bocpages | Boards of Canada wiki - User contributions [en]

Unconfirmed interviews

2024-10-26T01:04:09Z

Csch: /* 2005: Soundvenue */

This page is used to keep track of unconfirmed/missing interviews that have not yet been tracked down. Once an article has been verified and located, it should be moved to [[Interviews]].

= Japanese interviews =
As part of the normal buzz of media activity surrounding each album release, a number of interviews have been published in various Japanese music magazines. Unfortunately, as there is no one in the English BoC fan community who lives in Japan or even speaks Japanese, these articles are very hard to track down.

Some useful terms:
; Boards of Canada: [[ja.wikipedia:ボーズ・オブ・カナダ|ボーズ・オブ・カナダ]]
; interview: [[wiktionary:interview#NavFrame2|インタビュー]]

== 2002-03-25: Cookie Scene [Added to Interviews] ==
Boards of Canada was on the cover Japanese magazine ''Cookie Scene'' vol. 24, sometime in 2002. The issue was [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310149094326&viewitem=&sspagename=ADME%3AB%3ASS%3AUS%3A1123&salenotsupported offered on eBay] on 16 Jun 2009 by seller [http://myworld.ebay.com/jack-daniels-whiskey-johnnie-walker-whisky/ jack-daniels-whiskey-johnnie-walker-whisky].

;ISSN: 60200322
;Japanese title: クッキー・シーン

* [http://www.amazon.co.jp/exec/obidos/ASIN/4860200322/blsactcojp-22/ Amazon.co.jp]

== 2006-07: rockin'on (Japan) ==
An article appeared in the Japanese magazine ''[http://www.ro69.jp/publish/rockinon/next.html rockin'on]'' (''[[ja.wikipedia:ロッキング・オン|ロッキング・オン]]'') sometime in 2006. Photograph pages from this interview were offered for sale on eBay in May 2009. The photos are of the brothers in the woods, from the same set of photographs used in a number of other interviews in the TCH era; in partial, one photo used is the same as the RE:UP interview cover.

''Not be to confused with ''[http://www.ro69.jp/publish/japan/index.html ROCKIN'ON JAPAN]'', from the same publisher''

Looks like Issue 7 (July 2006) ([http://d.hatena.ne.jp/high-d/20060615 source])
; Amazon.co.jp: [http://www.amazon.co.jp/gp/product/product-description/B000FQG5JO/ref=dp_proddesc_0?ie=UTF8&n=465392&s=books Amazon.co.jp: rockin'on (ロッキング・オン) 2006年 07月号 (雑誌): 本]

Links:
* [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310132997755&viewitem=&salenotsupported BOARDS OF CANADA `06 Japan pin-ups - eBay (item 310132997755 end time Jun-01-09 00:11:39 PDT)] (seller [http://myworld.ebay.com/timming2001?ssPageName=ADME:X:RTQ:US:1181 timming2001])
* [http://www.ro69.jp/publish/rockinon/next.html rockin'on 編集部　次号予告]
* [http://rock-net.jp/ ROCKIN'ON Inc. - 株式会社ロッキング・オン]

== 2005-12-15: After Hours [Added to Interviews] ==
[[Image:After hours 22.jpg|thumb|right|100px|''After Hours'' #22, 2005-12-15]]
Issue #22

Source: http://www.clubculture.jp/magazine/archives/afterhours/
【インタビュー】 Boards of Canada、Vashti Bunyan、他。
(インタビュー means "Interview" according to babelfish)

http://www.ontonson.com/magazine/afterhours.html
■SPECIAL INTERVIEW
□Boards of Canada／ボーズ・オブ・カナダ
□Vashti Bunyan／ヴァシュティ・バニアン
□藤本雄一郎／Yuichiro Fujimoto

Availability:
* [http://www.jetsetrecords.net/en/--AFTER-HOURS22/product/232350004000 Jet Set Records]

== 2005-11-18: Cookie Scene [Added to Interviews] ==
[[Image:Cookiescene46.jpg|thumb|right|100px|''COOKIE SCENE'' vol.46, Dec 2005/Jan 2006]]
"太陽の黄金の林檎" ("The Golden Apples of the Sun") (or "太陽の黄金（きん）の林檎")

Vol. 46

Source: http://www.p-vine.com/app.php/mo/Shop/ac/ProductDetail/id/2920
side-A (January) cover BOARDS OF CANADA
特集：太陽の黄金（きん）の林檎：long interview: BOARDS OF CANADA

http://www.bekkoame.ne.jp/ha/p-market/past/vol46.html
COOKIE SCENE vol.46 JANUARY 2006/DECEMBER 2005
with 21 tracks compilation CD (950 yen + tax)
side-A (January) cover BOARDS OF CANADA
side-AA (December) cover DEVENDRA BANHART

http://www.bls-act.co.jp/bm/detail.php?wpid=2920&ltid=42&mgid=425

Availability:
* [http://www.amazon.co.jp/gp/switch-language/product/4860201507/ref=dp_change_lang?ie=UTF8&language=en%5FJP Amazon.co.jp: クッキー・シーン (Vol.46): 本]
* [http://www.hmv.co.jp/product/detail/1424962 hmv.co.jp]

== 2002: Fader [Added to Interviews] ==
Referenced from the 2002 Grooves "collage" inteview.

Author: Nobuki Nishiyama (DJ)

Possibly [http://www.faderbyheadz.com/fader/fader07.html FADER 07]
SIDE-A CROSSFADR-Part.1
A02 A02: Boards Of Canada

[http://d.hatena.ne.jp/nami_to_kami/20090621]:
FADER 7号 - （プレフューズ73、ボーズ・オブ・カナダ等のインタビュー、そして異能JAZZ特集。）

Interviews of Prefuse 73, Boards of Canada and Bose, Jazz feature and unusual talents

== 2005-12-27: Alpha and Omega ==
(Japanese)

Vol. 002

* http://www.alpha-omega.jp/music/music_top.htm#boc
* http://www.alpha-omega.jp/backnumber/vol001/music/music_top001.htm

== 2006-07-01: Japanese unknown ==
http://asag.exblog.jp/3731842/ appears to be a partial quote from an interview.

<blockquote>2006年 07月 01日
不朽の傑作

Boards of canada のインタビューで、こんな事が書いてあった。

「シンプルな音の連なりを奏でるだけで、聴いた人が何かとても深いことを悟ったり、ひどく切ない気分になったりする、そこに僕はたまらなく心惹かれる。そこにはものすごい力があって、錬金術みたいだとさえ思う。
音楽の中にある”悲しさ”は、とても美しい。そして、楽しく聞こえるけれど、その根底にはかすかな悲しさが流れている様な、そういうメロディーを作り出せたら、不朽の傑作と言えるだろうね。」

言いたい事。そのまますぎて、思わず写してしまいました。
音楽が大好きなのは、まさにこの感覚を追いかけているからで、音が作り出してくれる、ひどく切ない心象風景の中を漂っていく心を追いかけてるのが好き。

音は、後に残らない、その時の一瞬だけのもので、確かにCDとかにすれば何度も同じ物は聴ける訳でも、全ての音を一辺に聴く訳じゃないから、そこには必ず時間の経過がある。その時間の経過の中でゆっくり心は色んな所を旅する。それで、表現出来ないような自分だけの特別な気持ちに辿り着く。

ヴィジュアルの物っていうのは、全体像から一気に目に飛び込んで来る。その中に、ここで言ってる様な”悲しさ”を見つける事はあるとしても、自分の自由な心象風景の中を心が浮遊するようなことはあんまりない。

だからいつも、音楽はいいな。と思って来たし、今も思ってる。

こういう、音楽みたいな作品を作りたいとずっと思ってます。
懐かしさに締め付けられる様な、表現出来ない特別な気持ちが沸き上がる様な。
下の、moments of sunset は、切ない曲の心象風景っていうのが、根底にあります。
それを意識して作りました。
出来上がりが、切ないかどうかは別として。

ヴィジュアルで、音楽がやってのける様な、世界観を作り出せたら、それこそ不朽の傑作だと思う。 </blockquote>

== 2002-04: snoozer [Added to Interviews] ==
[[Image:snzr30.jpg|thumb|right|100px|''snoozer'' #030, 2002-04]]

http://music.2ch.net/musice/kako/1006/10063/1006352577.html
次号でBOCのインタビュー取れたらすげえけどな
Translates to something like "The BOC interview to take place in the next issue was dropped, however"?

Issue contents: [http://www.magisystem.net/~akiu/snoozer/030.html]

http://books-rondo.net/cata-music/snoozer.htm
■ snoozer　　＃030 ■　２００２年４月号
くるり表紙　
「９８年の世代」、以前･以降　　　「日本のロック」は本当に生まれたのか？
くるり、ナンバーガール、スーパーカー、中村一義
THE STROKES　／ BOARDS OF CANADA　／ THE JON SPENCER BLUES EXPLOSION　／ THE BLUE HERB　／ MOBY　／ BLACK RABEL MOTORCYCLE CLUB　／ SHINGO2
Written by Nakamura (中村)?

ISBN 978-4-503-14440-9 (4-503-14440-5)　[http://www.junkudo.co.jp/detail2.jsp?ID=0011002245] [http://www.kikuyashoten.co.jp/detail.jsp?ID=0011002245]

* Verdict: Probably just a review.

= Others =
Despite being 'closer to home', some interviews in Westerns sources have managed to slip past the community's normally vigilant notice.

== 2002?: Ticket ==
Belgian magazine
* This one? [http://www.theticket.be/ The Ticket]

Aug 03, 2002 at the latest (earliest archive date on IA)

[http://web.archive.org/web/*hh_/boardsofcanada.watmm.com/articles/OldTicketBelgianMagazineAr.shtml]

== 2002: Alternative Press [Added to Interviews] ==
Referenced from the 2002 Grooves "collage" interview.

Author: Philip Sherburne

Possibly [http://altpress.com/apmag/166.htm AP #166 (May 2002)]:
SPECIAL: GREAT BLEEP FORWARD: A.P.’S GUIDE TO ELECTRONICA’S MOVERS AND SHAKERS
Boards of Canada listed on cover (not that big though)

* ISSN: {{ISSN|1065-1667}}

== 2005: Soundvenue [Added to Interviews] ==
''Soundvenue'' issue 4, 2005

Danish music magazine

http://www.dotshop.se/ds/release.php?code=SV405&rand=157771287
:You can also check out interviews with Outlandish, Korn, Larsen & Furious Jane, Ms Dynamite, Gang of Four, Boards of Canada and Broken Social Scene.

Unconfirmed interviews

2024-10-26T01:03:11Z

Csch: /* 2002: Alternative Press */

This page is used to keep track of unconfirmed/missing interviews that have not yet been tracked down. Once an article has been verified and located, it should be moved to [[Interviews]].

= Japanese interviews =
As part of the normal buzz of media activity surrounding each album release, a number of interviews have been published in various Japanese music magazines. Unfortunately, as there is no one in the English BoC fan community who lives in Japan or even speaks Japanese, these articles are very hard to track down.

Some useful terms:
; Boards of Canada: [[ja.wikipedia:ボーズ・オブ・カナダ|ボーズ・オブ・カナダ]]
; interview: [[wiktionary:interview#NavFrame2|インタビュー]]

== 2002-03-25: Cookie Scene [Added to Interviews] ==
Boards of Canada was on the cover Japanese magazine ''Cookie Scene'' vol. 24, sometime in 2002. The issue was [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310149094326&viewitem=&sspagename=ADME%3AB%3ASS%3AUS%3A1123&salenotsupported offered on eBay] on 16 Jun 2009 by seller [http://myworld.ebay.com/jack-daniels-whiskey-johnnie-walker-whisky/ jack-daniels-whiskey-johnnie-walker-whisky].

;ISSN: 60200322
;Japanese title: クッキー・シーン

* [http://www.amazon.co.jp/exec/obidos/ASIN/4860200322/blsactcojp-22/ Amazon.co.jp]

== 2006-07: rockin'on (Japan) ==
An article appeared in the Japanese magazine ''[http://www.ro69.jp/publish/rockinon/next.html rockin'on]'' (''[[ja.wikipedia:ロッキング・オン|ロッキング・オン]]'') sometime in 2006. Photograph pages from this interview were offered for sale on eBay in May 2009. The photos are of the brothers in the woods, from the same set of photographs used in a number of other interviews in the TCH era; in partial, one photo used is the same as the RE:UP interview cover.

''Not be to confused with ''[http://www.ro69.jp/publish/japan/index.html ROCKIN'ON JAPAN]'', from the same publisher''

Looks like Issue 7 (July 2006) ([http://d.hatena.ne.jp/high-d/20060615 source])
; Amazon.co.jp: [http://www.amazon.co.jp/gp/product/product-description/B000FQG5JO/ref=dp_proddesc_0?ie=UTF8&n=465392&s=books Amazon.co.jp: rockin'on (ロッキング・オン) 2006年 07月号 (雑誌): 本]

Links:
* [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310132997755&viewitem=&salenotsupported BOARDS OF CANADA `06 Japan pin-ups - eBay (item 310132997755 end time Jun-01-09 00:11:39 PDT)] (seller [http://myworld.ebay.com/timming2001?ssPageName=ADME:X:RTQ:US:1181 timming2001])
* [http://www.ro69.jp/publish/rockinon/next.html rockin'on 編集部　次号予告]
* [http://rock-net.jp/ ROCKIN'ON Inc. - 株式会社ロッキング・オン]

== 2005-12-15: After Hours [Added to Interviews] ==
[[Image:After hours 22.jpg|thumb|right|100px|''After Hours'' #22, 2005-12-15]]
Issue #22

Source: http://www.clubculture.jp/magazine/archives/afterhours/
【インタビュー】 Boards of Canada、Vashti Bunyan、他。
(インタビュー means "Interview" according to babelfish)

http://www.ontonson.com/magazine/afterhours.html
■SPECIAL INTERVIEW
□Boards of Canada／ボーズ・オブ・カナダ
□Vashti Bunyan／ヴァシュティ・バニアン
□藤本雄一郎／Yuichiro Fujimoto

Availability:
* [http://www.jetsetrecords.net/en/--AFTER-HOURS22/product/232350004000 Jet Set Records]

== 2005-11-18: Cookie Scene [Added to Interviews] ==
[[Image:Cookiescene46.jpg|thumb|right|100px|''COOKIE SCENE'' vol.46, Dec 2005/Jan 2006]]
"太陽の黄金の林檎" ("The Golden Apples of the Sun") (or "太陽の黄金（きん）の林檎")

Vol. 46

Source: http://www.p-vine.com/app.php/mo/Shop/ac/ProductDetail/id/2920
side-A (January) cover BOARDS OF CANADA
特集：太陽の黄金（きん）の林檎：long interview: BOARDS OF CANADA

http://www.bekkoame.ne.jp/ha/p-market/past/vol46.html
COOKIE SCENE vol.46 JANUARY 2006/DECEMBER 2005
with 21 tracks compilation CD (950 yen + tax)
side-A (January) cover BOARDS OF CANADA
side-AA (December) cover DEVENDRA BANHART

http://www.bls-act.co.jp/bm/detail.php?wpid=2920&ltid=42&mgid=425

Availability:
* [http://www.amazon.co.jp/gp/switch-language/product/4860201507/ref=dp_change_lang?ie=UTF8&language=en%5FJP Amazon.co.jp: クッキー・シーン (Vol.46): 本]
* [http://www.hmv.co.jp/product/detail/1424962 hmv.co.jp]

== 2002: Fader [Added to Interviews] ==
Referenced from the 2002 Grooves "collage" inteview.

