IDM Mailing Archive

anyone have any additional thoughts/favorites/least favorites/stupid comments on elseq? i dont feel like it got a whole lot of discussion after it first came out, it was so much material it probably took everyone a few weeks to digest... for my part i've come around to really enjoying most of the tracks, especially foldfree casual, c16 deep tread, latentcall and a couple others the only one i hate is chimer 1-5-1 for which i have yet to find any redeeming value :) Clint Anderson Systems Engineer "Freedom -- paint me a picture!" -- Burton Cummings

I love it. I've found each one has its own flavor which is not a huge revelation but is still interesting. I can't say I actively dislike any particular tracks. They all have their own flavors and work for me at certain times. What amazes me is that after 22 or so years these guys are still completely ripping it up and taking no shit. Pendulu Casual is my current favorite. - CRT

quoted 16 lines On Sep 22, 2016, at 3:52 PM, Clint Anderson <clinta@gmail.com> wrote:

> On Sep 22, 2016, at 3:52 PM, Clint Anderson <clinta@gmail.com> wrote: > > anyone have any additional thoughts/favorites/least favorites/stupid comments on elseq? i dont feel like it got a whole lot of discussion after it first came out, it was so much material it probably took everyone a few weeks to digest... > > > > for my part i've come around to really enjoying most of the tracks, especially foldfree casual, c16 deep tread, latentcall and a couple others > the only one i hate is chimer 1-5-1 for which i have yet to find any redeeming value :) > > > > > Clint Anderson > Systems Engineer > "Freedom -- paint me a picture!" -- Burton Cummings >

yeah its interesting i would almost say its a return to their classic style of the 'eternally unfolding secret tricks' tracks they used to do where halfway through you finally sort of more or less figured out what they were doing to get whatever effect/sound, and then the second half was just that much more badass

http://autechre.net.ua/en/interviews/interview10.htm "It's about sleight of hand, where you're revealing things and then pulling them back. It's that sort of dynamic. But I think that's Hip Hop: the whole attitude of wanting to do people's heads in a little bit but also give them something that they'll really appreciate comes from that - Mantronix to early Bomb Squad --- where there were little tricks in there, and you knew the producer had stuck them in there because he knew it would do people's heads in. And it'd be like: fucking hell, how did he do that? Or, that's a totally mad thing to do with your track. But it didn't suffer because it wasn't. . ." Rob: "Wasn't a showcase for those ideas." Sean: "It was part of the flow and it worked. That's it really. That's how we've started describing it now." "I think a lot of people, when they're constructing complex music, have this idea that for something maddeningly complex to change into something else that's maddeningly complex you've got to do it suddenly," says Sean. "But there are millions of ways you can do it, because you can have your entire track changing piece by piece as it rotates, and that's what we're into We like things like a puzzle where it's revealing itself and changing. And you can almost follow it, because it works the same pace as your brain works. The trick is not to get it to work faster or slower, but to get it in tune with yourself. And obviously there are some people who work faster than that, and they'll hear it and think this is boring, and there are people who work slower than that, and they'll think this is too much. For us it's the right pace." Clint Anderson Systems Engineer "Freedom -- paint me a picture!" -- Burton Cummings On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson <clinta@gmail.com> wrote:

quoted 7 lines yeah its interesting i would almost say its a return to their classic

> yeah its interesting i would almost say its a return to their classic > style of the 'eternally unfolding secret tricks' tracks they used to do > where halfway through you finally sort of more or less figured out what > they were doing to get whatever effect/sound, and then the second half was > just that much more badass > >

They've long been masters of the "hidden gem inside the flaw" method of production. I think it was around the time of EP7 (makes me feel old to think of when that came out) where they mentioned something about making tracks where things revealed themselves almost on their own. Now this is before their "generative music" period which even they said was bullshit mind you. Anywizzle, they said something about how stuff appeared later on further listens they had no idea about. I've been amazed at how true that is because pretty much all their stuff back to Amber has this element where it slowly reveals the deeper facets over months and years of listening. Fascinating stuff. On Sep 30, 2016, at 2:33 PM, Chris Taylor <christaylor415@gmail.com> wrote:

quoted 21 lines They speak brilliantly about their own work.

> They speak brilliantly about their own work. > > On Fri, Sep 30, 2016 at 2:30 PM, Clint Anderson <clinta@gmail.com> wrote: > http://autechre.net.ua/en/interviews/interview10.htm > > > > "It's about sleight of hand, where you're revealing things and then pulling them back. It's that sort of dynamic. But I think that's Hip Hop: the whole attitude of wanting to do people's heads in a little bit but also give them something that they'll really appreciate comes from that - Mantronix to early Bomb Squad --- where there were little tricks in there, and you knew the producer had stuck them in there because he knew it would do people's heads in. And it'd be like: fucking hell, how did he do that? Or, that's a totally mad thing to do with your track. But it didn't suffer because it wasn't. . ." Rob: "Wasn't a showcase for those ideas." Sean: "It was part of the flow and it worked. That's it really. That's how we've started describing it now." > > "I think a lot of people, when they're constructing complex music, have this idea that for something maddeningly complex to change into something else that's maddeningly complex you've got to do it suddenly," says Sean. "But there are millions of ways you can do it, because you can have your entire track changing piece by piece as it rotates, and that's what we're into We like things like a puzzle where it's revealing itself and changing. And you can almost follow it, because it works the same pace as your brain works. The trick is not to get it to work faster or slower, but to get it in tune with yourself. And obviously there are some people who work faster than that, and they'll hear it and think this is boring, and there are people who work slower than that, and they'll think this is too much. For us it's the right pace." > > Clint Anderson > Systems Engineer > "Freedom -- paint me a picture!" -- Burton Cummings > > > On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson <clinta@gmail.com> wrote: > yeah its interesting i would almost say its a return to their classic style of the 'eternally unfolding secret tricks' tracks they used to do where halfway through you finally sort of more or less figured out what they were doing to get whatever effect/sound, and then the second half was just that much more badass > > >

that totally resonates. I was listening to The Age of Adz from Sufjan Stevens yesterday in the car and there were a few "fucking hell, how did he do that?" moments. On 1/10/2016 4:30 AM, Clint Anderson wrote:

quoted 44 lines

> http://autechre.net.ua/en/interviews/interview10.htm > > > > "It's about sleight of hand, where you're revealing things and then > pulling them back. It's that sort of dynamic. But I think that's Hip > Hop: the whole attitude of wanting to do people's heads in a little bit > but also give them something that they'll really appreciate comes from > that - Mantronix to early Bomb Squad --- where there were little tricks > in there, and you knew the producer had stuck them in there because he > knew it would do people's heads in. And it'd be like: fucking hell, how > did he do that? Or, that's a totally mad thing to do with your track. > But it didn't suffer because it wasn't. . ." Rob: "Wasn't a showcase for > those ideas." Sean: "It was part of the flow and it worked. That's it > really. That's how we've started describing it now." > > "I think a lot of people, when they're constructing complex music, have > this idea that for something maddeningly complex to change into > something else that's maddeningly complex you've got to do it suddenly," > says Sean. "But there are millions of ways you can do it, because you > can have your entire track changing piece by piece as it rotates, and > that's what we're into We like things like a puzzle where it's revealing > itself and changing. And you can almost follow it, because it works the > same pace as your brain works. The trick is not to get it to work faster > or slower, but to get it in tune with yourself. And obviously there are > some people who work faster than that, and they'll hear it and think > this is boring, and there are people who work slower than that, and > they'll think this is too much. For us it's the right pace." > > Clint Anderson > Systems Engineer > "Freedom -- paint me a picture!" -- Burton Cummings > > > On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson <clinta@gmail.com > <mailto:clinta@gmail.com>> wrote: > > yeah its interesting i would almost say its a return to their > classic style of the 'eternally unfolding secret tricks' tracks they > used to do where halfway through you finally sort of more or less > figured out what they were doing to get whatever effect/sound, and > then the second half was just that much more badass > >

-- Sham Beam

On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com> wrote:

quoted 3 lines that totally resonates. I was listening to The Age of Adz from Sufjan

> that totally resonates. I was listening to The Age of Adz from Sufjan > Stevens yesterday in the car and there were a few "fucking hell, how > did he do that?" moments.

yes! age of adz has some awesome stuff.

quoted 57 lines On 1/10/2016 4:30 AM, Clint Anderson wrote:

