Autechre
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- all the other funks autism corpsey's boys corpsey's decadent corpsey's law decadent cunting bourgeois ears electro's forgotten potato guaranteed to keep you dry i fear i've hurt your feelings jamaican voodoo gang from predator 2 mantronix via schaeffer oh dear please be patient i have autism turbo-autistic
Clinamenic
Binary & Tweed
Proper shitposting (as I am now, too).
droid
Well-known member
Ah, that was a reference to his AMA where people kept trolling him by asking him about Morbius.
Corpsey
bandz ahoy
"Sean: That tune Acid Eiffel, fuckin’ Acid Eiffel – especially when you’re peaking you know, when you hear that, and it it should move you to tears, but it doesn’t, it fills you with this weird kind of joy. It’s like a weird feeling. It’s like a mournful joy. An amazing feeling. Yeah."
This is one of the things I love about rave music too, "mournful joy"
This is one of the things I love about rave music too, "mournful joy"
this is priceless
mvuent
Void Dweller
there are a lot of interesting "from the horse's mouth" moments for the autechre defense squad around here. covers our usual talking points about how they do make electro, they do make danceable music, they do make music with emotional affect... and does so way more thoroughly than i've seen before.
but yeah that quote for example is almost verbatim what noz said in his nts review:
but yeah that quote for example is almost verbatim what noz said in his nts review:
They're often associated with machinery, but they're at a point now where you can also pull in things like plants and fungal networks. You can see it creeping into that noz quote when he uses the term "growing". It's like electro was a forgotten potato left to its own devices in a dark cupboard.
droid
Well-known member
You speak as if this was a coincidence. 😅
mvuent
Void Dweller
yes, appreciate the very deliberate yet innocent sounding questions. like when you mention their sense of groove sean immediately goes "there’s so many things I could say about this, it could be another interview in of itself"—because it's a huge part of their aesthetics yet journalists who listen to a release once and decide their music is random noise never ask them about it.
obviously what ae do these days wouldn't be mistaken in a million years for the kind of swing you get from "funky" human drummers—they push this kind of hyper-stylized funk sensibility much, much farther and in more counterintuitive directions than just about anyone; you have to have a really strong internal sense of the pulse/tempo to hang on. but i wish more people who think their music is pointlessly awkward/broken/anti-groove at least understood that so much of it can be accessed on this level. that there's a sense in which they're not being difficult but instead returning to a very old, "lindy" way of music-making—from a posthuman vantage point.
was really reminded of this listening to the first few tracks of nts 3 the other day. the constituent parts of the beat will often be very weirdly syncopated and off the grid. you could make comparisons with j dilla or wonky, or even with the "country time" of old blues recordings, where you have the main artist and then, say, a bunch of their family members playing supporting instruments, each slightly out of time in their own way in a metronomic sense, but in such a way that the whole thing grooves harder than that sort of rote adherence ever would.
obviously what ae do these days wouldn't be mistaken in a million years for the kind of swing you get from "funky" human drummers—they push this kind of hyper-stylized funk sensibility much, much farther and in more counterintuitive directions than just about anyone; you have to have a really strong internal sense of the pulse/tempo to hang on. but i wish more people who think their music is pointlessly awkward/broken/anti-groove at least understood that so much of it can be accessed on this level. that there's a sense in which they're not being difficult but instead returning to a very old, "lindy" way of music-making—from a posthuman vantage point.
droid
Well-known member
They stood out in the 90s cos of this I think. The only artists in that scene that could really create and sustain a groove.
mvuent
Void Dweller
also appreciate the mention of the intense yearning quality in their music. even though it's minor track in a way—a short simple interlude—i think "rettic ac" is the distillation of that feeling that gets to me the most.
one of the comments describes it as trekking through a snow storm and seeing faint lights in the distance—and that seems really accurate. the monotony of a long journey and then the appearance of some enigma on the horizon. you feel an intense urge to get closer but (especially in the larger context of chiastic slide, their strangest and eeriest album up to that point) you're not certain that it's something good.
this long distance yearning gets less prevalent in their work later on, although it never goes away altogether or diminishes in intensity. as the event density and mercuriality of the music increases, reaches sensory overload levels—peaking in tracks like "mesh cinereal" and the later sections of the 2014-15 livesets—there's a feeling of having reached the center of the action that their early work daydreamed about from far away.
one of the comments describes it as trekking through a snow storm and seeing faint lights in the distance—and that seems really accurate. the monotony of a long journey and then the appearance of some enigma on the horizon. you feel an intense urge to get closer but (especially in the larger context of chiastic slide, their strangest and eeriest album up to that point) you're not certain that it's something good.
this long distance yearning gets less prevalent in their work later on, although it never goes away altogether or diminishes in intensity. as the event density and mercuriality of the music increases, reaches sensory overload levels—peaking in tracks like "mesh cinereal" and the later sections of the 2014-15 livesets—there's a feeling of having reached the center of the action that their early work daydreamed about from far away.
