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}}'''''LP5''''' is the fifth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on July 13th, 1998, then later repressed on vinyl in 2021, alongside ''[[Chiastic Slide]]''. | }}'''''LP5''''', also refered to as '''''Autechre''''', '''''Album''''', or otherwise untitled, is the fifth studio album by [[Autechre]] released on [https://warp.net/ Warp Records]. It was originally released on July 13th, 1998,<ref>https://bleep.com/release/249531-autechre-lp5</ref> then later repressed on vinyl in 2021, alongside ''[[Chiastic Slide]]''. | ||
== History == | |||
In an 1998 interview with Keyboards, Rob noted that the album was "just a collection of our favourite tracks from the last twelve or thirteen months."<ref name=":2">Between Styles and Stools, Keyboards, August 1998 <!-- add a link to interviews --></ref><!-- note that that quotation is translated from german --> Some equipment used on ''LP5'' include the Nord Lead 1, ASR-10 and DX100.<ref name=":1">{{Cite AAA doc|1038}}</ref><!-- source says Nord but Nord Lead 1 on Wikipedia, i MIGHT be too trusting --> | |||
The record initially had no title printed, only "Autechre" on the cover, leading to it either being referred to as untitled or as a self-titled record called ''Autechre.<ref name=":0" /><ref>https://www.tumblr.com/grrl-beetle/748357197923237888/nothing-records</ref> Album'' was also a name seen on promotional copies.<ref>https://www.discogs.com/release/354772-Autechre-LP5</ref> | |||
While uncredited on the release, it was later confirmed in Warp20 that the album cover was made by Autechre themselves.<ref>https://www.reddit.com/r/autechre/comments/q5hulv/comment/hg7g4f1/</ref> | |||
== Tracks == | == Tracks == | ||
| Line 15: | Line 23: | ||
* Some digital releases had the track renamed to "AcroyearII". | * Some digital releases had the track renamed to "AcroyearII". | ||
* Acroyear2 was named after the Micronauts toy. <ref> | * Acroyear2 was named after the Micronauts toy.<ref>{{Cite interview|page=Sean Twitch AMA, July 2022|quote='''Was Acroyear2 named after the Micronauts toy?''' Yes. Acroyear Two in the US and Acroyear One in Japan. So I named it after Acroyear Two because I grew up in the UK, and we had the Mego line, so, you get on a Micronauts conversation now. Micronauts were cool as well. First time anyone's asked me that.}}</ref> | ||
=== 777 === | === 777 === | ||
* The title bares resemblance to "444" from ''[[Incunabula]]''. | * The title bares resemblance to "444" from ''[[Incunabula]]''. | ||
* The track is heavily built around a 7-count time signature or 3.5 whole beats. Alexander Mesker annotated a transcript of the main recurring percussive structure | * The track is heavily built around a 7-count time signature or 3.5 whole beats. Alexander Mesker annotated a transcript of the main recurring percussive structure here.<ref>https://archive.org/details/analysis-and-recreation-of-key-features-in-selected-autechre-tracks-from-1998-2005/page/79/mode/2up</ref> | ||
=== Rae === | === Rae === | ||
* In an interview with nialler9, Sean mentioned that he wrote "Rae" after a hangover. <ref>[ | * In an interview with nialler9, Sean mentioned that he wrote "Rae" after a hangover.<ref>{{Cite interview|quote=Sean: Yeah, I mean, Rae was written in a really emotional state as well. I remember exactly what I was doing, where I was and everything when I did that [...] Yeah, it was a hangover (laughs) It wasn’t even real sadness, I wasn’t even going through anything. I was just, I was just feeling really fragile that day.|page=Exploring the parameter space: A conversation with Autechre, October 2023}}</ref> | ||
=== Melve === | === Melve === | ||
=== Vose In === | === Vose In === | ||
* The main melody was written first, with the rest of the track being built around it.<ref name=":2" /> | |||
* Sound Edit 16 was used for the outro of "Vose In".<ref name=":1" /><!-- Unsourced, but i recall they mentioned they used a lot of Logic for LP5 as well --> | |||
=== Fold4,Wrap5 === | === Fold4,Wrap5 === | ||
