artists mentioned by Boards of Canada in their interviews
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+ | == Original Text == | ||
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"[[A Música de Dança é Preguiçosa]]" is an interview (in Portuguese) by Nuno Corvacho originally published Sept. 4th, 1998 in the Público Sons magazine, a supplement of the Portuguese daily national newspaper Público, Number 64, p.04. | "[[A Música de Dança é Preguiçosa]]" is an interview (in Portuguese) by Nuno Corvacho originally published Sept. 4th, 1998 in the Público Sons magazine, a supplement of the Portuguese daily national newspaper Público, Number 64, p.04. | ||
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+ | === A Música de Dança é Preguiçosa === | ||
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Entrevista com os Boards of Canada | Entrevista com os Boards of Canada | ||
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== Translated text == | == Translated text == | ||
+ | (Translation by twoism.org user "kakanara") | ||
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− | + | ===Dance Music is Lazy=== | |
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− | {{question|'''P.''' - Your approach to electronic music shows a childlike sensibility in the way you use smooth sounds and melodies. Do you agree?}} | + | {{question|'''P.'''. - Your approach to electronic music shows a childlike sensibility in the way you use smooth sounds and melodies. Do you agree?}} |
{{boc|'''BOC''' - We love melodies, but we have gotten tired of predictable ones. Because of that, the type of noisy music we make sounds childlike or simplistic. We make our music sound old, worn, second-hand. It sounds like the music from unclear memories in the past, all the more so considering that most modern music has good production. We are trying to transmit to others the same feelings that we have for old melodies, that we remember from our past.}} | {{boc|'''BOC''' - We love melodies, but we have gotten tired of predictable ones. Because of that, the type of noisy music we make sounds childlike or simplistic. We make our music sound old, worn, second-hand. It sounds like the music from unclear memories in the past, all the more so considering that most modern music has good production. We are trying to transmit to others the same feelings that we have for old melodies, that we remember from our past.}} | ||
− | {{question|'''P.'''- How much does the universe of childhood play in your sound? The voices of children heard in many of your tracks are a way of expressing nostalgia or just a way to amend a lack of vocals?}} | + | {{question|'''P.'''}} - How much does the universe of childhood play in your sound? The voices of children heard in many of your tracks are a way of expressing nostalgia or just a way to amend a lack of vocals?}} |
{{boc|'''BOC''' - It’s not to compensate for a lack of vocals, since we already had many vocalists in the band, but decided to be above all instrumental, which leaves our music much more flexible. The voices of children are there to contrast with the more somber and electronic melodies. It’s sort of a bitter-sweet thing.}} | {{boc|'''BOC''' - It’s not to compensate for a lack of vocals, since we already had many vocalists in the band, but decided to be above all instrumental, which leaves our music much more flexible. The voices of children are there to contrast with the more somber and electronic melodies. It’s sort of a bitter-sweet thing.}} | ||
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{{boc|'''Marcus Eoin''' - “Hansel and Gretel”. Remember kids, don’t walk with strangers!}} | {{boc|'''Marcus Eoin''' - “Hansel and Gretel”. Remember kids, don’t walk with strangers!}} | ||
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+ | == Highlights and Notes == | ||
+ | *Mike reveals that the first synthesizer he used was his music teacher's Roland Juno 60 when he was 12 years old. | ||
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== References == | == References == | ||
<references /> | <references /> | ||
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[[Category: Interviews]] | [[Category: Interviews]] | ||
− | [[Category: Music Has | + | [[Category: Music Has The Right To Children era]] |