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

Forest Moon

2021-04-18T19:19:09Z

Mkez: /* Trivia */

{{Infobox Song|
| name=Forest Moon
| runtime=6:35
| appearson=[[Old Tunes Vol. 1]]}}

== Comments ==

== Samples/Lyrics ==
* The drum loop is believed to have been sampled from [http://en.wikipedia.org/wiki/I'm_Gonna_Love_You_Just_a_Little_More_Baby "I'm Gonna Love You Just a Little More Baby"] by Barry White.
* Is a possible reference to "The Forest Moon Of Endor", home of the Ewoks from Star Wars.
<ref>http://forum.watmm.com/index.php?act=findpost&pid=346272</ref>

== Trivia ==
* The synth appears reversed in "[[Beck - Broken Drum]]"

==Videos==
{{#widget:YouTube|id=ZZ6Oxzo-Lt0}}

== References ==
<references />

[[Category:Unreleased tracks]]
[[Category:Old Tunes Vol. 1 tracks]]

Beck - Broken Drum

2021-04-18T19:16:51Z

Mkez: Added reused sample / synth patch

{{Infobox Song|
| name=Beck - Broken Drum
| runtime=5:39
| appearson=[http://www.discogs.com/release/680458 0602498640302]}}

__TOC__

== Comments ==

== Samples / Lyrics ==
<blockquote>
I see you there 
your long black hair 
your eyes just stare 
your mind is turning 
 
you know I'll laugh 
and I won't take it back 
I've seen your eyes 
I know what you're thinking 
 
and one by one 
we'll shoot our guns 
we'll have fun 
don't ever doubt it 
 
and when I say 
fare thee well 
my only friend 
oh how the days go 
 
your setting sun 
your broken drum 
your little drugs 
 
I'll never forget you 
never forget you 
</blockquote>
* The synth from [[Forest Moon]] can be heard in reverse at 2:51.<ref>{{#ev:youtube|IZIb9fmi7h8|||||start=153|false}}</ref>

== Trivia ==
[http://www.discogs.com/artist/Beck Beck], in an interview with Clash Magazine in the spring of 2005, mentioned that he had [[Boards Of Canada]] remix a song called "Outerspace," and according to [http://www.beck.com Beck.com], the remix was to be titled "Blank Space." However, "Outerspace" changed names to "Broken Drum" at the last minute, and the remix is now known as "Broken Drum (Boards of Canada Remix)." <ref>http://whiskeyclone.net/ghost/songinfo.php?songID=523&versionID=2</ref>

In the same interview, [http://www.discogs.com/artist/Beck Beck] described the remix as “…my favourite remix I’ve ever had done … they brought out something that was there but then they just added a whole new dimension. I guess it’s quite an emotional song and they brought out something bittersweet in it that was kinda hippyish, but it doesn’t maim you with saccharin. It kinda gets you right in the chest.” <ref>http://www.matadorrecords.com/boards_of_canada/biography.html</ref>

== Videos ==
{{#widget:YouTube|id=pKZxR6PpZJo}}

== External links==
* [[wikipedia:Beck|Beck]]

== References ==
<references />

{{stub}}

[[Category:Released tracks]]
[[Category:Remixes by boc]]

Hi Scores (song)

2021-04-18T18:59:58Z

Mkez:

{{Infobox Song|
| name=Hi Scores
| runtime=4.57
| appearson=[[Hi_Scores_(release)|Hi Scores]]}}

__TOC__

== Comments ==

== Samples / Lyrics ==

== Trivia ==
* Uses the same synth patch as "[[R35TT B12]]"

== Videos ==
{{#widget:YouTube|id= MTE6lRsRJ4w}}

== External links==

== References ==
<references />

{{stub}}

[[Category: Released tracks]]
[[Category:Hi Scores tracks]]

R35TT B12

2021-04-18T18:58:36Z

Mkez:

{{Infobox Song|
| name=R35TT B12
| runtime=3:33
| appearson=[[Random 35 Tracks Tape]]}}

__TOC__

== Comments ==

== Samples / Lyrics ==

== Trivia ==
* Uses the same synth patch as "[https://bocpages.org/wiki/Hi_Scores_(song) Hi Scores]"

== Trivia ==

== Videos ==
{{#widget:YouTube|id= 3ElNdzNwCQE}}

== External links==

== References ==
<references />

{{stub}}

[[Category:Unreleased tracks]]
[[Category:Random 35 Tracks Tape tracks]]

5d

2021-04-17T19:31:20Z

Mkez: Added link to song

{{Infobox Song|
| name=5d
| runtime=5:21
| appearson=[[Closes Vol. 1]]}}
In June 2013, a video surfaced on the website YouTube, claiming to be the track 5d by Boards of Canada. This track was recognized to be identical to the track "[[R35TT A06]]" on the [[Random 35 Track Tape]]. The video is presumed to be legitimate, as it was featured on a playlist by the official Boards of Canada YouTube channel.

== Videos ==
{{#widget:YouTube|id= ufgpCJxDDIg}}

{{stub}}

[[Category: Unreleased tracks]]
[[Category:Closes Vol. 1 tracks]]

Bubbah's Tum - Dirty Great Mable

2021-04-16T09:41:33Z

Mkez: Added sample source

{{Infobox Song|
| name=Bubbah's Tum - Dirty Great Mable
| runtime=5:17
| appearson=[http://www.discogs.com/release/35832 ILLXXX007D]}}

__TOC__

== Comments ==

== Samples / Lyrics ==
* Beginning at 0:00, contains the same vocal sample as in [[Olson (Version 3)]].
* Pitched up vocal samples of folk dancer [https://en.wikipedia.org/wiki/Jesco_White Jesco White] saying "take me" and "gas" can be heard throughout the song. They are from the documentary film ''[https://www.imdb.com/title/tt0101655/ Dancing Outlaw (1991)]'' from Jacob Young's TV documentary series ''[https://www.imdb.com/title/tt3687174/ Different Drummer]''.<ref>
{{#ev:youtube|FWh1S1VByrQ|480||||start=9|false}}</ref>
* At 00:12 a sample of a kid counting fishes can be heard; this comes from the "Alaskan Ice Fishing" [[Sesame Street]] segment at 02:17.<ref>
{{#ev:youtube|LVLffsRX6LE|480||||start=133|false}}</ref>
* Additionally, the kid saying "four" is repeated throughout the song, first at 0:56.

== Trivia ==

== Videos ==
{{#ev:youtube|qwh4Yv41U24|480||||start=133|false}}

== External links==

== References ==
<references />

{{stub}}

[[Category:Released tracks]]
[[Category:Remixes by boc]]

Open the Light

2021-04-12T10:05:17Z

Mkez: Added sample source

{{Infobox Song|
| name=Open the Light
| runtime=4.25
| appearson=[[Music Has the Right to Children|MHTRTC]]}}

__TOC__

== Comments ==
* Max, a member of the [[WATB]] chat group, found a possible reference to "[[Open the Light]]" on the [[wikipedia:Manglish|Manglish]] wikipedia article. "People tend to translate phrases directly from their first languages into English, for instance, "on the light" instead of "turn on the light". Or sometimes, "open the light", translated directly from Chinese." <ref>https://en.wikipedia.org/wiki/Manglish#Derive_Influences</ref>

== Samples / Lyrics ==
* Sample at 3:42 is from Sesame Street episode 2852 at 44:20.<ref>{{#ev:youtube|9j4kXWTJXLE|480||||start=2660|false}}</ref>

== Trivia ==

== Videos ==

{{#widget:YouTube|id=z2vn2QVEIKo}}

== External links==

== References ==

{{stub}}

[[Category: Released tracks]]
[[Category:Music Has the Right to Children tracks]]

Diving Station

2021-04-10T17:55:05Z

Mkez: Added sample source and organized article

{{Infobox Song|
| name=Diving Station
| runtime=1:27
| appearson=[[Geogaddi]]}}

== Samples/Lyrics ==

* The song heavily samples "[https://youtu.be/hpVFrCxGmEk Antonio Zepeda - Ondulantes Serpientes De Agua]" from ''[https://www.discogs.com/Antonio-Zepeda-La-Regi%C3%B3n-Del-Misterio/release/3304239 La Región Del Misterio]''.<ref>{{#ev:youtube|hpVFrCxGmEk||||||false}}</ref><ref>https://www.twoism.org/forum/viewtopic.php?f=2&t=13222&start=160</ref>

== Comments ==
* According to [[The Last Unexplored Area of Boards of Canada|an interview with Joe Sato and Nakamoto Hiroyuni of Buzz magazine]], this track was composed by [[Michael Sandison]]. Mike had the following to say about this track:
{{boc|Mike: This is a song that I clearly wanted to express as ''bittersweet'' or as something that, on the surface, is comfortable but has an ominous feel beneath. That contrast of emotion is something we focus heavily on. Nothing is ever polarized to either positive or negative.}}

[[Category:Released tracks]]
[[Category:Geogaddi tracks]]

Opening The Mouth

2021-04-10T17:27:48Z

Mkez: Added sample source

{{Infobox Song|
| name=Opening The Mouth
| runtime=1:11
| appearson=[[Geogaddi]]}}

== Samples/Lyrics ==

* The song heavily samples the flute melody and sound effects of "[https://youtu.be/eof_whqCvtU Lejos Te Llevas El Espejo De Tu Rostro]" from ''[https://www.discogs.com/Jorge-Reyes-Antonio-Zepeda-A-La-Izquierda-Del-Colibr%C3%AD/release/948075 A La Izquierda Del Colibrí]''.<ref>{{#ev:youtube|eof_whqCvtU||||||false}}</ref><ref>https://www.twoism.org/forum/viewtopic.php?f=2&t=13222&start=160</ref>
* If you listen very carefully, you can hear the word 'us' repeated throughout the track.

== Comments ==
* An Egyptian ritual [Sindawe]. ''"As the focus for offerings, the tomb was known as the "ka house"; statues of the deceased within the tomb are often called "ka statues" for the same reason. Statues of the deceased placed in the tomb serve as physical repositories for the dead person's spirit. Through the ritual of "opening the mouth," the statue was made an actual living being, able to receive offerings and live eternally as a physical container for the deceased's spirit (or "ka"). For these reasons, statues ideally were made of stone or other durable materials such as hardwood or metal."''
** [DC] was reading the book "How to Read Egyptian Hieroglyphics" (Collier + Manley), and found the following on p126: ''"The front cover shows a detail of an inscribed ritual tool used in the rite of 'opening the mouth' - an obscure ceremony designed to breathe life into an embalmed corpse, a statue or an inscribed image."''
* The [http://www.youtube.com/watch?v=_WN9FErgjOk Gatekeeper remix] of "Strawberry Skies" by Games samples this track.

{{#ev:youtube|_WN9FErgjOk|300}}

{{stub}}

[[Category:Released tracks]]
[[Category:Geogaddi tracks]]

Sixtyten

2021-04-05T19:38:12Z

Mkez: Added sample source

{{Infobox Song|
| name=Sixtyten
| runtime=5:48
| appearson=[[Music_Has_the_Right_to_Children|MHTRTC]]}}

__TOC__

==Comments==

== Samples / Lyrics ==
*Samples a sound effect from the 1958 horror film Terror from the Year 5000 (found by Twoism user Timbomb)<ref>{{#ev:youtube|nch8WxwcRBk|720|||||false}}</ref>
*Samples the song "[https://youtu.be/xN_3nib4r3Y Getaway]" by [[wikipedia:Earth, Wind & Fire|Earth, Wind & Fire]]<ref>{{#ev:youtube|xN_3nib4r3Y|480||||start=0|false}}</ref>
**Throughout the song is a voice sample saying "What you", followed by "It's alright"
**"I know we can!" plays at 2:17 in Sixtyten as well as in Getaway.
*Also samples the song "[https://youtu.be/2IbTNgdxrpc On Your Face]" by Earth, Wind & Fire from the same album (forwards at 2:27, reversed at 3:28 and elsewhere in the song).<ref>{{#ev:youtube|2IbTNgdxrpc|480||||start=0|false}}</ref>
**When the sample is reversed and corrected for pitch "Keep a smiling face" plays at 3:28 in Sixtyten, taken from 1:10 in On Your Face. <ref>http://www.twoism.org/forum/viewtopic.php?t=9835</ref>
*Samples vintage "Many Me's" [[Sesame Street]] vignette<ref>{{#ev:youtube|QZyRR-18EVU|480||||start=0|false}}</ref>
**Backwards: "There are a lot of different 'me's, you know. There's the mad me, when I get angry."
**Same Sesame Street vignette as "[[Whitewater]]" lyrics
* The separate vignette at the end of the track is believed to be a composition named "[[Blueberry]]".<ref>http://www.twoism.org/forum/viewtopic.php?t=4720&postdays=0&postorder=asc&start=25</ref>
*May sample a vocal shot of Colonel Abrams "[[Trapped]]"
**Throughout the track, the phrase "what you're" can be heard, slightly pitched up and with a possible slight vocoder effect. Credit to Brady Brignac for this discovery. <ref>https://www.reddit.com/r/boardsofcanada/comments/5oxvsq/found_a_boc_sample/</ref>

== Trivia ==
* "[[Sixtyten]]" is 70 (a literal translation of the french word for seventy 'soixante dix'). You'll hear this in "[[Aquarius]]" too. A reference to [[Music70]], [[Boards of Canada|BoC]]'s own label. See comments on "[[The Smallest Weird Number]]" in ''[[Geogaddi]]''.

