Autechre - SIGN 16.10.20

  On 10/23/2020 at 10:55 AM, EXTRASUPER81 said:

You should always use Century Gothic for old times sake

ackchyually pretty sure it's avant garde (aka "the original"). notice how the bow of the e ends parallel to the head:

as opposed to:

gantz graf cover for reference:

As well as known(1), F7 is beginning to remind me of the 2nd half of Rae but without any drums and a more paranoid vibe.

  On 10/23/2020 at 12:02 PM, Key said:

As well as known(1), F7 is beginning to remind me of the 2nd half of Rae but without any drums and a more paranoid vibe.

Agree. That kind of plucked melody stuf was always present in Ae discography. First and earliest example is 444. The sound changed and evolved obviously, but that was nothing really new in Oversteps.

  On 10/23/2020 at 11:11 AM, jaderpansen said:

ackchyually pretty sure it's avant garde

Good type nerding. Century Gothic is to Avant Garde as Arial is to Helvetica—a filthy, horrible imposter. 

  On 10/23/2020 at 2:28 PM, modey said:

Good type nerding. Century Gothic is to Avant Garde as Arial is to Helvetica—a filthy, horrible imposter. 

exactly.

  On 10/23/2020 at 10:53 AM, phudoshin said:

done:

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Needs Comic Sans

I still want to make my shirt for the live tt1pd assault tour. sean pls

I’m getting into the middle third of the album. At present these are my favourites and I’m sticking with these at the moment. 

M4 and r cazt are my favourites at this point in time.

With si00 coming in as a close third

Hadn't seen a link to this, apologies if dupe:  Resident Adviser review

https://www.residentadvisor.net/reviews/25326

si00 is the most sinister metronome to have a jam too, I love it.  I've also had some fun sessions in the drum room with gr4 on repeat for over an hour.  The groove in there, and the wide-open spaces to play with takes me on an adventure.  It also gives me the most classic 90's ae vibe of the album.

0:00 - 3:35

  On 10/23/2020 at 5:26 PM, jules said:

I still want to make my shirt for the live tt1pd assault tour. sean pls

 

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tt1pd is their biggest achievement yet.

PEeeRiiiOooD

  On 10/23/2020 at 1:16 AM, Rotwang said:

This is a truly bizarre opinion. Rob and Sean have always come across as sincere and down-to-earth and yet you're accusing them of spending the last decade maintaining a lie - based on what? Even if they could have made all of their recent output with a regular DAW (debatable), why the hell wouldn't they program their own stuff in Max? Writing music software isn't that hard - I've done it, and I'm an amateur hobbyist with a day job - and it's obviously something that appeals to the sort of people who make nerdy electronic music. Who do you think uses tools like Max or develops new synths/effects anyway, if not people like Autechre?

Nah, not as harsh as you are saying.

Programming stuff in Max and letting all the lights marketing shine on it. It helps maintaining a nerd status.

I think I didn't say marketing is a bad thing.

I may totally be wrong, I mean cmon we aren't sitting in their studios.

WATMM literally forces me to break the circle of jerk that resides here.

Some positive remark. F7 is awesome. It somewhat managed to burn into my brain, unexpected. Was hoping for some beats first - and lush background pads... but it is good as it is. I think a gifted person could play a beautiful piano rendition of it. This track asks for more. 

Same unexpected love happened to me with Detroit People Mover of TJ. 

so it begins.

  On 10/23/2020 at 11:11 AM, jaderpansen said:

ackchyually pretty sure it's avant garde (aka "the original"). notice how the bow of the e ends parallel to the head:

as opposed to:

gantz graf cover for reference:

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Excuse me while I die of shame

Light in the Attic twitter posted this:

If anyone wants to chat with me about that japanese Bonus « Prime Minister » (PM), please do  

(bought the album just missing that one track...) 

  On 10/24/2020 at 12:07 AM, khov said:

If anyone wants to chat with me about that japanese Bonus « Prime Minister » (PM), please do  

(bought the album just missing that one track...) 

Listen on youtube and make sure to read the cool description of the video.

https://www.youtube.com/watch?v=2Kqbu8VSDd4

  On 10/18/2020 at 9:13 PM, Draft78 said:

n cur belongs to an internal vein of ae, which started with Rpeg, then returned more frequently in recent years (foldfree casual, carefree counter dronal, JNSN CODE GL16)

actually JNSN CODE is practically n cur in slow motion: among the posts on youtube there is this:
playback speed 0.5 → JNSN CODE GL16

similarly, if you accelerate JNSN CODE to 1.5 you will have something very similar to n cur

I like si00 on first listen but I kind of hate it now. F7 might be my favorite track though. th red a is pretty cool too.

Does anyone know if autechre have gotten into eurorack? I feel like we're living in the golden age of eurorack when it comes to experimental sequencing and interesting oscillators and all that shit. In some universe this album was a eurorack album and they gave up max

I'm very much of two feelings about SIGN.

The complexity, depth, dynamics, and texture is just incredible throughout. Every recognizable repeating musical element seems to emerge from a seething quantum foam, delivering infinite permutations on the same emotional hit. Every track is deep, and fascinating and rewards the best possible audio equipment you can muster.

But then that's also what kind of puts me off. Maybe it's just greediness, but I keep wanting more macro-scale development. The emotional hits are sweet, but it seemslike it would have been so simple to let them develop, to let the tracks shift direction and have more of a beginning, middle and end. At a micro scale nothing repeats, but once you've found the groove within the chaos, it's kind of monotonous.

M4 Lema being the exception. It does everything right that the rest of SIGNs does, but the development – even as one of the longer tracks – puts it over to being top-10 material. And dat funky beat.

AE don't have that Aristotle style arc of suspense other modern music has, they rather try to establish a plateau, a sweet spot if you will, and to hold and variate the track from there with the occasional pay-off in form of some sweet deconstruction toward the end of the track as opposed to the inevitable climax.