https://bocpages.org/w/api.php?action=feedcontributions&feedformat=atom&user=Valotonin 2026-10-09T11:02:33Z User contributions MediaWiki 1.28.0 https://bocpages.org/w/index.php?title=Electric_Wonderland&diff=15673 2020-09-16T14:57:49Z

<p>Valotonin: </p> <hr /> <div>__TOC__ <br /> <br /> &lt;onlyinclude&gt;<br /> {{interview<br /> |title=Electric Wonderland<br /> |author=Akiho Ishii<br /> |date=2005-11<br /> |publication=Loud<br /> |issue=131<br /> |pages=32-35<br /> }}<br /> <br /> &quot;[[Electric Wonderland]]&quot; is a 2005 interview by Akiho Ishii . It originally appeared in Japanese Loud Magazine<br /> &lt;/onlyinclude&gt;<br /> <br /> == Translation ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> '''Note:''' The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by Toni Lanov. <br /> <br /> <br /> <br /> From Scotland, two musicians, two artists. The group consists of [[Mike Sandison]] and [[Marcus Eoin]]. Their seminal album, [[Music Has The Right To Children]] bought with it new horizons for electronic music. Their second LP, [[Geogaddi]] expanded these horizons further, and finally we have the newly released [[The Campfire Headphase]] - an Album which feels like it is the product of an eclectic catalogue of influence consisting of The Beatles and Jimi Hendrix on one side, and My Bloody Valentine on the other whilst still being deeply rooted in within their realm of electronic music. <br /> <br /> The tone and sounds are introverted, calm, expansive and sometimes in direct contrast to previous releases. It feels as if we are constantly searching for an aural representation of the textures and feelings we experience daily, something that Boards of Canada deliver with subtlety and precision. In this interview I try to gain a better insight into the sounds they create and the minds of the artists who convey them.<br /> <br /> {{question| In focusing on your previous work, I found that there was a significant contrast between previous releases and [[The Campfire Headphase]]. It is an album that comes three years and eight months on the heels of [[Geogaddi]]. How has the time between releases been spent, do you find adequate time between work and finding comfort? After listening, I found an instant need to express what I had heard. It is as if a cassette that was created long ago was suddenly discovered. Can you describe the influence behind that? }}<br /> <br /> {{boc| Mike: We usually have a rough idea between us as to the direction of our music. We share a great many influences and as a result are usually on the same page.I was deeply affected by American Cinema from the late 1970s through to the early 80s and a wide range television shows from my childhood. I recall in quite a number of television shows at the time, images with cars, deserts and glowing skies appeared a lot, and synthesizer music often accompanied it. [[The Campfire Headphase]] borrows heavily from the era and the atmosphere. }}<br /> <br /> {{question| What are your feelings on the album from your own perspective, rather than that of a listener or what your intentions for the listener are? Is there any particular formula you find that works best for creating music or is it more spontaneous? }}<br /> <br /> {{boc| Marcus: Most of the tracks on this album come from spontaneous ideas quickly kneaded whilst jamming in the studio, we then tend to spend quite some time completing it while remaining very conscious of not allowing the original idea, the basis of the track, to become overshadowed in the process. After we recorded [[Geogaddi]], there were more than several songs left over from recording sessions that weren't used in the album and we wanted to finish those and complete another album. During the creation of the album, Mike had a child, but I still had time to make a lot of music. <br /> It was a pretty wonderful time for making music, actually. It all started in Winter. Jamming with a cheap tape recorder to try and take note of ideas as they would present themselves. At the initial stages of recording, Mike had been in New Zealand for a while, so I created the basic melodies and ideas behind some of the songs that would later go on to be on the album. }}<br /> <br /> {{question|What are your feelings in regard to the contrast between this album and your previous works? How would you describe the general atmosphere of your album as you want it to be heard by you audience? }}<br /> <br /> {{boc|Mike: In a way, the body of the album is a soundtrack to a roadtrip that takes place within the mind. This time, we decided to make it in a more simplistic manor than [[Geogaddi]]. It certainly is in contrast with the darker nature of [[Geogaddi]] and I liked the idea of a positive contrast between the two by focusing more on simple melody and textures. [[Geogaddi]] was as it was because that is what tends happen when you make an album whilst being constantly aware of the concept behind it. I guess that something without a concept is an concept of its own, is it not already? Sometimes it is good to narrow down to a more limited palette to a certain extent by focusing on one concept, but at the same time that can also be quite constraining. }}<br /> <br /> &quot;I believe that I can escape the daily routine of life by creating music that will invite me into an imaginary place, a place where one can think of the more creative and surreal elements of reality&quot; - Marcus Eoin<br /> <br /> {{question| In a previous interview, we discussed electronic music more generally and you spoke of trying to avoid the culture of &quot;laptop musicians&quot;. Has your attitude remained the same in regards to this? }}<br /> <br /> {{boc|Mike: Yes, for music to work, it doesn't always need the assistance of a computer. Obviously, there are some wonderful things coming from the unity of music creation and technology because it grants you access to vast arrays of audio technology in a very compact space. You can take it anywhere, but the underside to that is the fact it has a strong influence on the kinds of music people make. What people will tend to say about the people who are making music on laptops all having similar sounds, it implies that digitization is narrowing their horizons musically. Using a sequencer and synthesizer restricted to a grid, it is tantamount to restricting the infinite possibilities posessed by sound itself. For example, the Tempo of a track when you are working with a visual grid interface will always face restrictions, it is near impossible and certainly far more time consuming and unnatural to have a tempo that fluidly changes with the intensity of a track under those circumstances. If one could imagine that the Beach Boys or the Beatles were making songs using laptops during their golden age, how would albums like Pet Sounds and Sgt Pepper's have turned out? I think that generally digital music is cleaner sounding and polished but also far more inconvenient when working with anything other than a very limited type of music. There seems to be no sense of appeal or presence within a lot of the work. I think that concerts consisting of laptop music are generally quite boring. I don't really want to wait in line for a show that feels as if it just allows people onto the stage to press a play button and check their email for an hour. (laughs) }}<br /> <br /> {{question| One of the main contrasts between [[Music Has The Right To Children]] and [[Geogaddi]] compared to the latest release is the use of much heavier sounds in the former compared to what I would describe as close, sentimental and more domestic sounds of [[The Campfire Headphase]] }}<br /> <br /> {{boc|Mike: We took a step back from [[Geogaddi]]. It was a darker and more claustraphobic album, so after that I wanted to create an album that was more expansive and hopeful. Its simpler and with a lot more aural breathing room. This album is a horizon where you can continue seeing forever. Every song we make develops our sound more in a particular direction, so we aren't going to find ourselves back in the place we have been sitting. [[The Campfire Headphase]] was a manifestation of our moving to the next sound, albeit one that could be described as more simple and stripped-back comparitively speaking. }}<br /> <br /> {{question| What meaning do you put into the artwork? }}<br /> <br /> {{boc| Mike: When you find an old photograph that has been exposed to light for quite some time and lost its hue and faded as a result, regardless of the context of the photograph, it always tends to cause one to feel a sense of sorrow. That is what we find ourselves constanatly looking for every day. Even in tracks that on the surface are generally quite cheerful, that natural decay creates an underlying sense of sorrow. The cover art is quite reflective of that, the appearance of a photograph that was once very colourful having been exposed to the elements and decayed over the passage of time to the point that it becomes impossible to imagine what the colours originally were. It is intentionally obscured. Given too clear an image, it deprives the viewer's sense of imagination from setting in. I want one to feel like they are looking at pieces of a photograph they have found themselves. }}<br /> <br /> {{question| In the album inlays, there are pictures of various obscured faces, quite reminiscent of a childhood memory. Were they implemented to further compliment the sense of nostalgia and revival of memories that appear in musical form on the album? }}<br /> <br /> {{boc| Mike: Yes, I tried to create an intensity of emotional texture with this Album. Reminiscent of memories of memories, memories of when I had fun that have since started to fade away and this album is an expression of that bitter-sweetness as if it had been lost forever. Both our music and my personal attitude come from a perspective of retrieving and exploring memories of the past, including the decay and emotional texture that are added to them as time progresses. }} <br /> <br /> {{question| In Scotland, the theory and thoughts surrounding animism have been present since ancient times. Does Boards of Canada's music have any correlation to such traditions and trains of thought? }}<br /> <br /> {{boc| Mike: I find it very interesting to toy with the idea. Culturally, Japan is the reason for my thinking that animism isn't suffering as much as previously thought, but I can certainly take and appreciate the Celtic culture of Scotland and Ireland. We are always conscious of mystery and the essence of life and the many different interpretations there are. }}<br /> <br /> {{question| In regards to &quot;[[Farewell Fire]]&quot;, it feels as if it is a goodbye, something lost forever. What is the nature of the track? }}<br /> <br /> {{boc| Marcus: In a way, the track is a farewell whilst in a state of melancholy after the journey that preceded. It really ends in a way that makes it feel like one is still not sure what they are going through. It fades out in such a way as to be a &quot;beautiful exit&quot;, but it lingers on subtly in keeping with the way one would hear a melody repeat softly in their head after repeated listens. It was designed to loop, almost eternally. }}<br /> <br /> {{question| You have told me that you are living communally in rural Scotland. You originally lived closer to the city, but have since migrated into the living situation you find yourselves in currently. How did this come about? }} <br /> <br /> {{boc| Mike: When I lived in the City, there are certain subtleties that you don't realise make a significant difference if you are used to that situation, but definitely do. Urban noise and various other disturbances, it is as if you have lost your perception through saturation of the senses. Being away from technology is in stark contrast to this and it allows one some headspace. Of course, we still use the Internet, television and radio, it is not completely technologically isolated. It is a positive thing, especially for those who rely on their sense of sound and atmosphere, to be able to withdraw from the melancholy life that presents its self in the city. }}<br /> <br /> {{question| What are the advantages of living in a commune? }}<br /> <br /> {{boc| Mike: Its not a commune in the conventional meaning of the word. It is just a matter of living with friends and buddies in the same space. Its a calm studio space where we can do what we wish to do. At the same time it has a surprising aesthetic, a lot of nice food, we also have a solid security system, but I am just trying to create a workable environment. }}<br /> <br /> {{question| Do you find that Hippie culture and the psychedelic movements of the 60s affect your music significantly? }}<br /> <br /> {{boc| Marcus: Not really. I like a lot of music from the era, though. I think it was a very interesting period for unusual music and culture and it would have been really enjoyable for those that were teenagers at the time. }}<br /> <br /> {{question| How do you feel towards the current electronic music scene? }}<br /> <br /> {{boc| Mike: I think the way technology made music work for everyone is obvious in a way, but at the same time in a lot of electronic music there is a situation in which you can't reach the real organic sound unless you trace it back through quite a string of components and effects. }}<br /> <br /> {{question| Do you feel the ever-increasing popularity trend within electronic music is a positive? Warp have also signed alternative artists such as Maximo Park, do you like that they don't always confine themselves to one genre? }}<br /> <br /> {{boc| Marcus: I think that it is a good thing. A label should cater to many tastes, if I were to have strawberry ice cream day after day, eventually that would grow boring, one builds a sensory tolerance in that respect just as they do with music. People don't always want the same flavor. I feel that many people tend to misunderstand Electronic Music, and it is often seen as music that shouldn't be intertwined with any other genre. There is no necessity to quarantine it or protect it by metaphorical barricades. Good artists use everything to construct music, good music, and genres only tend to serve as limitations to that process. }}<br /> <br /> {{question| Are you able to tell us your plans for the future? }}<br /> <br /> {{boc| Mike: We have begun laying the framework out for the next album. A project that we will see completed a few years down the line. It will be a work, an aspect of music, that we haven't touched on before. We also intend to potentially do some work in film. Also, I can't really speak in detail about it at the current stage, but there are some collaborations that we've been talking about over the past few years. Maybe a couple of live events, too. Oh, and the *top secret* side project is also in progress. }}<br /> &lt;/onlyinclude&gt;<br /> <br /> [[Category: Interviews]]<br /> [[Category: The Campfire Headphase era]]</div>

Valotonin https://bocpages.org/w/index.php?title=The_Last_Unexplored_Area_of_Boards_of_Canada&diff=15672 2020-09-16T14:56:19Z

<p>Valotonin: </p> <hr /> <div>&lt;onlyinclude&gt;<br /> {{interview<br /> |title=The Last Unexplored Area of Boards of Canada<br /> |author=Joe Sato, Nakamoto Hiroyuni <br /> |date=2002/03<br /> |publication=Buzz<br /> |issue=31<br /> |pages=12-16<br /> }}<br /> &lt;/onlyinclude&gt;<br /> __TOC__ <br /> <br /> == Original Text ==<br /> &lt;onlyinclude&gt;<br /> &quot;[[The Last Unexplored Area of Boards of Canada]]&quot; is an interview (In Japanese) by Joe Sato, Nakamoto Hiroyuni originally published Mar. 2002 in Buzz magazine Number 31, pp.12-16. <br /> {{original}}<br /> &lt;/onlyinclude&gt;<br /> <br /> &lt;onlyinclude&gt;<br /> === エクスペリメンタル・ミュージック最後の秘境ボーズ・オブ・カナダ ===<br /> <br /> {{transcription-needed}}<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> == Translated Text ==<br /> &lt;onlyinclude&gt;<br /> === The Last Unexplored Area of Boards of Canada ===<br /> {{translation-needed}}<br /> <br /> ROUGH TRANSLATION:<br /> <br /> ''Note:''' The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by Toni L'Avon. <br /> <br /> <br /> It is already a miracle in not only electronic music, but in the entirety of music. <br /> The only thing that truly exists is the moment. Everything inside of me is entranced and captivated by a very particular sound. This sound reverberated and flowed from [[Boards of Canada]]'s release - ''[[Geogaddi]]''. Once, a band called My Bloody Valentine changed the world with its sweet and layered, sugar coated and heavily sculpted sound. Today we meet two musicians from Scotland, [[Mike Sandison]] and [[Marcus Eoin]] who have once again reshaped our entire perception of music. This will be their sixth public release, but the people behind the music are still very much a mystery. ''[[Music Has the Right to Children]]'', which had been entirely distinct from the Hip-Hop, electronic and experimental music of the time that it was often associated with, created the backdrop for the long awaited second album, ''[[Geogaddi]]'', the contents of which was far exceeding the boundaries of imagination created by the listener's anticipation and craving for more of the Sandison's sounds. They tend to be illusive and very shy of public exposure and interviews but, to my surprise and seemingly by miracle, this will be their first ever interview in Japan. We conducted the interview by email and I was anxiously awaiting a reply which, in turn, arrived safely. Now we can begin to peer beneath the illusive cloak of secrecy and begin to build a picture of the source of the sonic mastery below. It would all become clear. <br /> <br /> [[Boards of Canada]] are not ones to involve themselves with the media too readily and their true identities are not known at all in Japan. Through this interview conducted via Email, I found that Mike and Marcus are each different characters with interesting personalities...<br /> <br /> {{question| This album, the first full length release in around four years, is often directly compared to your previous work. Is this something you generally anticipate and was it created in the knowledge of it being a followup to ''[[Music Has the Right to Children]]''?}}<br /> <br /> {{boc| Mike: This time I wanted to look at the various basic elements of music more than in our last release, and at the same time there was the reality that we wanted to create something rather more abstract than before. In a certain sense, we tried to reproduce melodies that seemed to have been ringing and circulating in certain dreams instead of ones from outside influences. In another sense, we begin with an adventure akin to ''Alice in Wonderland''. Marcus coined the word '''[[Geogaddi]]''', a combination of various words and it definitely has a strong meaning to us, but it can take on a variety of meanings. In the end every individual listener will have their own personal interpretation and meaning to ascribe to the word. As children, we used to watch B-Mini-Movies together and thoroughly enjoyed playing and recording together. My original aim was to inevitably be able to play paino by myself. Luckily for us, a mutual acquaintance lent us a synthesizer and we began to expand our sound and recording techniques from there.}}<br /> <br /> {{question| The name '[[Boards of Canada]]' is derived from the Canadian visual production company: ''National Film [[Boards of Canada]]''. I am told that the company is based in Canada and seems to produce nature and cultural films, alongside animated films for children. Is there a relation to this or a reason that you decided to use the name?}}<br /> <br /> {{boc|Mike: The National Film [[Boards of Canada]] is a huge organization. In the 1970's, when we were children, we often watched their productions and were always interested and enchanted by alterations in sound quality made as a result of the tape physically degrading. This later had a huge influence on our musical direction.}}<br /> <br /> {{question| Can you tell me more about your history in creating and editing music. Are there any records that had a big impact on your lives?}}<br /> <br /> {{boc| Marcus: When we were younger, we both had access to a piano and guitar and used them to develop ourselves as musicians. There was one record I recall that was mostly created around the sampling of another older record, in fact. When I listened to it, I could instantly envision what I would want to do with it if it were in my hands, expanding upon the beats and mixing it down in a more simplistic way. It wasn't so much particular songs but particular elements and techniques used in music that I was attracted to. One artist we very much look at with respect is Meat Beat Manifesto, they are real innovators in their field. There were other records that I could almost believe were discs sent from the future, really amazing sequenced sections and I believe they were using a sequencer to play a monotonous synth. Other records attracted me due to elements such as bass-lines which immediately get you addicted to the music. In other cases you could feel that the synthesizers were just alive, beautifully so.}}<br /> <br /> {{boc| Mike: A handful of artists strive to create a beauty beyond the artificial tastelessness that we see in a lot of today's music. This isn't to say that I don't like a few things that people tend to refer to as artificial and tasteless though. An example of something I find it very difficult to like are computer programmed tracks that appear to have had the melodies completely overlooked, nothing resembling a true melody left. I think people tend to create that kind of music as a way of showing off computing/programming skills rather than a true affection for music. Music should be able to induce a sense of emotion that appeals to human understanding. A melody often creates a meaning within.}}<br /> <br /> {{question|You are currently on [[Warp Records]]. What is your stance on their base philosophy and how do you view the current interpretation of 'Pop' music?}}<br /> <br /> {{boc| Mike: I think that [[Warp Records|Warp]] is an Anti-Pop label in a way. I do think that there is room for pop music in the world though and there are many tracks generally considered as 'Pop' that I have actually enjoyed. One thing that is usually predictable of Pop music is that there is a tendency to create it around just a melody. The human voice over a microphone can be interpreted as an instrument in and of itself and it can have a way of stimulating a primitive part of the mind, something human. Even artificially processing a voice to create a seemingly unnatural sound, these are actually quite innovative tricks. }}<br /> <br /> {{question| What does aura and atmosphere mean to you in terms of your own music?}}<br /> <br /> {{boc|Mike: I feel that there is a place for creating what can be interpreted as ''Pretty songs'' even if words are rarely used. The atmosphere of the music can completely change when we do add vocals in some cases, even barely audible ones can be heard through the mix and affect the aura of a song entirely. When we write using more elements of psychedelia, the meaning of a track can often be a spiderweb of meaning. '&quot;[[The Devil Is In The Details]]&quot;'' is an example of music being able to contain and convey multiple meanings at once.}}<br /> <br /> {{question| In terms of ''[[Geogaddi]]'', what inspires you to create such fascinating names for the tracks, for example: &quot;[[Music Is Math]]&quot;', &quot;[[A Is To B As B Is To C]]&quot;' and more natural themes such as on &quot;[[Dandelion]]&quot;' and &quot;[[You Could Feel the Sky]]&quot;'? When I hear them, it isn't something that I would associate with electronic music and rhythms. It is more the sound of nature.}}<br /> <br /> {{boc| Mike: I think the humanity of our music is reflected in our lives. Neither of us is particularly a technology lover. I want to move around as I think about working with machines. I think that experimental art does not have a mechanism that makes it possible to change music in such a way as to separate it from its existence in nature. It seems as if it is somehow made in a way in which technology has a large influence on the work, but the listeners are not ever sure of what it is. We believe it is music because it has an element of the abnormal and the unnatural. It is also the ability to create it as if one were experiencing or seeing it in a natural environment. We use authentic organic elements of sound and it is entertaining to create sounds that are beyond the reaches of our imagination.}}<br /> <br /> {{question| Can you tell me anything more about the creation of [[Boards of Canada]]?}}<br /> <br /> {{boc| [Ambiguous as to who responds] We were both the children of musical families, living close to the sea. There really wasn't much entertainment for us as children. I began making strange cassette tapes, creating a tapestry of sound akin to the patterns of sound one hears in nature, perhaps on an island. In reality there are an infinitely large number of instruments one can use, with computer based 'Laptop music', your choices are entirely limited and constrained to the limits of the machine, not to the limits of human reality and beyond as it otherwise would be.}}<br /> <br /> {{question| Is there also an influence in your music that comes from 'Hip-Hop', 'Break-beats' and heavy sequencing?}}<br /> <br /> {{boc|Mike: It is generally more enjoyable to watch live musicians. Laptops can be seen as a musical composition tool that allow you to be mobile as you are creating a musical composition, but I think it's good to get inspiration from, even better, knowing how to play raw and natural musical instruments. There is generally a problem with this generation musically, they have become very accustomed to mass production. I was conscious of sampling. When you listen to the Beatles as a child, you are very interested as to how certain sounds sound as they do. There is that sense of wonder in organic music. Sometimes listening to a flute on loop or a mandolin, it was absolutely impossible to understand how it sounded as it did. A mystery and a sense of wonder that wasn't ever clarified.}}<br /> <br /> [Unintelligible section omitted]<br /> <br /> {{question| [Mentions several artists including 'Autechure' 'Aphex Twin' 'Squarepusher' 'Plaid' and 'My Bloody Valentine']}}<br /> <br /> {{boc|Mike: We certainly have a lot of respect and praise for 'My Bloody Valentine'. We consider ourselves both to be big fans. It seems that they are looking away from the artificial direction, towards the natural one. Actually, when we listen [to Loveless], we feel that it is not only a musical masterpiece, but a monumental piece that shows freedom of expression and, in turn, freedom of interpretation.}}<br /> <br /> {{question|When you think of 'Loveless' by 'My Bloody Valentine' or 'Screamadelica' by 'Primal Scream'. Would it be fair to think of this work as almost Funk/Pop music for live audiences?}}<br /> <br /> {{boc|[Ambiguous as to which of the two artists he is referring to] Marcus: He tends to write their songs based around Pop structures that are highly appreciative of 'the Pop sound' and it is sonicly provocative. Its impossible to imitate the foremost sound quality and it seems that the noise is unintentionally out of the way. Unstable and subtle sounds are a positive thing, even if there are some people that find themselves unable to appreciate that kind of thing.}}<br /> <br /> {{question| It seems as if there is an awful lot more hidden content in '''[[Geogaddi]]''' than on the previous record. Mathematical patterns and subliminal messages, it almost feels like a search for treasure. Are you interested in symbology and mathematics?}}<br /> <br /> {{boc|[Ambiguous as to who replies] Mathematics is a powerful reflection of admitting an un-measurable answer. The only way to explain the strange world of '''[[Geogaddi]]''' is to explain that it needs to be interpreted as the circulation of several simultaneous patterns. When you are a child, you wonder what you wonder, and are then told to accept the world as it is. After a couple of years, like any child, I got back into the mindset of wondering again. Examining the colour spectrum, wondering why things fall in such a way, wondering what the true colour of carrots are etc. I began thinking that perhaps my head was getting fucked up (laughs). If there is no concept of mathematics, one isn't able to see through the perspective of mathematics. Certain senses need to be learned in a way. There is no rule book, there is no such thing as 'x'.}}<br /> <br /> {{question| Do you think of music as a tool for communication?}}<br /> <br /> {{boc|Mike: Of course there is music that exists solely for the purpose of communication. Actually ''Let me convey far more emotions than words ever could'' is a good example of how human beings developed intelligence. It started from the point at which an ape struck a stick and started clapping, and finally it became possible to express complex human emotion. There is someone, somewhere listening to the melodies I make and feeling nice if the emotion I am trying to put across is a sentiment like love or adoration. It would be nice if there were someone who would experience the experience of being able to listen to your own music when they hear our creations, as in the end, we create it to our own taste. }}<br /> <br /> [Unintelligible section omitted]<br /> <br /> {{question| There are certainly some very clear messages in your recent work, how would you describe the message conveyed by &quot;[[Energy Warning]]&quot;'?}}<br /> <br /> {{boc|[Ambiguous as to who replies] It is effectively sounding a warning as to the depletion of natural energy resources. The message is, however, usually secondary to the musical content. Another example is in &quot;[[1969]]&quot;', it is a manifestation of the era of innocence, love and peace that was at the heart of the era, but it was also laced with the various fears going into the future such as the cold war and nuclear threats and I thought about conveying a kind of strong additive sensation of neurosis that has been popularized in our culture since the 1970s Government publicity movies etc. Electromagnetic. There was a sense of helplessness for the future generation}}<br /> <br /> {{question|It does seem that in that time period and with government Public Service announcements that there was a strong shift towards the pessimistic and the negative. I personally picked up on some of this in 'A Beautiful Place Out in the Country'}}<br /> <br /> {{boc| Mike: The underlying message in both &quot;[[1969]]&quot;' and 'A Beautiful Place Out in the Country' are rather similar. The general lifestyle changed quite dramatically around this point in history and structure and regulation were becoming evermore part of the lives of the general population. We are actually really interested to know of people's states of mind when listening to our music and whether it is felt as somewhat of a psychedelic experience to them. }}<br /> <br /> {{boc|Marcus: I think that being aware of one's internal thought processes and being aware of the way the world changes in its entirety and is constantly changing is a positive attribute to have. Good things are sometimes born from this state of mind, but also the negative can be born of these realizations, too. It seems so distant from what is considered to be common sense, such as leaving your body in a distorted form etc.}}<br /> <br /> {{question|I think that the previous works that you have made, made one feel like something beautiful was being created in front of them, although sharp elements of Hip-Hop were used heavily and anger and aggression were felt more intensely. Regardless, the psychedelic feel in this work seems to be dramatically expanding upon the euphoria and warmth of your previous, What is your take on this?}}<br /> <br /> {{boc| Marcus: I think that it is a reasonable interpretation. I wanted to make something which isn't limited to feeling like it is a specific style of music within a particular time period. The psychedelic element is certainly there to a certain extent, but it comes more from the music surrounding psychedelics as opposed to the chemicals themselves. '''[[Geogaddi]]''' is host to a wide variety of styles.}}<br /> <br /> {{question| &quot;[[Diving Station]]&quot; is a song that seems to stand out to me on this release, the surface of the track is only occupied by a lone piano. I am told that this is a song composed by Mike. Do you have a special or habitual way of composing your songs?}}<br /> <br /> {{boc|Mike: There are other songs making use of raw instruments and little else. 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.}}<br /> <br /> {{question|For you, what kind of emotions and images are evoked by children?}} <br /> <br /> {{boc| Marcus: In the park, I am playing and my mother is present. The sun is shining and I remember never ever feeling as if I was home.}}<br /> <br /> {{boc|Mike: When I was five years old, putting a ten pence piece into the electric kid's car as I ran around on the inside.}}<br /> <br /> {{question| May I ask as to why you chose to put the 1min and 44 seconds long silent track &quot;[[Magic Window]]&quot;' at the end of your album, is there a significance?}}<br /> <br /> {{boc| Marcus: &quot;[[Magic Window]]&quot;' is a phenomenon that creates an unusual frequency and influences the listener and their environment in a special way. On the Japanese edition of '''[[Geogaddi]]''' we have planted a bonus track &quot;[[From One Source All Things Depend]]&quot;'. It contains a variety of philosophical and religious sentiments...}}<br /> <br /> {{boc| Mike: This expresses the innocence of children who repeat the words and ideas of parents and teachers without much consideration for the true meaning or context. This can be seen as something both pleasant and slightly unnerving, on the other hand.}}<br /> <br /> {{question| Children learn both the positive and negative from their elders in the vast majority of cases. Are you able to tell us anything of your interpretation of 'God' and what it represents to you?}}<br /> <br /> {{boc|Marcus: I have nothing real to say on the subject, although, if you don't belong to any particular religion, God may appear to be the same to you as it would if one were to make an independent idea of god, coming soley from their heart and autonomous ideas and sentiments.}}<br /> <br /> {{question| With '''[[Geogaddi]]''', I often feel that there is a dark and sometimes even agressive mood to your music, but the accumulation of the entire piece leaves me with a sense of optimism and peace. It is quite emotionally ambiguous...}}<br /> <br /> {{boc| Marcus: That is what we tend to like. To us it feels like something that initially gives you a sense of warmth but with the darker underside slowly creeping up on you and emerging from beneath. The underside is dark, the spirit is frozen. I think that because of the human element to our music, it is much easier to convey naturally ambiguous and contradicting emotion as one feels generally. Our music will always reflect certain periods of our life.}}<br /> <br /> {{question| This is the final question. Do you feel that through '''[[Geogaddi]]''' you have had the ability to change a world that is cold, rigid and emotionally neutral, even to a minor extent?}}<br /> <br /> {{boc| Marcus: All music has the power to create change, however big or small. If it affected and gave something to every single person that had the chance to listen to it, I feel that I would have made a positive impact on the world - thank you.}}<br /> <br /> Thank you to both of you for your time. <br /> &lt;/onlyinclude&gt;<br /> <br /> == Highlights and Notes ==<br /> *First known Japanese interview<br /> <br /> == Scans ==<br /> <br /> &lt;gallery&gt;<br /> Image:2002 03 Buzz Vol31 Cover.jpg<br /> Image:2002 03 Buzz Vol31 pg12 pg13.jpg<br /> Image:2002 03 Buzz Vol31 pg14 pg15.jpg<br /> Image:2002 03 Buzz Vol31 pg16.jpg<br /> Image:Marcus Buzz 2002 3.jpg<br /> Image:Mike Buzz 2002 3.jpg<br /> &lt;/gallery&gt;<br /> <br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> [[Category:Geogaddi era]]</div>

Valotonin https://bocpages.org/w/index.php?title=In_An_Imaginary_Place_Out_In_The_Country&diff=15671 2020-09-16T14:54:36Z