> > > > > On 1/10/2016 4:30 AM, Clint Anderson wrote: > >> http://autechre.net.ua/en/interviews/interview10.htm >> >> >> >> "It's about sleight of hand, where you're revealing things and then >> pulling them back. It's that sort of dynamic. But I think that's Hip >> Hop: the whole attitude of wanting to do people's heads in a little bit >> but also give them something that they'll really appreciate comes from >> that - Mantronix to early Bomb Squad --- where there were little tricks >> in there, and you knew the producer had stuck them in there because he >> knew it would do people's heads in. And it'd be like: fucking hell, how >> did he do that? Or, that's a totally mad thing to do with your track. >> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a showcase for >> those ideas." Sean: "It was part of the flow and it worked. That's it >> really. That's how we've started describing it now." >> >> "I think a lot of people, when they're constructing complex music, have >> this idea that for something maddeningly complex to change into >> something else that's maddeningly complex you've got to do it suddenly," >> says Sean. "But there are millions of ways you can do it, because you >> can have your entire track changing piece by piece as it rotates, and >> that's what we're into We like things like a puzzle where it's revealing >> itself and changing. And you can almost follow it, because it works the >> same pace as your brain works. The trick is not to get it to work faster >> or slower, but to get it in tune with yourself. And obviously there are >> some people who work faster than that, and they'll hear it and think >> this is boring, and there are people who work slower than that, and >> they'll think this is too much. For us it's the right pace." >> >> Clint Anderson >> Systems Engineer >> "Freedom -- paint me a picture!" -- Burton Cummings >> >> >> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson <clinta@gmail.com >> <mailto:clinta@gmail.com>> wrote: >> >> yeah its interesting i would almost say its a return to their >> classic style of the 'eternally unfolding secret tricks' tracks they >> used to do where halfway through you finally sort of more or less >> figured out what they were doing to get whatever effect/sound, and >> then the second half was just that much more badass >> >> >> > > -- > Sham Beam > > >

-- Bruno Gola <brunogola@gmail.com> http://bgo.la/

> yes! age of adz has some awesome stuff. I really didn't like it at first but it's slowly been winning me over. :) On 2/10/2016 3:36 PM, Bruno Gola wrote:

quoted 97 lines On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com

> > > On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com > <mailto:sham.beam@gmail.com>> wrote: > > that totally resonates. I was listening to The Age of Adz from > Sufjan Stevens yesterday in the car and there were a few "fucking > hell, how > did he do that?" moments. > > > yes! age of adz has some awesome stuff. > > > > > > > On 1/10/2016 4:30 AM, Clint Anderson wrote: > > http://autechre.net.ua/en/interviews/interview10.htm > <http://autechre.net.ua/en/interviews/interview10.htm> > > > > "It's about sleight of hand, where you're revealing things and then > pulling them back. It's that sort of dynamic. But I think that's Hip > Hop: the whole attitude of wanting to do people's heads in a > little bit > but also give them something that they'll really appreciate > comes from > that - Mantronix to early Bomb Squad --- where there were little > tricks > in there, and you knew the producer had stuck them in there > because he > knew it would do people's heads in. And it'd be like: fucking > hell, how > did he do that? Or, that's a totally mad thing to do with your > track. > But it didn't suffer because it wasn't. . ." Rob: "Wasn't a > showcase for > those ideas." Sean: "It was part of the flow and it worked. > That's it > really. That's how we've started describing it now." > > "I think a lot of people, when they're constructing complex > music, have > this idea that for something maddeningly complex to change into > something else that's maddeningly complex you've got to do it > suddenly," > says Sean. "But there are millions of ways you can do it, > because you > can have your entire track changing piece by piece as it > rotates, and > that's what we're into We like things like a puzzle where it's > revealing > itself and changing. And you can almost follow it, because it > works the > same pace as your brain works. The trick is not to get it to > work faster > or slower, but to get it in tune with yourself. And obviously > there are > some people who work faster than that, and they'll hear it and think > this is boring, and there are people who work slower than that, and > they'll think this is too much. For us it's the right pace." > > Clint Anderson > Systems Engineer > "Freedom -- paint me a picture!" -- Burton Cummings > > > On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson > <clinta@gmail.com <mailto:clinta@gmail.com> > <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: > > yeah its interesting i would almost say its a return to their > classic style of the 'eternally unfolding secret tricks' > tracks they > used to do where halfway through you finally sort of more or > less > figured out what they were doing to get whatever > effect/sound, and > then the second half was just that much more badass > > > > > -- > Sham Beam > > > > > > -- > Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> > http://bgo.la/

-- Sham Beam

"which even they said was bullshit mind you" Where did they say this about their generative work? On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote:

quoted 117 lines yes! age of adz has some awesome stuff.

> > yes! age of adz has some awesome stuff. > > I really didn't like it at first but it's slowly been winning me over. :) > > > > On 2/10/2016 3:36 PM, Bruno Gola wrote: > >> >> >> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >> <mailto:sham.beam@gmail.com>> wrote: >> >> that totally resonates. I was listening to The Age of Adz from >> Sufjan Stevens yesterday in the car and there were a few "fucking >> hell, how >> did he do that?" moments. >> >> >> yes! age of adz has some awesome stuff. >> >> >> >> >> >> >> On 1/10/2016 4:30 AM, Clint Anderson wrote: >> >> http://autechre.net.ua/en/interviews/interview10.htm >> <http://autechre.net.ua/en/interviews/interview10.htm> >> >> >> >> "It's about sleight of hand, where you're revealing things and >> then >> pulling them back. It's that sort of dynamic. But I think that's >> Hip >> Hop: the whole attitude of wanting to do people's heads in a >> little bit >> but also give them something that they'll really appreciate >> comes from >> that - Mantronix to early Bomb Squad --- where there were little >> tricks >> in there, and you knew the producer had stuck them in there >> because he >> knew it would do people's heads in. And it'd be like: fucking >> hell, how >> did he do that? Or, that's a totally mad thing to do with your >> track. >> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >> showcase for >> those ideas." Sean: "It was part of the flow and it worked. >> That's it >> really. That's how we've started describing it now." >> >> "I think a lot of people, when they're constructing complex >> music, have >> this idea that for something maddeningly complex to change into >> something else that's maddeningly complex you've got to do it >> suddenly," >> says Sean. "But there are millions of ways you can do it, >> because you >> can have your entire track changing piece by piece as it >> rotates, and >> that's what we're into We like things like a puzzle where it's >> revealing >> itself and changing. And you can almost follow it, because it >> works the >> same pace as your brain works. The trick is not to get it to >> work faster >> or slower, but to get it in tune with yourself. And obviously >> there are >> some people who work faster than that, and they'll hear it and >> think >> this is boring, and there are people who work slower than that, >> and >> they'll think this is too much. For us it's the right pace." >> >> Clint Anderson >> Systems Engineer >> "Freedom -- paint me a picture!" -- Burton Cummings >> >> >> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >> <clinta@gmail.com <mailto:clinta@gmail.com> >> <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: >> >> yeah its interesting i would almost say its a return to their >> classic style of the 'eternally unfolding secret tricks' >> tracks they >> used to do where halfway through you finally sort of more or >> less >> figured out what they were doing to get whatever >> effect/sound, and >> then the second half was just that much more badass >> >> >> >> >> -- >> Sham Beam >> >> >> >> >> >> -- >> Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> >> http://bgo.la/ >> > > > -- > Sham Beam > > >

In an article in The Wire around the release of Confield maybe? I don't remember the exact date. And I may be adding word to theirs BUT the gist of what Sean (I believe it was he) said was that the entire idea of generative music was somewhat BS because it always had a human being at its source setting the parameters and boundaries. Their feeling was/is that there could never be a truly generative music until it was entirely AI created from start to finish. On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com> wrote:

quoted 116 lines "which even they said was bullshit mind you"

> "which even they said was bullshit mind you" > > Where did they say this about their generative work? > > On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote: > > yes! age of adz has some awesome stuff. > > I really didn't like it at first but it's slowly been winning me over. :) > > > > On 2/10/2016 3:36 PM, Bruno Gola wrote: > > > On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com > <mailto:sham.beam@gmail.com>> wrote: > > that totally resonates. I was listening to The Age of Adz from > Sufjan Stevens yesterday in the car and there were a few "fucking > hell, how > did he do that?" moments. > > > yes! age of adz has some awesome stuff. > > > > > > > On 1/10/2016 4:30 AM, Clint Anderson wrote: > > http://autechre.net.ua/en/interviews/interview10.htm > <http://autechre.net.ua/en/interviews/interview10.htm> > > > > "It's about sleight of hand, where you're revealing things and then > pulling them back. It's that sort of dynamic. But I think that's Hip > Hop: the whole attitude of wanting to do people's heads in a > little bit > but also give them something that they'll really appreciate > comes from > that - Mantronix to early Bomb Squad --- where there were little > tricks > in there, and you knew the producer had stuck them in there > because he > knew it would do people's heads in. And it'd be like: fucking > hell, how > did he do that? Or, that's a totally mad thing to do with your > track. > But it didn't suffer because it wasn't. . ." Rob: "Wasn't a > showcase for > those ideas." Sean: "It was part of the flow and it worked. > That's it > really. That's how we've started describing it now." > > "I think a lot of people, when they're constructing complex > music, have > this idea that for something maddeningly complex to change into > something else that's maddeningly complex you've got to do it > suddenly," > says Sean. "But there are millions of ways you can do it, > because you > can have your entire track changing piece by piece as it > rotates, and > that's what we're into We like things like a puzzle where it's > revealing > itself and changing. And you can almost follow it, because it > works the > same pace as your brain works. The trick is not to get it to > work faster > or slower, but to get it in tune with yourself. And obviously > there are > some people who work faster than that, and they'll hear it and think > this is boring, and there are people who work slower than that, and > they'll think this is too much. For us it's the right pace." > > Clint Anderson > Systems Engineer > "Freedom -- paint me a picture!" -- Burton Cummings > > > On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson > <clinta@gmail.com <mailto:clinta@gmail.com> > <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: > > yeah its interesting i would almost say its a return to their > classic style of the 'eternally unfolding secret tricks' > tracks they > used to do where halfway through you finally sort of more or > less > figured out what they were doing to get whatever > effect/sound, and > then the second half was just that much more badass > > > > > -- > Sham Beam > > > > > > -- > Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> > http://bgo.la/ > > > -- > Sham Beam > > >