Author: Nobuki Nishiyama (DJ)

Possibly [http://www.faderbyheadz.com/fader/fader07.html FADER 07]
SIDE-A CROSSFADR-Part.1
A02 A02: Boards Of Canada

[http://d.hatena.ne.jp/nami_to_kami/20090621]:
FADER 7号 - （プレフューズ73、ボーズ・オブ・カナダ等のインタビュー、そして異能JAZZ特集。）

Interviews of Prefuse 73, Boards of Canada and Bose, Jazz feature and unusual talents

== 2005-12-27: Alpha and Omega ==
(Japanese)

Vol. 002

* http://www.alpha-omega.jp/music/music_top.htm#boc
* http://www.alpha-omega.jp/backnumber/vol001/music/music_top001.htm

== 2006-07-01: Japanese unknown ==
http://asag.exblog.jp/3731842/ appears to be a partial quote from an interview.

<blockquote>2006年 07月 01日
不朽の傑作

Boards of canada のインタビューで、こんな事が書いてあった。

「シンプルな音の連なりを奏でるだけで、聴いた人が何かとても深いことを悟ったり、ひどく切ない気分になったりする、そこに僕はたまらなく心惹かれる。そこにはものすごい力があって、錬金術みたいだとさえ思う。
音楽の中にある”悲しさ”は、とても美しい。そして、楽しく聞こえるけれど、その根底にはかすかな悲しさが流れている様な、そういうメロディーを作り出せたら、不朽の傑作と言えるだろうね。」

言いたい事。そのまますぎて、思わず写してしまいました。
音楽が大好きなのは、まさにこの感覚を追いかけているからで、音が作り出してくれる、ひどく切ない心象風景の中を漂っていく心を追いかけてるのが好き。

音は、後に残らない、その時の一瞬だけのもので、確かにCDとかにすれば何度も同じ物は聴ける訳でも、全ての音を一辺に聴く訳じゃないから、そこには必ず時間の経過がある。その時間の経過の中でゆっくり心は色んな所を旅する。それで、表現出来ないような自分だけの特別な気持ちに辿り着く。

ヴィジュアルの物っていうのは、全体像から一気に目に飛び込んで来る。その中に、ここで言ってる様な”悲しさ”を見つける事はあるとしても、自分の自由な心象風景の中を心が浮遊するようなことはあんまりない。

だからいつも、音楽はいいな。と思って来たし、今も思ってる。

こういう、音楽みたいな作品を作りたいとずっと思ってます。
懐かしさに締め付けられる様な、表現出来ない特別な気持ちが沸き上がる様な。
下の、moments of sunset は、切ない曲の心象風景っていうのが、根底にあります。
それを意識して作りました。
出来上がりが、切ないかどうかは別として。

ヴィジュアルで、音楽がやってのける様な、世界観を作り出せたら、それこそ不朽の傑作だと思う。 </blockquote>

== 2002-04: snoozer [Added to Interviews] ==
[[Image:snzr30.jpg|thumb|right|100px|''snoozer'' #030, 2002-04]]

http://music.2ch.net/musice/kako/1006/10063/1006352577.html
次号でBOCのインタビュー取れたらすげえけどな
Translates to something like "The BOC interview to take place in the next issue was dropped, however"?

Issue contents: [http://www.magisystem.net/~akiu/snoozer/030.html]

http://books-rondo.net/cata-music/snoozer.htm
■ snoozer　　＃030 ■　２００２年４月号
くるり表紙　
「９８年の世代」、以前･以降　　　「日本のロック」は本当に生まれたのか？
くるり、ナンバーガール、スーパーカー、中村一義
THE STROKES　／ BOARDS OF CANADA　／ THE JON SPENCER BLUES EXPLOSION　／ THE BLUE HERB　／ MOBY　／ BLACK RABEL MOTORCYCLE CLUB　／ SHINGO2
Written by Nakamura (中村)?

ISBN 978-4-503-14440-9 (4-503-14440-5)　[http://www.junkudo.co.jp/detail2.jsp?ID=0011002245] [http://www.kikuyashoten.co.jp/detail.jsp?ID=0011002245]

* Verdict: Probably just a review.

= Others =
Despite being 'closer to home', some interviews in Westerns sources have managed to slip past the community's normally vigilant notice.

== 2002?: Ticket ==
Belgian magazine
* This one? [http://www.theticket.be/ The Ticket]

Aug 03, 2002 at the latest (earliest archive date on IA)

[http://web.archive.org/web/*hh_/boardsofcanada.watmm.com/articles/OldTicketBelgianMagazineAr.shtml]

== 2002: Alternative Press [Added to Interviews] ==
Referenced from the 2002 Grooves "collage" interview.

Author: Philip Sherburne

Possibly [http://altpress.com/apmag/166.htm AP #166 (May 2002)]:
SPECIAL: GREAT BLEEP FORWARD: A.P.’S GUIDE TO ELECTRONICA’S MOVERS AND SHAKERS
Boards of Canada listed on cover (not that big though)

* ISSN: {{ISSN|1065-1667}}

== 2005: Soundvenue ==
''Soundvenue'' issue 4, 2005

Danish music magazine

http://www.dotshop.se/ds/release.php?code=SV405&rand=157771287
:You can also check out interviews with Outlandish, Korn, Larsen & Furious Jane, Ms Dynamite, Gang of Four, Boards of Canada and Broken Social Scene.

Unconfirmed interviews

2024-10-26T01:02:51Z

Csch: /* 2002-04: snoozer */

This page is used to keep track of unconfirmed/missing interviews that have not yet been tracked down. Once an article has been verified and located, it should be moved to [[Interviews]].

= Japanese interviews =
As part of the normal buzz of media activity surrounding each album release, a number of interviews have been published in various Japanese music magazines. Unfortunately, as there is no one in the English BoC fan community who lives in Japan or even speaks Japanese, these articles are very hard to track down.

Some useful terms:
; Boards of Canada: [[ja.wikipedia:ボーズ・オブ・カナダ|ボーズ・オブ・カナダ]]
; interview: [[wiktionary:interview#NavFrame2|インタビュー]]

== 2002-03-25: Cookie Scene [Added to Interviews] ==
Boards of Canada was on the cover Japanese magazine ''Cookie Scene'' vol. 24, sometime in 2002. The issue was [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310149094326&viewitem=&sspagename=ADME%3AB%3ASS%3AUS%3A1123&salenotsupported offered on eBay] on 16 Jun 2009 by seller [http://myworld.ebay.com/jack-daniels-whiskey-johnnie-walker-whisky/ jack-daniels-whiskey-johnnie-walker-whisky].

;ISSN: 60200322
;Japanese title: クッキー・シーン

* [http://www.amazon.co.jp/exec/obidos/ASIN/4860200322/blsactcojp-22/ Amazon.co.jp]

== 2006-07: rockin'on (Japan) ==
An article appeared in the Japanese magazine ''[http://www.ro69.jp/publish/rockinon/next.html rockin'on]'' (''[[ja.wikipedia:ロッキング・オン|ロッキング・オン]]'') sometime in 2006. Photograph pages from this interview were offered for sale on eBay in May 2009. The photos are of the brothers in the woods, from the same set of photographs used in a number of other interviews in the TCH era; in partial, one photo used is the same as the RE:UP interview cover.

''Not be to confused with ''[http://www.ro69.jp/publish/japan/index.html ROCKIN'ON JAPAN]'', from the same publisher''

Looks like Issue 7 (July 2006) ([http://d.hatena.ne.jp/high-d/20060615 source])
; Amazon.co.jp: [http://www.amazon.co.jp/gp/product/product-description/B000FQG5JO/ref=dp_proddesc_0?ie=UTF8&n=465392&s=books Amazon.co.jp: rockin'on (ロッキング・オン) 2006年 07月号 (雑誌): 本]

Links:
* [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310132997755&viewitem=&salenotsupported BOARDS OF CANADA `06 Japan pin-ups - eBay (item 310132997755 end time Jun-01-09 00:11:39 PDT)] (seller [http://myworld.ebay.com/timming2001?ssPageName=ADME:X:RTQ:US:1181 timming2001])
* [http://www.ro69.jp/publish/rockinon/next.html rockin'on 編集部　次号予告]
* [http://rock-net.jp/ ROCKIN'ON Inc. - 株式会社ロッキング・オン]

== 2005-12-15: After Hours [Added to Interviews] ==
[[Image:After hours 22.jpg|thumb|right|100px|''After Hours'' #22, 2005-12-15]]
Issue #22

Source: http://www.clubculture.jp/magazine/archives/afterhours/
【インタビュー】 Boards of Canada、Vashti Bunyan、他。
(インタビュー means "Interview" according to babelfish)

http://www.ontonson.com/magazine/afterhours.html
■SPECIAL INTERVIEW
□Boards of Canada／ボーズ・オブ・カナダ
□Vashti Bunyan／ヴァシュティ・バニアン
□藤本雄一郎／Yuichiro Fujimoto

Availability:
* [http://www.jetsetrecords.net/en/--AFTER-HOURS22/product/232350004000 Jet Set Records]

== 2005-11-18: Cookie Scene [Added to Interviews] ==
[[Image:Cookiescene46.jpg|thumb|right|100px|''COOKIE SCENE'' vol.46, Dec 2005/Jan 2006]]
"太陽の黄金の林檎" ("The Golden Apples of the Sun") (or "太陽の黄金（きん）の林檎")

Vol. 46

Source: http://www.p-vine.com/app.php/mo/Shop/ac/ProductDetail/id/2920
side-A (January) cover BOARDS OF CANADA
特集：太陽の黄金（きん）の林檎：long interview: BOARDS OF CANADA

http://www.bekkoame.ne.jp/ha/p-market/past/vol46.html
COOKIE SCENE vol.46 JANUARY 2006/DECEMBER 2005
with 21 tracks compilation CD (950 yen + tax)
side-A (January) cover BOARDS OF CANADA
side-AA (December) cover DEVENDRA BANHART

http://www.bls-act.co.jp/bm/detail.php?wpid=2920&ltid=42&mgid=425

Availability:
* [http://www.amazon.co.jp/gp/switch-language/product/4860201507/ref=dp_change_lang?ie=UTF8&language=en%5FJP Amazon.co.jp: クッキー・シーン (Vol.46): 本]
* [http://www.hmv.co.jp/product/detail/1424962 hmv.co.jp]

== 2002: Fader [Added to Interviews] ==
Referenced from the 2002 Grooves "collage" inteview.

Author: Nobuki Nishiyama (DJ)

Possibly [http://www.faderbyheadz.com/fader/fader07.html FADER 07]
SIDE-A CROSSFADR-Part.1
A02 A02: Boards Of Canada

[http://d.hatena.ne.jp/nami_to_kami/20090621]:
FADER 7号 - （プレフューズ73、ボーズ・オブ・カナダ等のインタビュー、そして異能JAZZ特集。）

Interviews of Prefuse 73, Boards of Canada and Bose, Jazz feature and unusual talents

== 2005-12-27: Alpha and Omega ==
(Japanese)

Vol. 002

* http://www.alpha-omega.jp/music/music_top.htm#boc
* http://www.alpha-omega.jp/backnumber/vol001/music/music_top001.htm

== 2006-07-01: Japanese unknown ==
http://asag.exblog.jp/3731842/ appears to be a partial quote from an interview.

<blockquote>2006年 07月 01日
不朽の傑作

Boards of canada のインタビューで、こんな事が書いてあった。

「シンプルな音の連なりを奏でるだけで、聴いた人が何かとても深いことを悟ったり、ひどく切ない気分になったりする、そこに僕はたまらなく心惹かれる。そこにはものすごい力があって、錬金術みたいだとさえ思う。
音楽の中にある”悲しさ”は、とても美しい。そして、楽しく聞こえるけれど、その根底にはかすかな悲しさが流れている様な、そういうメロディーを作り出せたら、不朽の傑作と言えるだろうね。」

言いたい事。そのまますぎて、思わず写してしまいました。
音楽が大好きなのは、まさにこの感覚を追いかけているからで、音が作り出してくれる、ひどく切ない心象風景の中を漂っていく心を追いかけてるのが好き。

音は、後に残らない、その時の一瞬だけのもので、確かにCDとかにすれば何度も同じ物は聴ける訳でも、全ての音を一辺に聴く訳じゃないから、そこには必ず時間の経過がある。その時間の経過の中でゆっくり心は色んな所を旅する。それで、表現出来ないような自分だけの特別な気持ちに辿り着く。

ヴィジュアルの物っていうのは、全体像から一気に目に飛び込んで来る。その中に、ここで言ってる様な”悲しさ”を見つける事はあるとしても、自分の自由な心象風景の中を心が浮遊するようなことはあんまりない。

だからいつも、音楽はいいな。と思って来たし、今も思ってる。

こういう、音楽みたいな作品を作りたいとずっと思ってます。
懐かしさに締め付けられる様な、表現出来ない特別な気持ちが沸き上がる様な。
下の、moments of sunset は、切ない曲の心象風景っていうのが、根底にあります。
それを意識して作りました。
出来上がりが、切ないかどうかは別として。

ヴィジュアルで、音楽がやってのける様な、世界観を作り出せたら、それこそ不朽の傑作だと思う。 </blockquote>

== 2002-04: snoozer [Added to Interviews] ==
[[Image:snzr30.jpg|thumb|right|100px|''snoozer'' #030, 2002-04]]

http://music.2ch.net/musice/kako/1006/10063/1006352577.html
次号でBOCのインタビュー取れたらすげえけどな
Translates to something like "The BOC interview to take place in the next issue was dropped, however"?

Issue contents: [http://www.magisystem.net/~akiu/snoozer/030.html]

http://books-rondo.net/cata-music/snoozer.htm
■ snoozer　　＃030 ■　２００２年４月号
くるり表紙　
「９８年の世代」、以前･以降　　　「日本のロック」は本当に生まれたのか？
くるり、ナンバーガール、スーパーカー、中村一義
THE STROKES　／ BOARDS OF CANADA　／ THE JON SPENCER BLUES EXPLOSION　／ THE BLUE HERB　／ MOBY　／ BLACK RABEL MOTORCYCLE CLUB　／ SHINGO2
Written by Nakamura (中村)?

ISBN 978-4-503-14440-9 (4-503-14440-5)　[http://www.junkudo.co.jp/detail2.jsp?ID=0011002245] [http://www.kikuyashoten.co.jp/detail.jsp?ID=0011002245]

* Verdict: Probably just a review.

= Others =
Despite being 'closer to home', some interviews in Westerns sources have managed to slip past the community's normally vigilant notice.

== 2002?: Ticket ==
Belgian magazine
* This one? [http://www.theticket.be/ The Ticket]

Aug 03, 2002 at the latest (earliest archive date on IA)

[http://web.archive.org/web/*hh_/boardsofcanada.watmm.com/articles/OldTicketBelgianMagazineAr.shtml]

== 2002: Alternative Press ==
Referenced from the 2002 Grooves "collage" interview.

