https://bocpages.org/w/api.php?action=feedcontributions&user=70.94.5.101&feedformat=atombocpages - the unofficial Boards of Canada fan wiki - User contributions [en]2024-03-29T05:51:43ZUser contributionsMediaWiki 1.28.0https://bocpages.org/w/index.php?title=Boards_of_Canada&diff=5860Boards of Canada2008-11-01T14:09:37Z<p>70.94.5.101: Text replace - 'name1' to 'name'</p>
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<div>Boards of Canada are a Scottish electronic music group. At present, the band composes the brothers [[Michael Sandison]] and [[Marcus Eoin Sandison]], although there have been as many as twelve members at one point.<br />
<br />
The Sandison brothers were both born in Scotland, but moved to Canada at an early age. <br />
It's arguable that without this move, Boards of Canada would not exist; the sense of displacement and nostalgia in the music that seems to be mentioned in every review, and obviously the band's namesake, the [[National Film Board of Canada]] all seem to hark back to a period in the late seventies and early eighties when there were psychedelic videos on [[Sesame Street]], and a cold war was looming.<br />
<br />
At present, the duo live in Scotland again, working out of the [[Hexagon Sun]] Studio.<br />
<br />
== Family relation ==<br />
Before their [[Interviews#2005-09-26:_Pitchfork|2005 interview with Pitchfork]], Michael and Marcus were seen as just two friends with a mutual appreciation for music and the art of music creation. They had often talked about their youth together, creating ramshackle musical projects with buddies and by themselves and how they met at a young age. However, during an interview (see above) with Pitchfork Media, they revealed that they both are infact brothers. The reason behind hiding this fact was that they did not want to be seen as just another brotherly-owned electronic band. An example of this was Orbital, another influential electronic band powered by Paul and Phil Hartnoll.<br />
<br />
In light of their brotherhood, it has often been assumed that Eoin is Marcus's middle name and that his full name should be "Marcus Eoin Sandison". However, this is purely conjecture; there is no known evidence supporting it. It is not unknown for two brothers to have different last names; for example, they may be half-brothers, each with a different father and hence a different family name.<br />
<br />
Regardless of whether "Marcus Eoin Sandison" is his full name, he has consistently used the name "Marcus Eoin" on all known Boards of Canada releases, including the ''[[Trans Canada Highway]]'' EP that was issued well after the Pitchfork interview was published.<br />
<br />
== Recording history, commercially known work ==<br />
<br />
Boards of Canada's commercially known and full-length discography begins with their smash-hit album ''[[Music Has the Right to Children]]''. Being dubbed one of the greatest creations in electronic music history, ''Music Has the Right to Children'' introduced many to Boards of Canada and left awful big shoes for the duo to fill for their next album. During the time between ''Music Has the Right to Children'' and ''[[In a Beautiful Place Out in the Country]]'', there was an EP named ''[[Peel Session]]''. It was a recording of the broadcast on BBC Radio 1 on July 21, 1998 and was released on It was released on January 11, 1999. Two years after their first full-length album was released, they shipped out ''In a Beautiful Place Out in the Country''. ''In a Beautiful Place Out in the Country'' was a four track EP that first made mention of the mysterious Branch Davidian group that Boards of Canada are so fond of remarking upon in their songs and albums. Two of its songs have to do with the group. The duos next release, on February 18, 2002, was the fascinating ''[[Geogaddi]]''. ''Geogaddi's'' stellar kaleidoscopic art work laviously coats the album cover on all of the versions but its truely magnificent on the triple vinyl set. Within the gatefold package is three sleeves with an array of hexagonally-styled artwork with different images each side. Many would agree that this is what twelve inches of free space is really for.<br />
<br />
Interestingly ''Geogaddi'' was not a fan favorite from the beginning. With many still hung onto ''Music Has the Right to Children'', reviews looked down on Michael and Marcus' sophomore album as "under-produced" or not as good as their last album. Despite this, the album has mystified listeners with its large amounts of hidden details, subtle hints towards cosmic entities and kaleidoscopic imagery, ''Geogaddi'' is now held as one of the duos best albums to date, auditorially and visually. Jump a couple years into the future to 2005 where Boards of Canada finally released their first album in three years. ''[[The Campfire Headphase]]'' made two milestones: it incorporated guitars and lacked the trademark laughter. Instead of kids playing and laughing and educational tunes chiming there was the sound of an untuned, poorly-kempt guitar to create a totally new sound for Boards of Canada. Some welcomed this change, while others disagreed with it, citing the difference between this and their early, "better" work.<br />
<br />
== Pre-commercially known work ==<br />
<br />
Besides their successful full-length albums, Boards of Canada also have an extensive list of early work. The assorted creations date back to the 1980s and most information regarding them is widely available. This includes album artwork and titles, song lengths and times and so on. Although at present most of this work has never been released to the general public and may never be heard by people other than the brothers friends and family. However, there has been rumors that they actually may release a boxset with their earlier work in it but this is all purely skeptical.<br />
