Another great analysis! Thank you for doing this one. Something to keep in mind about aE is (on the production side) they often use effects as instruments themselves (flanger, bit crushing, reverb, chorus, etc.) a lot of the progression and movement in songs like this come from those elements.
As I said the last time you covered Autechre, I enjoy the “categorical confusion” they can create where a melody can be rhythmic and harmony can be melodic and so on. I also enjoy the balance between sonic complexity and relatable elements, whether it’s in the drum patterns or melodic ideas or something else. Yes, the earlier you go, the easier it is to get into them. Confield (2001) seems to be the demarcation between the early and the late with LP5 (1998) being in hindsight somewhat anticipatory to their later experimentations during the 21st century. Something to keep in mind with them is: 1) they are musically savvy (as evidenced by their radio broadcasts anticipating a release since 2003 with Draft 7.30) and 2) they met through a mutual interest in imported hip-hop and graffiti tagging. This last one is why I think their music sounds like them. It can be seen as the aural equivalent of tagging. Funny you should mention hochets. You know I am something of a composer myself 😉. I came to employ them whenever I think there is a space that “can be filled”. That’s how I did in the “Darkness encompasses the woods” section of “The Night” (A Night of Ephemeral Transcendence). Most recently, I did it during the “At the alleyway” section of “Night” (City of Vices). But that was something that arose during its composition and not intended from the onset. But in so doing, I’ve found that you can make hochets that will work well on their own as well as working well with each other. I think it comes with having core ideas that hold up to repetition. This makes additions less about “filling in space” and more about “mutual reinforcement” Hopefully you’ll return to Autechre again in the future =]
Yes i agree that the jump from LP5 (what this some is from) and Confield (what the last somg you covered was from) is perhaps one of the biggest in their catalogue (i'd probably say Amber to Tri Repetae is the other). Confield is when they started using some generative software and max msp which was a game changer for them and i'm pretty sure they still use max MSP now? This is the song that got me into Autechre :-)
Fantastic mention regarding hockets that can work independent. And I think you're right, or at least on the right track, regarding their love for visual art impacting their sonic art. There's certainly an element of their music that defies the typical bounds of musical artistry.
Hell yeah, another fantastic choice with Autechre! Diving into their music is always an fascinating journey, imho. Did you know they've cited Coil as one of their primary influences? It’s fascinating to see the threads between these innovative artists. Autechre's experimental soundscapes and their approach to electronic music echo Coil's innovative spirit and depth. It's like a sonic lineage that you can trace, and in pieces of Autechre's work, you can sense the homage to Coil's unique approach to music and sound.
It's my personal space that no body can interfere... listening to autechre over period of time made me more meditative in my personal space... so much detail n dept ... It's highly deep personal experience...
Their prettier songs are so bittersweet. Their early stuff sounds a lot more like dance music but very ambient and retrofuturistic in a way. Everything before LP5, the album this track is on, is a lot more loop-based. I suspect the percussion here is from relatively conventional drum samples with the pitch settings turned up or down a lot. I've done that on old drum machines and it's surprising how much it reminds of certain Autechre tracks from this period, ie the period between the first two albums and Confield.
@@SergeTarasoff I said "old drum machines" in relation to my own experiences and I was even less specific for them. The trick works on many machines by many companies, and they certainly have used many. I myself have never used a Machinedrum. Considering that LP5 was released 3 years before the Elektron Machinedrum was introduced, it's safe to say they were not using it on this track either.
As for what they DID use on this track, I don’t know, I merely meant to point out to Bryan that it’s probably just relatively normal drum samples with their pitch settings manipulated
@@liamshanley_21 you are right. I've read that they were using them (elektrons) a lot back than, but it never occured to me that it was probably AFTER the machines were released.
Love your reactions to electronic music, especially your breakdown of 1 1 is by Autechre, was fascinating the visuals you were getting ,"bending of light". Highly recommend checking out; Squarepusher - Tetra Sync. ..And also maybe, The Tuss (Richard D James alias) - Last Rushup 10
I loved that "bending of light, but bending sound" idea, and the whole analysis made me appreciate 1 1 is much more, I'm currently thinking is my favorite song from them
Honestly, you have to hear tri repatea and bike to get a good handle on probably the best of their more accessible material. But every autechre fan will probably tell you something different for their own reasons.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
Always enjoy your breakdowns of some of my favorite artists on Warp Records: Autechre, Aphex Twin and Squarepusher. Keep it going, my man.
btw something you missed that's really interesting are the drums going from mono to stereo at 3:30 in the song (4:06 in the video)
Another great analysis! Thank you for doing this one. Something to keep in mind about aE is (on the production side) they often use effects as instruments themselves (flanger, bit crushing, reverb, chorus, etc.) a lot of the progression and movement in songs like this come from those elements.