<p>Valotonin: </p> <hr /> <div>&lt;onlyinclude&gt;<br /> {{interview<br /> |title=In An Imaginary Place Out In The Country<br /> |author=Ryotaro Wada, Ito Eisuke, Aoki Tatsuya, Iizuka Satoshi, Hashimoto Satoshi, Honma Satoshi<br /> |date=2002/03<br /> |publication=Cookie Scene<br /> |issue=24<br /> |pages=09-15<br /> }}<br /> &lt;/onlyinclude&gt;<br /> __TOC__ <br /> <br /> == Original Text ==<br /> &lt;onlyinclude&gt;<br /> &quot;[[In An Imaginary Place Out In The Country]]&quot; is an interview (in Japanese) by Ryotaro Wada, Ito Eisuke, et al. originally published Mar. 2002 in Cookie Scene magazine Number 24, pp. 09-15.<br /> {{original}}<br /> &lt;/onlyinclude&gt;<br /> <br /> &lt;onlyinclude&gt;<br /> === In An Imaginary Place Out In The Country ===<br /> 質問作成、文/和田晃太郎 質問作成、取材、翻訳/伊藤英嗣 質問作成/青木達也、飯塚耐志、橋本聡、本間聡<br /> {{transcription-needed}}<br /> &lt;/onlyinclude&gt;<br /> <br /> == Translated text ==<br /> &lt;onlyinclude&gt;<br /> === In An Imaginary Place Out In The Country ===<br /> {{translation-needed}}<br /> <br /> ROUGH TRANSLATION:<br /> <br /> '''Note:''' The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by Toni Lanov. <br /> <br /> <br /> Initially it was a drop of water. Small ripples flowed and gathered upon the surface and began to spread. Eventually ''[[Music Has the Right to Children]]'' was given to the world in 1998, released under both [[Warp Records|Warp]] and [[SKAM]] record labels.<br /> The [[Boards of Canada]] and the impact of ''[[Music Has the Right to Children]]'' was strongly felt. The brothers engineering direct pluronic music, ambient atmospheres and utilizing aspects of Hip-Hop, but all genres of music were used to propagate their unique sound. Words begin to fade into the music and become one with the sound, but they maintain their sense of direction and flow, a sound full of immersive vitality. The beauty of their sound proceeded to propagate and quickly spread throughout the world. ''[[Music Has the Right to Children]]'' had become an exceptionally prominent seller on the Indie charts in the UK. Their signature identity, their je ne sais quoi and otherworldly sounds were immediately recognizable but they didn't show you the whole picture with ease. Giving few interviews and rarely seen in photographs, their style and their activities were constantly wrapped in a veil. Sometimes referred to as 'Scotland's greatest mystery'. <br /> <br /> <br /> Their sound continues to impact the music scene in a variety of ways. The methodology, sound texture being a duality of sonic mastery. IDM and post-rock were being sold readily with coined nicknames such as 'Nupsychedelic', but still, [[Boards of Canada]]'s sound is something that doesn't fade, it continues to grow into something beautiful over time. Their sound is unique. <br /> Meeting and exceeding the high expectations of future releases that fans were left with after their 1998 release, '''[[Geogaddi]]''' (2002) saw the light of day. Sounds and phrases, everything is composed of great beauty. Great moments of euphoria are reached in the new release. Within lies a psychedelic world that only the brothers Sandison can create. In addition to this, the few that have seen them at a live setting have also told of the charming characteristics of their, often intimate, live performances. The perfect blend of both psychedelic video and sound entrances the listener with all senses. <br /> <br /> <br /> I am overjoyed to be interviewing both [[Michael Sandison]] and [[Marcus Eoin]], the masters behind the music, listening intently as I am aware of some of our readers anticipation and interest in hearing their story. Although I am not aware of how familiar they will be to Cookie Scene readers, I find that their sound alone leads me to want to know the story beneath. I tell myself: 'Before beginning this interview, I will want to recap their history'. ''[[Geogaddi]]'' was distributed to the press upon its release. I find myself wondering 'Are their four, or perhaps even five members of the group to create such a diverse sound?' The answer to this is now apparent. In 1995 the band and a group of their lucky friends gathered in [[Hexagon Sun]] studios in the Pentland Hills, Scotland and held an ordinance for their new release. [[Hexagon Sun]] is often the venue of small scale, closed audiovisual events for members of the collective. Their early releases were on a self-produced label '[[Music70]]'. The very first release had been layered with melancholic melodies and rough rhythm sections. <br /> <br /> <br /> [Unintelligible section omitted]<br /> <br /> <br /> [[Boards of Canada]] utilized [[Hexagon Sun]] visuals in live settings, often accompanied by depressive and subliminal texts, gradually increasing the degree of audiovisual perfectionism. <br /> <br /> <br /> Mike and Marcus immigrated between Scotland and southern Canada as children. The original form of [[Boards of Canada]] was based around a 1950's microphone, making experimental sounds using borrowed drums, synths and tape machines. Also utilizing 8mm cine-film video. A great deal of their influence comes from the soundtracks of educational documentaries, movies and music. The name '[[Boards of Canada]]' coming from a Canadian documentary service: 'The Film [[Boards of Canada]]'. In 1996, Christ who was originally the group's 3rd member and helped to compose certain tracks on the '''[[Twoism (release)|Twoism]]''' EP, left the group leaving Mike and Marcus to continue. This year in London, the brothers performed a live show at an intimate Lighthouse venue on the River Thames, complete with super 8mm video for the duration. I attended this event, the '[[Warp Records|Warp]] Lighthouse Party' seeing other artists from [[Warp Records|WarpRecords]] perform along with the [[Boards of Canada]]. Tortoise and Autechure are other notable appearances. <br /> <br /> <br /> [[Hell Interface]] is the Board's side project and focuses mainly on intricate remix work, often sublime. <br /> <br /> <br /> On February 2nd 2002, their long silence was ended and their second warp LP, ''[[Geogaddi]]'' emerged from the caverns and [[Warp Records|Warp Records]] gave away several releases for the press. [[Boards of Canada]]'s name began to be well known in Japan. Four years ago, in the United Kingdom, the brothers appeared on the long established 'John peel radio show'. Peel referred to the broadcasting of it as 'one of his best sessions'. <br /> <br /> <br /> [[Hexagon Sun]] began a regular event and referred to said event only as 'Redmoon'. People sat around a large bonfire akin to an old nursery rhyme. In February, I continued to scan over the UK indie chart Top 200. <br /> <br /> This interview will comprise of three parts.Part one will be applying their roots, they tell me that they were releasing records from childhood.<br /> <br /> {{question|''Is the production company 'Film [[Boards of Canada]]' attached to your work aesthetically? Have you taken well to this and can you tell me anything about the namesake of your group?''}}<br /> <br /> {{boc|Marcus: ''Yes. It was mostly educational programs. I look for things like that, even now. It revolves mostly around journeys that traverse the wilderness and also the fact that it is a documentation of said journey. The similarities can be heard in our music as it could be interpreted as a sonic journey. We also include themes such as environmental issues, which flow into the subject of such videos. Music that tended to exist in these documentaries didn't exist anywhere else and I find it truly inspiring''}}<br /> <br /> <br /> For us Japanese, the series of words that '[[Boards of Canada]]' is, isn't. We have but a small idea of the image, the phrase is only applicable or understandable to those who's native language is English. <br /> <br /> <br /> {{question|''As children, you moved between the north of the UK and the south of Canada. Do you think this has had a considerable influence on the music?''}}<br /> <br /> {{boc|[ambiguous as to which of the brothers replied]<br /> ''I feel that it had a great deal of influence yes. For example to the north, there is very sightly and beautiful nature and wildlife combined with sometimes brutal and barren landscapes. For children who live there, there is not much to do however. We were given little entertainment. Self sufficiency at the heart that is stirred up by the decision to try to create something was our real motivation''}}<br /> <br /> {{question|''The band in its original form was born out of nature. Using a microphone and a few complimentary synthesizers. Was the potent music coming out of the United States at the time of your earlier experimental work a strong influence to you?''}}<br /> <br /> {{boc|Marcus: ''We knew a handful of bands from that place and time. We always listened to the rough, loose kind of music. More so than music created by groups and bands purely to be listened to in and of itself at the time, we were influenced by an array of Canadian documentaries and their soundtracks during our time there''}}<br /> <br /> {{boc|Mike: ''Our music emerged mostly from natural chance at that time. One month we were making a b-music production, another eight and we were making an amateur video production accompanied by our own music. This was fueled by the basic impulse to create simple videos for ourselves''}}<br /> <br /> {{question|''What was the relationship between music and video for you at the time? And how do you perceive that now?''}}<br /> <br /> {{boc|Marcus: ''I think there are various stages in relation to film and music in terms of our own productions. Many of our earlier home-made films were purely experimental. I feel it was in contrast to a lot of the music videos coming out that were typically a combination of both dancing and music, with little other visuals. There was also the commercial aspect of that.''}}<br /> <br /> <br /> Recently, one feels that the commercial music scene is coming back in a way, but there were always artists with a particular palette in terms of audiovisual creations. In many ways, the video is now viewed as one of the elements to music creation. In some cases, the videos were never intended to be reflective of the music, but were purposed for it in such a manor anyway.<br /> <br /> <br /> {{question|Aphex Twin gathered a lot of attention for [[Warp Records|Warp Records]] in the earlier part of the 90's, and I feel that [[Boards of Canada]]'s music is also a strong force within that label and drawing more and more attention to it. There is an emerging electronic scene in Japan now, and worldwide.}}<br /> <br /> {{boc|Marcus: ''Terms like 'Electronica' and 'IDM' are very new ones. There are many artists out there and for many of them, they are only influenced by the past four or five year's worth of music. On the other hand, in our case, we find ourselves influenced by an array of different music from different times. We also take inspiration from music of many different scenes. Even thinking of my favourite groups, they are generally unique, doing things with a sense of self sufficiency and independence.''}}<br /> <br /> {{boc|[On the subject of [[Red Moon incident|Redmoon nights]]. Ambiguous as to who was speaking]<br /> ''It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine''}}<br /> <br /> {{question|''Can you tell me as to which musical equipment you prefer to use, what is your favorite piece of musical hardware?''}}<br /> <br /> {{boc|Marcus: ''We write songs in an entirely different way every time so sticking to the same equipment and instrumentation would damage that experience and ability to create a new atmosphere for every track. We like to create our own sounds, for example, by sampling the sound of a container of soup etc.''}}<br /> <br /> {{question|''In making your work, who takes on the specific roles?''}}<br /> <br /> {{boc|Marcus: ''Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas''}}<br /> <br /> {{boc|Mike: ''Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.''}}<br /> <br /> {{question|''If you had the ability to travel through time, to what time period would you see yourselves instinctively traveling?''}}<br /> <br /> {{boc|[Ambiguous as to who responds]<br /> ''Future advances in technology or astonishing progress for sciences and society is not the most impressive positive side to human development and the future''}}<br /> <br /> {{boc|Mike: ''Specific events and movies gave particular impact in making ''[[Geogaddi]]'''}}<br /> <br /> {{question|If big-budget films only had musical arrangements by [[Boards of Canada]]... Do you make any movies? Who do you assign the acting roles to?''}}<br /> <br /> {{boc|Marcus: ''I feel the answer to this question might be a little too revealing.''}}<br /> <br /> {{question|''What impressions do you get from dreams, is your music ever inspired by images and sounds seen and heard in your sleep?''}}<br /> <br /> {{boc|Marcus: ''As a child I would often dream and look forward to dreaming, it is true of today also. I remember one, this guy and his family together in Canada. They parked their car and visited the single story church next door, the family entered, I did not go with them. There was a nice green lawn and I had a walk around the building. I went around the back and fell onto orange barbed wire. The first King of the United Kingdom appeared. He placed his sword against my neck and dragged me up to the guillotine behind the building. At the same time as the guillotine, my body had morphed into a stone statue. I felt awful. Another dream I had had this early 80s ominous feel. I woke up in the middle of the night and rand down the stairs, I looked into the hallway below and saw red transparent organisms there. There was a guy with an ET feeling about him, red or orange light shone onto his body. I was screaming as I was being sucked into him, etc.''}}<br /> <br /> {{question|''What sentiments do you find to be most beautiful and what are your concerns in and of this world?''}}<br /> <br /> {{boc|Marcus: ''Environmental issues are something I hold close and have strong beliefs in. The freedom of self-determinism is also one that I feel more people should be aware of and advocating.''}}<br /> <br /> {{question|''Regarding creatures of non-human origin on this Earth. There are separate reactions for instance that of the fish is one that is rather instinctive and they have little awareness of other species. When I listen to ''[[Geogaddi]]'', I hear the entire seed of time including the human race, and within each species a boundary exists as akin to one I would imagine in a fictional world.''}}<br /> <br /> {{boc|Mike: ''I think you are on to something there. I think we try to subtly imply that ''[[Geogaddi]]'' is the world. A warm mixture divided on the concept of chaos. As if you are viewing something in a state of furious drunkenness, with that particular gaze. Fish and Humans help to form the hexagonal mirror image of the world, as does the presence of birds and all wildlife. It all forms the aforementioned mixture of a chaotic but intricate world.''}}<br /> <br /> {{question|''Do you think the meaning that people put into the album title '''[[Geogaddi]]''' affects the way a listener perceives the music?''}}<br /> <br /> {{boc|Marcus:'' I think it really depends on the listener. Many listen and think consciously about its impact. Some will inevitably reach the same conclusions that we do. It is certainly ambiguous for a reason but that isn't to say that many won't come to the same conclusions''}} <br /> <br /> {{question|''Will people's perceptions of your previous work affect the way they hear ''[[Geogaddi]]''? On the subject of your previous work, there has even been a song called [[Turquoise Hexagon Sun]]. I don't want to call this your 'decisive album'. I think it is always important to have the frame of mind that your best work is yet to be made. In a way, this album serves as a way to purify the former idea of your music and the ruthless categorization that inevitably comes from it. You always defy the listener's expectations. I sometimes feel that your music's purpose is to program or control the listener through suggestive sounds. I feel that ''[[Geogaddi]]'' is completely different to your previous work '''[[Music Has the Right to Children]]''' and the EP released two years ago '''[[In a Beautiful Place out in the Country (release)|In a Beautiful Place out in the Country]]'''. From these phrases we gather a human, a natural, sentiment. I really feel the attitude of your new album is very different, utilizing twisted samples and distortion''}}<br /> <br /> {{boc|Mike: ''Distant, yet direct. A twist. Distortion is also applied much more liberally throughout ''[[Geogaddi]]''. We human beings live in harmony with one nature. I never intend to create an intrusive attitude towards the listener. We also include plenty of humor as and when we wish. There is plenty to find.''}}<br /> <br /> {{question|''Is expressing humanity and nature in music incompatible with using electronic equipment to do so?''}}<br /> <br /> {{boc|Mike: ''With our music we are looking to make a strong contradiction. I feel that natural and electronic are one, however. I often feel an inner conflict on the matter. In a sense, all things like electronics and technology are, after all, an extension of the 'natural'.''}}<br /> <br /> {{boc|Marcus: ''We sometimes take inspiration from urban environments, too. We personally tend to avoid the subject in our music. There are little things though like reverberation that can only be created by sounds echoing through the streets of a city. We prefer to replace the cold atmosphere of modern electronics with the more traditional. We like to think of our sound as something warm and perhaps forceful. This is reflected very much in our video''}}<br /> <br /> {{question|''And as we have been focusing on current activities, the last part of our interview will focus more on future activities. I have heard much talk of potential projects for the future. It was over three years since your last LP...''}}<br /> <br /> {{boc|Mike: ''There are actually an awful lot of songs that were not used for ''[[Geogaddi]]''. An awful lot that have not been used. We'll have fun creating the new album, our lifestyle warrants that. You might hear a few of the unused tracks making it to the production line in future.''}}<br /> <br /> {{question|''What technology do you use on a daily basis and what is your view of technology generally?''}}<br /> <br /> {{boc|Marcus: ''We live in the midst of raw nature, breathing the fullest fresh air. For thousands of years, humans used technology in order to better their own lives, but for the first time in history we are at an exceptional place where technology is effectively being made for itself. I think that what is most dangerous for modern society is that technology has lost sight of realistic goals. Millions of people are involved in the development of weapons in one hand, and on the other hand others are involved in the development of equipment to improve the lives of people who are most disadvantaged in society.}}<br /> <br /> {{question|''[[Boards of Canada]]'s music, especially the newer, the sound leaves a strong impression. Many listeners also feel that they have to find a meaning 'between the lines' when reading the titles. Many also felt that there was something to hear in the silence during &quot;[[Magic Window]]&quot;. Was the implementation of that 'gap of sound' &quot;[[Magic Window]]&quot; important to you?''}}<br /> <br /> {{boc|Marcus: ''I like to treat it as a space. Its strange with an album focusing so heavily on the dynamics and intricacies of sound to suddenly be confronted with silence.''}}<br /> <br /> {{question|''I also feel that there is something very unique about your usage of words. ''&quot;[[1969]]&quot;'' comes to mind and many other passages of music with semi-audible words that are almost on a subliminal level. Do you anticipate people trying to make any sense of these words and phrases as they are listening?''}}<br /> <br /> {{boc|Mike: ''I don't think that combined vocal is required to create a good melody, they are mostly secondary to the music. It isn't always completely clear what is being sung. Some of the instruments are regarded as 'space' or 'silence' is an important factor in not over-saturating a track. With some artists, vocals and one instrument is all that is needed to entrance you such as with the Cocteau Twins. You don't always have to understand what is being talked about to find beauty in it. Vocals are an instrument in and of themselves.''}}<br /> <br /> {{question|''[[Boards of Canada]]'s purpose is to make music. What is your process? Do you build songs from interesting sounds that you have created in reverse sometimes? }}<br /> <br /> {{boc|Marcus: ''Sometimes occasionally you can decide the title and the theme before you make a song and try to create a sound that suits it. '&quot;[[Gyroscope]]&quot;' is an example of this and was formed as a result of a dream. The track directly reflected that of the sonic qualities of my dream, actually. A lot of the time we build tracks around an interesting sound or basis, it becomes the focal point and we build the track around it.''}}<br /> <br /> {{question|''I recall after playing &quot;[[1969]]&quot; the sample that repeats &quot;[[1969]]&quot;, in the sunshine...' will remain circulating around my head long after the song is over. I feel that many of your records reference the psychedelic movement of the 60s. Do you consider yourselves hippies? (laughs)''}}<br /> <br /> {{boc|[Ambiguous as to who responds]<br /> ''I think that artists feel a sense of intimacy in the country. At that time (60's) I think fields and nature represented a certain sense of freedom. I also feel that psychedelic and hippie music has its roots in country music and was effectively an adaptation of such. They were tributaries and offshoots of the main river that is country music. It eventually became a fashionable existence to identify as a 'hippie'. We empathize and relate to the fundamental ethics of that stream of music, though.''}}<br /> <br /> {{question|''Do you think that aspects of your daily life reflect your ethics and roots as musicians?''}}<br /> <br /> {{boc|''There is a certain aspect of lesser known modern music that serves as an antidote to modern pop charts. It is easy to simply make laptop music but there are no true feelings that reside within it and it is often difficult to find any warmth in. We have a certain appreciation for bands that can utilize musical instruments live despite [[Boards of Canada]] relying more heavily on technology.''}}<br /> <br /> {{question|Many people compare you to certain groups such as Pink Floyd, Brian Eno, Autechure, Godspeed You Black Emperor! etc. How do you feel about this and how do you feel about these artists?''}}<br /> <br /> {{boc|[Ambiguous as to who replies]<br /> ''For Pink Floyd, they generally don't compare us. There isn't so much to hear in their early works. The same can be said about Brian Eno. Some of his works we've certainly enjoyed though despite not listening to all of his works. We adore and are well connected with Autechure. It feels like a vast difference between our sounds though. I tend to focus on music to surpass limits of rhythm and electronic sounds, the core of our sound is generally a melody. With God Speed we have also listened to a small quantity of their work but by no means all of it and I would like to express the greatest respect for Darrel, also my friend. He is probably one of the nicest guys in the people who are doing electronic music.''}}<br /> <br /> {{question|''You guys are on [[SKAM]] as well as [[Warp Records|Warp Records]]...''}}<br /> <br /> {{boc|Mike: ''[[SKAM]], they are not affected by the commercial thing. A 'do-it-yourself' atmosphere that you have to stick to to a certain extent. Andy Maddox (head of [[SKAM]] records) is, while being a layed-back person, someone that would come up with ideas to realize that you want to do immediately. I think we just wanted to feel that we were running our own creation. [[Warp Records|Warp]] is more of a 'big label' type situation but I also feel that we are one large family in music.''}}<br /> <br /> {{question|''You were also working under the name '[[Hell Interface]]' ?''}}<br /> <br /> {{boc|Marcus: ''We are. We made a song that is sampled from the basic elements of a rather famous song, in order to avoid any legal trouble, we thought it would be best to release it under the pseudonym.''}}<br /> <br /> {{question|''The John ''[[Peel Session]]''s were also a great release, we don't yet have any recordings other than that of seeing you perform in a live setting. Do you consider yourself to be more expressive through live works or do you tend towards the studio side of the situation?''}}<br /> <br /> {{boc|Mike: ''Thank you! We spend several months preparing for a performance, mostly because of the visual side of things and using our 8mm film footage. Trying to accurately time psychedelic imagery with the music and we use some unusual effects''}}<br /> <br /> {{question| ''Do you see yourselves ever performing in Japan?''}}<br /> <br /> {{boc|Marcus: ''Really, we have actually wanted to do so. Several times we were invited to play in japan, in fact. However, its not like we have a 'This year I want to do a gig' sentiment very often.}} <br /> <br /> {{boc|Mike: ''We've already begun working on the new album so we have plenty to keep ourselves busy with. After that, perhaps, we will complete a video and consider a live event.''}}<br /> <br /> {{question|''Thank you, [[Boards of Canada]], Thank you!''}}<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> == Highlights and Notes ==<br /> *<br /> <br /> <br /> <br /> == Scans ==<br /> &lt;gallery&gt;<br /> Image:Boardsofcanadacookie024.jpg<br /> Image:Cookie-scene-2002-boc-interview-09.jpg<br /> Image:Cookie-scene-2002-boc-interview-02.jpg<br /> Image:Cookie-scene-2002-boc-interview-03.jpg<br /> Image:Cookie-scene-2002-boc-interview-04.jpg<br /> Image:Cookie-scene-2002-boc-interview-05.jpg<br /> Image:Cookie-scene-2002-boc-interview-06.jpg<br /> Image:Cookie-scene-2002-boc-interview-07.jpg<br /> Image:Cookie-scene-2002-boc-interview-08.jpg<br /> &lt;/gallery&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> <br /> <br /> [[Category: Geogaddi era]]<br /> [[Category: Interviews]]</div>

Valotonin https://bocpages.org/w/index.php?title=Electric_Wonderland&diff=14404 2018-04-28T22:41:47Z

<p>Valotonin: will update, just laying the foundation down before everything gets linked in to the rest of the wiki</p> <hr /> <div>__TOC__ <br /> <br /> &lt;onlyinclude&gt;<br /> {{interview<br /> |title=Electronic Wonderland<br /> |author=Akiho Ishii<br /> |date=2005<br /> |publication=Loud<br /> |issue=131<br /> |pages=32-35<br /> }}<br /> <br /> &quot;[[Electronic Wonderland]]&quot; is a 2005 interview by Akiho Ishii . It originally appeared in Japanese Loud Magazine<br /> &lt;/onlyinclude&gt;<br /> <br /> == Translation ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> '''Note:''' The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by [http://www.twoism.org/forum/memberlist.php?mode=viewprofile&amp;u=3440 Valotonin]. <br /> <br /> <br /> <br /> From Scotland, two musicians, two artists. The group consists of Mike Sandison and Marcus Eoin. Their seminal album, Music Has The Right To Children bought with it new horizons for electronic music. Their second LP, Geogaddi expanded these horizons further, and finally we have the newly released The Campfire Headphase- an Album which feels like it is the product of an ecclectic catalogue of influence consisting of The Beatles and Jimi Hendrix on one side, and My Bloody Valentine on the other.<br /> <br /> The tone and sounds are introverted, calm, expansive and sometimes in direct contrast to previous releases. It feels as if we are constantly searching for an aural representation of the textures and feelings we experience daily, something that Boards of Canada deliver with subtlety and precision. In this interview I try to gain a better insight into the sounds they create and the minds of the artists who convey them.<br /> <br /> {{question| In focusing on your previous work, I found that there was a significant contrast between previous releases and The Campfire Headphase. It is an album that comes three years and eight months on the heels of Geogaddi. How has the time between releases been spent, do you find adequate time between work and finding comfort? After listening, I found an instant need to express what I had heard. It is as if a cassette that was created long ago was suddenly discovered. Can you describe the influence behind that? }}<br /> <br /> {{boc| Mike: We usually have a rough idea between us as to the direction of our music. We share a great many influences and as a result are usually on the same page.I was deeply affected by American Cinema from the late 1970s through to the early 80s and a wide range television shows from my childhood. I recall in quite a number of television shows at the time, images with cars, deserts and glowing skies appeared a lot, and synthesizer music often accompanied it. The Campfire Headphase borrows heavily from the era and the atmosphere. }}<br /> <br /> {{question| What are your feelings on the album from your own perspective, rather than that of a listener or what your intentions for the listener are? Is there any particular formula you find that works best for creating music or is it more spontaneous? }}<br /> <br /> {{boc| Marcus: Most of the tracks on this album come from spontaneous ideas quickly kneaded whilst jamming in the studio, we then tend to spend quite some time completing it while remaining very conscious of not allowing the original idea, the basis of the track, to become overshadowed in the process.<br /> After we recorded Geogaddi, there were more than several songs left over from recording sessions that weren't used in the album and we wanted to finish those and complete another album. During the creation of the album, Mike had a child, but I still had time to make a lot of music. <br /> It was a pretty wonderful time for making music, actually. It all started in Winter. Jamming with a cheap tape recorder to try and take note of ideas as they would present themselves.<br /> At the initial stages of recording, Mike had been in New Zealand for a while, so I created the basic melodies and ideas behind some of the songs that would later go on to be on the album. }}<br /> <br /> {{question|What are your feelings in regard to the contrast between this album and your previous works? How would you describe the general atmosphere of your album as you want it to be heard by you audience? }}<br /> <br /> {{boc|Mike: In a way, the body of the album is a soundtrack to a roadtrip that takes place within the mind. This time, we decided to make it in a more simplistic manor than Geogaddi. It certainly is in contrast with the darker nature of Geogaddi and I liked the idea of a positive contrast between the two by focusing more on simple melody and textures. Geogaddi was as it was because that is what tends happen when you make an album whilst being constantly aware of the concept behind it. I guess that something without a concept is an concept of its own, is it not already? Sometimes it is good to narrow down to a more limited palette to a certain extent by focusing on one concept, but at the same time that can also be quite constraining. }}<br /> <br /> &quot;I believe that I can escape the daily routine of life by creating music that will invite me into an imaginary place, a place where one can think of the more creative and surreal elements of reality&quot; - Marcus Eoin<br /> <br /> {{question| In a previous interview, we discussed electronic music more generally and you spoke of trying to avoid the culture of &quot;laptop musicians&quot;. Has your attitude remained the same in regards to this? }}<br /> <br /> {{boc|Mike: Yes, for music to work, it doesn't always need the assistance of a computer. Obviously, there are some wonderful things coming from the unity of music creation and technology because it grants you access to vast arrays of audio technology in a very compact space. You can take it anywhere, but the underside to that is the fact it has a strong influence on the kinds of music people make. What people will tend to say about the people who are making music on laptops all having similar sounds, it implies that digitization is narrowing their horizons musically. Using a sequencer and synthesizer restricted to a grid, it is tantamount to restricting the infinite possibilities posessed by sound itself. For example, the Tempo of a track when you are working with a visual grid interface will always face restrictions, it is near impossible and certainly far more time consuming and unnatural to have a tempo that fluidly changes with the intensity of a track under those circumstances. If one could imagine that the Beach Boys or the Beatles were making songs using laptops during their golden age, how would albums like Pet Sounds and Sgt Pepper's have turned out? I think that generally digital music is cleaner sounding and polished but also far more inconvenient when working with anything other than a very limited type of music. There seems to be no sense of appeal or presence within a lot of the work. I think that concerts consisting of laptop music are generally quite boring. I don't really want to wait in line for a show that feels as if it just allows people onto the stage to press a play button and check their email for an hour. (laughs) }}<br /> <br /> {{question| One of the main contrasts between Music Has The Right To Children and Geogaddi compared to the latest release is the use of much heavier sounds in the former compared to what I would describe as close, sentimental and more domestic sounds of the Campfire Headphase }}<br /> <br /> {{boc|Mike: We took a step back from Geogaddi. It was a darker and more claustraphobic album, so after that I wanted to create an album that was more expansive and hopeful. Its simpler and with a lot more aural breathing room. This album is a horizon where you can continue seeing forever. Every song we make develops our sound more in a particular direction, so we aren't going to find ourselves back in the place we have been sitting. [The Campfire Headphase] was a manifestation of our moving to the next sound, albeit one that could be described as more simple and stripped-back comparitively speaking. }}<br /> <br /> {{question| What meaning do you put into the artwork? }}<br /> <br /> {{boc| Mike: When you find an old photograph that has been exposed to light for quite some time and lost its hue and faded as a result, regardless of the context of the photograph, it always tends to cause one to feel a sense of sorrow. That is what we find ourselves constanatly looking for every day. Even in tracks that on the surface are generally quite cheerful, that natural decay creates an underlying sense of sorrow. The cover art is quite reflective of that, the appearance of a photograph that was once very colourful having been exposed to the elements and decayed over the passage of time to the point that it becomes impossible to imagine what the colours originally were. It is intentionally obscured. Given too clear an image, it deprives the viewer's sense of imagination from setting in. I want one to feel like they are looking at pieces of a photograph they have found themselves. }}<br /> <br /> {{question| In the album inlays, there are pictures of various obscured faces, quite reminiscent of a childhood memory. Were they implemented to further compliment the sense of nostalgia and revival of memories that appear in musical form on the album? }}<br /> <br /> {{boc| Mike: Yes, I tried to create an intensity of emotional texture with this Album. Reminiscent of memories of memories, memories of when I had fun that have since started to fade away and this album is an expression of that bittersweetness as if it had been lost forever. Both our music and my personal attitude come from a perspective of retriving and exploring memories of the past, including the decay and emotional texture that are added to them as time progresses. }} <br /> <br /> {{question| In Scotland, the theory and thoughts surrounding animism have been present since ancient times. Does Boards of Canada's music have any correlation to such traditions and trains of thought? }}<br /> <br /> {{boc| Mike: I find it very interesting to toy with the idea. Culturally, Japan is the reason for my thinking that animism isn't suffering as much as previously thought, but I can certainly take and appreciate the Celtic culture of Scotland and Ireland. We are always conscious of mystery and the essence of life and the many different interpretations there are. }}<br /> <br /> {{question| In regards to &quot;Farewell Fire&quot;, it feels as if it is a goodbye, something lost forever. What is the nature of the track? }}<br /> <br /> {{boc| Marcus: In a way, the track is a farewell whilst in a state of melancholy after the journey that preceeded. It really ends in a way that makes it feel like one is still not sure what they are going through. It fades out in such a way as to be a &quot;beautiful exit&quot;, but it lingers on subtley in keeping with the way one would hear a melody repeat softly in their head after repeated listens. It was designed to loop, almost eternally. }}<br /> <br /> {{question| You have told me that you are living communally in rural Scotland. You originally lived closer to the city, but have since migrated into the living situation you find yourselves in currently. How did this come about? }} <br /> <br /> {{boc| Mike: When I lived in the City, there are certain subtleties that you don't realise make a significant difference if you are used to that situation, but definitely do. Urban noise and various other disturbances, it is as if you have lost your perception through saturation of the senses. Being away from technology is in stark contrast to this and it allows one some headspace. Of course, we still use the Internet, television and radio, it is not completely technologically isolated. It is a positive thing, especially for those who rely on their sense of sound and atmosphere, to be able to withdraw from the melancholy life that presents its self in the city. }}<br /> <br /> {{question| What are the advantages of living in a commune? }}<br /> <br /> {{boc| Mike: Its not a commune in the conventional meaning of the word. It is just a matter of living with friends and buddies in the same space. Its a calm studio space where we can do what we wish to do. At the same time it has a surprising aesthetic, a lot of nice food, we also have a solid security system, but I am just trying to create a workable environment. }}<br /> <br /> {{question| Do you find that Hippie culture and the psychedelic movements of the 60s affect your music significantly? }}<br /> <br /> {{boc| Marcus: Not really. I like a lot of music from the era, though. I think it was a very interesting period for unusual music and culture and it would have been really enjoyable for those that were teenagers at the time. }}<br /> <br /> {{question| How do you feel towards the current electronic music scene? }}<br /> <br /> {{boc| Mike: I think the way technology made music work for everyone is obvious in a way, but at the same time in a lot of electronic music there is a situation in which you can't reach the real organic sound unless you trace it back through quite a string of components and effects. }}<br /> <br /> {{question| Do you feel the ever-increasing popularity trend within electronic music is a positive? Warp have also signed alternative artists such as Maximo Park, do you like that they don't always confine themselves to one genre? }}<br /> <br /> {{boc| Marcus: I think that it is a good thing. A label should cater to many tastes, if I were to have strawberry ice cream day after day, eventually that would grow boring, one builds a sensory tolerance in that respect just as they do with music. People don't always want the same flavor. I feel that many people tend to misunderstand Electronic Music, and it is often seen as music that shouldn't be intertwined with any other genre. There is no necessity to quarantine it or protect it by metaphorical barricades. Good artists use everything to construct music, good music, and genres only tend to serve as limitations to that process. }}<br /> <br /> {{question| Are you able to tell us your plans for the future? }}<br /> <br /> {{boc| Mike: We have begun laying the framework out for the next album. A project that we will see completed a few years down the line. It will be a work, an aspect of music, that we haven't touched on before. We also intend to potentially do some work in film. Also, I can't really speak in detail about it at the current stage, but there are some collaberations that we've been talking about over the past few years. Maybe a couple of live events, too. Oh, and the *top secret* side project is also in progress. }}<br /> &lt;/onlyinclude&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Equipment&diff=14038 2017-04-13T18:44:53Z

<p>Valotonin: </p> <hr /> <div>There has been much debate on what equipment Boards of Canada uses to get their unique sound. Due to their reclusive nature and lack of touring, not much is known for certain, but there is much speculation.<br /> <br /> == Secret weapon ==<br /> [[Boards of Canada|BoC]] themselves have, in multiple [[interviews]], mentioned the use of a &quot;secret weapon&quot; they use to generate their unique sound. As the name implied, they have declined to provide any specific information on what this &quot;weapon&quot; might be, but most expect it to be some sort of old analog synth.<br /> <br /> <br /> Many believe the [[Yamaha CS80]] to be this weapon. In the [[WATMM]] thread &quot;[http://forum.watmm.com/index.php?showtopic=1503 ATTN BOC-sessives, CS-80 on eBay], however, jbible refutes this, saying<br /> <br /> &lt;blockquote&gt;&quot;The synth used by BOC often mistaken for a CS80 is a Crumar with a BOC emblem covering the name of the synth on the back.&quot;&lt;/blockquote&gt;<br /> <br /> Since jbible has seen [[Boards of Canada|BoC]] live (and is the source of the [[Live @ ATP]] bootleg), his comments hold some weight.<br /> <br /> Here is a detailed &quot;[http://synthmuseum.com/yamaha/yamcs8001.html write-up]&quot; of the CS-80, courtesy of the SynthMuseum.<br /> <br /> == Synthesizers ==<br /> <br /> ===SH-101===<br /> <br /> It appears that BOC use the SH-101 extensively. It possible that it is their only mono-synth. <br /> <br /> It's hard to prove this definitively and the tone of the sounds are nearly always altered in the mix making a perfect copy of any particular sound extremely difficult. <br /> <br /> However, having used this synth extensively in my opinion there's almost no mono-synth sound on BOC's records that couldn't have come from the 101. <br /> <br /> In this link I show how to make the Roygbiv bassline on a 101 (actulaly a 202 but the sound generation circuitry is identical).<br /> [http://forum.watmm.com/index.php?showtopic=10258&amp;st=0&amp;p=223082&amp;#entry223082 WATMM forum link]<br /> <br /> ===CS1x===<br /> <br /> A blue Yamaha CS-1x is possibly visible in a 1999 Lighthouse Party [http://en.wikipedia.org/wiki/Image:Boards_of_Canada_Warp_Lighthouse_Party_1999.jpg photograph]. If it is a CS1x, it is more likely to have been used to trigger samples than generating its own sound, though this could ostensibly have been used for such sounds as Olson's filtered piano.<br /> <br /> ===AN1x===<br /> (Special Note): Yamaha's AN1x has also been quoted as being the blue keyboard in question. [[Twoism (messageboard)|twoism.org]] have a thread on this, where some members have analysed the photograph, and by altering contrast etc, have stated that a certain port that only the CS1x has, is 'missing' from the back panel, thus strongly suggesting that the synth in question is indeed an AN1x. Interestingly, in recent years, numerous examples of AN1x programming to emulate/re-create BOC sounds have surfaced, demonstrating remarkable closeness to BOC, thus furthering the potential that the blue synth is in fact an AN1x. &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?f=2&amp;t=9092&amp;hilit=AN1x&lt;/ref&gt;<br /> <br /> == Native Instruments ==<br /> In a 2001(?) interview with Mate Galic of [[wikipedia:Native Instruments|Native Instruments]], Boards of Canada is listed as one of the artists using NI products (but not details on which ones). [http://web.archive.org/web/20011219173856/http://www.cakewalknet.com/articlesnieng.htm]<br /> <br /> == Tape decks ==<br /> === Grundig ===<br /> ==== Unknown tape deck ====<br /> <br /> ''“We love these low-quality tape machines,” Eoin says. “The great thing with machines such as the &lt;b&gt;Grundig&lt;/b&gt; is that it's tragically bad. Whatever you record into it just doesn't come out unscathed. There's a ‘magic eye’ valve display on it, and when you hit the tape deck with the right volume, enough to fill out the magic eye, it's at that exact sweet spot that it is saturating the tape. So if you then sample back the playback, it's got a thousand years' grain on it.”'' [[interviews|Remix, 2005]]<br /> <br /> * Possible models:<br /> ** [http://www.rolaa.de/sehensw/radio/tonband/tape1/tape1/tk1_e.htm TK 1 Luxus]<br /> ** [http://www.rolaa.de/sehensw/radio/tonband/tape1/tape1/tk5_e.htm TK 5]<br /> <br /> * [http://www.everything2.com/index.pl?node_id=1409390 &quot;Magic eye&quot; article at Everything2]<br /> * [http://www005.upp.so-net.ne.jp/y_kondo/MAGICEYE2.HTM Gallery of Magic Eyes]<br /> <br /> === Tascam ===<br /> <br /> ==== Unknown 4-track ====<br /> ''We drop a lot of our music down onto a &lt;b&gt;Tascam 4-track&lt;/b&gt; that has a great saturating effect on the sound.''<br /> [[interviews|Remix, 2002]]<br /> <br /> ==== MSR-16 ====<br /> ''Whether they're working separately or together, getting ideas down is generally a result of recording extended jams to tape on anything from a &lt;b&gt;Tascam MSR-16 reel-to-reel&lt;/b&gt; to an old Revox recorder to a Grundig machine to an ordinary cassette.'' [[interviews|Remix, 2005]]<br /> <br /> * [http://www.tascam.com/Company.html#1988 TASCAM Company History]<br /> * [http://www.audioscope.net/images/tascammsr16.jpg Image]<br /> <br /> == Samplers ==<br /> ===Yamaha===<br /> ==== A3000 ====<br /> The rear of an Yamaha A3000 can be seen in this live photograph: [http://bocpages.org/wiki/File:BOC-live-12.jpg]<br /> === Akai ===<br /> ==== S1000 ====<br /> ''We have five or six samplers, but my favorite by far is still the &lt;b&gt;Akai S1000&lt;/b&gt;. It's an old tank now, and the screen has faded so that I almost can't read it, but I know it inside out. It's the most spontaneous thing for making up little tunes. It adds something to the sound — maybe the lower bit depth has something to do with that.'' - [[interviews|Remix, 2002]]<br /> <br /> * [http://www.vintagesynth.com/akai/s1000.shtml Vintage Synth Explorer]<br /> * [http://www.synthmuseum.com/akai/akas100001.jpg Image]<br /> ==== S3200 ====<br /> The rear of an Akai S3200 can be seen in these live photographs: [http://bocpages.org/wiki/File:BOC-live-12.jpg] [http://bocpages.org/wiki/File:BOC-live-04.jpg]<br /> * [http://www.vintagesynth.com/akai/s3000.php Vintage Synth Explorer<br /> ==Percussion==<br /> ''As for our percussion, it's never just a drum machine or a sample, we put a lot of real live drumming or percussion in there, woven into the rhythm tracks, and it brings a bit of chaos into the sound that you just can't achieve any other way''<br /> <br /> == References ==<br /> &lt;references/&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14015 2017-04-07T17:07:17Z

<p>Valotonin: </p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|Statements from Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged chronologically into categories based on subject matter.&lt;br&gt;&lt;br&gt;<br /> MHTRTC - [[Music Has The Right To Children]]&lt;br&gt;<br /> TCH - [[The Campfire Headphase]]&lt;br&gt;<br /> TH - [[Tomorrow's Harvest]]<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> '''Geogaddi era'''<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> '''TCH era'''<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> '''Geogaddi era'''<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14014 2017-04-07T16:54:24Z

<p>Valotonin: </p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged chronologically into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> '''Geogaddi era'''<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> '''TCH era'''<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> '''Geogaddi era'''<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14013 2017-04-07T16:53:04Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> '''Geogaddi era'''<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> '''TCH era'''<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> '''Geogaddi era'''<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14012 2017-04-07T16:40:26Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> '''Geogaddi era'''<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> '''Campfire era'''<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> '''Geogaddi era'''<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14011 2017-04-07T16:38:30Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> '''[[Geogaddi]] era'''<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> '''[[The Campfire Headphase|Campfire]] era'''<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> '''Geogaddi era'''<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14010 2017-04-07T16:36:43Z

<p>Valotonin: /* Hexagon Sun */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> '''Geogaddi era'''<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> '''Campfire era'''<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> '''Geogaddi era'''<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14009 2017-04-07T16:36:01Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> '''Geogaddi era'''<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> '''Campfire era'''<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14008 2017-04-07T16:12:11Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> '''2002'''<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> '''2005'''<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14007 2017-04-07T16:08:29Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> ===A2002===<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> ===A2005===<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14006 2017-04-07T16:03:53Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> <br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=14005 2017-04-07T16:03:36Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> ===B2005===<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=L%27Assenza_Di_Domani&diff=14003 2017-04-06T21:08:17Z

