I don't know how anyone can call this album "engaging." It is almost completely bereft of musical ideas, let alone containing anything engaging. There is just, in my opinion, so little here to enjoy. What I find really fascinating are the reviews for the main album, Quaristice. With each successive Autechre "experiment," people immediately search for links or similarities to albums of yore like Incunabula or Amber. Well, the emperor has no clothes: those links simply do not exist. I don't know what people are hearing, but there is almost nothing they've recorded since 2000 that holds any resemblance whatsoever to those classic recordings. People are either hearing things that aren't there, or they are just trying so very hard to make sense of the mess.

Witness the spectacle of the final track here, "Perlence Subrange 6-36." Obviously we are to take it seriously, since the publisher, Warp, has given it their seal of approval. But instead of a true artistic statement, what we find instead is a monolithic piece of self-indulgence and pretense. Presumably we listen to music because it has the power to move us emotionally. Autechre are simply incapable of doing that anymore -- they are totally and completely uninspired. I frankly cannot see what they are trying to accomplish, other than perhaps fulfillment of a contractual obligation.

When Lou Reed did that with Metal Machine Music, everyone knew it was a joke. But whereas Reed only did it once, Autechre continue to do it. And Warp continues to allow it. It has become difficult with them to determine where the line between human and machine is drawn. Humans make music; machines are simply a vehicle by which it can be done. But such is not the case with this duo. I dare anyone to prove that humans made any of this, that it was not simply programmed randomly, a computer cut loose with the record button "on." With Quadrange, Autechre have finally realized the definition of self-parody.

I'm surprised Pete Namlook would allow something like this on his label. It is tight, focused, mesmerizing, and contains only one track in excess of ten minutes. In short, it is everything that Fax is not.

Black Dust breaks no new ground, per se, but instead is a refinement of the IDM sound developed in the late 1990s. Engaging, spacey melodies float around. The percussion has a generally softer sound, but is varied in detail, moving easily from a laid-back downtempo groove to an intricate breakbeat pattern.

All in all, a strong outing.

Just listened to this for the first time in quite a while and now I know why it's been so long. There are precious few ideas contained over these 35 minutes.

Each track has a hook; don't get me wrong. It's just that the hook is all they've got. Goz Quarter starts out promising with a fast hip-hop beat, but rather quickly devolves into endless repetition. Latent Quarter and Laughing Quarter also have interesting "pseudo-melodies," but are too long and devoid of any soul.

Draun Quarter is the real killer. It has the same framework as the other three tracks: a semblance of tune and the jagged, mechanical Autechre percussion programming. But it's more than TEN MINUTES LONG! It just goes on and on and on and on...around the seven-minute mark I had to give it the axe.

Looking back, this EP marked the beginning of Autechre's adventures down the rabbit hole. What a shame.

Warp's decline has been long and painful, and there are potentially many reasons for this. I see some factors as being beyond their control.

First, their venerable acts have aged. Autechre, Aphex, Plaid and the rest of them aren't 20-something anymore. Consequently, their output quality and quantity have suffered. Most of them either never tour (Boards of Canada) or rarely do (Aphex). A two-day fest in London doesn't count.

Second, the label signed some very questionable acts in the early 2000s. What in the world was Vincent Gallo doing on Warp? Some others seem to be more concerned with their image than music.

Third, the genre that Warp really pioneered (IDM) ran out of steam early in this decade. Autechre in particular spawned countless imitations, none of which ever really improved upon the original formula. The genre is simply a dead end.

Furthermore, check out the number of reissues Warp produces. Everytime I visit their site, there's news about old recordings being republished. That's when you know you're through.

This is an *excellent* remix -- perhaps the best example of Jellybean Benitez's work. I bought this when I was six or seven years old at an indie record store in my hometown. Although it probably does sound a little dated, it holds up pretty well in 2005, and that's saying a lot for Hall & Oates.

