2018 at 10:08 PM, Alcofribas said:

 

  On 4/11/2018 at 9:58 PM, playbynumbers said:

to be clear, not Max/MSP as such, I mean the giant network of coding that they've built WITHIN the program which seems to have locked them into a relatively limited palette of ideas/sounds, as they're using ONLY this custom programming/coding/setup within Max/MSP. something like 'draft 7.30' had so much more texture/variety/etc than all their work since 2012 imo.

it's one thing to suggest that you think the music sucks but your limited palette argument runs against the grain of their work ethos as they've revealed it to the public over the years. autechre have always been about exploring limited palettes and much of their work is defined by this discipline.

to be fair he still got a point. i mean let's just say this present phase of theirs started with AE_LIVE, that's 4 years of the same setup. now compare that to, say, the 4 years from 1994 to 1998, amber to lp5... each one was a quite a landslide with a very distinctive palette, limited as they might have been within themselves. but to expect anyone to keep this kinda pace up for a lifetime would be folly of course. also this is "just" a session we're talking about after all, i mean think more in context, like, were the peel sessions game changers back in the day? hardly. do they still rock? at least i do think so!

 

tbh i'm wondering why there isn't more arguing about what of this is actually live or something lol.

this whole notion of "new ground" is quaint. this music sounds extremely fresh and ground-breaking to me; i certainly don't know of other examples that sound anything like what they've been up to the past few years. if they are taking their time here refining and exploring a certain system, that's a perfectly valid and interesting artistic experiment. and if one insists it isn't different enough, well "new ground" isn't the only purpose of an artistic work. furthermore, there is plenty of precedent of artists producing work that is longer, deeper and more singular over time. i mentioned coltrane earlier, take a look at that dude's progression -- his solos grew far more lengthy, almost insanely so, while at the same time he often repeated themes, took up motifs and scales and ideas again and again, re-imagined them, reconfigured them (you can find "my favorite things" and "giant steps" all through his entire recorded career. but if you just skipped through his solos and listened to random 30 second bits you could definitely play this "ugh, this is just the same thing, not much new ground here."

 

the new ae shit entails a different kind of listening than 94-98. if it's not some one's thing, cool whatever. i just hate this "oh they're only doing max there's no new ground" argument. the dudes are taking their time with this set-up and i for one think it's goddamn incredible.

yo, playing devil's advocate here.

 

i for one totally dig the current sound (so much more than the electron period) and think elseq e.g. is a late masterpiece that easily hangs with all my favs of olde (and that's damn hard for the fact alone that, well, i used to be fresher, too, lol... another aspect that should probably be considered). i second the notion that innovation / reinventing oneself shouldn't be considered the essence of art. well but IF you do, i think it's save to say they indeed used to do that more, quite objectively, for a while. within their own universe, of course. not even talking about breaking ground in a general sense. in that regard they indeed got fucking shit to prove to anyone forever, that's fo sho. nothing like the chre. :3

 

just one more night *sigh*.

imo they are spending more time with a much more complex system than they’ve ever had. I think a significant aspect of their previous innovation had a lot to do with the way they exhausted more limited systems. even for the brothers, there’s only so much you can do with the elektrons. at the moment, it seems like there’s still a fuck ton to explore within their system than in prior iterations. i get that the results are less dramatically different or less novel but i’m not getting any sense that this is some dull meandering, it has all sounded really intense and powerful and compelling to my ears.

 

in the liner notes to the 90s performance/recording of “music in twelve parts” philip glass remarked that in the 70s his ensemble was “creating a musical language” and that only after two decades of work were they “fluent in it.” I see something similar throughout autechre’s career and i find the fluency of recencent years really inspiring and quite literally awesome.

oh yeah, the meandering thing. well fact is autechere always was about meandering, as in: meditating on a theme / mood and exploring different angles of it. most tracks they ever done consist of "only" 2 or 3 distinctive parts plus transitions, not like they used to compose operas or something (closest would be untilted, i guess). atm they just allow themselves to do it longer and more extensively, obviously enjoying less restraint from (physical) media.

can't even fathom the complexity of their current setup (or any other for that matter), so dunno. but yeah with max basically being a turing complete programming language the possibilites might indeed be pretty much limitless.

well apart from the equipment exhaustion thing i do think there was quite some "formwille" involved on sidesteps like oversteps (no pun intended, actually). at that point in time that was probably the ballsiest thing they could've done. that was one adventurous album. i also hardly listen to it nowadays, lol, kinda case in point. (it's a cool and accomplished album no doubt, i just hardly find myself in the mood for it).

fluency... hm ya, session 1 sounds quite "effortless", in a good way.

liking these more and more. the NTS1 seems shorter every time i listen to it. what's happening to my brain?