<p>Valotonin: /* Original text (Italian) */</p> <hr /> <div>&lt;onlyinclude&gt;<br /> {{interview<br /> |title=L'Assenza Di Domani<br /> |author=Damir Ivic<br /> |date=July 2013<br /> |publication=Il Mucchio<br /> |issue=Jul + Aug 2013<br /> }}<br /> &lt;/onlyinclude&gt;<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> &quot;[[L'Assenza Di Domani]]&quot; is a 2013 interview by Damir Ivic. It originally appeared in Il Mucchio magazine Jul + Aug 2013. &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?t=11103&lt;/ref&gt;<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> __TOC__<br /> <br /> == Original text (Italian) ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> {{original}} <br /> <br /> Da un lato è bello il mistero. Un mistero fatto di assenze, di interviste rarissime ed esibizioni live ancora più rare. Dall’altro, qualche anno fa, ci era capitato di passare quasi un intero pomeriggio con [[Marcus]] e [[Mike Sandison]], scoprendo due persone cordiali e gradevolissime. <br /> Stavolta l’unico modo per raggiungerli è la mail. Ma traspaiono lo stesso attitudini, idee, modi di fare e di ragionare; e una linearità di pensiero che veramente si fa beffe delle inutili complicazioni o delle fastidiose superficialità di tutto ciò che è (troppo) contemporaneo. <br /> Si parla molto e soprattutto del loro ultimo lavoro appena uscito, [[Tomorrow's Harvest]], perché gli spunti decisamente non mancano.<br /> <br /> {{question|Insomma, direi che la faccenda del “Cosa diavolo avete fatto in tutti questi anni passati dall’ultimo disco?” sarà ormai diventato un tormentone insopportabile. Ovvio, la tentazione di farvi anche io questa domanda non posso non averla, però fatemi chiedere: ma invece, cos’è che in tutti questi anni avreste voluto fare e non siete riusciti a fare?}}<br /> <br /> {{boc|&quot;MARCUS: Mmmmh. Dormire, direi.&quot;}}<br /> <br /> {{question|All’epoca dell’uscita di [[The Campfire Headphase|Campfire Headphase]] ci incontrammo: sì, sono uno di quei pallosissimi tipi che fa quella pallosissima supposta professione dello scrivere di musica. Per l’uscita di quell’album lì, accettaste infatti - cosa più unica che rara per voi - di fare delle interviste faccia a faccia, non solo via mail. Intuisco che vi abbiamo divertito ed entusiasmato tantissimo, se ora siete tornati alla policy del solo-via-mail...}}<br /> <br /> {{boc|&quot;MARCUS: Ahah, no dai, non è questo. È che molto semplicemente scegliendo la modalità via mail non siamo obbligati a passare giorni e giorni ascoltandoci ripetere sempre gli stessi concetti.&quot;}}<br /> <br /> {{question|Una cosa che invece vi diverte sempre tanto è snobbare le offerte che vi arrivano, immagino in quantità copiosa, per esibirbi dal vivo. }}<br /> <br /> {{boc|&quot;MIKE: Vero, di offerte ne arrivano parecchie. Soprattutto da parte dei festival. Però ecco, diciamo che se decidessimo di esibirci dal vivo vorremmo che fosse qualcosa di veramente speciale. Se proprio decidessimo di farlo. In effetti ti confessiamo che ultimamente abbiamo ripreso a pensarla come un’ipotesi fattibile, sì, e abbiamo iniziato a lavorarci sopra.&quot;}}<br /> <br /> {{question|Se vi guardate indietro, ci sono degli elementi di [[The Campfire Headphase|Campfire Headphase]] che oggi non vi soddisfano più? Ve lo chiedo perché mi pare che [[Tomorrow's Harvest]] sia una decisa svolta, come atmosfere e come scelta dei suoni, rispetto al suo predecessore.}}<br /> <br /> {{boc|&quot;MARCUS: In verità ogni volta che lavoriamo ad un disco nuovo tendiamo a far sì che venga fuori diverso, come suoni ed atmosfere, rispetto a quello precedente... o almeno questo è quello che proviamo a fare. È una scelta ben precisa. Vogliamo comunque dare un’idea di cambiamento, vogliamo far sentire con chiarezza che si tratta di un nuovo capitolo. Detto questo, ancora oggi credo che dentro [[The Campfire Headphase|Campfire Headphase]] ci siano delle tracce riuscitissime, fra le cose migliori che abbiamo mai fatto. Fare un disco nuovo diverso da quello precedente non significa disconoscere il predecessore, no?&quot;}}<br /> <br /> {{question|Allora, prendiamo una traccia da ‘[[Tomorrow's Harvest]] come [[White Cyclosa]]: c’è veramente tanto di Carpenter, è davvero - come dire? - paranaoia urbana retrofuturistica (...ok, ok, scusateci, noi giornalisti musicali siamo brutte persone e parliamo tutti un po’ così). <br /> A sentire pezzi così, il claim che potrebbe riassumere l’album potrebbe essere “Il mondo è impazzito!”. Ma la malinconia che permea la gran parte del disco invece farebbe optare per un più mesto “Il mondo si è intristito”. Ha senso? Quale dei due claim possibili è meno scemo ed insensato?}}<br /> <br /> {{boc|&quot;MIKE: In realtà credo che potrebbero proprio andare bene tutt’e due. Ma se devo<br /> dirti un buon modo per descrivere la nostra musica, un modo tra l’altro sempre valido di qualsiasi album si tratti, ti direi una cosa tipo: “Musica da ascoltare in cuffia che ti permette di estraniarti per un attimo dal mondo e quindi di osservarlo sotto una luce diversa”. Non so, rende un po’ l’idea? Tornando poi nello specifico a [[Tomorrow's Harvest]], da un lato è vero che c’è anche un sottotesto politico in questo disco; dall’altro tuttavia non siamo mai stati interessati a quel tipo di retorica piuttosto teatrale e chiassosa che un artista tende sempre a mettere nei suoi lavori quando vuole permearli di significati e messaggi politici. Noi abbiamo voluto agire in altro modo. Abbiamo lavorato per dare vita ad un’atmosfera cinematica che fosse cupa, tetra.&quot;}}<br /> <br /> {{question|In tutta onestà, e non sto (solo) parlando di musica: ha senso essere nostalgici? Vivevamo meglio negli anni 90, per dire, rispetto ad oggi?}}<br /> <br /> {{boc|&quot;MIKE: Il mondo è qualcosa in continua evoluzione, inoltre credo sia molto facile guardare al passato come qualcosa di più bello rispetto al presente... qualsiasi sia il presente che tu stia vivendo. È vero, non te lo nascondo, mi capita più di una volta di avere l’impressione di vivere oggi in un mondo che è più scuro e più complicato rispetto a quello di qualche anno fa. Ma questo credo derivi semplicemente dal fatto che quando sei più giovane non ti curi molto di quello che succede nel mondo, sei tutto focalizzato sulla tua vita, sui tuoi obiettivi. Diventando più vecchi, diventa allora quasi fisiologico farsi più disillusi, più scettici.&quot;}}<br /> <br /> {{question|Ma voi altri siete ancora beatamente confinati nella campagna, da bravi gentiluomini britannici d’altri tempi?}}<br /> <br /> {{boc|&quot;MARCUS: Oh sì, lo siamo. Anche se tendiamo a non avere vestiti in tweed e teste di cervo impagliate a decorarci le pareti. &quot;}}<br /> <br /> {{question|[[Tomorrow's Harvest]] suona in tutto e per tutto come un disco tipicamente [[Boards of Canada|Boards Of Canada]], al di là delle differenze che possono esserci tra un vostro album e l’altro. Ok. Ma prima o durante l’averci lavorato sopra, c’è stato qualche ascolto che vi ha in qualche modo influenzato o addirittura indirizzato?}}<br /> <br /> {{boc|&quot;MIKE: Quando lavoriamo ad un disco, per scelta decidiamo di non ascoltare nessun tipo di musica contemporanea, in giro in quel momento.‘ Il motivo è molto preciso: vogliam evitare che anche inconsapevolmente nelle tracce del disco entrino degli elementi ‘che possano in qualche modo datare la musica; Durante la lavorazione di [[Tomorrow's Harvest]] ti posso dire che abbiamo ascoltato molte colonne cinematografiche anni 70 e anni 80, possibilmente di film piuttosto deprimenti. Come nomi di compositori, potrei fartene molti di italiani: Fabio Frizzi, Stefano Mainetti, Riz Ortolani. Di stranieri, i primi da citare credo siano John Harrison, Mark Isham, Paul Giovanni, Wendy Carlos. <br /> Ma potrebbe avere un suo senso anche mettere in questa lista uno come Michael Nyman.&quot;}}<br /> <br /> {{question|Stiamo tra l’altro parlando di un disco piuttosto lungo e con molte molte tracce, diciassette. Un disco, poi, senza cadute di tono. Quanto materiale avete scartato, prima di completare la tracklist definitiva?}}<br /> <br /> {{boc|&quot;MIKE: Non poco. Forse da farci addirittura un altro album o due, anche se si tratta di tutta roba non finalizzata, che ha bisogno di lavoro sopra. Questo per noi è assolutamente normale, sai: stessa cosa è successa con i dischi precedenti. Magari parte di questo materiale inutilizzato troverà modo di vedere la luce prima o poi. Non lo escludiamo.&quot;}}<br /> <br /> {{question|Non ho resistito alla tentazione di dare un occhio al forum di [[WATMM|We Are The Music Makers]], uno dei bastioni dell’IDM e della vostra fan base più intransigente. Uno dei più divertenti commentava acidamente la comparsa su “Rolling Stone” americano di un articolo - peraltro effettivamente scritto in modo pessimo ed idiota - su di voi: “Non avrei mai pensato che i [[Boards of Canada|Boards Of Canada]] sarebbero diventati così mainstream da poter finire su ‘Rolling Stone’. Un nuovo punto basso, se volete sapere la mia opinione”. Insomma: finire sui media mainstream può farvi del male? E ha senso essere così gelosi della musica e dei gruppi che si amano?<br /> }}<br /> <br /> {{boc|&quot;MARCUS: Mettiamola così: tanto noi non diventeremo mai i Genesis o gli U2 o qualcosa del genere. Mai. Detto questo, posso anche capire lo spirito con cui certe cose vengono scritte o pensate, ma in generale credo che odiare qualcosa solo perché questa stessa cosa è amata da altri è un modo abbastanza insano di affrontare la vita...&quot;}}<br /> <br /> {{question|Ok, già che abbiamo sfiorato la galassia fan gelosi&amp;maniaci magari un po’ nerd diamo il via al classicone - per loro - “quale strumentazione avete usato per comporre il disco, quale no e perché”.}}<br /> <br /> {{boc|&quot;MIKE: Un paio di vecchi synth, che amavamo tantissimo, sono morti durante la registrazione. A quel punto abbiamo optato per ciò che qualsiasi persona dotata di acume, intelletto e ragionevolezza avrebbe fatto: li abbiamo rimpiazzati con dei synth ancora più vecchi e ancora più malmessi. Furbi, vero? In generale, sugli strumenti abbiamo fatto una specifica ricerca su quelli che venivano usati di solito per le colonne sonore dei film anni 80... e diciamo che c’abbiamo dato dentro con l'impegno. C’abbiamo perso la testa, ecco, abbiamo esagerato un filino, diventando forse perfino un po’ troppo maniacali. Al di là di questo, come sequencer abbiamo voluto affidarci solo ad hardware e non a software: non puoi capire che sollievo liberarsi dalla schiavitù delle griglie da seguire su un monitor che ti dicono cosa devi fare e quando lo devi fare.&quot;}}<br /> <br /> {{question|In definitiva, [[Tomorrow's Harvest]] è un buon disco? E se lo è, perché? Mi rendo conto che sembra una domanda scema. Ma forse non lo è. Forse.}}<br /> <br /> {{boc|&quot;MARCUS: Una cosa è sicura: è venuto fuori esattamente come volevamo venisse fuori. Se poi questo significa che sia un buon disco o meno, non sta a noi dirlo. Ma abbiamo iniziato a lavorarci sopra avendo bene in testa una direzione, e quella direzione è stata mantenuta e il risultato finale la rispecchia interamente. Questo sì.&quot;}}<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> == Translated text ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> On one hand, mystery is fascinating. A mystery made of absences, rare interviews and even rarer live performances.<br /> On the other hand, a few years ago, we happened to spend almost an entire afternoon with Marcus and Mike Sandison, discovering two friendly and very pleasant guys.<br /> This time, however, the only possible way to reach them was by e-mail, but the same attitudes, ideas, ways of doing and thinking shine through, together with a linearity of thought that mocks of unnecessary complications and annoying superficialities of anything that is (too) contemporary. <br /> There is a lot of talk around the band, especially about their latest album, &quot;Tomorrow's Harvest&quot;, which surely doesn't lack in sparks and ideas.<br /> <br /> <br /> {{question|So, I guess that the &quot;what the hell you been doing all these years since the last album?&quot; matter has probably become an unbearable torment for you. Of course, I am tempted to pose the question too, but let me ask instead, is there something you would have wanted to do during these years, and did not manage to?}}<br /> <br /> <br /> {{boc|&quot;MARCUS: Hmmmm. Sleeping, I'd say.&quot;}}<br /> <br /> <br /> {{question|We met at the time of [[The Campfire Headphase]] release: yes, I'm one of those boring guys who does that boring so-called profession of writing about music. On the occasion of that album's release, in fact, you accepted - something rare and unique for you – some face-to-face interviews, not only via mail. I assume we journalists did amuse and impress you quite positively, since now you switched back to the strictly-email policy...}}<br /> <br /> <br /> {{boc|&quot;MARCUS: Haha, no, come on, it's not about that. It's simply that thanks to emails we're not forced to to hear ourselves repeating the same things over and over again.&quot;}}<br /> <br /> <br /> {{question|One thing you seem to love is declining offers for live gigs - which I guess are quite a number. }}<br /> <br /> <br /> {{boc|&quot;MIKE: True, we actually do receive a lot of offers. Especially from festivals. But well, let's say that if we would ever decide to do a live performance, we want it to be something really special. If we'd ever decide to do it. In fact I must confess that lately we have started to think of it as a possible hypothesis... yes, we started working on it.&quot;}}<br /> <br /> <br /> {{question|If you look back, is there something from [[The Campfire Headphase|Campfire Headphase]] that does not satisfy you anymore today? I ask this because it seems to me that &quot;Tomorrow's Harvest&quot; is a significant step forward from its precedessor, especially concerning moods and sounds.}}<br /> <br /> <br /> {{boc|&quot;MARCUS: Honestly, every time we work on a new album we tend to make it sound differently from the previous one, as for sounds and moods... or at least this is our aim. It is a very precise choice. We still want to suggest an idea of change, we want to hear clearly that it is all about a new chapter. This said, I still believe that [[The Campfire Headphase|Campfire Headphase]] contains many good tracks, among the best things we have ever done. Making a new album which sounds different from the previous one doesn't mean disowning the predecessor, right?&quot;}}<br /> <br /> <br /> {{question|So, let's pick a track from &quot;&quot;[[Tomorrow's Harvest]]&quot;&quot;, say [[White Cyclosa]]: there is really much of Carpenter, it really sounds like - how can I say? – urban, retro-futuristic paranonia (... ok, ok, sorry: we music journalists are bad people and we tend to speak like that).<br /> Basing on tracks like that, we could synthesize the album with the line &quot;World has gone mad.&quot; But, the subtle melancholy pervading most of the album would instead lead us to something more regretful like &quot;World has saddened&quot;. Does this make sense to you? Which of the two lines sounds less stupid and foolish to you?}}<br /> <br /> <br /> {{boc|&quot;MIKE: I actually think that both might be ok. But if you ask me about a good line to describe our music, a line which by the way could fit any of our albums, I'd say something like: &quot;Music to listen to using headphones allowing you to abstract yourself from the world for a moment, then coming back to observe it under a different light&quot;. Does it convey the idea? Speaking about &quot;[[Tomorrow's Harvest]]&quot; in particular, on one hand it is true that there is also a political subtext in this record; however, on the other hand we have never been interested in that kind of dramatic and rowdy rhetoric that sometimes artists tend to put in their work, trying to fill it with political meanings and messages. We wanted to act differently. We have worked in order to create a kinematic, dark and gloomy mood.&quot;}}<br /> <br /> <br /> {{question|To be completely honest, not (only) talking about music itself: does it make sense to you, to be nostalgic? Do you feel we lived better, say, in the 90's, than today?}}<br /> <br /> <br /> {{boc|&quot;MIKE: World is constantly changing, also I think it is very easy to think back to the past as something more beautiful than present times... whatever present you're living in. It is true, I won't lie: I often feel living in a world which is darker and more complicated than a few years ago. But I believe this comes simply from the fact that when you're younger you do not care much about what happens in the world, you're all focused on your life, on your goals. The more you get old, the more you become almost physiologically disillusioned and skeptical.&quot;}}<br /> <br /> <br /> {{question|Are you guys still blissfully retired in the countryside, like proper good ole British gentlemen?}}<br /> <br /> <br /> {{boc|&quot;MARCUS: Oh yes, we are. Although we tend not to dress in tweed and to hang stuffed deer heads on the walls.&quot;}}<br /> <br /> <br /> {{question|&quot;[[Tomorrow's Harvest]]&quot; sounds like a typical [[Boards of Canada|Boards Of Canada]] album, aside from the differences existing among your albums. Is there something you've listened to before or during the studio work, that has somehow influenced or even addressed you towards something specific?}}<br /> <br /> <br /> {{boc|&quot;MIKE: While working on a new album we always deliberately decide not to listen to any kind of contemporary music. The reason is quite clear: we want to prevent elements that could somehow put a datestamp on our music from penetrating the tracks of the album; during the studio work for &quot;[[Tomorrow's Harvest]]&quot; we have listened to many soundtracks from the 70s and the 80s, possibly the more depressing ones. I could name many Italian composers: Fabio Frizzi, Stefano Mainetti, Riz Ortolani. As for foreigners instead, the first ones to mention would be John Harrison, Mark Isham, Paul John, Wendy Carlos. Also Michael Nyman might also be included here.&quot;}}<br /> <br /> <br /> {{question|By the way, we're talking about a rather long album with many, many tracks: seventeen. Also, an album with no &quot;lows&quot;. How much material did you leave out before reaching the final tracklist?}}<br /> <br /> <br /> {{boc|&quot;MIKE: Quite much. Perhaps enough to make another album or even two, even if we're talking of raw stuff that still needs much work on. This is absolutely normal for us, you know, the same happened with the previous albums. Maybe part of this unused material will somehow see the light someday. We can't exclude that.&quot;}}<br /> <br /> <br /> {{question|I couldn't help being tempted to take a look at [[WATMM|We Are The Music Makers forum]], one of the fortresses of IDM, that also gathers your more intransigent fans. Among the nicer ones, one acidly commented the article about you on the American version of &quot;Rolling Stone&quot; – which by the way, was actually idiotic and poorly written: &quot;I never thought that [[Boards of Canada|Boards Of Canada]] would become so mainstream to end up on 'Rolling Stone'. A new low in their career, if you ask me.” So, does it bother you to be featured on mainstream media such as that? And: does it makes sense, as a fan, to be so jealous of the music and the bands you love most?}}<br /> <br /> <br /> {{boc|&quot;MARCUS: Let's say that we'll never be like Genesis or U2 or something like that. Never. This said, I can also understand the spirit and the aim with which certain things are written or thought, but I generally believe that hating something just because also other people love it as well is a fairly insane way to deal with life...&quot;}}<br /> <br /> <br /> {{question|Ok, now that we landed on the ground of &quot;jealous &amp; maniacs &amp; maybe a little nerdy fans&quot;, let's start with one of their classics: &quot;what equipment did you use to compose the album, what you did not, and why.&quot;}}<br /> <br /> <br /> {{boc|&quot;MIKE: A couple of old synths, that we really loved so much, died during the recording. At that point we opted for what any insightful and smart person would have done: we replaced them with older, even more shabby synths. Smart move, isn't it? Speaking in general, we actually did a deep research on the audio equipments that were commonly used for movie soundtracks during the 80s... and le'ts say we really worked hard on this. We've lost our heads on this matter, perhaps we've exaggerated a bit, maybe we took this a bit too maniacally. But aside from this, for the sequencers we decided to rely only on hardware, withouth softwares: you can't imagine what a relief it was to get rid of all those grids on screen teling you what to do and when to do it.&quot;}}<br /> <br /> <br /> {{question|Finally: is &quot;[[Tomorrow's Harvest]]&quot; a good album? And if yes, why? I admit that sounds like a stupid question. But maybe it is not. Maybe.}}<br /> <br /> <br /> {{boc|&quot;MARCUS: One thing's sure: it sounds exactly as we wanted it to sound. Whether this means that it is a good album or not, we're not supposed to decide it. But we started to work on it with a clear direction, that direction was kept all along the work, and the final result completely reflects it. We can say that.&quot;}}<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> == Scans ==<br /> <br /> &lt;gallery&gt;<br /> Image:il-mucchio-2013-01.jpg<br /> Image:il-mucchio-2013-02.jpg<br /> Image:il-mucchio-2013-03.jpg<br /> Image:il-mucchio-2013-04.jpg<br /> Image:il-mucchio-2013-05.jpg<br /> Image:il-mucchio-2013-06.jpg<br /> Image:il-mucchio-2013-07.jpg<br /> &lt;/gallery&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> [[Category: Interviews]]<br /> [[Category: Tomorrow's Harvest era]]</div>

Valotonin https://bocpages.org/w/index.php?title=Brothers_Who_Make_Electronica_by_Hand&diff=14002 2017-04-06T21:06:24Z

<p>Valotonin: /* Original text */</p> <hr /> <div>&lt;onlyinclude&gt;<br /> {{interview<br /> |title=Brothers Who Make Electronica by Hand<br /> |author=Jon Pareles<br /> |date=2013-06-11<br /> |publication=The NY Times<br /> |issue=Online<br /> }}<br /> &lt;/onlyinclude&gt;<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> &quot;[[Brothers Who Make Electronica by Hand]]&quot; is a 2013 interview by Jon Pareles. It originally appeared online in The NY Times. &lt;ref&gt;http://www.nytimes.com/2013/06/12/arts/music/tomorrows-harvest-by-boards-of-canada.html&lt;/ref&gt; <br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> __TOC__<br /> <br /> == Original text ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> {{original}} <br /> <br /> [[Boards of Canada]] thrive on making themselves scarce. A duo of brothers from rural Scotland, [[Mike Sandison]] and [[Marcus Eoin]], the group has been releasing electronic music since the mid-1990s — music that eludes most standard pop notions of electronica and has built a fiercely dedicated following among fellow musicians and producers.<br /> <br /> It’s usually amorphous, not crisp; it doesn’t aim for the dance floor. Bits of melody or rhythm, or stray human voices, surface, only to dissolve into disorienting ambiences; even brief tracks are eventful. They work on their own time frame; the new [[Boards of Canada]] album, “[[Tomorrow's Harvest]]” ([[Warp]]), is their first release since 2006, and it’s rich in moody suspense, with even fewer bucolic moments than past releases.<br /> <br /> The brothers stay largely private; they have not performed since 2001. The following exchange — their only United States interview for this album — took place via e-mail, and has been slightly edited.<br /> <br /> {{question|Six and a half years — what took you so long?}}<br /> <br /> {{boc|&quot;MIKE SANDISON We spent some time overseas and then we were busy expanding our studio space back here in Scotland. A couple of years ago we decided to start collating and cataloging all our early recordings, just for ourselves really, to know that we could tidy it all up and hand it on to our kids someday, but there are literally thousands of tracks going way back into the ’80s. It’s a huge task, and this just seemed to eat up time. We’ve been working on new music all the time throughout this, so we have a lot of material to wade through.&quot;}}<br /> <br /> {{question|Did listening to your earlier recordings feed into the newer music?}}<br /> <br /> {{boc|&quot;SANDISON We kept surprising ourselves, finding old things we’d completely forgotten about. We have cases full of tapes. The thing I notice about the really early stuff is how empty and abstract a lot of it is, so that reminded me of my love for a kind of “distance” in the music.&quot;}}<br /> <br /> <br /> {{question|Did you go into making “[[Tomorrow's Harvest]]” with a plan? Some of the early reactions have called it less ingratiating than previous albums, more challenging.}}<br /> <br /> {{boc|&quot;MARCUS EOIN I like the description “less ingratiating.” There’s a definite theme on the record. Without blowing it all for the listeners, there’s a core to it about an apparently irreversible vector we’re already on as a species. The world population has doubled in my lifetime. If you really let that fact sink in, you start to realize why it is that in so much of popular culture, in books and movies and TV, we’re fantasizing about a depopulated world in one way or another. In terms of the actual textures and melodies on this album, we wanted to loosely evoke some familiar things from older movies that have touched on these ideas.&quot;}}<br /> <br /> {{question|Older movies? Which ones?}}<br /> <br /> {{boc|&quot;SANDISON I wouldn’t want to pin it down to any specific films, we’d have to list about 50 of them, to be fair. We approached this with the intention to evoke certain styles from memory rather than directly studying something in particular. For example, in the mid-’80s there was a fashion for inappropriately positive or uplifting synthesizer music in grim sci-fi and horror films, so that was certainly something we were going for.&quot;}}<br /> <br /> {{question|The titles on “[[Tomorrow's Harvest]]” are somber: “[[Sick Times]],” “[[Collapse]],” “[[Come To Dust]].” Do you create the titles before or after the tracks? And what do these intend to tell us?}}<br /> <br /> {{boc|&quot;SANDISON We usually get the titles down at the same time as writing the tracks. A title can be like a vessel. What’s unusual for us on this record is that we knew the album title as far back as 2006, so it was difficult sometimes keeping that to ourselves for so long. There’s a kind of chronology and narrative in the track titles, they’re really chapters in a document of an event. We want the listener to piece it together rather than us just explaining it verbally.&quot;}}<br /> <br /> {{question|Could you offer some step-by-step details about the making of one track?}}<br /> <br /> {{boc|&quot;SANDISON One technique we like is to create entirely new instruments by sampling ourselves performing on real instruments and then destroying the sounds. So we’ll maybe spend days just playing various things, wind instruments, strings, guitars, bass, synths, for hours into the samplers and then feeding those sounds through stacks of destructive hardware and resampling them to make unrecognizable new sounds. This is all before we even begin writing any tunes. So in the case of “[[New Seeds]],” for example, some of the core tracks are real live percussion and bass, and then for layers of subsequent takes we captured ourselves jamming on these self-sampled sounds, to get a really slack, krautrock-y backbone. With that track we went back over it a few times overdubbing more hand-played parts, which gives it a really nice untidy energy. There’s a point where the melody blossoms into something new, like a clearing in the clouds, and the timing of that moment just happened naturally while we were jamming it down.&quot;}}<br /> <br /> {{question|Is there a particular sound or timbre on the album that you are happiest with, and how did you make it?}}<br /> <br /> {{boc|&quot;EOIN If I had to pick something in particular, maybe the texture of the strings in “[[Semena Mertvykh]].” It was performed into a dissected VHS deck with the motor running super slowly, so you can hear all the pockmarks, the dropouts on the tape. It’s mono, too, which gives it something special. More people should record in mono these days.&quot;}}<br /> <br /> {{question|To me, much of your music lingers in boundary zones between melody and loop, between explicit beat and implied pulse, between pitch and noise. Do those distinctions matter to you?}}<br /> <br /> {{boc|&quot;SANDISON I don’t think we use those distinctions at all. You can pick out a melody from the squeaking rusty chains of a swing. I once zoned out to a melody I could hear in the TGV [high-speed train] from Paris to Geneva, and it turned out to be harmonics coming from the rails vibrating under the train. If you’re willing to spend a long time experimenting with sound sources, you start to find yourself curating little moments, sometimes happy accidents.&quot;}}<br /> <br /> {{question|[[Boards of Canada]] favors very analog sounds that are combined and manipulated digitally. Is this a strategy with a message? What are your thoughts on the way we now spend so much of our lives experiencing digital and quantized content?}}<br /> <br /> {{boc|&quot;EOIN I think the digital world suffers from being just so literal, so deliberate and sober. As with digital photography, people have gotten used to applying simulated filters onto their pictures just to inject a bit of romance into the thing, because the raw pictures are so flat. But in the analog realm these beautiful things just happen by themselves without your conscious effort. You could say the wobbles and flutters in our music are equivalent to something like weeds overgrowing an old building. Nobody puts the weeds there, but nature comes along and makes the scene very tragic and beautiful.&quot;}}<br /> <br /> {{question|Just about every recording musician now feels compelled to create a public persona and image, a bid for celebrity. You’ve rejected that mode of careerism. Why? And does the music reflect that?}}<br /> <br /> {{boc|&quot;EOIN I don’t think we have those sorts of personalities, we don’t need that kind of attention. I think a lot of showy artists have a kind of high-maintenance neediness in their personalities as people, and the music they make becomes a bit subordinate to that, arbitrary even. We’re fairly self-sufficient and normal people, but O.K., we’re obsessive about music itself.&quot;}}<br /> <br /> {{question|Your most dedicated fans — and possibly your typical fans — analyze your every release down to submicroscopic levels. How does that affect your music making?}}<br /> <br /> {{boc|&quot;EOIN We really have to ignore that when we’re purely in music-making mode, because it’s important to keep in touch with your gut instincts with melodies and sounds. So we do seal ourselves away from it much of the time. I think we let that awareness creep in when we start weaving themes and messages into the music. I suppose we’re relying on people to be extremely analytical of the music, in order to get out of it all the work we’ve put in.&quot;}}<br /> <br /> {{question|The album is just over an hour long. Can you estimate how much was recorded? What’s on the cutting room floor?}}<br /> <br /> {{boc|&quot;EOIN Hundreds of tracks. But that’s pretty normal for us. During the time we were recording this record there were lots of finished tracks that didn’t quite fit the plan we had for it, so yeah, a few albums’ worth.&quot;}}<br /> <br /> {{question|How, in an ideal world, would you like your album to be listened to?}}<br /> <br /> {{boc|&quot;SANDISON I think it works best in a solitary setting. The word I hear a lot is “oneiric,” and that’s a nice way to put it. So yeah, headphones, on your own.&quot;}}<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> [[Category: Interviews]]<br /> [[Category: Tomorrow's Harvest era]]</div>

Valotonin https://bocpages.org/w/index.php?title=The_Charms_of_the_Sphinx&diff=14001 2017-04-06T21:04:35Z

<p>Valotonin: /* Original text */</p> <hr /> <div>&lt;onlyinclude&gt;<br /> {{interview<br /> |title=The Charms of the Sphinx<br /> |author=Michael Döringer &amp; Thaddeus Herrmann <br /> |date=2013-06-17<br /> |publication=De:Bug<br /> |issue=Online<br /> }}<br /> &lt;/onlyinclude&gt;<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> &quot;[[The Charms of the Sphinx]]&quot; is a 2016 interview by Michael Döringer &amp; Thaddeus Herrmann. It originally appeared online at De:Bug &lt;ref&gt;http://de-bug.de/musik/interview-boards-of-canada-the-charms-of-the-sphinx/&lt;/ref&gt;<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> __TOC__<br /> <br /> == Original text ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> {{original}} <br /> <br /> Exclusive interview in all of its unabridged glory (English)<br /> <br /> [[Boards of Canada|Board of Canada]] are masters of the big guessing game: What is all this dark beauty about? In an exclusive interview with the Berlin based monthly magazine DE:BUG, [[Marcus]] and [[Mike Sandison]] shed some light on how their new album “[[Tomorrow's Harvest]]” came about, how they explain their influence and how they see the world they live in. But they leave us with many more questions: Is there a really mystery or just the allurement of a Sphinx without a secret?<br /> <br /> The following interview will appear in an edited, translated version in DE:BUG 174, July/August 2013, hitting the newsstands in Germany, Austria and Switzerland on June 28th.<br /> <br /> '''Interview''': Michael Döringer &amp; Thaddeus Herrmann<br /> <br /> {{question|You’ve just returned from the future, bringing in the harvest. You know what we don’t know: What will we be feeding on from tomorrow onwards?}}<br /> <br /> {{boc|&quot;Marcus: Breakfast, hopefully.&quot;}}<br /> <br /> {{question|What took you so long? And how new is the new record, anyway? Was getting [[Tomorrow's Harvest]] together a concentrated effort, a focused process, or are you recording all the time anytime and suddenly realised that there were no more loose ends that needed tying up?}}<br /> <br /> {{boc|&quot;Mike: It was more the latter. We’re always working on new material, all the time, and we had quite a singular vision for what this record should be. But back around 2006 we had taken some time out to concentrate on other projects for a while too, non-musical things. Later we built new expanded studio spaces, and so the process of wrapping up this record was interrupted from time to time.&quot;}}<br /> <br /> {{question|The album makes one bold statement after the other. Both sonically and from a visual point of view. Starting with the latter: The city’s silhouette on the horizon, captured on 8mm, colorful yet strangely distant, something we urge to explore and are afraid of at the same time. Musically, the album to me represents the same abeyance, and I do not mean that in a negative way. The tracks seem deeply rooted between darkness and some kind of abstract warmth, hard to grasp, yet strangely familiar. In a nutshell: utopia or dystopia?}}<br /> <br /> {{boc|&quot;Marcus: It’s about finding something beautiful in desolation, something draws us to the atmosphere of destroyed, abandoned places. It’s a bitter-sweet thing that we’ve always tried to achieve in our music. It seems too obvious to make music that is just purely dark, that just seems too easy and naïve. We always try very hard to create something that balances between dark and light. If you can achieve that ambiguity in music, it makes the listener do some work, emotionally. It allows you to put something subversive inside the music, that doesn’t necessarily just declare itself outright.&quot;}}<br /> <br /> {{question|Why is this the right path?}}<br /> <br /> {{boc|&quot;Mike: I think people are naturally attracted to dystopian imagery, especially post-human imagery, and it might be to do with a subconscious awareness that our day-to-day life is become more and more crowded and busy and unnatural.&quot;}}<br /> <br /> {{question|Going back through your back catalogue, [[Tomorrow's Harvest]] to me seems to be both a 101 to BoC and an extremely well defined exploration of certain musical areas you’ve been working on before.}}<br /> <br /> {{boc|&quot;Marcus: We didn’t consciously go back into early territory with this record, but I think we might have used instruments and tools on this record that are familiar from our very early material, especially with the synths and arpeggios and so on. What you get to hear on our releases is only a small fraction of what we write, because we tend to lock each album down to a theme and stick with that until it’s finished. We’re always writing and recording material that doesn’t end up on any records.&quot;}}<br /> <br /> {{question|To be more precise: The album to me sounds more like [[Hi Scores]] than [[The Campfire Headphase]]. It has the heavy loops, all the mysterious sample arrangements and the dedicated electronic approach. How strong was your urge to change the sound compared to your last album? I’m asking because on previous records you were experimenting with unusual approaches. Like “[[An Eagle in Your Mind|An Eagle In Your Mind]]”, where you said the percussion was completely done with the voice of [[Mike]]’s girlfriend?}}<br /> <br /> {{boc|&quot;Marcus: For every album we usually settle on a deliberate restricted palette for the overall sound. It helps to keep the project tied together and consistent within itself. The moment we finished the last record, the idea for [[Tomorrow's Harvest]] was already forming. Like any musician, I think there’s always a hunger to surprise yourself or take some sort of 90-degree turn with each new project. I don’t think it’s necessarily a return to an older sound, although the synths and self-sampling on this record are more or less core things that we’ve always returned to over the past twenty years or so because they offer endless new possibilities in the sound.&quot;}}<br /> <br /> {{question|If this impression makes any sense to you: Were there technical aspects as well? Did your recording technique change? If so, how?}}<br /> <br /> {{boc|&quot;Mike: The way we make tracks always changes between albums, but in the case of the new record it was changing from track to track. Towards the end of working on the record the material was sounding different from the earliest tracks, so it was challenging to contain everything under one album theme.&quot;}}<br /> <br /> {{question|What kind of vision do you want to achieve with [[Tomorrow's Harvest]]?}}<br /> <br /> {{boc|&quot;Marcus: I hope that it works to make the listener pause and consider where we are right now, where we’re going… I guess it’s essentially a political album, but we shouldn’t spell it all out, it’s important that the listener finds their own thing in there.&quot;}}<br /> <br /> {{question|It seems you moved away a little bit from your general interest in damaged, imperfect sounds – many of your new tracks sound more ‘polished’, sharp and perfect than almost everything you’ve done before. Like the fantastic “[[Cold Earth]]” or “[[Come To Dust]]”. True?}}<br /> <br /> {{boc|&quot;Mike: In the studio we still spend a huge amount of time destroying the sounds in our music, though on this record we wanted to use older electronic instruments in the kind of well-produced, precisely orchestrated ways that film composers did back in the late seventies and eighties.&quot;}}<br /> <br /> {{question|You once said your records sound like phases you’re going through and depend on what you’re listening at that time – what music has influenced you in the last years and especially during the making of this record? I would be surprised if you didn’t follow what’s been released in the last years. The new album sounds almost ‘contemporary’ in some respects.}}<br /> <br /> {{boc|&quot;Marcus: Actually we haven’t really been listening to much contemporary music recently although we do keep an ear to the ground for anything really special or weird that comes along. Mike tends to deliberately avoid listening to other artists’ music when he’s writing, and much of what I’ve liked over the past few years is just isolated tracks by underground artists, or film soundtracks.&quot;}}<br /> <br /> {{question|Could you give us some names? Which movies and soundtrack composers should we regard as related to [[Tomorrow's Harvest]]?}}<br /> <br /> {{boc|&quot;Mike: If we’re talking about contemporary composers there are too many to mention really. I’d say maybe Reinhold Heil, Johnny Klimek. Also Mark Isham, Thomas Newman, Clint Mansell. 
&quot;}}<br /> <br /> {{question|Any other new influences that poured into the album?}}<br /> <br /> {{boc|&quot;Marcus: Much of the energy for the album comes from written word, thinkers like James Howard Kunstler and Dmitry Orlov. These writers are like modern day prophets, and it’s a much more fertile source of inspiration than just listening to other people’s music.&quot;}}<br /> <br /> {{question|Talking about influences: [[The Campfire Headphase]] was thematically set in the U.S. already. What’s the story behind [[Tomorrow's Harvest]]? The skyline of San Francisco on the cover, the listening session in the desert, the video to “[[Reach For The Dead|Reach for the Dead]]” …}}<br /> <br /> {{boc|&quot;Mike: There’s no specific intention to confine the album’s narrative to the US, but I suppose there is recognizable familiarity within certain imagery and places with existing survivalist culture, and with 70s and 80s cinema that we hoped to evoke.&quot;}}<br /> <br /> {{question|Let’s talk more about the events leading to the release of the album. We’ve had random 12″s with not so random numbers, a billboard in Shibuya, covert hints to the listening session in an abandoned amusement park in the middle of the desert. All painstakingly dissected by your fans, re-assembled on message boards, looking for clues. Meanwhile, you decline to meet journalists in person, chose e-mail over phoners. It’s like Detroit Techno revisited. Let the music do the talking. The face in the crowd is more important than anything else. Coming back to my point: How involved were you in planning these events?}}<br /> <br /> {{boc|&quot;Marcus: We were involved with the art direction and we helped devise some of the ideas but we had a really great team of people helping us to make it all happen. We really wanted to bring back a feeling of anticipation for new music that has largely been lost in recent years, mainly because of the internet. As with movies these days, everybody already knows absolutely everything that happens in a film before it even hits theatres. It kills the magic. So we were trying to figure out how to get younger listeners to experience some kind of buzz for the record in the way we used to as kids, which is really difficult to do these days because kids can have everything they want, almost at the press of a button.&quot;}}<br /> <br /> {{question|You must be pretty proud of your loyal fans, spreading the word.}}<br /> <br /> {{boc|&quot;Mike: Our listeners seem to be really cool, savvy types of people. They didn’t let us down.&quot;}}<br /> <br /> {{question|Are you following what is written online about you, especially in these fan forums? The people there are mad for you. In that regard, you’re one of the world’s biggest pop groups.}}<br /> <br /> {{boc|&quot;Mike: We get indirect feedback from our record company, and other people around us, but we really try hard not to read things about our work because it can be quite a damaging thing. Even positive comments can give you a false sense of what’s good about your work, so it’s really better to try to ignore it.&quot;}}<br /> <br /> {{question|Where have you been living over the years? Since when are you back in Scotland, if that’s true so, and why?}}<br /> <br /> {{boc|&quot;Marcus: We’re primarily based in Scotland, where we have a great studio, though we have done some writing and recording whilst living overseas, in the past few years. Some of the core ideas on this album were put down in New Zealand.&quot;}}<br /> <br /> {{question|What impact has your surrounding on your music? I know you once were really sick of that connection, like everyone could do certain music if he was in a particular place. And I’m still curious about how you’d assess the time you spent in Canada as kids today – I feel like that period was the crucial element that formed your artistic personality. What if you had not been there at that time?}}<br /> <br /> {{boc|&quot;Marcus: I wouldn’t really put any particular importance on our time in Canada because we moved around a lot when we were kids. I think from travelling a lot I’ve been left with a personal association between the west and the past, and that’s a strong source of inspiration for me in the music.&quot;}}<br /> <br /> {{question|Can you explain to yourself why your music had and still has such a strong impact and influence on some people? Not only musically, but also emotionally, both to mere listeners and musicians.}}<br /> <br /> {{boc|&quot;Mike: It’s very difficult to answer that one as we’re on the inside of this music. I can tell you, from the very beginning we’ve just been trying to make something that we would have loved somebody else to come along and do, but nobody else was coming along and doing it, so we had to make it ourselves. It always felt to us like some kind of a dead zone in music, like an obvious space to us, but somehow nobody was there. So it was like “okay, that’s where we belong”.&quot;}}<br /> <br /> {{question|And what would that zone be that you filled up, from your perspective? The need for more personally informed, dreamy electronica, that didn’t chiefly strive for futuristic sounds and super complex beats and rhythms? Was there a lack of human element in mid-90s electronic music?}}<br /> <br /> {{boc|&quot;Marcus: In the early nineties mainstream electronic music had mostly become really terrible dance music. We’ve never been into dance music. We were big fans of all the great industrial bands in the eighties, so when dance music came along it was almost as though all that great dark stuff in the eighties had never happened. In the early days of the band our music was much more influenced by what you might call new wave or post-punk and industrial. We’d begun making very experimental music ourselves in the mid eighties, and then by the start of the nineties we were making melodic ambient electronic music, and it felt to us that almost nobody else out there at the time was interested in melody. I think that is why we gravitated towards the artists on [[Warp]]. It felt to us that there was actually a strong connection between artists who wanted to make really extreme noise-based music and those who wanted to make extremely minimal, melodic ambient music. Anything as long as you’re not just somewhere in the middle.&quot;}}<br /> <br /> {{question|Simon Reynolds strongly relies on you as the forefathers or originators of certain musical and theoretical concepts of the last ten years, like Hauntology or Hypnagogic Pop. You’re actually the starting point for one aspect of his Retromania concept – making music sound old, worn out, triggering memories etc. Those were things you did and talked about almost 20 years ago and have become the principles of many young producers. What are you thinking about that today?}}<br /> <br /> {{boc|&quot;Mike: That’s still absolutely a driving force in our work. It’s something we love doing, we can never run out of inspiration in this direction, because if you only pay attention to current music then you can’t help sounding pinned down to the fashion of today. But when you allow yourself to explore music from various eras in the past, you can find starting points that were never fully explored, like tangents that didn’t actually occur in the real history of music, and that’s really exciting to me. Especially in the face of so much current music that is becoming indistinguishable because all the producers are basically using the same tools.&quot;}}<br /> <br /> {{question|Talking about the past: Are you still in touch with any of your old friends from school, the notorious [[Hexagon Sun|Hexagon Sun Collective]]? What happened to all of them?}}<br /> <br /> {{boc|&quot;Marcus: Yes of course. Everyone grows up of course and in some cases they start families or have careers of their own, but yeah we’re still all very much in touch.&quot;}}<br /> <br /> {{question|Coming back to the topics of [[Tomorrow's Harvest]]: if it is a reflection or statement on the sad state of nature &amp; environment – is it just something you’re ‘interested in’, like religion &amp; cults on former records? Or is it something more important, also in your private lives, that you’re worried about?}}<br /> <br /> {{boc|&quot;Mike: It’s not really an environmental thing, it’s much more to do with people and the direction our civilization is taking us in. We’re not literally talking about plants when we use the term “seeds”, so you have to think sideways about the song titles. We’re living in a time of very dramatic change in terms of population numbers and insidious political events and in some ways it now feels that some sort of crash on the horizon is not just inevitable but in fact necessary.&quot;}}<br /> <br /> {{question|That said, you’re rather pessimistic about the future of mankind? The crash is necessary because people, governments and industry are just not able to change their direction and thinking?}}<br /> <br /> {{boc|&quot;Mike: Yes that’s part of it, humans are essentially selfish. So I feel that real radical change is more likely to come from external events rather than from within.&quot;}}<br /> <br /> {{question|One of you once said: “I like the idea of doing things that in five, ten, or twenty years time will be able to reveal something about our music, that will make people completely re-examine what we’ve done, and see it in a completely different light.” So you’ve inspired many people with your ideas – would that fit your statement above?}}<br /> <br /> {{boc|&quot;Mike: Yeah I’d say quite honestly if we were able to inspire one person to go out and make their own mark in some way, whether through art or politics, it would make it all worthwhile. On the one hand you can argue that it’s only music and of course that’s right, it’s trivial in the context of history, but all art inspires and moves somebody somewhere, and that’s like a kind of energy passing down through a chain of generations, and it’s all you can ask for as a musician.&quot;}}<br /> <br /> {{question|There’s no way to not call it a comeback. Question is: Is this record a new beginning or maybe the end? How does it feel for you?}}<br /> <br /> {{boc|&quot;Marcus: It feels like neither of those things from our perspective because we’ve always been working! We’d be making music anyway even if nobody was listening, and we’ve no intention of stopping, so this is just a continuation.&quot;}}<br /> <br /> {{question|And finally, the most important thing: Please name your 3 favourite number stations and tell us why you like them.}}<br /> <br /> {{boc|&quot;Mike: Do people really have favourite number stations?&quot;}}<br /> &lt;/onlyinclude&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> [[Category: Interviews]]<br /> [[Category: Tomorrow's Harvest era]]</div>