Author: Philip Sherburne

Possibly [http://altpress.com/apmag/166.htm AP #166 (May 2002)]:
SPECIAL: GREAT BLEEP FORWARD: A.P.’S GUIDE TO ELECTRONICA’S MOVERS AND SHAKERS
Boards of Canada listed on cover (not that big though)

* ISSN: {{ISSN|1065-1667}}

== 2005: Soundvenue ==
''Soundvenue'' issue 4, 2005

Danish music magazine

http://www.dotshop.se/ds/release.php?code=SV405&rand=157771287
:You can also check out interviews with Outlandish, Korn, Larsen & Furious Jane, Ms Dynamite, Gang of Four, Boards of Canada and Broken Social Scene.

Unconfirmed interviews

2024-10-26T01:02:25Z

Csch: /* 2002: Fader */

This page is used to keep track of unconfirmed/missing interviews that have not yet been tracked down. Once an article has been verified and located, it should be moved to [[Interviews]].

= Japanese interviews =
As part of the normal buzz of media activity surrounding each album release, a number of interviews have been published in various Japanese music magazines. Unfortunately, as there is no one in the English BoC fan community who lives in Japan or even speaks Japanese, these articles are very hard to track down.

Some useful terms:
; Boards of Canada: [[ja.wikipedia:ボーズ・オブ・カナダ|ボーズ・オブ・カナダ]]
; interview: [[wiktionary:interview#NavFrame2|インタビュー]]

== 2002-03-25: Cookie Scene [Added to Interviews] ==
Boards of Canada was on the cover Japanese magazine ''Cookie Scene'' vol. 24, sometime in 2002. The issue was [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310149094326&viewitem=&sspagename=ADME%3AB%3ASS%3AUS%3A1123&salenotsupported offered on eBay] on 16 Jun 2009 by seller [http://myworld.ebay.com/jack-daniels-whiskey-johnnie-walker-whisky/ jack-daniels-whiskey-johnnie-walker-whisky].

;ISSN: 60200322
;Japanese title: クッキー・シーン

* [http://www.amazon.co.jp/exec/obidos/ASIN/4860200322/blsactcojp-22/ Amazon.co.jp]

== 2006-07: rockin'on (Japan) ==
An article appeared in the Japanese magazine ''[http://www.ro69.jp/publish/rockinon/next.html rockin'on]'' (''[[ja.wikipedia:ロッキング・オン|ロッキング・オン]]'') sometime in 2006. Photograph pages from this interview were offered for sale on eBay in May 2009. The photos are of the brothers in the woods, from the same set of photographs used in a number of other interviews in the TCH era; in partial, one photo used is the same as the RE:UP interview cover.

''Not be to confused with ''[http://www.ro69.jp/publish/japan/index.html ROCKIN'ON JAPAN]'', from the same publisher''

Looks like Issue 7 (July 2006) ([http://d.hatena.ne.jp/high-d/20060615 source])
; Amazon.co.jp: [http://www.amazon.co.jp/gp/product/product-description/B000FQG5JO/ref=dp_proddesc_0?ie=UTF8&n=465392&s=books Amazon.co.jp: rockin'on (ロッキング・オン) 2006年 07月号 (雑誌): 本]

Links:
* [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310132997755&viewitem=&salenotsupported BOARDS OF CANADA `06 Japan pin-ups - eBay (item 310132997755 end time Jun-01-09 00:11:39 PDT)] (seller [http://myworld.ebay.com/timming2001?ssPageName=ADME:X:RTQ:US:1181 timming2001])
* [http://www.ro69.jp/publish/rockinon/next.html rockin'on 編集部　次号予告]
* [http://rock-net.jp/ ROCKIN'ON Inc. - 株式会社ロッキング・オン]

== 2005-12-15: After Hours [Added to Interviews] ==
[[Image:After hours 22.jpg|thumb|right|100px|''After Hours'' #22, 2005-12-15]]
Issue #22

Source: http://www.clubculture.jp/magazine/archives/afterhours/
【インタビュー】 Boards of Canada、Vashti Bunyan、他。
(インタビュー means "Interview" according to babelfish)

http://www.ontonson.com/magazine/afterhours.html
■SPECIAL INTERVIEW
□Boards of Canada／ボーズ・オブ・カナダ
□Vashti Bunyan／ヴァシュティ・バニアン
□藤本雄一郎／Yuichiro Fujimoto

Availability:
* [http://www.jetsetrecords.net/en/--AFTER-HOURS22/product/232350004000 Jet Set Records]

== 2005-11-18: Cookie Scene [Added to Interviews] ==
[[Image:Cookiescene46.jpg|thumb|right|100px|''COOKIE SCENE'' vol.46, Dec 2005/Jan 2006]]
"太陽の黄金の林檎" ("The Golden Apples of the Sun") (or "太陽の黄金（きん）の林檎")

Vol. 46

Source: http://www.p-vine.com/app.php/mo/Shop/ac/ProductDetail/id/2920
side-A (January) cover BOARDS OF CANADA
特集：太陽の黄金（きん）の林檎：long interview: BOARDS OF CANADA

http://www.bekkoame.ne.jp/ha/p-market/past/vol46.html
COOKIE SCENE vol.46 JANUARY 2006/DECEMBER 2005
with 21 tracks compilation CD (950 yen + tax)
side-A (January) cover BOARDS OF CANADA
side-AA (December) cover DEVENDRA BANHART

http://www.bls-act.co.jp/bm/detail.php?wpid=2920&ltid=42&mgid=425

Availability:
* [http://www.amazon.co.jp/gp/switch-language/product/4860201507/ref=dp_change_lang?ie=UTF8&language=en%5FJP Amazon.co.jp: クッキー・シーン (Vol.46): 本]
* [http://www.hmv.co.jp/product/detail/1424962 hmv.co.jp]

== 2002: Fader [Added to Interviews] ==
Referenced from the 2002 Grooves "collage" inteview.

Author: Nobuki Nishiyama (DJ)

Possibly [http://www.faderbyheadz.com/fader/fader07.html FADER 07]
SIDE-A CROSSFADR-Part.1
A02 A02: Boards Of Canada

[http://d.hatena.ne.jp/nami_to_kami/20090621]:
FADER 7号 - （プレフューズ73、ボーズ・オブ・カナダ等のインタビュー、そして異能JAZZ特集。）

Interviews of Prefuse 73, Boards of Canada and Bose, Jazz feature and unusual talents

== 2005-12-27: Alpha and Omega ==
(Japanese)

Vol. 002

* http://www.alpha-omega.jp/music/music_top.htm#boc
* http://www.alpha-omega.jp/backnumber/vol001/music/music_top001.htm

== 2006-07-01: Japanese unknown ==
http://asag.exblog.jp/3731842/ appears to be a partial quote from an interview.

<blockquote>2006年 07月 01日
不朽の傑作

Boards of canada のインタビューで、こんな事が書いてあった。

「シンプルな音の連なりを奏でるだけで、聴いた人が何かとても深いことを悟ったり、ひどく切ない気分になったりする、そこに僕はたまらなく心惹かれる。そこにはものすごい力があって、錬金術みたいだとさえ思う。
音楽の中にある”悲しさ”は、とても美しい。そして、楽しく聞こえるけれど、その根底にはかすかな悲しさが流れている様な、そういうメロディーを作り出せたら、不朽の傑作と言えるだろうね。」

言いたい事。そのまますぎて、思わず写してしまいました。
音楽が大好きなのは、まさにこの感覚を追いかけているからで、音が作り出してくれる、ひどく切ない心象風景の中を漂っていく心を追いかけてるのが好き。

音は、後に残らない、その時の一瞬だけのもので、確かにCDとかにすれば何度も同じ物は聴ける訳でも、全ての音を一辺に聴く訳じゃないから、そこには必ず時間の経過がある。その時間の経過の中でゆっくり心は色んな所を旅する。それで、表現出来ないような自分だけの特別な気持ちに辿り着く。

ヴィジュアルの物っていうのは、全体像から一気に目に飛び込んで来る。その中に、ここで言ってる様な”悲しさ”を見つける事はあるとしても、自分の自由な心象風景の中を心が浮遊するようなことはあんまりない。

だからいつも、音楽はいいな。と思って来たし、今も思ってる。

こういう、音楽みたいな作品を作りたいとずっと思ってます。
懐かしさに締め付けられる様な、表現出来ない特別な気持ちが沸き上がる様な。
下の、moments of sunset は、切ない曲の心象風景っていうのが、根底にあります。
それを意識して作りました。
出来上がりが、切ないかどうかは別として。

ヴィジュアルで、音楽がやってのける様な、世界観を作り出せたら、それこそ不朽の傑作だと思う。 </blockquote>

== 2002-04: snoozer ==
[[Image:snzr30.jpg|thumb|right|100px|''snoozer'' #030, 2002-04]]

http://music.2ch.net/musice/kako/1006/10063/1006352577.html
次号でBOCのインタビュー取れたらすげえけどな
Translates to something like "The BOC interview to take place in the next issue was dropped, however"?

Issue contents: [http://www.magisystem.net/~akiu/snoozer/030.html]

http://books-rondo.net/cata-music/snoozer.htm
■ snoozer　　＃030 ■　２００２年４月号
くるり表紙　
「９８年の世代」、以前･以降　　　「日本のロック」は本当に生まれたのか？
くるり、ナンバーガール、スーパーカー、中村一義
THE STROKES　／ BOARDS OF CANADA　／ THE JON SPENCER BLUES EXPLOSION　／ THE BLUE HERB　／ MOBY　／ BLACK RABEL MOTORCYCLE CLUB　／ SHINGO2
Written by Nakamura (中村)?

ISBN 978-4-503-14440-9 (4-503-14440-5)　[http://www.junkudo.co.jp/detail2.jsp?ID=0011002245] [http://www.kikuyashoten.co.jp/detail.jsp?ID=0011002245]

* Verdict: Probably just a review.

= Others =
Despite being 'closer to home', some interviews in Westerns sources have managed to slip past the community's normally vigilant notice.

== 2002?: Ticket ==
Belgian magazine
* This one? [http://www.theticket.be/ The Ticket]

Aug 03, 2002 at the latest (earliest archive date on IA)

[http://web.archive.org/web/*hh_/boardsofcanada.watmm.com/articles/OldTicketBelgianMagazineAr.shtml]

== 2002: Alternative Press ==
Referenced from the 2002 Grooves "collage" interview.

Author: Philip Sherburne

Possibly [http://altpress.com/apmag/166.htm AP #166 (May 2002)]:
SPECIAL: GREAT BLEEP FORWARD: A.P.’S GUIDE TO ELECTRONICA’S MOVERS AND SHAKERS
Boards of Canada listed on cover (not that big though)

* ISSN: {{ISSN|1065-1667}}

== 2005: Soundvenue ==
''Soundvenue'' issue 4, 2005

Danish music magazine

http://www.dotshop.se/ds/release.php?code=SV405&rand=157771287
:You can also check out interviews with Outlandish, Korn, Larsen & Furious Jane, Ms Dynamite, Gang of Four, Boards of Canada and Broken Social Scene.

Unconfirmed interviews

2024-10-26T01:01:55Z

Csch: /* 2005-11-18: Cookie Scene */

This page is used to keep track of unconfirmed/missing interviews that have not yet been tracked down. Once an article has been verified and located, it should be moved to [[Interviews]].

= Japanese interviews =
As part of the normal buzz of media activity surrounding each album release, a number of interviews have been published in various Japanese music magazines. Unfortunately, as there is no one in the English BoC fan community who lives in Japan or even speaks Japanese, these articles are very hard to track down.

Some useful terms:
; Boards of Canada: [[ja.wikipedia:ボーズ・オブ・カナダ|ボーズ・オブ・カナダ]]
; interview: [[wiktionary:interview#NavFrame2|インタビュー]]

== 2002-03-25: Cookie Scene [Added to Interviews] ==
Boards of Canada was on the cover Japanese magazine ''Cookie Scene'' vol. 24, sometime in 2002. The issue was [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310149094326&viewitem=&sspagename=ADME%3AB%3ASS%3AUS%3A1123&salenotsupported offered on eBay] on 16 Jun 2009 by seller [http://myworld.ebay.com/jack-daniels-whiskey-johnnie-walker-whisky/ jack-daniels-whiskey-johnnie-walker-whisky].

;ISSN: 60200322
;Japanese title: クッキー・シーン

* [http://www.amazon.co.jp/exec/obidos/ASIN/4860200322/blsactcojp-22/ Amazon.co.jp]

== 2006-07: rockin'on (Japan) ==
An article appeared in the Japanese magazine ''[http://www.ro69.jp/publish/rockinon/next.html rockin'on]'' (''[[ja.wikipedia:ロッキング・オン|ロッキング・オン]]'') sometime in 2006. Photograph pages from this interview were offered for sale on eBay in May 2009. The photos are of the brothers in the woods, from the same set of photographs used in a number of other interviews in the TCH era; in partial, one photo used is the same as the RE:UP interview cover.

''Not be to confused with ''[http://www.ro69.jp/publish/japan/index.html ROCKIN'ON JAPAN]'', from the same publisher''

Looks like Issue 7 (July 2006) ([http://d.hatena.ne.jp/high-d/20060615 source])
; Amazon.co.jp: [http://www.amazon.co.jp/gp/product/product-description/B000FQG5JO/ref=dp_proddesc_0?ie=UTF8&n=465392&s=books Amazon.co.jp: rockin'on (ロッキング・オン) 2006年 07月号 (雑誌): 本]

Links:
* [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310132997755&viewitem=&salenotsupported BOARDS OF CANADA `06 Japan pin-ups - eBay (item 310132997755 end time Jun-01-09 00:11:39 PDT)] (seller [http://myworld.ebay.com/timming2001?ssPageName=ADME:X:RTQ:US:1181 timming2001])
* [http://www.ro69.jp/publish/rockinon/next.html rockin'on 編集部　次号予告]
* [http://rock-net.jp/ ROCKIN'ON Inc. - 株式会社ロッキング・オン]

== 2005-12-15: After Hours [Added to Interviews] ==
[[Image:After hours 22.jpg|thumb|right|100px|''After Hours'' #22, 2005-12-15]]
Issue #22

Source: http://www.clubculture.jp/magazine/archives/afterhours/
【インタビュー】 Boards of Canada、Vashti Bunyan、他。
(インタビュー means "Interview" according to babelfish)

http://www.ontonson.com/magazine/afterhours.html
■SPECIAL INTERVIEW
□Boards of Canada／ボーズ・オブ・カナダ
□Vashti Bunyan／ヴァシュティ・バニアン
□藤本雄一郎／Yuichiro Fujimoto

Availability:
* [http://www.jetsetrecords.net/en/--AFTER-HOURS22/product/232350004000 Jet Set Records]

== 2005-11-18: Cookie Scene [Added to Interviews] ==
[[Image:Cookiescene46.jpg|thumb|right|100px|''COOKIE SCENE'' vol.46, Dec 2005/Jan 2006]]
"太陽の黄金の林檎" ("The Golden Apples of the Sun") (or "太陽の黄金（きん）の林檎")

Vol. 46

Source: http://www.p-vine.com/app.php/mo/Shop/ac/ProductDetail/id/2920
side-A (January) cover BOARDS OF CANADA
特集：太陽の黄金（きん）の林檎：long interview: BOARDS OF CANADA

http://www.bekkoame.ne.jp/ha/p-market/past/vol46.html
COOKIE SCENE vol.46 JANUARY 2006/DECEMBER 2005
with 21 tracks compilation CD (950 yen + tax)
side-A (January) cover BOARDS OF CANADA
side-AA (December) cover DEVENDRA BANHART

http://www.bls-act.co.jp/bm/detail.php?wpid=2920&ltid=42&mgid=425

Availability:
* [http://www.amazon.co.jp/gp/switch-language/product/4860201507/ref=dp_change_lang?ie=UTF8&language=en%5FJP Amazon.co.jp: クッキー・シーン (Vol.46): 本]
* [http://www.hmv.co.jp/product/detail/1424962 hmv.co.jp]

== 2002: Fader ==
Referenced from the 2002 Grooves "collage" inteview.