There's some mention of generative music here: http://autechre.net.ua/en/interviews/interview16.htm On Oct 4, 2016, at 12:40 PM, Charles Terhune <crtdot@icloud.com> wrote:

quoted 121 lines In an article in The Wire around the release of Confield maybe? I don't remember the

> In an article in The Wire around the release of Confield maybe? I don't remember the exact date. And I may be adding word to theirs BUT the gist of what Sean (I believe it was he) said was that the entire idea of generative music was somewhat BS because it always had a human being at its source setting the parameters and boundaries. Their feeling was/is that there could never be a truly generative music until it was entirely AI created from start to finish. > > On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com> wrote: > >> "which even they said was bullshit mind you" >> >> Where did they say this about their generative work? >> >> On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote: >> > yes! age of adz has some awesome stuff. >> >> I really didn't like it at first but it's slowly been winning me over. :) >> >> >> >> On 2/10/2016 3:36 PM, Bruno Gola wrote: >> >> >> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >> <mailto:sham.beam@gmail.com>> wrote: >> >> that totally resonates. I was listening to The Age of Adz from >> Sufjan Stevens yesterday in the car and there were a few "fucking >> hell, how >> did he do that?" moments. >> >> >> yes! age of adz has some awesome stuff. >> >> >> >> >> >> >> On 1/10/2016 4:30 AM, Clint Anderson wrote: >> >> http://autechre.net.ua/en/interviews/interview10.htm >> <http://autechre.net.ua/en/interviews/interview10.htm> >> >> >> >> "It's about sleight of hand, where you're revealing things and then >> pulling them back. It's that sort of dynamic. But I think that's Hip >> Hop: the whole attitude of wanting to do people's heads in a >> little bit >> but also give them something that they'll really appreciate >> comes from >> that - Mantronix to early Bomb Squad --- where there were little >> tricks >> in there, and you knew the producer had stuck them in there >> because he >> knew it would do people's heads in. And it'd be like: fucking >> hell, how >> did he do that? Or, that's a totally mad thing to do with your >> track. >> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >> showcase for >> those ideas." Sean: "It was part of the flow and it worked. >> That's it >> really. That's how we've started describing it now." >> >> "I think a lot of people, when they're constructing complex >> music, have >> this idea that for something maddeningly complex to change into >> something else that's maddeningly complex you've got to do it >> suddenly," >> says Sean. "But there are millions of ways you can do it, >> because you >> can have your entire track changing piece by piece as it >> rotates, and >> that's what we're into We like things like a puzzle where it's >> revealing >> itself and changing. And you can almost follow it, because it >> works the >> same pace as your brain works. The trick is not to get it to >> work faster >> or slower, but to get it in tune with yourself. And obviously >> there are >> some people who work faster than that, and they'll hear it and think >> this is boring, and there are people who work slower than that, and >> they'll think this is too much. For us it's the right pace." >> >> Clint Anderson >> Systems Engineer >> "Freedom -- paint me a picture!" -- Burton Cummings >> >> >> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >> <clinta@gmail.com <mailto:clinta@gmail.com> >> <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: >> >> yeah its interesting i would almost say its a return to their >> classic style of the 'eternally unfolding secret tricks' >> tracks they >> used to do where halfway through you finally sort of more or >> less >> figured out what they were doing to get whatever >> effect/sound, and >> then the second half was just that much more badass >> >> >> >> >> -- >> Sham Beam >> >> >> >> >> >> -- >> Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> >> http://bgo.la/ >> >> >> -- >> Sham Beam >> >> >> >

Aaaaannd a little more here. http://www.autechre.info/press/grooves-10.html Still not finding the exact article I was thinking of. Maybe it's me who thinks generative music is BS? :) On Oct 4, 2016, at 12:41 PM, Charles Terhune <crtdot@icloud.com> wrote:

quoted 129 lines There's some mention of generative music here:

> There's some mention of generative music here: > > http://autechre.net.ua/en/interviews/interview16.htm > > > On Oct 4, 2016, at 12:40 PM, Charles Terhune <crtdot@icloud.com> wrote: > >> In an article in The Wire around the release of Confield maybe? I don't remember the exact date. And I may be adding word to theirs BUT the gist of what Sean (I believe it was he) said was that the entire idea of generative music was somewhat BS because it always had a human being at its source setting the parameters and boundaries. Their feeling was/is that there could never be a truly generative music until it was entirely AI created from start to finish. >> >> On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com> wrote: >> >>> "which even they said was bullshit mind you" >>> >>> Where did they say this about their generative work? >>> >>> On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote: >>> > yes! age of adz has some awesome stuff. >>> >>> I really didn't like it at first but it's slowly been winning me over. :) >>> >>> >>> >>> On 2/10/2016 3:36 PM, Bruno Gola wrote: >>> >>> >>> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >>> <mailto:sham.beam@gmail.com>> wrote: >>> >>> that totally resonates. I was listening to The Age of Adz from >>> Sufjan Stevens yesterday in the car and there were a few "fucking >>> hell, how >>> did he do that?" moments. >>> >>> >>> yes! age of adz has some awesome stuff. >>> >>> >>> >>> >>> >>> >>> On 1/10/2016 4:30 AM, Clint Anderson wrote: >>> >>> http://autechre.net.ua/en/interviews/interview10.htm >>> <http://autechre.net.ua/en/interviews/interview10.htm> >>> >>> >>> >>> "It's about sleight of hand, where you're revealing things and then >>> pulling them back. It's that sort of dynamic. But I think that's Hip >>> Hop: the whole attitude of wanting to do people's heads in a >>> little bit >>> but also give them something that they'll really appreciate >>> comes from >>> that - Mantronix to early Bomb Squad --- where there were little >>> tricks >>> in there, and you knew the producer had stuck them in there >>> because he >>> knew it would do people's heads in. And it'd be like: fucking >>> hell, how >>> did he do that? Or, that's a totally mad thing to do with your >>> track. >>> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >>> showcase for >>> those ideas." Sean: "It was part of the flow and it worked. >>> That's it >>> really. That's how we've started describing it now." >>> >>> "I think a lot of people, when they're constructing complex >>> music, have >>> this idea that for something maddeningly complex to change into >>> something else that's maddeningly complex you've got to do it >>> suddenly," >>> says Sean. "But there are millions of ways you can do it, >>> because you >>> can have your entire track changing piece by piece as it >>> rotates, and >>> that's what we're into We like things like a puzzle where it's >>> revealing >>> itself and changing. And you can almost follow it, because it >>> works the >>> same pace as your brain works. The trick is not to get it to >>> work faster >>> or slower, but to get it in tune with yourself. And obviously >>> there are >>> some people who work faster than that, and they'll hear it and think >>> this is boring, and there are people who work slower than that, and >>> they'll think this is too much. For us it's the right pace." >>> >>> Clint Anderson >>> Systems Engineer >>> "Freedom -- paint me a picture!" -- Burton Cummings >>> >>> >>> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >>> <clinta@gmail.com <mailto:clinta@gmail.com> >>> <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: >>> >>> yeah its interesting i would almost say its a return to their >>> classic style of the 'eternally unfolding secret tricks' >>> tracks they >>> used to do where halfway through you finally sort of more or >>> less >>> figured out what they were doing to get whatever >>> effect/sound, and >>> then the second half was just that much more badass >>> >>> >>> >>> >>> -- >>> Sham Beam >>> >>> >>> >>> >>> >>> -- >>> Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> >>> http://bgo.la/ >>> >>> >>> -- >>> Sham Beam >>> >>> >>> >> >

ah I see what you mean now - they don't think that period of their music was bullshit (how I read it), they just think push against the idea that "generative music" is autonomous because it still relies on parameters designed by humans they might've talked about this in the Resident Advisor interview, at work so I can't look it up to confirm https://www.residentadvisor.net/features/2756 what do you mean when you say you think "generative music is BS"? On Tue, Oct 4, 2016 at 12:43 PM, Charles Terhune <crtdot@icloud.com> wrote:

quoted 155 lines Aaaaannd a little more here.