== Videos ==
{{#ev:youtube|wjw4VuF_Yf8}}

== External links==

==References==
<references />

[[Category: Released tracks]]
[[Category: Song]]
[[Category:Music Has the Right to Children tracks]]

Happy Cycling

2021-03-22T07:41:11Z

Mkez: Added quotes to song titles

{{Infobox Song|
| name=Happy Cycling
| runtime=1:49 ([[A Few Old Tunes|AFOT]]) 7:51 ([[MHTRTC]]) 7:56 ([[Peel Session]]) 7:27 ([[Live @ Warp10]]) 7:55 ([[All Tomorrow's Parties|ATP]]))
| appearson=[[A Few Old Tunes|AFOT]] [[MHTRTC]] [[Peel Session]] [[Live @ Warp10]] [[All Tomorrow's Parties|ATP]]}}

[[Happy Cycling]] is the name of two unrelated musical compositions by [[Boards of Canada]]: an earlier piece appearing on [[A Few Old Tunes]], and a later composition which forms the basis of all tracks named [[Happy Cycling]] on [[Boards of Canada]]'s [[Discography|general releases]] and known [[Discography#Live_Bootlegs|live recordings]].

== Samples / Lyrics ==
* The bass drum beat and dissonant note heard at the beginning and throughout the song are sampled from Pink Floyd's "Heart Beat, Pig Meat"<ref>{{#ev:youtube|AGLX5CglVGY|480||||start=15|false}}</ref> at 0:15. This sample can be heard better in "[[Bad Day]]".
* The eerie choir heard throughout much of [[Happy Cycling]] is sampled from [[wikipedia:Norman Jewison|Norman Jewison]]'s [http://www.imdb.com/title/tt0070239/ Jesus Christ Superstar], specifically "[https://youtu.be/nAL0Y0PxJFc?t=64 The Crucifixion]" from roughly 1:04. <ref>{{#ev:youtube|nAL0Y0PxJFc|480||||start=64|false}}</ref>
* The bird calls are sampled from "[[wikipedia:Vangelis|Vangelis]] - [[wikipedia:La Fête sauvage|La Fête sauvage]]". There is also a sound like a man singing, rather faint and tinny. Sample starts at 2:43.<ref>http://www.twoism.org/forum/viewtopic.php?f=2&t=13680</ref><ref>{{#ev:youtube|4d6T-6fNAiM|480||||start=162|false}}</ref>
* The backmasked vocals beginning at 6:25 are of an interview with [[wikipedia:Jeff Lynne|Jeff Lynne]] of the [[wikipedia:Electric Light Orchestra|Electric Light Orchestra]] on "[[wikipedia:Rockline|Rockline]]" hosted by Bob Coburn on 27 June 1983<ref>http://www.elodiscovery.com/Jeff-Lynne-Electric-Light-Orchestra-Interviews2.html</ref>. The subject is ELO's supposed use of backmasking on their song "[[wikipedia:Eldorado (Electric Light Orchestra song)|Eldorado]]" from the [[wikipedia:Eldorado (Electric Light Orchestra album)|album of the same name]], and the controversy thereof. Though the vocals are occasionally difficult to understand when reversed, the following transcript is relatively complete:
:(Interviewer's voice): ''"... to tell us about backwards masking ??? and the Electric Light Orchestra. A whole crowd of ... got all ... because they thought that if ... but, when it was hand-spun backwards on a turntable, and it said something like 'Christ is inferno'. Anyway, it was enough to ... cause some problems for ELO and Jeff Lynne in particular."''
:(Jeff Lynne's voice): ''"It is absolutely ...don't ask why I said that. It didn't say anything, anything of the sort. And uhm, that was total...in fact, it was a mistake, isn't it. Because anyone who can write a song played forwards and have it say something else backwards has got to be some kind of genius, and that I ain't! I was upset at first by the accusations, you know, but now, but now I would find them funny ... we're totally innocent of all those claims ... and we're all God-fearing chaps!"''<ref>[[File:Happy-cycling-elo-backmask.mp3]]</ref><ref>http://www.elodiscovery.com/interviews/1983-jeff-lynne-rockline.mp3</ref>

== Comments ==
*A shorter version of the recent one also appears in [http://en.wikipedia.org/wiki/DJ-Kicks:_Kid_Loco Kid Loco's DJ-Kicks].
* [Alex D] - There is an electronic music company called [http://www.cycling74.com/ cycling 74], who make MAX/MSP among other things; and it could just possibly be a reference to that.
*[Mark S] - Many have suspected the title as being a reference to Albert Hofmann's trip on LSD known as [http://en.wikipedia.org/wiki/History_of_LSD Bicycle Day].
*[Forfy] - The Peel Session version was used in season two, episode twelve of Six Feet Under.

== Videos ==

{{#widget:YouTube|id=w1GyfNca2vk}}

== External Links ==
*[[wikipedia:Backmasking]]
*[[wikipedia:Electric_light_orchestra Electric]]
*[[wikipedia:Jeff_Lynne]]
*[http://www.imdb.com/title/tt0070239/ Norman Jewison's "Jesus Christ Superstar"] on IMDB

== References ==
<references />

[[Category: Released tracks]]
[[Category:Old Tunes Vol. 1 tracks]]
[[Category: Music Has the Right to Children tracks]]
[[Category: Peel Session tracks]]
[[Category: Live @ Warp10 tracks]]
[[Category: All Tomorrow's Parties tracks]]

Staircase Whip

2021-03-22T07:40:08Z

Mkez: Added vocal sample source

{{Infobox Song|
| name=Staircase Whip
| runtime=2:14
| appearson=[[Old Tunes Vol. 2]]}}

__TOC__

== Comments ==

== Samples / Lyrics ==
* The vocal sample is from "[https://youtu.be/dluBzT6kVno?t=83 Zableyalo mi Agŭntse]", a traditional blugarian folk song which appears on ''[[wikipedia:Le Mystère des Voix Bulgares|Le Mystère des Voix Bulgares]]'', a compilation album mentioned by [[Marcus Eoin|Marcus]] in [[Breaking Into Heaven|an interview]].
* Contains a hit from the famous [[wikipedia:Amen break|Amen break]].

== Trivia ==

== Videos ==
{{#widget:YouTube|id= eqpSdNe6tIo}}

== External links==

== References ==
<references />

{{stub}}

[[Category:Unreleased tracks]]
[[Category:Old Tunes Vol. 2 tracks]]

Roygbiv

2021-03-15T10:48:37Z

Mkez: Added new sample source

{{Infobox Song|
| name=Roygbiv
| runtime=2:31
| appearson=[[MHTRTC]] [[BoC Maxima]] [[Telephasic Workshop]]
}}

__TOC__

== Comments ==
* ''Roy G. Biv'' is a common mnemonic for the order of the colours of the rainbow, like 'Richard of York gave battle in vain'. [DC]
* The song was used in season two, episode three of ''[http://en.wikipedia.org/wiki/That_Mitchell_and_Webb_Look That Mitchell and Webb Look]''.
* Even moreso than other tracks by [[Boards of Canada|BoC]], Roygbiv is redolent of the musical styles of Canadian public television in the late 1970s and early 1980s, particularly the [https://www.youtube.com/watch?v=5fY2-I11O-w theme to the TVOntario chat show ''Realities''].
* "Roygbiv - [[Alphaquest]] Mix" was a remix done by [[Boards of Canada|BoC]] specially for someone called Andy Soosay's student film. The track was leaked onto the net and is understood to be genuine. It's longer than the original at 6:23. The mix begins with the track "[[Bocuma]]" in its entirety. It's backed up by images of the actual DAT inlay which contains nuggets such as "Custom DIY job for Andy Soosay", "Date Time: Thursday 15th May 1997", "SOURCE: Brown source or tomato source" and "COMMENTS: Yeah, it's pretty good".
**Additional words in the Alpha Quest mix are as follows:
<blockquote>
Doorways up and down the hall 
Wonder what's behind them all 
Doors that lead to anywhere 
Got to A, B, C, what's there 
Got to A, B, C, decide 
Where's the door I haven't tried 
A, B, C, D, East and West 
Going on an Alphaquest!
</blockquote>
<gallery>
Image:Alphaquestmix1.jpg
Image:Alphaquestmix2.jpg
Image:Alphaquestmix3.jpg
</gallery>

== Samples / Lyrics ==
* The melodic trill is sampled from Sesame Street episode 2852 at 11:36.<ref>{{#ev:youtube|9j4kXWTJXLE|480||||start=696|false}}</ref><ref>https://www.twoism.org/forum/viewtopic.php?f=2&t=14748</ref>
* The sampled voice is of a child saying "Lake", found in Sesame Street episode 2852 at 11:58.<ref>{{#ev:youtube|9j4kXWTJXLE|480||||start=718|false}}</ref>

== Trivia ==

== Videos ==

{{#widget:YouTube|id=yT0gRc2c2wQ}}

== External links==

== References ==
<references />

[[Category:Released tracks]]
[[Category:Music Has the Right to Children tracks]]
[[Category:Boc Maxima tracks]]

Happy Cycling

2021-03-15T10:33:10Z

Mkez: Moved samples into order of appearance

{{Infobox Song|
| name=Happy Cycling
| runtime=1:49 ([[A Few Old Tunes|AFOT]]) 7:51 ([[MHTRTC]]) 7:56 ([[Peel Session]]) 7:27 ([[Live @ Warp10]]) 7:55 ([[All Tomorrow's Parties|ATP]]))
| appearson=[[A Few Old Tunes|AFOT]] [[MHTRTC]] [[Peel Session]] [[Live @ Warp10]] [[All Tomorrow's Parties|ATP]]}}

[[Happy Cycling]] is the name of two unrelated musical compositions by [[Boards of Canada]]: an earlier piece appearing on [[A Few Old Tunes]], and a later composition which forms the basis of all tracks named [[Happy Cycling]] on [[Boards of Canada]]'s [[Discography|general releases]] and known [[Discography#Live_Bootlegs|live recordings]].

== Samples / Lyrics ==
* The bass drum beat and dissonant note heard at the beginning and throughout the song are sampled from Pink Floyd's "Heart Beat, Pig Meat"<ref>{{#ev:youtube|AGLX5CglVGY|480||||start=15|false}}</ref> at 0:15. This sample can be heard better in [[Bad Day]].
* The eerie choir heard throughout much of [[Happy Cycling]] is sampled from [[wikipedia:Norman Jewison|Norman Jewison]]'s [http://www.imdb.com/title/tt0070239/ Jesus Christ Superstar], specifically "[https://youtu.be/nAL0Y0PxJFc?t=64 The Crucifixion]" from roughly 1:04. <ref>{{#ev:youtube|nAL0Y0PxJFc|480||||start=64|false}}</ref>
* The bird calls are sampled from [[wikipedia:Vangelis|Vangelis]] - [[wikipedia:La Fête sauvage|La Fête sauvage]]. There is also a sound like a man singing, rather faint and tinny. Sample starts at 2:43.<ref>http://www.twoism.org/forum/viewtopic.php?f=2&t=13680</ref><ref>{{#ev:youtube|4d6T-6fNAiM|480||||start=162|false}}</ref>
* The backmasked vocals beginning at 6:25 are of an interview with [[wikipedia:Jeff Lynne|Jeff Lynne]] of the [[wikipedia:Electric Light Orchestra|Electric Light Orchestra]] on "[[wikipedia:Rockline|Rockline]]" hosted by Bob Coburn on 27 June 1983<ref>http://www.elodiscovery.com/Jeff-Lynne-Electric-Light-Orchestra-Interviews2.html</ref>. The subject is ELO's supposed use of backmasking on their song "[[wikipedia:Eldorado (Electric Light Orchestra song)|Eldorado]]" from the [[wikipedia:Eldorado (Electric Light Orchestra album)|album of the same name]], and the controversy thereof. Though the vocals are occasionally difficult to understand when reversed, the following transcript is relatively complete:
:(Interviewer's voice): ''"... to tell us about backwards masking ??? and the Electric Light Orchestra. A whole crowd of ... got all ... because they thought that if ... but, when it was hand-spun backwards on a turntable, and it said something like 'Christ is inferno'. Anyway, it was enough to ... cause some problems for ELO and Jeff Lynne in particular."''
:(Jeff Lynne's voice): ''"It is absolutely ...don't ask why I said that. It didn't say anything, anything of the sort. And uhm, that was total...in fact, it was a mistake, isn't it. Because anyone who can write a song played forwards and have it say something else backwards has got to be some kind of genius, and that I ain't! I was upset at first by the accusations, you know, but now, but now I would find them funny ... we're totally innocent of all those claims ... and we're all God-fearing chaps!"''<ref>[[File:Happy-cycling-elo-backmask.mp3]]</ref><ref>http://www.elodiscovery.com/interviews/1983-jeff-lynne-rockline.mp3</ref>

== Comments ==
*A shorter version of the recent one also appears in [http://en.wikipedia.org/wiki/DJ-Kicks:_Kid_Loco Kid Loco's DJ-Kicks].
* [Alex D] - There is an electronic music company called [http://www.cycling74.com/ cycling 74], who make MAX/MSP among other things; and it could just possibly be a reference to that.
*[Mark S] - Many have suspected the title as being a reference to Albert Hofmann's trip on LSD known as [http://en.wikipedia.org/wiki/History_of_LSD Bicycle Day].
*[Forfy] - The Peel Session version was used in season two, episode twelve of Six Feet Under.

