Autechre
Rob Brown and Sean Booth performing live as Autechre in 2007
Background information
Origin	Rochdale, Greater Manchester, England
Genres	Electronic, IDM, experimental, ambient
Years active	1987–present
Labels	Warp Skam Wax Trax! TVT Nothing
Associated acts	Gescom
Website	Autechre at Warp Records
Members
Sean Booth Rob Brown

Autechre are an English electronic music duo consisting of Rob Brown and Sean Booth, both natives of Rochdale, Greater Manchester. Formed in 1987, they are one of the most prominent acts signed to Warp Records, a label known for its pioneering electronic music and through which all Autechre albums have been released.

While heavily associated with IDM (intelligent dance music), Booth and Brown are ambivalent to relating their sound to established genres.^[1] Their music has exhibited a gradual shift in aesthetic throughout their career, from their earlier work with clear roots in techno, electro and hip hop to later albums that are often considered experimental in nature, featuring complex patterns of rhythm and subdued melodies. Move of Ten, their most recent EP, was released in 2010.

Autechre have also recorded under various pseudonyms. One of the duo's earliest recordings was a 12" under the alias Lego Feet, released in 1991 on Skam Records. The majority of releases by the mysterious "umbrella project" Gescom, most of them on Skam, have been attributed to Booth and Brown, among other artists.

Pronunciation[link]

Booth and Brown pronounce the name Autechre with a Rochdale accent (/ɔːˈtɛkər/ aw-TEK-ər).^[2] However, they have explained that the name can be pronounced in any way one sees fit.^[3] Booth explains: "The first two letters were intentional, because there was an 'au' sound in the track, and the rest of the letters were bashed randomly on the keyboard. We had this track title for ages, and we had written it on a cassette, with some graphics. It looked good, and we began using it as our name."^[4]

History[link]

Early years (1987–1992)[link]

Brown and Booth met through Manchester's graffiti scene in 1987^[5] when they both lived in Rochdale. Heavily influenced by electro and hip hop,^[6] they began trading mixtapes and then creating their own compositions^[3] while collecting a handful of cheap equipment, most notably a Casio SK-1 sampler and a Roland TR-606 drum machine.^[7] Their first release was Lego Feet, a 12" recorded under an alias of the same name brought out by Manchester's Skam Records. Their first release as Autechre was the single "Cavity Job" in 1991, released on Hardcore Records. Two more tracks appeared during the following year, under the now finalised Autechre name, on the Warp Records compilation Artificial Intelligence, part of the series of the same name. The compilation contained "The Egg", later reworked for their first full length release under the title "Eggshell".

[edit] Incunabula and Amber (1993–1994)

In 1993 Warp released their debut album, Incunabula, which became a surprise success, reaching the top of the UK Indie Chart.^[8] The album had a cool, calculated feel, with clear techno and electro roots, but also showed hints of the rhythmic flourishes and tuned percussion that would later become an important feature of their work. An EP of remixes of Incunabula's "Basscadet" was released the following year. 1994 also saw the release of Amber, an album featuring a more ambient, less percussive approach than their debut.

The Anti EP was released shortly before Amber and is as yet the only Autechre release to have an explicit purpose: it was a protest against the Criminal Justice and Public Order Act 1994, which would prohibit raves, defined as any gathering of nine or more people where rave music is played. Rave music was defined as music which "includes sounds wholly or predominantly characterised by the emission of a succession of repetitive beats". The record came wrapped in a seal, on which was printed a legal warning: "Flutter has been programmed in such a way that no bars contain identical beats and can therefore be played at both forty five and thirty three revolutions under the proposed new law. However we advise DJs to have a lawyer and musicologist present at all times to confirm the non repetitive nature of the music in the event of police harassment."