> Aaaaannd a little more here. > > http://www.autechre.info/press/grooves-10.html > > Still not finding the exact article I was thinking of. Maybe it's me who > thinks generative music is BS? :) > > > On Oct 4, 2016, at 12:41 PM, Charles Terhune <crtdot@icloud.com> wrote: > > There's some mention of generative music here: > > http://autechre.net.ua/en/interviews/interview16.htm > > > On Oct 4, 2016, at 12:40 PM, Charles Terhune <crtdot@icloud.com> wrote: > > In an article in The Wire around the release of Confield maybe? I don't > remember the exact date. And I may be adding word to theirs BUT the gist of > what Sean (I believe it was he) said was that the entire idea of generative > music was somewhat BS because it always had a human being at its source > setting the parameters and boundaries. Their feeling was/is that there > could never be a truly generative music until it was entirely AI created > from start to finish. > > On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com> > wrote: > > "which even they said was bullshit mind you" > > Where did they say this about their generative work? > > On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote: > >> > yes! age of adz has some awesome stuff. >> >> I really didn't like it at first but it's slowly been winning me over. :) >> >> >> >> On 2/10/2016 3:36 PM, Bruno Gola wrote: >> >>> >>> >>> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >>> <mailto:sham.beam@gmail.com>> wrote: >>> >>> that totally resonates. I was listening to The Age of Adz from >>> Sufjan Stevens yesterday in the car and there were a few "fucking >>> hell, how >>> did he do that?" moments. >>> >>> >>> yes! age of adz has some awesome stuff. >>> >>> >>> >>> >>> >>> >>> On 1/10/2016 4:30 AM, Clint Anderson wrote: >>> >>> http://autechre.net.ua/en/interviews/interview10.htm >>> <http://autechre.net.ua/en/interviews/interview10.htm> >>> >>> >>> >>> "It's about sleight of hand, where you're revealing things and >>> then >>> pulling them back. It's that sort of dynamic. But I think that's >>> Hip >>> Hop: the whole attitude of wanting to do people's heads in a >>> little bit >>> but also give them something that they'll really appreciate >>> comes from >>> that - Mantronix to early Bomb Squad --- where there were little >>> tricks >>> in there, and you knew the producer had stuck them in there >>> because he >>> knew it would do people's heads in. And it'd be like: fucking >>> hell, how >>> did he do that? Or, that's a totally mad thing to do with your >>> track. >>> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >>> showcase for >>> those ideas." Sean: "It was part of the flow and it worked. >>> That's it >>> really. That's how we've started describing it now." >>> >>> "I think a lot of people, when they're constructing complex >>> music, have >>> this idea that for something maddeningly complex to change into >>> something else that's maddeningly complex you've got to do it >>> suddenly," >>> says Sean. "But there are millions of ways you can do it, >>> because you >>> can have your entire track changing piece by piece as it >>> rotates, and >>> that's what we're into We like things like a puzzle where it's >>> revealing >>> itself and changing. And you can almost follow it, because it >>> works the >>> same pace as your brain works. The trick is not to get it to >>> work faster >>> or slower, but to get it in tune with yourself. And obviously >>> there are >>> some people who work faster than that, and they'll hear it and >>> think >>> this is boring, and there are people who work slower than that, >>> and >>> they'll think this is too much. For us it's the right pace." >>> >>> Clint Anderson >>> Systems Engineer >>> "Freedom -- paint me a picture!" -- Burton Cummings >>> >>> >>> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >>> <clinta@gmail.com <mailto:clinta@gmail.com> >>> <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: >>> >>> yeah its interesting i would almost say its a return to their >>> classic style of the 'eternally unfolding secret tricks' >>> tracks they >>> used to do where halfway through you finally sort of more or >>> less >>> figured out what they were doing to get whatever >>> effect/sound, and >>> then the second half was just that much more badass >>> >>> >>> >>> >>> -- >>> Sham Beam >>> >>> >>> >>> >>> >>> -- >>> Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> >>> http://bgo.la/ >>> >> >> >> -- >> Sham Beam >> >> >> > > > >

sorry I meant "they just push against the idea that "generative music" is autonomous because it still relies on parameters designed by humans" On Tue, Oct 4, 2016 at 12:49 PM, Chris Taylor <christaylor415@gmail.com> wrote:

quoted 174 lines ah I see what you mean now

> ah I see what you mean now > > - they don't think that period of their music was bullshit (how I read > it), they just think push against the idea that "generative music" is > autonomous because it still relies on parameters designed by humans > > they might've talked about this in the Resident Advisor interview, at work > so I can't look it up to confirm > > https://www.residentadvisor.net/features/2756 > > > what do you mean when you say you think "generative music is BS"? > > On Tue, Oct 4, 2016 at 12:43 PM, Charles Terhune <crtdot@icloud.com> > wrote: > >> Aaaaannd a little more here. >> >> http://www.autechre.info/press/grooves-10.html >> >> Still not finding the exact article I was thinking of. Maybe it's me who >> thinks generative music is BS? :) >> >> >> On Oct 4, 2016, at 12:41 PM, Charles Terhune <crtdot@icloud.com> wrote: >> >> There's some mention of generative music here: >> >> http://autechre.net.ua/en/interviews/interview16.htm >> >> >> On Oct 4, 2016, at 12:40 PM, Charles Terhune <crtdot@icloud.com> wrote: >> >> In an article in The Wire around the release of Confield maybe? I don't >> remember the exact date. And I may be adding word to theirs BUT the gist of >> what Sean (I believe it was he) said was that the entire idea of generative >> music was somewhat BS because it always had a human being at its source >> setting the parameters and boundaries. Their feeling was/is that there >> could never be a truly generative music until it was entirely AI created >> from start to finish. >> >> On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com> >> wrote: >> >> "which even they said was bullshit mind you" >> >> Where did they say this about their generative work? >> >> On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote: >> >>> > yes! age of adz has some awesome stuff. >>> >>> I really didn't like it at first but it's slowly been winning me over. :) >>> >>> >>> >>> On 2/10/2016 3:36 PM, Bruno Gola wrote: >>> >>>> >>>> >>>> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >>>> <mailto:sham.beam@gmail.com>> wrote: >>>> >>>> that totally resonates. I was listening to The Age of Adz from >>>> Sufjan Stevens yesterday in the car and there were a few "fucking >>>> hell, how >>>> did he do that?" moments. >>>> >>>> >>>> yes! age of adz has some awesome stuff. >>>> >>>> >>>> >>>> >>>> >>>> >>>> On 1/10/2016 4:30 AM, Clint Anderson wrote: >>>> >>>> http://autechre.net.ua/en/interviews/interview10.htm >>>> <http://autechre.net.ua/en/interviews/interview10.htm> >>>> >>>> >>>> >>>> "It's about sleight of hand, where you're revealing things and >>>> then >>>> pulling them back. It's that sort of dynamic. But I think >>>> that's Hip >>>> Hop: the whole attitude of wanting to do people's heads in a >>>> little bit >>>> but also give them something that they'll really appreciate >>>> comes from >>>> that - Mantronix to early Bomb Squad --- where there were little >>>> tricks >>>> in there, and you knew the producer had stuck them in there >>>> because he >>>> knew it would do people's heads in. And it'd be like: fucking >>>> hell, how >>>> did he do that? Or, that's a totally mad thing to do with your >>>> track. >>>> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >>>> showcase for >>>> those ideas." Sean: "It was part of the flow and it worked. >>>> That's it >>>> really. That's how we've started describing it now." >>>> >>>> "I think a lot of people, when they're constructing complex >>>> music, have >>>> this idea that for something maddeningly complex to change into >>>> something else that's maddeningly complex you've got to do it >>>> suddenly," >>>> says Sean. "But there are millions of ways you can do it, >>>> because you >>>> can have your entire track changing piece by piece as it >>>> rotates, and >>>> that's what we're into We like things like a puzzle where it's >>>> revealing >>>> itself and changing. And you can almost follow it, because it >>>> works the >>>> same pace as your brain works. The trick is not to get it to >>>> work faster >>>> or slower, but to get it in tune with yourself. And obviously >>>> there are >>>> some people who work faster than that, and they'll hear it and >>>> think >>>> this is boring, and there are people who work slower than that, >>>> and >>>> they'll think this is too much. For us it's the right pace." >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> "Freedom -- paint me a picture!" -- Burton Cummings >>>> >>>> >>>> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >>>> <clinta@gmail.com <mailto:clinta@gmail.com> >>>> <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: >>>> >>>> yeah its interesting i would almost say its a return to >>>> their >>>> classic style of the 'eternally unfolding secret tricks' >>>> tracks they >>>> used to do where halfway through you finally sort of more or >>>> less >>>> figured out what they were doing to get whatever >>>> effect/sound, and >>>> then the second half was just that much more badass >>>> >>>> >>>> >>>> >>>> -- >>>> Sham Beam >>>> >>>> >>>> >>>> >>>> >>>> -- >>>> Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> >>>> http://bgo.la/ >>>> >>> >>> >>> -- >>> Sham Beam >>> >>> >>> >> >> >> >> >

