https://youtu.be/_y58zj0ODyI?si=tkvQ2OA3K2CoJ95-

Just listened to cichlisuite for the first time in years and forgot how hard tilapia is

For ae tracks that just make me wanna bang my head it's a tie between tilapia, 11is, and six of eight (midst), what's your favorite rhythmic, hard hitting ae track?

EDIT: wow there's so many tracks in the comments I've either glossed over or haven't given a chance to, going to dig through a lot of what y'all have mentioned

Would love to see the Gantz Graf video upscaled with AI, anyone knows how to do this ?

Have some sealed vinyl of SIGN, PLUS, confield, and Chiastic re-issues that I haven't been able to sell on eBay, the download codes have been used. Figured if anyone is looking for any of those sold at a discounted price for and don't want the codes this could be a good deal.

listening to it for the first time in a while from start to finish and man… and it brings me back to when I discovered them 11 years ago, kinda makes me tear up. it used to be a tough listen for me, but everything clicks now. such sophisticated rhythmic and melodic stuff going on here.

this thing feels like a $1 billion budget sci-fi epic. bladelores is obviously one of the greatest electronic tracks of all time, but every single track here is impressive. the way this thing flows and shifts, it feels like a living breathing entity, like a planet. has to be their magnum opus. such a massive, awe-inspiring album. it’s not IDM, it’s extraterrestrial jazz-hop.

Is anyone else revitalised from the power of music by this? I have been playing this back to back since it was released. Currently lolling at the turbo techno-country section at around 1 hour

I'm about to dive into the new sets for the first time. There is a lot of material to digest so before I skip through everything I wanted to ask if there is any material in the sets thats quite dancable / club based? I remember there being some bits in the NTS and elseq series that were this vibe so just wondering which sets you guy suggest?

Here are the time stamps if you want to get chopping in Audacity. You'll obviously need to find the transients yourself, I'm not documenting milliseconds. You can obviously adapt it however you like, this is just what I've listened to so far and enjoyed. I was going to go by the 'song' #s as given on the wiki, but they decided overnight to add an extra 'song' to the Venice section which has thrown my numbering off.

Set 1 -

Melbourne 00.00 - 56.01  -

Venice 10.41 - 25.54  -

Total run time: 1.11.15

Set 2 -

Venice 25.54 - 48.20  -

Dublin 4.42 - 21.50 - 

Barcelona 5.01 - 23.32

Total run time: 58.05

Set 3

Rennes 22.32 - 35.33 -

Barcelona 32.18 - 40.42 - 

Rennes 43.33 - 49.22 - 

Barcelona 45.49 - 56.44 - 

Madrid - 58.36 - 68.04 - 

Lisbon 6.49 - 12.02 - 

Lyon 9.18 - 13.43 - 

Lisbon 16.02 - 20.17 - 

Lyon 16.54 - 23.33

Total run time: 1.08.18

Set 4

Lyon 23.33 - end

Total run time 1.04.08

Yknow when you just turn the lights out, put their music on, close your eyes and the music just conjures up the most crazy visuals in your head along with the sounds?

My favourite was on Gonk Steady One, I pictured some robot dropping a hammer and it's toolbox off of a giant futuristic building and all of the metallic percussion was the sounds of the metal tools hitting pipes and windows on the way down, until it got darker and darker and weirder... it was like a drug, I can't fully put it into words but hey there we go lol

Ive been pretty excited to listen to the new sets, but their price is too expensive, specially in my country. Is there a predction of when will, or if it will be on streaming platforms like spotify and YouTube music? Thank You for the help!

Does anyone know if there is a Tokyo_180823 recording out there?

Not that I don’t like the idea of sitting through 40+ hours of material, but it would be amazing if someone identified the different sections and laid them out for us so we can enjoy the different sections without having to repeat them.

This song always makes me cry. One of the most emotional songs I've ever heard in my life. Anyone else?

https://docs.google.com/document/d/1iCNQ4IVLuwxFjheYMXI0NM_3Gi68kmYXMki7JDT3hpQ/edit?usp=sharing

You guys know this is MY opinion, right?

Holy cow, an actual sentimental melody. Reminds me very much of their late 90s stuff.

If my intuition is correct these new sets won't be on Spotify or anything for quite a while yet. But I'm sick of not being able to repeat my favorite parts or skip past sections that don't do much for me (personally). I haven't paid for music files since 2009 but I think it's going to happen again in 2024

I've recorded one of my favorite bits on a phone and I think it suits it really well. It's so relentless and menacing with this tone. The room acoustics really gelled it nicely together I think. Love what it does to the low mids. I can't stop listen to it on repeat. Listen really loud on headphones for maximum effect (but keep it safe, pls!):

https://whyp.it/tracks/223442/autechre-london-b-loud?token=E8DUt

It was really, really loud IRL.