[edit] Tri Repetae, Chiastic Slide, and LP5 (1995–1999)

1995 saw the release of Tri Repetae, their third album, as well as the EPs Anvil Vapre and Garbage. Featuring a stark monochrome cover designed by The Designers Republic, with whom Autechre have long held a close association, Tri Repetae was perhaps their most sparse and deliberately cold work yet, exhibiting stripped down mechanical beats and an increasingly more subtle use of synthesizers. Often considered a classic of mid-1990s electronic music, Tri Repetae and its associated EPs were combined into a two disc set entitled Tri Repetae++, which was released in the United States. An official promotional video was created by English visual artist Chris Cunningham for "Second Bad Vilbel" from Anvil Vapre. This would be his first music video and the duo's second, their first being Jess Scott-Hunter's video for the single "Basscadet". The Anvil Vapre video featured rapidly cut shots of industrial machinery and robotic movement, synchronized with the music. Cunningham later re-edited the video in 2002, following his disappointment with the original: "It was intended to be completely abstract but it didn't quite work out that way".^[9] A two track vinyl-only EP entitled We R Are Why, similar in style to Tri Repetae, was available to buy during certain concerts and via mail order during 1996.

Autechre released three records in 1997: the full length Chiastic Slide, and the EPs Envane and Cichlisuite. The latter EP (pronounced as "sickly sweet") consists, as its title suggests, of five remixed versions of "Cichli" from Chiastic Slide, though they sound remarkably distant from the industrial-influenced, loop-heavy style of the original source. Containing four tracks, each around the eight minute mark, Envane is a coherent EP that showcases a strong hip hop influence, featuring a clear vocal sample (taken from "No Awareness" on Dr. Octagonecologyst) and scratching on its opening track, "Goz Quarter". Radio Mix was also released in 1997. A rare CD-only promotional recording, it contains an hour long DJ mix of other artists' tracks, some of them remixed by Autechre, as well as a short interview edited sometimes to the point of incomprehensibility.

An untitled record (typically known as LP5 or simply Autechre) followed in 1998, continuing the duo's path into further technical precision, experimentation, and what some feel to be audio abstraction. It has been seen as a transitional work, with Brown commenting in 2005 that "a lot of people have cited it as a classic Autechre album because it bridges the gap between the guys who liked our old stuff and the guys who got propelled on to our new stuff."^[10]

1999 saw the release of their first Peel session EP, consisting of three tracks broadcast on John Peel's show for BBC Radio 1 in October 1995, as well as a vinyl-only limited edition promotional EP entitled Splitrmx12. 1999 also saw EP7, which is classed by the group as an EP despite being over an hour in length,

[edit] Confield, Draft 7.30, and Untilted (2000–2007)

The new millennium brought about a drastic change in Autechre's style, initially indicated by the heavily generative EP7. Demonstrated by Confield (2001) and Draft 7.30 (2003), as well as the Gantz Graf EP (2002), listeners could hear Autechre's move into a musical territory built upon almost unrestrained rhythm backed by sparse melodies buried further back in the mix than ever before. Although still strongly connected to the IDM genre tag, tracks like Confield's closer "Lentic Catachresis" seem to momentarily sever all ties the duo have with electronic dance music, even in its broadest sense. In a similarly chaotic fashion, the title track from Gantz Graf inspired an iconic video by British designer Alex Rutterford, featuring an object (or an agglomeration of objects) synchronized to the music as it morphs, pulsates, shakes, and finally dissolves. Rutterford, who had previously created an unofficial video for the Tri Repetae track "Eutow" as part of the Channel 4 music programme Lo-Fi in 2001, claimed the idea for the "Gantz Graf" video came during one of his LSD trips.^[11] The second Autechre Peel session EP was also released in 2002, containing four tracks broadcast in 1999, named by John Peel himself. Autechre released two collaborative albums with Andrew M. McKenzie's Hafler Trio collective during the following three years (see collaborations).

The reactions by both professional critics^[12] and fans^[13] to the release of Confield were mixed, as perhaps expected, though generally positive. Some publishers even went so far as to say it exhibits the duo at "the top of their game" and "cements Autechre's name in the pantheon of sonic visionaries", as well as praising its intricate, ambitious and unsettling nature. According to Sean Booth, "most of Confield came out of experiments with Max that weren't really applicable in a club environment."^[14] In contrast, 2003's Draft 7.30 was seen by some^[15] as a relatively easier record to grasp, combining Confield's sonic abstraction and ambition with splintered, harder beats that recall more the duo's interest in techno and hip hop, such as in the almost glitch hop rhythm of "V-Proc". Booth stated in an interview around the release of Draft 7.30 that "[rhythm] doesn't seem to limit us in the way it did when we first started. Now I think we just get it, we're totally fluent in it and can be more expressive."^[16]

Untilted (a play on the word "untitled"), the duo's eighth album, was released in 2005. It roughly continued the sound of their previous two LPs, though featured compositions that mutated greatly during their duration, typically alternating between passages of ambience and heavily processed, precise beats, such as on "Ipacial Section". Its final track, "Sublimit", is at almost sixteen minutes Autechre's longest composition to feature on any of their albums. The release of Untilted was followed by a two month tour that took the group around Europe, America and Japan, but withdrew them from studio work for an unusual length of time.^[17] The outcome of this, coupled with a forced change in studio setup, was a gap of three years between releases, longer than ever before.

