I love Exai Autechre
Another masterpiece from these guys. I will admit that I was somewhat disappointed by the direction they took on their last few albums, which stripped away the rhythmic complexity in favor of simpler, more subdued sounds. This one, however, finds the group going back to what they do best: stuttering percussion, layers of digital noise, and song structures on the brink of collapse. It's safe to say that no one else is making music quite like this; the only thing I can think of that gives me the same head-spinning thrill ride is modern jazz (not that the two are remotely similar in any other respect). I have heard some folks complain that Autechre haven't really progressed much in the last decade, and indeed the sound on this album isn't too far removed from older recordings such as Draft 7.30, but it's hard to imagine this music getting any further out there without it becoming unlistenable. As it stands, Autechre have found the perfect balance between beauty and chaos; it's a nice place to hang out.
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This is one of the most satisfying recordings I have ever heard, even within the Autechre catalog. It is at once more challenging and more accessible than previous releases.
ReplyDeleteThink of it as an addendum and possibly the last component of the Quar/Over/Exal trilogy. Absolutely in the same vein as the previous two studio albums, Quaristice and Oversteps, Exal delivers strong and does not disappoint.
ReplyDeleteSeventeen tracks and over two hours of playtime might seem like a lot, it is, but for those that actually listen to this type of music, it is heaven! I feel as though this is the most raw and pure that Autechre can get, and they have reached a profound understanding of the blip-driven, minimal, repetitive yet progressive, abrasive yet ambient sound. The production quality is rich and elaborate, much to the chagrin of naysayers that claim "this isn't music, it's just random noise, anyone can do this." I say no! Years ago, I saw them perform live and they are so keen to make people listen to the actual sound that they played on a dark stage with no light show of any kind, their faces being the only illuminated objects and that coming from the light in their laptops and on the sound mixers. Respect.
Call it what you want, but all electronic experimental noise lovers must admire and acknowledge Autechre for what they have done over the years. They have a diverse body of work and, in my opinion, continue to perfect their sound and define who they are. As I mentioned, I do expect this to be a book-end of sorts, so they can continue to diversify and evolve their sound into something possibly more unique. As things stand now, I think it holds up as one of the best things they've produced.
I own every Autechre release. This just confirms their genius. Inventive, challenging, engaging, and probably the most important band in the last 20 years. I equate them to early Brian Eno.
ReplyDeleteAnother masterpiece from these guys. I will admit that I was somewhat disappointed by the direction they took on their last few albums, which stripped away the rhythmic complexity in favor of simpler, more subdued sounds. This one, however, finds the group going back to what they do best: stuttering percussion, layers of digital noise, and song structures on the brink of collapse. It's safe to say that no one else is making music quite like this; the only thing I can think of that gives me the same head-spinning thrill ride is modern jazz (not that the two are remotely similar in any other respect). I have heard some folks complain that Autechre haven't really progressed much in the last decade, and indeed the sound on this album isn't too far removed from older recordings such as Draft 7.30, but it's hard to imagine this music getting any further out there without it becoming unlistenable. As it stands, Autechre have found the perfect balance between beauty and chaos; it's a nice place to hang out.
ReplyDeleteExai is vast, and travels through most of the band's history, merging styles and periods from the past two decades. It is harsher than Oversteps, but more coherent than some of their works from the early 2000s, and gives a nod back to their excellent alien machinery sound of the late 1990s. Anyone reading this probably knows, but this album must be listened to with excellent speakers or headphones to appreciate its full depth, as with the rest of their music.
ReplyDeleteThe album's two discs are somewhat distinct in their sound, with the first disc generally harsher and more frenetic, while the second has more grooves. The first track, "FLeure", follows the pattern of many of their opening tracks: initially quite jarring and off putting. It's like the barbed wire fence keeping the intruders out, with only those in the know able to pass through into the rest of the album.
Highlights of the first disc include: "jatevee C" with its steel drum melody and harsh snapping beats; "T ess xi", which is very wet sounding, with lots of liquid getting squeezed out of the machines, and an opium haze, like it was recorded in 19th century India; and of course the one everybody is talking about, "bladelores", which is a massive, spacious tune. It sounds like a huge robot stomping overhead, then like you're drifting through the void beneath an angelic spaceship, before taking a breather and merging the two elements and ending with a two minute cool down.
The second, and in my opinion superior disc, opens with the psychedelic cross-fading of "1 1 is". It's a perfect opener with its groovy, sweaty beats and melody all jumbled up together. "cloudline" is bloody brilliant. It begins as this creepy, otherworldly experience, with distant whines and precise little clicks and trickles, like you're exploring the surface of another planet, before these absolutely amazing synths come blurting through around the three minute mark. They take the track to a higher level of excellent. After briefly teasing your ears, they disappear before coming back stronger than ever. This is one of the group's best songs of all time. "recks on" opens with a solid, bangin beat before some classic hi-hats come sparking through. The track then opens up quite a bit, feeling very roomy, and goes through a bunch of modulations and breakdowns, ending up in a completely different place than it started, with lots of long vibrating pads. Then, then, the ultimate song, in more ways than one, "YJY UX". This song is a triumph, truly amazing. Although it's very ambient and drifty, it feels incredibly weighty, with this crazy pulsing bass synth pushing through the glittering melodies above, and more watery, slushy yet crunchy beats. All in all, it's just very important sounding, and a great closer for a great album.
I'd say this is the best album since LP5, and for long time fans, that should tell you something. It brings together all of their styles, skills, and interests into an epic experience. I like both discs, but the second is positively transcendent in places. A must buy for all fans, and probably a good place to start for people new to the group.
ReplyDeleteI always approach any new release from Autechre with enthusiasm. Their music takes a while to get into, for example Untitled is now for me, after several years of listening one that I return regularly to and the effort is well worth it. Exai is such a expansive piece of work but sonically integrated, but has instant appeal; I guess listening to Autechre is like learning a language after a while you understand the nuances and subtleties. I also admire the intricate layers that evolve organically throughout each piece. Both discs are on high rotation and I expect that to be the case for some time.
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