- Artist: Autechre
- Released: 1994 on Warp Records
- Genre: IDM
Where I live in Singapore (ha, ha), there’s this particular road in Malaysia that serves as the perfect place to listen to Amber in the car, which starts from the Tuas car checkpoint and begins again from the Malaysian side, through the Batu Pahat checkpoint. This is an inconvenient detour from where I reside, and we undertake this 30+ km detour only when the damned Causeway is jammed to the brim with cars.
There’s nary a single soul in sight, with lush forests full of deciduous trees lining the long, snaking road that has been fenced up to prevent unsavoury types from entering the area. This road is the most tranquil of places, but there’s an current of unease trickling in the background. It’s the weirdest feeling ever: an uncomfortable juxtaposition of the proverbial oasis of calm, with the wire fences that serve as a reminder of your presence in a restricted area.
So what do I do? I put on Amber, and snuggle comfortably in the backseat. I love the weird spacey, blissed-out vibes that Amber radiates in spades. It’s the most surreal experience ever. You’re half expecting someone to run out on the road but nobody appears. Even the shophouses to the right of the road are closed. How the fuck are shops closed in the daytime? It’s an apt avenue down H.G Wells, so I always imagine that the area has been evacuated in the light of an impending alien invasion. If you could see what I saw, you might have agreed with me anyway.
Album opener Foil sounds like aliens have beamed themselves down from their 60’s themed spaceships and Piezo is one of my favourites, where you get this quirky, bursting pogo-ing rhythm and a haunting synth floating somberly in the back. It’s like having a rave at the bleakest of funerals. Nine shimmers with an unfathomable beauty, with the keyboards unfolding their wings and pulsing like radars, spreading their indecipherable signals to the listener. Underneath it all, there’s this underground battle; a tug-of-war between harmonious melody and jerky, syncopated rhythm. It’s an essential pivot of Amber, which was probably why it appealed to me so much. I’ve tried listening to it in other places, but nowhere beats the surrealism of the fenced forests and deserted road.