Autechre – Tri Repetae

tri

 

Autechre finally comes to resemble their form. Considering how long their career has lasted, there is no ‘final form’ to Autechre but this is one of the essential steps, one that sounds less like progression more like a discovery of a new way of making and listening to music. It must’ve been impressive when it was released, helping to define IDM. Nowadays it still sounds important, but importance doesn’t equal good music. Important records are good for a spin. Good music is still good after you’re dead.

That’s the big problem with this album. Most of the good things about it is how it helps you understand the genre IDM better, yet not much here stands on its own. IDM is a useful term for music that’s all over the place. Some of it consists of drums without rhythm clashing against one another. Some of it is pure, fragile melody. Some of it is both of these at the same time, yet the label is still useful. Yes, how you listen to music defines how you judge it. A lot of Brostep tracks sounded much better once I went to a club.

At its best, this album helps you see a vision of IDM that’s not purely ambient and not purely experimental, but somewhere in between. Autechre use both melodies and steady beats to create something else, only what this ‘something else’ is supposed to be, and what good is it, isn’t clear.

They seem to try to paint a picture of a cold universe, one where there are only machines who can only calculate and produce. Imagine a technological utopia only without humans. Cars drive from place to place. Assembly lines move. Listen to “Clipper”, and you can see the office opening up in front of you. Printers print and calculations are being made, yet there are no humans.

It’s not a cold, hostile universe. It’s not a utopia either, but something in between, a weird middle ground. If people say the music is emotion-less and for machines, they use it in a very specific meaning. Autechre aren’t without passion, but rather music expresses a character of a machine with no emotions and no hostility. While Electro-Industrial bands painted the machine as directly connected to humanity, either stomping on it or a result of our flaws, Autechre imagine the machines without the human observer.

Why would anyone want to listen to such a thing though, especially for around an hour? I remember a specific moment where “Clipper” hit me, a moment where that song was perfect for. Such moments are rare. I was young and had trouble with the new found emotions of love towards women – who would’ve known – and that song felt like an escape. It was a world so far from the human experience that it gave me a respite from this annoying and all-too-human emotional turmoil.

Moments like these are rare. Rarely did it happen that I needed or could disconnect completely from the human experience. Even if I wanted to, most of this album doesn’t have this effect. “Clipper” rarely does, even if it still remains a beautiful piece. The vibe of this album is too distant from human experience, too robotic for it to be interesting.

Such complains have been raised against later Autechre albums, but these are at least weird. Here Autechre are so perfectly ordered there is nothing to look at. It’s the aural equivalent of looking at your fax machine. Translating it to music is interesting for the sake of experimentation, but not much beyond that. The old cliche of elements colliding and erasing each other appears here yet again. The beats are too hard for the melodies to shine, but the beats aren’t hard enough to dance to. Everything about this album is middle-of-the-road.

Still, it’s Autechre we’re talking about and there are roots of their brilliant sound design they’ll develop later. There’s also the charm of knowing that they never made something like this. Everything else is either too ambient or too glitchy. “Clipper” has been mentioned already, but it’s the highlight – capturing the album’s aim so perfectly, it’s partly the reason why everything else sounds pointless. “C/Pach” and “Eutow” are more danceable and sound like they might fit in a DJ set, although you may need to adjust the bass a little. “Overand” is the purely melodic one of the bunch and stands out without the concept. Everything else is impressive technically, but is interesting only at the beginning and the end.

Listen to this once to understand IDM and Autechre. They deserve all the praise they get. Autechre are truly one of a kind and are worth putting effort to understand them. Yet this record is only worth a single spin or so. Spend the rest of your time on later records, where the ordinary world of clanging machines became an adventure.

2 repetitions out of 5

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