== Videos ==

{{#widget:YouTube|id=w1GyfNca2vk}}

== External Links ==
*[[wikipedia:Backmasking]]
*[[wikipedia:Electric_light_orchestra Electric]]
*[[wikipedia:Jeff_Lynne]]
*[http://www.imdb.com/title/tt0070239/ Norman Jewison's "Jesus Christ Superstar"] on IMDB

== References ==
<references />

[[Category: Released tracks]]
[[Category:Old Tunes Vol. 1 tracks]]
[[Category: Music Has the Right to Children tracks]]
[[Category: Peel Session tracks]]
[[Category: Live @ Warp10 tracks]]
[[Category: All Tomorrow's Parties tracks]]

Bad Day

2021-03-15T10:30:48Z

Mkez: Added time stamp to sample video

{{Infobox Song|
| name=Happy Cycling (Bad Day)
| runtime=6:51
| appearson=unreleased}}

__TOC__

== Comments ==
The version of "[[Happy Cycling]]" found on the ''[[Peel Session|Peel Session EP]]'' is '''NOT''' the original version that was broadcasted on the radio. This version is the original version. It is unofficially entitled "[[Bad Day]]", allegedly because [[BOC]] thought it was a sloppy take. As you will hear, it is significantly different from the version of "[[Happy Cycling]]" on the ''[[Peel Session|Peel Session EP]]'' (as well as the bonus track on ''[[MHTRTC]]'').

== Samples / Lyrics ==
* The basis for this track is sampled from Pink Floyd's "Heart Beat, Pig Meat"<ref>{{#ev:youtube|AGLX5CglVGY|480||||start=15|false}}</ref> at 0:15. The background speeches at the timestamp can also be heard in Bad Day.

== Trivia ==

== Videos ==
{{#widget:YouTube|id= CYvrslX-28o}}

== External links==

== References ==
<references />

{{stub}}

[[Category:Unreleased tracks]]

Happy Cycling

2021-03-15T10:30:06Z

Mkez: Added sample source

{{Infobox Song|
| name=Happy Cycling
| runtime=1:49 ([[A Few Old Tunes|AFOT]]) 7:51 ([[MHTRTC]]) 7:56 ([[Peel Session]]) 7:27 ([[Live @ Warp10]]) 7:55 ([[All Tomorrow's Parties|ATP]]))
| appearson=[[A Few Old Tunes|AFOT]] [[MHTRTC]] [[Peel Session]] [[Live @ Warp10]] [[All Tomorrow's Parties|ATP]]}}

[[Happy Cycling]] is the name of two unrelated musical compositions by [[Boards of Canada]]: an earlier piece appearing on [[A Few Old Tunes]], and a later composition which forms the basis of all tracks named [[Happy Cycling]] on [[Boards of Canada]]'s [[Discography|general releases]] and known [[Discography#Live_Bootlegs|live recordings]].

== Samples / Lyrics ==
* The eerie choir heard throughout much of [[Happy Cycling]] is sampled from [[wikipedia:Norman Jewison|Norman Jewison]]'s [http://www.imdb.com/title/tt0070239/ Jesus Christ Superstar], specifically "[https://youtu.be/nAL0Y0PxJFc?t=64 The Crucifixion]" from roughly 1:04. <ref>{{#ev:youtube|nAL0Y0PxJFc|480||||start=64|false}}</ref>
* The bass drum beat and dissonant note heard throughout the song are sampled from Pink Floyd's "Heart Beat, Pig Meat"<ref>{{#ev:youtube|AGLX5CglVGY|480||||start=15|false}}</ref> at 0:15. This sample can be heard better in [[Bad Day]].
* The bird calls are sampled from [[wikipedia:Vangelis|Vangelis]] - [[wikipedia:La Fête sauvage|La Fête sauvage]]. There is also a sound like a man singing, rather faint and tinny. Sample starts at 2:43.<ref>http://www.twoism.org/forum/viewtopic.php?f=2&t=13680</ref><ref>{{#ev:youtube|4d6T-6fNAiM|480||||start=162|false}}</ref>
* The backmasked vocals beginning at 6:25 are of an interview with [[wikipedia:Jeff Lynne|Jeff Lynne]] of the [[wikipedia:Electric Light Orchestra|Electric Light Orchestra]] on "[[wikipedia:Rockline|Rockline]]" hosted by Bob Coburn on 27 June 1983<ref>http://www.elodiscovery.com/Jeff-Lynne-Electric-Light-Orchestra-Interviews2.html</ref>. The subject is ELO's supposed use of backmasking on their song "[[wikipedia:Eldorado (Electric Light Orchestra song)|Eldorado]]" from the [[wikipedia:Eldorado (Electric Light Orchestra album)|album of the same name]], and the controversy thereof. Though the vocals are occasionally difficult to understand when reversed, the following transcript is relatively complete:
:(Interviewer's voice): ''"... to tell us about backwards masking ??? and the Electric Light Orchestra. A whole crowd of ... got all ... because they thought that if ... but, when it was hand-spun backwards on a turntable, and it said something like 'Christ is inferno'. Anyway, it was enough to ... cause some problems for ELO and Jeff Lynne in particular."''
:(Jeff Lynne's voice): ''"It is absolutely ...don't ask why I said that. It didn't say anything, anything of the sort. And uhm, that was total...in fact, it was a mistake, isn't it. Because anyone who can write a song played forwards and have it say something else backwards has got to be some kind of genius, and that I ain't! I was upset at first by the accusations, you know, but now, but now I would find them funny ... we're totally innocent of all those claims ... and we're all God-fearing chaps!"''<ref>[[File:Happy-cycling-elo-backmask.mp3]]</ref><ref>http://www.elodiscovery.com/interviews/1983-jeff-lynne-rockline.mp3</ref>

== Comments ==
*A shorter version of the recent one also appears in [http://en.wikipedia.org/wiki/DJ-Kicks:_Kid_Loco Kid Loco's DJ-Kicks].
* [Alex D] - There is an electronic music company called [http://www.cycling74.com/ cycling 74], who make MAX/MSP among other things; and it could just possibly be a reference to that.
*[Mark S] - Many have suspected the title as being a reference to Albert Hofmann's trip on LSD known as [http://en.wikipedia.org/wiki/History_of_LSD Bicycle Day].
*[Forfy] - The Peel Session version was used in season two, episode twelve of Six Feet Under.

== Videos ==

{{#widget:YouTube|id=w1GyfNca2vk}}

== External Links ==
*[[wikipedia:Backmasking]]
*[[wikipedia:Electric_light_orchestra Electric]]
*[[wikipedia:Jeff_Lynne]]
*[http://www.imdb.com/title/tt0070239/ Norman Jewison's "Jesus Christ Superstar"] on IMDB

== References ==
<references />

[[Category: Released tracks]]
[[Category:Old Tunes Vol. 1 tracks]]
[[Category: Music Has the Right to Children tracks]]
[[Category: Peel Session tracks]]
[[Category: Live @ Warp10 tracks]]
[[Category: All Tomorrow's Parties tracks]]

Societas x Tape

2021-03-14T14:22:19Z

Mkez: Added new identified track (Carl Matthews - Guru Ma)

[[File:Societas x Tape.jpg|thumb]]

Societas x Tape is a 2 hour mixtape by [[Boards of Canada]] broadcast Sunday 23rd June 2019 on [[wikipedia:NTS Radio|NTS Radio]] as part of WxAxRxP, [[Warp Records]] 30th anniversary celebration event. Mostly consisting of tracks by other artists, the mix was described by NTS as "a two-hour selection of mind melting offbeat psychedelia".

== Tracks ==

# Intro (short wave radio scan, "astrophysics, medicine, biology and technology") (0:00)
# [[wikipedia:Jasper Van't Hof|Jasper Van't Hof]] - [https://www.youtube.com/watch?v=SJr2efNBVLc Associations] (0:32)
# [https://www.discogs.com/artist/800246-Col coL] - [https://www.youtube.com/watch?v=SQ959s4j3o4 This Flat Earth] (3:31)
# [[wikipedia:Heldon|Heldon]] - [https://www.youtube.com/watch?v=Iee615Jq7Es Une Drole de Journee] (6:27)
# Interlude (7:06)
# ? (piano, drums, synth, choir) (7:09)
# [[wikipedia:Killing Joke|Killing Joke]] - [https://www.youtube.com/watch?v=spEMGfUVxrA Unspeakable (Demo)] (9:20)
# [https://www.discogs.com/artist/957466-Dolphins-Into-The-Future Dolphins Into The Future] - [https://youtu.be/xkPNohvJW7U?t=701 Dolphins Into The Future (A3, B1)] (11:47)
# [https://www.discogs.com/artist/342252-Victrola Victrola] - [https://www.youtube.com/watch?v=QT6ji9E9ChA Maritime Tatami] (13:49)
# [[wikipedia:George Duke|George Duke]] - [https://www.youtube.com/watch?v=-BGUgak3g-g Vulcan Mind Probe] (18:10)
# [https://www.discogs.com/artist/765224-Flayer Flayer] - [https://www.youtube.com/watch?v=nmqtuzX1lgY Wanna Get Back Your Love (Mix 1)] (20:53)
# ? (distorted electric guitar, [[Olson]], [[Under The Coke Sign]]) (24:30)
# [https://www.discogs.com/artist/276360-Doxa-Sinistra Doxa Sinistra] - [https://www.youtube.com/watch?v=Hb0cZNTwAyw The Other Stranger] (25:14)
# Interlude ([https://www.youtube.com/watch?v=EUWygGsyCyY WGBH Boston TV Logo], "[https://www.youtube.com/watch?v=_bbg5EJz668 your choice, five]") (28:26)
# [https://www.discogs.com/artist/788312-Paul-Hart-2 Paul Hart] - [https://www.youtube.com/watch?v=NTTKKP-K5rI Prospect] (28:44)
# [[wikipedia:M. S. Subbulakshmi|M. S. Subbulakshmi]] - [https://www.youtube.com/watch?v=LJFrXFdxP_E Srimannarayana] (31:44)
# [[wikipedia:Esplendor Geometrico|Esplendor Geometrico]] - [https://www.youtube.com/watch?v=c4-nYlWx6C4 Regeneración] (34:00)
# Interlude ("[https://www.youtube.com/watch?v=RP_uTg_VzVQ get a shot of protection, (chronical)-ly ill, the swine flu shot]") (35:58)
# ? (bass, synth, drum machine, piano), "thank you for not smoking" (36:22)
# [[Boards of Canada]]([[Hell Interface]]?) - Untitled Remix ([[wikipedia:Grace Jones|Grace Jones]] - [https://www.youtube.com/watch?v=Z0XLzIswI2s Slave To The Rhythm], [[wikipedia:Imagination (band)|Imagination]] - [https://www.youtube.com/watch?v=nH6rInAE9rk Just an Illusion], [[Aquarius (song)|Aquarius (Version 3)]]) (37:59)
# Interlude (car rental ad - "anything, from an Astra to a Merc, and no mileage charge neither") (40:42)
# [https://www.discogs.com/artist/1902575-Jupiter-Prophet Jupiter Prophet] - [https://www.youtube.com/watch?v=OoNAfVHfxMc 35.000 Feet (Challenger's Theme)] (40:50)
# ? (drum, discordant noises) (42:10)
# Interlude ([[wikipedia:Fausto Papetti|Fausto Papetti]] - [https://www.youtube.com/watch?v=eWoQVFe_etk Un Homme Et Une Femme], [https://www.youtube.com/watch?v=t1Y-UQnlH-w Minute Maid Bing Crosby orange juice ad]) (44:13)
# [[wikipedia:Devo|Devo]] - [https://www.youtube.com/watch?v=T4oVOFVhV_A Shrivel Up] (45:43)
# [https://www.discogs.com/artist/112863-Stefan-Zauner Stefan Zauner] - [https://www.youtube.com/watch?v=VUF0dcnDAes Billy Miller] (48:41)
# Interlude ("here in the wind tunnel, the fearful forces"... "and one day, we shall know") (54:02)
# [https://www.discogs.com/artist/1051889-These-Trails These Trails] - [https://www.youtube.com/watch?v=bvZv95Fy864 Garden Botanum] (54:24)
# Interlude ("here in the wind tunnel, the fearful forces"... "and one day, we shall know") (56:26)
# [https://www.discogs.com/artist/1198092-Dreamers-Cloth Dreamers Cloth] - [https://youtu.be/CXJMApMBIf0?t=656 The Coconut Pearl (B2)] (57:03)
# [[wikipedia:Pauline Oliveros|Pauline Oliveros]] - [https://www.youtube.com/watch?v=8wrNL063Gys Bye Bye Butterfly] (59:22)
# Interlude (short wave radio scan) (59:43)
# [[wikipedia:Alan Parker (musician)|Alan Parker]] - [https://www.youtube.com/watch?v=Jk968Do-bLI The Free Life] (59:52)
# [[wikipedia:Egberto Gismonti|Egberto Gismonti]] - [https://www.youtube.com/watch?v=MKoj8zv_EHI Jardim de Prazeres] (1:02:04)
# Interlude ("mother goddess of the world"... "diagonal") (1:04:42)
# [https://www.discogs.com/artist/1145501-Horrific-Child Horrific Child] - [https://www.youtube.com/watch?v=FVDGmuyT4d0 L'Etrange Mr Whinster (Frayeur, Angoisse)] (1:05:08)
# [[wikipedia:Severed Heads|Severed Heads]] - [https://youtu.be/dY3vQ-p2xaY?t=11 We Have Come To Bless The House] (1:06:45)
# [[wikipedia:Morgan Page|Morgan Page]] - [https://open.spotify.com/track/24hmCT424RGizJVplq2yLh Heartbeat] (1:10:10)
# Interlude ([https://youtu.be/GpO-oUx9ul0?t=169 Casiotone 202 demo]) (1:10:29)
# [https://www.discogs.com/artist/6944553-Filmmaker-2 Filmmaker] - [https://www.youtube.com/watch?v=DTBlgr9JwR0 Crow Mask] (1:10:58)
# [[wikipedia:Suraiya|Suraiya]] - [https://www.youtube.com/watch?v=jv7-8ljA6QQ Ek Tu Ho Ek Main Hoon] (1:13:58)
# [[wikipedia:Yellow Magic Orchestra|Yellow Magic Orchestra]] - [https://www.youtube.com/watch?v=277VJ7p9QKw Light in Darkness] (1:16:13)
# [https://www.discogs.com/artist/35600-Hajime-Tachibana Hajime Tachibana] ‎- [https://www.youtube.com/watch?v=dJYqeytfU8g XP41] (1:17:50)
# [[wikipedia:Lena Platonos|Lena Platonos]] - [https://www.youtube.com/watch?v=Ee5c-6VMjlQ Bloody Shadows from Afar] (1:18:38)
# ? ("soon the queen will come our way") (1:21:54)
# [https://www.discogs.com/artist/1024540-Sinking-Ships Sinking Ships] - [https://www.youtube.com/watch?v=JS8mvZCabSE Strangers] (1:22:43)
# [https://www.discogs.com/artist/647196-The-Creed-Taylor-Orchestra Creed Taylor Orchestra] - [https://www.youtube.com/watch?v=IV5yzZ0HlRo Heartaches] (1:25:30)
# [[wikipedia:Deutsch Amerikanische Freundschaft|Deutsch Amerikanische Freundschaft]] - [https://www.youtube.com/watch?v=rS-go_I5FxY Osten Währt am Längsten] (1:26:20)
# [https://www.discogs.com/artist/310560-Francis-Rimbert Francis Rimbert] & [https://www.discogs.com/artist/99715-Fr%C3%A9d%C3%A9rick-Rousseau Frederick Rousseau] - [https://www.youtube.com/watch?v=cR2lTkYcEM8 First Emotion] (1:29:17)
# [https://www.discogs.com/artist/317237-Carl-Matthews Carl Matthews] - [https://www.youtube.com/watch?v=64SW7h3iVwU Guru Ma] (1:31:28)
# ? (fretless bass, piano, synth) (1:33:52)
# [https://www.discogs.com/artist/463652-Christian-Chevallier Christian Chevalier] - [https://www.youtube.com/watch?v=KC4OqrCOYkA Strange Pop] (1:37:17)
# [[wikipedia:Colourbox|Colourbox]] - [https://www.youtube.com/watch?v=anURS4cIrl8 Tarantula (12” Version 1)] (1:40:36)
# [https://www.discogs.com/artist/2936647-33103402 33.10.3402] - [https://www.youtube.com/watch?v=5Q2WsQ1tRDg Kanap] (1:43:51)
# Interlude ([[wikipedia:The Elegants|The Elegants]] - [https://www.youtube.com/watch?v=gtxSm4qo9Ts Little Star]) (1:48:00)
# [http://www.prem-rawat-bio.org/music/onefoundation/onefoundation.html One Foundation] - [http://www.prem-rawat-bio.org/music/onefoundation/yame.html Dance With Us Lord] (1:49:59)
# ? (ambient) (1:51:45)
# ? (strings) (1:54:51)
# [[wikipedia:Bruce Haack|Bruce Haack]] - [https://www.youtube.com/watch?v=FRnaigHYKGc Angel Child] (1:55:23)
# [https://www.discogs.com/artist/463652-Christian-Chevallier Christian Chevallier] - [https://www.youtube.com/watch?v=VLhayEzDesE Sea Cathedral] (1:56:23)