<br />
Possibly the most well known early album was ''[[Twoism]]''. An album with a strong fan following, ''Twoism'' was the reason the duo received their record deal. Sean Booth, from Autechre, brought ''Twoism'' to the attention of Skam Records president Andy Maddocks and it took off from there.<br />
<br />
== Lyrics, garbled speech and sounds ==<br />
<br />
Boards of Canada utilize many tricks and sounds during the creation of their albums. Most of the assorted sounds used went on later to become trademarks of the band and give them reason for their "nostalgic" label. They also use many lyrics in their albums ranging from one-liners to full paragraphs. Most of their speech bits are words that are simple or things you would hear in movies literally. But most of the other lyrics are equally as garbled, cut-up, destroyed, mixed or reversed.<br />
<br />
One of the more prominant methods in the production of their albums is making them sound as if they came right off an old educational program from the 1970s. Being born during the early '70s and growing up on its shows, Michael and Marcus delight in bringing back old memories with imitating the faint, childish and artificial sounds of the time.<br />
<br />
[[List of samples used by Boards of Canada]]<br />
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== Live sets ==<br />
<br />
As a band, Michael and Marcus have only played a handful of live shows. But what makes these shows so special is that besides playing original, well-loved songs, they often also play never before heard, unnamed songs. Some of their most fascinating and finest songs are played during these live shows.<br />
<br />
The show with the largest amount of unreleased work is their 2001 performance during [[All Tomorrow's Parties]]. Encompassing five unknown songs and seven known, this collection displays what Boards of Canada really has in their unreleased music rack.<br />
<br />
== Musical Influences ==<br />
<br />
In interviews, Boards of Canada have identified numerous artists who have had an effect upon their work:<br />
<br />
* Beach Boys<br />
* The Beatles<br />
* Walter/Wendy Carlos<br />
* Cocteau Twins<br />
* Julian Cope<br />
* Consolidated<br />
* DAF<br />
* Devo<br />
* Front 242<br />
* The Incredible String Band<br />
* Meat Beat Manifesto<br />
* Joni Mitchell<br />
* My Bloody Valentine<br />
* Nitzer Ebb<br />
* Siouxsie and the Banshees<br />
* Jeff Wayne<br />
* The "Picnic at Hanging Rock" soundtrack<br />
<br />
== Discography ==<br />
<br />
See ''[[Discography]]''<br />
<br />
== Interviews==<br />
<br />
See ''[[Interviews]]''<br />
<br />
== Videos ==<br />
<br />
See ''[[Videos]]''<br />
<br />
== Related pages ==<br />
<br />
* ''[[EHX]]'' -- Electronic Audio Artform in The Capital, website by ''[[The Cosmic Crofter]]''<br />
* ''[[Equipment]]''<br />
* ''[[Statements from Hexagon_Sun]]'' -- From time to time, certain trusted representatives of Hexagon Sun post comments on various message boards.<br />
* ''[[IDM mailing list]]''<br />
* ''[[RedMoon]]'' -- A timeline of events<br />
* ''[[The Cosmic Crofter]]'' -- The webmaster of the ''[[EHX]]'' website, home to the earliest Boards of Canada web page.<br />
* ''[[Trans Canada Highway Microsite]]''<br />
* ''[[Yahoo! group]]''<br />
* ''[[Boards of Canada's Favorite Films]]</div>70.94.5.101https://bocpages.org/w/index.php?title=Boc_Maxima_(release)&diff=5859Boc Maxima (release)2008-11-01T14:09:36Z<p>70.94.5.101: Text replace - 'name1' to 'name'</p>
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<div>{{Infobox Release|<br />
| cover=BOC-album-04.jpg<br />
| name=Boc Maxima<br />
| release_date=1996<br />
| format=Cassette <br> CD<br />
| label=Music70<br />
| catno=THS017<br />
| runtime=64:38<br />
}} <br />
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Limited to fifty copies, pressed on both mc (?) and cd formats, the tracks on [[Boards of Canada|BoC]] Maxima range from previously released material to songs which to this day have yet to see wide re-release. Many of the tracks featured on this disc would later be chosen for the track listing of [[Music Has The Right To Children]], though with some differences (notably on [[One Very Important Thought]].)<br />
<br />
This release was broadcasted in full on France's [[Helter Skelter (radio programme)|Helter Skelter's radio programme]] in 2002. <br />
<br />
[[Wildlife Analysis]], [[Boc Maxima]], [[Roygbiv]], [[Turquoise Hexagon Sun]] and [[One Very Important Thought]] later appeared on [[Music Has the Right to Children]]. [[Everything You Do Is a Balloon]], [[June 9th]], [[Nlogax]] and [[Turquoise Hexagon Sun]] also appear on [[Hi Scores (release)|Hi Scores]]'. [[Rodox Video]], [[Nova Scotia Robots]], [[Skimming Stones]], [[Carcan]], [[M9]] and [[Original Nlogax]] appeared on [[A Few Old Tunes]] (albeit in slightly different forms). A longer version of [[Chinook]] appears on the [[Aquarius (release)|Aquarius]] single.<br />
<br />
At 5:17, the version of Sixtyniner that appears is shorter than the version on the original [[Twoism (release)|Twoism]] release. However, when [[Twoism (release)|Twoism]] was publicly released in 2002, this 5:17 version was used instead.<br />
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As of 2008, [[Niagara]], [[Red Moss]], [[Concourse]] and [[Whitewater]] are exclusive to this release.<br />
<br />
== Tracks ==<br />
<br />