[edit] Quaristice and Oversteps (2008–2012)

Their ninth album, Quaristice, was finally released in early 2008. In stark contrast to Untilted, it is made up of twenty tracks, more than any other Autechre release, each typically around 2–5 minutes in length. The download-only Quaristice.Quadrange.ep.ae EP that accompanies it (as well as the Versions bonus disc and three tracks released exclusively through the Japanese iTunes store) brings the total length of music released during their Quaristice era to over five hours. Among this is the hour-long, extremely minimal "Perlence subrange 6-36" that closes the EP. The sound of Quaristice, while unusually erratic, is arguably highly representative of Autechre as a whole: it contains washes of ambience, and heavily processed and textured sound design, together with beats both typical of IDM and resembling the techno and hip hop that influenced the duo in their early days. Each track on Quaristice was edited down from lengthy improvised sessions between Booth and Brown,^[17] some of which were released in longer versions on Quaristice. Quadrange.ep.ae. Although Sean Booth has stated that the FLAC release of Quaristice is the actual product,^[18] the album was also released by Warp Records as a double LP and a single CD as well as an elaborate two CD edition by Warp Records. Limited to only 1000 copies,^[19] and containing both the regular album and Quaristice (Versions), this special edition was packaged in a photo-etched steel case. It sold out within 12 hours of being announced.^[20]

On 13 January 2010, Warp Records announced Oversteps, Autechre's tenth album. Originally slated to be released in March, it was released a month early in digital form on Bleep.com to those who preordered it; the CD and deluxe vinyl editions were released on 22 March 2010. A two-month European tour occurred in support of the album, followed by limited shows in Japan and Australia, the latter breaking a 15 year absence. The sound of Oversteps, as with Quaristice, is greatly eclectic, though it is perhaps their most noticeably ambient release since 1994's Amber. Autechre then compiled a mix for the magazine FACT, released in February of the same year, that consisted of tracks by artists as diverse as J Dilla and Necrophagist. On 25 May 2010, Warp Records announced the ten track Move of Ten, an EP by the duo in conjunction with the release of Oversteps. The digipack CD and the two 12" vinyl version, as well as a high quality download, was released on 12 July 2010.

In April 2011 a collection of EPs entitled EPs 1991 - 2002, excluding Move Of Ten, with artwork from the Designers Republic, was released. The boxset includes a CD copy of their first EP, Cavity Job, the first time it has been released on the format.^[21] In 2011 as part of Warp's 'Made In Japan' relief concert for the victims of the 2011 Sendai Earthquake, an 11 minute piece was released entitled '6852', possibly believed to be part of a previous live recording.^[22]

Influences[link]

A wide variety of influences have been noted as discernible in Autechre's music. The duo's roots in tagging, early hip-hop and electro music, and b-boy culture in general are still evident, with many reviews noting hip-hop rhythms - sometimes heavily obscured or processed, and sometimes explicit even in later work. All of Autechre's live webcasts have featured large amounts of early hip-hop and electro. In a review of Oversteps, The Wire noted "Treale" as being "a reminder of Booth and Brown's musical apprenticeship as teenage B-boys".^[23]

As Autechre's music and studio setup progressed, reviews started to note influences from farther afield; experiments in algorithmic and generative synthesis, musique concrète, and FM synthesis drew comparisons with Iannis Xenakis and Bernard Parmegiani from critics such as Paul Morley.^[24]

Autechre also cite Coil as a major influence, with an unfinished collaboration of unknown completeness occurring around the release of LP5 and EP7.^[25]

Methods[link]