Valotonin https://bocpages.org/w/index.php?title=Boards_of_The_Underground&diff=14000 2017-04-06T20:35:14Z

<p>Valotonin: /* Text */</p> <hr /> <div>&lt;onlyinclude&gt;<br /> {{interview<br /> |title=Boards of The Underground<br /> |author=Richard Southern<br /> |date=2000/12<br /> |publication=Jockey Slut<br /> |issue=Vol. 3 No. 11 (Dec 2000)<br /> |pages=30-34<br /> }}<br /> <br /> __TOC__<br /> <br /> &quot;[[Boards of The Underground]]&quot; is a 2000 interview by Richard Southern. It originally appeared in ''Jockey Slut magazine''.<br /> &lt;/onlyinclude&gt;<br /> <br /> == Text ==<br /> {{original}}<br /> <br /> &lt;onlyinclude&gt;<br /> [[Boards of The Underground]]<br /> <br /> They're the fire-starters, the rustic fire-starters, who've influenced everyone from Air to Radiohead. Boards of Canada invite Richard Southern to their secret den and share with him their bluffer's guide to making the perfect bonfire and why they have little time for Leo Di Caprio.<br /> <br /> {{boc|&quot;One time we were out in the woods on a really wet day,&quot; remembers Boards of Canada's Marcus Eoin. &quot;My friend bet me I couldn't start a fire using only one match. But I managed to get this meagre little flame going in this damp little patch of ground. Then when we were about a mile down the road, we looked back and it was like, 'whoosh!' - the whole wood was on fire!&quot;}}<br /> <br /> {{question|Everybody's favourite commune-dwelling creators of pastoral electronica, arsonists? Whatever next? Adverts for Shell oil?}}<br /> <br /> {{boc|&quot;I love the countryside,&quot; Marcus protests, adding, &quot;I hate the idea that animals or trees or anything might get hurt. I had dreams about it for months afterwards.&quot;}}<br /> <br /> This isn't the only fire that Boards of Canada have unwittingly started. Just over two years ago, their debut album Music Has the Right to Children, a muted, un-ostentatious collection of haunting, home-made melodies initially just seemed like one of electric haven Warp's more consistent releases. Then, slowly, word of mouth began to crackle like sparking kindling. Here was a record not only spotters and electronic obsessives could love - a hazily nostalgic record which snuck its way into your head and set up a commune. The album's muttering voices seemed to speak in tongues; rumours of occult dabblings only added to the Boards of Canada enigma. Sales, while impressive for a leftfield release, were a meagre glow compared to the blaze Music Has the Right. caused amongst Boards of Canada's musical peers.<br /> <br /> <br /> Suddenly, those slo-mo, slightly melancholy synth-loops were everywhere. On Super Furry Animals' Guerilla (see:: &quot;Some Things Come from Nothing&quot;), on Danmass' &quot;Happy Here&quot; on the Sunday Best compilation, on Air's Virgin Suicides; even on the ever trend-tailing Texas' new material. As if that wasn't enough, Boards' influence can also clearly be heard on new albums by both the barometer of all things buzzworthy, Madonna, and Radiohead, whose much puzzled-over Kid A sounds rather closer to Music Has the Right. than it does to the stadium-conquering OK Computer.<br /> <br /> {{boc|&quot;We never expected to have anything like this kind of impact,&quot; confesses Michael Sandison in the rather sterile confines of Warp's new London offices. &quot;We've had people ringing up wanting us to produce them and it's been like (mimes covering the receiver while gesticulating excitedly), 'Marcus, you'd never believe who's on the phone!&quot;}}<br /> <br /> {{question|The pair are sprawled relaxedly on the purple sofa, Michael long-haired, Marcus shaven-headed, hooded-topped and baggy-trousered, gear simultaneously eterna-hip and, as is the way with country folk, strangely practical.}}<br /> <br /> {{boc|&quot;We don't mind influencing people like Super Furry Animals,&quot; continues Michael in his precise, (Miss Jean) Brodie-esque brogue. &quot;We know they're really into music. But we've got fed up with the magpies. The people who just pay minions to keep their ear to the ground and check out what's hip.&quot;}}<br /> <br /> {{question|Like Radiohead?}}<br /> <br /> {{boc|&quot;No. We think they're brilliant,&quot; Michael demurs. I think Kid A's the best thing they've ever done,&quot; adds Marcus in his thicker Scots slur.}}<br /> <br /> {{question|So who are we talking about?}}<br /> <br /> {{boc|&quot;Bigger people than that.&quot;}}<br /> <br /> {{question|Bigger?}}<br /> <br /> {{boc|&quot;Artists whose status is somewhere between Radiohead and God,&quot; answers Marcus, mystifyingly. They wont' be drawn any further.}}<br /> <br /> Secretiveness is congenital to Boards of Canada. These, after all, are people who refuse to reveal the location of the commune they inhabit in the Pentland hills near Edinburgh, who won't give out their phone number or even, for the most part, give interviews. They've chosen Jockey Slut in favour of the covers of a number of major national publications, and, in person, these childhood friends radiate a warmth and amiability that'sanything but enigmatic. They finish each other's sentences, listen intently to questions and in contrast to most ego-blinkered musicians even ask questions themselves.<br /> <br /> {{boc|&quot;It's one of the reasons we don't like playing live,&quot; says Marcus, still running with his theme. &quot;You worry about who might be in the audience, scouting for ideas.&quot; He pauses. &quot;Then again, last time we played live, it was a disaster.&quot; &quot;The monitors exploded in the middle of the set,&quot; Mike explains, laughing. &quot;People were cheering because they thought it was deliberate pyrotechnics!&quot; Marcus adds. &quot;Yeah, well, shame it was out of time,&quot; says Mike.}}<br /> <br /> {{question|While an EP, In a Beautiful Place Out in the Country, is issued this month (a [[Boards of Canada|BoC]] manifesto if ever there was one), the eagerly-anticipated second album is running more than a year behind schedule with no release date in sight. Hmm, three year gaps between records:: you're proper Warp artist now then? Slightly embarassed grins.}}<br /> <br /> {{boc|&quot;When you've got Aphex on your label, everyone else seems easy.&quot;}}<br /> <br /> {{question|So did the impact of the first album just make it hard to follow?}}<br /> <br /> {{boc|&quot;No,&quot; says Marcus, thoughtfully, &quot;I think we lost about a year just rebuilding our studio.&quot;}}<br /> <br /> {{question|Less Stone Roses than My Bloody Valentine, then?}}<br /> <br /> {{boc|&quot;Well, we haven't put sandbags around it yet!&quot;&lt;br /&gt;<br /> Equally, you don't need a City &amp;amp; Guilds engineering diploma to deduce that the densely atmospheric, otherworldly aspects of the Boards' music is painstakingly achieved. &quot;We take such long, individual paths to get where we go, paths that nobody else could ever follow,&quot; says Mike.}}<br /> <br /> {{boc|&quot;So it takes us ten times as long to finish things,&quot; says Marcus.&lt;br /&gt;<br /> &quot;Where some people will work on a track solidly for four days, we'll spend that long just on a hi-hat sound,&quot; Mike laughs.&lt;br /&gt;<br /> &quot;It'd be funny if it wasn't true,&quot; Marcus chuckles.&lt;br /&gt;<br /> &quot;Than again, if there was a way of doing it easily, by pushing a button, we'd do something else because it wouldn't be special anymore,&quot; says Michael.&lt;br /&gt;<br /> &quot;We like to make things hard for ourselves,&quot; shrugs Marcus.}}<br /> <br /> Sequestered away in the Scottish hills, &quot;getting it together in the country&quot;, is a way of life for Boards of Canada. Even taking into account childhood sojourns in Canada, they've never known anything different. Hardly listening to contemporary music, keeping away from the back-slapping musical backstage, rarely reading magazines, living in what was once a commune (Mike:: &quot;People had kids, or went off travelling. It's down to a hardcore of four or five now&quot;) but is now effectively a hill-bound artists' colony - theirs is a deliberately rarefied world. &quot;It's the only way to do it,&quot; says Mike. &quot;Cut yourself off, pull the shutters down.&quot;<br /> <br /> {{boc|&quot;The world's getting smaller and smaller now,&quot; continues Marcus. &quot;We're all sharing the same clothes, the same magazines and the same ideas:: everyone's got the same reference points.&quot; He laughs. &quot;It's globalisation, man!&quot;&lt;br /&gt;<br /> &quot;It's never people who are part of the general flow who make amazing art, &quot; says Mike.&lt;br /&gt;<br /> &quot;Everyone's collectively going down one particular branch of music. With the last album we were too affected by what was going on in that particular moment in history. But the new one is going to be in its own outlandish and unique universe. It's like we're inhabiting an alternative, parallel present where maybe someone in the past took a different branch to the way things actually went.&quot;}}<br /> <br /> {{question|At times, the pair's penchant for privacy can border on the paranoid.<br /> They're so concerned about hackers that they've both got completely separate computers for using the net.}}<br /> <br /> {{boc|&quot;They can't jump through thin air,&quot; says Mike. &quot;I'm really paranoid about security,&quot; adds Marcus. &quot;We've got all these tapes and discs going back 15 years or so. I've got this really complicated solar alarm on my house so that it's impossible to switch it off without cutting five different wires in different places simultaneously.&quot;}}<br /> <br /> {{question|Aware that their bunker mentality may be getting out of hand, the pair have made a conscious effort to get out more recently.}}<br /> <br /> {{boc|&quot;You have to remember you've got a body with two legs,&quot; says Michael. Before mhtrtc took off, theirs was a more leisurely isolation, their music simply soundtracks for the Red Moon events they and their friends would organise in the hills near the commune:: &quot;Just 50 people around a bonfire with a ghetto blaster.&quot;}}<br /> <br /> These days, they still drive out into the country with their friends, set up camp and make bonfires. Bonfires, you will notice, figure large in the Boards of Canada world. You can almost hear the crackling twigs on many of their cuts.<br /> <br /> {{question|As the title indicates, the new EP is typically [[Boards of Canada|BoC]]. &quot;Kid for Today&quot; sounds like what it is - a Music Has the Right to Children contender, while &quot;Amo Bishop Roden&quot; and &quot;Zoetrope&quot; (named after Francis Ford Coppola's San Francisco studio) go deeper into the hazy territory between sleep waking.}}<br /> <br /> {{boc|&quot;It's like when you glaze over when you're listening to something,&quot; says Marcus, &quot;but you're still there at the same time.&quot;<br /> &quot;There's a sort of running theme of melancholy to it,&quot; says Mike, &quot;but it's true, it's not a great leap from Music Has the Right to Children The nearest clue to where we're going is on the title track. But a lot of it will be even more outlandish than that. If you could call the last album electronica, you definitely couldn't call the new album that.&quot;&lt;br /&gt;<br /> &quot;We've split and gone in two directions,&quot; continues Marcus. &quot;There are some things which are just acoustic instruments playing acoustic music, while we've also done some even more electronic tracks. Some of the best ones manage to achieve both at the same time.&quot;}}<br /> <br /> {{question|Apart from this EP, the only Boards of Canada music that's emerged since their characteristically immaculate contribution to Warp's tenth anniversary album has been the music for, of all things, an advert for Telecom Italia. Not just any old advert, either, but one which also features Leonardo Di Caprio. Today Boards of Canada are full of surprises.}}<br /> <br /> {{boc|&quot;It's not the first one we've done either,&quot; grins Mike. &quot;We did one for Nissan last year. Then again, I drive a Nissan.&quot;}}<br /> <br /> {{question|Always did, or do now?}}<br /> <br /> {{boc|&quot;I'd have been more than happy to have been paid in cars, believe me!&quot;}}<br /> <br /> The explanation is that both adverts were done with filmmaker du jour Chris Cunningham, &quot;because he asked us and we respect him&quot;. They're not saying, but rather than heralding that Shell advert, could it be that the Boards have their eye on Cunningham's future feature work? It isn't, after all, a big step from imaginary soundtracks to actual films, and it'd be hard to contemplate a more perfect union.<br /> <br /> {{boc|&quot;We actually gave him an hour and a half's worth of music, of which he used one 20 second fragment. He was just really excited to have new Boards of Canada tracks that no one else has heard, that's why he likes working with us. But we trust him. We know he wouldn't do anything else with it.&quot;&lt;br /&gt;<br /> Marcus grins:: &quot;He also knows we'd break both his legs if he did.<br /> And no, they didn't get to meet Leo. &quot;He utters one word. God knows what he got paid. We wanted to record 'Leonardo Di Caprio is a wanker' and put it in the advert music backwards.&quot;}}<br /> <br /> The future of music may be uncertain, but Boards of Canada seem very definite about their own future musical direction.<br /> <br /> {{boc|&quot;We've got a better notion now than we ever did of what Boards of Canada is,&quot; says Mike. &quot;Now we know that we're supposed to be doing really psychedelic, organic-sounding music. I think to some extent we've pandered to the electronic scene previously, putting elements in that we're not necessarily into.&quot;&lt;br /&gt;<br /> Marcus continues:: &quot;It's going to be simultaneously more listenable and more out there, psychedelic, gorgeous and strange.&quot;}}<br /> <br /> '''THINGS BOARDS OF CANADA LIKE'''<br /> <br /> *The wobble you get on an off-centre record (&quot;We even decide if it's wobbling at 33 or 45 rpm!).<br /> *The little bursts of music you get behind a logo.<br /> *Things that are a little bit out of tune:: &quot;Space Oddity&quot; by David Bowie, &quot;God Only Knows&quot; by the Beach Boys, &quot;Wonderful World&quot; by Louis Armstrong, and &quot;Tomorrow Never Knows&quot; by the Beatles (Marcus:: &quot;In modern music everything is perfect, rationalised, bland.&quot;).<br /> *&quot;The sounds between notes.&quot;<br /> *Progressive rock (Mike:: &quot;For at least trying to get somewhere no one's been&quot;).<br /> *Kung-fu.<br /> *&quot;Listening in increments.&quot;<br /> *Devo, Twins Cocteau and Aphex, Nitzer Ebb, acid folkies, the Incredible String Band, the Wu-Tang Clan. &quot;RZA,&quot; it seems, &quot;listens like we do.&quot;<br /> *A record Marcus found in America which features a Christian robot that sang songs if you pressed a button in his stomach (&quot;The scary part is that it was very Old Testament, slitting the throats of first born and stuff&quot;).<br /> *&quot;Geno&quot; by Dexy's Midnight Runners.<br /> *&quot;The sound when you're at a fairground and you're caught between two different sound systems and they combine to create something new and outlandish.&quot;<br /> <br /> '''THINGS BOARDS OF CANADA DON'T LIKE'''<br /> <br /> *Electronic gadgets that don't work (Marcus:: &quot;It makes me sad to see things that have just been thrown away. I'll pick it up and take it back home and try and make it work. I've still got a brown valve television set from the '70s and it works better than my friends' wide screen TVs&quot;).<br /> *Meat (in Marcus' case).<br /> *Napster (Marcus:: &quot;It's not the big rich artists who'll suffer, it's the smaller artists. Why should people buy their records when they can download them for free? The issue of choice is illusory. If lots of musicians go out of business, then there's only going to be a smaller number of extremely commercial crap artists to choose from.&quot;<br /> <br /> '''BOARDS OF CANADA'S TIPS ON BONFIRES'''<br /> <br /> *Marcus:: &quot;For kindling the best way to ensure it catches is to get loads of pieces more or less the same length and lay them in a grid, then overlay them in a lattice.&quot;<br /> *Mike:: &quot;You don't need matches or a lighter. If it's wet or windy they often won't work. But two twigs will. The trick is to tie string to either end of one twig, then you can rub them together faster than your hands ever could.&quot;<br /> <br /> '''DISCOGRAPHY'''<br /> <br /> *Acid Memories (Music 70, 1989)&lt;br /&gt;<br /> ::Absurdly rare, cassette-only release from the barely teen Boards, then six-strong. Guitars meet electronics in embryonic but recognisably Boards-ian melodicism.<br /> *Play by Numbers (Music 70, 1994)&lt;br /&gt;<br /> ::Five-track CD from what was now a trio, boasting a My Bloody Valentine influence in places, shifting further into electronics in others.<br /> *Hooper Bay (Music 70, 1994)&lt;br /&gt;<br /> ::Closer still:: the use of kids' voices was a hint of what was to come. People pay small fortunes for copies.<br /> *Twoism (Music 70, 1995)&lt;br /&gt;<br /> ::The last record as a trio when everything slipped into focus and pricked up record company ears.<br /> *BOC Maxima (Music 70, 1996)&lt;br /&gt;<br /> ::Twenty tracks:: half of which would appear on later EPs and albums; the others remain an impossibly elusive prospect (50 copies only).<br /> *Hi Scores EP (Skam, 1996)&lt;br /&gt;<br /> ::Essential for the Eno-esque &quot;Everything You Do is a Balloon&quot; and the spooky electro of &quot;Nlogax&quot;.<br /> *Korona (from Mask 100 compilation) (Skam, 1996)&lt;br /&gt;<br /> ::Darkness visible:: slurring synths and an uneasy, off-kilter rhythm.<br /> *Untitled (from Mask 200 as Hell Interface) (Skam, 1997)&lt;br /&gt;<br /> ::Even darker, harder, faster side of the Boards. &quot;Who are Hell Interface?&quot; they ask.<br /> *Michael Fakesch &quot;Surfaise&quot; (Boards of Canada remix) (Warp, 1997)&lt;br /&gt;<br /> ::Spacious, dissonant, slightly disembodied ambience.<br /> *Mira Calix &quot;Sandsings&quot; (Boards of Canada remix) (Warp, 1997)&lt;br /&gt;<br /> ::Boards render Warp's press officer's warblings intelligble.<br /> *Jack Dangers &quot;Prime Audio Soup&quot; (Boards of Canada remix) (Play it Again Sam, 1998)<br /> ::Respectful to the Meat Beat man, this is a curious, slightly gothy hybrid.<br /> *&quot;Aquarius&quot; (seven-inch single) (Skam, 1998)&lt;br /&gt;<br /> ::A different version to the one on Music. Sesame Street meets Kraftwerk meets the between-scenes bits from Seinfeld.<br /> *Music Has the Right to Children (Skam/Warp, 1998)&lt;br /&gt;<br /> ::Music has The Right to Children claimed not just children but grown adults of shock both sexes.<br /> *Bubbah's Tum &quot;Dirty Great Mable&quot; (III, 1998)&lt;br /&gt;<br /> ::Unusually beat-heavy, balanced by their trademark use of kids' voices and big, spooky chords. Their final mix.<br /> *&quot;Orange Romeda&quot; (from We Are Reasonable People compilation) (Warp, 1999)&lt;br /&gt;<br /> ::Very much in the Music. vein. Children's voices, bird's wing percussion and yearning, half-heard synth melodies.<br /> *Peel Sessions (Strange Fruit, 1999)&lt;br /&gt;<br /> ::Reworks of &quot;Aquarius&quot; and &quot;Olson&quot;, plus newie &quot;Happy Cycling&quot;.<br /> *In a Beatiful Place Out in the Country EP (Warp, 2000)&lt;br /&gt;<br /> ::OK, so it's an EP not an album, and it's not exactly a revolutionary departure, but when familiar ground is this gorgeous, who's complaining?<br /> <br /> interview by Richard Southern, December 2000.<br /> &lt;/onlyinclude&gt;<br /> <br /> == Images/Scans ==<br /> &lt;gallery&gt;<br /> Image:BOC-band-27.jpg|Cover<br /> Image:JS Dec2000 pg30.jpg|pg30<br /> Image:JS Dec2000 pg31.jpg|pg31<br /> Image:JS Dec2000 pg32.jpg|pg32<br /> Image:JS Dec2000 pg33.jpg|pg33<br /> Image:JS Dec2000 pg34.jpg|pg34<br /> &lt;/gallery&gt;<br /> <br /> == External Links ==<br /> <br /> [[Category: Interviews]]<br /> [[Category: Music Has the Right to Children era]]</div>

Valotonin https://bocpages.org/w/index.php?title=Boards_of_The_Underground&diff=13999 2017-04-06T20:34:37Z

<p>Valotonin: /* Text */</p> <hr /> <div>&lt;onlyinclude&gt;<br /> {{interview<br /> |title=Boards of The Underground<br /> |author=Richard Southern<br /> |date=2000/12<br /> |publication=Jockey Slut<br /> |issue=Vol. 3 No. 11 (Dec 2000)<br /> |pages=30-34<br /> }}<br /> <br /> __TOC__<br /> <br /> &quot;[[Boards of The Underground]]&quot; is a 2000 interview by Richard Southern. It originally appeared in ''Jockey Slut magazine''.<br /> &lt;/onlyinclude&gt;<br /> <br /> == Text ==<br /> {{original}}<br /> <br /> &lt;onlyinclude&gt;<br /> [[Boards of The Underground]]<br /> <br /> They're the fire-starters, the rustic fire-starters, who've influenced everyone from Air to Radiohead. Boards of Canada invite Richard Southern to their secret den and share with him their bluffer's guide to making the perfect bonfire and why they have little time for Leo Di Caprio.<br /> <br /> {{boc|&quot;One time we were out in the woods on a really wet day,&quot; remembers Boards of Canada's Marcus Eoin. &quot;My friend bet me I couldn't start a fire using only one match. But I managed to get this meagre little flame going in this damp little patch of ground. Then when we were about a mile down the road, we looked back and it was like, 'whoosh!' - the whole wood was on fire!&quot;}}<br /> <br /> {{question|Everybody's favourite commune-dwelling creators of pastoral electronica, arsonists? Whatever next? Adverts for Shell oil?}}<br /> <br /> {{boc|&quot;I love the countryside,&quot; Marcus protests, adding, &quot;I hate the idea that animals or trees or anything might get hurt. I had dreams about it for months afterwards.&quot;}}<br /> <br /> This isn't the only fire that Boards of Canada have unwittingly started. Just over two years ago, their debut album Music Has the Right to Children, a muted, un-ostentatious collection of haunting, home-made melodies initially just seemed like one of electric haven Warp's more consistent releases. Then, slowly, word of mouth began to crackle like sparking kindling. Here was a record not only spotters and electronic obsessives could love - a hazily nostalgic record which snuck its way into your head and set up a commune. The album's muttering voices seemed to speak in tongues; rumours of occult dabblings only added to the Boards of Canada enigma. Sales, while impressive for a leftfield release, were a meagre glow compared to the blaze Music Has the Right. caused amongst Boards of Canada's musical peers.<br /> <br /> Suddenly, those slo-mo, slightly melancholy synth-loops were everywhere. On Super Furry Animals' Guerilla (see:: &quot;Some Things Come from Nothing&quot;), on Danmass' &quot;Happy Here&quot; on the Sunday Best compilation, on Air's Virgin Suicides; even on the ever trend-tailing Texas' new material. As if that wasn't enough, Boards' influence can also clearly be heard on new albums by both the barometer of all things buzzworthy, Madonna, and Radiohead, whose much puzzled-over Kid A sounds rather closer to Music Has the Right. than it does to the stadium-conquering OK Computer.<br /> <br /> {{boc|&quot;We never expected to have anything like this kind of impact,&quot; confesses Michael Sandison in the rather sterile confines of Warp's new London offices. &quot;We've had people ringing up wanting us to produce them and it's been like (mimes covering the receiver while gesticulating excitedly), 'Marcus, you'd never believe who's on the phone!&quot;}}<br /> <br /> {{question|The pair are sprawled relaxedly on the purple sofa, Michael long-haired, Marcus shaven-headed, hooded-topped and baggy-trousered, gear simultaneously eterna-hip and, as is the way with country folk, strangely practical.}}<br /> <br /> {{boc|&quot;We don't mind influencing people like Super Furry Animals,&quot; continues Michael in his precise, (Miss Jean) Brodie-esque brogue. &quot;We know they're really into music. But we've got fed up with the magpies. The people who just pay minions to keep their ear to the ground and check out what's hip.&quot;}}<br /> <br /> {{question|Like Radiohead?}}<br /> <br /> {{boc|&quot;No. We think they're brilliant,&quot; Michael demurs. I think Kid A's the best thing they've ever done,&quot; adds Marcus in his thicker Scots slur.}}<br /> <br /> {{question|So who are we talking about?}}<br /> <br /> {{boc|&quot;Bigger people than that.&quot;}}<br /> <br /> {{question|Bigger?}}<br /> <br /> {{boc|&quot;Artists whose status is somewhere between Radiohead and God,&quot; answers Marcus, mystifyingly. They wont' be drawn any further.}}<br /> <br /> Secretiveness is congenital to Boards of Canada. These, after all, are people who refuse to reveal the location of the commune they inhabit in the Pentland hills near Edinburgh, who won't give out their phone number or even, for the most part, give interviews. They've chosen Jockey Slut in favour of the covers of a number of major national publications, and, in person, these childhood friends radiate a warmth and amiability that'sanything but enigmatic. They finish each other's sentences, listen intently to questions and in contrast to most ego-blinkered musicians even ask questions themselves.<br /> <br /> {{boc|&quot;It's one of the reasons we don't like playing live,&quot; says Marcus, still running with his theme. &quot;You worry about who might be in the audience, scouting for ideas.&quot; He pauses. &quot;Then again, last time we played live, it was a disaster.&quot; &quot;The monitors exploded in the middle of the set,&quot; Mike explains, laughing. &quot;People were cheering because they thought it was deliberate pyrotechnics!&quot; Marcus adds. &quot;Yeah, well, shame it was out of time,&quot; says Mike.}}<br /> <br /> {{question|While an EP, In a Beautiful Place Out in the Country, is issued this month (a [[Boards of Canada|BoC]] manifesto if ever there was one), the eagerly-anticipated second album is running more than a year behind schedule with no release date in sight. Hmm, three year gaps between records:: you're proper Warp artist now then? Slightly embarassed grins.}}<br /> <br /> {{boc|&quot;When you've got Aphex on your label, everyone else seems easy.&quot;}}<br /> <br /> {{question|So did the impact of the first album just make it hard to follow?}}<br /> <br /> {{boc|&quot;No,&quot; says Marcus, thoughtfully, &quot;I think we lost about a year just rebuilding our studio.&quot;}}<br /> <br /> {{question|Less Stone Roses than My Bloody Valentine, then?}}<br /> <br /> {{boc|&quot;Well, we haven't put sandbags around it yet!&quot;&lt;br /&gt;<br /> Equally, you don't need a City &amp;amp; Guilds engineering diploma to deduce that the densely atmospheric, otherworldly aspects of the Boards' music is painstakingly achieved. &quot;We take such long, individual paths to get where we go, paths that nobody else could ever follow,&quot; says Mike.}}<br /> <br /> {{boc|&quot;So it takes us ten times as long to finish things,&quot; says Marcus.&lt;br /&gt;<br /> &quot;Where some people will work on a track solidly for four days, we'll spend that long just on a hi-hat sound,&quot; Mike laughs.&lt;br /&gt;<br /> &quot;It'd be funny if it wasn't true,&quot; Marcus chuckles.&lt;br /&gt;<br /> &quot;Than again, if there was a way of doing it easily, by pushing a button, we'd do something else because it wouldn't be special anymore,&quot; says Michael.&lt;br /&gt;<br /> &quot;We like to make things hard for ourselves,&quot; shrugs Marcus.}}<br /> <br /> Sequestered away in the Scottish hills, &quot;getting it together in the country&quot;, is a way of life for Boards of Canada. Even taking into account childhood sojourns in Canada, they've never known anything different. Hardly listening to contemporary music, keeping away from the back-slapping musical backstage, rarely reading magazines, living in what was once a commune (Mike:: &quot;People had kids, or went off travelling. It's down to a hardcore of four or five now&quot;) but is now effectively a hill-bound artists' colony - theirs is a deliberately rarefied world. &quot;It's the only way to do it,&quot; says Mike. &quot;Cut yourself off, pull the shutters down.&quot;<br /> <br /> {{boc|&quot;The world's getting smaller and smaller now,&quot; continues Marcus. &quot;We're all sharing the same clothes, the same magazines and the same ideas:: everyone's got the same reference points.&quot; He laughs. &quot;It's globalisation, man!&quot;&lt;br /&gt;<br /> &quot;It's never people who are part of the general flow who make amazing art, &quot; says Mike.&lt;br /&gt;<br /> &quot;Everyone's collectively going down one particular branch of music. With the last album we were too affected by what was going on in that particular moment in history. But the new one is going to be in its own outlandish and unique universe. It's like we're inhabiting an alternative, parallel present where maybe someone in the past took a different branch to the way things actually went.&quot;}}<br /> <br /> {{question|At times, the pair's penchant for privacy can border on the paranoid.<br /> They're so concerned about hackers that they've both got completely separate computers for using the net.}}<br /> <br /> {{boc|&quot;They can't jump through thin air,&quot; says Mike. &quot;I'm really paranoid about security,&quot; adds Marcus. &quot;We've got all these tapes and discs going back 15 years or so. I've got this really complicated solar alarm on my house so that it's impossible to switch it off without cutting five different wires in different places simultaneously.&quot;}}<br /> <br /> {{question|Aware that their bunker mentality may be getting out of hand, the pair have made a conscious effort to get out more recently.}}<br /> <br /> {{boc|&quot;You have to remember you've got a body with two legs,&quot; says Michael. Before mhtrtc took off, theirs was a more leisurely isolation, their music simply soundtracks for the Red Moon events they and their friends would organise in the hills near the commune:: &quot;Just 50 people around a bonfire with a ghetto blaster.&quot;}}<br /> <br /> These days, they still drive out into the country with their friends, set up camp and make bonfires. Bonfires, you will notice, figure large in the Boards of Canada world. You can almost hear the crackling twigs on many of their cuts.<br /> <br /> {{question|As the title indicates, the new EP is typically [[Boards of Canada|BoC]]. &quot;Kid for Today&quot; sounds like what it is - a Music Has the Right to Children contender, while &quot;Amo Bishop Roden&quot; and &quot;Zoetrope&quot; (named after Francis Ford Coppola's San Francisco studio) go deeper into the hazy territory between sleep waking.}}<br /> <br /> {{boc|&quot;It's like when you glaze over when you're listening to something,&quot; says Marcus, &quot;but you're still there at the same time.&quot;<br /> &quot;There's a sort of running theme of melancholy to it,&quot; says Mike, &quot;but it's true, it's not a great leap from Music Has the Right to Children The nearest clue to where we're going is on the title track. But a lot of it will be even more outlandish than that. If you could call the last album electronica, you definitely couldn't call the new album that.&quot;&lt;br /&gt;<br /> &quot;We've split and gone in two directions,&quot; continues Marcus. &quot;There are some things which are just acoustic instruments playing acoustic music, while we've also done some even more electronic tracks. Some of the best ones manage to achieve both at the same time.&quot;}}<br /> <br /> {{question|Apart from this EP, the only Boards of Canada music that's emerged since their characteristically immaculate contribution to Warp's tenth anniversary album has been the music for, of all things, an advert for Telecom Italia. Not just any old advert, either, but one which also features Leonardo Di Caprio. Today Boards of Canada are full of surprises.}}<br /> <br /> {{boc|&quot;It's not the first one we've done either,&quot; grins Mike. &quot;We did one for Nissan last year. Then again, I drive a Nissan.&quot;}}<br /> <br /> {{question|Always did, or do now?}}<br /> <br /> {{boc|&quot;I'd have been more than happy to have been paid in cars, believe me!&quot;}}<br /> <br /> The explanation is that both adverts were done with filmmaker du jour Chris Cunningham, &quot;because he asked us and we respect him&quot;. They're not saying, but rather than heralding that Shell advert, could it be that the Boards have their eye on Cunningham's future feature work? It isn't, after all, a big step from imaginary soundtracks to actual films, and it'd be hard to contemplate a more perfect union.<br /> <br /> {{boc|&quot;We actually gave him an hour and a half's worth of music, of which he used one 20 second fragment. He was just really excited to have new Boards of Canada tracks that no one else has heard, that's why he likes working with us. But we trust him. We know he wouldn't do anything else with it.&quot;&lt;br /&gt;<br /> Marcus grins:: &quot;He also knows we'd break both his legs if he did.<br /> And no, they didn't get to meet Leo. &quot;He utters one word. God knows what he got paid. We wanted to record 'Leonardo Di Caprio is a wanker' and put it in the advert music backwards.&quot;}}<br /> <br /> The future of music may be uncertain, but Boards of Canada seem very definite about their own future musical direction.<br /> <br /> {{boc|&quot;We've got a better notion now than we ever did of what Boards of Canada is,&quot; says Mike. &quot;Now we know that we're supposed to be doing really psychedelic, organic-sounding music. I think to some extent we've pandered to the electronic scene previously, putting elements in that we're not necessarily into.&quot;&lt;br /&gt;<br /> Marcus continues:: &quot;It's going to be simultaneously more listenable and more out there, psychedelic, gorgeous and strange.&quot;}}<br /> <br /> '''THINGS BOARDS OF CANADA LIKE'''<br /> <br /> *The wobble you get on an off-centre record (&quot;We even decide if it's wobbling at 33 or 45 rpm!).<br /> *The little bursts of music you get behind a logo.<br /> *Things that are a little bit out of tune:: &quot;Space Oddity&quot; by David Bowie, &quot;God Only Knows&quot; by the Beach Boys, &quot;Wonderful World&quot; by Louis Armstrong, and &quot;Tomorrow Never Knows&quot; by the Beatles (Marcus:: &quot;In modern music everything is perfect, rationalised, bland.&quot;).<br /> *&quot;The sounds between notes.&quot;<br /> *Progressive rock (Mike:: &quot;For at least trying to get somewhere no one's been&quot;).<br /> *Kung-fu.<br /> *&quot;Listening in increments.&quot;<br /> *Devo, Twins Cocteau and Aphex, Nitzer Ebb, acid folkies, the Incredible String Band, the Wu-Tang Clan. &quot;RZA,&quot; it seems, &quot;listens like we do.&quot;<br /> *A record Marcus found in America which features a Christian robot that sang songs if you pressed a button in his stomach (&quot;The scary part is that it was very Old Testament, slitting the throats of first born and stuff&quot;).<br /> *&quot;Geno&quot; by Dexy's Midnight Runners.<br /> *&quot;The sound when you're at a fairground and you're caught between two different sound systems and they combine to create something new and outlandish.&quot;<br /> <br /> '''THINGS BOARDS OF CANADA DON'T LIKE'''<br /> <br /> *Electronic gadgets that don't work (Marcus:: &quot;It makes me sad to see things that have just been thrown away. I'll pick it up and take it back home and try and make it work. I've still got a brown valve television set from the '70s and it works better than my friends' wide screen TVs&quot;).<br /> *Meat (in Marcus' case).<br /> *Napster (Marcus:: &quot;It's not the big rich artists who'll suffer, it's the smaller artists. Why should people buy their records when they can download them for free? The issue of choice is illusory. If lots of musicians go out of business, then there's only going to be a smaller number of extremely commercial crap artists to choose from.&quot;<br /> <br /> '''BOARDS OF CANADA'S TIPS ON BONFIRES'''<br /> <br /> *Marcus:: &quot;For kindling the best way to ensure it catches is to get loads of pieces more or less the same length and lay them in a grid, then overlay them in a lattice.&quot;<br /> *Mike:: &quot;You don't need matches or a lighter. If it's wet or windy they often won't work. But two twigs will. The trick is to tie string to either end of one twig, then you can rub them together faster than your hands ever could.&quot;<br /> <br /> '''DISCOGRAPHY'''<br /> <br /> *Acid Memories (Music 70, 1989)&lt;br /&gt;<br /> ::Absurdly rare, cassette-only release from the barely teen Boards, then six-strong. Guitars meet electronics in embryonic but recognisably Boards-ian melodicism.<br /> *Play by Numbers (Music 70, 1994)&lt;br /&gt;<br /> ::Five-track CD from what was now a trio, boasting a My Bloody Valentine influence in places, shifting further into electronics in others.<br /> *Hooper Bay (Music 70, 1994)&lt;br /&gt;<br /> ::Closer still:: the use of kids' voices was a hint of what was to come. People pay small fortunes for copies.<br /> *Twoism (Music 70, 1995)&lt;br /&gt;<br /> ::The last record as a trio when everything slipped into focus and pricked up record company ears.<br /> *BOC Maxima (Music 70, 1996)&lt;br /&gt;<br /> ::Twenty tracks:: half of which would appear on later EPs and albums; the others remain an impossibly elusive prospect (50 copies only).<br /> *Hi Scores EP (Skam, 1996)&lt;br /&gt;<br /> ::Essential for the Eno-esque &quot;Everything You Do is a Balloon&quot; and the spooky electro of &quot;Nlogax&quot;.<br /> *Korona (from Mask 100 compilation) (Skam, 1996)&lt;br /&gt;<br /> ::Darkness visible:: slurring synths and an uneasy, off-kilter rhythm.<br /> *Untitled (from Mask 200 as Hell Interface) (Skam, 1997)&lt;br /&gt;<br /> ::Even darker, harder, faster side of the Boards. &quot;Who are Hell Interface?&quot; they ask.<br /> *Michael Fakesch &quot;Surfaise&quot; (Boards of Canada remix) (Warp, 1997)&lt;br /&gt;<br /> ::Spacious, dissonant, slightly disembodied ambience.<br /> *Mira Calix &quot;Sandsings&quot; (Boards of Canada remix) (Warp, 1997)&lt;br /&gt;<br /> ::Boards render Warp's press officer's warblings intelligble.<br /> *Jack Dangers &quot;Prime Audio Soup&quot; (Boards of Canada remix) (Play it Again Sam, 1998)<br /> ::Respectful to the Meat Beat man, this is a curious, slightly gothy hybrid.<br /> *&quot;Aquarius&quot; (seven-inch single) (Skam, 1998)&lt;br /&gt;<br /> ::A different version to the one on Music. Sesame Street meets Kraftwerk meets the between-scenes bits from Seinfeld.<br /> *Music Has the Right to Children (Skam/Warp, 1998)&lt;br /&gt;<br /> ::Music has The Right to Children claimed not just children but grown adults of shock both sexes.<br /> *Bubbah's Tum &quot;Dirty Great Mable&quot; (III, 1998)&lt;br /&gt;<br /> ::Unusually beat-heavy, balanced by their trademark use of kids' voices and big, spooky chords. Their final mix.<br /> *&quot;Orange Romeda&quot; (from We Are Reasonable People compilation) (Warp, 1999)&lt;br /&gt;<br /> ::Very much in the Music. vein. Children's voices, bird's wing percussion and yearning, half-heard synth melodies.<br /> *Peel Sessions (Strange Fruit, 1999)&lt;br /&gt;<br /> ::Reworks of &quot;Aquarius&quot; and &quot;Olson&quot;, plus newie &quot;Happy Cycling&quot;.<br /> *In a Beatiful Place Out in the Country EP (Warp, 2000)&lt;br /&gt;<br /> ::OK, so it's an EP not an album, and it's not exactly a revolutionary departure, but when familiar ground is this gorgeous, who's complaining?<br /> <br /> interview by Richard Southern, December 2000.<br /> &lt;/onlyinclude&gt;<br /> <br /> == Images/Scans ==<br /> &lt;gallery&gt;<br /> Image:BOC-band-27.jpg|Cover<br /> Image:JS Dec2000 pg30.jpg|pg30<br /> Image:JS Dec2000 pg31.jpg|pg31<br /> Image:JS Dec2000 pg32.jpg|pg32<br /> Image:JS Dec2000 pg33.jpg|pg33<br /> Image:JS Dec2000 pg34.jpg|pg34<br /> &lt;/gallery&gt;<br /> <br /> == External Links ==<br /> <br /> [[Category: Interviews]]<br /> [[Category: Music Has the Right to Children era]]</div>

