Having listened to Autechre's latest offering, the so-called "draft 7.30", I must fervently object to their naive attempts at creating
Emotions Through Melody. I have been following their work ever since Incunabula was released (which I consider their weakest release, by the way, but I digress), and although this tendency towards banality has been kept
'under control', so to speak, during their previous releases, it seems to
have turned into full-fledged kitsch on Draft 7.30.
Their shimmering bytes are right up there with the best of
electroacousticians/ acousmatics (Francois Bayle, Randall Smith, Jonty
Harrison, Dennis Smalley et al), but I really wish they'd stop using what
sounds like a random chord+melody generator to sprinkle their work with
Feeling; their chords have been repeated for such a long time now I would
think they would get rid of them soon. Their melodics can be done so easily
with something like Cubase's Chord generator (I thought this one was for the
easy listening crowd, but I must have been wrong), and it's so pretentiously
emotional that even I am attempted to paraphrase Stockhausen's contempt for
"vanilla melodies". Listen to Reniform Puls for an excellent example -- it sounds
like a very outdated Gareth Newman, and there aren't even any interesting
sounds or rhythmic extravaganzas to cancel out the terrible insipidity of
plug-n-play presetry. Their worst track ever?
Autechre's use of strings and other similar sounds work perfectly when they
are understated, subdued, oppressed, almost not there...when they are just
laying around to remind you of an aftermath of something that never existed, not tied to the mundane ambience of a club or dancefloor. And as we all know, dancefloors are mere sexual marketplaces dedicated to the blithesome consumption of the clients of prostitutes.
The kind of rote and carnal emotionalism that is crowding the digitalia on draft 7.30 is
making me depressed, because, judging by the standards set by Gantz Graf and Confield, and the peel sessions, (although they are guilty of the same banality on quite a few tracks on these releases, too) I thought they were on
their way to another dimension, where the blippery-bloppery of short-cut,
arpeggiated melodisms were long forgotten.
I wish Autechre would abscond, 'take it all out' and go for complete abstraction.
There are some truly exemplary moments on draft 7.30, but they are too short and too
few; they are intersections or break(downs) where Autechre finally forget
about representation (i.e. "feelings") and go for wild rides on whatever
piece of software they have at their disposal. I always thought acousmatic
Academia could learn a thing or two from Autechre, and, while they still can,
I now definitely think Autechre has a thing or two to learn from acousmatics
regarding the non-representational aspect of music.
Whatever happened to monotony? Have they become afraid of it?
Disappointed.
-sadmanparmesan