version
Well-known member
You don't say!
Bit excessive. I like them too, but come on.
Autechre Haters
- Thread starter luka
- Start date
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- Tags
- alt-right amber is shit too amber rudd aufull augasm ault right aulternative arrangements aut to listen to something else autechre = sex music autechre fans are white supremacists autechstric spectrum auterrible autexit autificial insemnation auto-erotic asphyxiation autocrat autopsy berghaus black leather clean your room cotswold crisis of masculinity daddy issues family seperation policy i fight the law and the bore won incel music mum walks in while you're wanking no fap oliver craner joined the bnp plaid cymru scientology smoke and mirrors the great outdoors the north face the power of electricity the welsh aesthetic tinkering in the shed virginia techre massacre we are the dreamers of the dreams white psychology
Bit excessive. I like them too, but come on.
Mr. Tea
Let's Talk About Ceps
I thought you'd been listening to them continuously for the last 48 hours or something?
version
Well-known member
News to me.
The King of Pussy Gettin
Well-known member
[*Quick Tiny Burp:]
Autechre swag, I'm flying like Sean Booth
Autechre swag when I pull up in that old school
Autechre, drop pants; Autechre, wrist and chains; Autechre,
and everything; Autechre.
Gucci skin; Autechre, my backpack; Autechre,
That h-pop with glock cut that's Autechre,
Oh my god anyway, I'm ballin' up that avenue,
Autechre swag, and I'm throwing money at the roof.
Autechre everything, Autechre Beiber chain,
Harombom platinum dongs with the aramow,
All that every day, anyway, I'm Autechre.
May I ask what you niggas pay,
Smokin' up a pound a day.
Everything, everyday, everything; Autechre.
Lookin' at a nigga fleshed up like Autechre,
Lookin' like Acroyear, chop it till your down throat,
S.O.D. money get gang like lipo.
All light white coat, Autechre dad dog.
Yeah I'm Autechre, swagged up like: yeah dog.
Saw four dogs in the rows when I rode through,
Rolls royce black, and I'm looking like Rob Brown.
[*Another Tiny Burp:]
Autechre, everything; Autechre.
Digital watch, digital clock, digital splice, addoday.
I'm hiding in the kitchen, cooking up that Autechre.
Anyway, eat the cake, like your name Autechre.
Anyway [tiny burp] Autechre, I rich chain Autechre,
I fuck that bitch; anyday. Quick 30 seconds day.
Heada hitta quick lick daddy for a long time,
S.O.D. get that money game yeah we on boy,
Autechre everyday, Autechre arrombow,
Autechre cellophone. Gotta Matt Harrombow.
Make a call, drop it all, S.O.D. get it in.
Autechre drop tops, I'm lookin like Amber man,
Lookin like Gescom, lookin like Lego Feet,
Lookin like: Autechre, lookin like Tri Repetae.
Lookin Untilted, man I'm poppin bottles,
Autechre drop top, I look like Mira Calix.
Yo, back on the track, it's the Autechre master.
Holes on my dick, Anvil Vapre when I'm blastin.
Soulja boy tell'em that my swag everlasting.
Pikachu diamonds, Autechre floskas,
Man I'm gettin money and I'm out there ballin.
G-flight jet, trump shoot like I'm ballin.
Marvel vs. Capcom, Soulja vs. the world.
I'm fuckin all your baby mama, Autechre in hurr.
It's so hot in this motherfucking club.
I Autechre it up, can't nobody fuck with us.
S.O.D. boys man I lookin like I am the guy,
I dont give a fuck, a million dollars, I'm a samurai.
Yeah.
Soulja.
Soulja Boy, Autechre. Autechre Autechre Autechre.
Yeah.
Uh you can do this one.
Yeah.
goofyness is alien to calligraphy and geometry.
Autechre Effendi: The Geometrists of the Sublime Porte
In an alternate timeline of the 19th century, in the teeming, cosmopolitan quarters of Istanbul—where caravanserais throb with trade and the call to prayer curls like smoke over the Golden Horn—two peculiar figures emerge from the Mevlevi lodges of Galata. Known to the divan as Seyhan-B. Rahman Bey and Raad b. hayr Effendi, these shadowy composer-philosophers are collectively referred to as Avtakhir (أوتاخير), later transliterated by confused European Orientalists as Autechre.
