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[[Category:Album]]
[[Category:Album]]{{Infobox
[[File:Draft 7.30.jpg|alt=cover art|thumb|WARP111]]
|title=Draft 7.30
'''''Draft 7.30''''' is the seventh studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on April 7th, 2003, then later repressed on vinyl in 2023, alongside ''[[Confield]]''.
|artist=[[Autechre]]
|cover=Draft 7.30.jpg
|date=7 April 2003
|label=Warp Records (WARP111)
|previous=[[Gantz Graf]]
|previous year=2002
|next=[[Untilted]]
|next year=2005
}}'''''Draft 7.30''''' is the seventh studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on April 7th, 2003<ref>https://bleep.com/release/23111-autechre-draft-730</ref><ref>https://web.archive.org/web/20040307112934/http://www.warprecords.com/artists/news.php?offset=0&ti_id=606&filter=ae</ref>, then later repressed on vinyl in 2023, alongside ''[[Confield]]''.<ref>https://twitter.com/WarpRecords/status/1622631137762746368</ref><ref>https://twitter.com/WarpRecords/status/1629134504320200704</ref>


Sean noted that Draft was "really straight, using straight-up normal sequencers and samplers."[https://aepages.org/wiki/Sound_On_Sound_Interview,_April_2004#:~:text=Draft%20is%20really%20straight%2C%20using%20straight%2Dup%20normal%20sequencers%20and%20samplers.%20It%27s%20written%20note%20by%20note%2C%20where%20we%20know%20exactly%20what%20we%20put%20on.%20Only%20%27Reniform%20Puls%27%20has%20some%20generative%20stuff%2C%20done%20by%20Max%2C%20which%20also%20controls%20a%20vocal%20filter%20in%20that%20track.] With the exception of some generative elements on "RENIFORM PULS", ''Draft 7.30'' was otherwise written "note by note".  
== History ==
''Draft 7.30'' was made over the span of fifteen months, leading up to October 2002.<ref>{{Cite interview|page=Autechre's Interview to Grooves Magazine, February 2003|quote='''AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ?''' SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff.}}</ref>
 
Sean noted that ''Draft 7.30'' was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", ''Draft 7.30'' was otherwise fully planned and composed.<ref name=":0">{{Cite interview|page=Sound On Sound Interview, April 2004|quote=It's like pop music compared to some of the stuff we had considered putting out! And even when the beats sound like they are moving around in time and space, they're not random. They're based on sets of rules and we have a good handle on them. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track}}</ref><ref>{{Cite interview|page=Autechre's Interview to Grooves Magazine, February 2003}}<!-- too long of a quote --></ref> Alongside that, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"<ref>[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]{{Cite AAA doc|261}}</ref>, as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".<ref>{{Cite AAA doc|189}}</ref> <!-- dk where to fit this in, but Grooves Magazine interview notes musical influences listed by Sean of hip hop/, funk and dub for this record -->
 
Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the [[WATMM Ask Autechre Anything, November 2013|WATMM Ask Autechre Anything]], Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." <ref>{{Cite AAA doc|1091}}</ref> The title itself was confirmed to literally mean the seventh draft, 30th revision, with Sean noting that the working title "just stuck".<ref name=":3">https://autechre.neocities.org/en/articles/article14</ref>
<!-- seee Grooves Magazine/Alex Reynolds 03 interview mentioning promotion on casette, might be added -->


