de-VICE #2
can oral / khan oral: captain comatose, el turco loco, bizz o.d., 4e, gizz tv, etc
little nobody
takeshi kitano: takeshis' review
luke vibert
from dada to disco - a (brief) history of electronic music
if? records
yoko umehara - art
mamoru oshii - ghost in the shell/innocence
reinhard voigt - kompakt
joey beltram, live @ womb, tokyo
album of the year (2005): jamie lidell "multiply", warp
si begg - noodles
fumiya tanaka
andrew weatherall
goldie - metalheadz
coldcut & ninja tune
nightmares on wax
gene farris - 2006
captain funk / oe
tigger vs. andrez
tobita-san... the yoda of j-english
zen paradox
george w. bush
top 10 aussie electronic artists (from the past decade) to investigate...
keitai kouture
jeff mills
juan atkins
king britt
cabaret voltaire
orde miekle - slam
speedy j - 1998
damon wild
hmc, cinnaman, dirty house & juice records
martin damm: biochip c, subsonic 808 & steel
the advent
milkcrate man sightings
de-vice's gratuitous top 10 lists for no reason whatsoever
some interestingly diverting links
makeshift archive: neural imp
'zeitgeist': a whole world full of (scary) other uses

Experimental electronica and easy-listening fluff are like chalk and cheese - and the new album by English outfit Autechre, aka Rob Brown and Sean Booth, is likely to extend the abyss.

By Andrez Bergen - May 2005
The Daily Yomiuri, Japan

Elevator muzak "Untitled" most definitely is not. Expanding upon Autechre's blueprint in "Chiastic Slide" almost a decade ago, the new album smacks you round from its opening dischordant bars. Fluent timelines and grooves are not the duo's intent here, and the uninitiated may be excused for wondering why it's all so bleak; why there's a ringing sense of anger and anarchy throughout.

Certainly you could read connections with early experimenters in abstract electronic music like John Cage and Karlheinz Stockhausen, but that's beside the point. Autechre take it all leagues further, depth-charging into their compositions drillcore synths and rabid robotic jazz elements that underscore dadaesque staccato snares as dazzling as they can be bewildering.

While second track "Ipacial Section" may batter you somewhat senseless, later number "Augmatic Disport" dissembles drum & bass and throws in a disturbingly infectious, mind-bending, scatterlogical groove for good measure - then imagine it all played in reverse.

Yet despite the apparent ire, clashing rhythm structures, and fatalistic bent behind Autechre's music, the truth is that one half of the outfit - Rob Brown - is quite fond of fun in the music he personally tunes into. "There's a lot of humor in the stuff I listen to, and that's a positive thing," he stressed over the phone recently in the midst of Autechre's North American tour. "And I absolutely loved the early Wagon Christ stuff by Luke Vibert - it explored completely new terrain."

It's also clear that Brown sees his own new album in a warmer light. In an interview that appeared on the BBC's Collective website, Brown described "Untilted" as "warmer, tougher, and more sensitive all in one."

Brown evinced a refreshing lack of conceit, let alone esoteric self-indulgence, when I reminded him. "Oh yeah," he chuckled. "That was totally what I thought at the time! I haven't had a chance to think about it much since!"

Autechre have been crafting albums together since the heady post-natal days of experimental British electronica in the early '90s, and emerged from a bevy of like-minded purveyors including Vibert, Mike Paradinas, Cylob, Si Begg, Aphex Twin, Squarepusher, LFO and the Coldcut/Hexstatic posse, on labels like Warp, Ninja Tune, Blue Angel, Mo'Wax and Rephlex.

While a more minimal, organic approach typified the duo's earlier albums "Incunabula" (1993) and "Amber" the following year, by "Tri Repetae" (1995) Autechre had begun to embrace a more claustrophobic and cataclysmic take on electronica, while "Chiastic Slide" (1997) was downright menacing - full of epileptic sound asides and intense tectonic disruptions in the lower frequencies.

"Untilted" - an album some near-sighted journalists have mistakenly called "Untitled" ("You'd be surprised how many people read it that way," Brown quipped) - was made relatively quickly compared with its predecessors, and for good reason. "I started a family last year," Brown said, "so Sean and I had to compress our time together. We spent less time in the studio, but actually that made us capitalize on the time we did have together. And I think that added focus comes across as a strength of the album."

Autechre's music is a serious issue to some, and the Internet is loaded with listeners' analyses of Autechre records. "I guess if you read chat-sites online, you'll find that some kids do think they have it all worked out," Brown mused. "But I think most things, including our music, should be kept open to further discussion - different people have different impressions or reactions to different things, you know?"

As it happens, Autechre's latest tour is the duo's first fully-fledged effort in over two years, and after more than 20 dates in North America their next victim is Japan. It's their third visit to this country, and a whistle-stop they're apparently rapt to be able to make. So when Brown declared that "We absolutely love Japan," it was likely he wasn't kidding around. "It's always a high point. The place seems so culturally diverse, but there's really a lot of similar ground between us and the people there!"



twee unrelated happy snap by andrez