Valotonin https://bocpages.org/w/index.php?title=Hardware_Addicts&diff=13998 2017-04-06T20:27:32Z

<p>Valotonin: /* Original text */</p> <hr /> <div>&lt;onlyinclude&gt;<br /> {{interview<br /> |title= Hardware Addicts<br /> |author= Gregor Wildermann<br /> |date= September 1997<br /> |publication= De:Bug<br /> |issue=3<br /> }}<br /> &lt;/onlyinclude&gt;<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> &quot;[[Hardware Addicts]]&quot; is a 1997 interview by Gregor Wildermann. It originally appeared in De:Bug #03 p. 06 (in German) &lt;ref&gt;http://de-bug.de/mag/boards-of-canada/&lt;/ref&gt;<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> __TOC__<br /> <br /> == Original text ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> {{original}} <br /> <br /> &quot;It's just by default that we do electronic music.Ò 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.<br /> 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.....<br /> <br /> {{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.}}<br /> <br /> {{question|Woher stammt der Name [[Boards of Canada]] ?}}<br /> <br /> {{boc|&quot;[[Mike Sandison|MS]]: Es gibt eine Behörde in Camda, die &quot; 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]].}}<br /> <br /> {{question|st das Bild auf der [[SKAM]]-Platte auch aus einem dieser Filme?}}<br /> <br /> {{boc|&quot;[[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.&quot;}}<br /> <br /> {{question|Was ist das Thema dieses Filmes?}}<br /> <br /> {{boc|&quot;[[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.&quot;}}<br /> <br /> {{question|Wie kam es zu der Platte auf dem [[SKAM]]-Label? }}<br /> <br /> {{boc|&quot;[[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: &quot;Yah, we' gonna do something together.Ò Das hat uns natürlich gefreut. &quot;}}<br /> <br /> {{question|Was macht deiner Meinung nach die Qualität von [[Autechre]]s Musik aus?}}<br /> <br /> {{boc|&quot;[[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. &quot;}}<br /> <br /> {{question|Wird es auf [[Music70]] noch mehr Releases geben und was wird man sonst von Euch in Zukunft hören können?}}<br /> <br /> {{boc|&quot;[[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 (&quot;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. &quot;}}<br /> <br /> {{question|Klingt Euer neues Material anders als die Tracks der EP auf [[SKAM]]?}}<br /> <br /> {{boc|&quot;[[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.&quot;}} <br /> <br /> {{question|Wie groß ist die Gefahr, daß ein Label wie [[SKAM]] durch eine gewisse Popularität an Qualität einbüßt?}}<br /> <br /> {{boc|&quot;[[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.&quot;}}<br /> <br /> {{question|Glaubst du, daß Eure Musik von den verschiedenen eigenen künstlerischen Interessen profitiert?}}<br /> <br /> {{boc|&quot;[[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. &quot;}}<br /> <br /> {{question|[[wikipedia:Aphex_Twin|Richard James]] benutzt spezielle Software, um Platten wie die Rubberjohnny zu machen. Experimentiert ihr auch mit solchen Programmen?}}<br /> <br /> {{boc|&quot;[[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.&quot;}}<br /> <br /> {{question|Worin liegen die Vorteile bei der Arbeit als Duo?}}<br /> <br /> {{boc|&quot;[[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.&quot;}}<br /> <br /> {{question|Wie sieht ein Liveset von [[Boards of Canada|BOC]] aus?}}<br /> <br /> {{boc|&quot;[[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.&quot;}}<br /> <br /> {{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?}}<br /> <br /> {{boc|&quot;[[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. &quot;}}<br /> <br /> {{question|Dave Being ist auch aus Edinburgh. Kennt ihr euch eigentlich?}}<br /> <br /> {{boc|&quot;[[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.&quot;}}<br /> <br /> {{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 &quot;Sound of...&quot; zu kreieren.}}<br /> <br /> {{boc|&quot;[[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.&quot;}}<br /> <br /> {{question|Wenn eure Musik an einem öffentlichen Platz gespielt werden sollte, welcher wäre das dann?}}<br /> <br /> {{boc|&quot;[[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.&quot;}}<br /> &lt;/onlyinclude&gt;<br /> <br /> == Translated text ==<br /> <br /> &lt;onlyinclude&gt;<br /> {{translation-needed}}<br /> &lt;/onlyinclude&gt;<br /> <br /> == Scans ==<br /> {{scan-needed}}<br /> <br /> &lt;gallery&gt;<br /> <br /> &lt;/gallery&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> [[Category: Music Has the Right to Children era]]</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13978 2017-04-05T12:33:28Z

<p>Valotonin: </p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. &lt;br&gt;&lt;br&gt;<br /> There is a separate dedicated page to official [[Statements from Hexagon Sun|statements and made by Hexagon Sun.]]&lt;br&gt;<br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, &quot;[[In An Imaginary Place Out In The Country]]&quot;, Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> * Mike: &quot;We aim to switch everthing off at six o'clock now. For ''[[Geogaddi]]'' we worked until 4am every day and it was hellish, so we're trying to lighten up a bit for the good of our health and our family lives.&quot; &lt;ref&gt;October 2005, &quot;[[Two for the No-Show]]&quot;, The Times&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13972 2017-04-05T12:09:06Z

<p>Valotonin: </p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. There is a separate dedicated page to [[Statements from Hexagon Sun|official statements and announcements made by Hexagon Sun.]]<br /> <br /> The quotes listed below are arranged into categories based on subject matter. <br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> * Marcus: &quot;Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, '[[In An Imaginary Place Out In The Country]]' Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: &quot;Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Marcus_Eoin&diff=13966 2017-04-05T07:00:01Z

<p>Valotonin: </p> <hr /> <div>Marcus Eoin Sandison (born July 21st 1970) is one of the two founding members of the '[[Boards of Canada]]'. His brother, [[Michael Sandison|Michael Peter Sandison]], makes up the other half of the musical duo. Growing up in a musical family, despite being a Scottish national and retaining the local accent, he and Micheal migrated between Scotland and Canada as children and this has lead to many of the major influences on their musical output over their adult life. This includes the namesake of the group 'Boards of Canada' which was inspired by 'The Film Boards of Canada', a Canadian documentary film service that he and [[Mike]] watched regularly during their time in Canada.<br /> <br /> __TOC__ <br /> <br /> == Pictures ==<br /> &lt;DynamicPageList&gt;<br /> category = Photos of Marcus<br /> namespace=file<br /> ordermethod = created<br /> imagewidth=104<br /> galleryshowfilesize=yes<br /> galleryshowfilename=yes<br /> imagesperrow=6<br /> mode=gallery<br /> &lt;/DynamicPageList&gt;<br /> <br /> == Trivia ==<br /> * While [[Marcus Eoin|Marcus]] and [[Michael Sandison|Michael]] are indeed brothers, sharing the family name Sandison, [[Marcus Eoin|Marcus]] continues to use the name [[Marcus Eoin|Marcus Eoin]] for professional reasons.<br /> <br /> <br /> == References ==<br /> &lt;references /&gt;<br /> {{Nav-People}}</div>

Valotonin https://bocpages.org/w/index.php?title=Michael_Sandison&diff=13965 2017-04-05T04:01:39Z

<p>Valotonin: </p> <hr /> <div>Michael Peter Sandison (born June 1st 1970) is one of the two founding members of the '[[Boards of Canada]]'. His brother, [[Marcus Eoin]] Sandison, makes up the other half of the musical duo. Growing up in a musical family, despite being a Scottish national and retaining the local accent, he and [[Marcus]] migrated between Scotland and Canada as children and this has lead to many of the major influences on their musical output over their adult life. This includes the namesake of the group 'Boards of Canada' which was inspired by 'The Film Boards of Canada', a Canadian documentary film service that he and [[Marcus]] watched regularly during their time in Canada.<br /> <br /> __TOC__<br /> <br /> <br /> == Pictures ==<br /> &lt;DynamicPageList&gt;<br /> category = Photos of Mike<br /> namespace=file<br /> ordermethod = created<br /> imagewidth=104<br /> galleryshowfilesize=yes<br /> galleryshowfilename=yes<br /> imagesperrow=6<br /> mode=gallery<br /> &lt;/DynamicPageList&gt;<br /> <br /> == Trivia ==<br /> * He has a Master of Arts from [[wikipedia:University of Edinburgh|Edinburgh University]] with which he graduated on the 17th of July 1992. &lt;ref&gt;http://www.heraldscotland.com/sport/spl/aberdeen/edinburgh-university-1.802134&lt;/ref&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> {{stub}}<br /> {{Nav-People}}</div>

Valotonin https://bocpages.org/w/index.php?title=Marcus_Eoin&diff=13964 2017-04-05T03:59:50Z

<p>Valotonin: </p> <hr /> <div>Marcus Eoin Sandison (born July 21st 1970) is one of the two founding members of the '[[Boards of Canada]]'. His brother, [[Michael Sandison|Michael Peter Sandison]], makes up the other half of the musical duo. Growing up in a musical family, despite being a Scottish national and retaining the local accent, he and Micheal migrated between Scotland and Canada as children and this has lead to many of the major influences on their musical output over their adult life. This includes the namesake of the group 'Boards of Canada' which was inspired by 'The Film Boards of Canada', a Canadian documentary film service that He and [[Mike]] watched regularly during their time in Canada.<br /> <br /> __TOC__ <br /> <br /> == Pictures ==<br /> &lt;DynamicPageList&gt;<br /> category = Photos of Marcus<br /> namespace=file<br /> ordermethod = created<br /> imagewidth=104<br /> galleryshowfilesize=yes<br /> galleryshowfilename=yes<br /> imagesperrow=6<br /> mode=gallery<br /> &lt;/DynamicPageList&gt;<br /> <br /> == Trivia ==<br /> * While [[Marcus Eoin|Marcus]] and [[Michael Sandison|Michael]] are indeed brothers, sharing the family name Sandison, [[Marcus Eoin|Marcus]] continues to use the name [[Marcus Eoin|Marcus Eoin]] for professional reasons.<br /> <br /> <br /> == References ==<br /> &lt;references /&gt;<br /> {{Nav-People}}</div>

Valotonin https://bocpages.org/w/index.php?title=Michael_Sandison&diff=13963 2017-04-05T03:58:01Z

<p>Valotonin: </p> <hr /> <div>Michael Peter Sandison (born June 1st 1970) is one of the two founding members of the 'Boards of Canada'. His brother, Marcus Eoin Sandison, makes up the other half of the musical duo. Growing up in a musical family, despite being a Scottish national and retaining the local accent, he and Marcus migrated between Scotland and Canada as children and this has lead to many of the major influences on their musical output over their adult life. This includes the namesake of the group 'Boards of Canada' which was inspired by 'The Film Boards of Canada', a Canadian documentary film service that he and Marcus watched regularly during their time in Canada.<br /> <br /> __TOC__<br /> <br /> <br /> == Pictures ==<br /> &lt;DynamicPageList&gt;<br /> category = Photos of Mike<br /> namespace=file<br /> ordermethod = created<br /> imagewidth=104<br /> galleryshowfilesize=yes<br /> galleryshowfilename=yes<br /> imagesperrow=6<br /> mode=gallery<br /> &lt;/DynamicPageList&gt;<br /> <br /> == Trivia ==<br /> * He has a Master of Arts from [[wikipedia:University of Edinburgh|Edinburgh University]] with which he graduated on the 17th of July 1992. &lt;ref&gt;http://www.heraldscotland.com/sport/spl/aberdeen/edinburgh-university-1.802134&lt;/ref&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> {{stub}}<br /> {{Nav-People}}</div>

Valotonin https://bocpages.org/w/index.php?title=Marcus_Eoin&diff=13962 2017-04-05T03:57:05Z

<p>Valotonin: </p> <hr /> <div>Marcus Eoin Sandison (born July 21st 1970) is one of the two founding members of the 'Boards of Canada'. His brother, Michael Peter Sandison, makes up the other half of the musical duo. Growing up in a musical family, despite being a Scottish national and retaining the local accent, he and Micheal migrated between Scotland and Canada as children and this has lead to many of the major influences on their musical output over their adult life. This includes the namesake of the group 'Boards of Canada' which was inspired by 'The Film Boards of Canada', a Canadian documentary film service that He and Marcus watched regularly during their time in Canada.<br /> <br /> __TOC__ <br /> <br /> == Pictures ==<br /> &lt;DynamicPageList&gt;<br /> category = Photos of Marcus<br /> namespace=file<br /> ordermethod = created<br /> imagewidth=104<br /> galleryshowfilesize=yes<br /> galleryshowfilename=yes<br /> imagesperrow=6<br /> mode=gallery<br /> &lt;/DynamicPageList&gt;<br /> <br /> == Trivia ==<br /> * While [[Marcus Eoin|Marcus]] and [[Michael Sandison|Michael]] are indeed brothers, sharing the family name Sandison, [[Marcus Eoin|Marcus]] continues to use the name [[Marcus Eoin|Marcus Eoin]] for professional reasons.<br /> <br /> <br /> == References ==<br /> &lt;references /&gt;<br /> {{Nav-People}}</div>

Valotonin https://bocpages.org/w/index.php?title=Marcus_Eoin&diff=13961 2017-04-05T03:52:33Z

<p>Valotonin: </p> <hr /> <div>Marcus Eoin Sandison (born July 21st 1970) is one of the two founding members of the 'Boards of Canada'. His brother, Michael Peter Sandison, makes up the other half of the musical duo. Growing up in a musical family, despite being a Scottish national and retaining the local accent, he and Micheal migrated between Scotland and Canada as children and this has lead to many of the major influences on their musical output over their adult life. <br /> <br /> __TOC__ <br /> <br /> == Pictures ==<br /> &lt;DynamicPageList&gt;<br /> category = Photos of Marcus<br /> namespace=file<br /> ordermethod = created<br /> imagewidth=104<br /> galleryshowfilesize=yes<br /> galleryshowfilename=yes<br /> imagesperrow=6<br /> mode=gallery<br /> &lt;/DynamicPageList&gt;<br /> <br /> == Trivia ==<br /> * While [[Marcus Eoin|Marcus]] and [[Michael Sandison|Michael]] are indeed brothers, sharing the family name Sandison, [[Marcus Eoin|Marcus]] continues to use the name [[Marcus Eoin|Marcus Eoin]] for professional reasons.<br /> <br /> <br /> == References ==<br /> &lt;references /&gt;<br /> {{Nav-People}}</div>

Valotonin https://bocpages.org/w/index.php?title=Michael_Sandison&diff=13960 2017-04-05T03:50:10Z

<p>Valotonin: </p> <hr /> <div>Michael Peter Sandison (born June 1st 1970) is one of the two founding members of the 'Boards of Canada'. His brother, Marcus Eoin Sandison, makes up the other half of the musical duo. Growing up in a musical family, despite being a Scottish national and retaining the local accent, he and Marcus migrated between Scotland and Canada as children and this has lead to many of the major influences on their musical output over their adult life. <br /> <br /> __TOC__<br /> <br /> <br /> == Pictures ==<br /> &lt;DynamicPageList&gt;<br /> category = Photos of Mike<br /> namespace=file<br /> ordermethod = created<br /> imagewidth=104<br /> galleryshowfilesize=yes<br /> galleryshowfilename=yes<br /> imagesperrow=6<br /> mode=gallery<br /> &lt;/DynamicPageList&gt;<br /> <br /> == Trivia ==<br /> * He has a Master of Arts from [[wikipedia:University of Edinburgh|Edinburgh University]] with which he graduated on the 17th of July 1992. &lt;ref&gt;http://www.heraldscotland.com/sport/spl/aberdeen/edinburgh-university-1.802134&lt;/ref&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> {{stub}}<br /> {{Nav-People}}</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13940 2017-04-04T20:17:00Z

<p>Valotonin: /* Hexagon Sun */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> The quotes listed below are arranged into categories based on subject matter. <br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> * Marcus: Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, '[[In An Imaginary Place Out In The Country]]' Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways. &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * &lt;small&gt;'''On the subject of fabled [[Redmoon]] events'''&lt;/small&gt;: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13934 2017-04-04T20:11:51Z

<p>Valotonin: </p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> The quotes listed below are arranged into categories based on subject matter. <br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> * Marcus: Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, '[[In An Imaginary Place Out In The Country]]' Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways. &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * '''On the subject of fabled [[Redmoon]] events:''' &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13932 2017-04-04T19:53:12Z

<p>Valotonin: </p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> The quotes listed below are arranged into categories based on subject matter. <br /> <br /> <br /> {{WIP}}<br /> {{TOClimit|2}}<br /> ==Musical Process==<br /> * Marcus: Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.&lt;ref name=&quot;cookiescenefeb2002&quot;&gt;February 2002, '[[In An Imaginary Place Out In The Country]]' Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * Mike: Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways. &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * On the subject of fabled [[Redmoon]] events: &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref name=&quot;cookiescenefeb2002&quot; /&gt;<br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13913 2017-04-04T15:22:33Z

<p>Valotonin: </p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> The quotes listed below are arranged into categories based on subject matter. (This page will be expanded over time.)<br /> <br /> {{TOClimit|2}}<br /> <br /> ==Musical Process==<br /> * ''Marcus: Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.''&lt;ref&gt;February 2002, '[[In An Imaginary Place Out In The Country]]' Cookie Scene (Translated From Japanese)&lt;/ref&gt; <br /> * ''Mike: Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.'' &lt;ref&gt;February 2002, '[[In An Imaginary Place Out In The Country]]' Cookie Scene (Translated From Japanese)&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * March 2002. About the fabled [[Redmoon]] events. &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref&gt;February 2002, '[[In An Imaginary Place Out In The Country]]' Cookie Scene (Translated From Japanese)&lt;/ref&gt;<br /> <br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13912 2017-04-04T15:13:11Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> The quotes listed below are arranged into categories based on subject matter. (This page will be expanded over time.)<br /> <br /> {{TOClimit|2}}<br /> <br /> ==Musical Process==<br /> * ''Marcus: Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.'' <br /> * ''Mike: Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.'' &lt;ref&gt;February 2002, '[[In An Imaginary Place Out In The Country]]' Cookie Scene (Translated From Japanese)&lt;/ref&gt;<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * March 2002. About the fabled [[Redmoon]] events. &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref&gt;http://bocpages.org/wiki/In_An_Imaginary_Place_Out_In_The_Country&lt;/ref&gt;<br /> <br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13911 2017-04-04T15:11:23Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> The quotes listed below are arranged into categories based on subject matter. (This page will be expanded over time.)<br /> <br /> {{TOClimit|2}}<br /> <br /> ==Musical Process==<br /> * ''Marcus: Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas.'' <br /> * ''Mike: Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.''<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * March 2002. About the fabled [[Redmoon]] events. &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref&gt;http://bocpages.org/wiki/In_An_Imaginary_Place_Out_In_The_Country&lt;/ref&gt;<br /> <br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13910 2017-04-04T15:06:40Z

<p>Valotonin: /* Musical Process */</p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous [[Interviews|interviews]] (mainly by e-mail) over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[Communication|BoC fanatic]] and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> The quotes listed below are arranged into categories based on subject matter. (This page will be expanded over time.)<br /> <br /> {{TOClimit|2}}<br /> <br /> ==Musical Process==<br /> * From the 2002 'In an Imaginary Place Out in the Country' Japanese interview: ''''Marcus: Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas'''' ''''Mike: Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways.''''<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==<br /> * March 2002. About the fabled [[Redmoon]] events. &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref&gt;http://bocpages.org/wiki/In_An_Imaginary_Place_Out_In_The_Country&lt;/ref&gt;<br /> <br /> <br /> == References ==<br /> &lt;references /&gt;</div>

Valotonin https://bocpages.org/w/index.php?title=Communities&diff=13872 2017-04-04T00:20:23Z

<p>Valotonin: </p> <hr /> <div>[[Mike]] and [[Marcus]] may be reclusive but their fans certainly aren't! This page lists a wide variety of online [[BoC]]-related communities and domains. <br /> <br /> {{TOC limit|2}}<br /> <br /> == Social Media ==<br /> &lt;htmlet nocache=&quot;yes&quot;&gt;about-facebook&lt;/htmlet&gt;<br /> <br /> <br /> &lt;htmlet nocache=&quot;yes&quot;&gt;about-twitter&lt;/htmlet&gt;<br /> <br /> <br /> &lt;htmlet nocache=&quot;yes&quot;&gt;pinterest&lt;/htmlet&gt;<br /> <br /> == Chat ==<br /> === Telegram ===<br /> We have a private chat group ([[WATB]]) on Telegram, contact [http://t.me/frederik81 @frederik81] for an invite. <br /> <br /> There is also a public [http://bit.ly/wearetheboc-discord voip channel] via Discord. <br /> <br /> You can add music to our collaborative [http://bit.ly/wearetheboc-youtube-collaborate YouTube] and/or [http://bit.ly/wearetheboc-spotify Spotify] playlists. <br /> <br /> We also broadcast fine music to our [http://telegram.me/lushtransmissions Lush Transmissions] channel.<br /> <br /> === IRC ===<br /> Too oldskool for the new stuff? We got you covered with a channel on IRC:<br /> * server: [http://freenode.net/ irc.freenode.net]<br /> * port: 6697<br /> * channel: [http://webchat.freenode.net/?channels=%23%23boardsofcanada&amp;uio=d4 ##boardsofcanada]<br /> <br /> == Forums ==<br /> * Feel free to join our [[Twoism (messageboard)]]. <br /> ** It's also the home of the mixed compilations [http://twoism.org/oneontwoism/ One On Twoism] by independent artists. <br /> ** The forum is passionately led by [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=3 Aesthetics] who also creates lovely mixes under his moniker [http://www.grimonmbient.nl/ Grim on Mbient].<br /> <br /> * There's also [[Joyrex]]'s We Are The Music Makers ([[WATMM]]) forum.<br /> * http://xltronic.com<br /> <br /> == Groups ==<br /> Facebook holds a pretty big and lively community of boc fanatics.<br /> * https://www.facebook.com/groups/boardsofcanada<br /> <br /> These Yahoo groups used to be active back in the days, long before the big current social media channels. Still a neat archive!<br /> * https://groups.yahoo.com/neo/groups/boardsofcanada/info<br /> * https://groups.yahoo.com/neo/groups/boards-of-canada/info<br /> <br /> == Comments ==<br /> [http://disqus.com/ Disqus] has been installed on this wiki. <br /> <br /> You can use it to leave comments at the [[Communication#disqus|bottom of each individual page]].</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13778 2017-04-02T23:50:45Z

<p>Valotonin: </p> <hr /> <div>Despite their public image of secrecy and their reclusive nature, the veil is occasionally lifted at the corners and insights into the workings and philosophy behind the music are revealed. [[Boards of Canada]] have taken part in numerous interviews over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[BoC]] fanatic and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> ==Musical Process==<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13777 2017-04-02T23:44:53Z

<p>Valotonin: </p> <hr /> <div>[[Boards of Canada]] have taken part in many interviews over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[BoC]] fanatic and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> The quotes listed below are arranged into categories based on subject matter.<br /> <br /> ==Musical Process==<br /> <br /> ==Equipment==<br /> <br /> ==Philosophy ==<br /> <br /> ==Inspirations==<br /> <br /> ==Hexagon Sun==</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13776 2017-04-02T23:09:12Z

<p>Valotonin: </p> <hr /> <div>[[Boards of Canada]] have taken part in many interviews over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing into the present. For both the long term [[BoC]] fanatic and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> ==Music Has The Right To Children Era==<br /> <br /> ==Geogaddi Era==<br /> <br /> ==Campfire Headphase Era==<br /> <br /> ==Tomorrow's Harvest Era==</div>

Valotonin https://bocpages.org/w/index.php?title=Notable_Interview_Quotes&diff=13775 2017-04-02T23:03:27Z

<p>Valotonin: Created page with &quot;Boards of Canada have taken part in many interviews over the years, effectively beginning as of their commercial success with Music Has The Right To Children and conti...&quot;</p> <hr /> <div>[[Boards of Canada]] have taken part in many interviews over the years, effectively beginning as of their commercial success with [[Music Has The Right To Children]] and continuing to this day. For both the long term [[BoC]] fanatic and those that are new to the group, this page serves as a collection of notable and interesting quotes from their correspondence with the media. <br /> <br /> ==Music Has The Right To Children Era==<br /> <br /> ==Geogaddi Era==<br /> <br /> ==Campfire Headphase Era==<br /> <br /> ==Tomorrow's Harvest Era==</div>

Valotonin https://bocpages.org/w/index.php?title=Tomorrow%27s_Harvest_Viral_Marketing_Campaign&diff=13774 2017-04-02T20:03:51Z