== Tracks ==
== Tracks ==


=== Xylin Room ===
=== Xylin Room===


* One of the precussive samples is of a wooden garden table being knocked on. [https://aepages.org/wiki/Sean_AMA_Transcript_220605#:~:text=Xylin%20Room%20was%20like%2C%20originally%20it%20was%20like%20samples%20of%20a%20wooden%20outdoor%20table%2C%20like%20a%20garden%20table%20being%20knocked%20by%20knuckles%2C]
* One of the percussive samples is of a wooden garden table being knocked on. <ref name=":1">{{Cite interview|page=Sean Twitch AMA, June 2022|quote='''Hope you don't mind me asking how did you approached the timbre of the percussive sounds in Xylin Room and Surripere from a technical standpoint? They're incredibly spacious and crunchy.''' They're both really different. They're just samples. I don't know what to say. Xylin Room was like, originally it was like samples of a wooden outdoor table, like a garden table being knocked by knuckles, and then it was taken into the sampler in sequenced really heavily. And then Surripere, I can, the first part of it was some kind of fake analog. I think it was the Nord actually, yeah. And then, Nord Lead, and then the second part of it, the crunchy stuff. I can't actually remember, but it was done using that Native Battery, so, you know, the sampler that Native did. It was done using that because I remember the loop modulation. You could do loop modulation in it. You could tie it to the envelope, so there's some of that in there, but that's all I remember. I don't remember what the actual sources were. They were probably drum machine sounds originally, but they probably just grittied up. I can't remember now.}}</ref>
* The original title was "Benk Chin".
* The original title was "Benk Chin".


=== IV VV IV VV VIII ===
=== IV VV IV VV VIII ===


* The original title was "nwnw8", which likely indicate that the final title is a heavily stylised version of that, substituing N for IV and W for VV.
* The original title was "nwnw8", with the final title being a heavily stylised version of that title - substituting N for IV and W for VV.
* "IV VV IV VV VIII" was initially released as a single for ''Draft 7.30'', both for radio play<ref>https://www.discogs.com/release/545749-Autechre-IV-VV-IV-VV-VIII</ref> and download.<ref>https://web.archive.org/web/20030420192456/http://www.warprecords.com/draft7_30/</ref><!-- the second link requires a flash player like Ruffle, but it shows a minisite which has a link to an IV VV mp3 download -->


=== 6IE.CR ===
=== 6IE.CR ===


* "6IE.CR" consists of a CR-8000 being fed through a RSD10 with the Nord(?) controlling the pitch of it[https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D1161] with some gating and layering for the second half that Sean couldnt properly remember.  
* "6IE.CR" consists of a CR-8000 being fed through a RSD10 with the Nord controlling the pitch of it with some gating and layering for the second half that Sean couldnt properly remember.<ref>{{Cite AAA doc|1161}}</ref>
* The original title was "606.ie" in the CDDB, which Sean also confirmed in interview that it was initially called that because "it was based on a manipulation of a 606 sound." [https://aepages.org/wiki/Sound_On_Sound_Interview,_April_2004#:~:text=%22%276IE.CR%27%20was%20actually%20called%20%27606IE%2C%27%20because%20it%20was%20based%20on%20a%20manipulation%20of%20a%20606%20sound.] The title got abbreivated to 6IE, with CR likely being appended to mean the CR-8000.
* The original title was "606.ie" in the CDDB, which Sean also confirmed in interview that it was initially called that because "it was based on a manipulation of a 606 sound."<ref name=":2">{{Cite interview|page=Sound On Sound Interview, April 2004|quote=Going into details about some of the track titles on Draft 7:30, Booth explains "'6IE.CR' was actually called '606IE,' because it was based on a manipulation of a 606 sound. 'Reniform' is a real word, meaning kidney-shaped, and 'Puls' of course is 'Pulse' without the 'e'. 'Surripere' is the Latin word that's the root of 'surreptitious'. And in 'Theme of Sudden Roundabout', 'Sudden' is actually the name of a place."}}</ref> The title got abbreivated to 6IE, with CR likely being appended to mean the CR-8000.


=== TAPR ===
=== Tapr ===


* The original title was "reppat". The final title may be "reppat" backward ("tapper") and abbreviated.
* The original title was "reppat", which when reversed spells out "tapper".