# "[[Wildlife Analysis]]" &ndash; 1:37<br />
# "[[Chinook]]" &ndash; 4:39<br />
# "[[Rodox Video]]" &ndash; 0:33<br />
# "[[Everything You Do Is A Balloon]]" &ndash; 6:58<br />
# "[[Boc Maxima (song)|Boc Maxima]]" &ndash; 1:36<br />
# "[[Roygbiv]]" &ndash; 2:23<br />
# "[[Nova Scotia Robots]]" &ndash; 1:21<br />
# "[[June 9th]]" &ndash; 5:15<br />
# "[[Niagara]]" &ndash; 0:51<br />
# "[[Skimming Stones]]" &ndash; 2:06<br />
# "[[Sixtyniner]]" &ndash; 5:07<br />
# "[[Red Moss]]" &ndash; 6:22<br />
# "[[Concourse]]" &ndash; 1:41<br />
# "[[Carcan]]" &ndash; 1:48<br />
# "[[Nlogax]]" &ndash; 5:12<br />
# "[[M9]]" &ndash; 3:40<br />
# "[[Original Nlogax]]" &ndash; 1:09<br />
# "[[Turquoise Hexagon Sun]]" &ndash; 5:06<br />
# "[[Whitewater]]" &ndash; 6:09<br />
# "[[One Very Important Thought]]" &ndash; 1:05<br />
<br />
[[Category:P2P Release]]<br />
{{Nav-Releases}}</div>70.94.5.101https://bocpages.org/w/index.php?title=Wouldn%27t_You_Like_To_Be_Free&diff=5818Wouldn't You Like To Be Free2008-11-01T13:49:37Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>{{Infobox Song|<br />
| name1=Wouldn't You Like To Be Free<br />
| runtime=5.40<br />
| appearson=[[Play By Numbers]]}} <br />
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{{stub}}<br />
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[[Category: Unreleased tracks]]<br />
[[Category:Play By Numbers tracks]]</div>70.94.5.101https://bocpages.org/w/index.php?title=Wildlife_Analysis&diff=5817Wildlife Analysis2008-11-01T13:49:36Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>{{Infobox Song|<br />
| name1=Wildlife Analysis<br />
| runtime=1:17 ([[Music Has the Right to Children|MHTRTC]]<br>1:37 ([[Boc Maxima]])<br />
| appearson=[[Music Has the Right to Children|MHTRTC]]<br>[[Boc Maxima]]}} <br />
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* [[Boards of Canada]] cite the films of the [[NFB|National Film Boards of Canada]] as a big influence on them when they were younger, musically, and in other ways. Perhaps this explains the love of and respect for nature that seems to come across in the music, and the interest in native American people and their way of life. For example, see the comments on [[Hooper Bay]], [[Chinook]], [[Pete Standing Alone]] and [[Kaini Industries]] in [[Music Has the Right to Children]]. <br />
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[[Category: Released tracks]]<br />
[[Category: Music Has the Right to Children tracks]]<br />
[[Category: Boc Maxima tracks]]<br />
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{{stub}}</div>70.94.5.101https://bocpages.org/w/index.php?title=The_Colour_%26_The_Fire&diff=5792The Colour & The Fire2008-11-01T13:29:40Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>__TOC__<br />
<br />
"[[The Colour & The Fire]]" is a 2000 interview by Steve Nicholls. It originally appeared in ''HMV magazine, February 2002''.<br />
<br />
== Text ==<br />
{{original}}<br />
<br />
[[The Colour & The Fire]]<br />
<br />
As a corollary to Brian Eno's famous rumination on Velvet Underground's first record ("I think everyone who bought one of those 30,000 copies started a band"), it might be time to draw a link between Boards of Canada's seminal 1998 debut Music Has The Right To Children and the reams of nurturing, organic electronic music that have since followed. After a brief survey of the current experimental electronic music scene, it's difficult to make the case that many more are as influential as Boards of Canada.<br />
Perhaps more striking than the advent all this subterranean success is the way in which Marcus Eoin and Michael Sandison have arrived there. Even within comparatively anonymous electronic music circles, Boards of Canada are commonly regarded as nothing short of an enigma, an inscrutable pair who rarely disperse release information, grant interviews or perform live. It is generally accepted that the duo record from a secluded studio nestled somewhere in Scotland's Pentland Hills; we also know that they tend to litter their fiery, kaliedoscopic records with oblique references to various mathematical phenomena, the Branch Dividians and (as their name1 implies) snippets from the curiously gauzy soundtracks that accompany National Film Board Of Canada documentaries circa 1970.<br />
<br />
What follows is the unabridged transcript of a one-pass e-mail interview we recently conducted with Eoin and Sandison, where the refreshingly articulate pair gave us their thoughts on the state of electronic music, eBay bidders, their long-awaited Geogaddi and "cosseted suburban American internet music-pirating kids." Naturally, the honour was all ours:<br />
<br />
{{question|Geogaddi was one of the most highly anticipated electronic records in recent memory. Be honest: were you aware of the pressure?}}<br />
<br />
{{boc|"Mike: We try not to pay attention to it. I think the best music we've made previously was written when there were no expectations on us. So now we just imagine nobody's going to hear it. The moment you start thinking about people waiting for your music, that's when you start damaging your creativity."}}<br />
<br />
{{question|With Music Had The Right To Children, you had the luxury of plucking and/or reworking songs from previous, lesser-heard records. With Geogaddi, you were faced with the prospect of having to fashion a new record from scratch. Did this pose a problem at all?}}<br />
<br />
{{boc|"Mike: Not at all because we recorded a hell of a lot of tracks in that period. The only difficult part was selecting them down to the tracks that worked well together on the record."}}<br />
<br />