== Notes ==
* Track times are from the actual start of mixtape, excluding NTS indent
* Artwork is a vintage photograph of a band playing at the Tomorrowland Terrace in Disneyland, California, dated from the 1970s
* The band in the photograph is playing [[Under The Coke Sign|under a coke sign]], "Cement, Gravel, and Rock Co.", could possibly be the name of the act on stage.

== Lyrics ==
* Track at 1:21:54
<blockquote>
On the hill starts a bright new day 
Soon the queen will come our way 
The hillside's our place to share 
A place to grow, love and care
</blockquote>

== External links ==
* https://archive.org/details/WXAXRXP-NTS1/69.+BOARDS+OF+CANADA+-+SOCIETAS+X+TAPE.mp3
* https://soundcloud.com/user-481929878/boards-of-canada-societas-x-tape
* https://mega.nz/#F!qOZmGAQD!Ye7dE-2rl01VMKsO2QMScQ?TfBBVaLB
* https://www.nts.live/shows/wxaxrxp/episodes/boards-of-canada-23rd-june-2019

{{Nav-Releases}}

Spirit, Logic & Mathematics

2021-03-07T17:12:37Z

Mkez: Moved translated text to proper section

Spirit, Logic & Mathematics

2021-03-07T17:11:57Z

Mkez: Removed translated text from old section

Spirit, Logic & Mathematics

2021-03-07T17:11:16Z

Mkez: Removed text from old section

Spirit, Logic & Mathematics

2021-03-07T17:10:33Z

Mkez: Moved text to proper section

<onlyinclude>
{{interview
|title=Spirit, Logic & Mathematics
|author=Hendrik Lakeberg
|date=2005/10
|publication=De:Bug
|issue=93
|pages=p.28
}}
</onlyinclude>
__TOC__

== Original text ==
<onlyinclude>
"[[Spirit, Logic & Mathematics]]" was an interview (in German) by Hendrik Lakeberg originally published Oct. 2005 in De:Bug magazine Number 93. <ref>http://de-bug.de/mag/boards-of-canada/</ref> <ref>http://de-bug.de/share/debug96.pdf</ref>
{{original}}
</onlyinclude>

=== Spirit, Logic & Mathematics ===

Die mysterösen [[Boards of Canada|Superstars der Elektronika]] haben wieder [[The Campfire Headphase|ein Album]] gemacht. Drei Jahre haben die beiden Schotten dafür gebraucht. “Zurück zu den Anfängen” war ihre Premisse. Warum alle so aufgeregt sind, verstehen sie am aller wenigsten.

Rückwärts wird’s auch nicht besser

Seit 1990 findet im Norden Schottlands in der Nähe des Boards-of-Canada-Studios einmal jährlich eine Outdoor-Party statt. Vor der imposanten Naturkulisse Schottlands und verstreut brennenden Lagerfeuern lauschen die Besucher rückwärtslaufenden Sprachcollagen, verfremdeter Filmmusik und starren auf flimmernde Leinwände, beschienen von kruden Film-Obskuritäten. Unter dem Namen [[Hexagon Sun]] kollaborierten die Zeremonienmeister der Veranstaltung [[Mike Sandison]] und [[Marcus Eoin]] regelmäßig mit befreundeten Musikern. Wabernder Elektronika-Prog weht über einen Strand irgendwo im nördlichen Schottland. In der Nacht des ersten Festivals leuchtete der Mond blutrot und der Name dieses nebligen Gatherings war geboren: [[Red Moon incident|Red moon nights]].

Vielleicht waren diese Abende die Geburtsstunde der [[Boards of Canada]], wie wir sie heute kennen. Alles scheint dagewesen zu sein: die Faszination für Natur, dieses düstere, esoterisch angehauchte Neo-Hippietum, die Anspielungen auf bedeutungsschwangere mathematische Konstruktionen. Keine andere Elektronika-Band hat in den letzten Jahren mehr Rätsel aufgegeben. In Internet-Foren werden ihre Platten mit pedantischer Präzision auf versteckte Hinweise untersucht, Samples rückwärts abgespielt, Zahlenfolgen gedeutet. So finden sich auf der EP ''[[In a Beautiful Place out in the Country|A Beautiful Place In The Country]]'' im Artwork der Platte beispielsweise Hinweise auf den Kollektiven Selbstmord der Davidianer-Sekte im texanischen Waco. Und auf ihrem vorletzten Album ''[[Geogaddi]]'' soll man in einem rückwärtslaufenden Sprachsample den Satz “A God with Horns” hören können.

"[[The Devil Is In The Details]]" nennt sich ein Track auf ''[[Geogaddi]]''. Bei den Interpretationen handelt es sich also nicht nur um Phantasmagorien obsessiv veranlagter Fans. [[Boards of Canada]] selber sind nicht ganz unschuldig an den Mysterien und Verklärungen, die sich um sie ranken.
Doch die Zeiten scheinen sich geändert zu haben. Durch ''[[The Campfire Headphase|Campfire Headphase]]'', die neue BOC-Platte, weht im Gegensatz zum düster vernebelten Surrealismus von “''[[Geogaddi]]''” der illuminierende Wind der Aufklärung. Die Tracks sind strukturell glasklar, die Beats rumpeln präzise abgezirkelt vor sich hin. Darüber schweben diese typischen BOC-Flächen, wie pastellige Farben, die langsam ineinander laufen, sich vermischen und vorsichtig gerinnen. Vielleicht ist ''[[The Campfire Headphase|Campfire Headphase]]'' die Abendröte der Elektronika. Zeitlos schön und gerade deshalb so zeitgemäß. Fast wie ein klassisches Lehrstück, eine Essenz. Und für [[BOC]] die logische Konsequenz ihrer bisherigen Arbeit.
Natürlich ist auch ''[[The Campfire Headphase|Campfire Headphase]]'' durchsetzt mit Anspielungen, Konzepten, Rätseln. Das Bild, dass sich aus der Musik herauslesen lässt, rückt eine andere Seite ins Licht: [[Marcus Eoin]] und Mike Sanderson ging es niemals allein darum, in opake, mystische Welten herabzuführen, sondern eher darum, das Seltsame, schwer Verstehbare der Welt in Musik umzusetzen. Rätsel aufzugeben, die danach verlangen, enträtselt zu werden. Eine epische Inszenierung fundamentaler Konflikte auszubreiten: Magie vs. Logik, Spiritualität vs. Vernunft.

{{question|Wie fühlt sich das für euch an, eine Platte draußen zu haben? Ist das nicht immer hart, so einen Schnitt zu machen, die Musik in der Öffentlichkeit zu exponieren und die Reaktionen abzuwarten?}}

{{boc|"Wir sind mit der neuen Platte sehr glücklich. Es ist schon manchmal schwer, diesen Punkt abzupassen, an dem man sagt: “OK, das ist jetzt fertig”, und ab und zu müssen wir uns richtig dazu zwingen, einen Track gehen zu lassen. Bei dieser Platte war es aber eigentlich so, dass wir den Sound, den wir erreichen wollten, auch fast genauso hinbekommen haben. Grundsätzlich interessieren uns die Reviews und der ganze Internet-Chat über unsere Musik nicht wirklich. Wir versuchen immer einfach nur unseren Instinkten zu folgen."}}

{{question|''[[The Campfire Headphase]]'' klingt schnörkelloser als “''[[Geogaddi]]''”. Gab es Unterschiede im Produktionsprozess, in eurem Zugang zur Musik?}}

{{boc|"Ja. In gewisser Weise wollten wir unsere Musik vereinfachen. Das war aber im Vergleich zu den anderen Platten sehr zeitaufwendig. Klingt komisch: mehr Zeit für einen reduzierten Sound. War aber so. Unser Zugang zur Musik verändert sich eigentlich ständig und von Platte zu Platte. Unsere Ideen und Themen ändern sich, die Musik, die wir hören … Diesmal wollten wir zurückkehren zu einem simplen Sound, zu destillierten Melodien. Die Tracks sind aber gleichzeitig immer noch sehr dicht im Hinblick auf die Arrangements."}}

{{question|Ihr arbeitet jetzt seit fast 20 Jahren zusammen. Gab es bei eurer Kollaboration eine Zeit, in der ihr euch in einer Sackgasse gefühlt habt?}}

{{boc|"Nein, eigentlich nicht. Wir haben eher das Gefühl, nicht genug Zeit zu haben, alles das zu machen, was wir gerne machen würden. Unsere Musik ändert sich von Platte zu Platte, bleibt aber im Kern ganz klar [[Boards of Canada]]. Wir lassen immer ein anders farbiges Licht durch unsere Musik scheinen.
Außerdem interessieren wir uns beide für ähnliche Dinge, ähnliche Filme, ähnliche Musik, Kunst und Literatur. Uns gehen irgendwie nie die Ideen aus. Wir planen jetzt schon unser nächstes Projekt."}}

{{question|Gab es für euch einen musikalischen Moment, von dem ihr dachtet, das ist jetzt perfekt, das könnte für immer so weitergehen?}}

{{boc|"Ja, das passiert sogar sehr oft. Speziell bei den extrem minimalen Tracks, bei einer verloren klingenden, isolierten Melodie oder sich wiederholenden Phrasen. Auf diesem Album ist das bei dem letzten Track "[[Farewell Fire]]" so. Wir hätten der Musik für immer zuhören können, also haben wir den Track am Ende der Platte ganz langsam ausgefaded, so langsam, dass der Track die letzten zwei Minuten kaum noch zu hören ist, die Musik aber weiter ganz leise vor sich hinkreist."}}

{{question|Spielen die Zuhörer irgendeine Rolle für euch?}}

{{boc|"Das ist eine schwierige Frage, weil wir uns auf der einen Seite immer vorstellen, dass niemand unsere Musik hört, um die Musik möglichst direkt und unmittelbar aus uns selber heraus zu produzieren. Aber da draußen gibt es natürlich viele Leute, die sich sehr intensiv alles anhören, was wir machen. Also spielen wir ein wenig damit. Eines unserer Hauptziele ist es, ganz tief sitzende Gefühle beim Hörer anzusprechen … persönliche, emotionale Bindungen oder eine verblasste Erinnerung an jemanden oder etwas, das verloren ist."}}

{{question|Woher kommt eure Faszination für “heidnische” Religionen und Natur? Den Track "[[Ataronchronon]]" könnte man vielleicht in diesem Kontext sehen.}}