Deeply schooled in the sacred science of makam (maqām), these two do not compose in the traditional sense. Instead, they map modal improvisations into intricate, abstract architectures, guided not by melody but by sacred geometry. Each performance is a ritual calculation: an algorithmic weaving of sound into tessellated symmetry, echoing the domes and mosaics of Süleymaniye.
The Geometry of Rapture
Avtakhir are fascinated not with the melodic flourish of mainstream court music but with the mathematical underpinnings of rhythmic systems. They abandon the lute and ney in favor of percussion: darbuka, davul, and kudüm—not used in standard cyclical ways but fragmented, reordered, and reassembled like calligraphic loops.
The kudüm, usually reserved for spiritual rites, is hammered in asymmetric polyrhythms, creating phrases that spiral like muqarnas. The davul is prepared with wax and metal filings to give it an unsettling timbre—“like beating on a cracked dome in a rainstorm,” as a Persian listener once said.
They abandon traditional notation entirely. Instead, they inscribe their scores in a hybrid of Siyakat script and mystical diagrams drawn from Nasir al-Din al-Tusi’s planetary models, which are nearly impossible to interpret without knowing their system—a kind of esoteric algorithmic notation.
"Ashab al-Takhtiṭ al-Sawti" – The Companions of Sonic Design
Their compositions are not performed so much as decoded. Each one is named after a number, shape, or spatial formula:
•
Makam 4/13: Dodecagonal Collapse
•
Hicaz Phase 2: Ink Spiral over Fes Hat
•
Rhythmic Ihlas (with Kudüm Blur)
Their most controversial piece, Muwashshah al-Tafakkuʿ (The Polyrhythmic Reflection), was banned by a conservative mufti for allegedly inducing "non-Euclidean trances" in dervishes, causing them to whirl out of alignment with the divine axis.
Legacy and Rediscovery
Though their influence was largely underground, whispered about in tekke circles and among Tatar experimentalists, a cache of their diagrams was uncovered by a Viennese Orientalist in 1911. These were misfiled as “Decorative Architectural Schematics of Unknown Purpose” until British radio engineer Daphne Oram encountered them and declared: “These are not buildings. These are circuits. These are scores.”
Avtakhir’s legacy lived on, cryptically, in early electronic music, the geometry of Brutalist architecture, and the visual arrangements of glitch art. Some claim that Aphex of Cornwall once found a cracked wax cylinder of their lost performance “Bayati Fission in Hexagonal Echo” and never recovered.
science.
VERY interesting quote for several reasons
william_kent
Well-known member
I'm guessing you've figured out barty is the author of "neon screams"?
One thing that occurred to me this morning is that this was also the case for people "back in the day" like 30 years ago.
A couple of examples that I was thinking about:
This first example is less of needing music to have a "street element", but needing what was the popular sound of the time (grunge): ~Early 1994 I set up a friend with another friend and after they has been dating for a while, she commented that he listened to music that sounded like "bleep bloop" or "video game" music, and of course she was mostly more into the popular sound of the time, grunge, and she just couldn't get into the kind of stuff he was playing a lot at the time.
Another example is when I went to visit my cousins one time (the ones that I really close to) and they were always almost exclusively into hip hop since the beginning, and so when I played them an example of stuff I was into at the time, https://www.discogs.com/master/44131-Laurent-Garnier-X-Mix-2-Destination-Planet-Dream, they, besides saying it was all "too fast", they didn't really like or "get it" it all.
I also played this for them: https://www.discogs.com/master/21134-Various-Artificial-Intelligence-II - They also didn't like that, but at least they didn't make the "too fast" comment.
However, about a year later, I played https://www.discogs.com/master/13052-Scorn-Gyral and they kind of liked it, and there was one track they actually loved (at least part of it) so much that they sampled a section of it, and kept talking about it for years after, which I believe was somewhere near the beginning of this track like ~1:30 into it and I think the difference between this and the above stuff is pretty obvious.