Author: Nobuki Nishiyama (DJ)

Possibly [http://www.faderbyheadz.com/fader/fader07.html FADER 07]
SIDE-A CROSSFADR-Part.1
A02 A02: Boards Of Canada

[http://d.hatena.ne.jp/nami_to_kami/20090621]:
FADER 7号 - （プレフューズ73、ボーズ・オブ・カナダ等のインタビュー、そして異能JAZZ特集。）

Interviews of Prefuse 73, Boards of Canada and Bose, Jazz feature and unusual talents

== 2005-12-27: Alpha and Omega ==
(Japanese)

Vol. 002

* http://www.alpha-omega.jp/music/music_top.htm#boc
* http://www.alpha-omega.jp/backnumber/vol001/music/music_top001.htm

== 2006-07-01: Japanese unknown ==
http://asag.exblog.jp/3731842/ appears to be a partial quote from an interview.

<blockquote>2006年 07月 01日
不朽の傑作

Boards of canada のインタビューで、こんな事が書いてあった。

「シンプルな音の連なりを奏でるだけで、聴いた人が何かとても深いことを悟ったり、ひどく切ない気分になったりする、そこに僕はたまらなく心惹かれる。そこにはものすごい力があって、錬金術みたいだとさえ思う。
音楽の中にある”悲しさ”は、とても美しい。そして、楽しく聞こえるけれど、その根底にはかすかな悲しさが流れている様な、そういうメロディーを作り出せたら、不朽の傑作と言えるだろうね。」

言いたい事。そのまますぎて、思わず写してしまいました。
音楽が大好きなのは、まさにこの感覚を追いかけているからで、音が作り出してくれる、ひどく切ない心象風景の中を漂っていく心を追いかけてるのが好き。

音は、後に残らない、その時の一瞬だけのもので、確かにCDとかにすれば何度も同じ物は聴ける訳でも、全ての音を一辺に聴く訳じゃないから、そこには必ず時間の経過がある。その時間の経過の中でゆっくり心は色んな所を旅する。それで、表現出来ないような自分だけの特別な気持ちに辿り着く。

ヴィジュアルの物っていうのは、全体像から一気に目に飛び込んで来る。その中に、ここで言ってる様な”悲しさ”を見つける事はあるとしても、自分の自由な心象風景の中を心が浮遊するようなことはあんまりない。

だからいつも、音楽はいいな。と思って来たし、今も思ってる。

こういう、音楽みたいな作品を作りたいとずっと思ってます。
懐かしさに締め付けられる様な、表現出来ない特別な気持ちが沸き上がる様な。
下の、moments of sunset は、切ない曲の心象風景っていうのが、根底にあります。
それを意識して作りました。
出来上がりが、切ないかどうかは別として。

ヴィジュアルで、音楽がやってのける様な、世界観を作り出せたら、それこそ不朽の傑作だと思う。 </blockquote>

== 2002-04: snoozer ==
[[Image:snzr30.jpg|thumb|right|100px|''snoozer'' #030, 2002-04]]

http://music.2ch.net/musice/kako/1006/10063/1006352577.html
次号でBOCのインタビュー取れたらすげえけどな
Translates to something like "The BOC interview to take place in the next issue was dropped, however"?

Issue contents: [http://www.magisystem.net/~akiu/snoozer/030.html]

http://books-rondo.net/cata-music/snoozer.htm
■ snoozer　　＃030 ■　２００２年４月号
くるり表紙　
「９８年の世代」、以前･以降　　　「日本のロック」は本当に生まれたのか？
くるり、ナンバーガール、スーパーカー、中村一義
THE STROKES　／ BOARDS OF CANADA　／ THE JON SPENCER BLUES EXPLOSION　／ THE BLUE HERB　／ MOBY　／ BLACK RABEL MOTORCYCLE CLUB　／ SHINGO2
Written by Nakamura (中村)?

ISBN 978-4-503-14440-9 (4-503-14440-5)　[http://www.junkudo.co.jp/detail2.jsp?ID=0011002245] [http://www.kikuyashoten.co.jp/detail.jsp?ID=0011002245]

* Verdict: Probably just a review.

= Others =
Despite being 'closer to home', some interviews in Westerns sources have managed to slip past the community's normally vigilant notice.

== 2002?: Ticket ==
Belgian magazine
* This one? [http://www.theticket.be/ The Ticket]

Aug 03, 2002 at the latest (earliest archive date on IA)

[http://web.archive.org/web/*hh_/boardsofcanada.watmm.com/articles/OldTicketBelgianMagazineAr.shtml]

== 2002: Alternative Press ==
Referenced from the 2002 Grooves "collage" interview.

Author: Philip Sherburne

Possibly [http://altpress.com/apmag/166.htm AP #166 (May 2002)]:
SPECIAL: GREAT BLEEP FORWARD: A.P.’S GUIDE TO ELECTRONICA’S MOVERS AND SHAKERS
Boards of Canada listed on cover (not that big though)

* ISSN: {{ISSN|1065-1667}}

== 2005: Soundvenue ==
''Soundvenue'' issue 4, 2005

Danish music magazine

http://www.dotshop.se/ds/release.php?code=SV405&rand=157771287
:You can also check out interviews with Outlandish, Korn, Larsen & Furious Jane, Ms Dynamite, Gang of Four, Boards of Canada and Broken Social Scene.

Unconfirmed interviews

2024-10-26T01:01:40Z

Csch: /* 2005-12-15: After Hours */

This page is used to keep track of unconfirmed/missing interviews that have not yet been tracked down. Once an article has been verified and located, it should be moved to [[Interviews]].

= Japanese interviews =
As part of the normal buzz of media activity surrounding each album release, a number of interviews have been published in various Japanese music magazines. Unfortunately, as there is no one in the English BoC fan community who lives in Japan or even speaks Japanese, these articles are very hard to track down.

Some useful terms:
; Boards of Canada: [[ja.wikipedia:ボーズ・オブ・カナダ|ボーズ・オブ・カナダ]]
; interview: [[wiktionary:interview#NavFrame2|インタビュー]]

== 2002-03-25: Cookie Scene [Added to Interviews] ==
Boards of Canada was on the cover Japanese magazine ''Cookie Scene'' vol. 24, sometime in 2002. The issue was [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310149094326&viewitem=&sspagename=ADME%3AB%3ASS%3AUS%3A1123&salenotsupported offered on eBay] on 16 Jun 2009 by seller [http://myworld.ebay.com/jack-daniels-whiskey-johnnie-walker-whisky/ jack-daniels-whiskey-johnnie-walker-whisky].

;ISSN: 60200322
;Japanese title: クッキー・シーン

* [http://www.amazon.co.jp/exec/obidos/ASIN/4860200322/blsactcojp-22/ Amazon.co.jp]

== 2006-07: rockin'on (Japan) ==
An article appeared in the Japanese magazine ''[http://www.ro69.jp/publish/rockinon/next.html rockin'on]'' (''[[ja.wikipedia:ロッキング・オン|ロッキング・オン]]'') sometime in 2006. Photograph pages from this interview were offered for sale on eBay in May 2009. The photos are of the brothers in the woods, from the same set of photographs used in a number of other interviews in the TCH era; in partial, one photo used is the same as the RE:UP interview cover.

''Not be to confused with ''[http://www.ro69.jp/publish/japan/index.html ROCKIN'ON JAPAN]'', from the same publisher''

Looks like Issue 7 (July 2006) ([http://d.hatena.ne.jp/high-d/20060615 source])
; Amazon.co.jp: [http://www.amazon.co.jp/gp/product/product-description/B000FQG5JO/ref=dp_proddesc_0?ie=UTF8&n=465392&s=books Amazon.co.jp: rockin'on (ロッキング・オン) 2006年 07月号 (雑誌): 本]

Links:
* [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310132997755&viewitem=&salenotsupported BOARDS OF CANADA `06 Japan pin-ups - eBay (item 310132997755 end time Jun-01-09 00:11:39 PDT)] (seller [http://myworld.ebay.com/timming2001?ssPageName=ADME:X:RTQ:US:1181 timming2001])
* [http://www.ro69.jp/publish/rockinon/next.html rockin'on 編集部　次号予告]
* [http://rock-net.jp/ ROCKIN'ON Inc. - 株式会社ロッキング・オン]

== 2005-12-15: After Hours [Added to Interviews] ==
[[Image:After hours 22.jpg|thumb|right|100px|''After Hours'' #22, 2005-12-15]]
Issue #22

Source: http://www.clubculture.jp/magazine/archives/afterhours/
【インタビュー】 Boards of Canada、Vashti Bunyan、他。
(インタビュー means "Interview" according to babelfish)

http://www.ontonson.com/magazine/afterhours.html
■SPECIAL INTERVIEW
□Boards of Canada／ボーズ・オブ・カナダ
□Vashti Bunyan／ヴァシュティ・バニアン
□藤本雄一郎／Yuichiro Fujimoto

Availability:
* [http://www.jetsetrecords.net/en/--AFTER-HOURS22/product/232350004000 Jet Set Records]

== 2005-11-18: Cookie Scene ==
[[Image:Cookiescene46.jpg|thumb|right|100px|''COOKIE SCENE'' vol.46, Dec 2005/Jan 2006]]
"太陽の黄金の林檎" ("The Golden Apples of the Sun") (or "太陽の黄金（きん）の林檎")

Vol. 46

Source: http://www.p-vine.com/app.php/mo/Shop/ac/ProductDetail/id/2920
side-A (January) cover BOARDS OF CANADA
特集：太陽の黄金（きん）の林檎：long interview: BOARDS OF CANADA

http://www.bekkoame.ne.jp/ha/p-market/past/vol46.html
COOKIE SCENE vol.46 JANUARY 2006/DECEMBER 2005
with 21 tracks compilation CD (950 yen + tax)
side-A (January) cover BOARDS OF CANADA
side-AA (December) cover DEVENDRA BANHART

http://www.bls-act.co.jp/bm/detail.php?wpid=2920&ltid=42&mgid=425

Availability:
* [http://www.amazon.co.jp/gp/switch-language/product/4860201507/ref=dp_change_lang?ie=UTF8&language=en%5FJP Amazon.co.jp: クッキー・シーン (Vol.46): 本]
* [http://www.hmv.co.jp/product/detail/1424962 hmv.co.jp]

== 2002: Fader ==
Referenced from the 2002 Grooves "collage" inteview.

Author: Nobuki Nishiyama (DJ)

Possibly [http://www.faderbyheadz.com/fader/fader07.html FADER 07]
SIDE-A CROSSFADR-Part.1
A02 A02: Boards Of Canada

[http://d.hatena.ne.jp/nami_to_kami/20090621]:
FADER 7号 - （プレフューズ73、ボーズ・オブ・カナダ等のインタビュー、そして異能JAZZ特集。）

Interviews of Prefuse 73, Boards of Canada and Bose, Jazz feature and unusual talents

== 2005-12-27: Alpha and Omega ==
(Japanese)

Vol. 002

* http://www.alpha-omega.jp/music/music_top.htm#boc
* http://www.alpha-omega.jp/backnumber/vol001/music/music_top001.htm

== 2006-07-01: Japanese unknown ==
http://asag.exblog.jp/3731842/ appears to be a partial quote from an interview.

<blockquote>2006年 07月 01日
不朽の傑作

Boards of canada のインタビューで、こんな事が書いてあった。

「シンプルな音の連なりを奏でるだけで、聴いた人が何かとても深いことを悟ったり、ひどく切ない気分になったりする、そこに僕はたまらなく心惹かれる。そこにはものすごい力があって、錬金術みたいだとさえ思う。
音楽の中にある”悲しさ”は、とても美しい。そして、楽しく聞こえるけれど、その根底にはかすかな悲しさが流れている様な、そういうメロディーを作り出せたら、不朽の傑作と言えるだろうね。」

言いたい事。そのまますぎて、思わず写してしまいました。
音楽が大好きなのは、まさにこの感覚を追いかけているからで、音が作り出してくれる、ひどく切ない心象風景の中を漂っていく心を追いかけてるのが好き。

音は、後に残らない、その時の一瞬だけのもので、確かにCDとかにすれば何度も同じ物は聴ける訳でも、全ての音を一辺に聴く訳じゃないから、そこには必ず時間の経過がある。その時間の経過の中でゆっくり心は色んな所を旅する。それで、表現出来ないような自分だけの特別な気持ちに辿り着く。

ヴィジュアルの物っていうのは、全体像から一気に目に飛び込んで来る。その中に、ここで言ってる様な”悲しさ”を見つける事はあるとしても、自分の自由な心象風景の中を心が浮遊するようなことはあんまりない。

だからいつも、音楽はいいな。と思って来たし、今も思ってる。

こういう、音楽みたいな作品を作りたいとずっと思ってます。
懐かしさに締め付けられる様な、表現出来ない特別な気持ちが沸き上がる様な。
下の、moments of sunset は、切ない曲の心象風景っていうのが、根底にあります。
それを意識して作りました。
出来上がりが、切ないかどうかは別として。

ヴィジュアルで、音楽がやってのける様な、世界観を作り出せたら、それこそ不朽の傑作だと思う。 </blockquote>

== 2002-04: snoozer ==
[[Image:snzr30.jpg|thumb|right|100px|''snoozer'' #030, 2002-04]]

http://music.2ch.net/musice/kako/1006/10063/1006352577.html
次号でBOCのインタビュー取れたらすげえけどな
Translates to something like "The BOC interview to take place in the next issue was dropped, however"?

Issue contents: [http://www.magisystem.net/~akiu/snoozer/030.html]

http://books-rondo.net/cata-music/snoozer.htm
■ snoozer　　＃030 ■　２００２年４月号
くるり表紙　
「９８年の世代」、以前･以降　　　「日本のロック」は本当に生まれたのか？
くるり、ナンバーガール、スーパーカー、中村一義
THE STROKES　／ BOARDS OF CANADA　／ THE JON SPENCER BLUES EXPLOSION　／ THE BLUE HERB　／ MOBY　／ BLACK RABEL MOTORCYCLE CLUB　／ SHINGO2
Written by Nakamura (中村)?

ISBN 978-4-503-14440-9 (4-503-14440-5)　[http://www.junkudo.co.jp/detail2.jsp?ID=0011002245] [http://www.kikuyashoten.co.jp/detail.jsp?ID=0011002245]

* Verdict: Probably just a review.

= Others =
Despite being 'closer to home', some interviews in Westerns sources have managed to slip past the community's normally vigilant notice.

== 2002?: Ticket ==
Belgian magazine
* This one? [http://www.theticket.be/ The Ticket]

Aug 03, 2002 at the latest (earliest archive date on IA)

[http://web.archive.org/web/*hh_/boardsofcanada.watmm.com/articles/OldTicketBelgianMagazineAr.shtml]

== 2002: Alternative Press ==
Referenced from the 2002 Grooves "collage" interview.