=== Surripere ===
=== Surripere ===


* The track initially started life as two seperate tracks, with the second half made before the first. Later in development, they realised that both tracks had the same 120BPM tempo and decided to combine it for the final track. [https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D580]<!-- Subtle note, Sean used "us" which implies Surripere at the minimum was decided together to be combined. But this could also indicate that the track was a collaborative effort as a whole -->
* BPM: 120
* "Surripere" consists of a a fake analog (Nord?) on the first part, and a Nord Lead with Native Battery's loop modulation on the second part's "crunchy stuff."[https://aepages.org/wiki/Sean_AMA_Transcript_220605#:~:text=sequenced%20really%20heavily.-,And%20then%20Surripere%2C,-I%20can%2C%20the]
* The track initially started life as two separate tracks, with the second half made before the first. Later in development, they realised that both tracks had the same tempo and decided to combine it for the final track. <ref>{{Cite AAA doc|580}}</ref><!-- Subtle note, Sean used "us" which implies Surripere at the minimum was decided together to be combined. But this could also indicate that the track was a collaborative effort as a whole -->
* The original title was "Theft".  
* "Surripere" consists of either a fake analog or Nord on the first part, and a Nord Lead with Native Battery's loop modulation on the second part's "crunchy stuff."<ref name=":1" />
* The title "Surripere" is the Latin word that became surreptitious. [https://aepages.org/wiki/Sound_On_Sound_Interview,_April_2004#:~:text=%27Surripere%27%20is%20the%20Latin%20word%20that%27s%20the%20root%20of%20%27surreptitious%27.]
* The original title was "Theft". The final title "Surripere" is the Latin root word of surreptitious, meaning to do something stealthily.<ref name=":2" /> A straight translation of "Surripere" is in fact "theft"


=== Theme of Sudden Roundabout ===
=== Theme Of Sudden Roundabout ===


* “Theme Of Sudden Roundabout” is a reference to Sudden, a suburb of Rochdale, where Rob and Sean grew up. [https://aepages.org/wiki/Sound_On_Sound_Interview,_April_2004#:~:text=And%20in%20%27Theme%20of%20Sudden%20Roundabout%27%2C%20%27Sudden%27%20is%20actually%20the%20name%20of%20a%20place.%22] The titular roundabout in question could be [https://www.google.com/maps/place/53%C2%B035'55.6%22N+2%C2%B009'49.2%22W/@53.5987227,-2.1638831,191m/data=!3m1!1e3!4m4!3m3!8m2!3d53.5987778!4d-2.1636667 this one], as seen on Google Maps.
* “Theme Of Sudden Roundabout” is a reference to Sudden, a suburb of Rochdale where Rob and Sean grew up.<ref name=":2" />  The titular roundabout in question could be [https://www.google.com/maps/place/53%C2%B035'55.6%22N+2%C2%B009'49.2%22W/@53.5987227,-2.1638831,191m/data=!3m1!1e3!4m4!3m3!8m2!3d53.5987778!4d-2.1636667 this one], as seen on Google Maps.
* The original title, as listed on CDDB, was "Prince Moth Mothy Moth Moth". In the 2013 WATMM AMA, Rob mentions this was wrong, that the original title ended with Mother, as in someone who does moth. However, in 2023, when Sean was asked about the title again, he clarified that it was indeed just Moth at the end.<!-- I think the ending in Moth thing stuck because he uploaded the titles after all. --> .
* The original title, as listed on CDDB, was "Prince Moth Mothy Moth Moth". In the [[WATMM Ask Autechre Anything, November 2013|WATMM Ask Autechre Anything,]] Rob mentions this was wrong, that the original title ended with Mother, as in someone who does moths.<ref>{{Cite AAA doc|708}}</ref> However, in a 2023 Mastodon post when Sean was asked about the title again, he mentioned that it was just Moth at the end.<ref>https://www.reddit.com/r/autechre/comments/1828tlp/sean_answering_why_theme_of_sudden_roundabout_was/</ref> In that same post, Sean explained that the track was called that after an "epically large moth" landed on their Nord Modular and sat there for much of the track.
** Alongside it, [cant find the post/image now help me], Sean explained in that same post that the track was called that after a moth landed on a piece of equipment (which one i forgor) while the track was being made.