Yeah, that's more like it. It's not truly autonomous. I'll have to re-read that interview. And I was kidding when I said it was BS. And I kind of agree with Ae when the talk about the autonomous aspect. The machines will never truly create their own music until they do it from beginning to end free from human influence or even human music theory. On Oct 4, 2016, at 12:49 PM, Chris Taylor <christaylor415@gmail.com> wrote:

quoted 152 lines ah I see what you mean now

> ah I see what you mean now > > - they don't think that period of their music was bullshit (how I read it), they just think push against the idea that "generative music" is autonomous because it still relies on parameters designed by humans > > they might've talked about this in the Resident Advisor interview, at work so I can't look it up to confirm > > https://www.residentadvisor.net/features/2756 > > > what do you mean when you say you think "generative music is BS"? > > On Tue, Oct 4, 2016 at 12:43 PM, Charles Terhune <crtdot@icloud.com> wrote: > Aaaaannd a little more here. > > http://www.autechre.info/press/grooves-10.html > > Still not finding the exact article I was thinking of. Maybe it's me who thinks generative music is BS? :) > > > On Oct 4, 2016, at 12:41 PM, Charles Terhune <crtdot@icloud.com> wrote: > >> There's some mention of generative music here: >> >> http://autechre.net.ua/en/interviews/interview16.htm >> >> >> On Oct 4, 2016, at 12:40 PM, Charles Terhune <crtdot@icloud.com> wrote: >> >>> In an article in The Wire around the release of Confield maybe? I don't remember the exact date. And I may be adding word to theirs BUT the gist of what Sean (I believe it was he) said was that the entire idea of generative music was somewhat BS because it always had a human being at its source setting the parameters and boundaries. Their feeling was/is that there could never be a truly generative music until it was entirely AI created from start to finish. >>> >>> On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com> wrote: >>> >>>> "which even they said was bullshit mind you" >>>> >>>> Where did they say this about their generative work? >>>> >>>> On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote: >>>> > yes! age of adz has some awesome stuff. >>>> >>>> I really didn't like it at first but it's slowly been winning me over. :) >>>> >>>> >>>> >>>> On 2/10/2016 3:36 PM, Bruno Gola wrote: >>>> >>>> >>>> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >>>> <mailto:sham.beam@gmail.com>> wrote: >>>> >>>> that totally resonates. I was listening to The Age of Adz from >>>> Sufjan Stevens yesterday in the car and there were a few "fucking >>>> hell, how >>>> did he do that?" moments. >>>> >>>> >>>> yes! age of adz has some awesome stuff. >>>> >>>> >>>> >>>> >>>> >>>> >>>> On 1/10/2016 4:30 AM, Clint Anderson wrote: >>>> >>>> http://autechre.net.ua/en/interviews/interview10.htm >>>> <http://autechre.net.ua/en/interviews/interview10.htm> >>>> >>>> >>>> >>>> "It's about sleight of hand, where you're revealing things and then >>>> pulling them back. It's that sort of dynamic. But I think that's Hip >>>> Hop: the whole attitude of wanting to do people's heads in a >>>> little bit >>>> but also give them something that they'll really appreciate >>>> comes from >>>> that - Mantronix to early Bomb Squad --- where there were little >>>> tricks >>>> in there, and you knew the producer had stuck them in there >>>> because he >>>> knew it would do people's heads in. And it'd be like: fucking >>>> hell, how >>>> did he do that? Or, that's a totally mad thing to do with your >>>> track. >>>> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >>>> showcase for >>>> those ideas." Sean: "It was part of the flow and it worked. >>>> That's it >>>> really. That's how we've started describing it now." >>>> >>>> "I think a lot of people, when they're constructing complex >>>> music, have >>>> this idea that for something maddeningly complex to change into >>>> something else that's maddeningly complex you've got to do it >>>> suddenly," >>>> says Sean. "But there are millions of ways you can do it, >>>> because you >>>> can have your entire track changing piece by piece as it >>>> rotates, and >>>> that's what we're into We like things like a puzzle where it's >>>> revealing >>>> itself and changing. And you can almost follow it, because it >>>> works the >>>> same pace as your brain works. The trick is not to get it to >>>> work faster >>>> or slower, but to get it in tune with yourself. And obviously >>>> there are >>>> some people who work faster than that, and they'll hear it and think >>>> this is boring, and there are people who work slower than that, and >>>> they'll think this is too much. For us it's the right pace." >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> "Freedom -- paint me a picture!" -- Burton Cummings >>>> >>>> >>>> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >>>> <clinta@gmail.com <mailto:clinta@gmail.com> >>>> <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: >>>> >>>> yeah its interesting i would almost say its a return to their >>>> classic style of the 'eternally unfolding secret tricks' >>>> tracks they >>>> used to do where halfway through you finally sort of more or >>>> less >>>> figured out what they were doing to get whatever >>>> effect/sound, and >>>> then the second half was just that much more badass >>>> >>>> >>>> >>>> >>>> -- >>>> Sham Beam >>>> >>>> >>>> >>>> >>>> >>>> -- >>>> Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> >>>> http://bgo.la/ >>>> >>>> >>>> -- >>>> Sham Beam >>>> >>>> >>>> >>> >> > >

Gotcha. And yeah that's right on about autonomous music. What's interesting is how listeners perceive "generative" music as being worthless/effortless (something fairly popular to say about Confeld/Draft era Ae) due to the labor being hard to perceive in the music itself. Same thing re: live performance, a live electronic music act is best when they "do" the most stuff. It's a very 1:1 ratio between labor and value. *Expand on this idea until you've reached an undergraduate thesis* On Tuesday, October 4, 2016, Charles Terhune <crtdot@icloud.com> wrote:

quoted 201 lines Yeah, that's more like it. It's not truly autonomous.

> Yeah, that's more like it. It's not truly autonomous. > > I'll have to re-read that interview. > > And I was kidding when I said it was BS. And I kind of agree with Ae when > the talk about the autonomous aspect. The machines will never truly create > their own music until they do it from beginning to end free from human > influence or even human music theory. > > > On Oct 4, 2016, at 12:49 PM, Chris Taylor <christaylor415@gmail.com > <javascript:_e(%7B%7D,'cvml','christaylor415@gmail.com');>> wrote: > > ah I see what you mean now > > - they don't think that period of their music was bullshit (how I read > it), they just think push against the idea that "generative music" is > autonomous because it still relies on parameters designed by humans > > they might've talked about this in the Resident Advisor interview, at work > so I can't look it up to confirm > > https://www.residentadvisor.net/features/2756 > > > what do you mean when you say you think "generative music is BS"? > > On Tue, Oct 4, 2016 at 12:43 PM, Charles Terhune <crtdot@icloud.com > <javascript:_e(%7B%7D,'cvml','crtdot@icloud.com');>> wrote: > >> Aaaaannd a little more here. >> >> http://www.autechre.info/press/grooves-10.html >> >> Still not finding the exact article I was thinking of. Maybe it's me who >> thinks generative music is BS? :) >> >> >> On Oct 4, 2016, at 12:41 PM, Charles Terhune <crtdot@icloud.com >> <javascript:_e(%7B%7D,'cvml','crtdot@icloud.com');>> wrote: >> >> There's some mention of generative music here: >> >> http://autechre.net.ua/en/interviews/interview16.htm >> >> >> On Oct 4, 2016, at 12:40 PM, Charles Terhune <crtdot@icloud.com >> <javascript:_e(%7B%7D,'cvml','crtdot@icloud.com');>> wrote: >> >> In an article in The Wire around the release of Confield maybe? I don't >> remember the exact date. And I may be adding word to theirs BUT the gist of >> what Sean (I believe it was he) said was that the entire idea of generative >> music was somewhat BS because it always had a human being at its source >> setting the parameters and boundaries. Their feeling was/is that there >> could never be a truly generative music until it was entirely AI created >> from start to finish. >> >> On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com >> <javascript:_e(%7B%7D,'cvml','christaylor415@gmail.com');>> wrote: >> >> "which even they said was bullshit mind you" >> >> Where did they say this about their generative work? >> >> On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com >> <javascript:_e(%7B%7D,'cvml','sham.beam@gmail.com');>> wrote: >> >>> > yes! age of adz has some awesome stuff. >>> >>> I really didn't like it at first but it's slowly been winning me over. :) >>> >>> >>> >>> On 2/10/2016 3:36 PM, Bruno Gola wrote: >>> >>>> >>>> >>>> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >>>> <javascript:_e(%7B%7D,'cvml','sham.beam@gmail.com');> >>>> <mailto:sham.beam@gmail.com >>>> <javascript:_e(%7B%7D,'cvml','sham.beam@gmail.com');>>> wrote: >>>> >>>> that totally resonates. I was listening to The Age of Adz from >>>> Sufjan Stevens yesterday in the car and there were a few "fucking >>>> hell, how >>>> did he do that?" moments. >>>> >>>> >>>> yes! age of adz has some awesome stuff. >>>> >>>> >>>> >>>> >>>> >>>> >>>> On 1/10/2016 4:30 AM, Clint Anderson wrote: >>>> >>>> http://autechre.net.ua/en/interviews/interview10.htm >>>> <http://autechre.net.ua/en/interviews/interview10.htm> >>>> >>>> >>>> >>>> "It's about sleight of hand, where you're revealing things and >>>> then >>>> pulling them back. It's that sort of dynamic. But I think >>>> that's Hip >>>> Hop: the whole attitude of wanting to do people's heads in a >>>> little bit >>>> but also give them something that they'll really appreciate >>>> comes from >>>> that - Mantronix to early Bomb Squad --- where there were little >>>> tricks >>>> in there, and you knew the producer had stuck them in there >>>> because he >>>> knew it would do people's heads in. And it'd be like: fucking >>>> hell, how >>>> did he do that? Or, that's a totally mad thing to do with your >>>> track. >>>> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >>>> showcase for >>>> those ideas." Sean: "It was part of the flow and it worked. >>>> That's it >>>> really. That's how we've started describing it now." >>>> >>>> "I think a lot of people, when they're constructing complex >>>> music, have >>>> this idea that for something maddeningly complex to change into >>>> something else that's maddeningly complex you've got to do it >>>> suddenly," >>>> says Sean. "But there are millions of ways you can do it, >>>> because you >>>> can have your entire track changing piece by piece as it >>>> rotates, and >>>> that's what we're into We like things like a puzzle where it's >>>> revealing >>>> itself and changing. And you can almost follow it, because it >>>> works the >>>> same pace as your brain works. The trick is not to get it to >>>> work faster >>>> or slower, but to get it in tune with yourself. And obviously >>>> there are >>>> some people who work faster than that, and they'll hear it and >>>> think >>>> this is boring, and there are people who work slower than that, >>>> and >>>> they'll think this is too much. For us it's the right pace." >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> "Freedom -- paint me a picture!" -- Burton Cummings >>>> >>>> >>>> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >>>> <clinta@gmail.com >>>> <javascript:_e(%7B%7D,'cvml','clinta@gmail.com');> <mailto: >>>> clinta@gmail.com <javascript:_e(%7B%7D,'cvml','clinta@gmail.com');>> >>>> <mailto:clinta@gmail.com >>>> <javascript:_e(%7B%7D,'cvml','clinta@gmail.com');> <mailto: >>>> clinta@gmail.com <javascript:_e(%7B%7D,'cvml','clinta@gmail.com');>>>> >>>> wrote: >>>> >>>> yeah its interesting i would almost say its a return to >>>> their >>>> classic style of the 'eternally unfolding secret tricks' >>>> tracks they >>>> used to do where halfway through you finally sort of more or >>>> less >>>> figured out what they were doing to get whatever >>>> effect/sound, and >>>> then the second half was just that much more badass >>>> >>>> >>>> >>>> >>>> -- >>>> Sham Beam >>>> >>>> >>>> >>>> >>>> >>>> -- >>>> Bruno Gola <brunogola@gmail.com >>>> <javascript:_e(%7B%7D,'cvml','brunogola@gmail.com');> <mailto: >>>> brunogola@gmail.com >>>> <javascript:_e(%7B%7D,'cvml','brunogola@gmail.com');>>> >>>> http://bgo.la/ >>>> >>> >>> >>> -- >>> Sham Beam >>> >>> >>> >> >> >> >> > >