Author: Philip Sherburne

Possibly [http://altpress.com/apmag/166.htm AP #166 (May 2002)]:
SPECIAL: GREAT BLEEP FORWARD: A.P.’S GUIDE TO ELECTRONICA’S MOVERS AND SHAKERS
Boards of Canada listed on cover (not that big though)

* ISSN: {{ISSN|1065-1667}}

== 2005: Soundvenue ==
''Soundvenue'' issue 4, 2005

Danish music magazine

http://www.dotshop.se/ds/release.php?code=SV405&rand=157771287
:You can also check out interviews with Outlandish, Korn, Larsen & Furious Jane, Ms Dynamite, Gang of Four, Boards of Canada and Broken Social Scene.

Unconfirmed interviews

2024-10-26T01:00:48Z

Csch: Already added to Interviews

This page is used to keep track of unconfirmed/missing interviews that have not yet been tracked down. Once an article has been verified and located, it should be moved to [[Interviews]].

= Japanese interviews =
As part of the normal buzz of media activity surrounding each album release, a number of interviews have been published in various Japanese music magazines. Unfortunately, as there is no one in the English BoC fan community who lives in Japan or even speaks Japanese, these articles are very hard to track down.

Some useful terms:
; Boards of Canada: [[ja.wikipedia:ボーズ・オブ・カナダ|ボーズ・オブ・カナダ]]
; interview: [[wiktionary:interview#NavFrame2|インタビュー]]

== 2002-03-25: Cookie Scene [Added to Interviews] ==
Boards of Canada was on the cover Japanese magazine ''Cookie Scene'' vol. 24, sometime in 2002. The issue was [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310149094326&viewitem=&sspagename=ADME%3AB%3ASS%3AUS%3A1123&salenotsupported offered on eBay] on 16 Jun 2009 by seller [http://myworld.ebay.com/jack-daniels-whiskey-johnnie-walker-whisky/ jack-daniels-whiskey-johnnie-walker-whisky].

;ISSN: 60200322
;Japanese title: クッキー・シーン

* [http://www.amazon.co.jp/exec/obidos/ASIN/4860200322/blsactcojp-22/ Amazon.co.jp]

== 2006-07: rockin'on (Japan) ==
An article appeared in the Japanese magazine ''[http://www.ro69.jp/publish/rockinon/next.html rockin'on]'' (''[[ja.wikipedia:ロッキング・オン|ロッキング・オン]]'') sometime in 2006. Photograph pages from this interview were offered for sale on eBay in May 2009. The photos are of the brothers in the woods, from the same set of photographs used in a number of other interviews in the TCH era; in partial, one photo used is the same as the RE:UP interview cover.

''Not be to confused with ''[http://www.ro69.jp/publish/japan/index.html ROCKIN'ON JAPAN]'', from the same publisher''

Looks like Issue 7 (July 2006) ([http://d.hatena.ne.jp/high-d/20060615 source])
; Amazon.co.jp: [http://www.amazon.co.jp/gp/product/product-description/B000FQG5JO/ref=dp_proddesc_0?ie=UTF8&n=465392&s=books Amazon.co.jp: rockin'on (ロッキング・オン) 2006年 07月号 (雑誌): 本]

Links:
* [http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=310132997755&viewitem=&salenotsupported BOARDS OF CANADA `06 Japan pin-ups - eBay (item 310132997755 end time Jun-01-09 00:11:39 PDT)] (seller [http://myworld.ebay.com/timming2001?ssPageName=ADME:X:RTQ:US:1181 timming2001])
* [http://www.ro69.jp/publish/rockinon/next.html rockin'on 編集部　次号予告]
* [http://rock-net.jp/ ROCKIN'ON Inc. - 株式会社ロッキング・オン]

== 2005-12-15: After Hours ==
[[Image:After hours 22.jpg|thumb|right|100px|''After Hours'' #22, 2005-12-15]]
Issue #22

Source: http://www.clubculture.jp/magazine/archives/afterhours/
【インタビュー】 Boards of Canada、Vashti Bunyan、他。
(インタビュー means "Interview" according to babelfish)

http://www.ontonson.com/magazine/afterhours.html
■SPECIAL INTERVIEW
□Boards of Canada／ボーズ・オブ・カナダ
□Vashti Bunyan／ヴァシュティ・バニアン
□藤本雄一郎／Yuichiro Fujimoto

Availability:
* [http://www.jetsetrecords.net/en/--AFTER-HOURS22/product/232350004000 Jet Set Records]

== 2005-11-18: Cookie Scene ==
[[Image:Cookiescene46.jpg|thumb|right|100px|''COOKIE SCENE'' vol.46, Dec 2005/Jan 2006]]
"太陽の黄金の林檎" ("The Golden Apples of the Sun") (or "太陽の黄金（きん）の林檎")

Vol. 46

Source: http://www.p-vine.com/app.php/mo/Shop/ac/ProductDetail/id/2920
side-A (January) cover BOARDS OF CANADA
特集：太陽の黄金（きん）の林檎：long interview: BOARDS OF CANADA

http://www.bekkoame.ne.jp/ha/p-market/past/vol46.html
COOKIE SCENE vol.46 JANUARY 2006/DECEMBER 2005
with 21 tracks compilation CD (950 yen + tax)
side-A (January) cover BOARDS OF CANADA
side-AA (December) cover DEVENDRA BANHART

http://www.bls-act.co.jp/bm/detail.php?wpid=2920&ltid=42&mgid=425

Availability:
* [http://www.amazon.co.jp/gp/switch-language/product/4860201507/ref=dp_change_lang?ie=UTF8&language=en%5FJP Amazon.co.jp: クッキー・シーン (Vol.46): 本]
* [http://www.hmv.co.jp/product/detail/1424962 hmv.co.jp]

== 2002: Fader ==
Referenced from the 2002 Grooves "collage" inteview.

Author: Nobuki Nishiyama (DJ)

Possibly [http://www.faderbyheadz.com/fader/fader07.html FADER 07]
SIDE-A CROSSFADR-Part.1
A02 A02: Boards Of Canada

[http://d.hatena.ne.jp/nami_to_kami/20090621]:
FADER 7号 - （プレフューズ73、ボーズ・オブ・カナダ等のインタビュー、そして異能JAZZ特集。）

Interviews of Prefuse 73, Boards of Canada and Bose, Jazz feature and unusual talents

== 2005-12-27: Alpha and Omega ==
(Japanese)

Vol. 002

* http://www.alpha-omega.jp/music/music_top.htm#boc
* http://www.alpha-omega.jp/backnumber/vol001/music/music_top001.htm

== 2006-07-01: Japanese unknown ==
http://asag.exblog.jp/3731842/ appears to be a partial quote from an interview.

<blockquote>2006年 07月 01日
不朽の傑作

Boards of canada のインタビューで、こんな事が書いてあった。

「シンプルな音の連なりを奏でるだけで、聴いた人が何かとても深いことを悟ったり、ひどく切ない気分になったりする、そこに僕はたまらなく心惹かれる。そこにはものすごい力があって、錬金術みたいだとさえ思う。
音楽の中にある”悲しさ”は、とても美しい。そして、楽しく聞こえるけれど、その根底にはかすかな悲しさが流れている様な、そういうメロディーを作り出せたら、不朽の傑作と言えるだろうね。」

言いたい事。そのまますぎて、思わず写してしまいました。
音楽が大好きなのは、まさにこの感覚を追いかけているからで、音が作り出してくれる、ひどく切ない心象風景の中を漂っていく心を追いかけてるのが好き。

音は、後に残らない、その時の一瞬だけのもので、確かにCDとかにすれば何度も同じ物は聴ける訳でも、全ての音を一辺に聴く訳じゃないから、そこには必ず時間の経過がある。その時間の経過の中でゆっくり心は色んな所を旅する。それで、表現出来ないような自分だけの特別な気持ちに辿り着く。

ヴィジュアルの物っていうのは、全体像から一気に目に飛び込んで来る。その中に、ここで言ってる様な”悲しさ”を見つける事はあるとしても、自分の自由な心象風景の中を心が浮遊するようなことはあんまりない。

だからいつも、音楽はいいな。と思って来たし、今も思ってる。

こういう、音楽みたいな作品を作りたいとずっと思ってます。
懐かしさに締め付けられる様な、表現出来ない特別な気持ちが沸き上がる様な。
下の、moments of sunset は、切ない曲の心象風景っていうのが、根底にあります。
それを意識して作りました。
出来上がりが、切ないかどうかは別として。

ヴィジュアルで、音楽がやってのける様な、世界観を作り出せたら、それこそ不朽の傑作だと思う。 </blockquote>

== 2002-04: snoozer ==
[[Image:snzr30.jpg|thumb|right|100px|''snoozer'' #030, 2002-04]]

http://music.2ch.net/musice/kako/1006/10063/1006352577.html
次号でBOCのインタビュー取れたらすげえけどな
Translates to something like "The BOC interview to take place in the next issue was dropped, however"?

Issue contents: [http://www.magisystem.net/~akiu/snoozer/030.html]

http://books-rondo.net/cata-music/snoozer.htm
■ snoozer　　＃030 ■　２００２年４月号
くるり表紙　
「９８年の世代」、以前･以降　　　「日本のロック」は本当に生まれたのか？
くるり、ナンバーガール、スーパーカー、中村一義
THE STROKES　／ BOARDS OF CANADA　／ THE JON SPENCER BLUES EXPLOSION　／ THE BLUE HERB　／ MOBY　／ BLACK RABEL MOTORCYCLE CLUB　／ SHINGO2
Written by Nakamura (中村)?

ISBN 978-4-503-14440-9 (4-503-14440-5)　[http://www.junkudo.co.jp/detail2.jsp?ID=0011002245] [http://www.kikuyashoten.co.jp/detail.jsp?ID=0011002245]

* Verdict: Probably just a review.

= Others =
Despite being 'closer to home', some interviews in Westerns sources have managed to slip past the community's normally vigilant notice.

== 2002?: Ticket ==
Belgian magazine
* This one? [http://www.theticket.be/ The Ticket]

Aug 03, 2002 at the latest (earliest archive date on IA)

[http://web.archive.org/web/*hh_/boardsofcanada.watmm.com/articles/OldTicketBelgianMagazineAr.shtml]

== 2002: Alternative Press ==
Referenced from the 2002 Grooves "collage" interview.

Author: Philip Sherburne

Possibly [http://altpress.com/apmag/166.htm AP #166 (May 2002)]:
SPECIAL: GREAT BLEEP FORWARD: A.P.’S GUIDE TO ELECTRONICA’S MOVERS AND SHAKERS
Boards of Canada listed on cover (not that big though)

* ISSN: {{ISSN|1065-1667}}

== 2005: Soundvenue ==
''Soundvenue'' issue 4, 2005

Danish music magazine

http://www.dotshop.se/ds/release.php?code=SV405&rand=157771287
:You can also check out interviews with Outlandish, Korn, Larsen & Furious Jane, Ms Dynamite, Gang of Four, Boards of Canada and Broken Social Scene.

National Film Board of Canada

2023-09-13T19:31:03Z

Csch: /* NFB Sources */

[[Image:NFB-logo.gif|right|thumb|200px|The [[NFB|National Film Board of Canada]] logo.]]

The National Film Board of Canada (usually National Film Board or NFB) is a Canadian public filmmaking organization established to produce and distribute films that inform Canadians and promote Canada around the world. Its name in French is Office national du film du Canada or ONF. The NFB is best known for its documentaries and animated short films, several of which have won Academy Awards. The NFB reports to the Parliament of Canada through the Minister of Canadian Heritage. It has French and English production branches.

As children growing up in Alberta, Canada, Mike and Marcus were exposed to NFB material from a young age, and have cited them as a major influence, going so far as to name their band [[Boards of Canada]] in homage. References to NFB films and shorts are found throughout their works, from track titles like "[[Pete Standing Alone]]" and "[[Kaini Industries]]" to audio samples in tracks such as "[[Energy Warning]]".

== Pictures ==
The following pictures are sourced from the official Boards of Canada Facebook page.<ref>http://facebook.com/boardsofcanada/photos</ref>

The listing below is generated dynamically, based on: [[:Category: NFB]].

<DynamicPageList>
category = NFB
namespace=file
ordermethod = sortkey
order = ascending
imagewidth=104
galleryshowfilesize=yes
galleryshowfilename=yes
imagesperrow=6
mode=gallery
</DynamicPageList>

=== NFB Sources ===
{| class="wikitable sortable"
! Title !! NFB Page !! Online Source !! Notes:
|-
| nfb01 - Legend (1970) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11210&gal=1 || || @0:19
|-
| nfb02 - Graphic Variations on Telidon by Pierre Moretti (1979) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=15236&gal=1 || https://www.nfb.ca/film/graphic-variations-telidon-pierre-moretti/ || @2:25
|-
| nfb03 - The Conquered Dream (1971) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=33981 || ||
|-
| nfb04 - Energy and Matter (1966) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11369&gal=1 || ||
|-
| nfb05 - Mr. Symbol Man (1974) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=10909&gal=1 || http://archive.org/details/mrsymbolman || @40:04
|-
| nfb06 - Tomorrow's Energy Today (1981) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13576&gal=1 || http://archive.org/details/tomorrowsenergytoday || @26:47
|-
| nfb07 nfb32 - Spectrum (1981/1982) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=14313&gal=1 || || Cartoon / Length: 3:27
|-
| nfb08 - Sequence and Story (1983) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=14266&gal=1 || || @0:25
|-
| nfb09 - Never a Dull Moment (1979) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13246&gal=1 || ||
|-
| nfb10 - Trafficopter (1972) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11681&gal=1 || http://nfb.ca/film/trafficopter || @5:52
|-
| nfb11 nfb31 - Listen Listen Listen (1976) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11928&gal=1 || http://youtu.be/-2pY0qvfICw || @22:49
|-
| nfb12 - Completing the National Parks System (1983) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=14438&gal=1 || ||
|-
| nfb13 - Epilogue (1971) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=12765&gal=1 || https://www.nfb.ca/film/epilogue/ || @14:13
|-
| nfb14 - Another Side of the Forest (1974) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11711&gal=1 || http://nfb.ca/film/another_side_of_the_forest || @4:28
|-
| nfb15 - Garden of the Great Spirit (1976) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13623&gal=1 || ||
|-
| nfb16 - Demon and Marvels (1977) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=12517&gal=1 || https://www.nfb.ca/film/demon-and-marvels/ || @0:51
|-
| nfb17/23 - This Is Me (1979) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13257&gal=1 || https://www.nfb.ca/film/this_is_me/ || "nfb17 - 21:57, nfb23 -22:03"
|-
| nfb18 - ...and They Lived Happily Ever After (1975) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=10604&gal=1 || || @0:49
|-
| nfb19 - Captive Minds: Hypnosis and Beyond (1983) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13959&gal=1 || http://archive.org/details/captivemindshypnosisandbeyond || "reel 2, @20:28"
|-
| nfb20/29/30 - Series 4 (1972) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=10628&gal=1 || http://nfb.ca/film/series_4 || "nfb30/29 - 3:18, nfb20 - 6:01"
|-
| nfb21 - One Man's Garden (1974) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11863&gal=1 || http://youtu.be/mEU9AZO_NWU || @16:08
|-
| nfb22 - Three above 60° (1973) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11632&gal=1 || ||
|-
| nfb24 - Around Perception (1968) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11877&gal=1 || http://nfb.ca/film/around_perception || @1:32 (flashing lights)
|-
| nfb25 - From Ten to Twelve (1956) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=10702&gal=1 || https://www.nfb.ca/film/from-ten-to-twelve/ || @4:57
|-
| nfb26 - Harrison's Yukon (1979) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=12997&gal=1 || || @18:18
|-
| nfb27 - On the Critical Path (1971) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11379&gal=1 || || @13:30
|-
| nfb28 - ? || || ||
|-
| nfb30 - Listen Listen Listen (1976) || https://www.nfb.ca/film/listen_listen_listen || https://youtu.be/-2pY0qvfICw || @22:49
|-
| nfb31 - Series 4 (1972) || https://www.nfb.ca/film/series_4/ || https://youtu.be/5RQDfEQHFHQ || @3:18
|}

==See also==

*[[Pete Standing Alone]]
*[[Kaini Industries]]

== External links ==
* [[wikipedia:National Film Board of Canada|National Film Board of Canada]] at [[wikipedia:Wikipedia|Wikipedia]]
* [http://www.nfb.ca/ National Film Board of Canada website]
* https://archive.org/search.php?query=creator%3A%22National+Film+Board+of+Canada%22

== References ==
<references />

{{stub}}
{{Nav-People}}

File:Geogaddi listening event front.jpeg

2023-05-05T23:26:40Z

Csch: Csch uploaded a new version of File:Geogaddi listening event front.jpeg

http://www.twoism.org/forum/viewtopic.php?p=192714#192714

[[Category:Listening Parties]]
[[Category:Promotional Releases]]

National Film Board of Canada

2023-01-28T19:06:30Z

Csch: /* NFB Sources */

[[Image:NFB-logo.gif|right|thumb|200px|The [[NFB|National Film Board of Canada]] logo.]]