As I said the last time you covered Autechre, I enjoy the “categorical confusion” they can create where a melody can be rhythmic and harmony can be melodic and so on. I also enjoy the balance
between sonic complexity and relatable elements, whether it’s in the drum patterns or melodic ideas or something else.
Yes, the earlier you go, the easier it is to get into them. Confield (2001) seems to be the demarcation between the early and the late with LP5 (1998) being in hindsight somewhat anticipatory to their later experimentations during the 21st century.
Something to keep in mind with them is:
1) they are musically savvy (as evidenced by their radio broadcasts anticipating a release since 2003 with Draft 7.30) and 2) they met through a mutual interest in imported hip-hop and graffiti tagging. This last one is why I think their music sounds like them. It can be seen as the aural equivalent of tagging.
Funny you should mention hochets. You know I am something of a composer myself 😉. I came to employ them whenever I think there is a space that “can be filled”. That’s how I did in the “Darkness encompasses the woods” section of “The Night” (A Night of Ephemeral Transcendence). Most recently, I did it during the “At the alleyway” section of “Night” (City of Vices). But that was something that arose during its composition and not intended from the onset. But in so doing, I’ve found that you can make hochets that will work well on their own as well as working well with each other. I think it comes with having core ideas that hold up to repetition. This makes additions less about “filling in space” and more about “mutual reinforcement”
Hopefully you’ll return to Autechre again in the future =]
Yes i agree that the jump from LP5 (what this some is from) and Confield (what the last somg you covered was from) is perhaps one of the biggest in their catalogue (i'd probably say Amber to Tri Repetae is the other). Confield is when they started using some generative software and max msp which was a game changer for them and i'm pretty sure they still use max MSP now?
This is the song that got me into Autechre :-)
@@dave808au Not only do they still use it, but I think they are at a point where everything they do originates from there.
Fantastic mention regarding hockets that can work independent. And I think you're right, or at least on the right track, regarding their love for visual art impacting their sonic art. There's certainly an element of their music that defies the typical bounds of musical artistry.
@@dave808au only like two songs use max on confield, they really started using it on oversteps and beyond, before that that rarely use max
I hope to see more autechre reacts! Thank you!!!
Hell yeah, another fantastic choice with Autechre! Diving into their music is always an fascinating journey, imho. Did you know they've cited Coil as one of their primary influences? It’s fascinating to see the threads between these innovative artists. Autechre's experimental soundscapes and their approach to electronic music echo Coil's innovative spirit and depth. It's like a sonic lineage that you can trace, and in pieces of Autechre's work, you can sense the homage to Coil's unique approach to music and sound.
Autechre is a music from Pluto. The coldest and loneliest
i'd like to hear what you find so cold about their music, i find it generally warm to lukewarm
It's my personal space that no body can interfere... listening to autechre over period of time made me more meditative in my personal space... so much detail n dept ... It's highly deep personal experience...
Not true!
It's from Bronx ruclips.net/video/ncYXBMlHAw8/видео.htmlsi=C_Q_lV_YMhhEzLev
but within that, a special kind of beauty rises.
Their prettier songs are so bittersweet. Their early stuff sounds a lot more like dance music but very ambient and retrofuturistic in a way. Everything before LP5, the album this track is on, is a lot more loop-based. I suspect the percussion here is from relatively conventional drum samples with the pitch settings turned up or down a lot. I've done that on old drum machines and it's surprising how much it reminds of certain Autechre tracks from this period, ie the period between the first two albums and Confield.
"old drum machines" u mean Machinedrum mate?
@@SergeTarasoff I said "old drum machines" in relation to my own experiences and I was even less specific for them. The trick works on many machines by many companies, and they certainly have used many. I myself have never used a Machinedrum. Considering that LP5 was released 3 years before the Elektron Machinedrum was introduced, it's safe to say they were not using it on this track either.
As for what they DID use on this track, I don’t know, I merely meant to point out to Bryan that it’s probably just relatively normal drum samples with their pitch settings manipulated
@@liamshanley_21 you are right. I've read that they were using them (elektrons) a lot back than, but it never occured to me that it was probably AFTER the machines were released.
Love your reactions to electronic music, especially your breakdown of 1 1 is by Autechre, was fascinating the visuals you were getting ,"bending of light".
Highly recommend checking out; Squarepusher - Tetra Sync.
..And also maybe, The Tuss (Richard D James alias) - Last Rushup 10
I loved that "bending of light, but bending sound" idea, and the whole analysis made me appreciate 1 1 is much more, I'm currently thinking is my favorite song from them
Yeah the tuss is great
Honestly, you have to hear tri repatea and bike to get a good handle on probably the best of their more accessible material. But every autechre fan will probably tell you something different for their own reasons.
Please react to tt1pd.