also this lol https://www.theguardian.com/fashion/2016/jun/08/stylewatch-pantone-448c-ugliest-colour-world-opaque-couche-australian-smokers-fashion https://www.amazon.com/Tri-Repetae-Autechre/dp/B000003RHB Clint Anderson Systems Engineer "Freedom -- paint me a picture!" -- Burton Cummings On Tue, Oct 4, 2016 at 12:27 PM, Chris Taylor <christaylor415@gmail.com> wrote:

quoted 207 lines Gotcha. And yeah that's right on about autonomous music.

> Gotcha. And yeah that's right on about autonomous music. > > What's interesting is how listeners perceive "generative" music as being > worthless/effortless (something fairly popular to say about Confeld/Draft > era Ae) due to the labor being hard to perceive in the music itself. > > Same thing re: live performance, a live electronic music act is best when > they "do" the most stuff. > > It's a very 1:1 ratio between labor and value. > > *Expand on this idea until you've reached an undergraduate thesis* > > > On Tuesday, October 4, 2016, Charles Terhune <crtdot@icloud.com> wrote: > >> Yeah, that's more like it. It's not truly autonomous. >> >> I'll have to re-read that interview. >> >> And I was kidding when I said it was BS. And I kind of agree with Ae when >> the talk about the autonomous aspect. The machines will never truly create >> their own music until they do it from beginning to end free from human >> influence or even human music theory. >> >> >> On Oct 4, 2016, at 12:49 PM, Chris Taylor <christaylor415@gmail.com> >> wrote: >> >> ah I see what you mean now >> >> - they don't think that period of their music was bullshit (how I read >> it), they just think push against the idea that "generative music" is >> autonomous because it still relies on parameters designed by humans >> >> they might've talked about this in the Resident Advisor interview, at >> work so I can't look it up to confirm >> >> https://www.residentadvisor.net/features/2756 >> >> >> what do you mean when you say you think "generative music is BS"? >> >> On Tue, Oct 4, 2016 at 12:43 PM, Charles Terhune <crtdot@icloud.com> >> wrote: >> >>> Aaaaannd a little more here. >>> >>> http://www.autechre.info/press/grooves-10.html >>> >>> Still not finding the exact article I was thinking of. Maybe it's me >>> who thinks generative music is BS? :) >>> >>> >>> On Oct 4, 2016, at 12:41 PM, Charles Terhune <crtdot@icloud.com> wrote: >>> >>> There's some mention of generative music here: >>> >>> http://autechre.net.ua/en/interviews/interview16.htm >>> >>> >>> On Oct 4, 2016, at 12:40 PM, Charles Terhune <crtdot@icloud.com> wrote: >>> >>> In an article in The Wire around the release of Confield maybe? I don't >>> remember the exact date. And I may be adding word to theirs BUT the gist of >>> what Sean (I believe it was he) said was that the entire idea of generative >>> music was somewhat BS because it always had a human being at its source >>> setting the parameters and boundaries. Their feeling was/is that there >>> could never be a truly generative music until it was entirely AI created >>> from start to finish. >>> >>> On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com> >>> wrote: >>> >>> "which even they said was bullshit mind you" >>> >>> Where did they say this about their generative work? >>> >>> On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote: >>> >>>> > yes! age of adz has some awesome stuff. >>>> >>>> I really didn't like it at first but it's slowly been winning me over. >>>> :) >>>> >>>> >>>> >>>> On 2/10/2016 3:36 PM, Bruno Gola wrote: >>>> >>>>> >>>>> >>>>> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >>>>> <mailto:sham.beam@gmail.com>> wrote: >>>>> >>>>> that totally resonates. I was listening to The Age of Adz from >>>>> Sufjan Stevens yesterday in the car and there were a few "fucking >>>>> hell, how >>>>> did he do that?" moments. >>>>> >>>>> >>>>> yes! age of adz has some awesome stuff. >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> On 1/10/2016 4:30 AM, Clint Anderson wrote: >>>>> >>>>> http://autechre.net.ua/en/interviews/interview10.htm >>>>> <http://autechre.net.ua/en/interviews/interview10.htm> >>>>> >>>>> >>>>> >>>>> "It's about sleight of hand, where you're revealing things and >>>>> then >>>>> pulling them back. It's that sort of dynamic. But I think >>>>> that's Hip >>>>> Hop: the whole attitude of wanting to do people's heads in a >>>>> little bit >>>>> but also give them something that they'll really appreciate >>>>> comes from >>>>> that - Mantronix to early Bomb Squad --- where there were >>>>> little >>>>> tricks >>>>> in there, and you knew the producer had stuck them in there >>>>> because he >>>>> knew it would do people's heads in. And it'd be like: fucking >>>>> hell, how >>>>> did he do that? Or, that's a totally mad thing to do with your >>>>> track. >>>>> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >>>>> showcase for >>>>> those ideas." Sean: "It was part of the flow and it worked. >>>>> That's it >>>>> really. That's how we've started describing it now." >>>>> >>>>> "I think a lot of people, when they're constructing complex >>>>> music, have >>>>> this idea that for something maddeningly complex to change into >>>>> something else that's maddeningly complex you've got to do it >>>>> suddenly," >>>>> says Sean. "But there are millions of ways you can do it, >>>>> because you >>>>> can have your entire track changing piece by piece as it >>>>> rotates, and >>>>> that's what we're into We like things like a puzzle where it's >>>>> revealing >>>>> itself and changing. And you can almost follow it, because it >>>>> works the >>>>> same pace as your brain works. The trick is not to get it to >>>>> work faster >>>>> or slower, but to get it in tune with yourself. And obviously >>>>> there are >>>>> some people who work faster than that, and they'll hear it and >>>>> think >>>>> this is boring, and there are people who work slower than >>>>> that, and >>>>> they'll think this is too much. For us it's the right pace." >>>>> >>>>> Clint Anderson >>>>> Systems Engineer >>>>> "Freedom -- paint me a picture!" -- Burton Cummings >>>>> >>>>> >>>>> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >>>>> <clinta@gmail.com <mailto:clinta@gmail.com> >>>>> <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: >>>>> >>>>> yeah its interesting i would almost say its a return to >>>>> their >>>>> classic style of the 'eternally unfolding secret tricks' >>>>> tracks they >>>>> used to do where halfway through you finally sort of more >>>>> or >>>>> less >>>>> figured out what they were doing to get whatever >>>>> effect/sound, and >>>>> then the second half was just that much more badass >>>>> >>>>> >>>>> >>>>> >>>>> -- >>>>> Sham Beam >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> -- >>>>> Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> >>>>> http://bgo.la/ >>>>> >>>> >>>> >>>> -- >>>> Sham Beam >>>> >>>> >>>> >>> >>> >>> >>> >> >>