The National Film Board of Canada (usually National Film Board or NFB) is a Canadian public filmmaking organization established to produce and distribute films that inform Canadians and promote Canada around the world. Its name in French is Office national du film du Canada or ONF. The NFB is best known for its documentaries and animated short films, several of which have won Academy Awards. The NFB reports to the Parliament of Canada through the Minister of Canadian Heritage. It has French and English production branches.

As children growing up in Alberta, Canada, Mike and Marcus were exposed to NFB material from a young age, and have cited them as a major influence, going so far as to name their band [[Boards of Canada]] in homage. References to NFB films and shorts are found throughout their works, from track titles like "[[Pete Standing Alone]]" and "[[Kaini Industries]]" to audio samples in tracks such as "[[Energy Warning]]".

== Pictures ==
The following pictures are sourced from the official Boards of Canada Facebook page.<ref>http://facebook.com/boardsofcanada/photos</ref>

The listing below is generated dynamically, based on: [[:Category: NFB]].

<DynamicPageList>
category = NFB
namespace=file
ordermethod = sortkey
order = ascending
imagewidth=104
galleryshowfilesize=yes
galleryshowfilename=yes
imagesperrow=6
mode=gallery
</DynamicPageList>

=== NFB Sources ===
{| class="wikitable sortable"
! Title !! NFB Page !! Online Source !! Notes:
|-
| nfb01 - Legend (1970) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11210&gal=1 || || @0:19
|-
| nfb02 - Graphic Variations on Telidon by Pierre Moretti (1979) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=15236&gal=1 || https://www.nfb.ca/film/graphic-variations-telidon-pierre-moretti/ || @2:25
|-
| nfb03 - The Conquered Dream (1971) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=33981 || ||
|-
| nfb04 - Energy and Matter (1966) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11369&gal=1 || ||
|-
| nfb05 - Mr. Symbol Man (1974) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=10909&gal=1 || http://archive.org/details/mrsymbolman || @40:04
|-
| nfb06 - Tomorrow's Energy Today (1981) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13576&gal=1 || http://archive.org/details/tomorrowsenergytoday || @26:47
|-
| nfb07 nfb32 - Spectrum (1981/1982) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=14313&gal=1 || || Cartoon / Length: 3:27
|-
| nfb08 - Sequence and Story (1983) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=14266&gal=1 || || @0:25
|-
| nfb09 - Never a Dull Moment (1979) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13246&gal=1 || ||
|-
| nfb10 - Trafficopter (1972) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11681&gal=1 || http://nfb.ca/film/trafficopter || @5:52
|-
| nfb11 nfb31 - Listen Listen Listen (1976) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11928&gal=1 || http://youtu.be/-2pY0qvfICw || @22:49
|-
| nfb12 - Completing the National Parks System (1983) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=14438&gal=1 || ||
|-
| nfb13 - Epilogue (1971) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=12765&gal=1 || https://www.nfb.ca/film/epilogue/ || @14:13
|-
| nfb14 - Another Side of the Forest (1974) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11711&gal=1 || http://nfb.ca/film/another_side_of_the_forest || @4:28
|-
| nfb15 - Garden of the Great Spirit (1976) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13623&gal=1 || ||
|-
| nfb16 - Demon and Marvels (1977) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=12517&gal=1 || https://www.nfb.ca/film/demon-and-marvels/ || @0:51
|-
| nfb17/23 - This Is Me (1979) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13257&gal=1 || https://www.nfb.ca/film/this_is_me/ || "nfb17 - 21:57, nfb23 -22:03"
|-
| nfb18 - ...and They Lived Happily Ever After (1975) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=10604&gal=1 || || @0:49
|-
| nfb19 - Captive Minds: Hypnosis and Beyond (1983) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=13959&gal=1 || http://archive.org/details/captivemindshypnosisandbeyond || "reel 2, @20:28"
|-
| nfb20/29/30 - Series 4 (1972) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=10628&gal=1 || http://nfb.ca/film/series_4 || "nfb30/29 - 3:18, nfb20 - 6:01"
|-
| nfb21 - One Man's Garden (1974) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11863&gal=1 || http://youtu.be/mEU9AZO_NWU || @16:08
|-
| nfb22 - Three above 60° (1973) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11632&gal=1 || ||
|-
| nfb24 - Around Perception (1968) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11877&gal=1 || http://nfb.ca/film/around_perception || @1:32 (flashing lights)
|-
| nfb25 - From Ten to Twelve (1956) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=10702&gal=1 || https://www.nfb.ca/film/from-ten-to-twelve/ || @4:57
|-
| nfb26 - Harrison's Yukon (1979) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=12997&gal=1 || || @18:18
|-
| nfb27 - On the Critical Path (1971) || http://onf-nfb.gc.ca/en/our-collection/?idfilm=11379&gal=1 || ||
|-
| nfb28 - ? || || ||
|-
| nfb30 - Listen Listen Listen (1976) || https://www.nfb.ca/film/listen_listen_listen || https://youtu.be/-2pY0qvfICw || @22:49
|-
| nfb31 - Series 4 (1972) || https://www.nfb.ca/film/series_4/ || https://youtu.be/5RQDfEQHFHQ || @3:18
|}

==See also==

*[[Pete Standing Alone]]
*[[Kaini Industries]]

== External links ==
* [[wikipedia:National Film Board of Canada|National Film Board of Canada]] at [[wikipedia:Wikipedia|Wikipedia]]
* [http://www.nfb.ca/ National Film Board of Canada website]
* https://archive.org/search.php?query=creator%3A%22National+Film+Board+of+Canada%22

== References ==
<references />

{{stub}}
{{Nav-People}}

File:Reup-05.jpg

2022-12-03T18:21:13Z

Csch: Csch uploaded a new version of File:Reup-05.jpg

Scan of Boards of Canada interview from ''RE:UP'' magazine, Manual 09 (~Jan 2006)
[[Category: Publications]]
[[Category: Articles]]
[[Category: Interviews]]
[[Category: The Campfire Headphase era]]

Peering Out from Behind the Curtain

2022-12-03T18:16:11Z

Csch: /* Scans */

<onlyinclude>
{{interview
|title=Peering Out from Behind the Curtain
|author=Steve Marchese
|date=2006/01
|publication=RE:UP
|issue=Manual 09
|pages=28-31
}}
"[[Peering Out from Behind the Curtain]]" was an [[interview]] by Steve Marchese that appeared in ''RE:UP'' magazine, Manual 09, around January 2006. Photos within the article are credited to [[Peter Iain Campbell]].
</onlyinclude>

== Original Text ==
<onlyinclude>
{{original}}

Edinburgh has a hangover. The normal din of this bustling university city remains eerily suppressed by a combination of the preceding night's partying and a cold front quickly descending from the North. The streets are empty save some churchgoers and a stray dog. An old man in a faded suit hands lunch menus to nobody. The museum set up as a meeting point with [[Boards of Canada]]--brothers [[Mike Sandison]] and [[Marcus Eoin]]-- is still closed and won't open to the public for at least another hour. I am sitting in the middle of an unfamiliar place, waiting to meet two virtually faceless musicians with whom I have yet to directly speak. Could this scene be completly engineered or am I thinking too much into it? Yet for some reason, I know there couldn't be a more perfect start to a day highlighted by a sit-down with [[Boards of Canada]].

The development of mystery and rumor is certainly nothing new to contemporary music. Stories of Paul McCartney's death surfaced after the Beatles released their thirteenth record. In 1989, nearly 15 years after the formation of Judas Priest, the metal band was put on trial (and eventually exonerated) after a double suicide allegedly caused by hidden messages like "try suicide" and "do it, do it" on the record ''Stained Cross''. And although testaments to Pink Floyd's ''Dark Side of the Moon'' functioning as a second, synchronizing soundtrack to ''The Wizard of Oz'' started surfacing online in 1994, rumors of this pairing can be traced all the way back to 1979.

What Differentiates [[Boards of Canada]] from the rest of this smallish pantheon of mythologized artists, however, is the speed by which the duo have been able to invent and disseminate such intrigue. Much of it has to do with a pious and enthusiastic fan base, but in just a short time (over the release of only 3 full-length LPs) rumors--and some truths--have spread far and wide about the duo's religious proclivities, their use of embedded messages in tracks (sometimes known as backmasking) and secret tracks made anonymously for major pop stars.

Most of the speculation gained momentum due to the pair's reluctance to do face-to-face interviews. But now that they've surfaced in promotion of their new LP, ''[[The Campfire Headphase]]'', it seems a lot of the conjecture has been systematically addressed in intervies online and recent features in European magazines ''The Wire'' and ''Groove''. Even a fleeting peek behind the curtain shows them not to be the circuit-obsessed techno Bedouins protrayed by the media- but rather, a pair of well-adjusted, hugely likeable brothers who do not only finish each other's sentences, but who have also applied an admirable do-it-yourself philosophy to their unique pursuit of artistic perfection.

"There's never been a coordinated plan to engineer a blockade around who and what we are," says [[Mike Sandison]], easing back into a chair at the coffee house where we finally decided to meet. "We wanted to make music that stood out on its own as an entity inside its own bubble. In the early stages we kind of felt like if we were going to out in magazines an start posing for photographs we'd spoil that."

And while the pair have managed to maintain an easy pastoral obscurity that is suprisingly only 40 minutes outside of Edinburgh by car, their music has gained increasing popularity worldwide- making it more difficult to stay hidden in the periphery of the limelight. "One of the worst things we've found is that by being kind of absent, people have a tendency to fill in the gaps." says [[Marcus Eoin|Marcus Eoin Sandison]] (Eoin being his middle name, the two have recently revealed that they are in fact brothers). "When there's a hole, people will just make things up, it isn't so much that we're trying to be secretive. We just don't feel an eed to sell ourselves. As far as we're concerned it's not part of what we do. People write about us like we're these mountain hermits who just won't talk to anybody and we [wonder]; Where did that come from? We never said that to anyone."

People think of us as being one way," continues Mike. "We'd like to go out on tour in spandex and breathe fire but we just can't do that because we're supposed to be something else entirely," he jokes, duckin out of the sunlight that just surfaced through the quickly dissolving clouds. However, with a long day of interviews ahead it seems Sandison won't be able to get out of the light just yet. With the release of ''[[The Campfire Headphase]]'', [[Boards of Canada]] have agreed to be willing participants in their largest press push in quite some time, prompting many to wonder, why now? "Isolation can get negative at times," continues Mike, "because you start to feel like you're being arrogant or that we're doing it because we hate people os much. But it's not like that at all, It's more about the fact that we don't want to ruin the art by making our lives more important than the music. Because our lives are just like that of any other artist: we're just trying to create something special."

In a way it seems like the self-sequestered twosome have enthusiastically embraced the chance to finally speak out, exploding from topic to topic like barges of fireworks wired together with small lengths of fuse. In mood, tone and content, a conversation with [[Boards of Canada]] barely echoes the consistency that governs their recordings. Instead it jumps from random subjects like Ted Nugent, Noriega (the dictator, not the MC), and an internet free lifestyle to Jerry Lewis films and trans-Atlantic politics with an effortless flow that defies the misinformed online reports of a disdain aimed at journalists. What captures my attention almost immediately is not how articulate the two are--I expected that considering the intricate language and presentation of their music--but how approachable and open they seem to almost any inquiry. A list of talking points I had prepared the night before is totally disregarded as the conversation steers itself amost invisibly toward one of the biggest questions that will be asked all day: Why haven't they played live in over 3 years?

Opening up a long stretch of conversation on the subject, Mike takes the lead "We've been under a lot of pressure to play of course," he confirms. "One of the things that comes through from the big boss man [[Warp Records]] is offers from festivals. Usually our respons to that is that we would be more comfortable playing a small venue that would suit what we do. Our live show as it was had ah eavy reliance on visuals--we were using video projections and monitors--and secretly over the last 3 years since we last played a gig we've started to develop a different show. We expanded the band and have friends who are part of the potential group if we go out on the road again. And we do intend to go out and play again but at the moment what we want to do is at odds with the offers coming in to play alongside bands like Foo Fighters and people like that."

Marcus, the quieter but by no means less passionate of the two, finishes Mike's thought and addresses more specifically what it is about [[Boards of Canada]]'s sound that makes the prospect of a live show do tricky. "You've got to know the limitations of the music that you make. I always think of our music as being a lot more like headphone music, a brain music that you can drift into," he says. "So the idea of playing on a stage where you may be coming on just before a massive set by The Chemical Brothers doesn't sound like it would work. Earlier on though, when we were in transition from working with Skam to working with [[Warp]], we did a couple of gigs that were label showcases with Warp artists. We have massive respect for guys like Squarepusher and Aphex Twin but we found ourselves doing shows with these guys and they were so full-on electronic and really full of energy. It wasn't really what we wanted to do at the time."

Finishing Marcus' thought, Mike chimes in for one last comment, the thought of which will certainly become fan-boy fodder for neo-prog and electronica lovers the world over. "It might have suited us better to be put on a bill beside Tortoise or somebody like that. And you never know, we still could end up doing it one day."

Talk of the new record conveniently follows, revolving around the idea for [[Boards of Canada]] that is perhaps their most important reord to date. In so many ways ''[[The Campfire Headphase]]'' marks a musical evolution for the brothers, but what makes it a truly compellin listen is its adherence to the band's emerging modus opreandi: To move forward--both technologically and philosophically--while maintaining a strong connection to the past. This time, in palce of the numerological Easter eggs and hidden Branch Daviddian references, [[Boards of Canada]] have enmeshed their music within the trappings of live instrumentation, placing them squarely in the middle of an intersection with infinite roads trailing outward. "A little part [of using the guitars] on the new album is to open up the scope for what we want to do in the future," comments Mike. "There's kind of a destiny for where the music is going to go but we haven't managed to do it yet. Maybe the new record will kind of open the door for future options."