{{question|From a stylistic standpoint, there has been a consistency to Boards of Canada's work over the years. The conscious inclusion of certain signature elements (samples of children's voices, specific analog synth sounds, etc.) on Geogaddi implies that you went into this record with the intent to further build on your own established identity as artists. Is that a fair assumption? Is this a difficult thing to do without seeming regressive?}}<br />
<br />
{{boc|"Marcus: I don't think it's as studied as that. We didn't consciously try to use signature sounds, because that's just the way we've always made our music. But I suppose maybe deep down we did want to reinforce the sound of the last album, because it has ended up sounding quite consistent with it. It kind of acts like a partner record to the last one before we do what we do next.}}<br />
<br />
{{question|How do you respond to people who suggest that you didn't explore enough new territory with this record?}}<br />
<br />
{{boc|"Mike: Well that's up to them. It's not meant to be a record that everyone will like. We didn't feel any need to change after only one previous album. It's our sound!...We love our music and we only expect a few people to click with it like we do. We see Boards of Canada as being as much about what we don't do as what we do, if you see what I mean. We're used to recording a lot of different music that never gets released. I guess we wanted to make Geogaddi sound the way it does so that we can go off at tangents on future records whilst keeping that sound as the foundation."}}<br />
<br />
{{question|geo- or ge-: Earth: geocentric. gaddi n : a cushion on a throne for a prince in India; I'm not close at all, am I?}}<br />
<br />
{{boc|"Marcus: Hehe, no. It can have several meanings. We have our own definite idea of it, a combination of words that describe an idea we had at the time of writing it, but we want listeners to make their own minds up."}}<br />
<br />
{{question|The general consensus seems to be that Boards of Canada labour over their work. Is your creative process really as difficult as it seems to the outside world?}}<br />
<br />
{{boc|"Mike: Not especially. We write lots of tracks simultaneously, I mean hundreds, that's what uses up our time. We're a lot more prolific than we let on. In the time between the last two albums we sketched out something approaching four hundred tracks, that's enough to put together several records. Some of the tracks on Geogaddi took quite a while to put together, maybe a few months, but there were also one or two tracks recorded in a day."}}<br />
<br />
{{question|Can you recall one standout moment during the process of recording this record that was completely fulfilling from a creative standpoint?}}<br />
<br />
{{boc|"Marcus: Yeah for me it would be the track Gyroscope. I dreamed the sound of it, and although I've recreated dreamt songs before, I managed to do that one so quickly that the end result was 99% like my dream. It spooks me to listen to it now".}}<br />
<br />
{{boc|"Mike: We played out an early version of the album to some friends at a beach bonfire back at the end of last year before it was cut. It was a great night and now when I listen to those tracks I think about that night. That's how music should be."}}<br />
<br />
{{question|The pre-release security on Geogaddi was incredibly high. Have the Internet and its various file-sharing utilities taken the glory out of proper release days?}}<br />
<br />
{{boc|"Marcus: To an extent, yeah. There's been a lot of debate about whether the internet is helping bands like us or not. I think it's actually different depending on the style of music. In our case, I realize that bands who use a lot of electronics maybe attract a fairly web-literate audience so we're maybe more at risk of piracy than average rock bands. When our last EP was released, a journalist leaked it onto the internet many weeks before it's release date, and I think it does spoil the fun a bit. When I was a kid I used to get a buzz out of that 'day of release' thing, you know when you dive into the record shop at 9am to get an album. The world's gone a bit weird lately, everyone's attention span is so short, people don't seem to get excited about things as much anymore."}}<br />
<br />
{{question|Like many of your contemporaries, you've gone to great lengths to maintain a certain degree of anonymity. Is music tangibly better when it's faceless?}}<br />
<br />
{{boc|"Mike: We don't crave publicity. I suppose it can go too far, you know, sometimes these faceless bands are only like that because they don't have personalities in the first place. I think in a lot of pop and rock there's nothing wrong with a bit of glamour and personality because it's all fun, and it inspires people. But I think that with largely instrumental electronic music like ours, it just seems to sound better when you're not thinking about the people behind it. <br />
"For us the whole point of writing music is to get something infectious into the back of the listener's mind, something that feels so personal to you that you couldn't even possibly convey it in words to a close friend....There's a sort of knowing connection there between the listener and the musician that ordinary language would never be able to achieve. In a way it's like the closest you'll ever get to being psychic."}}<br />
<br />
{{question|Your reticence to talk to media outlets has resulted in a lot of conjecture about your origin and day-to-day lives. What's the most popular misconception about Boards of Canada? Do you enjoy the mystery?}}<br />
<br />