Autechre use many different digital synths and a few analog synths in their production,^[7] as well as analog and digital drum machines, mixers, effects units and samplers. They have also made extensive use of a variety of computer based sequencers, softsynths, and other applications as a means of controlling those synths and processing the synthesized sounds. Much of the hardware and software they use has been customized by the band themselves.^[7] Autechre have also experimented in depth with development environments such as Max/MSP (invented by software pioneer Miller Puckette),^[4] and Kyma^[4] – amongst others – from 1997 onwards, though it is unclear which are still in use. From 2005 until 2009, they have used the Elektron Machinedrum and Monomachine, alongside Akai MPC and Nord Modular in their live performances,^[26] although the group appear to have reverted to a software setup for the tour related to Oversteps^{[citation needed]}. It has also been rumoured that Autechre have used military equipment in their work.^[27] In 2008, Sean Booth reported that if he were locked in a cell for a year with only one piece of software and one piece of hardware, he'd "probably take a copy of Digital Performer and an AKG C 1000 microphone. "^[28]

Other machines that Autechre have repeatedly mentioned in interviews are appreciated for their interface and aesthetics as much as their sound, including the Roland TR-606 and MC-202, and the Nord Lead.

Autechre sometimes use generative techniques,^[4] most notably on Confield and EP7.

Other activities[link]

Collaborations, remixes and covers[link]

Both Booth and Brown are known to have been heavily involved with the majority of releases by the mysterious Gescom collective, although Booth admitted in an interview that around 20-30 musicians overall are connected with what he describes as an "umbrella project". Three elaborately packaged albums (Ƴo & h³æ, Æo³ & ³hæ, and ha³oe & ah³eo) have been made by Autechre in collaboration with Andrew M. McKenzie's ongoing Hafler Trio project. These albums are significantly more minimal than any other Autechre release, featuring dense, claustrophobic and noisy drones. A track called "Elephant Gear", credited to both Autechre and Canadian breakcore musician Venetian Snares under the alias AEVSVS, was released on a compilation in tribute to Elektron co-founder Daniel Hansson, who died in a car accident. Autechre have collaborated with several artists for live performances, including Zoviet France,^[27] Fennesz and Roedelius^[29] 3. Telepathics Meh In-Sect Connection, an album by Sean Booth in collaboration with Mika Vainio of Pan Sonic and Kouhei Matsunaga, was released in early 2010.

In 2009 they contributed a cover of an LFO song to the Warp20 (Recreated) compilation, as well as having their song "Tilapia" covered by John Callaghan.

The compilation CD The Only Blip Hop Record You Will Ever Need, Vol.1, issued in 2002 by David Byrne's Luaka Bop Records, contains a cover version of "gnit" performed by Marie + Scratch. It is performed using only human voice samples.

Autechre helped initiate the All Tomorrow's Parties music festival in 2000, and curated the 2003 festival.

Radio[link]

Autechre have been involved with radio since their early days, originally spinning for IBC Radio, a Manchester pirate radio station in 1991, where they had their own show playing Belgian techno alongside their own demos.^[30] Later they would appear as part of Gescom for their weekly "Disengage" show on Manchester's Kiss FM.^[27]

Webcasts[link]

Autechre have streamed exceptionally long live DJ mixes as webcasts to coincide with the release of three albums so far:

• A nearly nine-hour live mix on 10–11 April 2005 (GMT) to coincide with the release of Untilted.
• A twelve-hour live stream on 23–24 February 2008 to coincide with the release of Quaristice.
• A twelve-and-a-half-hour live stream spanning 6pm-6.30am (GMT) on 2–3 March 2010 to coincide with the release of Oversteps.

Titles and artwork[link]

Autechre album and track titles often follow a similar pattern, combining obscure references, acronyms, portmanteau words, unpredictable grammar, and deliberate misspellings. Although their first two albums consisted mainly of track titles with easily recognisable words, such as "Bike" from Incunabula and "Glitch" from Amber, this style morphed gradually, resulting in titles like Quaristice's "90101-5l-l" and "fwzE". However, certain track names, such as "Theme of Sudden Roundabout" from Draft 7.30 (which references a landmark in their hometown of Rochdale), offer listeners some degree of clarity. Their release titles, whether intentionally or not, seem to sometimes reference its placement in the Autechre discography: Incunabula, their full-length debut, takes its title from a Latin word (the plural of incunabulum) which can refer to "the earliest stages or first traces in the development of anything"; Amber, their second album, relates to the second light sequenced in traffic lights; the prefix "tri", meaning third, is present on Tri Repetae, their third album; a simple chiastic phrase has four parts (their fourth album is titled Chiastic Slide); both LP5 and EP7 are self-explanatory; Draft 7.30 apparently refers to the thirtieth edited version of their seventh album; Untilted has eight characters in its title, as well as eight tracks; and Quaristice, their ninth release, features the unusual catalogue number 333, which adds up to nine, a digit which appears frequently in the album's track titles.