Corpsey
bandz ahoy
How embarrassing — Found one I like again
I think this must be because I was listening to some of the new Travis Scott album before this but I can totally imagine this straightened out and turned into a Travis Scott or similar beat.
And I like this one too actually
I'd never heard of this album before I read the droid interview. The beats are pretty tough/chunky and the melodic aspect is minimal but haunting.
I think this must be because I was listening to some of the new Travis Scott album before this but I can totally imagine this straightened out and turned into a Travis Scott or similar beat.
And I like this one too actually
I'd never heard of this album before I read the droid interview. The beats are pretty tough/chunky and the melodic aspect is minimal but haunting.
@blissblogger is still reticent about this. but as I said on his blog
People will attempt to deny it, but jungle as much as it owed a lot of its chassy to hip hop, also owed quite a lot to the jazz dance scenes of crackers, global village, and then Electric Ballroom etc. And then Trevor Shakes.
This scene is not written about at all and even one of the first guys to play house in London, Noel Watson, dismissed that crowd as too straight and too conformist. Which, granted, they were, but they were also 90%+ black, with a few Greeks involved, George Power etc.
Certainly mainstream London cottonned onto house quite late, but that doesn't mean there weren't heads in north and east who weren't on it since day dot. Jazzy M, Colin dale/faver, Fab and Groove, Dave Angel, etc, etc...
To illustrate my point here is a hardstep tune which juxtaposes hip hop sampling with elegant jazzual vibes. You can here literally no electro in this. The traces of electro, so much so that they did exist, were over by 94, for the most part.
A lot of the break chopping is an attempt to reduce the jazz funk to something more utilitarian. You can hear this in potential bad boy tunes. If house was a reduction of disco to become its own thing, then jungle was a reduction of funk. Not machine funk, definitely its own thing, but a reduction nevertheless.
Really, the irony in the Kirk Degiorgio position is he tends to align himself with the most europhile of post-disco scenes and has to overcompensate. Otherwise he is not always wrong, but his perspective makes a great deal more sense when applied to jungle. Detroit techno owes way more to euro synth pop than jungle ever could or would.
Shots fired at Luka and you his obedient puppy. the masc dom, fem-dom porn crisis. Are you now in a psychedelic trance? the archetypical self-loathing of the white middle class consumer.
making the reduction of funk explicit here
The reason I suppose why @pattycakes_ railed against Voigt talking about the reduction of funk to something more mathematic is because techno's chassy is quintessentially post-disco, and the funk embellishments are added to the 4x4 of the post-disco drum beat. Jungle on the other hand is post-funk, or infrafunk, in the truest sense of the term. I don't say funk, because it isn't either classic funk or 80s synth funk. It is definitely an evolution, something different. But this impulse to code the funk into the samplers is the whole story of post-92 jungle.
I have no prejudices against jazz funk, because I didn't grow up reading the NME and wasn't told to hate it, so I can look at it on its own terms.
Part of what i find interesting about @blissblogger 's writing is I can imagine in an alternate timeline, say, a blissblogger from Burnley, is that he becomes an evangelist for happy hardcore. Because his writing expresses the tension of the quintessential raver stuck in the vortex of just 4 u london, even though rave in london is a general placeholder and was mostly over as cultural phenomenon by the mid 90s. Of course, raves still existed, and continue to exist today, but in London at least raving became a sub-culture, rather than an incursion. I think the provinces held onto that incursion into the mainstream for a few more years, until that is to say french house and eurotrance conquered the charts and became consumer culture de rigeur in the late 90s. Even the target of happy hardcore compilations, the menacing cartoonish vibe (now we're totally bonkers) was aimed at generally to under 18s, sold in woolworths. Hardly the same as the turntable tonearm spliff!