Autoclav1.1 ‘ten.one.point.one‘ Album Review

Legacy Future quickly documents 10 years of music created by Autoclav1.1 and give a listen to the new 10 year anniversary album titled “Ten.one.point.one” (set to be released in June the 24th) which proves that things only get better with age.

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Autoclav1.1 ‘ten.one.point.one‘ Album Cover

Autoclav1.1 is the brainchild of Tony Young, an authentic IDM/Experimental enthusiast who made his very first steps in the scene through his contribution in various music outlets as well as the release of his own fanzine “Black Harvest”. For those who knew Tony, it was only a matter of time before he would step up more actively in the music scene and start releasing his own work, you wouldn’t expect anything less from a person who dedicates most of his time to music either as a writer or a DJ.

It was sometime in 2004 when Autoclav1.1 took their official form and released their first two EPs: “Indedible” and “No Protocol” through Diskus Fonografika Mexicana. I was one of the first reviewers who listened to the CD, a blend of samples and experimental noise, definitely primitive and not something that would appeal to the average listener’s taste. Noone – myself included – could possibly imagine how Autoclav1.1 would evolve through the years with nine full length albums, numerous guest appearances and live shows but I knew the talent was there, hence their success to me was no surprise. It was only a year later where the very first album titled “You are my all and more” was released via Crunchpod, an album that brought Autoclav’s first live appearance in Infest 2005. “You are my all and more” still had some noise and break beat moments in it but you could already sense atmospheric and emotional pads as well as some very expressive pianos, soon to become the band’s benchmark. The year after found the label releasing “Visitor Attractions” under the same label, a collection of songs, collaborations from bands such as Pneumatic Detach, It-Clings and Unter Null and remixes from Stendeck, Detritus and Displacer, before signining with Tympanic Audio in 2007 bringing to life some of the best releases to date such as “Love no Longer Lives Here“, “All Standing Room In The Goodnight Saloon” & “Portents Call” ‎to name a few.

Autoclav1.1 “ten.one.point.one” album review

autoclav1.1-tenpointoneAfter ten years of composing, it’s hard to know what to expect from the next release. Will Tony Young release an anniversary album which would highlight musical sounds and moments of his already established sound’s arsenal (which is what you would expect from a ten year band really) or would he treat this as an opportunity to evolve further and move on to his next step (to his evolving music progress) leaving the anniversary emotions aside? The answer to this is Yes and No (as far as the emotional side is concerned).

Hold your breath as “ten.one.point.one” not only moves a step forward, but also introduces some new elements never heard before in Autoclav1.1’s previous releases. Under WTII Records umbrella – a fine fit as Tony has been a big supporter of the label since inception – “ten.one.point.one” enters a more experimental and sophisticated electro era, where despite the familiar atmospheres, pads, piano and electronics, we observe a much more intense songwritting with elements such as break beats, dub, dark ambient, orchestral element and a modernisation to his electronic taste, elements which are much more present than all previous releases all together. The diversification on the sound arsenal Tony decided to use for his 10th anniversary is definitely expandable and responsible for a new era that seemed to unveil for Autoclav1.1.

The album kicks off with “16a” and “In all Guises” , two tracks that bring together old and new elements of the band’s future direction in terms of both sound and composition.  One will immediately notice much more complex drums and beats (these are present throughout the whole album to be fair and not only to these two songs) along with sub-bass, his expressive piano ofcourse (trademark of the band – to me piano was always the “vocal” of Tony’s songs), sampling and low tempo atmospheric pads, until “Waiting room” kicks in where where the pace picks up with high tempo break beats and complex electronics replacing any harmony and melody you listened to so far. All this might sound familiar to you in terms of the band’s sounds. And then…

…and then “Spanner Line”, “Not In service” and “I.D.10.T . Fault” happened.

The reason I mentioned these three songs together is because there seems to be a great consistency between them, as if they are chapters of the same story (like the ones in concept albums) and this is not due to a similar chorus, or a theme the songs are based on, since we have the presentation of new rhythms and elements under very intense tempo changes – literaly you will be blown away, completely. These new sounds have never been used on any autoclav1.1 release before, nothing sound wise reminded me here of past releases, its like I am listening to a new band all over again. I’m still not sure how this “storyline” experience came about. Maybe it’s the fact that all these songs fucked up my subconscious for good and I’ve been left reeling. Either way, I guarantee you’ll welcome them with equal excitement as I did.

Next song is “Your Face Goes Here” a hypnotic track which sets hairs tingling, the result of precisely arranged dark melodic pads, pianos with wrangled oscillations carrying out, a sensation of nostalgia to take revenge on an act that hasn’t taken place yet; truly a masterpiece and where I feel Autoclav1.1 belongs. The album carries on with three more songs “Ruin my news feed” being by far the most experimental track to date – a perfect mix of huge, visionary, futuristic pads, glitches, dub, basses and pads accompanied with complex beats (it follows a similar concept to the “Not in service” track) before coming to the remaining two tracks  “Crack Towers” and “Everything must go“, the epilogue of a truly amazing release. Overall, I will go against the wave of reviews and classify this as a very dark release. It’s precisely the contrast of aggressiveness, to darkness, to emotional to low tempo and then fast tempo again that makes this album so awesome and full of interesting moments.

Portents call closed an era – “ten.one.point.one” brings a new one! 

These last ten years Tony has come a long way from a very experimental and ambitious stage, to developing an established band with it’s own sound, playstyle and characteristics – although I always had the feeling that he was in total control of process, waiting for the right time to move into transition. The ten year anniversary makes it even greater, as it gives the overall feeling that “we were just getting warming up laddies”. This is maybe the purest example of how an artist starts from zero with a mcd, evolves throughout time, works hard and reaches a level where he/she can eventually state feelings through music the way that was always intended. Buy it without any hesitation.

Pre-Order date 21/05/2014. You can pre-order “ten.one.point.one” here.

DISCLAIMER: This review has been written based on an advance copy of the album provided by the band,which we have been listening for more than two week. Album is set to be released end of June 2014.

Autoclav1.1 ‘ten.one.point.one‘ Album Review was last modified: May 22nd, 2014 by Vassago

Posted on by Vassago in Experimental, I.D.M, Music

About Vassago

Vassago is from Athens, Greece, but spent much of his upbringing in Brussels. Music and computer games are his two biggest passions - he's been an obsessive since the age of five, when he bought his first PC - an MSX Canon. Currently he lives in London where he works as a senior digital analyst and SEO/PPC consultant trying to outwit Google! He has been reviewing albums and conducting interviews and band reviews since the late 90′s, via an Athens-based radio station and through magazines such as Starvox (Retired), GothicTronic American Online (Retired), Chaotika (Retired) and even had his own publication Enochian Apocalypse, which had more than 10.000 registered members over ten years. He has also played bass for a couple of bands and released two electronic soundtrack albums through Hypervoxx/BMI under the name Akron.

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