Autechre, as with a significant number of Warp Records artists, have long maintained a strong link with Sheffield-based graphic design company The Designers Republic. As a result, Autechre's artwork often echoes the distinctly modern, sharp, occasionally minimal style the studio is renowned for. While often digital and abstract in nature, certain covers feature recognisable themes and imagery, such as the rock formations on Amber, the circle of black paint on Oversteps, and the edited photograph of a Frank Lloyd Wright building on Envane. With the rise of digital downloads as a popular format, Autechre have grasped the chance to produce subtly different artwork for each track on their two most recent albums: all tracks on Quaristice have their own minimal blue, black and white composition of squares; and Oversteps features fourteen black painted circles, one for each of its tracks.

Critical reception[link]

Autechre's music has attracted diverse reactions. Though generally hailed, praise is not universal even within the coterie of artists normally labelled IDM: Aphex Twin, for example, claims that Squarepusher "doesn't like Autechre".^[31] However, Squarepusher has indicated he respects Autechre, and calls their music "smart". ^[32] Opinion has also been divided on the specific qualities of the duo's music. Of LP5, for example, reviewers said both that "all the songs are cut from the same sonic cloth"^[33] and that it was "one of their most diverse ... works to date".^[34]

Autechre are well aware of the incongruous reactions their work elicits, saying that descriptions of their music "usually run contrary to each other"^[35] and that "every time we have an album out, we get conflicting reports".^[6] As with many artists, they have themselves raised questions about their earlier work; Rob Brown mentioned that Incunabula and Amber retrospectively sounded "cheesy" in a 2008 interview with Pitchfork Media prior to the release of Quaristice.^[17]

Discography[link]

Albums[link]

• 1993: Incunabula
• 1994: Amber UK #81
• 1995: Tri Repetae UK #86
• 1997: Chiastic Slide UK #130
• 1998: LP5 UK #135
• 2001: Confield UK #153
• 2003: Draft 7.30 UK #149
• 2005: Untilted UK #199
• 2008: Quaristice UK #148
• 2010: Oversteps UK #124

EPs[link]

• 1991: Lego Feet
• 1994: Anti EP
• 1995: Garbage (combined with Anvil Vapre for Tri Repetae++) UK #138
• 1995: Anvil Vapre (combined with Garbage for Tri Repetae++) UK #102
• 1997: Envane UK #94
• 1997: Cichlisuite (also known as Cichli Suite) UK #127
• 1999: Peel Session UK Budget Albums Chart #2
• 1999: EP7 (CD combining vinyl EPs EP 7.1 and EP 7.2)
• 2001: Peel Session 2
• 2002: Gantz Graf (also released as a DVD) UK #108
• 2003: æ³o & h³æ (2xCD Minimax, collaboration with Hafler Trio)
• 2005: æo³ & ³hæ (2xCD, collaboration with Hafler Trio)
• 2008: Quaristice.Quadrange.ep.ae (digital exclusive 13-track EP bundle)
• 2010: Move of Ten
• 2011: EPs 1991 - 2002 (set of 5 CDs; includes Cavity Job, which is released on CD for the first time)

Singles, promos, and remixes[link]

• 1991: "Cavity Job" (12" vinyl single limited to 1,000 copies)
• 1994: Basscadet (five remixes – six on vinyl – of "Basscadet" from Incunabula; also known as Basscad) UK #56^[36]
• 1996: "We R Are Why" (12" vinyl promo.)
• 1997: Radio Mix (hour-long DJ remix of own and other artists' tracks)
• 1999: "Splitrmx12" (12" vinyl promo limited to 3,000 copies)
• 2008: "Quaristice (Versions)" (Limited to 1,000 copies, contains remixes of 11 Quaristice tracks)
• 2008: Digital Exclusive (3-track EP available only in the Japanese iTunes Store)

