Autechre: Difference between revisions
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Some describe Autechre's music as cold and austere, whereas others perceive a warmth and sentimentality that touches even the most cerebral pieces. Much of Autechre's music has a strong focus on complex rhythm and driving percussion, and more recently, on meticulous sequencing. Later work has been notably [[experimental music|experimental]] and [[Abstract music|abstract]], in contrast to the more club-friendly and conventional early 1990s releases. Due to the inaccessibility of their sound, reactions to their music have varied. Many of their [[sound recording|tracks]] contain complex or chaotic [[rhythmic figure]]s and close [[Harmony (music)|harmonies]] which some hear as random and noisy. Fans of their recent work tend to find the value of their music to lie in its unique fusion of rhythmic and melodic elements, percussive noises being tweaked to sound like they have pitches, and clustered, often inharmonic synthesizer patches implying numerous melodic lines and chord structures simultaneously. A recurring element in Autechre's work is the use of extremely short snippets of sound to create a buzzing, percolating, [[granular synthesis|grainy]] effect. |
Some describe Autechre's music as cold and austere, whereas others perceive a warmth and sentimentality that touches even the most cerebral pieces. Much of Autechre's music has a strong focus on complex rhythm and driving percussion, and more recently, on meticulous sequencing. Later work has been notably [[experimental music|experimental]] and [[Abstract music|abstract]], in contrast to the more club-friendly and conventional early 1990s releases. Due to the inaccessibility of their sound, reactions to their music have varied. Many of their [[sound recording|tracks]] contain complex or chaotic [[rhythmic figure]]s and close [[Harmony (music)|harmonies]] which some hear as random and noisy. Fans of their recent work tend to find the value of their music to lie in its unique fusion of rhythmic and melodic elements, percussive noises being tweaked to sound like they have pitches, and clustered, often inharmonic synthesizer patches implying numerous melodic lines and chord structures simultaneously. A recurring element in Autechre's work is the use of extremely short snippets of sound to create a buzzing, percolating, [[granular synthesis|grainy]] effect. |
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==Methods== |
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True to their early techno roots, Autechre utilizes a wide array of [[analog synthesizer|analog synths]] in their production,<ref name="SOS97" /> as well as analog and digital [[drum machines]], [[mixing console|mixers]], [[effects unit]]s and [[Sampler (musical instrument)|samplers]]. They have also made extensive use of a variety of computer based [[sequencers]], [[softsynths]], and other applications as a means of controlling those synths and processing the synthesized sounds. Autechre also used the [[Max/MSP]],<ref name="SOS04" /> [http://www.symboliccomposer.com Symbolic Composer],{{fact}} [[Supercollider (programming language)|Supercollider]]<ref>[http://www.sas.upenn.edu/~reynolda/music_ae_020203.html Alex Reynolds interview, Feb 2003]</ref> and [[Kyma (sound design language)|Kyma]]<ref name="SOS04" /> development environments from 1997 onwards, though it is unclear which are still in use. |
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There have been claims that Autechre employ [[randomness|random]] sequence generation techniques, but Sean Booth has disputed this.<ref>[http://www.sas.upenn.edu/~reynolda/music_ae_092801.html Alex Reynolds interview, Sep 2001]</ref> In response to comments about their unique sound, Autechre argue that given the incredible range of tools available to modern composers, especially in the electronic genres, it is incomprehensible that any band should "sound like" any other band. |
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==Discography== |
==Discography== |
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Autechre | |
|---|---|
 (L-R) Brown and Booth | |
| Background information | |
| Origin | Rochdale in Greater Manchester |
| Years active | 1987 – present |
| Members | Rob Brown, Sean Booth |
| Website | Autechre at Warp Records |
Autechre is an English electronic music group consisting of Rob Brown (born c. 1971) and Sean Booth (born c. 1973), both natives of Rochdale. The group is one of the most prominent acts signed with Warp Records, a label known for its pioneering electronic music artists. Some journalists and fans consider Autechre to be a paragon of IDM, though Brown and Booth themselves do not consider their sound to belong to any genre.