"It doesn't necessarily mean the next album will be a Deep Purple record," adds Marcus jokingly. The brothers have an unexpectedly wry sense of humor that comes as a pleasant surprise given the melancholy and often ominous tones of their music. "We could go and make a record that's really electronic but we know now that we've got a platform to go in any direction we want. We're trying to make sure that people don't define us purely as an electronic band."

Being defined by labels or pidgeonholed to a particular scene or genre are two things that both Sandison brothers agree are detrimental to their music making. "We don't buy into anything," declares Marcus. "When there's something that we're really into we still try to have some objectivity about it."

"We're sort of cultural nomads," supports Mike. "I don't see us in part of a group - social or musical." Their publicly released records all bear an undeniable trademark of textured ambience and reworked hip-hop breaks and-like it or not-the winning combination has led to considerable praise by electronic music fans. But privately, hidden away in their private studio (which is rumored to house hundreds of rare and irreplaceable instruments), are thousands of tracks of organic, acoustic and experimental music that they hope to one day release under various pseudonyms. It's just one of a number of examples during the conversation that show both brother's love of simple, organic instrumentation.

Mike elaborates, "People may be surprised to hear that of the demos that get sent to us, we truly love the ones that are really homemade, sort of crap and unfinished. The ones that are rough around the edges. The demos that are really slick electronica-type things are the ones that get listened to once and put on the shelves."

"The thing with electronic music these days," says Marcus, "is that so much of it nowadays can be really good but it's so studio-based. So the moment you try and take it out, it's either played back form the laptop or a mess for someone who isn't able to play it live. The laptop performance thing has never been something that's appealed to us."

Continuing on the live element, Mike tells a story that will certainly add to an increase in message board chatter, "I think it's commetable that people are creating software to do that because at least it's better than someone turning up to a show and pressing play on a .wav file. We know a guy who is a very high profile electronic producer in Britain - very famous in some electronic circles - and he played a show in Glasgow one time and he told us that he had just played a cassette and stood on stage pretending to press buttons. And he thought it was funny. We were laughing but also horrified at the same time."

The mixture of humor, honesty, passion and creativity is something revealed only by meeting these two self-confessed reclusive artists in person. Instead, all most of us have to objectively evaluate about [[Boards of Canada]] is their music. It's a scenario the brothers have worked very hard to cultivate. Most importantly, however, and perhaps the chief reason they've surfaced for this brief set of interviews--besides dispelling myths of course--is to reveal that they are musicians with purpose and that music is but one way for them to achieve that purpose. "If you had to vaguely approximate a purpose behind our music," summarizes Marcus, "for me it would be like we are soundtracking the alternative place you might be right now. You wouldn't be dead but you'd just be in a different world; everything would be quite alien, so you'd wonder what would the music be like. What would you be hearing?" He continues, "I think perhaps the theme of what we're doing is instead of looking forward we are looking backward to the positivity that you might have had as a child. And we want to take it as a fuel and be inspired by it. I think of myself as the kind of person that even when I'm 80 I'll still be listening to weird music and playing computer games. I don't want to be the kind of person that gives up on youth." It's a sentiment shared by both brothers and, I'm sure, by most of the enthusiastic fans who hope to be listening to the "weird" music of [[Boards of Canada]] far into their eighties as well.

[[Boards of Canada]] on...
* '''Spirituality'''
Marcus: You have to allow some spiritual element when making music. But we don't mean that in any kind of mumbo jumbo faux religious way, because some people have misquoted us and made us sound like a couple of magicians or something. A lot of musicians don't seem to have that spiritual element because they are just working when they make music. Like they have another agenda and are doing it for other reasons. But the most interesting musicians seem to be the ones that are tying to go somewhere else with their music. A bit like he whole escapist or science fiction fantasy thing, it's the ones that look at music and think: how could things be different?

* '''Fan expectations'''
Mike: When you are signed to a label like Warp, you know that there's an audience of people out there buying [your music]. You can try to ignore it and try to imagine there's no one listening but there is always a feeling in the back of your mind that you have certain things to live up to regarding production standards. You wouldn't be able to get away with putting out an album with an 18-minute long ambient track in the middle of all pop and soul tracks. That's the kind of thing we do on our old tapes. We wouldn't have gotten shit aobut it and we would have just done it. It wouldn't have mattered. But now we have these considerations because we're putting out records that force use to think aobut the average person who buys them.

* '''Living in Canada'''
Marcus: At the particular age we were at when we lived in Canada you are more likely to notice the differences between where you come from and where you're visiting. The things that out like TV and music, the way people dress are the things that you carry with you when you leave that place. I thik it's been imprinted on us. For us, it was a very specific time--1979 to 1980 North American media culture--that left like a ghostly shadow that sort of stuck to us. We came away form there with a memory of the palce that was nostalgic to the extent that we've been trying to get back there ever since. Not geographically, but more like a feeling. By making music that makes you travel to that place.

* '''Fatherhood'''
Mike: Now I find that a lot of the depression about losing my childhood has gone by the wayside because I'm able to go back there with my little daughter. Kids do a lot of interesting things that you kind of vaguely remember doing yourself but have shutoff as an adult. You start to realize that life doesn't have to be about being completly conscious of the universe's problems. It can be really fulfilling if you just concentrate on a little microscopic version of life that a child sees. As a parent you have no choice but to occasionally lose yourself in a child's world like The Jungle Book of something. It's a bit like what we do with our music. It's like saying to yourself that just for this hour I'm gonna switch off all the crap in the world and lose myself in an alternative world. Like a good book or something. It's kind of how we see what we do with our records. Although it's becoming increasingly difficult the older we get. It's much harder to not put our political beliefs into the music.

* '''Stevie Wonder'''
Marcus: I know it sounds strange to say it but I've always thought of Stevie Wonder as an electronic artist. A lot of his bass line were done on synths. He's done project albums like ''The Secret Life of Plants'' that are all synthesizers, all done with keyboards. You wouldn't describe him as rock and it's too lazy to describe him as R&B or soul. To me, it's electronic but it's absolutely organic. Here you have incredible singing, incredible tunes, and amazing use of keyboards. Sometimes I step back and think aobut the sound of Stevie in the '70s and it shoes just how different electronic music can be.

* '''Remixing Beck'''
Mike: We were already huge fans of Beck's music and friends with the guys form Anticon. Dose and I are big penpals. I think Beck's producers asked the Anticon guys if they had a contact for us and the next thing we know we get a letter asking us to do [this remix of] Beck's. We said that we'd love to hear the track first and see what it's like and I said to Marcus at one stage that if this track is really slow and empty we'll do it.
Marcus: I actually told Warp six months earlier to don't call us about remixes unless it's Beck or God.
</onlyinclude>

== Scans ==
<onlyinclude>
Note: Original scans of the magazine article were provided by [[Twoism (forum)|Twoism]] user [[nlogax (person)|nlogax]] and updated by user [[Csch (person)|Csch]]
<gallery>
Image:Reup.gif|Cover
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== Highlights ==
*

== External links ==
* [http://reupmag.com/ RE:UP Magazine]
** [http://www.merchline.com/reup/productdisplay.5077.p.htm Back issue ordering]
* [http://www.scissorkick.com/2006/01/boc-in-reup.html Author's blog entry]
** The author posted an entry about the interview on his blog, Scissorkick. The post included an mp3 of the ''[[A Few Old Tunes]]'' track "[[Sequoia]]". The mp3 is the same as from previously known leaks; it is not a new or better quality copy.

== References ==
<references />

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Scan of Boards of Canada interview from ''RE:UP'' magazine, Manual 09 (~Jan 2006)
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Scan of Boards of Canada interview from ''RE:UP'' magazine, Manual 09 (~Jan 2006)

Photo by [[Peter Iain Campbell]]
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Scan of Boards of Canada interview from ''RE:UP'' magazine, Manual 09 (~Jan 2006)
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Scan of Boards of Canada interview from ''RE:UP'' magazine, Manual 09 (~Jan 2006)
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Cover of the U.S. magazine ''RE:UP'', Manual 09.

Source: http://www.scissorkick.com/2006/01/boc-in-reup.html [http://www.scissorkick.com/blog/images/reup.gif]

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Protect and Survive (interview)

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Csch:

<onlyinclude>
{{interview
|title=Protect and Survive
|author=Rob Young
|date=2005/10
|publication=The Wire
|issue=260
|pages=40-47
}}
</onlyinclude>
<onlyinclude>
"[[Protect and Survive (interview)|Protect and Survive]]" was a face to face interview by Rob Young in The Wire, 2005-10, issue 260, pages 40-47. ISSN: 0952-0686
</onlyinclude>

== Original Text ==
<onlyinclude>
{{original}}

In a rare face to face interview at their Scottish retreat, ''[[Boards of Canada]]'' breakin their self-imposed isolation to scotch the myths that have coalesced around them. With the release of their third album in seven years, they explain the reasons for the artificial ageing and geometric twists to which they subject their music, and reflect on being part of the 'analogue-to-digital' generation. Words: Rob Young. Photography: Leon Chew

The Bass Rock is barely visible in the late summer heat-mist, lying about three miles off the deserted coast near North Berwick. The crag rises 350 feet out of the turquoise sea, and faintly visible against its sheer cliff sides is a white lighthouse. A millenium and a half before the light was et on the rock at the beginning of the last century, a Lindisfarne monk, St Baldred of Bass, lived a hermit's existence alone on the island, shuttered in a rain-lashed cell to confront alone his god and, doubtless, his demons too. Today gannets are the island's sole visitors, as well as the occasional tourist boats ploughing through the surf to visity the martyr's chapel. As I crunch along the Ravensheugh Sands with [[Boards Of Canada]]'s Mike Sandison and Marcus Eoin, the guano-stained Rock takes on a mythical hue: the distance and the sea mist cause it to almost melt into thin air, the wraith of a giant white molar on the horizon. There's a Moby-Dick quality to it -- you could spend a lifetime staring at it but it would remain eternally out of reach.
"When I was a kid, about five or six years old," Mike Sandison is saying, " a relative of mine had one of those tacky ceramic owls on their mantelpiece, and it had multifaceted diamante eyes. I as totally obsessed with those sparkly glass eyes, for ages. I felt like looking into them was like looking sideways though everything, right through time. That's what we're trying to do with our music."

When you think about [[Boards Of Canada]], the idea of hermits is never too far away. For the best part of a decade and a half now they have dwelt in what appears to be -- to a London/urban-centric media, anyway -- an isolated wilderness in Scotland (in fact, they've always lived within a half-hour's drive of the capital city Edinburgh, not in the Highlands, as is often reported). Their [[Interviews]] have invariably been conducted by email. Since their wistful, queasily nostalgia-soaked electronic music began to appear in the mid-90s, they have only done a handful of face to face interviews, none of those on home turf. Careful managers of their own public image, even today their homes and studio are out of bounds, but they do willingly and generously drive us all over the stretch of coast an countryside that's close to the place they call home. Until recently they live in the Pentland Hills, south west of Edinburgh; without much fanfare they have moved eastwards since then, into the flatter terrain of East Lothian. "We're not far away from where we were before," explains Sandison, "we relocated, but we're trying to let that slip by without anyone knowing about it, because we felt that if we made a big deal of it, it would start that whole thing again about the geography being more important than the music."
"I always got this feeling that people were saying, 'because they were surrounded by the Pentland Hills, this is why their music sounds this way'," sighs Eoin. "And I don't really like that, because it's almost like saying, 'you're just like anyone else, and it's just because you happen to be there'. That's unfair -- it's not giving you credit for actually just doing music the way you want it to be."
For better or worse, the [[Boards of Canada|Boards]]' 'secrecy' has endowed them with enigmatic status; the relative media silence has opened a space in which fans can speculate, mythmake, invent and interpret to their hearts' content -- much of which happens in chatrooms and message boards, thankfully well out of harm's way. But the pair certainly monitor these discussions and while they don't take part in them, they do seem somewhat confounded by the kind of rumours that have got out. As Eoin says, "if there's no apparent facts or information about you, then what happens is stuff just floods in to fill that gap, and very often it's basically a flood of bullshit that fills in your silhouette. And we've really suffered from that."

It's not as if these two aren't well travelled. Sandison once lived in London for a couple of years; they've lived in Edinburgh itself and, when they decide to take a break from their recording (and each other) to spend time with their partners, they're off travelling on the other side of the world -- Sandison mentions recent trips to France, Australia and New Zealand (where he's thinking of moving), while Eoin's considering a new life in Hong Kong with his Chinese girlfriend. Those are decisions still to be made, as their current live/work set-up is working well for them. "This whole project has come about with us living on the outskirts of Edinburgh," he says, "and for the last two decades we've been working on it from here, and we've had no reason to want to relocate to the city or to the south or anything, it's as simple as that. In fact, we actually find to some extend this so-called hermetic bubble that we live in is actually making it a lot easier for us to do our thing and not feel any urge to make it DJ friendly, or make it work for a certain social or club environment."

Meeting these two objects of so much speculation, it's refreshing to discover they'er not the dysfunctional electronic droids you might expect. They're actually a deal more open, articulate and opinionated than many other musicians of their generations, and don't appear terribly secretive. A kung fu manual is prominently stuffed in ther back seat pocket of Eoin's car, and Sandison rabbits away as we motor through the Scottish countryside, eulogising about being a parent and at one point asking his wife to text him a photo of his baby daughter at the dinner table so that he can show us.
They've broken cover to talk about ''[[The Campfire Headphase]]'', the latest in their very occasional series of records, and only their third album since ''[[Music Has The Right To Children]]'' (1998) and ''[[Geogaddi]]'' (2002). As they're at pains to point out, the long gaps between releases aren't because they're lazy or aloof, it's because of the perfectionism of theircraft. Six months of 2005 alone were spent on post-producing the album to get idea-germs into a state they call finished. "There are textures in what we try to do," explains Eoin, "which borrow from certain sounds or eras - even in visual things that we do as well, artwork - to trigger somthing, almost a cascade. It's like a memory that someone has - even though it's artificial, they never even had the memory; it's just you're ageing a song. And then people feel, is that something familiar I knew from yers ago?"