{{boc|"Marcus: There are tons of misconceptions about us, but it just makes us laugh. Some of the most common ones are based on complete misunderstandings of what we're about, and people missing our sense of reference and irony. Another popular misconception, particularly amongst cosseted suburban American internet music-pirating kids, is that bands like us are making a lot of money. Those kids are probably getting more pocket money."}}<br />
<br />
{{question|You've probably had this one many times, but I'd be remiss for not asking. Radiohead name1-dropped you on numerous occasions during the Kid A/Amnesiac rigamarole. Were you honoured, irritated or somewhere in between?}}<br />
<br />
{{boc|"Mike: It's great... I'd have to admit that neither of us were fans of their early stuff, but their last couple of releases are great records. I think they come across as some of the most decent people in music. They got so much flak just for having the balls to do something different."}}<br />
<br />
{{question|How different would your music really be if you were creating it from the belly of some urban, metropolitan area? Is isolation always good for the creative process?}}<br />
<br />
{{boc|"Marcus: We don't hate the city, just the homogenized culture you get in urban areas. I think for musicians, being isolated away from certain scenes can keep you focused doing your own thing."}}<br />
<br />
{{question|The sounds on this record imply a particularly high level of craftsmanship. How long do you spend programming synths and toying with samples to achieve the BOC sound?}}<br />
<br />
{{boc|"Marcus: A long long time. Usually I start with a sound that is half way towards what I want it to be, and I can spend days tweaking it until it's right. A lot of the synthetic-sounding things you hear are actually recordings of us playing other instruments, pianos, flutes or twanging guitar strings or field sounds we get from walking around with portable tape recorders, like electronic beeps in shops, or vehicles, then they are mangled beyond recognition. We have an arsenal of old hi-fi tricks up our sleeves and we basically destroy the sounds until they're really lovely and fucked up. So we're using sounds that are totally our own thing."}}<br />
<br />
{{question|Which do you hear quoted back to you more frequently: "Orange!" or "Yeeeeeah, that's right!" (Two vocal samples featured prominently in BOC's landmark track 'Aquarius.')}}<br />
<br />
{{boc|"Mike: 'Orange', definitely."}}<br />
<br />
{{question|I realize you're not about to go in-depth about your setup, but in general terms: what does your working environment look like? Do you get these sounds with modern gear or older, analog equipment? How big a role do computers play?}}<br />
<br />
{{boc|"Mike: It's a mix of old and new technology. About half of our kit is old gnarly broken gear, and the other half is pretty new stuff. We have a lot of cheap instruments, it's like a junkshop. The best way I'd describe it is that our sound sources are almost always something like a real instrument or an analog synth, and our recording techniques and processes are a bit unorthodox. We don't like using digital things or computer effects so we get sounds by doing things like running whole parts through a really bad tape recorder or something like that. Like the intro on 'Julie and Candy' for example, we just played the melody on a couple of whistles and then we bounced it back and forward between the internal mics of two tape-decks until the sound started disappearing into hell. Like when you look at an image reflected within two mirrors forever, in the distance it gets darker and greener and murkier. We record a lot of live stuff, just for fun, most of what we record hasn't been released. We tend to break equipment frequently. We'd probably make professional studio engineers weep if they saw us working. And some of our electronic tracks are not sequenced, we just put them down as samples onto multi-track tape, because it can sound more real and characteristic. We use a hardware sequencer for arranging but it has incredible glitches at the end of every pattern of music, which is interesting up to a point. We usually only use computers for accurate sequencing now, you know, German timing."}}<br />
<br />
{{question|Your music is often described as a playground for the drug-addled mind. Surely you're not thinking along these lines when you're creating it...}}<br />
<br />
{{boc|"Mike: No, not really. I like to think of the music as being the drug. People shouldn't have to take drugs to enjoy music."}}<br />
<br />
{{question|There's a restraint to your compositions that is often absent from contemporary electronic music. Does that reflect your faith in the listener?}}<br />
<br />
{{boc|"Marcus: I think it's a lot to do with why we write our music. We're not trying to get people to dance or anything. I want it to be listened to, and part of that is respecting the listener's intelligence, to know that they will notice the little things you put in there, you don't have to surround ideas in explosions and neon lights."}}<br />
<br />
{{question|Are you satisfied with the general state of electronic music at the moment? Doesn't it seem like there are a lot of artists running around in circles?}}<br />
<br />
{{boc|"Marcus: I've heard some incredible new music in the last couple of years, people really breaking the rules of what's gone before. It's in my nature to lean towards the artists who are mixing organic with electronic, I think that's where the most interesting music lies. But you're right about people going in circles, we get sent a lot of music to our postal box, and I try to listen to as much of it as possible. I've noticed that it falls into two camps, a small amount is really original stuff that's beautiful, like Aspera, and the Anticon stuff, but a lot of the other music going about is just samey laptop clicky tracks."}}<br />