History
The two members formed the group in 1987 when they both lived in Rochdale. They began their career making and trading mixtapes between each other, but gradually moved on to their own compositions,[1] while collecting a handful of cheap equipment, most notably a Casio SK-1 sampler and a Roland TR606 drum machine.[2] By the time their albums on Warp appeared, they were employing a wide variety of electronic instruments to boost their evolving style.
Booth and Brown pronounce the name Autechre with a Rochdale accent (IPA [ɔˈtɛk.ə] — approximately "awe-teh-ker").[3] However, they have explained that the name Autechre can be pronounced in any way anyone sees fit.[1] Booth explains: "The first two letters were intentional, because there was an 'au' sound in the track, and the rest of the letters were bashed randomly on the keyboard. We had this track title for ages, and we had written it on a cassette, with some graphics. It looked good, and we began using it as our name."[4] They are also commonly referred to by the moniker "Ae."
Autechre has also recorded under various pseudonyms, possibly as a way of escaping from the attentions of the media and the obsessive Autechre fanbase. One of the duo's earliest recordings was a 12" under the Lego Feet moniker released in 1991 on Skam Records. Various Gescom releases, most on Skam, have been attributed to Booth and Brown, among other artists. Autechre helped initiate the music festival All Tomorrow's Parties in 2000 and was responsible for curating the 2003 festival.
Music
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Some describe Autechre's music as cold and austere, whereas others perceive a warmth and sentimentality that touches even the most cerebral pieces. Much of Autechre's music has a strong focus on complex rhythm and driving percussion, and more recently, on meticulous sequencing. Later work has been notably experimental and abstract, in contrast to the more club-friendly and conventional early 1990s releases. Due to the inaccessibility of their sound, reactions to their music have varied. Many of their tracks contain complex or chaotic rhythmic figures and close harmonies which some hear as random and noisy. Fans of their recent work tend to find the value of their music to lie in its unique fusion of rhythmic and melodic elements, percussive noises being tweaked to sound like they have pitches, and clustered, often inharmonic synthesizer patches implying numerous melodic lines and chord structures simultaneously. A recurring element in Autechre's work is the use of extremely short snippets of sound to create a buzzing, percolating, grainy effect.
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Discography
Albums
Notes
Tri Repetae was released in the US as Tri Repetae++, adding the Garbage and Anvil Vapre EPs on a bonus second disc. The Japanese edition issued by Sony also included an exclusive bonus track, Medrey. Also, the title LP5 is a conventional one, as there is no given title appearing on that particular album. It is sometimes referred to as Autechre.
EPs
| 1994 | Anti EP | – |
| 1995 | Garbage | Combined with Anvil Vapre for Tri Repetae++. |
| 1995 | Anvil Vapre | Combined with Garbage for Tri Repetae++. |
| 1997 | Envane | – |
| 1997 | Cichlisuite | Sometimes Cichli Suite. |
| 1999 | Peel Session | 1995 recordings for John Peel. |
| 1999 | EP7 | CD combining vinyls EP 7.1 and EP 7.2. |
| 2001 | Peel Session 2 | 1999 recordings for John Peel. |
| 2002 | Gantz Graf | Also released as a DVD. |
Singles, promos and remixes
| 1991 | Cavity Job | 12" vinyl single limited to 1,000 copies. |
| 1994 | Basscadet | Five remixes (six on vinyl) of "Basscadet" from Incunabula; sometimes Basscad. |
| 1996 | We R Are Why | 12" vinyl promo. |
| 1997 | Radio Mix | Hour-long DJ remixes of other artists. |
| 1999 | Splitrmx12 | 12" vinyl promo limited to 3,000 copies. |
Also: upwards of 40 remixes, including Tortoise, Merzbow, Saint Etienne and Squarepusher.
References
- ^ a b Peel Session artists profile
- ^ "TECHNO-LOGICAL", Nov 1997 - Sound on Sound
- ^ Disquiet.com interview
- ^ "Autechre", Apr 2004 - Sound on Sound