Anyway, the "Special Extended Dance Mix" is quite similar to the video version of the song and includes that awesome sax solo -- which wasn't in the actual single or album version. Easily a high point of both Hall & Oates and Jellybean's career.

"Mwandishi" is perhaps Herbie Hancock's best fusion album prior to "Head Hunters."

Although he didn't play on "Bitches Brew" in 1969, Hancock was obviously very influenced by that album. Ostinato is a straight-ahead uptempo exploration of the remnants of Bitches Brew. It is clearly a response to that monster fusion album's animalistic, chaotic nature. But it's more accessible than almost anything on there. It's got a bit of the funk that Miles Davis searched for and ultimately found, but years later. I believe the track is in 15/8 (at least for most of it -- can some verify this?) This track rewards repeated listenings, and debuts the beautiful Fender Rhodes sound that Hancock would exploit for the rest of the decade.

"You'll Know When You Get There." Perhaps Herbie was giving Miles a bit of advice here -- straighten up and fly right. This is a jazzier, quieter piece, but is just as complex as the opener. It foreshadows later ballads like "Butterfly" (from "Thrust") and "Bubbles" (from "Man-Child"). Excellent.

"Wandering Spirit Song" is a 20-minute introspection piece. It transitions so well from the previous track, you may not even notice when it starts. This song recalls Wayne Shorter's "Sanctuary" from Bitches Brew. More echoes of the Rhodes sparkle around the stereo field while trombonist Julian Priester quietly solos in the left channel.

This album is much more listenable than its successor ("Crossings") and way more interesting than that album's successor ("Sextant"). It would take Hancock another three years before recording the classic Head Hunters. This album laid the groundwork for that outing much more clearly than either of his next two albums. I've found it much more enjoyable than either of those, and will continue to listen to Mwandishi much more.

Garbage is perhaps the only overrated early Autechre recordings. "Vletrmx21" is widely said to be the group's best track, but I found it too repetitive -- and not enough ideas. But it does have a huge, majestic, glorious sound; it's what I think could be the music that's played when you enter heaven. Still, Autechre has produced vastly superior tracks.

That said, tracks one and three are the best here. "Garbagemx36" is one of Ae's longer pieces. It's a funky tune that represents the first major change in their work. Incunabula and Amber could be thought of as the first chapter in the story of Autechre. The Garbage EP is the first page of chapter two, with its intricately crunchy, pulsating percussion underlining a melancholy, floating melody. It's a formula that would serve Autechre well in the ensuing years, and although they have since moved on, it is still imitated by countless others.

Nineteen ninety-five was an amazing year for Autechre, in which they seriously laid groundwork for what is now called IDM. This EP is one of the first shots fired in that movement.

Gantz Graf is the latest document proving that, cliche as it may be, Autechre are indeed pioneers of electronica. Since 1998 or so, rhythms have been the focus of their compositions. This EP, especially the last two tracks, really showcases their skills in creating bewilderingly complex, yet somehow funky rhythms.

They are still moving forward with their music...but just barely. With each successive release, they almost seem more set in their ways. Perhaps this EP is a foreshadow of an album to come. Only then will we see if Autechre is still as cutting edge as they once were.

Gantz Graf is recommended as a funky, listenable EP, but does not contain any real eye-openers or clues as to what may come next.

Globe199

I found the limited edition to be mainly useless and a waste of money. The pictures are just plain dumb and the page that holds the CD looks like it would easily scratch the disc. I recommend getting the "normal" edition and saving $7-8. The music's the same.

The first Bola recording in almost two years. His last EP was Mauver, which was a rapid depature from the classic album Soup (late 1998). This new 7-inch is a bit more consistent than Mauver, but just as aggressive. The first track to me sounds like something from a movie. It belongs in an action scene, with its signature Bola wistful string melody and hard-hitting percussion. Track two is a bit more relaxed, but just as abstract as the first. Once again, Bola proves himself to be at the forefront of IDM. He remains a very dependent fixture on Skam. My only complaint is that it's been over three years since his last full album. More please!

Globe199