{{boc|"[[Ataronchronon]]" handelt eher von der Zersplitterung eines vertrieben Indianerstamms, es handelt von geschichtlicher Tragik und Ungerechtigkeit. Wir sind zwar an Religion interessiert, selber aber nicht religiös. Unser Interesse sowohl an der Spiritualität als auch an der Natur, an Geometrie und Mathematik, an der Erhabenheit der Wahrnehmung des Ganzen hängt damit zusammen, dass wir verstehen wollen, welche Werte und Muster unser Gehirn auf die Welt projiziert.
Vielleicht können aber auch das Spirituelle, die Wissenschaft, Logik und Mathematik nebeneinander stehen. Die Dinge scheinen manchmal nicht allein wissenschaftlich erklärt werden zu können. Wenn man eine schöne Melodie hört, sich in jemanden verliebt, was auch immer …"}}

{{question|Auf der ''[[In a Beautiful Place out in the Country (release)|A Beautiful Place In The Country]]''-EP spielt ihr auf das Waco-Massaker an. Dort hat eine Sekte einen kollektiven Selbstmord begangen. Wie fügt sich das ein?}}

{{boc|"Das Interesse an Religion kommt aus unserem Respekt und der Liebe für die Perfektion, die man überall auf diesem Planeten sieht. Aber in evolutionärer Hinsicht haben Menschen schlicht und einfach nicht den Intellekt, um wirklich zu verstehen, was vor sich geht. Es reduziert sich also auf einen Krieg zwischen Logik und Spiritualität, wie eben in Waco."}}

{{question|Wie steht ihr zu den ganzen Interpretationen, die über eure Platten kursieren?}}

{{boc|"Das erstaunt uns manchmal schon, dass die Leute ganz kleine Details in unserer Musik wahrnehmen, von denen wir gedacht haben, dass sie die niemals bemerken würden. Auf der anderen Seite werden aber auch einfach Dinge erfunden, die so nicht da sind. Deshalb wird es manchmal tatsächlich einfach nur absurd."}}

</onlyinclude>

== Spirit, Logic & Mathematics ==

Die mysterösen [[Boards of Canada|Superstars der Elektronika]] haben wieder [[The Campfire Headphase|ein Album]] gemacht. Drei Jahre haben die beiden Schotten dafür gebraucht. “Zurück zu den Anfängen” war ihre Premisse. Warum alle so aufgeregt sind, verstehen sie am aller wenigsten.

Rückwärts wird’s auch nicht besser

Seit 1990 findet im Norden Schottlands in der Nähe des Boards-of-Canada-Studios einmal jährlich eine Outdoor-Party statt. Vor der imposanten Naturkulisse Schottlands und verstreut brennenden Lagerfeuern lauschen die Besucher rückwärtslaufenden Sprachcollagen, verfremdeter Filmmusik und starren auf flimmernde Leinwände, beschienen von kruden Film-Obskuritäten. Unter dem Namen [[Hexagon Sun]] kollaborierten die Zeremonienmeister der Veranstaltung [[Mike Sandison]] und [[Marcus Eoin]] regelmäßig mit befreundeten Musikern. Wabernder Elektronika-Prog weht über einen Strand irgendwo im nördlichen Schottland. In der Nacht des ersten Festivals leuchtete der Mond blutrot und der Name dieses nebligen Gatherings war geboren: [[Red Moon incident|Red moon nights]].

Vielleicht waren diese Abende die Geburtsstunde der [[Boards of Canada]], wie wir sie heute kennen. Alles scheint dagewesen zu sein: die Faszination für Natur, dieses düstere, esoterisch angehauchte Neo-Hippietum, die Anspielungen auf bedeutungsschwangere mathematische Konstruktionen. Keine andere Elektronika-Band hat in den letzten Jahren mehr Rätsel aufgegeben. In Internet-Foren werden ihre Platten mit pedantischer Präzision auf versteckte Hinweise untersucht, Samples rückwärts abgespielt, Zahlenfolgen gedeutet. So finden sich auf der EP ''[[In a Beautiful Place out in the Country|A Beautiful Place In The Country]]'' im Artwork der Platte beispielsweise Hinweise auf den Kollektiven Selbstmord der Davidianer-Sekte im texanischen Waco. Und auf ihrem vorletzten Album ''[[Geogaddi]]'' soll man in einem rückwärtslaufenden Sprachsample den Satz “A God with Horns” hören können.

"[[The Devil Is In The Details]]" nennt sich ein Track auf ''[[Geogaddi]]''. Bei den Interpretationen handelt es sich also nicht nur um Phantasmagorien obsessiv veranlagter Fans. [[Boards of Canada]] selber sind nicht ganz unschuldig an den Mysterien und Verklärungen, die sich um sie ranken.
Doch die Zeiten scheinen sich geändert zu haben. Durch ''[[The Campfire Headphase|Campfire Headphase]]'', die neue BOC-Platte, weht im Gegensatz zum düster vernebelten Surrealismus von “''[[Geogaddi]]''” der illuminierende Wind der Aufklärung. Die Tracks sind strukturell glasklar, die Beats rumpeln präzise abgezirkelt vor sich hin. Darüber schweben diese typischen BOC-Flächen, wie pastellige Farben, die langsam ineinander laufen, sich vermischen und vorsichtig gerinnen. Vielleicht ist ''[[The Campfire Headphase|Campfire Headphase]]'' die Abendröte der Elektronika. Zeitlos schön und gerade deshalb so zeitgemäß. Fast wie ein klassisches Lehrstück, eine Essenz. Und für [[BOC]] die logische Konsequenz ihrer bisherigen Arbeit.
Natürlich ist auch ''[[The Campfire Headphase|Campfire Headphase]]'' durchsetzt mit Anspielungen, Konzepten, Rätseln. Das Bild, dass sich aus der Musik herauslesen lässt, rückt eine andere Seite ins Licht: [[Marcus Eoin]] und Mike Sanderson ging es niemals allein darum, in opake, mystische Welten herabzuführen, sondern eher darum, das Seltsame, schwer Verstehbare der Welt in Musik umzusetzen. Rätsel aufzugeben, die danach verlangen, enträtselt zu werden. Eine epische Inszenierung fundamentaler Konflikte auszubreiten: Magie vs. Logik, Spiritualität vs. Vernunft.

{{question|Wie fühlt sich das für euch an, eine Platte draußen zu haben? Ist das nicht immer hart, so einen Schnitt zu machen, die Musik in der Öffentlichkeit zu exponieren und die Reaktionen abzuwarten?}}

{{boc|"Wir sind mit der neuen Platte sehr glücklich. Es ist schon manchmal schwer, diesen Punkt abzupassen, an dem man sagt: “OK, das ist jetzt fertig”, und ab und zu müssen wir uns richtig dazu zwingen, einen Track gehen zu lassen. Bei dieser Platte war es aber eigentlich so, dass wir den Sound, den wir erreichen wollten, auch fast genauso hinbekommen haben. Grundsätzlich interessieren uns die Reviews und der ganze Internet-Chat über unsere Musik nicht wirklich. Wir versuchen immer einfach nur unseren Instinkten zu folgen."}}

{{question|''[[The Campfire Headphase]]'' klingt schnörkelloser als “''[[Geogaddi]]''”. Gab es Unterschiede im Produktionsprozess, in eurem Zugang zur Musik?}}

{{boc|"Ja. In gewisser Weise wollten wir unsere Musik vereinfachen. Das war aber im Vergleich zu den anderen Platten sehr zeitaufwendig. Klingt komisch: mehr Zeit für einen reduzierten Sound. War aber so. Unser Zugang zur Musik verändert sich eigentlich ständig und von Platte zu Platte. Unsere Ideen und Themen ändern sich, die Musik, die wir hören … Diesmal wollten wir zurückkehren zu einem simplen Sound, zu destillierten Melodien. Die Tracks sind aber gleichzeitig immer noch sehr dicht im Hinblick auf die Arrangements."}}

{{question|Ihr arbeitet jetzt seit fast 20 Jahren zusammen. Gab es bei eurer Kollaboration eine Zeit, in der ihr euch in einer Sackgasse gefühlt habt?}}

{{boc|"Nein, eigentlich nicht. Wir haben eher das Gefühl, nicht genug Zeit zu haben, alles das zu machen, was wir gerne machen würden. Unsere Musik ändert sich von Platte zu Platte, bleibt aber im Kern ganz klar [[Boards of Canada]]. Wir lassen immer ein anders farbiges Licht durch unsere Musik scheinen.
Außerdem interessieren wir uns beide für ähnliche Dinge, ähnliche Filme, ähnliche Musik, Kunst und Literatur. Uns gehen irgendwie nie die Ideen aus. Wir planen jetzt schon unser nächstes Projekt."}}

{{question|Gab es für euch einen musikalischen Moment, von dem ihr dachtet, das ist jetzt perfekt, das könnte für immer so weitergehen?}}

{{boc|"Ja, das passiert sogar sehr oft. Speziell bei den extrem minimalen Tracks, bei einer verloren klingenden, isolierten Melodie oder sich wiederholenden Phrasen. Auf diesem Album ist das bei dem letzten Track "[[Farewell Fire]]" so. Wir hätten der Musik für immer zuhören können, also haben wir den Track am Ende der Platte ganz langsam ausgefaded, so langsam, dass der Track die letzten zwei Minuten kaum noch zu hören ist, die Musik aber weiter ganz leise vor sich hinkreist."}}

{{question|Spielen die Zuhörer irgendeine Rolle für euch?}}

{{boc|"Das ist eine schwierige Frage, weil wir uns auf der einen Seite immer vorstellen, dass niemand unsere Musik hört, um die Musik möglichst direkt und unmittelbar aus uns selber heraus zu produzieren. Aber da draußen gibt es natürlich viele Leute, die sich sehr intensiv alles anhören, was wir machen. Also spielen wir ein wenig damit. Eines unserer Hauptziele ist es, ganz tief sitzende Gefühle beim Hörer anzusprechen … persönliche, emotionale Bindungen oder eine verblasste Erinnerung an jemanden oder etwas, das verloren ist."}}

{{question|Woher kommt eure Faszination für “heidnische” Religionen und Natur? Den Track "[[Ataronchronon]]" könnte man vielleicht in diesem Kontext sehen.}}

{{boc|"[[Ataronchronon]]" handelt eher von der Zersplitterung eines vertrieben Indianerstamms, es handelt von geschichtlicher Tragik und Ungerechtigkeit. Wir sind zwar an Religion interessiert, selber aber nicht religiös. Unser Interesse sowohl an der Spiritualität als auch an der Natur, an Geometrie und Mathematik, an der Erhabenheit der Wahrnehmung des Ganzen hängt damit zusammen, dass wir verstehen wollen, welche Werte und Muster unser Gehirn auf die Welt projiziert.
Vielleicht können aber auch das Spirituelle, die Wissenschaft, Logik und Mathematik nebeneinander stehen. Die Dinge scheinen manchmal nicht allein wissenschaftlich erklärt werden zu können. Wenn man eine schöne Melodie hört, sich in jemanden verliebt, was auch immer …"}}

{{question|Auf der ''[[In a Beautiful Place out in the Country (release)|A Beautiful Place In The Country]]''-EP spielt ihr auf das Waco-Massaker an. Dort hat eine Sekte einen kollektiven Selbstmord begangen. Wie fügt sich das ein?}}

{{boc|"Das Interesse an Religion kommt aus unserem Respekt und der Liebe für die Perfektion, die man überall auf diesem Planeten sieht. Aber in evolutionärer Hinsicht haben Menschen schlicht und einfach nicht den Intellekt, um wirklich zu verstehen, was vor sich geht. Es reduziert sich also auf einen Krieg zwischen Logik und Spiritualität, wie eben in Waco."}}

{{question|Wie steht ihr zu den ganzen Interpretationen, die über eure Platten kursieren?}}

{{boc|"Das erstaunt uns manchmal schon, dass die Leute ganz kleine Details in unserer Musik wahrnehmen, von denen wir gedacht haben, dass sie die niemals bemerken würden. Auf der anderen Seite werden aber auch einfach Dinge erfunden, die so nicht da sind. Deshalb wird es manchmal tatsächlich einfach nur absurd."}}

</onlyinclude>

== Translated text ==
== Spirit, Logic & Mathematics ==

The mysterious [[Boards of Canada|Superstars of electronica]] have made [[The Campfire Headphase|an album]] again. It took the two Scots three years to make it. "Back to the origins" was their premise. Why everyone is so excited they understand least of all.

It doesn't get any better backwards

Since 1990, an outdoor party has been held once a year in the north of Scotland near the Boards of Canada studio. Against the imposing natural backdrop of Scotland and scattered burning campfires, visitors listen to backmasked voice collages, alienated film music and stare at flickering screens, illuminated by crude film obscurities. Under the name [[Hexagon Sun]], the event's masters of ceremonies [[Mike Sandison]] and [[Marcus Eoin]] regularly collaborated with musician friends. Wobbling electronica prog wafts across a beach somewhere in northern Scotland. On the night of the first festival, the moon glowed blood red and the name of this misty gathering was born: [[Red Moon incident|Red moon nights]].

Perhaps these evenings were the birth of [[Boards of Canada]] as we know them today. Everything seems to have been there: the fascination with nature, that gloomy, esoteric-tinged neo-hipsterism, the allusions to meaningful mathematical constructions. No other electronica band has posed more riddles in recent years. In Internet forums, their records are examined with pedantic precision for hidden clues, samples played backwards, sequences of numbers interpreted. For example, on the EP ''[[In a Beautiful Place out in the Country|A Beautiful Place In The Country]]'', the record's artwork includes references to the collective suicide of the Davidian sect in Waco, Texas. And on their penultimate album, ''[[Geogaddi]]'', the phrase "A God with Horns" is said to be heard in a backmasked voice sample.

