Autechre – Anti

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It’s an interesting and important record, but that’s where the fun stuff ends. Autechre already got a massive discography, too. So if you’re just here exploring Electronic Music and What It Means, read about the Criminal Justice Bill and maybe listen to “Flutter”. The Prodigy and Orbital also addressed this topic, and the worst thing about it was that the Prodigy’s song somehow didn’t launch Pop Will Eat Itself to national recognition.

Then again, many people describe Autechre’s later works as inaccessible and their early work as sublime. To me, the less traditional Autechre are, the more interesting and listenable they are. Their music contains no recognizable human emotions. I remember “Clipper” working especially well because I was tired of feeling like a human. I wanted something that sounded born of machinery, but not the machinery representing human flaws, like Front Line Assembly does. Autechre’s music, at their best, paint a world of only abstract shapes and no humans.

Of course they have no business doing Dance music. I have no idea what people are talking about when they mention that the first two tracks are club-friendly. “Lost” has echoing drums that sound more full of distress than fun. Dance music can be aggressive or anxious or angry, but it’s about release and immediacy. Autechre never actually create a groove. Their music is too detached and scared of human emotions for this. “Lost” doesn’t actually sound like a club track to me, but like the repetitive thoughts of a wallflower with a bad case of social anxiety. It acknowledges people dance, but if it’ll try it will just kill the fun.

The other two are glorified demo tracks of Confield. It sounds lazy now, but this was released around the worst era of Autechre, before they got weird. These beats are more dynamic and right when you think repetitions sets in, it changes. It’s a clever trick that may be able to fool the cops, but what else is there? The sounds themselves – what Autechre does best – aren’t interesting. “Flutter”‘s beat is more skitterish and complex, but in IDM tracks need a wider difference than this. You got a gigantic sound palette and can do anything, especially when you eschew repetition. Instead, it sounds like one gigantic track that occasionally changes the rhythm.

As a political statement, perhaps it works. Perhaps a musicologist was present when “Flutter” played at a party when the cops came and explained everything. Although if anyone actually plays Autechre at a party, what you need to send is an anthropologist. He’d probably be bored though, since the music on Anti is stereotypical IDM. It’s not danceable, it has some kind of creepy, detached atmosphere and it goes on for way long because it has a lot of ‘tiny details’. Normally, I love this stuff but why would I choose any of these tracks over “Pen Expers”? That one both sounds weird, has no consistent rhythm and is actually quite a banger.

Maybe the whole Criminal Justice Bill protest thing was just an excuse to release a bunch of demos.

1.5 illegal raves out of 5

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Rihanna – Anti

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Rihanna wasn’t supposed to last this long. She’s talented and charismatic, but not enough. Her voice sounds unique now only because we’ve heard it in a dozen songs. She doesn’t have the iimmediatepersonas of other artists like Carly Rae or Melanie Martinez or Lana Del Rey. She always had good hooks and connections with famous DJ’s. That’s why so later in her career she could still make a crappy song like “We Found Love” a hit.

Her best songs were never creative. She just had good vocals and hooks. What makes Anti sounds so weird at first is because there was no build up to such an album. There was nothing weird or wild about Rihanna. She was always a conformist, so much so that she pretend to be a tough rapper on “Bitch Better Have My Money”. Even Bieber’s move to AltR&B makes more sense. He was huge. Rihanna doesn’t feel as huge as him, but just a talented vocalist with good hooks.

As brave as this album is, it’s misguided and pointless at the end. For a while I was sure it was incomplete, with the accidental leak at all. It takes a while until you realize “Kiss It Better” is pretty good. “Consideration” and “James Joint” are interludes which feel more like B-Sides recorded for the heck of it, just to try it. The pounding drums of the first track are interesting, but the novelty wears off quickly. There’s not much there besides Rihanna telling us she’s independent and we should respect her for who she is.

Who is she, though? When you adopt cliches that tell me you’re artistic, how artistic and original are you, anyway? Bieber didn’t just adopt the atmospherics of AltR&B. He experimented with it, putting the stripped-down “Love Yourself” right next to the moombahton of “Sorry”.

Anti is artistic and experimental in a predictable way. Instead of adding new things, it just removes club-friendly beats for ‘atmospheric and minimalist’ beats’. Instead of hooks, we get vocal acrobatics. Just because these things aren’t so radio-friendly doesn’t make them good.

These elements aren’t supposed to make your record inaccessible, anyway. Anyone who thinks experimental music is meant to be difficult on purpose never heard great experimental music. Experimental music ism’t merely different, but it find a way to make its difficulty and oddness enjoyable. Experimental music isn’t so much about ‘being difficult’, but about finding new ways to enjoy music.

Rihanna can’t find something to replace her club-bangers with. The last three tracks are all a throwback to ‘Good Ol’ Soul Music’ with vocal acrobatics. It’s just an obvious attempt to cater to ‘serious listeners’, sort of like how “Titanium” was for a while the only acceptable EDM song. What’s their point, though, besides being a throwback? Can’t I just listen to “Good Ol’ Soul Music” instead of Rihanna’s copy? Just compare “Never Ending” to “Stay”. The former is ‘stripped down’ by only having an acoustic guitar doing something in the background, and Rihanna doesn’t sound interesting. She just sounds serious.

Seriousness is another problem. A common misconception is that ‘quality music’ is always serious. It’s the sort of stupidity you expect from young people who just discovered guitars. Rihanna thinks that by never having fun we will respect her, but all it makes is for a joyless, boring album. The best tracks here are the most fun. The guitar of “Kiss It Better” and the bravado of “Desperado” are a lot of fun. Both are progress. They take the toughness of Rihanna and put it in a more melodic, soulful direction. It’s this mix of soulfulness and aggression which makes it genuinaly experimental, weird but fun.

You can imagine Rihanna in the studio, scowling like a character from Texhnolyze writing off ideas. A producer suggests bass wobbles there. Another one points out to Korn’s remix of “Bitch Better” and suggests adding a metalcore breakdown. Another one thinks that maybe she should try to rip off Black Moth Super Rainbow. “No,” Rihanna says. She’s a serious artists now, so we must not do something too crazy. Let’s just make everything vaguely atmospheric using a lot of small sounds and sings low-key. Let’s make none of the songs stick out, because serious artists make albums and not songs.

Too bad Korn’s addition of guitars to “Bitch Better” is wilder than everything here. Even if you take an album-centric approach, you still need songs that make the album worthwhile. I could enjoy an album full of “Kiss It Better”‘s and “Desperado”‘s. They may not be big singles, but they sound like complete songs with hooks. “Yeah, I Said It” just sounds like a collection of pseudo-atmospheric sounds and vocals. It’s almost a parody of alternative R&B.

Or maybe Rihanna just smoke a lot of weed and the whole album is meant to be enjoyed in a drug-induced haze. There are a lot of psychedelic albums that are very enjoyable without drugs, so I don’t see how it is a defense.

Anti is an important album, but only the surface. Rihanna officially becomes a ‘serious artist’ in the worst ways possible. It’s serious, uses the most predictable techniques to inform you it’s artistic but doesn’t contain an actual novel idea or weird. It doesn’t really challenge you or startle. It’s just boring and joyless most of the time. Rihanna could make a great album if she looked to “Desperado” but here, it’s mostly just posturing.

2 bitches who owe Rihanna money out of 5