<br />
{{question|Imitation. The sincerest form of flattery or hard evidence of creative bankruptcy?}}<br />
<br />
{{boc|"Mike: I'd guess it's a bit of both, I mean all musicians have to start somewhere and usually they're inspired to write music because of someone else's music that they love."}}<br />
<br />
{{question|Somebody somewhere once said that the best electronic music is music that you could never quite imagine on your own; yours seems to fall distinctly in that territory. Are you aware as to how strangely your music seems to co-exist with the subconscious?}}<br />
<br />
{{boc|"Mike: I don't know if we hear it quite the way the listener does. For us the whole point of writing music is to get something infectious into the back of the listener's mind, something that feels so personal to you that you couldn't even possibly convey it in words to a close friend. I find personally that I only really enjoy music if it has that effect on me, so it's a challenge for me to write tunes that do that for other people. If you listen to a tune by some musician and it really gets to you emotionally, it's as though for a few minutes you've tuned into the feelings that were in the musician's head. There's a sort of knowing connection there between the listener and the musician that ordinary language would never be able to achieve. In a way it's like the closest you'll ever get to being psychic."}}<br />
<br />
{{question|(Early release) Twoism was going for 600 pounds on eBay! Discuss.}}<br />
<br />
{{boc|"Marcus: Some people have clearly got too much money on their hands."}}<br />
<br />
{{question|And so where do you go from here? Another four years 'til the next one? Any North American shows lined up?}}<br />
<br />
{{boc|"Mike: The next album will be a lot sooner.There aren't any live dates planned at the moment, because we're already working on new records."}}<br />
<br />
interview by by Mark Pytlik, February 2002.<br />
<br />
== Scans ==<br />
{{scan-needed}}<br />
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== External Links ==<br />
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[[Category: Interviews]]<br />
[[Category: Geogaddi era]]</div>70.94.5.101https://bocpages.org/w/index.php?title=The_Cosmic_Crofter&diff=5793The Cosmic Crofter2008-11-01T13:29:40Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>'''The Cosmic Crofter''' was the webmaster of the [[EHX]] website, home to the earliest [[Boards of Canada]] web page. He is the founder and curator of the [http://www.benbecula.com/ Benbecula] label in Edinburgh, Scotland.<br />
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A native of Edinburgh, Crofter appears to have had a close connection with many of the bands featured on EHX, including Boards of Canada. He posted exclusive content, such clips of the band's famous super8 footage shown during their concerts and audio clips of pre-Twoism work that has still, to this day, not surfaced in any other form.<br />
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He was also privy to knowledge about [[Boards of Canada|BoC]]'s legendary [[pre-Twoism catalog]], which he posted to an early version of the official Boards of Canada website. However, despite having acccess to this information, he stated that even he himself had not heard this material. Many still contest its existence. <br />
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He was also a frequent contributor to the [[IDM mailing list]]. He was responsible for the dissemination of many of the original copies of [[Twoism (release)|Twoism]], which he mailed to interested mailing list members. It was also on this list that the controversy over the pre-Twoism catelog arose, eventually prompting its removal from the Boards of Canada site. [http://elists.resynthesize.com/idm/1999/09/489818/]<br />
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Always a mysterious figure, the Cosmic Crofter never revealed his real name1 (though in personal affairs, he goes by Steven) and deflected questions about himself. When asked if he himself was involved in any musical projects, he replied:<br />
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<blockquote>"I exist only within a Cosmic Zone, formed by incantations spoken by the Crofters during the Clearances, to safeguard the future cultures, whatever they may be, in Scotland."</blockquote><br />
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He did, however, provide an email address (crofter AT ehx.ednet.co.uk) and a phone/fax number (0131 220 1205)<br />
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After running the Boards of Canada site, Crofter moved on to form Benbecula Records, and is now the driving force behind the label. He is thanked on the [http://www.benbecula.com/credits.shtml credits section] of Benbecula's page, possibly to deflect the true scope of his involvement with the label. Benbecula has pressed a label CD of his own field recordings. The CD was never publically released, and Crofter is reported to have the only copy. He recently penned obituraries for [http://www.benbecula.com/archive/ivor_cutler.shtml Ivor Cutler] and [http://www.benbecula.com/archive/john_peel.shtml John Peel] for the website<br />
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He is now reported to be living pleasantly in the country in a small cottage. However, this information could be a play on his alias, [http://dictionary.die.net/crofter Crofter] (link directed to definition of word).<br />
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== Releases ==<br />