=== VL AL 5 ===
=== VL AL 5 ===
Line 46: Line 60:


* The original title was "Foam Conduit".
* The original title was "Foam Conduit".
* In an article by Erin Hutton, he included a note that the title is pronounced "pointil".<ref name=":3" />


=== V-PROC ===
=== V-Proc ===


* The original title was "uprock".
* The original title was "uprock".
* "V-Proc" initially started out with simple drum samples (possibly Linndrum) before being mangled beyond recognition. <ref>https://web.archive.org/web/20240218010910/https://post.lurk.org/@sean_ae/111949563697343787</ref>


=== RENIFORM PULS ===
=== Reniform Puls ===


* The original title listed in the CDDB was "kidney bean". The final title consists of "Reniform" which means kidney-shaped, riffing on the original title, and "Puls" which is just short for Pulse. [https://aepages.org/wiki/Sound_On_Sound_Interview,_April_2004#:~:text=%27Reniform%27%20is%20a%20real%20word%2C%20meaning%20kidney%2Dshaped%2C%20and%20%27Puls%27%20of%20course%20is%20%27Pulse%27%20without%20the%20%27e%27.]
* The original title listed in the CDDB was "kidney bean". The final title consists of "Reniform", which means kidney-shaped, and "Puls", which is just short for Pulse.<ref name=":2" /> "Pulse" can be either be interpreted in an electronic context (i.e. clock pulse) or as a synonym for legume/bean, the latter of which would indicate that Reniform (kidney-shaped) Puls (bean) directly references the original title.
* "Reniform Puls" is the only track to have any use of Max/MSP on ''Draft 7.30,''<ref name=":0" /> however most of it was still DAWs: "mostly done in digital performer, but there's loads of hardware on there, and bits of modular stuff." <ref>https://web.archive.org/web/20240209152633/https://post.lurk.org/@sean_ae/111901878065350503</ref>


== Tracklist ==
== Tracklist ==
Line 59: Line 76:
{{tl track|number=2|title=IV VV IV VV VIII|length=4:51}}
{{tl track|number=2|title=IV VV IV VV VIII|length=4:51}}
{{tl track|number=3|title=6IE.CR|length=5:39}}
{{tl track|number=3|title=6IE.CR|length=5:39}}
{{tl track|number=4|title=TAPR|length=3:15}}
{{tl track|number=4|title=Tapr|length=3:15}}
{{tl track|number=5|title=Surripere|length=11:23}}
{{tl track|number=5|title=Surripere|length=11:23}}
{{tl track|number=6|title=Theme Of Sudden Roundabout|length=4:52}}
{{tl track|number=6|title=Theme Of Sudden Roundabout|length=4:52}}
{{tl track|number=7|title=VL AL 5|length=4:57}}
{{tl track|number=7|title=VL AL 5|length=4:57}}
{{tl track|number=8|title=P.:NTIL|length=7:08}}
{{tl track|number=8|title=P.:NTIL|length=7:08}}
{{tl track|number=9|title=V-PROC|length=6:00}}
{{tl track|number=9|title=V-Proc|length=6:00}}
{{tl track|number=10|title=RENIFORM PULS|length=8:39}}
{{tl track|number=10|title=Reniform Puls|length=8:39}}
{{tl finaltime|time=1:02:51}}
{{tl finaltime|time=1:02:51}}
}}
}}Note: The capitalisation is based by Sean's word,<ref>https://web.archive.org/web/20240513140035/https://post.lurk.org/@sean_ae/112433667473497612</ref><!-- did this man fucking cite a bootleg  --> however the capitalization varies across releases, which either writes all caps<ref>https://www.discogs.com/release/130319-Autechre-Draft-730/image/SW1hZ2U6MTc1ODUwNw==</ref><ref>https://autechre.bandcamp.com/album/draft-730</ref> or inconsistently formats different sets of tracks into title case like Bleep<ref>https://bleep.com/release/23111-autechre-draft-730?lang=en_US</ref>, MusicBrainz<ref>https://musicbrainz.org/release/f69a0c28-4490-4185-8555-a951ff567c44</ref> and other streaming services.
 