There's always been a warm, woody hue to [[Boards of Canada|BOC]]'s music, but the dominant flavour has been synthesized on ''[[The Campfire Headphase|Campfire]]'', guitars have taken over: steel strings, rippling chords and plucked notes dappled with reverb. "[[Chromakey Dreamcoat]]" ends with a blend of hillbilly steel and keyboard swirls not unlike the original BBC Hitch-Hiker's Guide To The Galaxy theme - a typically [[Boards of Canada|BOC]] reference to the organic science fiction of the 1970s they love so much. The duo's clunkily satisfying rhythms - often played on a kit by Sandison - and analogue drum machines still govern the downtempo flow, but it's geared down to a pace Sandison describes as "that 70s truckstop diner feel". "[[Satellite Anthem Icarus]]" is especially gorgeous, a scudding oceanic cruise, riding on the sound of waves crashing on a beach, a woman's muffled voice and electronic tropical peeps.
"On this album it's interesting," says Sandison, "because we are really overtly playing riffs on guitars, and although we've aged it and made it more like it's been recorded 25 years ago or something, with each track that we've used the guitars on, we've put things in it which are impossible on a 1970s record. Sometimes we'll construct an entire song out of samples that we'll make, so we'll maybe take instruments and play parts or play notes and we'll make entire spans of notes out of sounds we really like, and then play them in ways that the original instrument couldn't have played. You could take a span of lots of notes on the guitar, and then you would play chords on that guitar by hitting them all at once, in a way that a real guitar could never be played. And then of course we would do a lot of other things to the guitar to really tweak it and make it sound very, very gnarly and damaged."
The two of them spend most of their time together doing the spadework that yields the raw produce for their music, creating sounds with what they describe as a collection of 200 instruments - not only synths, but flutes, stringed instruments, guitars, exotic percussion - sampling them, twisting them like sugar candy, and the thing that makes them [[Boards Of Canada]] pieces more than anything else: artificially aging them. The songwriting is one thing, but the process of transforming the melodic ideas into the finished product is what takes time. Tunes can wait around several years in a demo state before undergoing the duo's deliberate degradation technique.
"One thing we tried to do," pursues Eoin, "and we're trying to do more of, is a sense that you're hearing a piece of music that comes through the wringer a bit - it's definitely not coming literally. It's not just a guy standing in front of you with the latest keyboard workstation. There's a sense that you're listening to sa tune, but how many times has that been copied from tape to tape to tape... by the time it's reached you it's crumbled, it's turned into powder.
"You hera about monks in the Middles ages using a pin to create a Bible or a piece of art, and they'll do it for 40 years in the dark underneath a monastery," he continues, " and they'll be blind by the time they've finished. And some people really appreciate art like that, because there's something really tragic about it. It's almost like it's more beautiful than any other art, because instead of it being someone comfortably painting something in a day, there's something absolutely tragic and destroyed about it. So I always think you can still go further up the run from 'beautiful music', and that's beautiful music that seems to come out of some tragedy or brokenness. It becomes even more beautiful, the shards if the sound coming through are even more vibrant and affecting."

From the start, circumstances forced them to invent their own universe. Both born around 1970, they've been friends since they were toddlers, when their parents relocated to Canada to take up jobs in the construction industry. There, they were exposed to public education films on nature, science and the Earth, often narrated by Leslie Nielsen, made by [[wikipedia:the National Film Board of Canada|the National Film Board of Canada]]. When they were around 13 years of age and living back in a bleak harbour town in the north of Scotland, they began "bullying" their friends into making experimental films with a Super-8 camera. "We'd say, 'This is waht you're going to do, because the other options are playing the Space Invaders machine down at the chip shop or breakin windows on phone boxes'," sandison says. To fit their pocket money budgets, the films involved time lapse, stop motion and 'sound to light' techniques. "We'd seen a lot of Norman McLaren animations while growing up," explains Eoin. At the same time Sandison, later joined by Eoin, began making music in various indie rock configurations. From the early 90s, university studies and unrewarding jobs were interleaved with more esoteric activities in the company of a large group of friends, artists, photographers, graphic designers and musicians, collectively known as Hexagon Sun. Their parties outgrew their homes in the Pentland Hills, spilling out into the woods. "It totally enhanced the experience," recalls Eoin. "Once you take it to an isolated, outdoor location, away from organisation, there's a sense of freedom that kicks in. It's sexier and less inhibited than an indoor event. You can have 50 or 100 people hanging out around fires, some rare music echoing around... the sound of two melodies clashing over one another, or maybe a melody to your left but a voice talking to your right, off through the trees. Doppler-shifting and filtering because of the wind or the random shapes around you. It creates a giddy, surreal sound that doesn't normally exist on records." In these unique outdoor communions, al arge part of Boards of Canada's sound aesthetic was forged. In 1996, after privately circulating cassette compilations of tracks they had been recording, Sandison and Eoin sent tapes to other labels including Skam in Manchester. Autechre's Sean Booth picked up on it immediately, and Skam released several [[Boards of Canada|BOC]] tracks before [[Warp]] swung into action and issued ''[[Music Has The Right To Children]]'' in 1998, with the distinctive treated cover image of a family Polaroid holiday snapshot with all the faces wiped blank. ''[[Geogaddi]]'', appearing four years later, was decked with hexagonal, kaleidoscopic prisms that became something of a calling card. "I guess you could get a better idea of what these things symbolise by reading [[wikipedia:Aldous_Huxley|Aldous Huxley]]'s ''The Doors Of Perception,''" says Eoin when I ask him about the significance of those shapes. "Also, I've always had an interest in the yamabushi of ancient Japan, the 'mountain men'. They used symbols as a way of having a willpower that would always outlive any challenge. They used repetitive hand symbols or drawn characters to create a neutral place they could visit mentally whenever they faced hardship. For us, "[[Turquoise Hexagon Sun]]" always returns us to a zone where we can throw off the baggage and begin again."

Somewhere up in the Highlands, they tell me, lies a valley that's the last remaining site in the UK where radio signals, microwaves and mobile phone signals can't reach. An Eden such as this, free of the harmful of the harmful effects of technology and sheltered from penetration by foreign chatter, sounds like the kind of place [[Boards Of Canada]]'s music could happily live. A place where you might be able to start to observe the world directly, anew, unmediated by outside influence. In such places you can build your ark, rescue yourself from being dragged along with the flood. Most of the music they love and admire is made by folk who have built their own bubble, where the music lives in its own epoch, its own specially crafted box. The "Victorian fairly lights" and "looking-glass world" of fellow Scots The Cocteau Twins are one; Devo, inventors of their own theatrical universe and whose early songs they admire because they sound like advertising jingles for washing powder, are another. They are currently enthusing about William Basinski's ''Disintergration Loops'' ("Funny enough, when we first heard that, we thought, 'We've got tapes like that ourselves' ") and Stevie Wonder's rapturous mid-70s funk - "that bit in "Living For The City" where there's the descending chords, and it'S all transposing all the way down, and it's just going chromatically all down the scale... I recognise something there where it feels like he's trying to translate something that is otherworldly, that's not about the mundane," explains Sandison.
"There's usually a visual element in the tracks we write," he continues, "and it probably comes from an obsession with film and TV. When yyou're a kid, a three second long animation with rainbows morphing into A-Bomb blasts can be massively affecting and influential. I think you see these things more vividly when you're younger, but as an adult your brain starts to filter out it considers irrevelant background noise. The downside is that you become desensitised to a lot of things and that leads you to not really feel much at all."
[[Boards Of Canada]]'s music is awash with sadness at the loss of a child's vivid perception. It struggles constantly to regain that enhanced sensation of encountering the world afresh, while planting a nostalgia for the sounds and images of the particular time in which they grew up. They are addressing their own specific generation - you might call them the analogue-to-digital transfer generation - whose formative years straddled huge changes in geopolitics (the Cold War and its nuclea threat which hung over 80s teens had evaporated by the time they left college), domestic and ocomputer technology (typing in the 80s became word processing in the 90s), and the nature and role of the media. Hence their music's slathering with textual referents, deliberated sonic aides memoires that are almost recognisable but remain just out of memory's reach.
"We could only exist in the short pocket of time when music has made the transition form analogue to digital," agrees Sandison. "There's this little moment where there's enough nostalgia attached to the former recording media and the faults that it had, that certain people will get it, and understand what we're doing. If there's sadness in the way we use memory," he goes on, "it's because the time you're focusing on has gone forever. I guess it's a theme we play on a lot, that bittersweet thing where you face up to the fact that certain chapters of you life are just Polaroids now."

The faded turquoise and yellow packaging of ''[[The Campfire Headphase]]'' contains a gallery of Polaroid photos they've collected over the years, family snapshots digitally mildewed and rotted with similar artificial ageing techniques they use for their music. The idea, they tell me, is to create the feeling that you've just found all these pictues in someone else's old house and that the people shown in the pictures are al dead. As an aural analogy, they describe the degrading processo ntheir sound as introducing a "toxic, poisonous" element. Sandison articulates the fascination with the imperfect: "Even when we sound like we're being conventional, there's always something in it which is kind of dark, that's doing the bittersweet thing. Sometimes we deliberately construct songs to be pretty conventional sounding, and then we abuse them, we throw something in that's kind of a spike.
"If you ever see these American makeover programmes where they get ordinary looking people and they give them these regulation whiter-than-white teeth and veneers and all that, quite often I find the finished product really sinister, because they've got these really symmetrical faces, with perfect teeth and everything, make-up and the hair. If you actually compare the before-and-after pictures, the person you could imagine being friends with is the one with squint teeth and everything and the gnarly face. And it's the same sort of thing with music and other art. If there's something a bit rough about it, it feels more personal to you, like something that belonged to you on a cassette tape that you've been cherishing for years, rather than something digital and perfect and straight. The drop-outs, the flutter on the tape and everything, you get used to where it happens."
Eoin: "I think it's a reaction to mundanity. Britain, for example, is a safe place to live, and a lot of people in the rest of the world come here to live because it's better than were they are, the grass is green here than it is there. But when you've lived here for a long time, you can start to feel a crushing mundanity, you need strange things to bring you out of it, otherwise you start feeling like a corpse."
Sandison elaborates, "I think we try to make music that's more like normal music that's head through a damaged mind, so you're hearing it diagonally..."
Boards Of Canada's eccendtric orbits, their unstable tones and disorientating sonic additives are all carefully calculated effects. In conversation they'll often talk about chords coming in at weird angles and diagonals, zapping melodic expectations. As one of ''[[Geogaddi]]'''s song titles reminds us, "[[The Devil Is In The Details]]": their mastery of numbers and geometry has its own part to play in the Confucian confusion.

"You can use rules or set theory to dictate timings and note intervals", expands Sandison about their composition strategies. "For instance, you can imagine your melody to run vertically instead of horizontally, so that you're thinking of a vertical spiral, running on the spot. There's a thing you can calculate for plants called divergence, which is a ratio of complete turns of spiral leaf positions relative to the number of leaves in that spiral. In plants, this usually gives a Fibonacci number, which is pretty uncanny, but it's basically a natural law that's trying to create optimum distribution of leaf positions, to stop leaves from obsucring each other in sunlight. You can apply a similar idea to a vertical spiral of music, to calculate optimal temporal event positions in a pattern or texture. It doesn't always make for easy listening though," he adds, laughing.

Time to puncture a few myths about [[Boards Of Canada]]. "The kind of thing that gets up my nose is when people describe us as 'approaching New Age' or soemthing like that," moans Sandison. "To me that's completly missing the point. If we do something that remotely sounds a bit like that, it's because we're actually doing it deliberately, we're doing almost as a pisstake."
Google [[Boards Of Canada]] and you'll soon find fans with plenty of time on their hands, identifying all manner of psychedelic Easter eggs in the music: reversed samples and tapes, aural palindromes (sentences like ''"I've been gone about a week"'' that sound like the same when played forwards or in reverse) buried phrases that hint at paganism ("You Could eel The Sky" contains the words ''"a god with hooves"''). Titles like "[[Music Is Math]]", "[[A Is To B As B Is To C]]", and "[[The Smallest Weird Number]]" (the number 70, which they adopted for the name of their own label/production company, Music70) imply numerological sorcery; musical structures arranged, tuned and sequenced at root level according to mathematical equations such as the Fibonacci sequence and Golden Ratio. Someone's even found that the toal playing time of Geogaddi is 66:06, and it's total hard drive space when ripped to MP3 is 666 megabytes, etc. All of which leads to speculation that they are involved in in some kind of cultish activity - a belief that gathered pace with the release of their 2000 EP ''[[In a Beautiful Place out in the Country|In A Beautiful Place Out In The Country]]'', which contained overt references to David Koresh's Branch Davidian community and its annihilation by the US military in 1993 during the Waco siege.
"Not in the slightest," counters Sandison when I ask him for a definitive answer on their 'cult' status.
"We're just purely coming at what we do from the angle at being interested in subjects. You get a lot of painters or film directors who are complete atheists who'll make films all about religion, or Christianity, not because they're obsessed with the subjects or they're actually evangelists, but just purely because it's something they're interested in for that project. It's exactly the same with us - we'll hit on some of these things, but at the end of the day we're just totally ordinary people that just happen to be making music."
And why the particular focus on Waco? "We take a great interest in the spectrum of everything, religions and cults, anything connected to that," says Eoin. Because they are a break from the norm. So when you see something like that, a group of people doing their own thing, going away and living together like that... it's the fascination with that, and a sense of injustice..."
"And the outrage at what happened," interjects Sandison.
"I'm not a religious person," Eoin continues, "but what I felt seeing what happened there was asense of outrage - they're devoutly religious people, but what happened to them - were they just singled out because of this, and attacked? The victor always writes history, and the only history we know of David Koresh and those people is what's been written about by reference to things like what the FBI were investigating afterwards."
"Which was why," Sandison swings back to the record in hand, "we thought we'd make a record that on the surface feels really sweet and very spacious and it'll be titled ''[[In a Beautiful Place out in the Country|In A Beautiful Place Out In The Country]],'' but what were these people doing in a beautiful place out in the country? They were getting shot and burned.. [Laughs] It's a typical thing that we would do..."
Eoin: "Even when you go away and have that existence, something still chases you there, still follows you home. And that's the impression I get off that story."
With every retreat form the world comes the need to protect and survive. Eoin once described a complicated solar alarm system he had installed in his house. Neighbourhood watch scheme broken down, has it? "No, it's just paranoia," he laughs. "No, when you've got things like master tapes going back to 1984, and irreplaceable musical equipment, honestly, you're gonna be paranoid. It's not really to do with past experiences, it's a kind of precautionary attitude, a ''Red Dawn'' attitude..."

And so we take our leave of these hermits, as they sit and wait for someone to put knobs back on digital TVs to change the colour and contrast (newer technologies not necessarily being better than old); leave them to their fervent belief that they can inoculate their music with the mould of hte past, warding off the viral spread of mediocrity.
"We're not even remotely religious people," repeats Sandison, "but I understand what that is about when you're trying to channel something that's more about the cogs behind the workings of the universe, and it feels like sometimes everything you're looking at is a simulation that's based on a much more geometric background. And a lot of the time, this machine that we are seeing, the world as it is, is so smooth and predictable, that even art has become really predictable. It's all following rues and patterns that have already been set by somebody who programmed it. But if you really stand back and look away from it, the potential's there for art and music to go into absolutely bizarre territories where everything is utterly fresh and weird and new. The challenge is to imagine: how about just stop where we are, and let's just for a minute try and backtrack a way up here, and imagine what would happened if, in 1982, music had taken this other branch on this side, and where would it be now, and what would it be sounding like now?" "''[[The Campfire Headphase]]'' is released this month on [[Warp]].'
</onlyinclude>

== Scans ==
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<gallery>
Image:260cover.jpg
Image:Boc interview in the wire 01.jpg
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Image:2005 10 The Wire No260 pg43.jpg
Image:2005 10 The Wire No260 pg45.jpg
</gallery>
</onlyinclude>

== Highlights ==
*

== External Links ==
* ''[[wikipedia:The Wire (magazine)|The Wire]]'' [http://www.thewire.co.uk/back/2005_10.php Issue 260] (October 2005), pp. 40-47
* [http://www.bungeebot.net/boc/wire/]

== References ==
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[[Category: Interviews]]
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THE WIRE Issue 260 October 2005 Cover