"''[[The Devil Is In The Details]]'' is the name of a track on ''[[Geogaddi]]''. So the interpretations are not just phantasmagorias of obsessively inclined fans. [[Boards of Canada]] themselves are not entirely innocent of the mysteries and transfigurations that surround them. But times seem to have changed. Through ''[[The Campfire Headphase|Campfire Headphase]]'', the new BOC record, the illuminating wind of enlightenment blows in contrast to the darkly fogged surrealism of '''[[Geogaddi]]'''. The tracks are structurally crystal clear, the beats rumble along precisely circled. Above them float these typical BOC surfaces, like pastel colors that slowly run into each other, mix and carefully coagulate. Perhaps ''[[The Campfire Headphase|Campfire Headphase]]'' is the evening glow of electronica. Timelessly beautiful and precisely for that reason so contemporary. Almost like a classic didactic piece, an essence. And for [[BOC]] the logical consequence of their previous work. Of course, ''[[The Campfire Headphase|Campfire Headphase]]'' is also riddled with allusions, concepts, riddles. The image that can be gleaned from the music brings another side into the light: [[Marcus Eoin]] and Mike Sanderson were never solely concerned with descending into opaque, mystical worlds, but rather with translating the strange, hard-to-understand of the world into music. To give up riddles that demand to be unraveled. To unfold an epic staging of fundamental conflicts: magic vs. logic, spirituality vs. reason.

{{question|How does it feel for you to have a record out? Isn't it always hard to make a cut like that, to expose your music to the public and wait for the reactions?}}

{{boc|"We are very happy with the new record. It's hard sometimes to find that point where you say, "OK, this is done now," and every once in a while we have to really force ourselves to let a track go. But with this record it was actually the case that we managed to get the sound almost exactly as we wanted to achieve it. In principle we don't really care about the reviews and all the internet chat about our music. We always just try to follow our instincts."}}

{{question|''[[The Campfire Headphase]]'' sounds more straightforward than '''[[Geogaddi]]'''. Were there differences in the production process, in your approach to music?}}

{{boc|"Yes. In a way, we wanted to simplify our music. But that was very time consuming compared to the other records. Sounds weird: more time for a reduced sound. But it was like that. Our approach to music actually changes constantly and from record to record. Our ideas and themes change, the music we listen to ... This time we wanted to go back to a simple sound, to distilled melodies. But at the same time, the tracks are still very dense in terms of arrangements."}}

{{question|You've been working together for almost 20 years now. Was there a time in your collaboration when you felt like you were at a dead end?}}

{{boc|"No, not really. It's more like we feel like we don't have enough time to do everything we'd like to do. Our music changes from record to record, but clearly remains [[Boards of Canada]] at its core. We always let a different colored light shine through our music. Also, we're both interested in similar things, similar movies, similar music, art and literature. We somehow never run out of ideas. We are already planning our next project."}}

{{question|Has there been a musical moment for you that you thought about: this is perfect now, this could go on forever?}}

{{boc|"Yes, that actually happens a lot. Especially with the extremely minimal tracks, with a lost sounding, isolated melody or repetitive phrases. On this album, it's like that with the last track "[[Farewell Fire]]". We could have listened to that music forever, so we faded the track out very slowly at the end of the record, so slowly that the track is barely audible for the last two minutes, but the music continues to spin along very quietly."}}

{{question|Do the listeners play any role for you?}}

{{boc|"That's a difficult question, because on the one hand we always imagine that nobody listens to our music, to produce the music as directly and immediately as possible from ourselves. But out there, of course, are many people who listen very intensely to everything we do. So we play with that a little bit. One of our main goals is to appeal to very deep-seated feelings in the listener ... personal, emotional attachments or a faded memory of someone or something that is lost."}}

{{question|Where does your fascination for "pagan" religions and nature come from? The track "[[Ataronchronon]]" could perhaps be seen in this context}}

{{boc|"[[Ataronchronon]]" is more about the fragmentation of a displaced Indian tribe, it deals with historical tragedy and injustice. While we are interested in religion, we are not religious ourselves. Our interest in both spirituality and nature, in geometry and mathematics, in the grandeur of perceiving the whole, is related to understanding what values and patterns our brains project onto the world.
But perhaps the spiritual, science, logic and mathematics can stand side by side. Things sometimes don't seem to be able to be explained scientifically alone. When you hear a beautiful melody, fall in love with someone, whatever ..."}}

{{question|On the ''[[In a Beautiful Place out in the Country (release)|A Beautiful Place In The Country]]'' EP, you allude to the Waco Massacre. There, a cult committed a collective suicide. How does that fit in?}}

{{boc|"The interest in religion comes from our respect and love for the perfection can be seen everywhere on this planet. But in evolutionary terms, humans simply don't have the intellect to really understand. So it reduces itself to a war between logic and spirituality, just like in Waco."}}

{{question|How do you feel about all the interpretations that circulate about your records?}}

{{boc|"Sometimes we are surprised that people notice small details in our music that we thought they would never notice. On the other hand people just make up things that aren't there. That's why sometimes it actually just gets absurd."}}

</onlyinclude>

== Scans ==
<gallery>
Image:2005 10 DeBug No96 Cover.jpg
Image:2005 10 DeBug No96 pg28.jpg
</gallery>

== References ==
<references />

[[Category: Interviews]]
[[Category: The Campfire Headphase era]]

Spirit, Logic & Mathematics

2021-03-07T17:06:57Z

Mkez: /* Translated text */

Nice Melodies from Nice People

2021-03-07T15:47:05Z

Mkez: Corrected translation

<onlyinclude>
{{interview
|title=Nice Melodies from Nice People
|author=Thaddeus Hermann
|date=1998/05
|publication=De:Bug
|issue=online
}}
</onlyinclude>

<onlyinclude>

"[[Nice Melodies from Nice People]]" is an interview (in German) by Thaddeus Hermann originally published in De:Bug magazine. <ref>http://de-bug.de/mag/boards-of-canada/</ref>

</onlyinclude>

__TOC__

== Original text ==

<onlyinclude>

{{original}}

[[Nice Melodies from Nice People|Nette Melodien von netten Menschen]]

Boards Of Canada, das neueste Pferd im Warp-Stall.

Thaddeus Herrmann

thaddi@de-bug.de

[[Boards of Canada]] Fans hatten es bisher schwer, alle von den Schotten [[Michael Sandison]] und [[Marcus Eoin]] veröffentlichten Platten zu ergattern. Die erste EP, ''[[Twoism (release)|Twoism]]'', erschien im Eigenverlag in einer Auflage von 100 Stück, ein großer Teil der Auflage einer als Weihnachtssingle gedachten 7″ auf [[SKAM]] vergammeln derzeit in einem Wohnzimmer in Manchester – Schwierigkeiten mit diversen Vertrieben – und das beste [[BoC]] Stück versteckt sich auf MASK 1, einer ebenfalls auf 100 Stück limitierten Compilation 12″. Dabei hat diese Musik mehr Aufmerksamkeit verdient. Denn: Es geht um Melodien zwischen Science Fiction und Kitsch, und weil das oft dasselbe ist, irgendwie um früher. Irre catchy, vereinnehmend und … haunting. Melodien, die ein wohliges Gefühl in der Magengegend machen, in Detroit wohl Memory Chords genannt werden und die einem die wirklich wichtigen Dinge in Erinnerung rufen: Sommerferien, in die Sonne blinzeln. Folgerichtig hat [[Warp Records|Warp]], Heimat der blassen Engländer, [[Boards of Canada]] jetzt eingekauft und mit ''[[Music Has the Right to Children]]'' eine Mischung aus vergriffenem und neuem Material vorlegt. [[Michael Sandison]] meldet sich am Karfreitag per Funktelefon bei mir, irgendwo unterwegs auf einer Autobahn bei Köln.

{{question|de:bug: Karfreitag auf Promotour? Muß das denn sein?}}

{{boc|"[[Michael Sandison]]: Wir waren gestern noch in Paris und haben dort unzählige Interviews gegeben, das war reichlich anstrengend. Heute sind wir nur in der Kölner Gegend rumgefahren und haben uns die Landschaft angesehen, alles sehr entspannt. Gerade haben wir Schloß besichtigt. Ich finde es toll hier! Die Landschaft erinnert mich an Schottland und der Regen im Moment erst recht!"}}

{{question|de:bug: Ihr werdet ja zur Zeit ganz hübsch rumgereicht. Wie fühlt sich das an?}}

{{boc|"[[Michael Sandison]]: Es ist merkwürdig, aber natürlich auch schön, daß sich eine Menge Leute in Europa für unserer Musik interessieren, gerade wenn man wie wir aus einem kleinen schottischen Dorf kommt, wo einfach nichts passiert. Noch fühlen wir uns richtig wohl!"}}

{{question|de:bug: ''[[Music Has the Right to Children]]''…ich habe mich bei einem fragenden Nicken ertappt.}}

{{boc|"[[Michael Sandison]]: Der Titel kommt von einem Lehrbuch für den schulischen Musikunterricht aus den 70er Jahren. Es heißt: Children Have The Right To Music. Wenn man die beiden Begriffe Children und Music vertauscht bekommt der Satz eine völlig andere, sehr bedrohliche Konnotation."}}

{{question|de:bug: Bedrohlich ist Eure Musik aber nicht!}}

{{boc|"[[Michael Sandison]]: Also, die netten Melodien benutzen wir, weil wir nette Leute sind! (lacht) But we like to fuck with people a little bit as well…Natürlich steckt in unserer Musik viel Gefühl, sie wird oft mit Schlafliedern für Kinder verglichen. Wir benutzen die Melodien aber sehr überlegt , so daß längst nicht alles so harmlos ist, wie es auf den ersten Blick scheinen mag. Auf diese Weise verstecken wir Dinge in unserer Musik, die mehr was für Erwachsene sind.
Das merkt man auch dem Material an, an dem wir zur Zeit arbeiten. [[Warp Records|Warp]] möchte noch in diesem Jahr ein weiteres Album von uns veröffentlichen. Die Melodiearrangements der neuen Tracks sind noch darker geworden, auf diese Weise entsteht eine herrlich bittersüße Stimmung. Definitiv extremer werden die Rhythmen, schneller und rougher. Aber bevor wir so ein Album veröffentlichen können, wollten wir einer breiteren Hörerschaft mit ''[[Music Has the Right to Children]]'' klarmachen, worum es bei den [[Boards of Canada]] geht: DIY…Do It Yourself…rougher Sound. Das sind unsere Wurzeln. Jetzt, wo das klar ist, können wir uns an neue Projekte machen."}}

{{question|de:bug: Erlaubt euch der Deal mit Warp denn überhaupt noch Material auf anderen Labels zu veröffentlichen?}}

{{boc|"Martin Sandison: [[Boards of Canada]] sind exclusiv bei [[Warp Records|Warp]]. Wir haben aber ein Abkommen, daß wir weiterhin Material auf anderen Labels veröffentlichen können, allerdings nicht unter diesem Namen. Es wird also auch wieder eine Platte auf [[SKAM]] geben. Da ist dann detektivischer Spürsinn gefragt!''[[Music Has the Right to Children]]'' (Warp / Rough Trade) ist jetzt erhältlich. ZITAT: Melodien die wirklich wichtige Dinge in Erinnerung rufen: Sommerferien, in die Sonne blinzeln."}}

</onlyinclude>

== Translated text ==

<onlyinclude>

*'''Note''': Translated using DeepL Translator<ref>https://www.deepl.com/</ref>.

"[[Nice Melodies from Nice People]]"

[[Boards Of Canada]], the newest horse in the Warp stable.

[[Boards of Canada]] fans have had a hard time getting hold of all the records released by Scotsmen [[Michael Sandison]] and [[Marcus Eoin]] up until now. The first EP, [[Twoism (Release)|Twoism]], was self-published in an edition of 100, a large portion of the edition of a 7″ on [[SKAM]] intended as a Christmas single is currently rotting in a living room in Manchester - difficulties with various distributors - and the best BoC track is hiding on MASK 1, a 12″ compilation also limited to 100 copies. This music deserves more attention. Because: it's about melodies between science fiction and "kitsch", and because that's often the same, somehow about earlier. Crazy catchy, engaging and ... haunting. Melodies that make you feel good in your stomach, are probably called memory chords in Detroit and remind you of the really important things: summer vacations, blinking into the sun. Consequently, [[Warp Records|Warp]], home of the pale English, has now bought [[Boards of Canada]] and with ''[[Music Has the Right to Children]]'' presents a mixture of out-of-print and new material. [[Michael Sandison]] calls me on Good Friday, somewhere on the way on a highway near Cologne.