* "Fold4,Wrap5" employs a Risset rhythm<!-- do i source a page for further reading or just leave it as is? --> which creates an illusion that the track perpetually slows down. In the track, this manifests as the tempo slowing down ever 2 bars to half its tempo, approximately 126 to 63 bpm. <ref>https://archive.org/details/analysis-and-recreation-of-key-features-in-selected-autechre-tracks-from-1998-2005/page/51/mode/2up</ref> Sean clarified that unlike the method whereby two tempos fade into one another, he just had the single tempo change and programmed on the subdivisions to achieve the illusion. He also notes that he came up with the idea on its own, not realising it was already a thing. <ref>https://web.archive.org/web/20230723133325/https://post.lurk.org/@sean_ae/110763235451439348</ref><!-- should be rewritten for clarity, but the broad strokes are there --> | * "Fold4,Wrap5" employs a Risset rhythm<!-- do i source a page for further reading or just leave it as is? --> which creates an illusion that the track perpetually slows down. In the track, this manifests as the tempo slowing down ever 2 bars to half its tempo, approximately 126 to 63 bpm.<ref>https://archive.org/details/analysis-and-recreation-of-key-features-in-selected-autechre-tracks-from-1998-2005/page/51/mode/2up</ref> Sean clarified that unlike the method whereby two tempos fade into one another, he just had the single tempo change and programmed on the subdivisions to achieve the illusion. He also notes that he came up with the idea on its own, not realising it was already a thing.<ref>https://web.archive.org/web/20230723133325/https://post.lurk.org/@sean_ae/110763235451439348</ref><!-- should be rewritten for clarity, but the broad strokes are there --> | ||
=== Under BOAC === | === Under BOAC === | ||
* For percussion, they recorded a pen being dragged down a radiator, which was then subsequently cut up using ReCycle, frequency-shifted, ring modulated and then connected via SCSI into the Ensonqi ASR-10 which handled a majority of the effects with a sample bank, compression and limiting. For the first chord synths it was possibly DX100, the second half's synths were Nord, bass was possibly Juno 106, and voice samples were ring modulated. The track was fully sequenced in Emagic Logic<ref>{{Cite AAA doc|1541}}</ref> and all mixed via a Tascam mixer onto DAT, with the voices through an audio channel and the rest being realtime.<ref> | * For percussion, they recorded a pen being dragged down a radiator, which was then subsequently cut up using ReCycle, frequency-shifted, ring modulated and then connected via SCSI into the Ensonqi ASR-10 which handled a majority of the effects with a sample bank, compression and limiting. For the first chord synths it was possibly DX100, the second half's synths were Nord, bass was possibly Juno 106, and voice samples were ring modulated. The track was fully sequenced in Emagic Logic<ref>{{Cite AAA doc|1541}}</ref> and all mixed via a Tascam mixer onto DAT, with the voices through an audio channel and the rest being realtime.<ref>{{Cite interview|page=Sean Twitch AMA, June 2022|quote='''The drums / percussion sounds on Under BOAC, sampled or synthesized?''' A bit of both, I guess? They, it was originally a pen going down the side of a radiator, then it also [imitates action], and then it was taken into ReCycle and then it was cut up into bits, and then there was some kind of, I can't remember what I did to it. Yeah, there was some kind of spectral, what did I do to it now? Frequency shifting. So, there was frequency shifting on it and then it was taken into the [Ensoniq] ASR[-10] for the ASR’s, and then there's a bunch, it's like a sample bank, and then there was all the compression and everything is in the ASR, so you get them transients because the compressor in the inside the ASR is just absolutely nuts. That's the thing that we used to do the Stereolab remix and anything that's like that where it's like super fat sound but like the attacks on the sounds are just mentally like tight. A lot of that stuff was ASR, so repping Ensoniq, always, so.}}</ref><ref>https://web.archive.org/web/20230111075106/https://post.lurk.org/@sean_ae/109664718256478811</ref><!-- how to explain (these two are where ALL of this info comes from? --> | ||
=== Corc === | === Corc === | ||
| Line 50: | Line 57: | ||
=== Drane2 === | === Drane2 === | ||
*On CD and Digital releases of ''LP5'', “Drane2” has a length of over 21 minutes, with approximately 12 minutes being complete silence, and the remaining minute and a half being discordant digital noises. The vinyl pressing does not contain the silence and discordant noises, and ended after | *On CD and Digital releases of ''LP5'', “Drane2” has a length of over 21 minutes, with approximately 12 minutes being complete silence, and the remaining minute and a half being discordant digital noises. The vinyl pressing does not contain the silence and discordant noises, and ended after the main track stopped. | ||
