Autechre

Like Aphex Twin, Autechre were about as close to being experimental-techno superstars as the tenets of their genre and the limitations of their audience allowed. Through a series of full-length works and a smattering of EPs on Warp, Clear, and their own Skam label, Autechre consistently garnered the praise of press and public alike. Unlike many of their more club-bound colleagues, however, Autechre's Sean Booth and Rob Brown had roots planted firmly in American electro, and though the more mood-based, sharply digital texture of their update seemed to speak otherwise, it was through early 12"s like Egyptian Lover's "Egypt, Egypt," Grandmaster Flash's "Scorpio," and "Pretty" Tony Butler's "Get Some" that their combined aesthetic began to form.
Booth and Brown met through a mutual friend, trading junked-up pause-button mixtapes of their favorite singles back and forth. Happening onto some bargain-basement analog gear through questionable circumstances, the pair began experimenting with their own music before they were out of high school. After some disastrous experiences with a few small labels, the pair sent a tape off to Warp Records, whose early releases by Sweet Exorcist, Nightmares on Wax, and B12 were announcing a new age in U.K.-based techno (and one in which Autechre would become a key component). Releasing a handful of early singles through the label, Autechre's first stabs were collected on their debut full-length, Incunabula, as well as the 10" box set remix EP Basscadet.
Subsequent albums reached a wider audience through stateside reissue, first on Wax Trax!/TVT, later on Nothing (the label managed by Nine Inch Nails' Trent Reznor), and finally through a stateside branch of Warp. Although stylistically rooted, affectations for the ponderous extend beyond their name and track titles ("C/Pach," "Bronchusevenmx24"), with the basic premise of their approach being music without a whole lot of stylistic baggage but plenty of DSP'ed-to-death hyper-programming. Later albums like Untilted (2005), Quaristice (2008), and Oversteps (2010) were not as groundbreaking, yet Autechre easily retained one of the most distinctive sounds in the world of electronica.
In addition to Autechre, Booth and Brown released material as Gescom on their own Skam imprint and through the Clear label, most notably the Sounds of Machines Our Parents Used EP on the latter. The group also provided a number of memorable remixes (oftentimes more memorable than the original material) for artists including Palmskin Productions, Slowly, Mike Ink, DJ Food, Scorn, Skinny Puppy, Tortoise, Phoenecia, Various Artists, and the Black Dog. ~ Sean Cooper, Rovi