{{question|de:bug: Good Friday on a promotional tour? Does it have to be like that?}}

{{boc|[[Michael Sandison]]: We were in Paris yesterday and gave countless interviews there, that was really exhausting. Today we just drove around the Cologne area and looked at the landscape, everything very relaxed. We just visited Schloß. I think it's great here! The landscape reminds me of Scotland and the rain at the moment even more so!}}

{{question|de:bug: You are being passed around quite nicely at the moment. How does that feel?}}

{{boc|[[Michael Sandison]]: It's strange, but of course also nice that a lot of people in Europe are interested in our music, especially if you come from a small Scottish village like us, where just nothing happens. We still feel really comfortable!}}

{{question|de:bug: [[Music Has the Right to Children]]... I found myself nodding questioningly.}}

{{boc|[[Michael Sandison]]: The title comes from a textbook for school music lessons from the 70s. It's called Children Have The Right To Music. If you swap the two terms Children and Music, the phrase gets a completely different, very threatening connotation.}}

{{question|de:bug: But your music is not threatening!}}

{{boc|[[Michael Sandison]]: Well, we use the nice melodies because we are nice people! (laughs) But we like to fuck with people a little bit as well...Of course there's a lot of feeling in our music, it's often compared to lullabies for children. But we use the melodies very carefully, so that not everything is as harmless as it might seem at first sight. In this way we hide things in our music that are more for adults. You can see that in the material we are working on at the moment. [[Warp Records|Warp]] wants to release another album from us this year. The melodic arrangements of the new tracks have become even darker, creating a wonderfully bittersweet mood. The rythms are definitely more extreme, faster and rougher. But before we can release an album like this, we wanted to make it clear to a wider audience with [[Music Has the Right to Children]] what [[Boards of Canada]] is all about: DIY...Do It Yourself...rougher sound. That's what our roots are all about. Now that that's clear, we can move on to new projects.}}

{{question|de:bug: Does the deal with Warp allow you to release material on other labels at all?}}
{{boc|[[Marcus Eoin|Martin Sandison]]: [[Boards of Canada]] are exclusive to [[Warp Records|Warp]]. But we have an agreement that we can continue to release material on other labels, but not under that name. So there will be another record on [[SKAM]]. [[Music Has the Right to Children]] ([[Warp Records|Warp]] / Rough Trade) is available now. QUOTE: "Melodies that remind you of really important things: summer vacations, blinking into the sun."}}

</onlyinclude>

== Scans ==
{{scan-needed}}

== References ==
<references />

[[Category: Music Has the Right to Children era]]

Hardware Addicts

2021-03-04T20:19:24Z

Mkez: Fixed typo

<onlyinclude>
{{interview
|title= Hardware Addicts
|author= Gregor Wildermann
|date= 1997/09
|publication= De:Bug
|issue=03
|pages=p.06
}}
</onlyinclude>
__TOC__

== Original text ==
<onlyinclude>
"[[Hardware Addicts]]" is an interview (In German) by Gregor Wildermann originally published Sept. 1997 in De:Bug Magazine Number 03, page 06 <ref>http://de-bug.de/mag/boards-of-canada/</ref>
{{original}}
</onlyinclude>
<onlyinclude>
=== Boards of Canada:Hardware Addicts ===

"It's just by default that we do electronic music." Dieser in Ironie getränkte Satz stammt von [[Mike Sandison]], der zusammen mit Marcus Es die achte Platte auf [[SKAM]]-Records veröffentlichte und damit dieses Label aus Manchester nochmals interessanter machte. Gleich den Mitbetreibern von [[Autechre]], ist das Duo aus Edingburgh eine der Gruppen, die moderne elektronische Musik von der Landkarte Englands nicht verschwinden lassen.
Ihr erster Auslandsbesuch führte sie zum Sunflower-Festival bei Regensburg, wo sie in guten Absichten auf die Folgen von schlechtem Wetter trafen und wie viele andere DJs, Liveacts und Raver mit Schlammfüßen zu kämpfen hatten. Mittendrin auch Michael Fakesch und xxxxx, die [[Boards of Canada]] für die MASK 1 gewinnen konnten. Das, der [[SKAM]]pler-Sampler und ihr kommendes Album auf eben diesem Label waren Grund genug, wieder einmal die Fragen nach Wohin und Woher zu stellen.....

{{boc|[[Mike Sandison]]: Angefangen haben wir auf der Schule, eigentlich schon in den frühen 80er Jahren, so etwa 1983/84. Ich bin jetzt 26 Jahre alt, Marcus ist 24. Zu der Zeit haben wir unter diversen Namen und mit verschiedenen Musikern gearbeitet und es gab auch Zeiten, da waren wir eine richtige Band mit 4 Musikern und einem Vocalist. Ich selbst war da der Drummer. We are kind of multi-instrumentalists. Irgendwie fanden wir dann heraus, daß wir zu zweit am besten arbeiten konnten und wurden in dieser Phase auch immer elektronischer. Wir benutzten dabei aber sehr roughes Equipment wie z.B.. Ghettoblaster und älteres HiFi-Gear und wir wollten es so gut wie möglich klingen lassen. Selbst als wir uns immer teureres Equipment kauften, wollten wir auch damit diesen roughen Sound entstehen lassen. Wir benutzen es auf eine Weise, wie es andere nicht tun würden. Viele würden High-Tech-Sampler dazu benutzen, sehr cleane und reine Sounds zu machen; wir spielen absichtlich falsche Tonlagen und zerhacken die normalen Strukturen. We deliberatly fuck it about so that it gets really kind of rough. Es gibt ja mittlerweile auch moderne Verfahren, mit denen man etwas so klingen lassen kann, als ob es in den 60ern aufgenommen worden wäre, was in sich schon ein bißchen ironisch ist.}}

{{question|Woher stammt der Name [[Boards of Canada]] ?}}

{{boc|"[[Mike Sandison|MS]]: Es gibt eine Behörde in Camda, die " The National Filmboard of CanadaÒ heißt. Sie produzieren Natur- und Tierfilme bzw. politische Dokumentarfilme, die sich hauptsächlich mit Nordamerika und Canada beschäftigen. In den 70ern waren diese Filme sehr beliebt und ihre Soundtracks haben uns sehr beeinflußt. Es waren immer sehr schön gemachte Tunes, die bestimmt von einem Acid-Casualty mit langen Haaren und sehr vielen Synthesisern komponiert worden sind. Es waren brillante Sounds und wir haben versucht, unsere Tracks in dieser Art klingen zu lassen. Da wir uns aus rechtlichen Gründen nicht National Filmboard of Canada nennen konnten, wandelten wir den Namen einfach ein wenig ab und daraus wurde [[Boards of Canada]].}}

{{question|st das Bild auf der [[SKAM]]-Platte auch aus einem dieser Filme?}}

{{boc|"[[Mike Sandison|MS]]: Dieses Bild stammt von einem Film, den ein Freund von mir gemacht hat. Wir haben ja eine kleine Firma namens [[Music70]] und die produziert auch Super-8 und Videofilme, wovon viele recht experimentell sind. Ich selbst mache auch einige dieser Filmarbeiten und wir werden demnächst unseren ersten Super-8 Film in Spielfilmlänge drehen, bei dem wir auch komplett die Musik machen."}}

{{question|Was ist das Thema dieses Filmes?}}

{{boc|"[[Mike Sandison|MS]]: Es wird wohl ein Roadmovie sein, aber auch das in einem eher weit gefassten Begriff. Es soll ein Roadmovie in fünf Teilen sein und das ist auch schon alles, was wir im Moment wissen."}}

{{question|Wie kam es zu der Platte auf dem [[SKAM]]-Label? }}

{{boc|"[[Mike Sandison|MS]]: Nachdem wir auf unserem eigenen Label [[Music70]] eine erste Platte gemacht hatten, wollten wir mit Rephlex, Warp und [[SKAM]] in Kontakt treten, da wir irgendwo auch Fans dieser Labels und ihrer Musik waren. Es gab nur 100 Stück dieser Platte und ich selbst habe noch 70 Stück bei mir liegen. Die anderen 30 verschickten wir an Plattenläden und diese drei Labels und nach zwei Tagen rief schon Sean Booth von [[Autechre]] an und meinte nur: "Yah, we' gonna do something together.Ò Das hat uns natürlich gefreut. "}}

{{question|Was macht deiner Meinung nach die Qualität von [[Autechre]]s Musik aus?}}

{{boc|"[[Mike Sandison|MS]]: They are doing really original rhythm-work, but they don't do jungle music. Viele machen den Fehler, daß Jungle die einzige Alternative sein soll. Bei jeder neuen Platte merkt man ihnen ihre Versessenheit für technische Details an und sie versuchen als einer der wenigen, wirklich eigenständige Musik zu machen, die man in keinerlei Genre packen kann. "}}

{{question|Wird es auf [[Music70]] noch mehr Releases geben und was wird man sonst von Euch in Zukunft hören können?}}

{{boc|"[[Mike Sandison|MS]]: Auf [[Music70]] werden in Zukunft sicherlich noch Platten erscheinen, aber im Moment haben wir noch zu viele andere Projekte. Auf [[SKAM]] wird eine CD im Albumformat erscheinen und ich hoffe, daß wir das in den nächsten 6 bis 8 Wochen fertigstellen können. Außerdem werden wir eine Single und dann auch ein Album für Mike Paradinas Label Planet-µ machen. Er hatte eine Copy der ''[[Twoism (release)|Twoism]]''-EP bekommen, die etwa im Januar '96 herau[[SKAM]] und Material vom Sommer '95 beinhaltet. Einer der Tracks ("See ya laterÒ) war dann auch auf der B-Seite der [[SKAM]]-EP. Mike hat diese Platte irgendwie in die Hand bekommen und uns dann ein paar Monate später auch daraufhin angerufen. "}}

{{question|Klingt Euer neues Material anders als die Tracks der EP auf [[SKAM]]?}}

{{boc|"[[Mike Sandison|MS]]: Wir haben uns schon weiterentwickelt. Vieles klingt wesentlich organischer und die Tracks sind auch viel durchkomponierter. Oft versuchen wir auch, daß sich der Track vom Anfang bis Ende völlig verändert und wir beschreiben das als einen 'psychadelic approach', den wir irgendwie gut finden. Wir haben auch viel Folkmusik aus den 70ern gehört wie z.B. Incredible String Band oder Jonie Mitchell, die durch ihre Instrumentenwahl wie z.B. Flöten ebenfalls sehr organisch und natürlich klingen. Diese Soundquellen haben wir verstärkt gesampelt. We processed them, destroyed them and turned them back into something very electronic. Man wird aber trotzdem merken, daß diese Einflüsse bestehen."}}

{{question|Wie groß ist die Gefahr, daß ein Label wie [[SKAM]] durch eine gewisse Popularität an Qualität einbüßt?}}

{{boc|"[[Mike Sandison|MS]]: Ich weiß von Andy Maddocks (Labelchef) Bedenken, daß dem Label im Moment zu viel Aufmerksamkeit geschenkt wird und das zu viele Interviews und Artikel erscheinen. Er macht sich da schon Sorgen und ich stimme ihm da auch zu. Für Journalisten wie dich oder Musiker wie mich ist so ein Label wie [[SKAM]] natürlich sehr attraktiv, zumal man sich vorstellen muß, wie wenig finanzielle Mittel dahinter stehen. Am besten ist es, wenn ein Label so Underground ist, daß niemand weiß, woher es kommt und wer es macht. Es liegt ja auch an den Künstlern eines Labels, alles zu versuchen, damit das Label einzigartig bleibt und etwas Besonderes darstellt."}}

{{question|Glaubst du, daß Eure Musik von den verschiedenen eigenen künstlerischen Interessen profitiert?}}

{{boc|"[[Mike Sandison|MS]]: Bestimmt. Persönlich würde ich mich auch gar nicht nur auf Musik konzentrieren wollen; daß liegt überhaupt nicht in meiner Natur. Viele Musiker sind auch DJs und wiederum viele aus dem Fernseh- und Filmbereich interessieren sich für Musik. Meiner Meinung nach liegt es an der doch recht billigen Hardware, die es vielen Menschen ermöglicht, eigene Platten aufzunehmen und eigene Videos zu drehen. Mit Computern kann man selbst das Artwork machen und über das Internet vertreiben. "}}

{{question|[[wikipedia:Aphex_Twin|Richard James]] benutzt spezielle Software, um Platten wie die Rubberjohnny zu machen. Experimentiert ihr auch mit solchen Programmen?}}

{{boc|"[[Mike Sandison|MS]]: Wir benutzen überhaupt keine Computer. Jedesmal, wenn wir versuchen, etwas mit einem PC oder Mac zu machen, haben wir einfach nur Probleme und es nervt. We like Hardware. Viel von unserem Equipment sieht so aus, als könnte es in einer großen Fabrik stehen. We like knobs. Big things with knobs and dials. Wir haben natürlich auch digitales Equipment, aber Computer gehören nicht dazu. Ich mag diese kleinen Displays auch nicht, weil man damit überhaupt nicht instinktiv arbeiten kann. Computer sind einfach dafür nicht ausgelegt, sind zu zerbrechlich und gehen viel zu schnell kaputt. We like to come into the studio and kick it about."}}

{{question|Worin liegen die Vorteile bei der Arbeit als Duo?}}

{{boc|"[[Mike Sandison|MS]]: Definitiv die Qualitätskontrolle. Manche Künstler, die ich jetzt hier aber nicht nennen werde, veröffentlichen einfach zu viel und oft zu durchschnittliches Material. Wenn sie einen Partner hätten, dann könnte der ihnen sagen: Ich verstehe warum du das gemacht hast, aber es ist einfach shit. So machen wir das. Eigentlich produzieren wir eine Menge Tracks, von denen ich die meisten schreibe und Marcus sagt mir dann, was er davon hält. Bevor Andere unsere Tracks hören, haben wir beide sie für gut genug befunden."}}

{{question|Wie sieht ein Liveset von [[Boards of Canada|BOC]] aus?}}

{{boc|"[[Mike Sandison|MS]]: Wir ändern unser Live-Setup immer wieder. Bei unseren ersten Gigs haben wir tatsächlich unser ganzes Equipment mitgenommen, was natürlich totaler Schwachsinn war. Danach haben wir dann immer weniger aufgebaut, was auch für unsere Arbeitsweise ein interessanter Aspekt war. Im Moment überlegen wir, alles auf einen einzigen Sequencer aufzubauen und da werden wir uns wohl für einen MPC2000 von Akai entscheiden. Bei einem Live-Gig kann man dann immer noch parallel zu den Drums auf einem Synthi spielen, ohne daß es unharmonisch klingt."}}