== Trivia ==
== Trivia ==


* The album’s title implies that the released version is the 30th edit of the band’s seventh album.
* For the liner notes of ''Draft 7.30'' ([[:File:Draft 7.30 tape inlay.jpg|image]]), Sean notes that their designer (Alexander Rutterford) wanted to have code design for the inlay tape, and so they provided him with a bunch of nonsense Pascal code which was five times longer than what could fit.<ref>{{Cite interview|quote='''AR: Liner notes to Draft 7.30 have clips of Supercollider, Java, Pascal code. Any thoughts on this?''' SB: That was just for our graphic designer. Originally I wasn't into it, really. He kinda wanted some text to go inside the tape... yeah, it is a bit of a joke. It was kinda like... 'cause I sent it to him hoping that he was going... 'cause we sent him a lot more than that, we sent him about five times as much as that. And he kind of... he ended up scaling it just so that it'd fit the page, but he was a bit irritated; it didn't reduce into the fit of the tape. So it doesn't totally reveal itself, but it didn't really matter the only least bit of it, 'cause it's nonsense anyway. But it looks better when you see the whole lot, erm, but it wasn't supposed to be legible, it was supposed to be texture, in a way. It was something for him to use really from a graphical perspective. He wanted text, so, yeah, we wrote some nonsense software. It's mostly Pascal, you know, kind of dated (laughs). Erm, yeah, it was our idea of a joke, kinda. We haven't used that much Autechre code on this album ­ a bit, not a massive amount; we haven't really used any generative sequencing at all on this record. It's all composed with straight-up sequencing we've knackered and stuff. So, erm, there's plenty bit of proper code on this sleeve, but only our idea of it. Probably the only ones laughing at it, as usual.|page=Autechre's Interview to Grooves Magazine, February 2003}}</ref>
* Random quotes:
** "a lot of the stuff around draft time was done in dp, just triggering a sampler from the sequencer (akai z8 over midi)" [https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D261]
** "tbh a lot of that on draft was done with amp envelopes, but there are some really light touches of quadraverb and lexicon on select parts as well, usually with some feedback matrixing thru quite brutal eq and really quiet in the mix" [https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D189]
* The track titles are sometimes stylized as being in all uppercase. (Ex. "XYLIN ROOM")
* Before the release of ''Draft 7.30'', early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the WATMM AAA, Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." [https://docs.google.com/spreadsheets/d/1XAizLmKun4yF6oBVUhIrewYN-ZiY_9ORckmT-hF93Ho/edit#gid=0&range=D1091]


== Links ==
== Links ==
Line 83: Line 96:
* [https://autechre.bandcamp.com/album/draft-730 Bandcamp]
* [https://autechre.bandcamp.com/album/draft-730 Bandcamp]
* [https://bleep.com/release/23111-autechre-draft-730 Bleep]
* [https://bleep.com/release/23111-autechre-draft-730 Bleep]
* [https://www.discogs.com/master/960-Autechre-Draft-730 Discogs]
* [https://soundcloud.com/autechreofficial/sets/draft-7-30 Soundcloud]
* [https://soundcloud.com/autechreofficial/sets/draft-7-30 Soundcloud]
* [https://open.spotify.com/album/1V0mCXjrTqQoq45Ti2hAmO Spotify]
* [https://open.spotify.com/album/1V0mCXjrTqQoq45Ti2hAmO Spotify]
* [https://twitter.com/WarpRecords/status/1622631137762746368 Repress announcement tweet]
* [https://twitter.com/WarpRecords/status/1629134504320200704 Repress release tweet]
==Credits==
==Credits==
*[[Autechre]] (production)
*[[Autechre]] (production)
Line 92: Line 104:
*[[Sean Booth]] (writer)
*[[Sean Booth]] (writer)
* [[Noel Summerville]] (mastering engineer)
* [[Noel Summerville]] (mastering engineer)
* [[Alexander Rutterford]] (images, design) [https://rateyourmusic.com/release/album/autechre/draft-7_30/] [https://www.discogs.com/master/960-Autechre-Draft-730]
* [[Alexander Rutterford]] (images, design)<ref>https://www.discogs.com/master/960-Autechre-Draft-730</ref>
 
