artists mentioned by Boards of Canada in their interviews
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{{interview | {{interview | ||
− | |title=Entre Nostalgie de L'enfance et Paranoia du Futur | + | |title=Boards of Canada: Entre Nostalgie de L'enfance et Paranoia du Futur |
|author=Ariel Kyrou | |author=Ariel Kyrou | ||
− | |date=1998 | + | |date=1998-06 |
|publication=Coda | |publication=Coda | ||
− | |issue=45 | + | |issue=No.45 |
|pages=40-41 | |pages=40-41 | ||
}} | }} | ||
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__TOC__ | __TOC__ | ||
− | == | + | == Text == |
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− | + | === Boards of Canada: Entre Nostalgie de L'enfance et Paranoia du Futur === | |
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Text: Ariel Kyrou | Text: Ariel Kyrou | ||
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Que cachent Michael Sandison et Markus Eion par cette image d'innocence troublée ? Les deux Ecossais semblent parler d'une même voix, le premier un peu plus bavard que le second avec son accent à se frapper le lobe de l'oreille. Ils n'ont pas l'air vieux, et pourtant, lorsqu'ils parlent de leurs premières armes musicales, c'est au début des années 80 qu'ils remontent... | Que cachent Michael Sandison et Markus Eion par cette image d'innocence troublée ? Les deux Ecossais semblent parler d'une même voix, le premier un peu plus bavard que le second avec son accent à se frapper le lobe de l'oreille. Ils n'ont pas l'air vieux, et pourtant, lorsqu'ils parlent de leurs premières armes musicales, c'est au début des années 80 qu'ils remontent... | ||
− | {{boc| | + | {{boc|Michael Sandison : "Je devais avoir environs 12 ans, et Markus à peu près 10 ans. Nous avions appris à jouer de quelques instruments classiques, mais ce qui nous amusait, tous les deux, c'était de manipuler des enregistrements volés à la télé, sur cassettes ou bandes magnétiques, de réaliser des collages musicaux..."}} |
− | {{boc| | + | {{boc|Markus Eion : "On s'amusait avec des sons qui nous plaisaient, d'où qu'ils viennent, sans se poser de questions, avec les moyens du bord. Autour de 1987, c'est devenu plus sérieux. On s'est mis à travailler avec des musiciens et de vrais instruments. On a complexifié notre musique...}} |
{{question|Vous vous sentez proches de la génération du home studio?}} | {{question|Vous vous sentez proches de la génération du home studio?}} | ||
− | {{boc| | + | {{boc|Michael : Oui et non. Ou alors totalement par hasard. Nous avons bâti notre home studio du pauvre avant l'explosion house. Alors que l'acid house déferlait en Angleterre, nous étions dans un autre trip, plus proches d'un groupe comme My Bloody Valentine. Nous explorions une veine de rock atmosphérique et expérimental, avec des vocaux et beaucoup de guitares. Ce n'est qu'après cette explosion, en décalage complet, que nous sommes revenus à notre esprit des origines en privilégiant l'électronique...}} |
{{question|Est-ce à cause des nouveaux moyens de l'électronique, et notamment du sampling, que vous êtes revenus à une for -nulle synthétique ?}} | {{question|Est-ce à cause des nouveaux moyens de l'électronique, et notamment du sampling, que vous êtes revenus à une for -nulle synthétique ?}} | ||
− | {{boc| | + | {{boc|Markus : la technologie nous a permis de simplifier notre approche, de la rendre plus instinctive, comme à nos débuts...}} |
− | {{boc| | + | {{boc|Michael : le mode électronique est pour nous naturel. Déjà , lorsque nous sonnions plus rock, nous passions des mois au mixage, à peaufiner et retravailler sans cesse nos morceaux.On se samplait nous-mêmes. Avec le sampler, vous avez le contrôle absolu de votre musique. Sur Music Has The Right To Children, on ne reconnaît pas les titres sur lesquels on utilise du piano ou de la guitare, parce que nous samplons ces instruments pour les rendre plus sales, plus bizarres et les mêler à nos ambiances.}} |
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− | + | ===Boards Of Canada: Between nostalgia for childhood and paranoia of the future=== | |
ROUGH TRANSLATION | ROUGH TRANSLATION | ||
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What are Michael Sandison and Marcus Eoin hiding in this picture of troubled innocence? The two Scots, whose replies we have merged in this interview, seem to act as one; the first a little more talkative than the other, who has a very striking accent. They do not look old, and yet, when they talk about their first musical weapons, they go back as far as the early 80's... | What are Michael Sandison and Marcus Eoin hiding in this picture of troubled innocence? The two Scots, whose replies we have merged in this interview, seem to act as one; the first a little more talkative than the other, who has a very striking accent. They do not look old, and yet, when they talk about their first musical weapons, they go back as far as the early 80's... | ||
− | {{boc| | + | {{boc|Michael Sandison: I had to be about 12 years old, and Marcus about 10 years old. |
A few classical instruments, but what we both enjoyed was manipulating recordings stolen from television, cassettes or tapes, to make musical collages ... "}} | A few classical instruments, but what we both enjoyed was manipulating recordings stolen from television, cassettes or tapes, to make musical collages ... "}} | ||
− | {{boc| | + | {{boc|Marcus Eion: We played with sounds that we liked, wherever they came from, without asking any questions, with the means on board." Around 1987, it became more serious. Set to work with musicians and real instruments.}} |
{{question|You feel close to the generation of the home studio}} | {{question|You feel close to the generation of the home studio}} | ||
− | {{boc| | + | {{boc|Michael: Yes and no. Or totally by chance. We built our poor man's home studio before the house explosion. While acid house was brewing in England, we were on another trip, closer to a band like My Bloody Valentine. We explored an atmospheric and experimental rock vein, with vocals and a lot of guitars. It is only after this explosion, In complete opposition, that we returned to our original spirit by favoring electronics ...}} |
{{question|Is it because of the new means of technology, and notably of sampling, that you have returned to a synthetic formula?}} | {{question|Is it because of the new means of technology, and notably of sampling, that you have returned to a synthetic formula?}} | ||
− | {{boc| | + | {{boc|Marcus: Technology has allowed us to simplify our approach, to make it more instinctive, as in the beginning ...}} |
− | {{boc| | + | {{boc|Michael: the electronic mode is natural for us. Already, when we sounded more rock, we spent months mixing, tweaking and reworking our tracks. |
We were sampling ourselves. With the sampler, you have absolute control over your music. On Music Has The Right To Children, we do not recognize the titles on which we use the piano or the guitar, because we were sampling these instruments to make them dirtier, more bizarre and to mix them with our atmospheres.}} | We were sampling ourselves. With the sampler, you have absolute control over your music. On Music Has The Right To Children, we do not recognize the titles on which we use the piano or the guitar, because we were sampling these instruments to make them dirtier, more bizarre and to mix them with our atmospheres.}} | ||
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Full interview at http://www.virgin.fr | Full interview at http://www.virgin.fr | ||
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+ | == Scans == | ||
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== References == | == References == | ||
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[[Category: Music Has the Right to Children era]] | [[Category: Music Has the Right to Children era]] | ||
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