* | * After creating “[[Peel Session#Drane|Drane]]” with the exponential delay speed-up, Aphex Twin responded with his own take with “Bucephalus Bouncing Ball”. Autechre responded to that by feeding percussion into that delay with "Drane2", completing the unofficial trilogy. Sean mention that Aphex Twin was planning to make another "bouncing ball revenge track" but it never got released.<ref>{{Cite AAA doc|1049}}</ref> | ||
== Tracklist == | == Tracklist == | ||
{{Tracklist|list={{tl track|number=1|title=Acroyear2|length=8:39}} | {{Tracklist|list={{tl track|number=1|title=Acroyear2|length=8:39}} | ||
| Line 67: | Line 74: | ||
{{tl track|number=-|title=''untitled''|length=1:37}} | {{tl track|number=-|title=''untitled''|length=1:37}} | ||
{{tl finaltime|time=1:16:19}}}} | {{tl finaltime|time=1:16:19}}}} | ||
== Links == | == Links == | ||
| Line 88: | Line 89: | ||
*[[Rob Brown]] (writer) | *[[Rob Brown]] (writer) | ||
*[[Sean Booth]] (writer) | *[[Sean Booth]] (writer) | ||
*[[Frank Arkwright]] (mastering engineer) <ref>https://www.discogs.com/master/2165-Autechre-LP5</ref> | *[[Frank Arkwright]] (mastering engineer) <ref name=":0">https://www.discogs.com/master/2165-Autechre-LP5</ref> | ||
== References == | == References == | ||
<references /> | <references /> | ||
Latest revision as of 16:02, 13 June 2024
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LP5, also refered to as Autechre, Album, or otherwise untitled, is the fifth studio album by Autechre released on Warp Records. It was originally released on July 13th, 1998,[1] then later repressed on vinyl in 2021, alongside Chiastic Slide.
History
In an 1998 interview with Keyboards, Rob noted that the album was "just a collection of our favourite tracks from the last twelve or thirteen months."[2] Some equipment used on LP5 include the Nord Lead 1, ASR-10 and DX100.[3]
The record initially had no title printed, only "Autechre" on the cover, leading to it either being referred to as untitled or as a self-titled record called Autechre.[4][5] Album was also a name seen on promotional copies.[6]
While uncredited on the release, it was later confirmed in Warp20 that the album cover was made by Autechre themselves.[7]
Tracks
Acroyear2
- Some digital releases had the track renamed to "AcroyearII".
- Acroyear2 was named after the Micronauts toy.[8]
777
- The title bares resemblance to "444" from Incunabula.
- The track is heavily built around a 7-count time signature or 3.5 whole beats. Alexander Mesker annotated a transcript of the main recurring percussive structure here.[9]
Rae
- In an interview with nialler9, Sean mentioned that he wrote "Rae" after a hangover.[10]
Melve
Vose In
- The main melody was written first, with the rest of the track being built around it.[2]
- Sound Edit 16 was used for the outro of "Vose In".[3]
Fold4,Wrap5
- "Fold4,Wrap5" employs a Risset rhythm which creates an illusion that the track perpetually slows down. In the track, this manifests as the tempo slowing down ever 2 bars to half its tempo, approximately 126 to 63 bpm.[11] Sean clarified that unlike the method whereby two tempos fade into one another, he just had the single tempo change and programmed on the subdivisions to achieve the illusion. He also notes that he came up with the idea on its own, not realising it was already a thing.[12]
Under BOAC
- For percussion, they recorded a pen being dragged down a radiator, which was then subsequently cut up using ReCycle, frequency-shifted, ring modulated and then connected via SCSI into the Ensonqi ASR-10 which handled a majority of the effects with a sample bank, compression and limiting. For the first chord synths it was possibly DX100, the second half's synths were Nord, bass was possibly Juno 106, and voice samples were ring modulated. The track was fully sequenced in Emagic Logic[13] and all mixed via a Tascam mixer onto DAT, with the voices through an audio channel and the rest being realtime.[14][15]
Corc
Caliper Remote
Arch Carrier
Drane2
- On CD and Digital releases of LP5, “Drane2” has a length of over 21 minutes, with approximately 12 minutes being complete silence, and the remaining minute and a half being discordant digital noises. The vinyl pressing does not contain the silence and discordant noises, and ended after the main track stopped.
