Their intentions were clearer on 1994’s Amber, where they stopped to turn over and inspect slices of industrial dub.
What makes Amber fascinating to revisit decades on is to hear vestigial organs and sonic cul-de-sacs that Autechre would bin almost immediately after.
The group began slowly, with smart if unexciting ambient watercolors on Incunabula and Amber that give no indication of the innovations to follow.
“Amber” has some cleaner production than the duo’s debut, even if the overall project isn’t all that innovative.