Hey Guys, Funny you refer to this color Clint, I just finished Black - The History of a Color <https://www.amazon.fr/Black-History-Color-Michel-Pastoureau/dp/069113930X> by this french academic, Michel Pastoureau, whose work is dedicated to the social history of colors, symbols and heraldic in the Middle Ages. This color is literally named 'goose poop' in french (caca d'oie). He mentioned in the book that this color was very trendy to wear in France around the last weeks of 1751, and that it was called 'dolphin poop' (caca dauphin), in honor of the dolphin (first born and heir to the king), despite the fact that it was perceived as the ugliest through the Middle Ages. Funny cover art... :) B. 2016-10-04 20:04 GMT+02:00 Clint Anderson <clinta@gmail.com>:

quoted 224 lines also this lol

> also this lol > > https://www.theguardian.com/fashion/2016/jun/08/stylewatch-pantone-448c- > ugliest-colour-world-opaque-couche-australian-smokers-fashion > https://www.amazon.com/Tri-Repetae-Autechre/dp/B000003RHB > > > Clint Anderson > Systems Engineer > "Freedom -- paint me a picture!" -- Burton Cummings > > > On Tue, Oct 4, 2016 at 12:27 PM, Chris Taylor <christaylor415@gmail.com> > wrote: > >> Gotcha. And yeah that's right on about autonomous music. >> >> What's interesting is how listeners perceive "generative" music as being >> worthless/effortless (something fairly popular to say about Confeld/Draft >> era Ae) due to the labor being hard to perceive in the music itself. >> >> Same thing re: live performance, a live electronic music act is best when >> they "do" the most stuff. >> >> It's a very 1:1 ratio between labor and value. >> >> *Expand on this idea until you've reached an undergraduate thesis* >> >> >> On Tuesday, October 4, 2016, Charles Terhune <crtdot@icloud.com> wrote: >> >>> Yeah, that's more like it. It's not truly autonomous. >>> >>> I'll have to re-read that interview. >>> >>> And I was kidding when I said it was BS. And I kind of agree with Ae >>> when the talk about the autonomous aspect. The machines will never truly >>> create their own music until they do it from beginning to end free from >>> human influence or even human music theory. >>> >>> >>> On Oct 4, 2016, at 12:49 PM, Chris Taylor <christaylor415@gmail.com> >>> wrote: >>> >>> ah I see what you mean now >>> >>> - they don't think that period of their music was bullshit (how I read >>> it), they just think push against the idea that "generative music" is >>> autonomous because it still relies on parameters designed by humans >>> >>> they might've talked about this in the Resident Advisor interview, at >>> work so I can't look it up to confirm >>> >>> https://www.residentadvisor.net/features/2756 >>> >>> >>> what do you mean when you say you think "generative music is BS"? >>> >>> On Tue, Oct 4, 2016 at 12:43 PM, Charles Terhune <crtdot@icloud.com> >>> wrote: >>> >>>> Aaaaannd a little more here. >>>> >>>> http://www.autechre.info/press/grooves-10.html >>>> >>>> Still not finding the exact article I was thinking of. Maybe it's me >>>> who thinks generative music is BS? :) >>>> >>>> >>>> On Oct 4, 2016, at 12:41 PM, Charles Terhune <crtdot@icloud.com> wrote: >>>> >>>> There's some mention of generative music here: >>>> >>>> http://autechre.net.ua/en/interviews/interview16.htm >>>> >>>> >>>> On Oct 4, 2016, at 12:40 PM, Charles Terhune <crtdot@icloud.com> wrote: >>>> >>>> In an article in The Wire around the release of Confield maybe? I don't >>>> remember the exact date. And I may be adding word to theirs BUT the gist of >>>> what Sean (I believe it was he) said was that the entire idea of generative >>>> music was somewhat BS because it always had a human being at its source >>>> setting the parameters and boundaries. Their feeling was/is that there >>>> could never be a truly generative music until it was entirely AI created >>>> from start to finish. >>>> >>>> On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com> >>>> wrote: >>>> >>>> "which even they said was bullshit mind you" >>>> >>>> Where did they say this about their generative work? >>>> >>>> On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote: >>>> >>>>> > yes! age of adz has some awesome stuff. >>>>> >>>>> I really didn't like it at first but it's slowly been winning me over. >>>>> :) >>>>> >>>>> >>>>> >>>>> On 2/10/2016 3:36 PM, Bruno Gola wrote: >>>>> >>>>>> >>>>>> >>>>>> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >>>>>> <mailto:sham.beam@gmail.com>> wrote: >>>>>> >>>>>> that totally resonates. I was listening to The Age of Adz from >>>>>> Sufjan Stevens yesterday in the car and there were a few "fucking >>>>>> hell, how >>>>>> did he do that?" moments. >>>>>> >>>>>> >>>>>> yes! age of adz has some awesome stuff. >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> On 1/10/2016 4:30 AM, Clint Anderson wrote: >>>>>> >>>>>> http://autechre.net.ua/en/interviews/interview10.htm >>>>>> <http://autechre.net.ua/en/interviews/interview10.htm> >>>>>> >>>>>> >>>>>> >>>>>> "It's about sleight of hand, where you're revealing things >>>>>> and then >>>>>> pulling them back. It's that sort of dynamic. But I think >>>>>> that's Hip >>>>>> Hop: the whole attitude of wanting to do people's heads in a >>>>>> little bit >>>>>> but also give them something that they'll really appreciate >>>>>> comes from >>>>>> that - Mantronix to early Bomb Squad --- where there were >>>>>> little >>>>>> tricks >>>>>> in there, and you knew the producer had stuck them in there >>>>>> because he >>>>>> knew it would do people's heads in. And it'd be like: fucking >>>>>> hell, how >>>>>> did he do that? Or, that's a totally mad thing to do with your >>>>>> track. >>>>>> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >>>>>> showcase for >>>>>> those ideas." Sean: "It was part of the flow and it worked. >>>>>> That's it >>>>>> really. That's how we've started describing it now." >>>>>> >>>>>> "I think a lot of people, when they're constructing complex >>>>>> music, have >>>>>> this idea that for something maddeningly complex to change >>>>>> into >>>>>> something else that's maddeningly complex you've got to do it >>>>>> suddenly," >>>>>> says Sean. "But there are millions of ways you can do it, >>>>>> because you >>>>>> can have your entire track changing piece by piece as it >>>>>> rotates, and >>>>>> that's what we're into We like things like a puzzle where it's >>>>>> revealing >>>>>> itself and changing. And you can almost follow it, because it >>>>>> works the >>>>>> same pace as your brain works. The trick is not to get it to >>>>>> work faster >>>>>> or slower, but to get it in tune with yourself. And obviously >>>>>> there are >>>>>> some people who work faster than that, and they'll hear it >>>>>> and think >>>>>> this is boring, and there are people who work slower than >>>>>> that, and >>>>>> they'll think this is too much. For us it's the right pace." >>>>>> >>>>>> Clint Anderson >>>>>> Systems Engineer >>>>>> "Freedom -- paint me a picture!" -- Burton Cummings >>>>>> >>>>>> >>>>>> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >>>>>> <clinta@gmail.com <mailto:clinta@gmail.com> >>>>>> <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: >>>>>> >>>>>> yeah its interesting i would almost say its a return to >>>>>> their >>>>>> classic style of the 'eternally unfolding secret tricks' >>>>>> tracks they >>>>>> used to do where halfway through you finally sort of more >>>>>> or >>>>>> less >>>>>> figured out what they were doing to get whatever >>>>>> effect/sound, and >>>>>> then the second half was just that much more badass >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> Sham Beam >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> >>>>>> http://bgo.la/ >>>>>> >>>>> >>>>> >>>>> -- >>>>> Sham Beam >>>>> >>>>> >>>>> >>>> >>>> >>>> >>>> >>> >>> >

funny that hundreds of years later everyone still says its ugly and yet its still used all over heh humans! Clint Anderson Systems Engineer "Freedom -- paint me a picture!" -- Burton Cummings On Tue, Oct 4, 2016 at 1:26 PM, Baptiste Bacot <baptiste.bacot@gmail.com> wrote:

quoted 248 lines Hey Guys,

> Hey Guys, > > Funny you refer to this color Clint, I just finished Black - The History > of a Color > <https://www.amazon.fr/Black-History-Color-Michel-Pastoureau/dp/069113930X> by > this french academic, Michel Pastoureau, whose work is dedicated to the > social history of colors, symbols and heraldic in the Middle Ages. This > color is literally named 'goose poop' in french (caca d'oie). He mentioned > in the book that this color was very trendy to wear in France around the > last weeks of 1751, and that it was called 'dolphin poop' (caca dauphin), > in honor of the dolphin (first born and heir to the king), despite the fact > that it was perceived as the ugliest through the Middle Ages. Funny cover > art... :) > > B. > > 2016-10-04 20:04 GMT+02:00 Clint Anderson <clinta@gmail.com>: > >> also this lol >> >> https://www.theguardian.com/fashion/2016/jun/08/stylewatch- >> pantone-448c-ugliest-colour-world-opaque-couche- >> australian-smokers-fashion >> https://www.amazon.com/Tri-Repetae-Autechre/dp/B000003RHB >> >> >> Clint Anderson >> Systems Engineer >> "Freedom -- paint me a picture!" -- Burton Cummings >> >> >> On Tue, Oct 4, 2016 at 12:27 PM, Chris Taylor <christaylor415@gmail.com> >> wrote: >> >>> Gotcha. And yeah that's right on about autonomous music. >>> >>> What's interesting is how listeners perceive "generative" music as being >>> worthless/effortless (something fairly popular to say about Confeld/Draft >>> era Ae) due to the labor being hard to perceive in the music itself. >>> >>> Same thing re: live performance, a live electronic music act is best >>> when they "do" the most stuff. >>> >>> It's a very 1:1 ratio between labor and value. >>> >>> *Expand on this idea until you've reached an undergraduate thesis* >>> >>> >>> On Tuesday, October 4, 2016, Charles Terhune <crtdot@icloud.com> wrote: >>> >>>> Yeah, that's more like it. It's not truly autonomous. >>>> >>>> I'll have to re-read that interview. >>>> >>>> And I was kidding when I said it was BS. And I kind of agree with Ae >>>> when the talk about the autonomous aspect. The machines will never truly >>>> create their own music until they do it from beginning to end free from >>>> human influence or even human music theory. >>>> >>>> >>>> On Oct 4, 2016, at 12:49 PM, Chris Taylor <christaylor415@gmail.com> >>>> wrote: >>>> >>>> ah I see what you mean now >>>> >>>> - they don't think that period of their music was bullshit (how I read >>>> it), they just think push against the idea that "generative music" is >>>> autonomous because it still relies on parameters designed by humans >>>> >>>> they might've talked about this in the Resident Advisor interview, at >>>> work so I can't look it up to confirm >>>> >>>> https://www.residentadvisor.net/features/2756 >>>> >>>> >>>> what do you mean when you say you think "generative music is BS"? >>>> >>>> On Tue, Oct 4, 2016 at 12:43 PM, Charles Terhune <crtdot@icloud.com> >>>> wrote: >>>> >>>>> Aaaaannd a little more here. >>>>> >>>>> http://www.autechre.info/press/grooves-10.html >>>>> >>>>> Still not finding the exact article I was thinking of. Maybe it's me >>>>> who thinks generative music is BS? :) >>>>> >>>>> >>>>> On Oct 4, 2016, at 12:41 PM, Charles Terhune <crtdot@icloud.com> >>>>> wrote: >>>>> >>>>> There's some mention of generative music here: >>>>> >>>>> http://autechre.net.ua/en/interviews/interview16.htm >>>>> >>>>> >>>>> On Oct 4, 2016, at 12:40 PM, Charles Terhune <crtdot@icloud.com> >>>>> wrote: >>>>> >>>>> In an article in The Wire around the release of Confield maybe? I >>>>> don't remember the exact date. And I may be adding word to theirs BUT the >>>>> gist of what Sean (I believe it was he) said was that the entire idea of >>>>> generative music was somewhat BS because it always had a human being at its >>>>> source setting the parameters and boundaries. Their feeling was/is that >>>>> there could never be a truly generative music until it was entirely AI >>>>> created from start to finish. >>>>> >>>>> On Oct 3, 2016, at 10:21 PM, Chris Taylor <christaylor415@gmail.com> >>>>> wrote: >>>>> >>>>> "which even they said was bullshit mind you" >>>>> >>>>> Where did they say this about their generative work? >>>>> >>>>> On Sun, Oct 2, 2016 at 5:55 AM, Sham Beam <sham.beam@gmail.com> wrote: >>>>> >>>>>> > yes! age of adz has some awesome stuff. >>>>>> >>>>>> I really didn't like it at first but it's slowly been winning me >>>>>> over. :) >>>>>> >>>>>> >>>>>> >>>>>> On 2/10/2016 3:36 PM, Bruno Gola wrote: >>>>>> >>>>>>> >>>>>>> >>>>>>> On Sun, Oct 2, 2016 at 1:32 AM, Sham Beam <sham.beam@gmail.com >>>>>>> <mailto:sham.beam@gmail.com>> wrote: >>>>>>> >>>>>>> that totally resonates. I was listening to The Age of Adz from >>>>>>> Sufjan Stevens yesterday in the car and there were a few "fucking >>>>>>> hell, how >>>>>>> did he do that?" moments. >>>>>>> >>>>>>> >>>>>>> yes! age of adz has some awesome stuff. >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> On 1/10/2016 4:30 AM, Clint Anderson wrote: >>>>>>> >>>>>>> http://autechre.net.ua/en/interviews/interview10.htm >>>>>>> <http://autechre.net.ua/en/interviews/interview10.htm> >>>>>>> >>>>>>> >>>>>>> >>>>>>> "It's about sleight of hand, where you're revealing things >>>>>>> and then >>>>>>> pulling them back. It's that sort of dynamic. But I think >>>>>>> that's Hip >>>>>>> Hop: the whole attitude of wanting to do people's heads in a >>>>>>> little bit >>>>>>> but also give them something that they'll really appreciate >>>>>>> comes from >>>>>>> that - Mantronix to early Bomb Squad --- where there were >>>>>>> little >>>>>>> tricks >>>>>>> in there, and you knew the producer had stuck them in there >>>>>>> because he >>>>>>> knew it would do people's heads in. And it'd be like: fucking >>>>>>> hell, how >>>>>>> did he do that? Or, that's a totally mad thing to do with >>>>>>> your >>>>>>> track. >>>>>>> But it didn't suffer because it wasn't. . ." Rob: "Wasn't a >>>>>>> showcase for >>>>>>> those ideas." Sean: "It was part of the flow and it worked. >>>>>>> That's it >>>>>>> really. That's how we've started describing it now." >>>>>>> >>>>>>> "I think a lot of people, when they're constructing complex >>>>>>> music, have >>>>>>> this idea that for something maddeningly complex to change >>>>>>> into >>>>>>> something else that's maddeningly complex you've got to do it >>>>>>> suddenly," >>>>>>> says Sean. "But there are millions of ways you can do it, >>>>>>> because you >>>>>>> can have your entire track changing piece by piece as it >>>>>>> rotates, and >>>>>>> that's what we're into We like things like a puzzle where >>>>>>> it's >>>>>>> revealing >>>>>>> itself and changing. And you can almost follow it, because it >>>>>>> works the >>>>>>> same pace as your brain works. The trick is not to get it to >>>>>>> work faster >>>>>>> or slower, but to get it in tune with yourself. And obviously >>>>>>> there are >>>>>>> some people who work faster than that, and they'll hear it >>>>>>> and think >>>>>>> this is boring, and there are people who work slower than >>>>>>> that, and >>>>>>> they'll think this is too much. For us it's the right pace." >>>>>>> >>>>>>> Clint Anderson >>>>>>> Systems Engineer >>>>>>> "Freedom -- paint me a picture!" -- Burton Cummings >>>>>>> >>>>>>> >>>>>>> On Thu, Sep 22, 2016 at 7:03 PM, Clint Anderson >>>>>>> <clinta@gmail.com <mailto:clinta@gmail.com> >>>>>>> <mailto:clinta@gmail.com <mailto:clinta@gmail.com>>> wrote: >>>>>>> >>>>>>> yeah its interesting i would almost say its a return to >>>>>>> their >>>>>>> classic style of the 'eternally unfolding secret tricks' >>>>>>> tracks they >>>>>>> used to do where halfway through you finally sort of >>>>>>> more or >>>>>>> less >>>>>>> figured out what they were doing to get whatever >>>>>>> effect/sound, and >>>>>>> then the second half was just that much more badass >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> -- >>>>>>> Sham Beam >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> -- >>>>>>> Bruno Gola <brunogola@gmail.com <mailto:brunogola@gmail.com>> >>>>>>> http://bgo.la/ >>>>>>> >>>>>> >>>>>> >>>>>> -- >>>>>> Sham Beam >>>>>> >>>>>> >>>>>> >>>>> >>>>> >>>>> >>>>> >>>> >>>> >> >

dear autechre, if you ever felt like releasing a few of the tracks on elseq on vinyl, i would probably buy them for any stupid amount of money. thanks. Clint Anderson Systems Engineer "Freedom -- paint me a picture!" -- Burton Cummings