<p>Valotonin: </p> <hr /> <div>The Viral Marketing Campaign for [[Boards of Canada]]'s 4th LP - [[Tomorrow's Harvest]] (2013), was a series of promotional events leading up to the release of the album. This included, but is not limited to: Listening parties hinted at by using cryptic online messages, a music video being played over a large advertisement screen on the streets of Tokyo, Japan and various other hints and reveals using social media and video hosting websites, alongside a track reveal on BBC Radio 1. This, combined with the '[[Cosecha Transmisiones]]' cryptic messages and clues that immediately preceded it, was considered to be an almost entirely new and unique method of artistic promotion. <br /> <br /> A detailed timeline of events is listed below. <br /> <br /> __TOC__<br /> <br /> == Shibuya-ku Tokyo ==<br /> After [[Record Store Day incident|an intriguing week]] of decyphering cryptic transmissions [[Boards of Canada]] remained silent on their [[Websites#Social Networks|social networks]], except for a couple of links related to the release of ''[[Tomorrow's Harvest]]''.&lt;ref&gt;https://www.facebook.com/boardsofcanada/posts/10151430836943927&lt;/ref&gt;&lt;ref&gt;https://www.facebook.com/boardsofcanada/posts/10151430839388927&lt;/ref&gt;&lt;ref&gt;https://www.facebook.com/boardsofcanada/posts/10151430894823927&lt;/ref&gt;&lt;ref&gt;https://www.facebook.com/boardsofcanada/posts/10151430840743927&lt;/ref&gt;<br /> <br /> The 21st of May, however, [[Boards of Canada]] posted the following cryptic status update on their official [[Facebook.com|Facebook]] account. &lt;ref&gt;https://www.facebook.com/boardsofcanada/posts/10151460041363927&lt;/ref&gt;&lt;ref&gt;http://www.factmag.com/2013/05/21/boards-of-canada-tweet-mysterious-japanese-address/&lt;/ref&gt;&lt;ref&gt;https://www.facebook.com/boardsofcanada/posts/10151460041363927&lt;/ref&gt;&lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?t=10626&lt;/ref&gt;<br /> &lt;blockquote&gt;May 22nd 24:00 @ 1-23-10 Jinnan Shibuya-ku Tokyo&lt;/blockquote&gt;<br /> <br /> <br /> [http://www.twoism.org/forum/viewtopic.php?p=195365#195365 jar] from the [[Twoism (messageboard)]] was there and made the second recording shown below. &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=195365#195365&lt;/ref&gt;&lt;ref&gt;http://www.factmag.com/2013/05/22/watch-boards-of-canadas-tokyo-surprise-live/&lt;/ref&gt;<br /> === Videos ===<br /> {{#widget:YouTube|id=6QH06BUk6pM|width=383}} {{#widget:YouTube|id=mdZFsQTUbbY|width=383}}<br /> <br /> {{#widget:YouTube|id=R_Gn2CXFsoE|width=383}} {{#widget:YouTube|id=qvt8U88RAc8|width=383}}<br /> <br /> === Images ===<br /> &lt;gallery heights=&quot;325px&quot; widths=&quot;325px&quot;&gt;<br /> File:Shibuya-ku-tokyo-01.gif<br /> File:Shibuya-ku-tokyo-02.jpg<br /> File:Shibuya-ku-tokyo-03.jpg<br /> File:Shibuya-ku-tokyo-04.jpg<br /> File:Shibuya-ku-tokyo-05.jpg<br /> File:Shibuya-ku-tokyo-06.jpg<br /> &lt;/gallery&gt;<br /> <br /> == Zane Lowe ==<br /> [https://twitter.com/zanelowe @zanelowe] tweeted:&lt;br&gt;<br /> * 3:42 PM - 23 May 13 &quot;Brand new Boards Of Canada on tonights show!&quot; &lt;ref&gt;https://twitter.com/zanelowe/status/337564289126764544&lt;/ref&gt;<br /> * 7:55 PM - 23 May 13 &quot;New Boards Of Canada at 7:55pm UK http://www.bbc.co.uk/radio1/listen/&quot; &lt;ref&gt;https://twitter.com/zanelowe/status/337627848342900737&lt;/ref&gt;<br /> <br /> Zane announced he will play &quot;[[Reach For The Dead]]&quot;.<br /> <br /> == Reach For The Dead ==<br /> === Video ===<br /> {{#widget:YouTube|id=2jTg-q6Drt0}}<br /> === Audio ===<br /> {{#widget:SoundCloud|id=93549370}}<br /> === Images ===<br /> &lt;gallery heights=&quot;325px&quot; widths=&quot;325px&quot;&gt;<br /> File:Reach for the Dead.jpg<br /> File:Website-RFTD.png<br /> &lt;/gallery&gt;<br /> <br /> == May 27th - 17:00 PDT ==<br /> * [[Hell Interface]] posts &quot;May 27th - 17:00 PDT&quot; as a comment on the [[Reach For The Dead#Video|youtube video]] of &quot;[[Reach For The Dead]]&quot;. &lt;ref&gt;http://www.youtube.com/watch?v=2jTg-q6Drt0&amp;lc=rZlXxuUp6maegO_OteKndLcSTfZkl9MJpkt-KXxJqpA&lt;/ref&gt;<br /> <br /> * [https://twitter.com/boctransmission/ @boctransmission] tweeted @ 11:30 PM - 26 May 13: &quot;May 27th - 17:00 PDT&quot; with the second image shown below attached to the tweet. &lt;ref&gt;https://twitter.com/boctransmission/status/338769019974856704&lt;/ref&gt;<br /> <br /> [[File:Hell-interface-hints-may-27th-17h00-pdt.png|375px]] [[File:5-27-13-1700.jpg|375px]]<br /> <br /> The attached image shown above has exif data with the exact gps-location. &lt;ref&gt;http://goo.gl/ZvAfm&lt;/ref&gt;<br /> <br /> === Google Maps ===<br /> {{#widget:Google Maps<br /> |width=770<br /> |height=400<br /> |lat=34.948043<br /> |lng=-116.682615<br /> |zoom=16<br /> |maptype=hybrid<br /> |maptypecontrol=yes<br /> |largemapcontrol=yes<br /> |overviewmapcontrol=yes<br /> |scalecontrol=yes<br /> |marker.name.lat=34.948043<br /> |marker.name.lng=-116.682615<br /> |marker.name.title =Yermo<br /> }}<br /> <br /> === Images ===<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=1185 nsputnik] from the [[Twoism (messageboard)]] shared the picture below:<br /> [[File:Boards-of-canada-yermo-ca-map.jpg|770px]]<br /> <br /> A is the drive-in theater.&lt;br&gt;<br /> B is the gas station.&lt;br&gt;<br /> C is the area covered in the tweet regarding May 27th 2013. &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=197592#197592&lt;/ref&gt;<br /> <br /> [[File:63623456.jpg]]<br /> <br /> === External Links ===<br /> * https://maps.google.com/maps?f=q&amp;q=loc:34.948043,-116.682615&amp;t=k&amp;spn=0.5,0.5<br /> * http://www.panoramio.com/photo/63623456<br /> * http://goo.gl/maps/jF02k<br /> * http://en.wikipedia.org/wiki/Lake_Dolores_Waterpark<br /> ** http://www.youtube.com/watch?v=cbSbbY5ibas<br /> ** https://ssl.panoramio.com/photo/71912368<br /> * https://plus.google.com/110126773915965930344/about?gl=uk&amp;hl=en<br /> ** https://plus.google.com/110126773915965930344/photos?hl=en<br /> * http://imgur.com/vUgVFdI<br /> <br /> == Movement Electronic Music Festival ==<br /> * Allegedly a new [[Boards of Canada]] track was played at the [http://movement.us/lineup/ Movement] festival in Detroit. It happened right after Audion's set at Sunday 26th of May. Presumable the track played is &quot;[[Cold Earth]]&quot;, based upon the track by track review from The Quietus. &lt;ref&gt;http://thequietus.com/articles/12364-boards-of-canada-tomorrows-harvest-review&lt;/ref&gt;<br /> <br /> * [http://www.nme.com NME] confirmed the track that had been played to be &quot;[[Cold Earth]]&quot;. &lt;ref&gt;http://www.nme.com/news/boards-of-canada/70527&lt;/ref&gt;<br /> === Images ===<br /> &lt;gallery heights=325px widths=325px&gt;<br /> File:New-boc-track-at-movement-festival.jpg<br /> &lt;/gallery&gt;<br /> <br /> === Videos===<br /> <br /> {{#widget:YouTube|id=EMsQo2EZNeU}}<br /> <br /> === External Links ===<br /> *http://www.twoism.org/forum/viewtopic.php?t=10663<br /> *http://movement.us/lineup/<br /> *https://twitter.com/WarpRecords/status/338817207364640769<br /> *https://twitter.com/ryanjonik/status/338825479127695360<br /> *https://twitter.com/minushobo/status/338866990963900416<br /> *https://twitter.com/denleschae/status/338825290618916864<br /> ** https://www.dropbox.com/s/l5ywd42tp26vyzw/BoCMovement2013.MOV<br /> <br /> == Look Sad Reel ==<br /> * 27th of May: [[Hell Interface]] posted the first video listed below with the title: &quot;Look Sad Reel&quot;. This seems to be an anagram for [[wikipedia:Lake Dolores Waterpark|Lake Dolores]]. See the second video for a 1980s commercial about the [[wikipedia:Lake Dolores Waterpark|Lake Dolores Waterpark]].<br /> <br /> === Videos ===<br /> <br /> {{#widget:YouTube|id=jY3ByVGxmQk|width=383}} {{#widget:YouTube|id=S_BLfqenaY0|width=383}}<br /> <br /> {{#widget:YouTube|id=bLWLNm12T1c|width=383}} {{#widget:YouTube|id=Uuj6_SxlHZI|width=383}}<br /> <br /> === Audio ===<br /> * [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=267 Moebius]]: &quot;They just distorted some of the original ad copy about camping and bringing your kids (and special rates!)<br /> ** [http://www.youtubedoubler.com/?video1=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DS_BLfqenaY0&amp;start1=&amp;video2=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DjY3ByVGxmQk&amp;start2=&amp;authorName=Look+Sad+Reel Comparison with the original ad]. &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198048#198048&lt;/ref&gt;<br /> <br /> * [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=2738 etcher]: &quot;I enhanced the low audio between the 20-22 second mark &amp; reversed it. It sounds like the first word is &quot;sun&quot; and the second is &quot;in the sand&quot;. I could be completely wrong here, but i was just really curious.&quot; &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198106#198106&lt;/ref&gt;<br /> <br /> {{#widget:SoundCloud|id=94158800}}<br /> <br /> === Images ===<br /> [[File:Lake-dolores-waterpark-direction-sign.jpg|770px]]<br /> <br /> == Lake Dolores ==<br /> === About ===<br /> *[http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=2344 tonx] from the [[Twoism (messageboard)]] will be live blogging from the event. &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198025#198025&lt;/ref&gt; &lt;ref&gt;http://www.twoism.org/forum/search.php?search_author=tonx&lt;/ref&gt;<br /> ** http://instagram.com/tonx/<br /> ** https://twitter.com/tonx<br /> ** http://www.ustream.tv/channel/tonx23<br /> ** https://plus.google.com/108957795290078982439/posts<br /> <br /> * [http://twitter.com/boctransmission @boctransmission] tweeted:<br /> ** 11:59 PM GMT+2 - 27 May 13: &quot;Look Sad Reel http://www.youtube.com/watch?v=jY3ByVGxmQk …&quot; &lt;ref&gt;https://twitter.com/boctransmission/status/339138788158763008&lt;/ref&gt; <br /> *** Apparently this tweet is sent via an iPhone. &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198341#198341&lt;/ref&gt;<br /> <br /> * [http://2020k.wordpress.com/ 2020k] blogged in his 33rd update:<br /> ** The California Tweet/[[Hell Interface]] video location is a place which held an official listening party for ''[[Tomorrow's Harvest]]''. The attendees? Just those who could make it. An introductory speaker asked the individuals to please only record audio of the first three songs. So, we have &quot;[[Gemini]]&quot;,&quot;[[Reach For The Dead]]&quot; and &quot;[[White Cyclosa]]&quot; over at [http://www.ustream.tv/recorded/33418663 this unofficial uStream]. Oh, &quot;[[Jacquard Causeway]]&quot; is also on the stream. &quot;[[Reach For The Dead]]&quot; didn’t count, right? &lt;ref&gt;http://2020k.wordpress.com/2013/04/20/boards-of-canada-distribute-new-vinyl-releases-out-for-national-records-day/&lt;/ref&gt;<br /> <br /> === Coverage ===<br /> ==== Stream ====<br /> * google video hangout: https://plus.google.com/108957795290078982439/posts<br /> * ustream live: http://www.ustream.tv/channel/tonx23<br /> ** ustream recorded: http://www.ustream.tv/recorded/33418663<br /> * recap + streaming audio: http://bleepsnbloops.com/boards-of-canada-lake-dolores-waterpark/<br /> <br /> ==== Videos ====<br /> ===== Neil Krug =====<br /> {{#widget:YouTube|id=0WKI5Ak9fP0|width=770}}<br /> * http://www.neilkrug.com/<br /> * https://www.facebook.com/photo.php?fbid=672852522730818&amp;set=a.136419876374088.24529.136418719707537&amp;type=1<br /> <br /> ===== Creative Owlet =====<br /> {{#widget:YouTube|id=t6G8gViaoVg|width=770}}<br /> * https://twitter.com/creative_owlet<br /> * https://twitter.com/thejackbeyer<br /> * http://instagram.com/neonheatdisease<br /> * http://instagram.com/creativeowlet<br /> <br /> ===== turk242 =====<br /> {{#widget:YouTube|id=IjMANIDRDxM|width=770}}<br /> * http://vimeo.com/user6807704/videos<br /> <br /> ===== Others =====<br /> {{#widget:YouTube|id=0BIv8Kd2kMo|width=383}} {{#widget:YouTube|id=llRTP57L2nU|width=383}}<br /> <br /> {{#widget:YouTube|id=IsQ6yOvD7F0|width=383}} {{#widget:YouTube|id=djygILJVXmM|width=383}}<br /> <br /> ==== Pictures ====<br /> &lt;gallery heights=&quot;205px&quot; widths=&quot;205px&quot;&gt;<br /> File:Lake-dolores-listening-party-01.jpg<br /> File:Lake-dolores-listening-party-02.jpg<br /> File:Lake-dolores-listening-party-03.jpg<br /> File:Lake-dolores-listening-party-04.jpg<br /> File:Lake-dolores-listening-party-05.jpg<br /> File:Lake-dolores-listening-party-06.jpg<br /> File:Lake-dolores-listening-party-07.jpg<br /> File:Lake-dolores-listening-party-08.jpg<br /> File:Lake-dolores-listening-party-09.jpg<br /> File:Lake-dolores-listening-party-10.jpg<br /> File:Lake-dolores-listening-party-11.jpg<br /> File:SZSEhHj.jpg<br /> File:BMsuQGP.jpg<br /> File:Lake-dolores-listening-party-stickers.jpg<br /> File:Lake-dolores-listening-party-posters.jpg<br /> &lt;/gallery&gt;<br /> <br /> ===== Instagram =====<br /> * [http://instagram.com/tonx tonx] instagrammed the following pictures. &lt;ref&gt;http://instagram.com/p/ZyMOIXEvwI/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/ZywpW6Ev8u/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/ZywpW6Ev8u/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z0oUUrEv_p/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z0vShkEv6Q/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z0w61Ckv8u/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z05FhAEv6Y/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z06DFVEv7-/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z06LPTEv8L/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z08z34EvxF/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z085szkvxN/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z09zd_Evyp/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z0-k2kkvzz/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z0_YY_Ev1C/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1BwAgEv5F/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1CAL-Ev5o/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1EOpREv9Z/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1EtiWkv-H/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1K6r4kv4Z/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1RsMikv0D/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1UjHEkv4b/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1Xxgqkv8_/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1klbAkv_g/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1k47pkvwC/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z1uN4rkv99/&lt;/ref&gt;&lt;ref&gt;http://instagram.com/p/Z3mgaBkvx0/&lt;/ref&gt;<br /> <br /> [[File:Lake-dolores-instagrammed-by-tonx.jpg|770px]]<br /> <br /> ==== Tweets ====<br /> * [https://twitter.com/tonx @tonx] tweeted:<br /> ** 9:38 PM GMT+2 - 27 May 13: &quot;I have arrived at the watermark. there are a handful of people here preparing for an “event”. #boardsofcanada&quot; &lt;ref&gt;https://twitter.com/tonx/status/339103356452757504&lt;/ref&gt;<br /> ** 10:02 PM GMT+2 - 27 May 13: &quot;I’ve been asked to be discrete in my tweeting. something will happen here. I don’t yet know what. laying low.&quot; &lt;ref&gt;https://twitter.com/tonx/status/339109352436817920&lt;/ref&gt;<br /> ** 1:13 AM GMT+2 - 28 May 13: &quot;anticipation.&quot; &lt;ref&gt;https://twitter.com/tonx/status/339157479726403584&lt;/ref&gt;<br /> ** 1:42 AM GMT+2 - 28 May 13: &quot;I would put the head count here at just under 50. Fifty lucky people. #boardsofcanada&quot; &lt;ref&gt;https://twitter.com/tonx/status/339164823034134529&lt;/ref&gt;<br /> ** 1:50 AM GMT+2 - 28 May 13: &quot;warp records rep is handing us water. gonna ebay that water for $200. #boardsofcanada &lt;ref&gt;https://twitter.com/tonx/status/339166733107605505&lt;/ref&gt;<br /> ** 1:52 AM GMT+2 - 28 May 13: &quot;the fans. https://vine.co/v/bVLUKdOIx5p&quot; &lt;ref&gt;https://twitter.com/tonx/status/339167243197886464&lt;/ref&gt;<br /> ** 2:27 AM GMT+2 - 28 May 13: &quot;I’m tonx23 on ustream, broadcasting intermittently for those that want to follow along #boardsofcanada&quot; &lt;ref&gt;https://twitter.com/tonx/status/339176080835481600&lt;/ref&gt;<br /> ** 2:52 AM GMT+2 - 28 May 13: &quot;listening party! #boardsofcanada https://vine.co/v/bVlArBaIbzH&quot; &lt;ref&gt;https://twitter.com/tonx/status/339182449898688514&lt;/ref&gt;<br /> ** 2:54 AM GMT+2 - 28 May 13: &quot;https://vine.co/v/bVlqZTQ3v91&quot; &lt;ref&gt;https://twitter.com/tonx/status/339182817378447360&lt;/ref&gt;<br /> ** 2:56 AM GMT+2 - 28 May 13: &quot;Album. Of. The. Year. #boardsofcanada&quot; &lt;ref&gt;https://twitter.com/tonx/status/339183434813542401&lt;/ref&gt;<br /> ** 2:57 AM GMT+2 - 28 May 13: &quot;https://vine.co/v/bVlbr7Zaa5r&quot; &lt;ref&gt;https://twitter.com/tonx/status/339183707443326976&lt;/ref&gt;<br /> ** 2:58 AM GMT+2 - 28 May 13: &quot;https://vine.co/v/bVlbpEiLExg&quot; &lt;ref&gt;https://twitter.com/tonx/status/339183863773409280&lt;/ref&gt;<br /> ** 2:59 AM GMT+2 - 28 May 13: &quot;https://vine.co/v/bVlhAKinM0J&quot; &lt;ref&gt;https://twitter.com/tonx/status/339184211909021696&lt;/ref&gt;<br /> ** 3:03 AM GMT+2 - 28 May 13: &quot;https://vine.co/v/bVlMJZiQmO2&quot; &lt;ref&gt;https://twitter.com/tonx/status/339185008130547713&lt;/ref&gt;<br /> ** 3:04 AM GMT+2 - 28 May 13: &quot;https://vine.co/v/bVlOabxeLK5 &quot;&lt;ref&gt;https://twitter.com/tonx/status/339185480333664257&lt;/ref&gt;<br /> ** 3:10 AM GMT+2 - 28 May 13: &quot;https://vine.co/v/bVlimJ9aTvV &quot;&lt;ref&gt;https://twitter.com/tonx/status/339186893914791936&lt;/ref&gt;<br /> ** 3:16 AM GMT+2 - 28 May 13: &quot;https://vine.co/v/bVlJAnFOXil&quot; &lt;ref&gt;https://twitter.com/tonx/status/339188279159177216&lt;/ref&gt;<br /> ** 3:18 AM GMT+2 - 28 May 13: &quot;https://vine.co/v/bVl1AwtlngU&quot;&lt;ref&gt;https://twitter.com/tonx/status/339188959986978816&lt;/ref&gt;<br /> ** 3:40 AM GMT+2 - 28 May 13: &quot;Thank you @boctransmission and @warprecords!&quot; &lt;ref&gt;https://twitter.com/tonx/status/339194324971560960&lt;/ref&gt;<br /> <br /> ==== Forum ====<br /> ===== tonx =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=2344 tonx] posted: <br /> * '''Mon May 27, 2013 10:45 PM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198227#198227&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> There isn't enough happening here yet for me to be able to say anything about the scale of what exactly might go down. I'm apparently the first of us to land. There is a sort of light caretaker/security situation that may thwart other earlybirds. Unsure. Only a small handful of people on site yet. I basically snuck in.<br /> &lt;/blockquote&gt;<br /> <br /> * '''Mon May 27, 2013 11:11 PM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198259#198259&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> I'm attempting a public hangout on google+. Find me! <br /> &lt;/blockquote&gt;<br /> <br /> * '''Tue May 28, 2013 12:42 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198453#198453&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> Conserving battery. Back in a bit. <br /> &lt;/blockquote&gt;<br /> <br /> * '''Tue May 28, 2013 12:33 aM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198420#198420&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> http://www.ustream.tv/channel/tonx23 <br /> &lt;/blockquote&gt;<br /> <br /> * '''Wed May 29, 2013 2:20 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=200217#200217&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> I would love to regale you with tales of my post listening party desert wanderings... the peyote vision quest, the saucers that appeared from behind a red moon, losing my iPad somewhere along the jacquard causeway, the secret &quot;hooper bay&quot; tape I discovered inside the airstream trailer... <br /> &lt;br&gt;&lt;br&gt;<br /> But actually I drove home to LA at lightning speed, ate some tacos and passed out. <br /> &lt;br&gt;&lt;br&gt;<br /> I didn't expect to be the first to arrive. I had thought I'd leave LA around noon, but when I woke up the anticipation was too much and I felt like getting my show on the road. <br /> &lt;br&gt;&lt;br&gt;<br /> The desert is beautiful and the drive is great once you're on the 15... the landscape really lights up your brain. I stopped in Yermo and took some pics at the RFTD gas station, just a few miles ahead of the waterpark. Why don't I drive out this way more often? <br /> &lt;br&gt;&lt;br&gt;<br /> When I got to the waterpark there was only 1 car in the lot and a white truck drove out to meet me... security or a caretaker. He asked what I was doing there. I meekly said something confusing along the lines of &quot;supposed to meet some friends here&quot;, which I realized does nothing to allay suspicion that I'm trafficking in drugs or white slaves. He asked what friends and I continued &quot;some are coming in from Vegas and others from LA… sort of an event… some record company folks.&quot; Bingo. He assumed I was with the record company guys and had me follow him out to the side where the trailer had just arrived and one of the gentlemen from Warp was coordinating. <br /> &lt;br&gt;&lt;br&gt;<br /> I parked just far enough away from the people that I could buy some time, pretended to be on the phone and waved off my caretaker with a sort of thanks. The 3 folks near the trailer were examining me and I fiddled around a bit before exiting the car, nonchalantly heading into the park with camera in hand. <br /> &lt;br&gt;&lt;br&gt;<br /> After a few minutes, one of the gents from [[Warp]] came over, confirmed that I was the first to arrive, and asked if I would avoid any major spoilers by tweeting what I was seeing in the set up. He wouldn't spill exactly what they were up to beyond an &quot;event&quot; and how they came to choose the spot and I was kind of happy to maintain my own element of surprise too. Wasn't quite sure what to say about the matter as almost anything I tweeted was going to sound cryptic, so rather than say &quot;at least two Warp folks, light security and an airstream trailer&quot; I just said &quot;I've been asked to be discrete…&quot; <br /> &lt;br&gt;&lt;br&gt;<br /> I had the feeling I might be trespassing to a degree and that others arriving might not be able to get in, but that turned out to be a non issue. So yeah… I tried to lay low and avoid being hustled out ahead of any larger set-up that might be happening. <br /> &lt;br&gt;&lt;br&gt;<br /> I was torn between a desire to unplug and explore a bit and the growing chorus of voices from the internet desiring updates. Arriving early I felt a de facto obligation to provide some kind of a signal. At some point I set up a google hangout which only kind of sorta worked and was clearly going to chew through my iPad mini's battery. Later installing ustream worked a lot better. I felt a bit like a cyborg, uncomfortably juggling my iDevices, so I'm a little bummed at not being fully present to meet more of the peoples who showed up. My impression of our little crowd is that BoC fans are quality folks all around, which comes as no surprise. <br /> &lt;br&gt;&lt;br&gt;<br /> As for the listening… the record is awesome. As darkly sublime as one could hope. <br /> &lt;br&gt;&lt;br&gt;<br /> I hope I didn't cross any lines or piss off anyone at [[Warp]] or the [[Boards of Canada|brothers]] with my broadcast. I was startled to see after the fact that A) ustream saves that stuff and B) the image and audio quality are waaay better than I would've guessed. I've avoided listing to too much spoiler-ing of the record and even &quot;[[Reach For The Dead|RFTD]]&quot; isn't in rotation for my listening yet till I can lay down with the full album in the right frame of mind and with my good headphones -- so I hope my broadcast doesn't diminish the impact for anyone's first listen of the LP. <br /> &lt;br&gt;&lt;br&gt;<br /> Big thanks to everyone that poked me here and on twitter (and a few of you who subscribed to my coffee!). Big thanks to the absurdly good battery life of the iPad mini. Big thanks to Warp and Boards of Canada for showing their love of the fans. I'm really looking forward to that giant &quot;BoC Set&quot; of old unreleased tapes that the saucer people told me about.<br /> &lt;/blockquote&gt;<br /> <br /> ===== Veckatimest =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=2189 Veckatimest] posted:<br /> * '''Tue May 28, 2013 1:52 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198754#198754&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> My friend just updated me again via text. &quot;WHOLE ALBUM.&quot; &quot;Can't record after the first three tracks.&quot; &quot;No live performance but it is a listening party.&quot; Hope this helps!<br /> &lt;/blockquote&gt;<br /> <br /> ===== IronMark =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=2216 IronMark] posted:<br /> * '''Tue May 28, 2013 1:50 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=198737#198737&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> When the stream came up for a few minutes there, it clearly showed people with proper quality cameras on tripods pointed at the 'stage' area. Press? Given the Tokyo stream and &quot;[[Cold Earth]]&quot; at the festival, I'm thinking this is just going to be one more song played publicly. I say 'just' one more song played pubicly as if that's a small thing but this entire thing has been fantastic. I'm seriously starting to think the album's been ready for a while, maybe even stretching back to the infamous black square appearing and this entire buildup thing has been almost 2 years in the planning.<br /> &lt;/blockquote&gt;<br /> <br /> ===== paul =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=2689 paul] posted:<br /> * '''Tue May 28, 2013 4:42 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=199563#199563&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> Yes it will my friends. I will get the edit to you asap. Still gotta make the gawdawful drive home 6 hours ... and its fucking bumper to bumper. But, if I gotta get stuck in traffic to be a part of what just happened ... yeah. Can do. Sketchy connection out here in the desert so full report later will be edging what I shot first thing when home. Sorry again for not keeping up while live. Damn phone died. <br /> &lt;/blockquote&gt;<br /> <br /> * '''Tue May 28, 2013 6:37 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=199622#199622&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> Nah, just had the gear and decided since it was in my beautiful state, and i love the desert ... it had to be done! i also knew so many of you were here sending us all some seriously good vibes and couldn't be there for countless reasons. I was seriously planning on a live gig. Since that didn't happen I have a nice locked shot of the ... airstream the truck and speakers. Sorry guys. Guess I was too optimistic. Yes, I brought the &quot;dead kitty&quot; wind muffler for my ZOOM recorder. Quite nice - pretty much zeroed out any hint of wind. I will edit it when I get home but that won't be til 3a PDT. Sleep can wait. Will load it to my YouTube page (look for Turk 242). There's already my humble reatment of the cosecha transmission there but tomorrow will be today's festivities.&lt;br&gt;&lt;br&gt; Ok, so enough of the dry tech talk. To asnwer your question Decorah: kennychiwa147 said it best. I am still a little in disbelief. I quickly got over the no live show thing. It was just really cool to look around and see literally every walk of life there - young and old. That's when you know it's quality music. The setting was impeccable. Surreal. I am an avid trailer camper so this set piece made me smile wide. When the music came on I was pretty much swept away. I considered taking notes but felt like a tool as i was already standing up there with the camera. my buddy kept encouraging me to enjoy the experience too (he was the one rocking the ray bans in the blue t shirt). Yes the air was thick, sweet and sticky. Ok, music - I listened to RFTD for 90 minutes yesterday on loop while running in big sur. never did that with any track in my life. It did not get old. So when I heard it today I wasnt sure how i would react. gotta say i got pretty choked up. I think it was everything - setting, with fellow BOCers, the sky - and the transition was wicked. The opening bits were really a blur. I was shaking and trying not to fuck up the recording. I do remember the fanfare and thought that was really nice. As for the rest, well you'll just have to wait I guess. I will say this - game changer. BEST. ALBUM. EVER. &lt;br&gt;&lt;br&gt;Yeah, that's right ... <br /> &lt;/blockquote&gt;<br /> <br /> * '''Tue May 28, 2013 8:50 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=199692#199692&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> Josh from WARP showed me the text. That is for real. They had their own camera people and were snapping pix with iPhones to send back to Scotland. The brothers might not have been there, but they were and it seems they liked what they saw. Lots of love in the BOCosphere today!<br /> &lt;/blockquote&gt;<br /> <br /> * '''Wed May 29, 2013 5:22 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=200329#200329&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> i couldn't help but revel at the range of people in attendance. such good people you all are. the silence between each track was palpable and moving in itself - not from a lack of enthusiasm, but instead, to not break the flow. that was very powerful as it went unspoken. some with heads down, some with eyes closed, others dancing - each person went to their little music world however they do. it was really a community and i never felt so part of something bigger than my own thoughts. i tend to be pretty stoic but i was very moved. &lt;br&gt;since there was no live performance, after a while, i realized i was just filming an (albeit very cool) airstream and truck. the major purpose of going to get this (for those who could not be there) was somewhat compromised. i lie … i also went to have what was probably the most susbstantial music/band-related experience i have ever had - to include live shows. &lt;br&gt;&lt;br&gt; i was sitting here today thinking i could keep chopping this thing up to cover up my lack of preparedness, but i realized 1) people want to hear the music 2) its not about me, and C) they already made a beautiful video … who am i kidding? so here it is - i won't be doing smooth cam filters and all razzmatazz that to make it look better. i did do some color just for atmosphere. i happened to get a few more shots near the end and came up short on footage so i had to mix in stills. ugh - sorry. so i'm just gonna put it out there - imperfections and all since everyone has been so kind, patient, and supportive of us who were shooting.&lt;br&gt;&lt;br&gt;Jack is also working on his edit and i am sure it will blow the doors off later tonight. until then, to hold you over … a heartfelt thank you to Boards Of Canada for bringing us all together and everyone here at Twoism. it was a very special day and each and every one of you were a part of it no matter where you were last night, we felt it there - in the wind, in the desert, in the music.&lt;br&gt;&lt;br&gt;enjoy … http://youtu.be/nkqjncwIqFM &quot;<br /> &lt;/blockquote&gt;<br /> <br /> ===== Synthetrix =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=657 Synthetrix] posted: <br /> * '''Tue May 28, 2013 6:49 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=199633#199633&lt;/ref&gt; <br /> &lt;blockquote&gt;<br /> I just got home from the listening party in Newberry Springs and I am damn glad that I took the leap of faith and headed out there. Being in such an intimate, exclusive location with fellow BOC fans and being some of the first non-journalist/insiders in the world to hear TH in it's entirety was an experience I will always cherish and remember. &lt;br&gt;&lt;br&gt;Big ups to Josh with [[Warp Records]] with whom I had a nice enlightening chat. It was also great to meet Tonx and you all owe him a cold one for the live U-streams that he did. I took a ton of high res photos and HD video although I will not be posting any of the music that has not been officially released out of respect to the artists and label. I am sure there are plenty of others who have or will be doing so in the coming hours. I will post photos on my website soon, but first I need to hit the shower and wash off the desert grit and grime. &lt;br&gt;&lt;br&gt;BEST MEMORIAL DAY EVER!<br /> &lt;/blockquote&gt;<br /> <br /> ===== thingsthingsthings =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=2156 thingsthingsthings] posted: <br /> * '''Tue May 28, 2013 7:32 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=199641#199641&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> Just getting home; traffic back to LA was surprisingly mellow.&lt;br&gt;&lt;br&gt; What a great experience, I feel really lucky I was able to make it. Such a surreal backdrop for an equally surreal album. Certainly boards music, but definitely a different path then what they've released before. Great to hear what sounded like a snippet of that melody that went along with the number clues show up at the end of one track, and surprised to find the cosecha transmission tune end the album, but an appropriate finale to an amazing afternoon. Many thanks to BOC and Warp for putting this together, and for the take home goodies at the end. Culminated with an amazing sunset over the desert as well; really amazing event.<br /> &lt;/blockquote&gt;<br /> <br /> ===== soupbandit =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=507 soupbandit] posted:<br /> * '''Tue May 28, 2013 7:57 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=199656#199656&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> I made it back from the desert with my brother. &lt;br&gt;&lt;br&gt;Echoing the postings that I've skimmed through that the album is beautiful. It's emotionally heavier then ''[[Geogaddi]]'' with all that is fantastic about ''[[TCH]]'''s production. Echoing the Carpenter vibe too. &lt;br&gt;&lt;br&gt;Everyone I met was excited, friendly and cool. Once the album begun it went quiet until the end before anyone made a noise. Atmospheric to a T. &lt;br&gt;&lt;br&gt;My favorite moment was this little girl running out in front of a half of the crowd to play as the uplifting latter portion of the album was beginning. She was so happy in unison. Perfect soundtrack moment. &lt;br&gt;&lt;br&gt;Spoilers &amp; Things:&lt;br&gt; -There's a huge Coca Cola Silo out there (along with the Skyliner Drive in). Trans Canada to the fullest. &lt;br&gt;-We were asked to keep postings under-wrap, but were told we'd be hearing the album &lt;br&gt;-&quot;[[Jacquard Causeway]]&quot; was the heaviest track emotionally on first digest. &lt;br&gt;-&quot;[[Cold Earth]]&quot; is the Detroit Track. &lt;br&gt;-&quot;[[Sick Times]]&quot; is Sick. &lt;br&gt;-I'm not sure where the &quot;[[Palace Posy]]&quot;/ROYGBIV connection was made in the track by track review. &lt;br&gt;-&quot;[[Come To Dust]]&quot; has this moment in it's last seconds that shines &lt;br&gt;-&quot;[[Semena Mertvykh]]&quot; is the track from the Tomorrow's Harvest Transmission. &lt;br&gt;-The silence at the end of &quot;[[Semena Mertvykh]]&quot; with the desert breeze, sun setting and awesome people is something I'll remember. &lt;br&gt;-The band texted Josh the organizer to tell us they loved us. cool shit. &lt;br&gt;- We made out with swag. I picked up a large 18x24 poster and two smaller ones, along with a bunch of stickers. &lt;br&gt;&lt;br&gt;Sorry if this is rehash or spoilers but I had a great time and it was a long time coming. I'll edit this post with a link to some photos and videos when I'm not so tired. Thanks to the band and planners if you snoop this post for feedback, this has been super fun and has made me really happy.<br /> &lt;/blockquote&gt;<br /> <br /> <br /> ===== PlatrixECV =====<br /> [http://www.twoism.org/forum/viewtopic.php?p=199683#199683 PlatrixECV] posted:<br /> * '''Tue May 28, 2013 8:36 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=199683#199683&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> Here's my notes on the songs/ general review &lt;br&gt;&lt;br&gt;&lt;nowiki&gt;---&lt;/nowiki&gt;&lt;br&gt; Ok, just got back. Here are my thoughts. In general, awesome experience, the setting was perfect. In honor of Scotland I took a few swills of some Ardbeg (neat). As to the album I would not call BoC going back to a '''[[Geogaddi]]''' or '''[[MHTRTC]]''' style, or a combo of th two. It is definitely a logical progression from ''[[TCH]]'' although primarily from something like &quot;[[Oscar See Through Red Eye]]&quot;. They make dense, layered complex stuff now. The minimalism is gone. In some respects I like hearing their sounds with a chance to breathe. You get a little of that in the ambient interludes. That being said, ''[[Tomorrow's Harvest]]'' is an intense, detailed great ride. I mentioned earlier there were noticeable elements of extremely vintage synths (think 70s Tangerine Dream (Phaedra) of Jean Michael Jarre's Oxygen). Maybe some Bladerunner sounding Vangelis. John Carpenter has been mentioned. It's all swirling around in there. &lt;br&gt;&lt;br&gt;I have a video of the first three tracks. I think the sound quality came out pretty good. Trying to figure out how to ujpload it right now. &lt;br&gt;&lt;br&gt;I took notes on each track. &lt;br&gt;&lt;br&gt;&quot;[[Gemini]]&quot;, &quot;[[Reach For The Dead]]&quot;, &quot;[[White Cyclosa]]&quot; - you heard them. &quot;[[Gemini]]&quot; was a perfect into track, got me in the proper mindframe for BoC. &lt;br&gt;&lt;br&gt;&quot;[[Jacquard Causeway]]&quot; - Intense. When the album kicks into high gear. I really dug what I found to be almost jazzy sounding noodling on what may have been a wurlitzer. It gave a lose feel. One of highlights of album for sure. &lt;br&gt;&lt;br&gt;&quot;[[Telepath]]&quot; - the darking counting voice one. I wrote &quot;unmistakably BoC. Nice interlude track. Keeps mood intense.&quot; &lt;br&gt;&lt;br&gt; &quot;[[Cold Earth]]&quot; - You've heard this one by now. A better track in its full sonic glory. I put this own down as giving me a Vangelis vibe on some of the synths. &lt;br&gt;&lt;br&gt;&quot;[[Transmisiones Ferox]]&quot; - Psycaedelic, buried vocals, really dark heartbeat style bass pulse. &lt;br&gt;&lt;br&gt;&quot;[[Sick Times]]&quot; - This one again had an almost jazzy feel with a vintage electric organ or piano sound. Don't know if the beat is the &quot;dopest&quot; but it is a hard kicking break beat. The melody parts give the feel of quick tempo that vaguely reminded me of Poppy Seed. Again with the vintage synths (something close to Oxygene sounding). Another one of the best cuts on the album. &lt;br&gt;&lt;br&gt; &quot;[[Collapse]]&quot; - This is the one I think might have had a Moog sequencer. It reminded me of Phaedra. Deep track with a great bass line that also functions as a counter melody. Everything from Jacquard Causway to here flowed and was all excellent. As good a stretch as there is on any Boc album IMO. &lt;br&gt;&lt;br&gt; &quot;[[Palace Posy]]&quot; - This one was a bit eccentric. Vaguely pizzicato string sounding melody. &lt;br&gt;&lt;br&gt; &quot;[[Split Your Infinities]]&quot; - This was my initial favorite track on the album. Swirling melody that morphs into what I wrote was &quot;ominous and joyous at the same time. Holy fuck.&quot; All the great elements of a great Boc track and shows how skilled they are in their craft. &lt;br&gt;&lt;br&gt; &quot;[[Uritual]]&quot; - Buzzy dissosant drone. One of better interludes I can recall and again keeps momentum from Split Your Infities. &lt;br&gt;&lt;br&gt; &quot;[[Nothing Is Real]]&quot; - Treated piano, retro sounding break beat. Nice track I could see this one being popular with the non-diehards but I don't mean that as a slight. &lt;br&gt;&lt;br&gt;&quot;[[Sundown]]&quot; - Very Boc synth pads, layered again with what I call the ancient analog Vangelic et all sound. &lt;br&gt;&lt;br&gt; &quot;[[New Seeds]]&quot; - Creates a melody almost out of radio static. After that I thought I heard discernable guitar sound... Sounds like what I know to be called col legno on a violin where you flip the blow and hit the strings with the wood part (used most prominently at the beginning of Holtz's Mars). Keeps buildings and immensely dense. This could be a polarizing track. &lt;br&gt;&lt;br&gt; &quot;[[Come To Dust]]&quot; - &quot;Eerie with a great laconic break beat.&quot; Also a highlight of the album for me. &lt;br&gt;&lt;br&gt; &quot;[[Semena Mertvykh]]&quot; - This is more or the less the song from the trailer. The static is gone and there is instead a stunning dark and dissonant background noise. It sounds a little bit like the beginning of Metallica's &quot;Damage Inc&quot; (the last seconds before the thrash guitar comes in ) but with a strong helicopter effect. I love the melody of this song. Glad it is on the album. A perfect closer really (as exit music). &lt;br&gt;&lt;br&gt; I loved the album overall. Where it rates in the context of their catalog? No idea at this point. Really glad to have the experienence of the build up and then the surprise listening party. Def treat for US fans. There were probably 100 people there, some came from as far as Arizona.<br /> &lt;/blockquote&gt;<br /> <br /> ===== Group Hex =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=1636 Group Hex] posted:<br /> * '''Tue May 28, 2013 9:06 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=199701#199701&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> Before I throw my two cents in, I gotta say something to all those who made the drive today: How good was that shower when you got home? Hope yours was as momentous as mine. &lt;br&gt;&lt;br&gt; So, today..... &lt;br&gt;&lt;br&gt; The setting was absolutely perfect. The desert has always been a second home to me, and with the addition of the abandoned water slides, buildings, graffiti, clipped palm trees, staircases, and general post apocalyptic vibe it was just ideal. The strangest part about the location for me was that I remember coming to the park as a kid. As I stood at the top of the now crumbling towers, I vividly recalled being launched down a slithery tube to a pool of blue water below. And now here I was, strolling around the shell of a water park. But for an entirely different reason, and with eyes that have seen a lot since then. &lt;br&gt;&lt;br&gt; The weather was great, parking plentiful (ha!), and perfect for random photos. I ran into a good friend straight away, who was actually there for a totally unrelated photo shoot! She had no idea about the [[BOC]] event until she arrived, but is a fan and stayed for the album premiere. Sawa! &lt;br&gt;&lt;br&gt; The amount of random stuff strewn about was really cool, I found some kids playing cards, weird old necklaces, and took home a &quot;Welcome to Lake Delores&quot; sign.&lt;br&gt;&lt;br&gt; Not much to add about the album......it was incredible. The wind and surroundings obviously boosted the experience of hearing it for the first time, but as someone noted already it'll take on different forms the more you listen to it. Headphones will be an entirely different experience, listening in the car, etc. It absolutely shows progression, a palate both familiar and refined. As I heard someone say on the way out, &quot;not as warbly as other albums, but still has that strange and haunting thing going on&quot;. Enough beats and atmospheric passages to satisfy fans of all of their work. I loved the silence between tracks, as everyone waited for the next to begin. It was a meaty length (shut up), and I couldn't help wishing for more when it was over. But for some odd reason which I can't explain - it felt kind of final to me. Who knows, this may the last we hear of [[BOC]]. More than likely not, but it was a vibe I couldn't help but feel. Hmmmm.... &lt;br&gt;&lt;br&gt; The crew were really nice guys. The dudes who brought out the PA gear used to work with a friend of mine, so we traded a few quick stories about him. And the english guy from [[Warp]], Josh I believe? Nice guy as well, and we talked about how my father mastered the &quot;[[Beck - Broken Drum|Broken Drum]]&quot; remix they did with Beck years ago. Kudos to them for helping bring this day to fruition. &lt;br&gt;&lt;br&gt; I also talked to the property owner a bit, who said he's planning on re-opening the water park with an added RV park and possibly a motorcross track. Seems far fetched, but who knows? Maybe we won't see it in it's current condition for very long...... &lt;br&gt;&lt;br&gt; I have some pictures I'll post when I get them loaded up, and if anyone is really desperate for a sticker - send me a PM and an address. I have maybe ten I could part with. &lt;br&gt;&lt;br&gt; More later, I'm fried. This post is gonna look bizarre to me after I get some rest, so excuse the rambling.<br /> &lt;/blockquote&gt;<br /> <br /> ===== Faraday =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=1610 Faraday] posted:<br /> * '''Wed May 29, 2013 4:33 AM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=200317#200317&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> Yesterday was an amazing experience and I wouldn't trade it for the world. I didn't think anything was actually going to happen until I saw this forum blowing up so I jumped into the car at 3pm and hauled some serious ass to the middle of the desert. I made it at 4:59 pm. <br /> &lt;br&gt;&lt;br&gt;<br /> I know most of you who attended think the album is truly an exceptional piece of work and while I tend to agree, I don't think it will go down as their defining piece of work. <br /> &lt;br&gt;&lt;br&gt;<br /> I jumped on the [[BoC]] bandwagon when ''[[Music Has the Right to Children]]'' was released. And as much as I love everything they put out, ''[[Trans Canada Highway]]'' takes the cake. I know I know, its not even a full length, but memories aside I think this small EP had the biggest impact on me. <br /> &lt;br&gt;&lt;br&gt;<br /> Anyway, back to the point. I think ''[[Tomorrow's Harvest|TH]]'' is truly a special album, I dont think it eclipses any full length that they have released to date, including ''[[The Campfire Headphase|Campfire Headphase]]''. I know many of you write that album off and I understand why, but I find it very engaging and rather refreshing when compared to some of their heavier material. ''[[Tomorrow's Harvest|TH]]'' flows between dark and light. It tromps you through the depths of tense melancholy and then lifts you to a comforting warm embrace. The album flows like any of their other major releases, with ample droning interjections that relay you to the next chapter. Its so familiar, but seemingly new. It never fails to intrigue. <br /> &lt;br&gt;&lt;br&gt;<br /> ''[[Tomorrow's Harvest|TH]]'' is a solid mix between ''[[Geogaddi]]'' and ''[[Music Has the Right to Children]]''. There are a couple of gems that really shine and then there are a few others (as someone else mentioned) that take some getting used to. For those of you absolutely aching to hear the new album, I really believe its worth waiting for. Each song is extremely complex and I highly doubt low quality recordings would be able to pick up on the nuance each song offers. Yes, you'll at least know what the damn thing sounds like, but would it be worth it? Was waiting for so many years worth taking a peak at low quality recordings? <br /> &lt;br&gt;&lt;br&gt;<br /> Half of me hopes no one uploads the full set and the other half of me wishes I was &quot;that&quot; guy who saved the day for all of those who don't live in SoCal. <br /> &lt;br&gt;&lt;br&gt;<br /> So until June 10th comes, I will be checking this forum regularly to see which one of you makes the first move for sharing the other tunes. Am I going to judge you? Probably, but I totally know why you'd do it &lt;/blockquote&gt;<br /> <br /> ===== creativeowlet =====<br /> [http://www.twoism.org/forum/profile.php?mode=viewprofile&amp;u=2351 creativeowlet] posted:<br /> * '''Fri May 31, 2013 10:01 PM GMT+2''' &lt;ref&gt;http://www.twoism.org/forum/viewtopic.php?p=202009#202009&lt;/ref&gt;<br /> &lt;blockquote&gt;<br /> Thought I'd add my experience on 5/27/13 to the rest. <br /> &lt;br&gt;&lt;br&gt;<br /> After following along voraciously during the [[Cosecha Transmisiones|RSD incident]] and up through the album reveal I sort of stepped back, anticipating nothing more than a 40 day wait for the album to be released. <br /> &lt;br&gt;&lt;br&gt;<br /> When I heard about [[Tomorrow%27s_Harvest_Viral_Marketing_Campaign#Lake_Dolores|Tokyo]], then the boston thing, and the [[Tomorrow%27s_Harvest_Viral_Marketing_Campaign#May_27th_-_17:00_PDT|sattelite image tweet]], I knew I had to be there. I have long wanted to go explore [[wikipedia:Lake Dolores Waterpark|Lake Dolores Waterpark]], I've seen it many times driving on I15 and it will hold a special place in my heart now that I not only got to explore it, but got to explore it during a special [[Boards of Canada]] event with so many amazing people. <br /> &lt;br&gt;&lt;br&gt;<br /> I had a half day at work, and I got home right around the time [[Tomorrow%27s_Harvest_Viral_Marketing_Campaign#Tweets|Tonx tweeted]] that he had to be discrete, and &quot;!&quot;. It was the &quot;!&quot; that really lit a fire under me and by 2pm Lauren and I were off. Upon arriving around 4, We noted a small number of cars in the parking lot, which we parked next to and proceeded to head towards a large group of people who seemed to be beginning to walk into the park. No one knew what was going on, or what we were supposed to do. I asked if anyone knew where [[Tomorrow%27s_Harvest_Viral_Marketing_Campaign#Tweets|tonx]] was, and was told something about &quot;the highest tower&quot;, which I identified and advanced towards. At the base of the tower I found [[Tomorrow%27s_Harvest_Viral_Marketing_Campaign#Tweets|Tonx]] - i think still google hangout-ing at that point. In finding him I was also told that at 5pm we were to be in front of a vintage metal camper. <br /> &lt;br&gt;&lt;br&gt;<br /> We explored a bit, climbing the observation tower and shooting a few snippets of footage. I couldn't think of anything but the camper though and soon had to go set up my tripod and camera. Around that time more people were gathering in front of the trailer as well including Paul whom I am very happy to have met. Around that time Josh from [[Warp]] (the announcer heard before and after the album) came over and asked Paul (and I) if we would only record 3 tracks. He explained that the band had requested no high quality recordings of any kind but that since &quot;we came a long way&quot; and brought our gear that he would allow us to shoot for the first 3. I was happy to oblige. Then it dawned on me... First three. We were going to hear the whole album. I pulled out my phone and texted my friend &quot;WHOLE ALBUM, AWWW SHIT, Cant record after first three tracks, No live performance but its a listening party, AHHHHHH&quot;, which I think he then posted on here. <br /> &lt;br&gt;&lt;br&gt;<br /> 5pm came and went and people were continuing to show up. The lincolnshire poacher came over and we chatted a bit - I can't believe I got to meet someone that was at Redmoon and have the first listen to ''[[Tomorrow's Harvest|TH]]'' with them. Phenomenal. Eventually around 5:30 Josh came on the PA, thanked everyone for coming out, and said that it was the wish of the band that there be no recording after the first 3 tracks. and without further ado, ''[[Tomorrow's Harvest]]'' by [[Boards of Canada]]. <br /> &lt;br&gt;&lt;br&gt;<br /> '''Below I am going to detail my thoughts on the album, so if you're trying to stay spoiler free then maybe don't read it.'''<br /> &lt;br&gt;&lt;br&gt;<br /> As much as I love the first three tracks, the album really starts cooking with gas starting at &quot;[[Jacquard Causeway]]&quot;. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Gemini]]&quot; <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Reach For The Dead]]&quot; <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[White Cyclosa]]&quot; <br /> &lt;br&gt;<br /> Wispy nostalgic tones with plucky synth layers woven around it. Dissonance makes a larger and larger appearance on the track as it progresses. Fades out slowly. A great vignette-type track pacing the mood between [[Reach For The Dead|RFTD]]&quot; and &quot;[[Jacquard Causeway|Jacquard]]&quot;. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Jacquard Causeway]]&quot; <br /> &lt;br&gt;<br /> Lurching drums and a lamenting melody give the feeling of wandering through a wasteland. a little like watching civilization be build up and destroyed again and again with zero progress. Not a happy track. Heavily layered and very beautiful. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Telepath]]&quot; <br /> &lt;br&gt;<br /> Starts with smooth boc tones and a computerized voice reading numbers. &quot;Testing 1. 2. 3. 4. 5. 6. 7...&quot; if I remember correctly. Unmistakable [[BOC]]. The voice reading numbers distorts intermittently as the music weaves around it. Feels like a numbers station transmission. What are our instructions? <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Cold Earth]]&quot; <br /> &lt;br&gt;<br /> Eerie intro with a huge bass throb that comes in. Dark and Epic. If &quot;[[Telepath]]&quot; is a numbers station transmission then &quot;[[Cold Earth]]&quot; is the plan or events set into motion by that transmission. This song will make you rock to the music. I remember seeing people rocking, bobbing their heads, etc. There's a brief grunty highly distorted and cut off childs voice that comes in every few beats for a fraction of a beat that is too beautiful for words. This was one of the many times during the listening party i was overwhelmed with emotion. My audio of this track has one of the two children that were there crying a bit in the background. Perfect. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Transmisiones Ferox]]&quot; <br /> &lt;br&gt;<br /> didgeridoos? Layered and distorted. Mind blowing. Airs out beautifully at the end. Imputes a feeling of pursuit or hiding. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Sick Times]]&quot; <br /> &lt;br&gt;<br /> Utterly fucking amazing. Another groovy head bobber. Classic [[BOC]] sounds. Whole crowd was getting into this one as well. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Collapse]]&quot;<br /> &lt;br&gt;<br /> Scary. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Palace Posy]]&quot; <br /> &lt;br&gt;<br /> A emotional shift. Percussive, funky, off-beat. Stringy. Inquisitive. Godfuckingdamnit I LOVE IT. Chanty vocals that come in that I dont remember what they say but goddamnit i need to hear this track again and again and again. Earworm for sure. One of my favorites off the new album. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Split Your Infinities]]&quot; <br /> &lt;br&gt;<br /> Wondrous. Fucking amazing. Like gazing out at a valley populated with a beautifully destructed future city. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Uritual]]&quot; <br /> &lt;br&gt;<br /> Dark drone with layers of sad tones on top <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Nothing Is Real]]&quot; <br /> &lt;br&gt;<br /> You know when you see somethings reflection in water but the water is rippling too much to make out exactly what it is? The beginning of this track is the audio equivalent of that. Vaguely familiar, slightly upbeat. Makes me feel like I'm watching a loop of a corporate logo on broken VHS as a child. Echos of a happier past. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Sundown]]&quot; <br /> &lt;br&gt;<br /> Sad, lamenting tones. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[New Seeds]]&quot; <br /> &lt;br&gt;<br /> The emotional lows in this album serve as pacing for the weary but hopeful highs. This song is a &quot;High&quot;. More strings. Feeling of rebuilding from the ashes. Theres a lot of work to be done here. Awesome, awesome awesome. I'm trying to limit the number of times I use the words &quot;fucking amazing&quot; to describe this album but I can't help it, it just is. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Come To Dust]]&quot; <br /> &lt;br&gt;<br /> WOW. So now we're in this epic future destroyed then rebuilt shithouse and its awesome but it also sucks. <br /> &lt;br&gt;&lt;br&gt;<br /> &quot;[[Semena Mertvykh]]&quot; <br /> &lt;br&gt;<br /> The track from the [[Cosecha_Transmisiones#Album_Teaser|album reveal video]]. My audio of this track has the kids crying and my camera shutter clicking every 10 seconds or so. I might like my version more. We'll see when the album comes out. <br /> &lt;br&gt;&lt;br&gt;<br /> '''End Spoilers'''<br /> &lt;br&gt;&lt;br&gt;<br /> There was near-dead silence in between tracks, which was perfect and amazing. After the album ended though, there was around 30 seconds of solid silence before the guy from [[Warp]] came on the PA and thanked everyone for coming. Only then was there an eruption of applause. It was amazing. That brief period of silence was like a magic window for ''[[Tomorrow's Harvest|TH]]''. It was one of the most beautiful moments of my entire life thus far. In the middle of an abandoned water park with a handful of people all simultaneously reeling from what we've just collectively witnessed. The wind gusted lightly. Josh came on the PA and thanked us all. &quot;I just got a text from the band. They wanted me to say they love you all&quot;. The crowd &quot;awwwws&quot;. I yelled &quot;IT WAS FUCKING AMAZING&quot; and got some odd looks. <br /> &lt;br&gt;&lt;br&gt;<br /> A box of goodies appeared and people crowded around and grabbed posters and stickers feverishly. Once the goodies were depleted, people began going their own ways and before long the camper and sound equipment were packed up and hauled away. We stayed a bit, shot the coke sign, and wandered. I tried to talk with Josh and just generally take in the wealth of info being shared in the various conversations people were having with him. I also spoke with the property manager and found out that the waterpark is under new ownership, and that they plan on refurbishing the whole thing, putting in an RV park and generally doing away with things as they are. I am glad to have gotten the chance to explore the place in its current state. <br /> &lt;br&gt;&lt;br&gt;<br /> Eventually as it began getting dark the property manager drove up in his SUV and yelled &quot;OUT, NOW. I'M LOCKING THE GATE&quot;, which is why he got a special thanks in my video. I really appreciate that he didnt just kick us out right away and I got to explore a touch. Speaking of my video, here's a link again because I'm ridiculous and can't stop sharing it. It has Paul's HQ Audio (thanks again Paul!) http://youtu.be/t6G8gViaoVg I also shot a bit of Gemini with my phone. http://youtu.be/H7fUp32VRwA <br /> &lt;/blockquote&gt;<br /> <br /> ==== Coverage Sources ====<br /> * http://instagram.com/tonx<br /> * http://twitter.com/tonx<br /> * http://macromicromusic.tumblr.com/<br /> * https://twitter.com/creative_owlet <br /> * https://twitter.com/thejackbeyer <br /> * http://instagram.com/neonheatdisease <br /> * http://instagram.com/creativeowlet<br /> * http://www.quartzcity.net/<br /> * http://vimeo.com/user6807704/videos<br /> <br /> == Live Album Transmission ==<br /> [[Warp]] will hold a live album transmission one week before ''[[Tomorrow's Harvest]]'''s official release. &lt;ref&gt;https://www.facebook.com/events/133438326851947/&lt;/ref&gt;<br /> * June 3th: 13:00 PST / 16:00 EST / 21:00 UK / 22:00 EU<br /> * June 4th: 05:00 JP / 06:00 AU<br /> <br /> === Announcement ===<br /> [[File:Tomorrow's-harvest-live-album-transmission-boardsofcanada.jpg|770px]]<br /> <br /> [[File:Tomorrow's-Harvest-live-album-transmission-2013-06-03.jpg|770px]]<br /> <br /> === YouTube Live Stream ===<br /> {{#widget:YouTube|id=Xfcoi20CL8c|width=770px}}<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> [[Category:Tomorrow's_Harvest]]</div>

