I find it's a warm interview overall.
Above all, I retain humility and open mindedness, like when one says "We’re
all in the same boat, aren’t we. We’re all trying to make a living." They
give more of an impression of empathy than that of two cloistered nerds.
That already struck me last week while watching a replay of an interview
with Simon Angel for Party Zone, to whom they replied that "our music is no
more complex than garage, but it just doesn't have a formula". However, in
their own words, at some point they had to face up to some form of
"formula" eventually. Personally, I have nothing against formulas : as a
Depeche Mode fan, I think they should never have abandoned theirs, but
that's another story... and it's understood that with Autechre, "accident"
is not an empty word. To finish on the subject of humility, I recently saw
an interview with Dubfire and, to my great surprise and despite the fact
that they play on a very different terrain, I was also surprised by the
modesty, not to say doubt, that seemed to inhabit him... Deep Dish's
communications wouldn't let this appear.
I also liked the paragraph about the cryptic aspect of the Frankie Goes to
Hollywood and Art of Noise sleeve designs. I'll have a look at them, as
don't know these covers : I've never liked their music (except "Moments in
love"). On the other hand, KLF's crazy videos and White Room cover have
long intrigued me : "Trancentral", "Mixed live at the SSL", "Why sheep ?" —
there was no internet back then, so i kept wondering "what do they mean ?"
Of course, I could also mention Depeche Mode's "Strange" VHS, which I
watched over and over again and never recovered from. Anyway, my point is
that the duo seems to have had a branding session with the Designers
Republic maybe, to come up with the unforgettable and splendid covers
they're known for... or maybe not.
They're playing in Paris next April... so I've booked my place (Autechre, i
mean, not Depeche Mode).
On Sat, Oct 21, 2023 at 9:33 AM Aleksas Tunikas <mail@aleksas.ru> wrote:
quoted 66 lines Best when he said they didn't like to perform at Tresor!
> Best when he said they didn't like to perform at Tresor!
> Connor Higgins <connor1higgins@gmail.com> writes:
>
> > So many good parts but this bit from Sean is probably my favorite:
> >
> > Sean: It’s funny that you mentioned Tim Morton. I’m really into nature.
> Well, everyone is on a fundamental level, but I feel like I understand the
> things
> > about nature that I like. That you can walk through a forest, and you
> can’t possibly take it all in, it’s not about that. It’s not the way you’re
> supposed to
> > engage with a forest at all. You walk through and you have your own
> journey through the space, and you maybe stop, probably more than once, and
> > you might look at things or smell things or just feel what it’s like
> there and the way that the air moves there. There’s so much there to
> experience that it
> > can be quite overwhelming, especially for someone like me.
> > I know I always mention Lynch and I am a huge Lynch fan. It’s just an
> easy reference point to communicate this. It’s very difficult to understand
> a Lynch
> > film, but you can watch it and feel that you understood it. It might be
> very difficult to put into words later what the meaning of it is, but you
> feel on some
> > level that you understand it.
> > I feel the same with Tarkovsky as well, I feel the same watching Stalker
> [1979 film by Tarkovsky], that there’s just so much in Stalker, and yet
> there’s so
> > little. You couldn’t write down all the things that are happening. I
> mean, it just wouldn’t make any sense to do that. And there’s always going
> to be more
> > there than you’re able to take in in one sitting.
> > Ambiguity is one of these things that I’m really drawn to in all kinds
> of art. Where I don’t really feel like a need to have one specific
> explanation that kind
> > of narrows it down to a sentence. I feel like if you can describe a
> piece of work that way then the work’s probably not got much for me.
> > I feel like music actually can’t be described in that way either. I
> think this is a thing for most music, not just what we’re doing. There’s a
> kind of denial
> > around the idea of what music is and how it functions, right? I’m quite
> happy putting out loads and loads of music, where you’re not really sure
> what’s
> > happening. I don’t think you need to take everything in in order to have
> a good experience with the thing. It’s a bit like driving a car, nobody sees
> > everything that they’re driving past, or like just riding a bike
> somewhere or going on a downhill or something, in those experiences there’s
> just way too
> > much information for you to consciously process, but you’re still
> experiencing it even though it isn’t really possible to understand it in
> totality.
> >
> > On Fri, Oct 20, 2023 at 8:17 AM Chris Taylor <christaylor415@gmail.com>
> wrote:
> >
> > no mention here yet!
> >
> >
> https://nialler9.com/autechre-conversation-about-music-art-funk-and-emotion-interview/
> >
> > Great stuff as per usual
>
>
> --
> Aleksas Tunikas
> http://www.schopenhauer.fm
>