{{question|Über Live-Acts wird ja oft gemäkelt, weil es keinen wirklichen Standart dafür gibt. Was ist deiner Meinung nach der häufigste Fehler von Live-Acts?}}

{{boc|"[[Mike Sandison|MS]]: Oft wird etwas völlig anderes gespielt, als es von den Platten her bekannt ist. Ich war immer sehr enttäuscht, wenn eine Band beim Live-Gig etwas ganz anderes spielte. Manche sagen zwar, daß man auf einer Bühne etwas Einzigartiges schaffen sollte, aber ich persönlich bin da anderer Meinung. Manche versteifen sich auch nur auf Rhythmik und vergessen jede Form von Melodie, was ich dann auch eher schade finde. "}}

{{question|Dave Being ist auch aus Edinburgh. Kennt ihr euch eigentlich?}}

{{boc|"[[Mike Sandison|MS]]: Nein, leider nicht und wir sind das auch schon öfter gefragt worden. Wir müssen ihn wohl anrufen. Wir wohnen auch nicht direkt in Edinburgh, sondern etwas außerhalb auf dem Lande. Ich könnte auch nicht sagen, daß wir zu irgendeiner Szene gehören."}}

{{question|Das fällt den meisten Künstlern aber auch erst dann auf, wenn in der Presse über die Szene einer bestimmten Stadt geschrieben wird und mal wieder versucht wird, einen "Sound of..." zu kreieren.}}

{{boc|"[[Mike Sandison|MS]]: Da hast du wohl recht. Sicherlich würde es uns eher auffallen, wenn wir eine Zeit lang nicht mehr in Edinburgh wohnen und arbeiten würden. Von Manchester kann man schon behaupten, daß dort viele Musiker gleiche oder sehr ähnliche Elemente in ihrer Musik benutzen. Wir selber sind dennoch eher Einzelgänger."}}

{{question|Wenn eure Musik an einem öffentlichen Platz gespielt werden sollte, welcher wäre das dann?}}

{{boc|"[[Mike Sandison|MS]]: Das ist eine schwierige Frage. Ich glaube, ich würde mir wohl ein offenes Feld aussuchen. Unsere Musik ist eher Daytime-Music im Gegensatz zu Nighttime-Music. Wenn wir uns ausuchen könnten, von wem und wo unsere Musik gehört wird, dann wäre es wohl von gut angetrunkenen Menschen an einem sonnigen Tag irgendwo im Freien. That's the situation when I'am writing stuff."}}
</onlyinclude>

== Translated text ==

<onlyinclude>
=== Boards of Canada: Hardware Addicts ===

'''Gregor Wildermann'''
'''gregorw@berlin.snafu.de'''

{{boc|It's just by default that we do electronic music.}} This sentence soaked with irony is by '''Mike Sandison''', who together with Marcus released the eighth record on Skam Records making this label from Manchester even more interesting. Like the co-operators of Autechre , The duo from Edingburgh is one of the groups that do not allow modern electronic music to disappear from the map of England.

The band's first visit abroad took them to the Sunflower Festival near Regensburg, where with good intentions met the consequences of bad weather and, like many other DJs, Live-acts and ravers, they had to struggle with muddy feet. In the middle of Michael Fakesch and xxxxx, the Boards of Canada for the MASK 1 were able to prevail. This, the Skampler sampler and their upcoming album on this label were reason enough to ask again the questions about where and when .....

{{boc|'''Mike Sandison''': We started at school, actually in the early 80s, about 1983/84. I am now 26 years old, Marcus is 24. At the time we worked under different names and with different musicians and there were also times when we were a real band with 4 musicians and a vocalist. I myself was the drummer. We are kind of multi-instrumentalists. Somehow we found out that we could work best as the latter and were also more electronic in this phase. We used very rough equipment such as a ghettoblaster and older hi-fi gear and we wanted to make it sound as good as possible. Even as we bought more and more expensive equipment, we wanted to create this raw sound. We use it in a way that others would not. Many would use high-tech samplers to make very clean and pure sounds; We play deliberately wrong pitches and hack the normal structures. We deliberately fuck it about so that it gets really kind of rough. There are now also modern methods with which one can sound something as if it had been recorded in the 60s, which in itself is a bit ironic.}}

{{question|Where does the name Boards of Canada come from?}}

{{boc|'''MS''': There is an agency in Canada called "The National Film Board of Canada". They produce nature and animal films and / or political documentaries, mainly dealing with North America and Canada. In the 70s these films were very popular and their soundtracks have influenced us very much. There were always very beautiful tunes, which were composed by an Acid-Casualty with long hair and many synthesizers. There were brilliant sounds and we tried to make our tracks sound like this. Since we could not name ourselves National Film Board of Canada for legal reasons, we simply changed the name slightly, and from this became Boards of Canada.}}
{{question|Is the picture on the skam record also from one of these films?}}
{{boc|'''MS''': This picture comes from a movie made by a friend of mine. We have a small company called Music70 and it also produces Super 8 and video films, many of which are quite experimental. I myself am also doing some of these film works and we will soon be shooting our first Super 8 film in feature film length, complete with our own music.}}
{{question|What is the theme of this film?}}
{{boc|'''MS''': It will probably be a road movie, but also in a rather broad concept. It is supposed to be a road movie in five parts and that is all we know at the moment.}}
{{question|How did the record get on the Skam label?}}
{{boc|'''MS''': After making a first record on our own label, Music70, we wanted to get in contact with Rephlex, Warp and Skam, as we were somewhat fans of these labels and their music. There were only 100 copies of this record and I myself still have 70 copies with me. The other 30 were sent to record stores and these three labels, and after two days, Sean Booth from Autechre called, saying, "Yah, we're gonna do something together." That naturally pleased us.}}
{{question|What do you think is the quality of Autechres music?}}
{{boc|'''MS''': They are doing really original rhythm-work, but they do not do jungle music. Many make the mistake that Jungle is the only alternative. On every new record, you notice their introspection for technical details, and they try to make one of a kind, truly independent music you can not pack into any genre.}}
{{question|Will there be more releases on Music70 and what else can we hear from you in the future?}}
{{boc|'''MS''': Music will certainly be released in the future, but at the moment we have too many other projects. On Skam will be an album in CD format to appear and I hope that we can finish it in the next 6 to 8 weeks. In addition, we will make a single and then an album for Mike Paradina's label Planet-μ. He had received a copy of the Twoism-EP, which came out in January '96 and contains material from the summer '95. One of the tracks ( "See ya later") was then also on the B side of the Skam-EP. Mike got a hold of this record somehow and then a few months later also called.}}
{{question|Does your new material differ from the tracks on the Skam EP?}}
{{boc|'''MS''': We have already developed further. Much of it sounds much more organic and the tracks are also much more composing. We also often try to change the track from the beginning to the end, and we describe it as a 'psychedelic approach', which we find somehow good. We have also heard a lot of folk-music from the 70s, such as Incredible String Band or Joni Mitchell, who also sound very organic and natural by their choice of instruments such as flutes. These sound sources we have increasingly sampled. We processed them, destroyed them and turned them back into something very electronic. It will nevertheless be noted that these influences exist.}}
{{question|What is the risk that a label like Skam will lose quality through a certain popularity?}}
{{boc|'''MS''': I know from Andy Maddocks (Label boss) that he is concerned that the label is currently being given too much attention and that too many interviews and articles appear. He is worried and I agree with him. For journalists like you or musicians like me, a label like Skam is of course very attractive, especially since you have to imagine how little financial resources behind it. It is best to have a label so underground that nobody knows where it comes from and who makes it. It is also up to the artists of a label to try everything, so that the label remains unique and represents something special.}}
{{question|Do you think that your music benefits from different artistic interests??}}
{{boc|'''MS''': Definitely. Personally, I would not want to concentrate solely on music; That is not in my nature at all. Many musicians are also DJs and many from the television and film industry are interested in music. In my opinion, it is the rather cheap hardware that allows many people to record their own records and make their own videos. With computers you can do the artwork yourself and distribute it over the internet.}}
{{question|Richard James uses special software to make records like the Rubberjohnny. Do you also experiment with such programs?}}
{{boc|'''MS''': We do not use any computers at all. Every time we try to do something with a PC or Mac, we just have problems and it is annoying. We like Hardware. Much of our equipment looks like it could be in a big factory. We like knobs. Big things with knobs and dials. Of course, we also have digital equipment, but computers are not among them. I do not like these small displays, either because you can not work at all instinctively. Computers are simply not designed for it, are too fragile and go way too fast. We like to come into the studio and kick it about.}}
{{question|What are the advantages of working as a duo?}}
{{boc|'''MS''': Definitely quality control. Some artists, which I will not mention here, publish too much and often too average material. If they had a partner, he could tell them: I understand why you did it, but it's just shit. So we do it. Actually, we produce a lot of tracks, of which I write the most and Marcus tells me then what he thinks of it. Before others hear our tracks, we've both found them good enough.}}
{{question|What is a BoC Liveset like?}}
{{boc|'''MS''': We change our live setup again and again. At our first gigs, we actually took all our equipment, which was, of course, total nonsense. Then less and less built up, which was also an interesting aspect for our way of working. At the moment, we are thinking about building everything on a single sequencer, and we will probably choose an MPC2000 from Akai. At a live gig, you can still play parallel to the drums on a synth without sounding inaccurate.}}
{{question|Live-Acts is often muttered because there is no real standard for it. What do you think is the most common mistake of live acts?}}
{{boc|'''MS''': Often something completely different is played than is known from the records. I was always very disappointed when a band played something different at the live gig. Some say that you should create something unique on a stage, but I personally disagree. Some are only stubborn, and forget every form of melody, which I find rather a pity.}}
{{question|Dave Being is also from Edinburgh. Do you know him?}}
{{boc|'''MS''': No, unfortunately not, and we have been asked that often. We should call him. We also don't live directly in Edinburgh, but a bit out in the country. I could say we don't belong to any scene.}}
{{question|But most artists do not notice this until the press writes about the scene of a certain city and tries to create a "sound of ..." again..}}
{{boc|'''MS''': You're probably right. Certainly, it would be more noticeable if we were not to live and work in Edinburgh for a while. From Manchester it can be said that many musicians use the same or very similar elements in their music. We ourselves nevertheless are rather loners.}}
{{question|If your music was to be played in a public place, what would it be?}}
{{boc|'''MS''': This is a difficult question. I think I would probably choose an open field. Our music is more like daytime music as opposed to nighttime music. If we could choose where and from where our music is heard, it would probably be from well-drunk people on a sunny day somewhere outside. That's the situation when I'm writing stuff.}}
</onlyinclude>

== Highlights and Notes ==
* This is the first known published article on Boards of Canada. Previously thought to be published in 2000, this article was in fact published in September of 1997 making it pre-MHTRTC.
*Refers to the Sunflower Festival, which is one of the few known live BoC [https://bocpages.org/wiki/Gigs gigs]. It also states that it is their first gig abroad.
* Mike reveals the Hi Scores album photo comes from a film of a friend.
* Mike also reveals they had once planned a 5-part road movie in Super 8 film.
*Article has an early photo of the two, albeit poor quality. Possibly taken at the Sunflower Festival considering the context of the article and what appears to be music passes that they are wearing.
* The same De:Bug issue has what is safe to say the first published review of the Twoism EP. The review is done by the same author, Gregor Wildermann.

== Scans ==

<gallery>
image:1997 09 DeBug No03 Cover.jpg
image:1997 09 DeBug No03 pg06.jpg
image:1997 09 DeBug No03 pg46.jpg
image:BoC Debug 1997 09.jpg
</gallery>

== References ==
<references />

[[Category: Interviews]]
[[Category: Music Has the Right to Children era]]

Farewell Fire

2021-01-22T15:44:44Z

Mkez: Added proper quote and marked defunct link

{{Infobox Song|
| name=Farewell Fire
| runtime=8:26
| appearson=[[The Campfire Headphase]]}}

== Comments ==
* Contrary to initial claims that this track was followed by a long period of silence, in actuality it simply decreases in volume to the very end, until it is barely audible.
* In a Dutch interview [[Michael Sandison|Mike Sandison]] revealed some interesting information regarding this track. Here is the relevant text from the interview, translated from Dutch:
<blockquote>
"[[Michael Sandison|Mike]] says: "[[Farewell Fire]]" [[Marcus Eoin|Marcus]] is on keyboards, nothing more. He did it in a night session. There are moments where it stutters and it really feels like someone no longer able to play well out of sadness. That is why you should never program music. Even if it is an electronic piece, it sounds very human, heartbreaking."
<ref>http://blogs.lesinrocks.com/j-ghosn/index.php?2008/02/02/56-digital-fck-2-boards-of-canada (defunct)</ref>
</blockquote>
* The melody is very similar to that of ''[[1986 Summer Fire]]''.

==Samples/Lyrics==
==Trivia==
==Videos==
== External Links ==
==References==
<references />
[[Category: Released tracks]]
[[Category: The Campfire Headphase tracks]]

1986 Summer Fire

2021-01-22T15:35:38Z

Mkez: Added melodical similarity to Farewell Fire

{{Infobox Song|
| name=1986 Summer Fire
| runtime=1:36
| appearson=[[Twoism_(release)|Twoism]]}}

== Comments ==
*This track is unlisted, in that it does not appear on the sleeve notes.
* The melody is very similar to that of ''[[Farewell Fire]]''.

== Videos ==

{{#widget:YouTube|id=EANICVFKhHc}}
{{stub}}

[[Category: Released tracks]]
[[Category:Twoism tracks]]