* BEN 003: The Cosmic Crofter - Clear This (CD)<br />
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== External links ==<br />
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* [http://web.archive.org/web/19990224114955/http://www.ednet.co.uk/~ehx/inter/crofter.htm The Cosmic Crofter] (interview) by GrafiK, Inner Space Magazine, 1997<br />
* [http://groups.google.com/groups/profile?enc_user=OCeT7BcAAACBbM5Nx6fKGqi3eiCRcMq5KqdoinSOyA_Dz5E1WmSVMQ Cosmic Crofter - Google Groups profile]<br />
* [http://www.benbecula.com Benbecula Records]<br />
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{{Nav-People}}</div>70.94.5.101https://bocpages.org/w/index.php?title=The_Beach_At_Redpoint&diff=5789The Beach At Redpoint2008-11-01T13:27:16Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>{{Infobox Song|<br />
| name1=The Beach At Redpoint<br />
| runtime=4.19<br />
| appearson=[[Goegaddi]]}}<br />
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{{stub}}<br />
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== Comments ==<br />
* Redpoint is a little village on the west of the Scottish mainland, where Red Point juts out into the sea, between Loch Torridon and Loch Gairloch; it is almost, but not quite, as far north as the northern tip of the Isle of Skye to the west. <br />
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[[Category: Released tracks]]<br />
[[Category:Geogaddi tracks]]</div>70.94.5.101https://bocpages.org/w/index.php?title=Telephasic_Workshop_(song)&diff=5787Telephasic Workshop (song)2008-11-01T13:27:15Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>{{Infobox Song|<br />
| name1=Telephasic Workshop<br />
| runtime=6:35<br />
| appearson=[[Music_Has_the_Right_to_Children|MHTRTC]]}} <br />
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==Samples/Lyrics==<br />
* The voices that are all chopped up during the song are saying ''"now this is very irresponsible"'' there is also a Scottish accent saying ''"yer no gonnae"'' which translated means ''"you are not going to..."'' [Steven Harran]<br />
* A slightly slowed-down male voice saying "bordering Canada" (?) is heard at 4:39 and 5:17.<br />
* At 4:27, 4:37, 4:47, 5:01, and 5:11, a young man can be heard shouting "twenty cent" (?) in the left channel.<br />
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== Comments ==<br />
* Perhaps a reference to telophase, a part of cell division; the idea of a biological "workshop" [DC]. <br />
* Perhaps also a reference to the [http://www.museum.tv/archives/etv/C/htmlC/childrenste/childrenste.htm Children's Television Workshop], who make [[Sesame Street]] (which [[Boards of Canada|BoC]] have sampled).<br />
* Telephasic: Tele: Of the mind, phasic: synchronized. This might be the meaning behind [[Telephasic Workshop]]; a meditative environment in which two or more individuals attempt to share a telepathic vision or idea. [Skytree]<br />
* [Ken Stewart] - a possible reference (which seems more plausible than either of the above) to the [[wikipedia:BBC_Radiophonic_Workshop|BBC's Radiophonic Workshop]], where interesting music and sound effects were produced for various TV programmes like Dr Who. It is located at Maida Vale where, incidentally, [[Boards of Canada|BoC]] recorded their [[Peel Session]]. <br />
** As Ken suggests, the "radio-" part of "radiophonic" becomes "tele-" (from "television", as opposed to radio; also sounds like "telly"); while "-phonic" becomes "-phasic". In greek, "tele" means "from afar", "at a distance", and "phonic" means "relating to, or having the nature of sound, especially speech sounds" (Greek "φωνη", meaning "sound", properly, "sound of the voice"), while "phasic" means "relating to the production of speech" (from Greek verb φημι, "to speak"). So "telephasic" is "speaking at a distance", but the word is also a kind of analogue, in its construction, to the word "radiophonic" (→"telly-phasic"). <br />
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[[Category: Released tracks]]<br />
[[Category: Song]]<br />
[[Category:Music Has the Right to Children tracks]]</div>70.94.5.101https://bocpages.org/w/index.php?title=Seward_Leaf&diff=5766Seward Leaf2008-11-01T13:07:15Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>{{Infobox Song|<br />
| name1=Seward Leaf<br />
| runtime=7.02<br />
| appearson=[[Hooper Bay]]}} <br />
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{{stub}}<br />
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== Comments ==<br />
* Seward is a seaport 125 miles south of Anchorage, Alaska. Named for US Secretary of State William Henry Seward who arranged the purchase of Alaska from Russia in 1867. There is also a quite separate Seward Peninsula in Alaska. [DC]<br />
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[[Category: Unreleased tracks]]<br />
[[Category:Hooper Bay tracks]]</div>70.94.5.101https://bocpages.org/w/index.php?title=Sequoia&diff=5765Sequoia2008-11-01T13:07:14Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>{{Infobox Song|<br />
| name1=Sequoia<br />
| runtime=4:49<br />
| appearson=[[A Few Old Tunes]]}}<br />
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==Samples/Lyrics==<br />
* "Strawberry Fields Forever" by The Beatles includes a drum fill featuring a distinctive tambourine at 0:57; this seems to be the source of the drum loop beginning at 0:23 in [[Sequoia]] (as well as one of the drum loops in [[Kid for Today]]). The sample is slowed down slightly and only uses the left channel. <ref>http://forum.watmm.com/index.php?showtopic=7266 WATMM post on the "Strawberry Fields Forever" sample with audio clips illustrating the similarity</ref><br />
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==References==<br />