See also[link]

• Warp Records
• Gescom
• Skam Records

References[link]

External links[link]

Mainstream references[link]

• Autechre at Allmusic
• Autechre discography at Discogs
• Autechre discography at MusicBrainz
• Autechre at Warp Records

Interviews and other[link]

• Autechre interview with Sound on Sound (April 2004)
• Rob Brown interview with BBC Collective (April 2005)
• Sean Booth interview with KultureFlash (April 2005)
• Sean Booth interview with Cyclic Defrost (May 2005)
• Rob Brown Interview about Quaristice with Barcode Magazine (January 2008)
• Interview with Sean Booth in The List
• Autechre, "Oversteps" by Billboard

Chris Cunningham is a British music video film director and video artist. He was born in Reading, Berkshire in 1970 and grew up in Lakenheath, Suffolk.

The video collection The Work of Director Chris Cunningham was released in November 2004 as part of the Directors Label set. This DVD includes selected highlights from 1995–2000.

Early work[link]

After seeing Cunningham's work on the 1994 film version of Judge Dredd, Stanley Kubrick head-hunted Cunningham^[1] to design and supervise animatronic tests of the central robot child character in his version of the film A.I. Cunningham worked for over a year on the film A.I., before leaving to pursue a career as a director.

Earlier work in film included model making, prosthetic make-up and concept illustrations for Hardware and Dust Devil with director Richard Stanley, as well as Nightbreed. In 1990–1992 he contributed the occasional cover painting and strip for Judge Dredd Megazine, working under the pseudonym Chris Halls, the surname of his stepfather.^[2]

Music videos[link]

Cunningham has had close ties to Warp Records since his first production for Autechre. Videos for Aphex Twin's "Come to Daddy" and "Windowlicker" are perhaps his best known. His video for Björk's "All Is Full of Love" won multiple awards, including an MTV music video award for Breakthrough Video and was nominated for a Grammy for Best Short Form Music Video. It was also the first ever music video to win a Gold Pencil at the D&AD Awards. It can still be seen at the Museum of Modern Art in New York. His video for Aphex Twin's "Windowlicker" was nominated for the "Best Video" award at the Brit Awards 2000. He also directed Madonna's "Frozen" video which became an international hit and won the award for Best Special Effects at the 1998 MTV Music Video Awards.

Video art[link]

His video installation Flex was first shown in 2000 at the Royal Academy of Arts, and subsequently at the Anthony d'Offay Gallery and other art galleries. Flex was commissioned by the Anthony d'Offay Gallery for the Apocalypse: Beauty & Horror in Contemporary Art exhibition curated by Norman Rosenthal and Max Wigram at the Royal Academy of Arts in 2000.

The Anthony d'Offay Gallery also commissioned Monkey Drummer, a 2½ minute piece intended for exhibition as a companion to Flex at the 2000 Apocalypse exhibition at the Royal Academy of Arts, however the piece was not finished in time. In it an automaton with nine appendages and the head of a monkey plays the drums to "Mt Saint Michel + Saint Michaels Mount", the 10th track on Aphex Twin's 2001 album drukqs. Monkey Drummer debuted as part of Cunningham's installation at the 49th International Exhibition of Art at the 2001 Venice Biennale, which consisted of a loop of Monkey Drummer, Flex, and his video for Björk's "All Is Full of Love".^[3]

In 2007, an excerpt from Flex was shown in the Barbican's exhibition Seduced: Art and Sex from Antiquity to Now curated by Martin Kemp, Marina Wallace and Joanne Bernstein. alongside other pieces by Bacon, Klimt, Rembrandt, Rodin and Picasso.^[4]

Short films[link]

In 2005, Cunningham released the short film Rubber Johnny as a DVD accompanied by a book of photographs and drawings. Rubber Johnny, a six-minute experimental short film cut to a soundtrack by Aphex Twin, remixed by Cunningham was shot between 2001 and 2004. Shot on DV night-vision, it was made in Cunningham's own time as a home movie of sorts, and took three and half years of weekends to complete. The Telegraph called it "like a Looney Tunes short for a generation raised on video nasties and rave music".^[5]