Valotonin https://bocpages.org/w/index.php?title=The_Last_Unexplored_Area_of_Boards_of_Canada&diff=13759 2017-04-01T18:56:38Z

<p>Valotonin: </p> <hr /> <div>__TOC__ <br /> <br /> &lt;onlyinclude&gt;<br /> {{interview<br /> |title=Illusive Cloak of Secrecy<br /> |author=Satokuzen Nakamoto Hiroi <br /> |date=2002/03<br /> |publication=Buzz<br /> |issue=31<br /> |pages=12-16<br /> }}<br /> <br /> &quot;[[Illusive Cloak of Secrecy]]&quot; is a 2002/03 interview by Satokuzen Nakamoto Hiroi. It originally appeared in Japanese Buzz magazine. The title was coined using a quote from the text as the original title was unintelligible after translation tools where used.<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> == Translation ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> '''Note:''' The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by [http://www.twoism.org/forum/memberlist.php?mode=viewprofile&amp;u=3440 Valotonin]. <br /> <br /> <br /> It is already a miracle in not only electronic music, but in the entirety of music. <br /> The only thing that truly exists is the moment. Everything inside of me is entranced and captivated by a very particular sound. This sound reverberated and flowed from [[Boards of Canada]]'s release - ''[[Geogaddi]]''. Once, a band called My Bloody Valentine changed the world with its sweet and layered, sugar coated and heavily sculpted sound. Today we meet two musicians from Scotland, [[Mike Sandison]] and [[Marcus Eoin]] who have once again reshaped our entire perception of music. This will be their sixth public release, but the people behind the music are still very much a mystery. ''[[Music Has the Right to Children]]'', which had been entirely distinct from the Hip-Hop, electronic and experimental music of the time that it was often associated with, created the backdrop for the long awaited second album, ''[[Geogaddi]]'', the contents of which was far exceeding the boundaries of imagination created by the listener's anticipation and craving for more of the Sandison's sounds. They tend to be illusive and very shy of public exposure and interviews but, to my surprise and seemingly by miracle, this will be their first ever interview in Japan. We conducted the interview by email and I was anxiously awaiting a reply which, in turn, arrived safely. Now we can begin to peer beneath the illusive cloak of secrecy and begin to build a picture of the source of the sonic mastery below. It would all become clear. <br /> <br /> [[Boards of Canada]] are not one's to involve themselves with the media too readily and their true identities are not known at all in Japan. Through this interview conducted via Email, I found that Mike and Marcus are each different characters with interesting personalities...<br /> <br /> <br /> {{question| This album, the first full length release in around four years, is often directly compared to your previous work. Is this something you generally anticipate and was it created in the knowledge of it being a followup to ''[[Music Has the Right to Children]]''?}}<br /> <br /> <br /> {{boc| Mike: This time I wanted to look at the various basic elements of music more than in our last release, and at the same time there was the reality that we wanted to create something rather more abstract than before. In a certain sense, we tried to reproduce melodies that seemed to have been ringing and circulating in certain dreams instead of ones from outside influences. In another sense, we begin with an adventure akin to ''Alice in Wonderland''. Marcus coined the word '''[[Geogaddi]]''', a combination of various words and it definitely has a strong meaning to us, but it can take on a variety of meanings. In the end every individual listener will have their own personal interpretation and meaning to ascribe to the word. As children, we used to watch B-Mini-Movies together and thoroughly enjoyed playing and recording together. My original aim was to inevitably be able to play paino by myself. Luckily for us, a mutual acquaintance lent us a synthesizer and we began to expand our sound and recording techniques from there.}}<br /> <br /> <br /> {{question| The name '[[Boards of Canada]]' is derived from the Canadian visual production company: ''National Film [[Boards of Canada]]''. I am told that the company is based in Canada and seems to produce nature and cultural films, alongside animated films for children. Is there a relation to this or a reason that you decided to use the name?}}<br /> <br /> <br /> {{boc|Mike: The National Film [[Boards of Canada]] is a huge organization. In the 1970's, when we where children, we often watched their productions and where always interested and enchanted by alterations in sound quality made as a result of the tape physically degrading. This later had a huge influence on our musical direction}}<br /> <br /> <br /> {{question| Can you tell me more about your history in creating and editing music. Are there any records that had a big impact on your lives?}}<br /> <br /> <br /> {{boc| Marcus: When we where younger, we both had access to a piano and guitar and used them to develop ourselves as musicians. There was one record I recall that was mostly created around the sampling of another older record, in fact. When I listened to it, I could instantly envision what I would want to do with it if it where in my hands, expanding upon the beats and mixing it down in a more simplistic way. It wasn't so much particular songs but particular elements and techniques used in music that I was attracted to. One artist we very much look at with respect is Meat Beat Manifesto, they are real innovators in their field. There where other records that I could almost believe where discs sent from the future, really amazing sequenced sections and I believe they where using a sequencer to play a monotonous synth. Other records attracted me due to elements such as bass-lines which immediately get you addicted to the music. In other cases you could feel that the synthesizers where just alive, beautifully so.}}<br /> <br /> <br /> {{boc| Mike: A handful of artists strive to create a beauty beyond the artificial tastelessness that we see in a lot of today's music. This isn't to say that I don't like a few things that people tend to refer to as artificial and tasteless though. An example of something I find it very difficult to like are computer programmed tracks that appear to have had the melodies completely overlooked, nothing resembling a true melody left. I think people tend to create that kind of music as a way of showing off computing/programming skills rather than a true affection for music. Music should be able to induce a sense of emotion that appeals to human understanding. A melody often creates a meaning within.}}<br /> <br /> <br /> {{question|You are currently on [[Warp Records]]. What is your stance on their base philosophy and how do you view the current interpretation of 'Pop' music?}}<br /> <br /> <br /> {{boc| Mike: I think that [[Warp Records|Warp]] is an Anti-Pop label in a way. I do think that there is room for pop music in the world though and there are many tracks generally considered as 'Pop' that I have actually enjoyed. One thing that is usually predictable of Pop music is that there is a tendency to create it around just a melody. The human voice over a microphone can be interpreted as an instrument in and of itself and it can have a way of stimulating a primitive part of the mind, something human. Even artificially processing a voice to create a seemingly unnatural sound, these are actually quite innovative tricks. }}<br /> <br /> <br /> {{question| What does aura and atmosphere mean to you in terms of your own music?}}<br /> <br /> <br /> {{boc|Mike: I feel that there is a place for creating what can be interpreted as ''Pretty songs'' even if words are rarely used. The atmosphere of the music can completely change when we do add vocals in some cases, even barely audible ones can be heard through the mix and affect the aura of a song entirely. When we write using more elements of psychedelia, the meaning of a track can often be a spiderweb of meaning. '&quot;[[The Devil Is In The Details]]&quot;'' is an example of music being able to contain and convey multiple meanings at once.}}<br /> <br /> <br /> {{question| In terms of ''[[Geogaddi]]'', what inspires you to create such fascinating names for the tracks, for example: &quot;[[Music Is Math]]&quot;', &quot;[[A Is To B As B Is To C]]&quot;' and more natural themes such as on &quot;[[Dandelion]]&quot;' and &quot;[[You Could Feel the Sky]]&quot;'? When I hear them, it isn't something that I would associate with electronic music and rhythms. It is more the sound of nature.}}<br /> <br /> <br /> {{boc| Mike: I think the humanity of our music is reflected in our lives. Neither of us is particularly a technology lover. I want to move around as I think about working with machines. I think that experimental art does not have a mechanism that makes it possible to change music in such a way as to separate it from its existence in nature. It seems as if it is somehow made in a way in which technology has a large influence on the work, but the listeners are not ever sure of what it is. We believe it is music because it has an element of the abnormal and the unnatural. It is also the ability to create it as if one where experiencing or seeing it in a natural environment. We use authentic organic elements of sound and it is entertaining to create sounds that are beyond the reaches of our imagination.}}<br /> <br /> <br /> {{question| Can you tell me anything more about the creation of [[Boards of Canada]]?}}<br /> <br /> <br /> {{boc| [Ambiguous as to who responds] We where both the children of musical families, living close to the sea. There really wasn't much entertainment for us as children. I began making strange cassette tapes, creating a tapestry of sound akin to the patterns of sound one hears in nature, perhaps on an island. In reality there are an infinitely large number of instruments one can use, with computer based 'Laptop music', your choices are entirely limited and constrained to the limits of the machine, not to the limits of human reality and beyond as it otherwise would be.}}<br /> <br /> <br /> {{question| Is there also an influence in your music that comes from 'Hip-Hop', 'Break-beats' and heavy sequencing?}}<br /> <br /> <br /> {{boc|Mike: It is generally more enjoyable to watch live musicians. Laptops can be seen as a musical composition tool that allow you to be mobile as you are creating a musical composition, but I think it's good to get inspiration from, even better, knowing how to play raw and natural musical instruments. There is generally a problem with this generation musically, they have become very accustomed to mass production. I was conscious of sampling. When you listen to the Beatles as a child, you are very interested as to how certain sounds sound as they do. There is that sense of wonder in organic music. Sometimes listening to a flute on loop or a mandolin, it was absolutely impossible to understand how it sounded as it did. A mystery and a sense of wonder that wasn't ever clarified.}}<br /> <br /> <br /> [Unintelligible section omitted]<br /> <br /> <br /> {{question| [Mentions several artists including 'Autechure' 'Aphex Twin' 'Squarepusher' 'Plaid' and 'My Bloody Valentine']}}<br /> <br /> <br /> {{boc|Mike: We certainly have a lot of respect and praise for 'My Bloody Valentine'. We consider ourselves both to be big fans. It seems that they are looking away from the artificial direction, towards the natural one. Actually, when we listen [to Loveless], we feel that it is not only a musical masterpiece, but a monumental piece that shows freedom of expression and, in turn, freedom of interpretation.}}<br /> <br /> <br /> {{question|When you think of 'Loveless' by 'My Bloody Valentine' or 'Screamadelica' by 'Primal Scream'. Would it be fair to think of this work as almost Funk/Pop music for live audiences?}}<br /> <br /> <br /> {{boc|[Ambiguous as to which of the two artists he is referring to] Marcus: He tends to write their songs based around Pop structures that are highly appreciative of 'the Pop sound' and it is sonicly provocative. Its impossible to imitate the foremost sound quality and it seems that the noise is unintentionally out of the way. Unstable and subtle sounds are a positive thing, even if there are some people that find themselves unable to appreciate that kind of thing.}}<br /> <br /> <br /> {{question| It seems as if there is an awful lot more hidden content in '''[[Geogaddi]]''' than on the previous record. Mathematical patterns and subliminal messages, it almost feels like a search for treasure. Are you interested in symbology and mathematics?}}<br /> <br /> <br /> {{boc|[Ambiguous as to who replies] Mathematics is a powerful reflection of admitting an un-measurable answer. The only way to explain the strange world of '''[[Geogaddi]]''' is to explain that it needs to be interpreted as the circulation of several simultaneous patterns. When you are a child, you wonder what you wonder, and are then told to accept the world as it is. After a couple of years, like any child, I got back into the mindset of wondering again. Examining the colour spectrum, wondering why things fall in such a way, wondering what the true colour of carrots are etc. I began thinking that perhaps my head was getting fucked up (laughs). If there is no concept of mathematics, one isn't able to see through the perspective of mathematics. Certain senses need to be learned in a way. There is no rule book, there is no such thing as 'x'.}}<br /> <br /> <br /> {{question| Do you think of music as a tool for communication?}}<br /> <br /> <br /> {{boc|Mike: Of course there is music that exists solely for the purpose of communication. Actually ''Let me convey far more emotions than words ever could'' is a good example of how human beings developed intelligence. It started from the point at which an ape struck a stick and started clapping, and finally it became possible to express complex human emotion. There is someone, somewhere listening to the melodies I make and feeling nice if the emotion I am trying to put across is a sentiment like love or adoration. It would be nice if there where someone who would experience the experience of being able to listen to your own music when they hear our creations, as in the end, we create it to our own taste. }}<br /> <br /> <br /> [Unintelligible section omitted]<br /> <br /> <br /> {{question| There are certainly some very clear messages in your recent work, how would you describe the message conveyed by &quot;[[Energy Warning]]&quot;'?}}<br /> <br /> <br /> {{boc|[Ambiguous as to who replies] It is effectively sounding a warning as to the depletion of natural energy resources. The message is, however, usually secondary to the musical content. Another example is in &quot;[[1969]]&quot;', it is a manifestation of the era of innocence, love and peace that was at the heart of the era, but it was also laced with the various fears going into the future such as the cold war and nuclear threats and I thought about conveying a kind of strong additive sensation of neurosis that has been popularized in our culture since the 1970s Government publicity movies etc. Electromagnetic. There was a sense of helplessness for the future generation}}<br /> <br /> <br /> {{question|It does seem that in that time period and with government Public Service announcements that there was a strong shift towards the pessimistic and the negative. I personally picked up on some of this in 'A Beautiful Place Out in the Country'}}<br /> <br /> <br /> {{boc| Mike: The underlying message in both &quot;[[1969]]&quot;' and 'A Beautiful Place Out in the Country' are rather similar. The general lifestyle changed quite dramatically around this point in history and structure and regulation where becoming evermore part of the lives of the general population. We are actually really interested to know of people's states of mind when listening to our music and whether it is felt as somewhat of a psychedelic experience to them. }}<br /> <br /> <br /> {{boc|Marcus: I think that being aware of one's internal thought processes and being aware of the way the world changes in its entirety and is constantly changing is a positive attribute to have. Good things are sometimes born from this state of mind, but also the negative can be born of these realizations, too. It seems so distant from what is considered to be common sense, such as leaving your body in a distorted form etc.}}<br /> <br /> <br /> {{question|I think that the previous works that you have made, made one feel like something beautiful was being created in front of them, although sharp elements of Hip-Hop where used heavily and anger and aggression where felt more intensely. Regardless, the psychedelic feel in this work seems to be dramatically expanding upon the euphoria and warmth of your previous, What is your take on this?}}<br /> <br /> <br /> {{boc| Marcus: I think that it is a reasonable interpretation. I wanted to make something which isn't limited to feeling like it is a specific style of music within a particular time period. The psychedelic element is certainly there to a certain extent, but it comes more from the music surrounding psychedelics as opposed to the chemicals themselves. '''[[Geogaddi]]''' is host to a wide variety of styles.}}<br /> <br /> <br /> {{question| &quot;[[Diving Station]]&quot; is a song that seems to stand out to me on this release, the surface of the track is only occupied by a lone piano. I am told that this is a song composed by Mike. Do you have a special or habitual way of composing your songs?}}<br /> <br /> <br /> {{boc|Mike: There are other songs making use of raw instruments and little else. 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.}}<br /> <br /> <br /> {{question|For you, what kind of emotions and images are evoked by children?}} <br /> <br /> <br /> {{boc| Marcus: In the park, I am playing and my mother is present. The sun is shining and I remember never ever feeling as if I was home.}}<br /> <br /> <br /> {{boc|Mike: When I was five years old, putting a ten pence piece into the electric kid's car as I ran around on the inside.}}<br /> <br /> <br /> {{question| May I ask as to why you chose to put the 1min and 44 seconds long silent track &quot;[[Magic Window]]&quot;' at the end of your album, is there a significance?}}<br /> <br /> <br /> {{boc| Marcus: &quot;[[Magic Window]]&quot;' is a phenomenon that creates an unusual frequency and influences the listener and their environment in a special way. On the Japanese edition of '''[[Geogaddi]]''' we have planted a bonus track &quot;[[From One Source All Things Depend]]&quot;'. It contains a variety of philosophical and religious sentiments...}}<br /> <br /> <br /> {{boc| Mike: This expresses the innocence of children who repeat the words and ideas of parents and teachers without much consideration for the true meaning or context. This can be seen as something both pleasant and slightly unnerving, on the other hand.}}<br /> <br /> <br /> {{question| Children learn both the positive and negative from their elders in the vast majority of cases. Are you able to tell us anything of your interpretation of 'God' and what it represents to you?}}<br /> <br /> <br /> {{boc|Marcus: I have nothing real to say on the subject, although, if you don't belong to any particular religion, God may appear to be the same to you as it would if one where to make an independent idea of god, coming soley from their heart and autonomous ideas and sentiments.}}<br /> <br /> <br /> {{question| With '''[[Geogaddi]]''', I often feel that there is a dark and sometimes even agressive mood to your music, but the accumulation of the entire piece leaves me with a sense of optimism and peace. It is quite emotionally ambiguous...}}<br /> <br /> <br /> {{boc| Marcus: That is what we tend to like. To us it feels like something that initially gives you a sense of warmth but with the darker underside slowly creeping up on you and emerging from beneath. The underside is dark, the spirit is frozen. I think that because of the human element to our music, it is much easier to convey naturally ambiguous and contradicting emotion as one feels generally. Our music will always reflect certain periods of our life.}}<br /> <br /> <br /> {{question| This is the final question. Do you feel that through '''[[Geogaddi]]''' you have had the ability to change a world that is cold, rigid and emotionally neutral, even to a minor extent?}}<br /> <br /> <br /> {{boc| Marcus: All music has the power to create change, however big or small. If it affected and gave something to every single person that had the chance to listen to it, I feel that I would have made a positive impact on the world - thank you.}}<br /> <br /> Thank you to both of you for your time. <br /> &lt;/onlyinclude&gt;<br /> <br /> == Original text (Japanese) ==<br /> <br /> &lt;onlyinclude&gt;<br /> {{transcription-needed}}<br /> &lt;/onlyinclude&gt;<br /> <br /> == Scans ==<br /> <br /> {{scan-needed}}<br /> <br /> == External Links ==<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> [[Category:Geogaddi era]]</div>

Valotonin https://bocpages.org/w/index.php?title=The_Last_Unexplored_Area_of_Boards_of_Canada&diff=13755 2017-04-01T18:52:28Z

<p>Valotonin: /* Translation */</p> <hr /> <div>__TOC__ <br /> <br /> &lt;onlyinclude&gt;<br /> {{interview<br /> |title=Illusive Cloak of Secrecy<br /> |author=Satokuzen Nakamoto Hiroi <br /> |date=2002/03<br /> |publication=Buzz<br /> |issue=31<br /> |pages=12-16<br /> }}<br /> <br /> &quot;[[Illusive Cloak of Secrecy]]&quot; is a 2002/03 interview by Satokuzen Nakamoto Hiroi. It originally appeared in Japanese Buzz magazine. <br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> == Translation ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> '''Note:''' The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by [http://www.twoism.org/forum/memberlist.php?mode=viewprofile&amp;u=3440 Valotonin]. <br /> <br /> <br /> It is already a miracle in not only electronic music, but in the entirety of music. <br /> The only thing that truly exists is the moment. Everything inside of me is entranced and captivated by a very particular sound. This sound reverberated and flowed from [[Boards of Canada]]'s release - ''[[Geogaddi]]''. Once, a band called My Bloody Valentine changed the world with its sweet and layered, sugar coated and heavily sculpted sound. Today we meet two musicians from Scotland, [[Mike Sandison]] and [[Marcus Eoin]] who have once again reshaped our entire perception of music. This will be their sixth public release, but the people behind the music are still very much a mystery. ''[[Music Has the Right to Children]]'', which had been entirely distinct from the Hip-Hop, electronic and experimental music of the time that it was often associated with, created the backdrop for the long awaited second album, ''[[Geogaddi]]'', the contents of which was far exceeding the boundaries of imagination created by the listener's anticipation and craving for more of the Sandison's sounds. They tend to be illusive and very shy of public exposure and interviews but, to my surprise and seemingly by miracle, this will be their first ever interview in Japan. We conducted the interview by email and I was anxiously awaiting a reply which, in turn, arrived safely. Now we can begin to peer beneath the illusive cloak of secrecy and begin to build a picture of the source of the sonic mastery below. It would all become clear. <br /> <br /> [[Boards of Canada]] are not one's to involve themselves with the media too readily and their true identities are not known at all in Japan. Through this interview conducted via Email, I found that Mike and Marcus are each different characters with interesting personalities...<br /> <br /> <br /> {{question| This album, the first full length release in around four years, is often directly compared to your previous work. Is this something you generally anticipate and was it created in the knowledge of it being a followup to ''[[Music Has the Right to Children]]''?}}<br /> <br /> <br /> {{boc| Mike: This time I wanted to look at the various basic elements of music more than in our last release, and at the same time there was the reality that we wanted to create something rather more abstract than before. In a certain sense, we tried to reproduce melodies that seemed to have been ringing and circulating in certain dreams instead of ones from outside influences. In another sense, we begin with an adventure akin to ''Alice in Wonderland''. Marcus coined the word '''[[Geogaddi]]''', a combination of various words and it definitely has a strong meaning to us, but it can take on a variety of meanings. In the end every individual listener will have their own personal interpretation and meaning to ascribe to the word. As children, we used to watch B-Mini-Movies together and thoroughly enjoyed playing and recording together. My original aim was to inevitably be able to play paino by myself. Luckily for us, a mutual acquaintance lent us a synthesizer and we began to expand our sound and recording techniques from there.}}<br /> <br /> <br /> {{question| The name '[[Boards of Canada]]' is derived from the Canadian visual production company: ''National Film [[Boards of Canada]]''. I am told that the company is based in Canada and seems to produce nature and cultural films, alongside animated films for children. Is there a relation to this or a reason that you decided to use the name?}}<br /> <br /> <br /> {{boc|Mike: The National Film [[Boards of Canada]] is a huge organization. In the 1970's, when we where children, we often watched their productions and where always interested and enchanted by alterations in sound quality made as a result of the tape physically degrading. This later had a huge influence on our musical direction}}<br /> <br /> <br /> {{question| Can you tell me more about your history in creating and editing music. Are there any records that had a big impact on your lives?}}<br /> <br /> <br /> {{boc| Marcus: When we where younger, we both had access to a piano and guitar and used them to develop ourselves as musicians. There was one record I recall that was mostly created around the sampling of another older record, in fact. When I listened to it, I could instantly envision what I would want to do with it if it where in my hands, expanding upon the beats and mixing it down in a more simplistic way. It wasn't so much particular songs but particular elements and techniques used in music that I was attracted to. One artist we very much look at with respect is Meat Beat Manifesto, they are real innovators in their field. There where other records that I could almost believe where discs sent from the future, really amazing sequenced sections and I believe they where using a sequencer to play a monotonous synth. Other records attracted me due to elements such as bass-lines which immediately get you addicted to the music. In other cases you could feel that the synthesizers where just alive, beautifully so.}}<br /> <br /> <br /> {{boc| Mike: A handful of artists strive to create a beauty beyond the artificial tastelessness that we see in a lot of today's music. This isn't to say that I don't like a few things that people tend to refer to as artificial and tasteless though. An example of something I find it very difficult to like are computer programmed tracks that appear to have had the melodies completely overlooked, nothing resembling a true melody left. I think people tend to create that kind of music as a way of showing off computing/programming skills rather than a true affection for music. Music should be able to induce a sense of emotion that appeals to human understanding. A melody often creates a meaning within.}}<br /> <br /> <br /> {{question|You are currently on [[Warp Records]]. What is your stance on their base philosophy and how do you view the current interpretation of 'Pop' music?}}<br /> <br /> <br /> {{boc| Mike: I think that [[Warp Records|Warp]] is an Anti-Pop label in a way. I do think that there is room for pop music in the world though and there are many tracks generally considered as 'Pop' that I have actually enjoyed. One thing that is usually predictable of Pop music is that there is a tendency to create it around just a melody. The human voice over a microphone can be interpreted as an instrument in and of itself and it can have a way of stimulating a primitive part of the mind, something human. Even artificially processing a voice to create a seemingly unnatural sound, these are actually quite innovative tricks. }}<br /> <br /> <br /> {{question| What does aura and atmosphere mean to you in terms of your own music?}}<br /> <br /> <br /> {{boc|Mike: I feel that there is a place for creating what can be interpreted as ''Pretty songs'' even if words are rarely used. The atmosphere of the music can completely change when we do add vocals in some cases, even barely audible ones can be heard through the mix and affect the aura of a song entirely. When we write using more elements of psychedelia, the meaning of a track can often be a spiderweb of meaning. '&quot;[[The Devil Is In The Details]]&quot;'' is an example of music being able to contain and convey multiple meanings at once.}}<br /> <br /> <br /> {{question| In terms of ''[[Geogaddi]]'', what inspires you to create such fascinating names for the tracks, for example: &quot;[[Music Is Math]]&quot;', &quot;[[A Is To B As B Is To C]]&quot;' and more natural themes such as on &quot;[[Dandelion]]&quot;' and &quot;[[You Could Feel the Sky]]&quot;'? When I hear them, it isn't something that I would associate with electronic music and rhythms. It is more the sound of nature.}}<br /> <br /> <br /> {{boc| Mike: I think the humanity of our music is reflected in our lives. Neither of us is particularly a technology lover. I want to move around as I think about working with machines. I think that experimental art does not have a mechanism that makes it possible to change music in such a way as to separate it from its existence in nature. It seems as if it is somehow made in a way in which technology has a large influence on the work, but the listeners are not ever sure of what it is. We believe it is music because it has an element of the abnormal and the unnatural. It is also the ability to create it as if one where experiencing or seeing it in a natural environment. We use authentic organic elements of sound and it is entertaining to create sounds that are beyond the reaches of our imagination.}}<br /> <br /> <br /> {{question| Can you tell me anything more about the creation of [[Boards of Canada]]?}}<br /> <br /> <br /> {{boc| [Ambiguous as to who responds] We where both the children of musical families, living close to the sea. There really wasn't much entertainment for us as children. I began making strange cassette tapes, creating a tapestry of sound akin to the patterns of sound one hears in nature, perhaps on an island. In reality there are an infinitely large number of instruments one can use, with computer based 'Laptop music', your choices are entirely limited and constrained to the limits of the machine, not to the limits of human reality and beyond as it otherwise would be.}}<br /> <br /> <br /> {{question| Is there also an influence in your music that comes from 'Hip-Hop', 'Break-beats' and heavy sequencing?}}<br /> <br /> <br /> {{boc|Mike: It is generally more enjoyable to watch live musicians. Laptops can be seen as a musical composition tool that allow you to be mobile as you are creating a musical composition, but I think it's good to get inspiration from, even better, knowing how to play raw and natural musical instruments. There is generally a problem with this generation musically, they have become very accustomed to mass production. I was conscious of sampling. When you listen to the Beatles as a child, you are very interested as to how certain sounds sound as they do. There is that sense of wonder in organic music. Sometimes listening to a flute on loop or a mandolin, it was absolutely impossible to understand how it sounded as it did. A mystery and a sense of wonder that wasn't ever clarified.}}<br /> <br /> <br /> [Unintelligible section omitted]<br /> <br /> <br /> {{question| [Mentions several artists including 'Autechure' 'Aphex Twin' 'Squarepusher' 'Plaid' and 'My Bloody Valentine']}}<br /> <br /> <br /> {{boc|Mike: We certainly have a lot of respect and praise for 'My Bloody Valentine'. We consider ourselves both to be big fans. It seems that they are looking away from the artificial direction, towards the natural one. Actually, when we listen [to Loveless], we feel that it is not only a musical masterpiece, but a monumental piece that shows freedom of expression and, in turn, freedom of interpretation.}}<br /> <br /> <br /> {{question|When you think of 'Loveless' by 'My Bloody Valentine' or 'Screamadelica' by 'Primal Scream'. Would it be fair to think of this work as almost Funk/Pop music for live audiences?}}<br /> <br /> <br /> {{boc|[Ambiguous as to which of the two artists he is referring to] Marcus: He tends to write their songs based around Pop structures that are highly appreciative of 'the Pop sound' and it is sonicly provocative. Its impossible to imitate the foremost sound quality and it seems that the noise is unintentionally out of the way. Unstable and subtle sounds are a positive thing, even if there are some people that find themselves unable to appreciate that kind of thing.}}<br /> <br /> <br /> {{question| It seems as if there is an awful lot more hidden content in '''[[Geogaddi]]''' than on the previous record. Mathematical patterns and subliminal messages, it almost feels like a search for treasure. Are you interested in symbology and mathematics?}}<br /> <br /> <br /> {{boc|[Ambiguous as to who replies] Mathematics is a powerful reflection of admitting an un-measurable answer. The only way to explain the strange world of '''[[Geogaddi]]''' is to explain that it needs to be interpreted as the circulation of several simultaneous patterns. When you are a child, you wonder what you wonder, and are then told to accept the world as it is. After a couple of years, like any child, I got back into the mindset of wondering again. Examining the colour spectrum, wondering why things fall in such a way, wondering what the true colour of carrots are etc. I began thinking that perhaps my head was getting fucked up (laughs). If there is no concept of mathematics, one isn't able to see through the perspective of mathematics. Certain senses need to be learned in a way. There is no rule book, there is no such thing as 'x'.}}<br /> <br /> <br /> {{question| Do you think of music as a tool for communication?}}<br /> <br /> <br /> {{boc|Mike: Of course there is music that exists solely for the purpose of communication. Actually ''Let me convey far more emotions than words ever could'' is a good example of how human beings developed intelligence. It started from the point at which an ape struck a stick and started clapping, and finally it became possible to express complex human emotion. There is someone, somewhere listening to the melodies I make and feeling nice if the emotion I am trying to put across is a sentiment like love or adoration. It would be nice if there where someone who would experience the experience of being able to listen to your own music when they hear our creations, as in the end, we create it to our own taste. }}<br /> <br /> <br /> [Unintelligible section omitted]<br /> <br /> <br /> {{question| There are certainly some very clear messages in your recent work, how would you describe the message conveyed by &quot;[[Energy Warning]]&quot;'?}}<br /> <br /> <br /> {{boc|[Ambiguous as to who replies] It is effectively sounding a warning as to the depletion of natural energy resources. The message is, however, usually secondary to the musical content. Another example is in &quot;[[1969]]&quot;', it is a manifestation of the era of innocence, love and peace that was at the heart of the era, but it was also laced with the various fears going into the future such as the cold war and nuclear threats and I thought about conveying a kind of strong additive sensation of neurosis that has been popularized in our culture since the 1970s Government publicity movies etc. Electromagnetic. There was a sense of helplessness for the future generation}}<br /> <br /> <br /> {{question|It does seem that in that time period and with government Public Service announcements that there was a strong shift towards the pessimistic and the negative. I personally picked up on some of this in 'A Beautiful Place Out in the Country'}}<br /> <br /> <br /> {{boc| Mike: The underlying message in both &quot;[[1969]]&quot;' and 'A Beautiful Place Out in the Country' are rather similar. The general lifestyle changed quite dramatically around this point in history and structure and regulation where becoming evermore part of the lives of the general population. We are actually really interested to know of people's states of mind when listening to our music and whether it is felt as somewhat of a psychedelic experience to them. }}<br /> <br /> <br /> {{boc|Marcus: I think that being aware of one's internal thought processes and being aware of the way the world changes in its entirety and is constantly changing is a positive attribute to have. Good things are sometimes born from this state of mind, but also the negative can be born of these realizations, too. It seems so distant from what is considered to be common sense, such as leaving your body in a distorted form etc.}}<br /> <br /> <br /> {{question|I think that the previous works that you have made, made one feel like something beautiful was being created in front of them, although sharp elements of Hip-Hop where used heavily and anger and aggression where felt more intensely. Regardless, the psychedelic feel in this work seems to be dramatically expanding upon the euphoria and warmth of your previous, What is your take on this?}}<br /> <br /> <br /> {{boc| Marcus: I think that it is a reasonable interpretation. I wanted to make something which isn't limited to feeling like it is a specific style of music within a particular time period. The psychedelic element is certainly there to a certain extent, but it comes more from the music surrounding psychedelics as opposed to the chemicals themselves. '''[[Geogaddi]]''' is host to a wide variety of styles.}}<br /> <br /> <br /> {{question| &quot;[[Diving Station]]&quot; is a song that seems to stand out to me on this release, the surface of the track is only occupied by a lone piano. I am told that this is a song composed by Mike. Do you have a special or habitual way of composing your songs?}}<br /> <br /> <br /> {{boc|Mike: There are other songs making use of raw instruments and little else. 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.}}<br /> <br /> <br /> {{question|For you, what kind of emotions and images are evoked by children?}} <br /> <br /> <br /> {{boc| Marcus: In the park, I am playing and my mother is present. The sun is shining and I remember never ever feeling as if I was home.}}<br /> <br /> <br /> {{boc|Mike: When I was five years old, putting a ten pence piece into the electric kid's car as I ran around on the inside.}}<br /> <br /> <br /> {{question| May I ask as to why you chose to put the 1min and 44 seconds long silent track &quot;[[Magic Window]]&quot;' at the end of your album, is there a significance?}}<br /> <br /> <br /> {{boc| Marcus: &quot;[[Magic Window]]&quot;' is a phenomenon that creates an unusual frequency and influences the listener and their environment in a special way. On the Japanese edition of '''[[Geogaddi]]''' we have planted a bonus track &quot;[[From One Source All Things Depend]]&quot;'. It contains a variety of philosophical and religious sentiments...}}<br /> <br /> <br /> {{boc| Mike: This expresses the innocence of children who repeat the words and ideas of parents and teachers without much consideration for the true meaning or context. This can be seen as something both pleasant and slightly unnerving, on the other hand.}}<br /> <br /> <br /> {{question| Children learn both the positive and negative from their elders in the vast majority of cases. Are you able to tell us anything of your interpretation of 'God' and what it represents to you?}}<br /> <br /> <br /> {{boc|Marcus: I have nothing real to say on the subject, although, if you don't belong to any particular religion, God may appear to be the same to you as it would if one where to make an independent idea of god, coming soley from their heart and autonomous ideas and sentiments.}}<br /> <br /> <br /> {{question| With '''[[Geogaddi]]''', I often feel that there is a dark and sometimes even agressive mood to your music, but the accumulation of the entire piece leaves me with a sense of optimism and peace. It is quite emotionally ambiguous...}}<br /> <br /> <br /> {{boc| Marcus: That is what we tend to like. To us it feels like something that initially gives you a sense of warmth but with the darker underside slowly creeping up on you and emerging from beneath. The underside is dark, the spirit is frozen. I think that because of the human element to our music, it is much easier to convey naturally ambiguous and contradicting emotion as one feels generally. Our music will always reflect certain periods of our life.}}<br /> <br /> <br /> {{question| This is the final question. Do you feel that through '''[[Geogaddi]]''' you have had the ability to change a world that is cold, rigid and emotionally neutral, even to a minor extent?}}<br /> <br /> <br /> {{boc| Marcus: All music has the power to create change, however big or small. If it affected and gave something to every single person that had the chance to listen to it, I feel that I would have made a positive impact on the world - thank you.}}<br /> <br /> Thank you to both of you for your time. <br /> &lt;/onlyinclude&gt;<br /> <br /> == Original text (Japanese) ==<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> {{transcription-needed}}<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> == Scans ==<br /> <br /> {{scan-needed}}<br /> <br /> == External Links ==<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> &lt;onlyinclude&gt;<br /> <br /> &lt;/onlyinclude&gt;<br /> <br /> [[Category:Geogaddi era]]</div>