== References ==
<references />

Latest revision as of 13:27, 22 May 2024

Draft 7.30

Draft 7.30.jpg

Artist Autechre
Released 7 April 2003
Label Warp Records (WARP111)
Gantz Graf
(2002) 		Draft 7.30 Untilted
(2005)

Draft 7.30 is the seventh studio album by Autechre released on Warp Records. It was originally released on April 7th, 2003[1][2], then later repressed on vinyl in 2023, alongside Confield.[3][4]

History

Draft 7.30 was made over the span of fifteen months, leading up to October 2002.[5]

Sean noted that Draft 7.30 was "really straight, using straight-up normal sequencers and samplers." With the exception of some minor generative elements on "Reniform Puls", Draft 7.30 was otherwise fully planned and composed.[6][7] Alongside that, a lot of Digital Performer was used, with one use case involving "triggering a sampler from the sequencer (akai z8 over midi)"[8], as well as using a lot of amplitude envelopes and "really light touches of quadraverb and lexicon on select parts".[9]

Before the release of Draft 7.30, early tracks titles were uploaded to CDDB (each track has their original title listed in their respective section). In the WATMM Ask Autechre Anything, Sean confirmed that they were the actual working file titles that he threw onto CDDB "for a laugh." [10] The title itself was confirmed to literally mean the seventh draft, 30th revision, with Sean noting that the working title "just stuck".[11]

Tracks

Xylin Room

  • One of the percussive samples is of a wooden garden table being knocked on. [12]
  • The original title was "Benk Chin".

IV VV IV VV VIII

  • The original title was "nwnw8", with the final title being a heavily stylised version of that title - substituting N for IV and W for VV.
  • "IV VV IV VV VIII" was initially released as a single for Draft 7.30, both for radio play[13] and download.[14]

6IE.CR

  • "6IE.CR" consists of a CR-8000 being fed through a RSD10 with the Nord controlling the pitch of it with some gating and layering for the second half that Sean couldnt properly remember.[15]
  • The original title was "606.ie" in the CDDB, which Sean also confirmed in interview that it was initially called that because "it was based on a manipulation of a 606 sound."[16] The title got abbreivated to 6IE, with CR likely being appended to mean the CR-8000.

Tapr

  • The original title was "reppat", which when reversed spells out "tapper".

Surripere

  • BPM: 120
  • The track initially started life as two separate tracks, with the second half made before the first. Later in development, they realised that both tracks had the same tempo and decided to combine it for the final track. [17]
  • "Surripere" consists of either a fake analog or Nord on the first part, and a Nord Lead with Native Battery's loop modulation on the second part's "crunchy stuff."[12]
  • The original title was "Theft". The final title "Surripere" is the Latin root word of surreptitious, meaning to do something stealthily.[16] A straight translation of "Surripere" is in fact "theft"

Theme Of Sudden Roundabout

  • “Theme Of Sudden Roundabout” is a reference to Sudden, a suburb of Rochdale where Rob and Sean grew up.[16] The titular roundabout in question could be this one, as seen on Google Maps.
  • The original title, as listed on CDDB, was "Prince Moth Mothy Moth Moth". In the WATMM Ask Autechre Anything, Rob mentions this was wrong, that the original title ended with Mother, as in someone who does moths.[18] However, in a 2023 Mastodon post when Sean was asked about the title again, he mentioned that it was just Moth at the end.[19] In that same post, Sean explained that the track was called that after an "epically large moth" landed on their Nord Modular and sat there for much of the track.