I notice something while listening to their live work. It's probably not exclusive to the new sets, but it feels more prominent here than it has been in the past.

Initially, there's so much information hitting you all at once that it all blurs together as one thing, and you can't really remember what different sections sounded like relative to each other.

Then as you listen further, you learn the different sections and become familiar with the material's breakdown. If different sections are locations on the map that is the full of AE_2022-, you start to chart the map, learning which sections are where and what differentiates the sets from each other.

But then, interestingly, you listen further, and you find more and more through-lines between the sections. Little rhythms expressed in one section as percussion and as bass plucks in another. Shadows of the next section, brewing and starting to coalesce earlier than you'd noticed before. Textures reinterpreted in different contexts. It's not a map, it's an interconnected network.

So in a sense, it starts a blur, disambiguates, and then re-blurs. Am I the only one? Anyone else experience that when you just listen back to the live sets in your head, using your imagination, the different sections will kind of... play at once?

When I mentally recall a song from, say, Cutouts (the new smile album), my brain plays it back pretty much exactly as it actually is, at least kind of. I certainly don't simultaneously mix sounds from different songs on the album. With this new stuff, my brain just plays back a continuous stream of some soupy blend of different sections.

I wonder if this is why the artwork features so much blurriness / gradient.

Firstly, some context. I have been a fan for 30 years. I have always looked forward to their studio albums and that magic moment when you put the stylus onto Autechre vinyl and wait to be taken somewhere you didn’t expect. I have listened to all of their live work, every single one, and more than once. I am disgruntled about the decision regards studio releases and I will admit, I presently don’t buy the current narrative from WARP and Autechre – which I see as something of a cop-out. Here are some of the reasons why:

Is it artistic progress? Some are claiming that it is, but you only have to go through the previous live work (if you don’t have the time to listen to it all try AE_ONESIX_EXCLUSIVES and Elseq 6-10) to see that yes, the music is different (obviously), but the length of the pieces and the overall style is the same. Yes, there are amazing sections in AE_2022 (everyone quite rightly mentions Lyon), but there are also amazing sections in all of the earlier live work. My point is that I don’t see any ‘artistic’ progression – and certainly none that would hail the latest live releases as revolutionary or even fundamentally different. So, I have reacted to AE_2022 in the same way as the others, which is it I mostly like it, it is interesting, with pockets of inspiration,  but has it given me the same joy as listening to their studio work? – no it hasn’t (I recall listening to M4 Lema and say Dekdre Scap B for the first time, they were tingles + spine moments - same with feed1, all end and so many more). Although the marketing is that AE_2022 is an album, the reality is that they haven’t done anything to make it one – expect remove the word ‘LIVE’.

Why not do it ‘live’ in a studio? Why rely on concerts for the source material? To my mind the former would be a win-win – the band achieve the spontaneity and the fans get a ‘produced’ album with good sound quality. Of course, there is a financial difference – they would have to pay for production rather than have a source that also generates revenue. It clearly makes good business sense to use concerts as the source, but I think that leads to a poorer quality product, given the way they currently record them (and I use the term ‘product’ because that is the phrase Booth has used). Maybe that is something they will develop.

Why not release on physical format? If AE_2022 is the pinnacle, the new music and album form, why not give the fans who prefer physical media (e.g. me) the format they want? Booth himself has said that he recognises that fans have differing format requirements and that he’d like their music to be available in all formats. Vinyl would clearly be a problem, but you could get each set of AE_2022 on a CD, so why not do it? This would also move it away from the previous live releases by demonstrating that it is indeed an album, something special that is worth the extra effort. Again, there would obviously be a cost to that, but I can’t believe that Autechre and WARP would end up out of pocket. A commercial incentive. 20 hours of music for £50 (24bit-wav price) is great value from a quantity perspective. But I, and I’m sure many more, would pay a lot more for a physical release. Maybe it’s already in the pipeline, but if not, I’d ask WARP to consider it, please!

Since they are not producing studio albums anymore (or at least for the foreseeable future), they surely have time to put the work into AE_2022 and make it special; make it something that separates it from the previous live releases? My own view is that AE_2022 is half-baked, there clearly is an idea there, but they haven’t put the time and effort in to fully realise it. Autechre have always ploughed their own furrow, something for which I have greatly admired them. But when they have gone off in new directions in the past they have put the effort in to back their ideas up (the meticulous composing in Confield and Draft for example – it’s what makes them works of art). I am okay with the spontaneous creation idea, I listen to lots of jazz and especially free jazz, so I don’t have any fundamental opposition to what they are doing. I just don’t ‘believe’ them because I don’t see the passion and pride. Just throwing the files at AE Store and dropping the word ‘live’ and adding a ‘-‘ isn’t going to convince me.  What we have in reality is no different to what we had before.