Valotonin https://bocpages.org/w/index.php?title=Red_Moon_incident&diff=13748 2017-03-31T22:48:25Z

<p>Valotonin: /* Timeline of events */</p> <hr /> <div>In numerous interviews &lt;ref&gt;[[In_An_Imaginary_Place_Out_In_The_Country]]&lt;/ref&gt;, [[Boards of Canada]] have referred to &quot;Red Moon nights&quot;, free-form outdoor gatherings with friends, music, movies and bonfires that [[Hexagon Sun]] has celebrated for years.<br /> <br /> <br /> &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref&gt;[[In_An_Imaginary_Place_Out_In_The_Country]]&lt;/ref&gt;<br /> <br /> <br /> In April 2005, a cryptic image appeared on the [[Boards of Canada]] web page, seemingly referring to this practice. This image, and another following it, sparked a series of curious events as fans around the world collaborated in an attempt to determine the meaning of the mysterious images amidst red herrings and false clues posted by opportunistic hoaxers.<br /> <br /> == The images ==<br /> [[Image:Original rm.png]]<br /> <br /> The first image appeared on or before April 2, 2005. The image is of a full moon, tinted red, on a black background. Over the face of the moon are two lines of text:<br /> <br /> 100606<br /> g60h p5-omh g2h2.t 0-n<br /> <br /> == Timeline of events ==<br /> <br /> * (- April 2] - Music70 contact page is updated with a link to http://www.music70.com/rm.html. The page contains a [http://www.boardsofcanada.com/images/rm.jpg single image of a red-tinted moon] with &quot;100606&quot; in large text as well a second line comprising the what becomes known as the first Red Moon code.<br /> <br /> * April 22, 23 - Family Photo Album appears<br /> A user with the name &quot;[http://forum.watmm.com/index.php?showuser=1286 Family Photo Album]&quot; appears on WATMM and starts a new thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=7472&amp;hl= ? ?????? ??????]&quot;. FPA makes three posts in the thread, two containing [http://forum.watmm.com/index.php?act=Attach&amp;type=post&amp;id=2750 animated] [http://forum.watmm.com/index.php?act=Attach&amp;type=post&amp;id=2787 GIFs] containing pictures of Mike and Marcus, images of nature and the text &quot;100606&quot;.<br /> [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=249 An account of the same name] also appeared on this date on the Twoism forum.<br /> <br /> * May 11 - Martyrs Monument appears<br /> A user with the name &quot;[http://forum.watmm.com/index.php?showuser=1393 Matyrs Monument]&quot; appears on WATMM, starting a thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=8289 g60h p5-20mh g2h2.to-n]&quot; about the first code and containing references to the Pentland Hills.<br /> [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=264 An account of the same name] also appears on Twoism, making [http://www.barneum.com/twoism/search.php?search_author=Martyrs+Monument two posts] with roughly the same content.<br /> <br /> * May 12, 4:46 PM EST - Another Family Photo Album post<br /> In the WATMM thread &quot;[http://forum.watmm.com/index.php?showtopic=8289 g60h p5-20mh g2h2.to-n]&quot;, Family Photo Album [http://forum.watmm.com/index.php?showtopic=8289&amp;st=0&amp;p=168950&amp;#entry168950 posts a cryptic message].<br /> <br /> * (- May 31] - A [http://www.boardsofcanada.com/images/rm0.gif second image of a photo-negative human eye] is added, with additional (reversed) text that becomes known as the second Red Moon code.<br /> <br /> * May 31 - More Martyrs Monument posts<br /> In [http://forum.watmm.com/index.php?showtopic=9060&amp;hl= a WATMM thread about the second Red Moon image], Martyrs Monument [http://forum.watmm.com/index.php?showtopic=9060&amp;st=25&amp;p=184039&amp;#entry184039 posts a link] to an mp3 entitled &quot;[http://www.yousendit.com/transfer.php?action=download&amp;ufid=7F3D69366129F15A 10June.mp3]&quot;. MM also posts [http://forum.watmm.com/index.php?showtopic=9060&amp;st=25&amp;p=184113&amp;#entry184113 a second comment] about the mp3.<br /> <br /> * June 01 - Xerox<br /> In the Twoism [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=304#13742 Red Moon thread], a new user named [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=284 Xerox] [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=304#13742 posts a message] claiming to have a friend working with [[Boards of Canada|BoC]] setting up an event of some sort &quot;in the next week&quot;.<br /> <br /> * June 05, ~2 PM EST - music836.com <br /> A banner ad for http://www.music836.com appears on the xltronic messageboard ([http://xltronic.com/mb/88571/0 thread]). This site has a pop-up of a kaleidoscopic campfire image with the text &quot;6/6/6&quot; and a short looped background music with campfire sounds. 836 is second smallest wierd number.<br /> <br /> * June 6, 1:49 PM EST - Another Martyrs Monument post<br /> Marytrs Monument [http://forum.watmm.com/index.php?showtopic=9222&amp;st=50&amp;p=188040&amp;#entry188040 suggests that more will be revealed today].<br /> <br /> * June 6, ~10:10 AM EST<br /> The link to rm.html from the contact page and the page at rm.html itself are now gone.<br /> <br /> * June 6 - Twoism breakthrough?<br /> A group of users of the Twoism forum believe they have cracked the code. The method is detailed [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;start=460 in the Red Moon Party thread]. By inputting various portions of the numbers in the two Red Moon codes into a [http://www.magic.gov.uk/website/magic/ UK goverment mapping site], two closely-located positions in the Pentlands region south of Edinburgh are identified.<br /> <br /> * June 6 - music386 hoaxer revealed<br /> An artist named [http://bambambambambam.com/pages/baminyourcuntrecords/releases/biyc70/index2.htm Pycho takes credit] for the music836 site as a promotion for his new [http://bambambambambam.com/pages/baminyourcuntrecords/releases/biyc70/assets/PLC.zip mp3 release].<br /> <br /> * June 10 - Family Photo Album says farewell?<br /> In a new posted entitled &quot;[http://forum.watmm.com/index.php?showtopic=9462&amp;hl= Farewell.]&quot;, Family Photo Album posts another cryptic message. The post contains the phrase &quot;Answe'''red Point'''edly&quot; (emphasis added) which leads some to believe the party is located at Redpoint.<br /> <br /> *June 11 - Xerox's account<br /> Xerox, who had initially posted on [http://Twoism.org Twoism] on June 1st claiming that a personal friend was working on a project with [[Boards of Canada]], posts a [http://www.twoism.org/forum/viewtopic.php?f=2&amp;t=637&amp;p=14967#p14967 detailed documentation] of his supposed experiences at Redmoon. Much of which seems to be accurate to other confirmed accounts of what happens at said events. It is still unknown as to whether this is genuine, most seem to be conflicted as to whether this is in fact a true account. <br /> <br /> * June 11 - JimCanada<br /> New user [http://forum.watmm.com/index.php?showuser=1564 JimCanada] posts [http://forum.watmm.com/index.php?showtopic=9480 a story about going to Redpoint] on the 11th and finding signs of a bonfire and some melted tapes. In [http://forum.watmm.com/index.php?showtopic=9488&amp;st=0&amp; a second post], he posts a short mp3 that he claims was salvaged off one of the melted tapes.<br /> <br /> * June 11 - Family Photo Album cuts the crap<br /> Family Photo Album makes a new thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=9491&amp;hl= Time to cut the crap.]&quot; in which he [http://forum.watmm.com/index.php?showtopic=9491&amp;st=0&amp;#entry193293 admits] that his posts, as well as the JimCanada posts, were a hoax.<br /> <br /> * June 11 - Twoism expedition results<br /> User twofingersism [http://www.barneum.com/twoism/viewtopic.php?p=14932#14922 posts a report] on the results of the expedition of Twoism users who journied to the Pentland Hills hoping to find a [[Boards of Canada|BoC]] party based on the locations Twoism users determined on June 5th. In short, no signs of [[Boards of Canada|BoC]], but a lovely time was had by the hopeful searchers, who built their own fire and kicked back with some beers and good tunes. Fellow searcher Licolnshire Poacher contributes [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=560#14868 a photo of the group].<br /> <br /> Celadon submits more photos of Redmoon meet-up at the Earlyburn Observatory.<br /> http://www.flickr.com/photos/70866061@N00/sets/72157594163705685/<br /> <br /> == Conclusion ==<br /> In the end, virtually nothing concrete is known about what (if anything) happened on June 10, 2006. Apart from the strange images posted on the official site, all additional websites, forum posts, etc. were ultimately found to be created by attention-seeking artists and opportunistic hoaxers. Meanwhile, very little has ever been mentioned or cited on the topic from trusted sources. There are, however, very rare occurrences of more in-depth discussions regarding 'Redmoon Nights' occasionally surfacing in interviews dating back to at least 2002. This would suggest that '[[Red moon|The Redmoon incident]]' is not a stand-alone event.<br /> <br /> As it stands, the meaning of the strange images is as unknown as it was in the beginning.<br /> <br /> == External links ==<br /> <br /> * [http://redmoon.stikipad.com/redmooncode/show/HomePage Stikipad page about the Red Moon code]<br /> * [http://redmoon.stikipad.com/redmooncode/show/Second+Code Stikipad page about the second Red Moon code]<br /> * [http://www.barneum.com/twoism/ Twoism forum]<br /> * [http://forum.watmm.com/index.php?showforum=9 WATMM Boards of Canada subforum]<br /> * [http://launch.groups.yahoo.com/group/boards-of-canada/ Yahoo! boards-of-canada group]<br /> * [http://launch.groups.yahoo.com/group/boardsofcanada/ Yahoo! boardsofcanada group]<br /> * [http://xltronic.com/mb/ xltronic message board]<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> [[Category: Mysteries]]</div>

Valotonin https://bocpages.org/w/index.php?title=Red_Moon_incident&diff=13747 2017-03-31T22:47:28Z

<p>Valotonin: /* Timeline of events */</p> <hr /> <div>In numerous interviews &lt;ref&gt;[[In_An_Imaginary_Place_Out_In_The_Country]]&lt;/ref&gt;, [[Boards of Canada]] have referred to &quot;Red Moon nights&quot;, free-form outdoor gatherings with friends, music, movies and bonfires that [[Hexagon Sun]] has celebrated for years.<br /> <br /> <br /> &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref&gt;[[In_An_Imaginary_Place_Out_In_The_Country]]&lt;/ref&gt;<br /> <br /> <br /> In April 2005, a cryptic image appeared on the [[Boards of Canada]] web page, seemingly referring to this practice. This image, and another following it, sparked a series of curious events as fans around the world collaborated in an attempt to determine the meaning of the mysterious images amidst red herrings and false clues posted by opportunistic hoaxers.<br /> <br /> == The images ==<br /> [[Image:Original rm.png]]<br /> <br /> The first image appeared on or before April 2, 2005. The image is of a full moon, tinted red, on a black background. Over the face of the moon are two lines of text:<br /> <br /> 100606<br /> g60h p5-omh g2h2.t 0-n<br /> <br /> == Timeline of events ==<br /> <br /> * (- April 2] - Music70 contact page is updated with a link to http://www.music70.com/rm.html. The page contains a [http://www.boardsofcanada.com/images/rm.jpg single image of a red-tinted moon] with &quot;100606&quot; in large text as well a second line comprising the what becomes known as the first Red Moon code.<br /> <br /> * April 22, 23 - Family Photo Album appears<br /> A user with the name &quot;[http://forum.watmm.com/index.php?showuser=1286 Family Photo Album]&quot; appears on WATMM and starts a new thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=7472&amp;hl= ? ?????? ??????]&quot;. FPA makes three posts in the thread, two containing [http://forum.watmm.com/index.php?act=Attach&amp;type=post&amp;id=2750 animated] [http://forum.watmm.com/index.php?act=Attach&amp;type=post&amp;id=2787 GIFs] containing pictures of Mike and Marcus, images of nature and the text &quot;100606&quot;.<br /> [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=249 An account of the same name] also appeared on this date on the Twoism forum.<br /> <br /> * May 11 - Martyrs Monument appears<br /> A user with the name &quot;[http://forum.watmm.com/index.php?showuser=1393 Matyrs Monument]&quot; appears on WATMM, starting a thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=8289 g60h p5-20mh g2h2.to-n]&quot; about the first code and containing references to the Pentland Hills.<br /> [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=264 An account of the same name] also appears on Twoism, making [http://www.barneum.com/twoism/search.php?search_author=Martyrs+Monument two posts] with roughly the same content.<br /> <br /> * May 12, 4:46 PM EST - Another Family Photo Album post<br /> In the WATMM thread &quot;[http://forum.watmm.com/index.php?showtopic=8289 g60h p5-20mh g2h2.to-n]&quot;, Family Photo Album [http://forum.watmm.com/index.php?showtopic=8289&amp;st=0&amp;p=168950&amp;#entry168950 posts a cryptic message].<br /> <br /> * (- May 31] - A [http://www.boardsofcanada.com/images/rm0.gif second image of a photo-negative human eye] is added, with additional (reversed) text that becomes known as the second Red Moon code.<br /> <br /> * May 31 - More Martyrs Monument posts<br /> In [http://forum.watmm.com/index.php?showtopic=9060&amp;hl= a WATMM thread about the second Red Moon image], Martyrs Monument [http://forum.watmm.com/index.php?showtopic=9060&amp;st=25&amp;p=184039&amp;#entry184039 posts a link] to an mp3 entitled &quot;[http://www.yousendit.com/transfer.php?action=download&amp;ufid=7F3D69366129F15A 10June.mp3]&quot;. MM also posts [http://forum.watmm.com/index.php?showtopic=9060&amp;st=25&amp;p=184113&amp;#entry184113 a second comment] about the mp3.<br /> <br /> * June 01 - Xerox<br /> In the Twoism [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=304#13742 Red Moon thread], a new user named [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=284 Xerox] [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=304#13742 posts a message] claiming to have a friend working with [[Boards of Canada|BoC]] setting up an event of some sort &quot;in the next week&quot;.<br /> <br /> * June 05, ~2 PM EST - music836.com <br /> A banner ad for http://www.music836.com appears on the xltronic messageboard ([http://xltronic.com/mb/88571/0 thread]). This site has a pop-up of a kaleidoscopic campfire image with the text &quot;6/6/6&quot; and a short looped background music with campfire sounds. 836 is second smallest wierd number.<br /> <br /> * June 6, 1:49 PM EST - Another Martyrs Monument post<br /> Marytrs Monument [http://forum.watmm.com/index.php?showtopic=9222&amp;st=50&amp;p=188040&amp;#entry188040 suggests that more will be revealed today].<br /> <br /> * June 6, ~10:10 AM EST<br /> The link to rm.html from the contact page and the page at rm.html itself are now gone.<br /> <br /> * June 6 - Twoism breakthrough?<br /> A group of users of the Twoism forum believe they have cracked the code. The method is detailed [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;start=460 in the Red Moon Party thread]. By inputting various portions of the numbers in the two Red Moon codes into a [http://www.magic.gov.uk/website/magic/ UK goverment mapping site], two closely-located positions in the Pentlands region south of Edinburgh are identified.<br /> <br /> * June 6 - music386 hoaxer revealed<br /> An artist named [http://bambambambambam.com/pages/baminyourcuntrecords/releases/biyc70/index2.htm Pycho takes credit] for the music836 site as a promotion for his new [http://bambambambambam.com/pages/baminyourcuntrecords/releases/biyc70/assets/PLC.zip mp3 release].<br /> <br /> * June 10 - Family Photo Album says farewell?<br /> In a new posted entitled &quot;[http://forum.watmm.com/index.php?showtopic=9462&amp;hl= Farewell.]&quot;, Family Photo Album posts another cryptic message. The post contains the phrase &quot;Answe'''red Point'''edly&quot; (emphasis added) which leads some to believe the party is located at Redpoint.<br /> <br /> *June 11 - Xerox's account<br /> who had initially posted on [http://Twoism.org Twoism] on June 1st claiming that a personal friend was working on a project with [[Boards of Canada]], posts a [http://www.twoism.org/forum/viewtopic.php?f=2&amp;t=637&amp;p=14967#p14967 detailed documentation] of his supposed experiences at Redmoon. Much of which seems to be accurate to other confirmed accounts of what happens at said events. It is still unknown as to whether this is genuine, most seem to be conflicted as to whether this is in fact a true account. <br /> <br /> * June 11 - JimCanada<br /> New user [http://forum.watmm.com/index.php?showuser=1564 JimCanada] posts [http://forum.watmm.com/index.php?showtopic=9480 a story about going to Redpoint] on the 11th and finding signs of a bonfire and some melted tapes. In [http://forum.watmm.com/index.php?showtopic=9488&amp;st=0&amp; a second post], he posts a short mp3 that he claims was salvaged off one of the melted tapes.<br /> <br /> * June 11 - Family Photo Album cuts the crap<br /> Family Photo Album makes a new thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=9491&amp;hl= Time to cut the crap.]&quot; in which he [http://forum.watmm.com/index.php?showtopic=9491&amp;st=0&amp;#entry193293 admits] that his posts, as well as the JimCanada posts, were a hoax.<br /> <br /> * June 11 - Twoism expedition results<br /> User twofingersism [http://www.barneum.com/twoism/viewtopic.php?p=14932#14922 posts a report] on the results of the expedition of Twoism users who journied to the Pentland Hills hoping to find a [[Boards of Canada|BoC]] party based on the locations Twoism users determined on June 5th. In short, no signs of [[Boards of Canada|BoC]], but a lovely time was had by the hopeful searchers, who built their own fire and kicked back with some beers and good tunes. Fellow searcher Licolnshire Poacher contributes [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=560#14868 a photo of the group].<br /> <br /> Celadon submits more photos of Redmoon meet-up at the Earlyburn Observatory.<br /> http://www.flickr.com/photos/70866061@N00/sets/72157594163705685/<br /> <br /> == Conclusion ==<br /> In the end, virtually nothing concrete is known about what (if anything) happened on June 10, 2006. Apart from the strange images posted on the official site, all additional websites, forum posts, etc. were ultimately found to be created by attention-seeking artists and opportunistic hoaxers. Meanwhile, very little has ever been mentioned or cited on the topic from trusted sources. There are, however, very rare occurrences of more in-depth discussions regarding 'Redmoon Nights' occasionally surfacing in interviews dating back to at least 2002. This would suggest that '[[Red moon|The Redmoon incident]]' is not a stand-alone event.<br /> <br /> As it stands, the meaning of the strange images is as unknown as it was in the beginning.<br /> <br /> == External links ==<br /> <br /> * [http://redmoon.stikipad.com/redmooncode/show/HomePage Stikipad page about the Red Moon code]<br /> * [http://redmoon.stikipad.com/redmooncode/show/Second+Code Stikipad page about the second Red Moon code]<br /> * [http://www.barneum.com/twoism/ Twoism forum]<br /> * [http://forum.watmm.com/index.php?showforum=9 WATMM Boards of Canada subforum]<br /> * [http://launch.groups.yahoo.com/group/boards-of-canada/ Yahoo! boards-of-canada group]<br /> * [http://launch.groups.yahoo.com/group/boardsofcanada/ Yahoo! boardsofcanada group]<br /> * [http://xltronic.com/mb/ xltronic message board]<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> [[Category: Mysteries]]</div>

Valotonin https://bocpages.org/w/index.php?title=Red_Moon_incident&diff=13746 2017-03-31T22:45:18Z

<p>Valotonin: </p> <hr /> <div>In numerous interviews &lt;ref&gt;[[In_An_Imaginary_Place_Out_In_The_Country]]&lt;/ref&gt;, [[Boards of Canada]] have referred to &quot;Red Moon nights&quot;, free-form outdoor gatherings with friends, music, movies and bonfires that [[Hexagon Sun]] has celebrated for years.<br /> <br /> <br /> &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref&gt;[[In_An_Imaginary_Place_Out_In_The_Country]]&lt;/ref&gt;<br /> <br /> <br /> In April 2005, a cryptic image appeared on the [[Boards of Canada]] web page, seemingly referring to this practice. This image, and another following it, sparked a series of curious events as fans around the world collaborated in an attempt to determine the meaning of the mysterious images amidst red herrings and false clues posted by opportunistic hoaxers.<br /> <br /> == The images ==<br /> [[Image:Original rm.png]]<br /> <br /> The first image appeared on or before April 2, 2005. The image is of a full moon, tinted red, on a black background. Over the face of the moon are two lines of text:<br /> <br /> 100606<br /> g60h p5-omh g2h2.t 0-n<br /> <br /> == Timeline of events ==<br /> <br /> * (- April 2] - Music70 contact page is updated with a link to http://www.music70.com/rm.html. The page contains a [http://www.boardsofcanada.com/images/rm.jpg single image of a red-tinted moon] with &quot;100606&quot; in large text as well a second line comprising the what becomes known as the first Red Moon code.<br /> <br /> * April 22, 23 - Family Photo Album appears<br /> A user with the name &quot;[http://forum.watmm.com/index.php?showuser=1286 Family Photo Album]&quot; appears on WATMM and starts a new thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=7472&amp;hl= ? ?????? ??????]&quot;. FPA makes three posts in the thread, two containing [http://forum.watmm.com/index.php?act=Attach&amp;type=post&amp;id=2750 animated] [http://forum.watmm.com/index.php?act=Attach&amp;type=post&amp;id=2787 GIFs] containing pictures of Mike and Marcus, images of nature and the text &quot;100606&quot;.<br /> [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=249 An account of the same name] also appeared on this date on the Twoism forum.<br /> <br /> * May 11 - Martyrs Monument appears<br /> A user with the name &quot;[http://forum.watmm.com/index.php?showuser=1393 Matyrs Monument]&quot; appears on WATMM, starting a thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=8289 g60h p5-20mh g2h2.to-n]&quot; about the first code and containing references to the Pentland Hills.<br /> [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=264 An account of the same name] also appears on Twoism, making [http://www.barneum.com/twoism/search.php?search_author=Martyrs+Monument two posts] with roughly the same content.<br /> <br /> * May 12, 4:46 PM EST - Another Family Photo Album post<br /> In the WATMM thread &quot;[http://forum.watmm.com/index.php?showtopic=8289 g60h p5-20mh g2h2.to-n]&quot;, Family Photo Album [http://forum.watmm.com/index.php?showtopic=8289&amp;st=0&amp;p=168950&amp;#entry168950 posts a cryptic message].<br /> <br /> * (- May 31] - A [http://www.boardsofcanada.com/images/rm0.gif second image of a photo-negative human eye] is added, with additional (reversed) text that becomes known as the second Red Moon code.<br /> <br /> * May 31 - More Martyrs Monument posts<br /> In [http://forum.watmm.com/index.php?showtopic=9060&amp;hl= a WATMM thread about the second Red Moon image], Martyrs Monument [http://forum.watmm.com/index.php?showtopic=9060&amp;st=25&amp;p=184039&amp;#entry184039 posts a link] to an mp3 entitled &quot;[http://www.yousendit.com/transfer.php?action=download&amp;ufid=7F3D69366129F15A 10June.mp3]&quot;. MM also posts [http://forum.watmm.com/index.php?showtopic=9060&amp;st=25&amp;p=184113&amp;#entry184113 a second comment] about the mp3.<br /> <br /> * June 01 - Xerox<br /> In the Twoism [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=304#13742 Red Moon thread], a new user named [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=284 Xerox] [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=304#13742 posts a message] claiming to have a friend working with [[Boards of Canada|BoC]] setting up an event of some sort &quot;in the next week&quot;.<br /> <br /> * June 05, ~2 PM EST - music836.com <br /> A banner ad for http://www.music836.com appears on the xltronic messageboard ([http://xltronic.com/mb/88571/0 thread]). This site has a pop-up of a kaleidoscopic campfire image with the text &quot;6/6/6&quot; and a short looped background music with campfire sounds. 836 is second smallest wierd number.<br /> <br /> * June 6, 1:49 PM EST - Another Martyrs Monument post<br /> Marytrs Monument [http://forum.watmm.com/index.php?showtopic=9222&amp;st=50&amp;p=188040&amp;#entry188040 suggests that more will be revealed today].<br /> <br /> * June 6, ~10:10 AM EST<br /> The link to rm.html from the contact page and the page at rm.html itself are now gone.<br /> <br /> * June 6 - Twoism breakthrough?<br /> A group of users of the Twoism forum believe they have cracked the code. The method is detailed [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;start=460 in the Red Moon Party thread]. By inputting various portions of the numbers in the two Red Moon codes into a [http://www.magic.gov.uk/website/magic/ UK goverment mapping site], two closely-located positions in the Pentlands region south of Edinburgh are identified.<br /> <br /> * June 6 - music386 hoaxer revealed<br /> An artist named [http://bambambambambam.com/pages/baminyourcuntrecords/releases/biyc70/index2.htm Pycho takes credit] for the music836 site as a promotion for his new [http://bambambambambam.com/pages/baminyourcuntrecords/releases/biyc70/assets/PLC.zip mp3 release].<br /> <br /> * June 10 - Family Photo Album says farewell?<br /> In a new posted entitled &quot;[http://forum.watmm.com/index.php?showtopic=9462&amp;hl= Farewell.]&quot;, Family Photo Album posts another cryptic message. The post contains the phrase &quot;Answe'''red Point'''edly&quot; (emphasis added) which leads some to believe the party is located at Redpoint.<br /> <br /> *June 11 - Xerox, who had initially posted on [http://Twoism.org Twoism] on June 1st claiming that a personal friend was working on a project with [[Boards of Canada]], posts a [http://www.twoism.org/forum/viewtopic.php?f=2&amp;t=637&amp;p=14967#p14967 detailed documentation] of his supposed experiences at Redmoon. Much of which seems to be accurate to other confirmed accounts of what happens at said events. It is still unknown as to whether this is genuine, most seem to be conflicted as to whether this is in fact a true account. <br /> <br /> * June 11 - JimCanada<br /> New user [http://forum.watmm.com/index.php?showuser=1564 JimCanada] posts [http://forum.watmm.com/index.php?showtopic=9480 a story about going to Redpoint] on the 11th and finding signs of a bonfire and some melted tapes. In [http://forum.watmm.com/index.php?showtopic=9488&amp;st=0&amp; a second post], he posts a short mp3 that he claims was salvaged off one of the melted tapes.<br /> <br /> * June 11 - Family Photo Album cuts the crap<br /> Family Photo Album makes a new thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=9491&amp;hl= Time to cut the crap.]&quot; in which he [http://forum.watmm.com/index.php?showtopic=9491&amp;st=0&amp;#entry193293 admits] that his posts, as well as the JimCanada posts, were a hoax.<br /> <br /> * June 11 - Twoism expedition results<br /> User twofingersism [http://www.barneum.com/twoism/viewtopic.php?p=14932#14922 posts a report] on the results of the expedition of Twoism users who journied to the Pentland Hills hoping to find a [[Boards of Canada|BoC]] party based on the locations Twoism users determined on June 5th. In short, no signs of [[Boards of Canada|BoC]], but a lovely time was had by the hopeful searchers, who built their own fire and kicked back with some beers and good tunes. Fellow searcher Licolnshire Poacher contributes [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=560#14868 a photo of the group].<br /> <br /> Celadon submits more photos of Redmoon meet-up at the Earlyburn Observatory.<br /> http://www.flickr.com/photos/70866061@N00/sets/72157594163705685/<br /> <br /> == Conclusion ==<br /> In the end, virtually nothing concrete is known about what (if anything) happened on June 10, 2006. Apart from the strange images posted on the official site, all additional websites, forum posts, etc. were ultimately found to be created by attention-seeking artists and opportunistic hoaxers. Meanwhile, very little has ever been mentioned or cited on the topic from trusted sources. There are, however, very rare occurrences of more in-depth discussions regarding 'Redmoon Nights' occasionally surfacing in interviews dating back to at least 2002. This would suggest that '[[Red moon|The Redmoon incident]]' is not a stand-alone event.<br /> <br /> As it stands, the meaning of the strange images is as unknown as it was in the beginning.<br /> <br /> == External links ==<br /> <br /> * [http://redmoon.stikipad.com/redmooncode/show/HomePage Stikipad page about the Red Moon code]<br /> * [http://redmoon.stikipad.com/redmooncode/show/Second+Code Stikipad page about the second Red Moon code]<br /> * [http://www.barneum.com/twoism/ Twoism forum]<br /> * [http://forum.watmm.com/index.php?showforum=9 WATMM Boards of Canada subforum]<br /> * [http://launch.groups.yahoo.com/group/boards-of-canada/ Yahoo! boards-of-canada group]<br /> * [http://launch.groups.yahoo.com/group/boardsofcanada/ Yahoo! boardsofcanada group]<br /> * [http://xltronic.com/mb/ xltronic message board]<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> [[Category: Mysteries]]</div>

Valotonin https://bocpages.org/w/index.php?title=Red_Moon_incident&diff=13745 2017-03-31T22:41:32Z

<p>Valotonin: /* Conclusion */</p> <hr /> <div>In numerous interviews &lt;ref&gt;[[In_An_Imaginary_Place_Out_In_The_Country]]&lt;/ref&gt;, [[Boards of Canada]] have referred to &quot;Red Moon nights&quot;, free-form outdoor gatherings with friends, music, movies and bonfires that [[Hexagon Sun]] has celebrated for years.<br /> <br /> <br /> &quot;It took place by a 16th century Monastery, mostly debris, with a partially Collapsed roof, a truly amazing place... Hidden in the forest, it became a feeling guarded by nature. Occasionally there are as many as a hundred people, this turned into fifty as the bonfire gradually turned to embers and with lights and candles, people came inside the monastery. A mysterious outdoor experience. A perfect place shrouded in western pine.&quot; &lt;ref&gt;[[In_An_Imaginary_Place_Out_In_The_Country]]&lt;/ref&gt;<br /> <br /> <br /> In April 2005, a cryptic image appeared on the [[Boards of Canada]] web page, seemingly referring to this practice. This image, and another following it, sparked a series of curious events as fans around the world collaborated in an attempt to determine the meaning of the mysterious images amidst red herrings and false clues posted by opportunistic hoaxers.<br /> <br /> == The images ==<br /> [[Image:Original rm.png]]<br /> <br /> The first image appeared on or before April 2, 2005. The image is of a full moon, tinted red, on a black background. Over the face of the moon are two lines of text:<br /> <br /> 100606<br /> g60h p5-omh g2h2.t 0-n<br /> <br /> == Timeline of events ==<br /> <br /> * (- April 2] - Music70 contact page is updated with a link to http://www.music70.com/rm.html. The page contains a [http://www.boardsofcanada.com/images/rm.jpg single image of a red-tinted moon] with &quot;100606&quot; in large text as well a second line comprising the what becomes known as the first Red Moon code.<br /> <br /> * April 22, 23 - Family Photo Album appears<br /> A user with the name &quot;[http://forum.watmm.com/index.php?showuser=1286 Family Photo Album]&quot; appears on WATMM and starts a new thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=7472&amp;hl= ? ?????? ??????]&quot;. FPA makes three posts in the thread, two containing [http://forum.watmm.com/index.php?act=Attach&amp;type=post&amp;id=2750 animated] [http://forum.watmm.com/index.php?act=Attach&amp;type=post&amp;id=2787 GIFs] containing pictures of Mike and Marcus, images of nature and the text &quot;100606&quot;.<br /> [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=249 An account of the same name] also appeared on this date on the Twoism forum.<br /> <br /> * May 11 - Martyrs Monument appears<br /> A user with the name &quot;[http://forum.watmm.com/index.php?showuser=1393 Matyrs Monument]&quot; appears on WATMM, starting a thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=8289 g60h p5-20mh g2h2.to-n]&quot; about the first code and containing references to the Pentland Hills.<br /> [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=264 An account of the same name] also appears on Twoism, making [http://www.barneum.com/twoism/search.php?search_author=Martyrs+Monument two posts] with roughly the same content.<br /> <br /> * May 12, 4:46 PM EST - Another Family Photo Album post<br /> In the WATMM thread &quot;[http://forum.watmm.com/index.php?showtopic=8289 g60h p5-20mh g2h2.to-n]&quot;, Family Photo Album [http://forum.watmm.com/index.php?showtopic=8289&amp;st=0&amp;p=168950&amp;#entry168950 posts a cryptic message].<br /> <br /> * (- May 31] - A [http://www.boardsofcanada.com/images/rm0.gif second image of a photo-negative human eye] is added, with additional (reversed) text that becomes known as the second Red Moon code.<br /> <br /> * May 31 - More Martyrs Monument posts<br /> In [http://forum.watmm.com/index.php?showtopic=9060&amp;hl= a WATMM thread about the second Red Moon image], Martyrs Monument [http://forum.watmm.com/index.php?showtopic=9060&amp;st=25&amp;p=184039&amp;#entry184039 posts a link] to an mp3 entitled &quot;[http://www.yousendit.com/transfer.php?action=download&amp;ufid=7F3D69366129F15A 10June.mp3]&quot;. MM also posts [http://forum.watmm.com/index.php?showtopic=9060&amp;st=25&amp;p=184113&amp;#entry184113 a second comment] about the mp3.<br /> <br /> * June 01 - Xerox<br /> In the Twoism [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=304#13742 Red Moon thread], a new user named [http://www.barneum.com/twoism/profile.php?mode=viewprofile&amp;u=284 Xerox] [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=304#13742 posts a message] claiming to have a friend working with [[Boards of Canada|BoC]] setting up an event of some sort &quot;in the next week&quot;.<br /> <br /> * June 05, ~2 PM EST - music836.com <br /> A banner ad for http://www.music836.com appears on the xltronic messageboard ([http://xltronic.com/mb/88571/0 thread]). This site has a pop-up of a kaleidoscopic campfire image with the text &quot;6/6/6&quot; and a short looped background music with campfire sounds. 836 is second smallest wierd number.<br /> <br /> * June 6, 1:49 PM EST - Another Martyrs Monument post<br /> Marytrs Monument [http://forum.watmm.com/index.php?showtopic=9222&amp;st=50&amp;p=188040&amp;#entry188040 suggests that more will be revealed today].<br /> <br /> * June 6, ~10:10 AM EST<br /> The link to rm.html from the contact page and the page at rm.html itself are now gone.<br /> <br /> * June 6 - Twoism breakthrough?<br /> A group of users of the Twoism forum believe they have cracked the code. The method is detailed [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;start=460 in the Red Moon Party thread]. By inputting various portions of the numbers in the two Red Moon codes into a [http://www.magic.gov.uk/website/magic/ UK goverment mapping site], two closely-located positions in the Pentlands region south of Edinburgh are identified.<br /> <br /> * June 6 - music386 hoaxer revealed<br /> An artist named [http://bambambambambam.com/pages/baminyourcuntrecords/releases/biyc70/index2.htm Pycho takes credit] for the music836 site as a promotion for his new [http://bambambambambam.com/pages/baminyourcuntrecords/releases/biyc70/assets/PLC.zip mp3 release].<br /> <br /> * June 10 - Family Photo Album says farewell?<br /> In a new posted entitled &quot;[http://forum.watmm.com/index.php?showtopic=9462&amp;hl= Farewell.]&quot;, Family Photo Album posts another cryptic message. The post contains the phrase &quot;Answe'''red Point'''edly&quot; (emphasis added) which leads some to believe the party is located at Redpoint.<br /> <br /> *June 11 - Xerox, who had initially posted on [http://Twoism.org Twoism] on June 1st claiming that a personal friend was working on a project with [[Boards of Canada]], posts a [http://www.twoism.org/forum/viewtopic.php?f=2&amp;t=637&amp;p=14967#p14967 detailed documentation] of his supposed experiences at Redmoon. Much of which seems to be accurate to other confirmed accounts of what happens at said events. It is still unknown as to whether this is genuine, most seem to be inclined to believe that this is in fact a true account. <br /> <br /> * June 11 - JimCanada<br /> New user [http://forum.watmm.com/index.php?showuser=1564 JimCanada] posts [http://forum.watmm.com/index.php?showtopic=9480 a story about going to Redpoint] on the 11th and finding signs of a bonfire and some melted tapes. In [http://forum.watmm.com/index.php?showtopic=9488&amp;st=0&amp; a second post], he posts a short mp3 that he claims was salvaged off one of the melted tapes.<br /> <br /> * June 11 - Family Photo Album cuts the crap<br /> Family Photo Album makes a new thread entitled &quot;[http://forum.watmm.com/index.php?showtopic=9491&amp;hl= Time to cut the crap.]&quot; in which he [http://forum.watmm.com/index.php?showtopic=9491&amp;st=0&amp;#entry193293 admits] that his posts, as well as the JimCanada posts, were a hoax.<br /> <br /> * June 11 - Twoism expedition results<br /> User twofingersism [http://www.barneum.com/twoism/viewtopic.php?p=14932#14922 posts a report] on the results of the expedition of Twoism users who journied to the Pentland Hills hoping to find a [[Boards of Canada|BoC]] party based on the locations Twoism users determined on June 5th. In short, no signs of [[Boards of Canada|BoC]], but a lovely time was had by the hopeful searchers, who built their own fire and kicked back with some beers and good tunes. Fellow searcher Licolnshire Poacher contributes [http://www.barneum.com/twoism/viewtopic.php?t=637&amp;postdays=0&amp;postorder=asc&amp;start=560#14868 a photo of the group].<br /> <br /> Celadon submits more photos of Redmoon meet-up at the Earlyburn Observatory.<br /> http://www.flickr.com/photos/70866061@N00/sets/72157594163705685/<br /> <br /> == Conclusion ==<br /> In the end, virtually nothing concrete is known about what (if anything) happened on June 10, 2006. Apart from the strange images posted on the official site, all additional websites, forum posts, etc. were ultimately found to be created by attention-seeking artists and opportunistic hoaxers. Meanwhile, very little has ever been mentioned or cited on the topic from trusted sources. There are, however, very rare occurrences of more in-depth discussions regarding 'Redmoon Nights' occasionally surfacing in interviews dating back to at least 2002. This would suggest that '[[Red moon|The Redmoon incident]]' is not a stand-alone event.<br /> <br /> As it stands, the meaning of the strange images is as unknown as it was in the beginning.<br /> <br /> == External links ==<br /> <br /> * [http://redmoon.stikipad.com/redmooncode/show/HomePage Stikipad page about the Red Moon code]<br /> * [http://redmoon.stikipad.com/redmooncode/show/Second+Code Stikipad page about the second Red Moon code]<br /> * [http://www.barneum.com/twoism/ Twoism forum]<br /> * [http://forum.watmm.com/index.php?showforum=9 WATMM Boards of Canada subforum]<br /> * [http://launch.groups.yahoo.com/group/boards-of-canada/ Yahoo! boards-of-canada group]<br /> * [http://launch.groups.yahoo.com/group/boardsofcanada/ Yahoo! boardsofcanada group]<br /> * [http://xltronic.com/mb/ xltronic message board]<br /> <br /> == References ==<br /> &lt;references /&gt;<br /> <br /> [[Category: Mysteries]]</div>

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