@jader

I think they’ve always been extremely ballsy from day one. I think releasing an 8 hour album kinda fits this pattern of boldness lol

thx for your posts in this thread alco

edit: not sure why I felt the need to say that. soz

  On 4/12/2018 at 2:17 AM, ignatius said:

liking these more and more. the NTS1 seems shorter every time i listen to it. what's happening to my brain?

The AE effect.

  On 4/12/2018 at 2:33 AM, Bulk VanderHooj said:

thx for your posts in this thread alco

 

edit: not sure why I felt the need to say that. soz

to be clear: nothing wrong with not digging the new shit. different strokes innit

  On 4/12/2018 at 2:17 AM, Alcofribas said:

@jader

 

I think they’ve always been extremely ballsy from day one. I think releasing an 8 hour album kinda fits this pattern of boldness lol

yeah but after exai being 2 and elseq 4 hours isn't this just too obvious? what about some innovation and releasing a grindcore 15 min album now? ... or was quaristice actually their grindcore album already, having 20 tracks on one cd? hmm... (actually i always thought of quaristice as their own little "punk revolution" with untilted kinda marking the bloated ass "prog rock" era before (... diggin both)).

  On 4/12/2018 at 2:47 AM, Alcofribas said:

 

  On 4/12/2018 at 2:33 AM, Bulk VanderHooj said:

thx for your posts in this thread alco

 

edit: not sure why I felt the need to say that. soz

lol cheers m9

 

to be clear: nothing wrong with not digging the new shit. different strokes innit

 

Exactly, and you're articulating that sentiment well.   

  On 4/12/2018 at 2:48 AM, jaderpansen said:

 

  On 4/12/2018 at 2:17 AM, Alcofribas said:

@jader

 

I think they’ve always been extremely ballsy from day one. I think releasing an 8 hour album kinda fits this pattern of boldness lol

 

yeah but after exai being 2 and elseq 4 hours isn't this just too obvious? what about some innovation and releasing a grindcore 15 min album now? ... or was quaristice actually their grindcore album already, having 20 tracks on one cd? hmm... (actually i always thought of quaristice as their own little "punk revolution" with untilted kinda marking the bloated ass "prog rock" era before (... diggin both)).

 

Definitely. I've been saying Quaristice is their postpunk album to anyone (nobody) who cares for years now.

Just want to say t1a1 deserves more love, each thump is unique. It's a vastly improved TBM2, the creepy Untilted-like pads of the last 5 minute are also gorgeous.

That being said, north spiral is my favorite. The bass is punishing just like the Krakow track from AE_LIVE. Bring on NTS2!

12 hours

My sick mind is ready staedy

i'm expecting a onesix ambient jam at some point. 

I'm honestly hoping that each sesh is fairly unique. Maybe sesh 1 is else-q similar stuff, sesh 2 some ambient, 3 some bangers ("focused" shorter tracks as some have said), etc. 

  On 4/11/2018 at 12:16 PM, mcbpete said:

 

  On 4/11/2018 at 11:02 AM, StocKo said:

I don't understand the hate towards the maxMSP thing really.

I definitely think there’s a misunderstanding about what Max is and isn’t. I think there’s a view that it’s some magical software that you just feed sounds into and it magically just spits out superIDM™ out the other end, as opposed to just being a programming environment that allows you to make … well whatever you want it to make (hell you can use it to create Space Invaders if you’re that way inclined). It can be as ‘unobtrusive’ as just being something that can transpose the pitch of incoming midi notes, or be a full on sequencing environment (ideas for Ableton came about with Gerhard Behles and Robert Henke creating patches to do on-the-fly loop timestretching and launching patterns – essentially what became the ‘Clip View’).

 

So to say something sounds like Max/MSP is analogous to saying a game plays like it was written in C++, or that a film script appears like it was written in Final Draft. Max can create and manipulate sounds (and data), but it doesn’t have a sound.

 

Doesn't it just simply boil down to this is what they want to put out now? Everyone that posts on a subforum of an obscure corner of the internet has some level of respect for the art these dudes create. This is the art they are proud of and these are one of, if not the most supported artists on the site. This is much cooler to me than a dump of old tunes, as fascinating and amazing as that was for rdj and the future release of boc. I guess I'm just a fan of where my fav artists are now vs where they came from. Good art from good artists never comes from recreating where they have been vs learning from where they've been and creating new stuff that excites them. That should excite you as a fan of their art and support their evolution.

=D

...

Just wanted to say that I love these album threads. I only joined a little over a year ago, but I've read every single post in every single release thread and read just about every new post that's thrown up now...

It's always great reading everyone's initial impressions, and then seeing how opinions change or connections with the release get even stronger over time and I'm totally stoked to see what's written about this release 6 months from now - a year from now - 2 years from now... 

You all rock.