>>65922053
4 hours of glitchy boop shit

2.5/5

why are you so concerned with RYM? lol

besides is it really so crazy to think that the whole is greater than the sum of its parts? when viewed as one piece it's a super disorienting and overwhelming (in a good way) release, and the variety serves it well.

>>65922325
no its shit

>>65922363
It's actually very good, but alright.

>>65922325
>>65922325
It was a convenient way to make a point, as it does a great job illustrating public opinion. While things can be greater than the sum of their parts, this is just a collection of 5 mediocre EPs.

I actually doubt how often the people praising it actually listen to all of it, especially in situations where it isn't background music.

>>65922389
nope its literally self-indulgent mess only Autechre fans like

OP is a newfag who doesn't listen to much music

>RYM
>AutecSHIT
>ElSHIT

kekeeee

>>65922524
Been here for 6 depressing years, boy.

Autechre are still shit and their fans are still pretentious.

>>65922426
It's not a collection of EPs though, the artists themselves have not classified it as such. They've not really classified it as an album either - it's all super ambiguous, but they could very well expect you to listen to it in one go.

On the mediocre point - that's all very subjective, innit? For me it's a sublime collection of sounds with only a few weak spots (mostly on the second elseq, which does reflect the RYM score). I listen to it quite a bit but that's besides the point as the functionality of a release shouldn't necessarily dictate it's worth.

>>65922448
What about it is a mess?

>>65922524
Autechre fanboy detected.

>>65922582
this

>>65922594
While the mediocre point is subjective, public opinion is swaying towards the fact that each individual part on its own is not worth listening to. This is quite odd considering the same consensus opinion believes that the combination of them is a must listen.

>I listen to it quite a bit but that's besides the point as the functionality of a release shouldn't necessarily dictate it's worth.
This kind of defines my point. While yes there are values more important than functionality, it seems that people see the length and automatically view as progressive and interesting, just because it's long.

While longer albums can be great because they give the artist a bigger slate to draw out their ideas and experiment with the very concept of time in music, but most of the listening community see length as an automatic sign that the release has merit. Especially with electronic music. I think Elseq is clear evidence of this phenomenon.

>>65922582
>>65922692
5 favorite artists

>>65922912
Otomo Yoshide
Toshimaru Nakamura
Keith Rowe
Filament
Rhodri Davies

>>65922722
> it seems that people see the length and automatically view as progressive and interesting, just because it's long.

this is definitely not true. maybe in some cases, but i think with especially long releases they have the likelihood of either succeeding (as in this case) or crashing and burning. plenty of long albums from big artists have been critically rejected because of being a poorly edited, indulgent mess.

exai was described this way when it first came out.

autechre are stockhausen for people too dumb to appreciate stockhausen

>>65922912
Radiohead
Death Grips
MBV
Kanye West
Grimes

>>65922722
>public opinion is swaying towards the fact that each individual part on its own is not worth listening to
I don't really get that at all looking at the scores from the OP if you're familiar with the grading curve that's in place on RYM, though. Anything around 3.30 tends to be viewed as "good" and scores around the 3.50 mark are "very good" - at least this is my reading. Only 2 has a mediocre score.

>While longer albums can be great because they give the artist a bigger slate to draw out their ideas and experiment with the very concept of time in music, but most of the listening community see length as an automatic sign that the release has merit.
Well, I can't speak for other peoples intentions on whether or not that made them hold this particular album in a higher regard, but I'd say that street goes both ways. Whenever you have a long-form release such as this you get a lot of comments about "self-indulgence" or an inability to edit or lack of quality control - the double album, for example, is often met with reactions of a groaning "oh, here we go..." I don't think it's so clear cut.

Whether the reception is positive or negative usually is dependent on 2 things
1). the length serves a conceptual purpose
2). the album justifies it's length by most the material meeting a certain quality

I'd say elseq meets these criteria (of course the second point is much more subjective) particularly because it does this:

>longer albums can be great because they give the artist a bigger slate to draw out their ideas and experiment with the very concept of time in music

>>65923064
>exai was described this way when it first came out.
Yeah, this is another good point. Exai had a much more mixed reaction because although it was only half the length of elseq, it's management and economy of time (as well as quality control) wasn't as successful.

this album takes the generative music shit that they've been doing since ep7, and actually incorporated live interaction into it rather than just having the procedure run for a while and then editing down the best bits. they're performing, and interacting with each other as humans and as program. kraftwerk just dressed up and pretended to be robots and ppl flip their dicks, these guys are actually becoming musical cyborgs. seems reasonable that some people would be into it.