|Appears on||Tomorrow's Harvest|
So first of all, it's a difficult song because it feels like it's in 3/2 time (though it has been suggested that it is basically in 4/4 (double-time), with kick on 4.5, snare on 3. The 3/2 feel is just a lazy superimposed polyrhythm). This is far from common in electronic music. You have to relax the part of your brain that's used to 4/4 time and just let the electro-waltz flow through you.
Now, when you listen past the beat, you'll hear loops, but they're different by just a little bit on each measure, with new patterns coming into play as old ones leave. In many ways, it's very much like a loom, with the starts of new patterns entering into the threading as the completion of old patterns winds its way out. In the end, you've basically gone through a tapestry of music. Technically speaking, the melodies were probably passed through an electronic delay that repeats every bar and fades out slowly the course of many bars.
Certainly the Jacquard mentioned is the loom-maker; he's one of the first people to make a program of any kind, and a machine that could use arbitrary programs to affect actions in reality. That's an amazing step forward for humanity and certainly paved the way for the development of stored-program computers. Without this criticial insight in some way or another, we might have been stuck on analogue patch computation for a long time. I think it would have happened without Jacquard, for sure, but nevertheless he was first, and so we should know his name.
The causeway is therefore his; and causeway is a perfect choice of words because the 'cause' at the beginning implies that there's a reason for it to exist, a starting point if you will, without saying anything about the end of it. They could have said "superhighway" ala the Information Superhighway that people sometimes call the Internet, but the Internet is merely an output of the causeway that we're on as a species: the progress of technological development. Also, it sounds better; BoC doesn't like to hit you with a hammer, subtlety is their game. I think the song weaves the themes of technological development like a loom.
Early in the song, it's a simple synth rhythm (that really harkens back to A Few Old Tunes style simplicity); this is the loom, and the barest indication of possibilities. As the song proceeds, new layers come in, some hopeful, some melancholic, some that sound almost weary, like a person burdened by a load. They fit together rhythmically like clockwork, different periods lining up with each other at common denominations, furthering the automation theme.
At around 3:50 or so we start to pick up on some newer-style BoC themes, particular musical keys we've heard before in their work. A sense of contentment and ease comes over the song, reducing the tension from before. If we extend the historical metaphor, could this be an age when technology was reducing work with no obvious downsides, a "golden age"?
Eventually, the beat dies away, and we're left with one of the most hopeful sounds on the entire album. In my view, this is BoC's comment on the promise of technology, not necessarily on the reality of it (as the album certainly gets darker from there).
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