VL AL 5

  • A 12-minute version of VL AL 5 was played during the 2008-02-23 Webcast.
  • The original title was "Vlimpton Alpha 5", which the final title is just an abbreviation of.

P.:NTIL

  • The original title was "Foam Conduit".
  • In an article by Erin Hutton, he included a note that the title is pronounced "pointil".[11]

V-Proc

  • The original title was "uprock".
  • "V-Proc" initially started out with simple drum samples (possibly Linndrum) before being mangled beyond recognition. [20]

Reniform Puls

  • The original title listed in the CDDB was "kidney bean". The final title consists of "Reniform", which means kidney-shaped, and "Puls", which is just short for Pulse.[16] "Pulse" can be either be interpreted in an electronic context (i.e. clock pulse) or as a synonym for legume/bean, the latter of which would indicate that Reniform (kidney-shaped) Puls (bean) directly references the original title.
  • "Reniform Puls" is the only track to have any use of Max/MSP on Draft 7.30,[6] however most of it was still DAWs: "mostly done in digital performer, but there's loads of hardware on there, and bits of modular stuff." [21]

Tracklist

# Title Length
1 Xylin Room 6:09
2 IV VV IV VV VIII 4:51
3 6IE.CR 5:39
4 Tapr 3:15
5 Surripere 11:23
6 Theme Of Sudden Roundabout 4:52
7 VL AL 5 4:57
8 P.:NTIL 7:08
9 V-Proc 6:00
10 Reniform Puls 8:39
Total 1:02:51

Note: The capitalisation is based by Sean's word,[22] however the capitalization varies across releases, which either writes all caps[23][24] or inconsistently formats different sets of tracks into title case like Bleep[25], MusicBrainz[26] and other streaming services.

Trivia

  • For the liner notes of Draft 7.30 (image), Sean notes that their designer (Alexander Rutterford) wanted to have code design for the inlay tape, and so they provided him with a bunch of nonsense Pascal code which was five times longer than what could fit.[27]