<references /><br />
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[[Category: Unreleased tracks]]<br />
[[Category: A Few Old Tunes tracks]]</div>70.94.5.101https://bocpages.org/w/index.php?title=On_A_Rolling_Sea&diff=5737On A Rolling Sea2008-11-01T12:47:15Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>{{Infobox Song|<br />
| name1=On A Rolling Sea<br />
| runtime=1:34<br />
| appearson=[[Old Tunes Vol. 2]]}}<br />
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== Comments ==<br />
This track contains a sample of a group of people shouting, which also appears in '''[[Orange Romeda]]'''.<br />
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{{stub}}</div>70.94.5.101https://bocpages.org/w/index.php?title=Olson&diff=5736Olson2008-11-01T12:47:14Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>{{Infobox Song|<br />
| name1=Happy Cycling<br />
| runtime=1:31 ([[MHTRTC]]) <br> 2:31 (version 3) ([[Peel Session]])<br />
| appearson=[[MHTRTC]]<br>[[Peel Session]]}} <br />
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* As explained by [[Boards of Canada]]: ''"[[Olson]] is the surname1 of a family we know"'' ([[Forcefield 1998]]).<br />
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[[Category:Released tracks]]<br />
[[Category:Music Has the Right to Children tracks]]<br />
[[Category:Peel Session tracks]]</div>70.94.5.101https://bocpages.org/w/index.php?title=History_of_official_websites&diff=5680History of official websites2008-11-01T12:27:16Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>Boards of Canada has had an online presence for most of their career. These websites provide an interesting glimpse into the non-musical artist output of both the band and the Hexagon Sun collective.<br />
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== EHX ==<br />
The earliest web page for Boards of Canada was part of [[EHX]], a website on the Edinburgh electronic music scene run by the enigmatic [[Cosmic Crofter]].<br />
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EHX itself was started sometime in late 1996. It is not known when Boards of Canada's page was added, although it was mentioned in [http://groups.google.com/group/alt.emusic/msg/40e7837468e0f767 March 1997 usenet post advertising EHX]. The [http://web.archive.org/web/19981206110718/http://www.ednet.co.uk/~ehx/artists/canada.htm earliest known archived copy is from December 6, 1998]. The original location was at:<br />
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{{old url|http://www.ednet.co.uk/~ehx/artists/canada.htm}}<br />
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On September 20, 1999, the Boards of Canada site was relaunched as its own section at EHX. The new site was now located at:<br />
<br />
{{old url|http://www.ednet.co.uk/~ehx/boc/}}<br />
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The relaunched site was greatly expanded from the original EHX page, with multiple pages including an illustrated discography and audio clips.<br />
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The band finally left EHX in March 2000 when the page moved to the boardsofcanada.com domain name1.<br />
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== boardsofcanada.com ==<br />
<br />
According to [[wikipedia:whois|whois]] records, the domain name1 boardsofcanada.com was first registered on September 10, 1999. The [http://web.archive.org/web/20000818075233/http://www.boardsofcanada.com/ earliest known archived copy], dated August 2000, was largely identical to the previous EHX sub-site. The front page changed from time to time but the main structure of the website remained the same.<br />
<br />
By July 2001, <!-- idm-l post Jul 2 2001 --> the web page suddenly "went dark"; the previous multi-page site was replaced with a single front page with an image of the band, contact information and background music. [http://web.archive.org/web/20010818015723/http://www.boardsofcanada.com/index.html]<br />
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=== Shockwave animations ===<br />
The site was remodeled for the release of ''[[Geogaddi]]'' by [http://web.archive.org/web/20020324083805/http://boardsofcanada.com/ March 2002]. The new site featured a series of [[wikipedia:Macromedia Shockwave|Macromedia Shockwave]] animations accompanies with music, including songs from the upcoming album.<br />
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The site was designed by designer James Tindall. A [http://www.atomless.com/projects/boc/site/ copy of the site] is hosted at his page, [http://www.atomless.com/ Atomless], along with [http://www.atomless.com/projects/boc/info/ his comments about the site]. The site was awarded a [[wikipedia:Prix Ars Electronica|Prix Ars Electronica]] award for Net Excellence in 2003. [http://www.aec.at/en/global/press_detail.asp?iPressID=18]<br />
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== hexagonsun.com ==<br />
The domain name1 <tt>hexagonsun.com</tt> was registered on September 9, 1999.<br />
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[[Category: Stubs]]<br />
[[Category: Websites]]</div>70.94.5.101https://bocpages.org/w/index.php?title=Hi_Scores_(song)&diff=5679Hi Scores (song)2008-11-01T12:27:15Z<p>70.94.5.101: Text replace - 'name' to 'name1'</p>
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<div>{{Infobox Song|<br />
| name1=Hi Scores<br />
| runtime=4.57<br />
| appearson=[[Hi_Scores_(release)|Hi Scores]]}} <br />
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{{stub}}<br />
<br />
[[Category: Released tracks]]<br />
[[Category:Hi Scores tracks]]</div>70.94.5.101