- After creating “Drane” with the exponential delay speed-up, Aphex Twin responded with his own take with “Bucephalus Bouncing Ball”. Autechre responded to that by feeding percussion into that delay with "Drane2", completing the unofficial trilogy. Sean mention that Aphex Twin was planning to make another "bouncing ball revenge track" but it never got released.[16]
Tracklist
| # | Title | Length |
|---|---|---|
| 1 | Acroyear2 | 8:39 |
| 2 | 777 | 5:50 |
| 3 | Rae | 7:14 |
| 4 | Melve | 1:14 |
| 5 | Vose In | 5:21 |
| 6 | Fold4,Wrap5 | 4:03 |
| 7 | Under BOAC | 6:17 |
| 8 | Corc | 5:51 |
| 9 | Caliper Remote | 1:41 |
| 10 | Arch Carrier | 6:49 |
| 11 | Drane2 | 9:38 |
| - | (silence) | 12:04 |
| - | untitled | 1:37 |
| Total | 1:16:19 | |
Links
Credits
- Autechre (production)
- Rob Brown (writer)
- Sean Booth (writer)
- Frank Arkwright (mastering engineer) [4]
References
- ↑ https://bleep.com/release/249531-autechre-lp5
- ↑ 2.0 2.1 Between Styles and Stools, Keyboards, August 1998
- ↑ 3.0 3.1 Q1038, WATMM Ask Autechre Anything, November 2013
- ↑ 4.0 4.1 https://www.discogs.com/master/2165-Autechre-LP5
- ↑ https://www.tumblr.com/grrl-beetle/748357197923237888/nothing-records
- ↑ https://www.discogs.com/release/354772-Autechre-LP5
- ↑ https://www.reddit.com/r/autechre/comments/q5hulv/comment/hg7g4f1/
- ↑ Sean Twitch AMA, July 2022. "Was Acroyear2 named after the Micronauts toy? Yes. Acroyear Two in the US and Acroyear One in Japan. So I named it after Acroyear Two because I grew up in the UK, and we had the Mego line, so, you get on a Micronauts conversation now. Micronauts were cool as well. First time anyone's asked me that."
- ↑ https://archive.org/details/analysis-and-recreation-of-key-features-in-selected-autechre-tracks-from-1998-2005/page/79/mode/2up
- ↑ Exploring the parameter space: A conversation with Autechre, October 2023. "Sean: Yeah, I mean, Rae was written in a really emotional state as well. I remember exactly what I was doing, where I was and everything when I did that [...] Yeah, it was a hangover (laughs) It wasn’t even real sadness, I wasn’t even going through anything. I was just, I was just feeling really fragile that day."
- ↑ https://archive.org/details/analysis-and-recreation-of-key-features-in-selected-autechre-tracks-from-1998-2005/page/51/mode/2up
- ↑ https://web.archive.org/web/20230723133325/https://post.lurk.org/@sean_ae/110763235451439348
- ↑ Q1541, WATMM Ask Autechre Anything, November 2013
- ↑ Sean Twitch AMA, June 2022. "The drums / percussion sounds on Under BOAC, sampled or synthesized? A bit of both, I guess? They, it was originally a pen going down the side of a radiator, then it also [imitates action], and then it was taken into ReCycle and then it was cut up into bits, and then there was some kind of, I can't remember what I did to it. Yeah, there was some kind of spectral, what did I do to it now? Frequency shifting. So, there was frequency shifting on it and then it was taken into the [Ensoniq] ASR[-10] for the ASR’s, and then there's a bunch, it's like a sample bank, and then there was all the compression and everything is in the ASR, so you get them transients because the compressor in the inside the ASR is just absolutely nuts. That's the thing that we used to do the Stereolab remix and anything that's like that where it's like super fat sound but like the attacks on the sounds are just mentally like tight. A lot of that stuff was ASR, so repping Ensoniq, always, so."
- ↑ https://web.archive.org/web/20230111075106/https://post.lurk.org/@sean_ae/109664718256478811
- ↑ Q1049, WATMM Ask Autechre Anything, November 2013