Links

Credits

References

  1. ↑ https://bleep.com/release/23111-autechre-draft-730
  2. ↑ https://web.archive.org/web/20040307112934/http://www.warprecords.com/artists/news.php?offset=0&ti_id=606&filter=ae
  3. ↑ https://twitter.com/WarpRecords/status/1622631137762746368
  4. ↑ https://twitter.com/WarpRecords/status/1629134504320200704
  5. ↑ Autechre's Interview to Grooves Magazine, February 2003. "AR: With the subdued feel of the tracks on Draft , where does this work fit in time-wise with Confield and EP7 ? SB: Oh, they're quite recent. I mean, we only finished the album in October and they sort of been... sort of the fifteen month period before that, so. Yeah, erm. Yeah, that's kind of it, really. Fifteen month period before last October... I mean it was all written after Confield , this stuff."
  6. ↑ 6.0 6.1 Sound On Sound Interview, April 2004. "It's like pop music compared to some of the stuff we had considered putting out! And even when the beats sound like they are moving around in time and space, they're not random. They're based on sets of rules and we have a good handle on them. Draft is really straight, using straight-up normal sequencers and samplers. It's written note by note, where we know exactly what we put on. Only 'Reniform Puls' has some generative stuff, done by Max, which also controls a vocal filter in that track"
  7. ↑ Autechre's Interview to Grooves Magazine, February 2003. 
  8. ↑ [1]Q261, WATMM Ask Autechre Anything, November 2013
  9. ↑ Q189, WATMM Ask Autechre Anything, November 2013
  10. ↑ Q1091, WATMM Ask Autechre Anything, November 2013
  11. ↑ 11.0 11.1 https://autechre.neocities.org/en/articles/article14
  12. ↑ 12.0 12.1 Sean Twitch AMA, June 2022. "Hope you don't mind me asking how did you approached the timbre of the percussive sounds in Xylin Room and Surripere from a technical standpoint? They're incredibly spacious and crunchy. They're both really different. They're just samples. I don't know what to say. Xylin Room was like, originally it was like samples of a wooden outdoor table, like a garden table being knocked by knuckles, and then it was taken into the sampler in sequenced really heavily. And then Surripere, I can, the first part of it was some kind of fake analog. I think it was the Nord actually, yeah. And then, Nord Lead, and then the second part of it, the crunchy stuff. I can't actually remember, but it was done using that Native Battery, so, you know, the sampler that Native did. It was done using that because I remember the loop modulation. You could do loop modulation in it. You could tie it to the envelope, so there's some of that in there, but that's all I remember. I don't remember what the actual sources were. They were probably drum machine sounds originally, but they probably just grittied up. I can't remember now."
  13. ↑ https://www.discogs.com/release/545749-Autechre-IV-VV-IV-VV-VIII
  14. ↑ https://web.archive.org/web/20030420192456/http://www.warprecords.com/draft7_30/
  15. ↑ Q1161, WATMM Ask Autechre Anything, November 2013
  16. ↑ 16.0 16.1 16.2 16.3 Sound On Sound Interview, April 2004. "Going into details about some of the track titles on Draft 7:30, Booth explains "'6IE.CR' was actually called '606IE,' because it was based on a manipulation of a 606 sound. 'Reniform' is a real word, meaning kidney-shaped, and 'Puls' of course is 'Pulse' without the 'e'. 'Surripere' is the Latin word that's the root of 'surreptitious'. And in 'Theme of Sudden Roundabout', 'Sudden' is actually the name of a place.""
  17. ↑ Q580, WATMM Ask Autechre Anything, November 2013
  18. ↑ Q708, WATMM Ask Autechre Anything, November 2013
  19. ↑ https://www.reddit.com/r/autechre/comments/1828tlp/sean_answering_why_theme_of_sudden_roundabout_was/
  20. ↑ https://web.archive.org/web/20240218010910/https://post.lurk.org/@sean_ae/111949563697343787
  21. ↑ https://web.archive.org/web/20240209152633/https://post.lurk.org/@sean_ae/111901878065350503
  22. ↑ https://web.archive.org/web/20240513140035/https://post.lurk.org/@sean_ae/112433667473497612
  23. ↑ https://www.discogs.com/release/130319-Autechre-Draft-730/image/SW1hZ2U6MTc1ODUwNw==
  24. ↑ https://autechre.bandcamp.com/album/draft-730
  25. ↑ https://bleep.com/release/23111-autechre-draft-730?lang=en_US
  26. ↑ https://musicbrainz.org/release/f69a0c28-4490-4185-8555-a951ff567c44
  27. ↑ Autechre's Interview to Grooves Magazine, February 2003. "AR: Liner notes to Draft 7.30 have clips of Supercollider, Java, Pascal code. Any thoughts on this? SB: That was just for our graphic designer. Originally I wasn't into it, really. He kinda wanted some text to go inside the tape... yeah, it is a bit of a joke. It was kinda like... 'cause I sent it to him hoping that he was going... 'cause we sent him a lot more than that, we sent him about five times as much as that. And he kind of... he ended up scaling it just so that it'd fit the page, but he was a bit irritated; it didn't reduce into the fit of the tape. So it doesn't totally reveal itself, but it didn't really matter the only least bit of it, 'cause it's nonsense anyway. But it looks better when you see the whole lot, erm, but it wasn't supposed to be legible, it was supposed to be texture, in a way. It was something for him to use really from a graphical perspective. He wanted text, so, yeah, we wrote some nonsense software. It's mostly Pascal, you know, kind of dated (laughs). Erm, yeah, it was our idea of a joke, kinda. We haven't used that much Autechre code on this album ­ a bit, not a massive amount; we haven't really used any generative sequencing at all on this record. It's all composed with straight-up sequencing we've knackered and stuff. So, erm, there's plenty bit of proper code on this sleeve, but only our idea of it. Probably the only ones laughing at it, as usual."
  28. ↑ https://www.discogs.com/master/960-Autechre-Draft-730
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