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| − | ChatGPT3 translation by Moz
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| − | '''The anticipation for the release of their second album reached a point of hysteria among the audiences of the so-called leftfield or progressive electronica. And this is not a case of manufactured hype. [[Boards Of Canada]] earned the favour of the modern urbanite thanks to the power of their sound to transport you to a distant spacetime. The enchantment of the soul that was achieved four years ago with ''[[Music Has the Right to Children|Music Has The Right to Children]]'' and is repeated again with this year's diamond-like ''[[Geogaddi]]'' is what makes [[Marcus Eoin|Marcus Eion]] (sic) and [[Michael Sandison]] now considered the leaders of a movement in electronic music comprised of names ([[wikipedia:Mum|Mum]], [[wikipedia:Minotaur Shock|Minotaur Shock]], [[wikipedia:Manual (musician)|Manual]], [[wikipedia:Casino Vs Japan|Casino Vs Japan]]) that combine analog with digital sound, evoke the child hidden within each listener, and build atmospheres that are complex yet sweet and alluring. Glory is now a reality for the two residents of the Scottish countryside who, as if unwilling or unable to believe what is happening to them, continue to be distant from the musical metropolises, appear rarely, and let an air of mystery surround them.'''
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| − | '''However, in the interview they granted us via e-mail, they made everything clear.'''
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| − | '''Text / Interview: Christos Karras'''
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| − | {{question|'''Fractal Press''': What happened between ''[[Music Has the Right to Children|Music Has The Right to Children]]'' and ''[[Geogaddi]]''? What occurred during those four years?}} | |
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| − | {{boc|'''Mike''': For an entire year, we were writing music, traveling, and filming the north. Then we rebuilt our studio, which took quite a bit of time to set up. We had a lot of technical problems for about a year until we finally overcame them. We spent the last two years writing music for our new album, but we also did some remixes and favours for others, like the remix for [[wikipedia:Mike Paradinas|Mike Paradinas]]' project [https://slagboomvanloon.bandcamp.com/album/slag-boom-van-loon Slag Boom Van Loon]. Then we decided not to do any more remixes or collaborations in the future because all these activities consume valuable time that we prefer to spend writing our own albums. Additionally, we released two EPs, *''[[In a Beautiful Place out in the Country (release)|In A Beautiful Place Out In The Country'']]* and the *''[[Peel Session|John Peel session]]''*.}}
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| − | {{question|'''F.P.''': For you, what were the most significant differences between ''[[Music Has the Right to Children|Music Has The Right to Children]]'' and ''[[Geogaddi]]''?}}
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| − | {{boc|'''Mike''': In ''[[Geogaddi]]'', we used many distorted sounds to achieve a more "generalised" sound where individual elements were less important. The idea was to make the sounds unrecognizable, and for example, there are some parts where you can't distinguish if you're hearing a flute, a voice, or a synthesizer. In the previous album, we focused more on simple melodic lines from synthesizers and small, isolated sounds. It was a more minimalist and sparse sound, and the truth is that this is how we usually sound. Recently, though, I found myself trying to capture some of the strange sounds I hear when I dream, sounds that I can't identify with the timbre of a musical instrument, and I think we achieved that in Geogaddi.}}
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| − | {{question|'''F.P.''': When do you know that one of your tracks has reached perfection?}}
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| − | {{boc|'''Marcus''': I don't know if there's a point where a track is perfect. I suppose that happens when you reach a point where you love the sound of your track and think that anything you add or remove will ruin it. Then it might be perfect. I'm happy when I can finish a track in one day, but sometimes I get obsessed with certain parts of a track, and that can take weeks. These days, though, I'm trying to write more music but spend less time on each track because I know that's when musicians do their best work.}}
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| − | {{question|'''F.P.''': Where do [[Boards Of Canada]] draw their inspiration from?}}
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| − | {{boc|'''Mike''': We have the same influences. As we were growing up in the early '70s, we listened to a lot of music, but our biggest influence is movies and books, as well as older pop music from the '60s and '70s. We like TV music from the '70s and '80s, like the jingles that play at the end of American TV shows. I draw a lot of inspiration from movies, especially those paranoid, freeform movies of the late '70s and early '80s. We are also deeply influenced by certain documentaries, cartoons, and public service broadcasts. I read serious science fiction and try to imagine the sounds that fit the scenes described. This certainly feeds into the music I write.}}
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| − | {{question|'''F.P.''': How do you choose the titles of your albums and tracks? To what extent do these titles reflect your music? Does naming the music often limit the listener's ability to create their own scenarios and meanings when listening to it?}}
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| − | {{boc|'''Marcus''': It is important to leave a degree of ambiguity in these things because what the listener can imagine is always more powerful than what you can actually give them. We approach each of our titles differently. Sometimes it can be as simple as the name of the person whose voice is heard in the track, or it can be a distorted phrase that someone perceived while being drunk or high. Distorted phrases have been used several times because such a phrase sparks inspiration and evokes emotions, becoming surreal and suggesting a confused, enhanced form of reality. Sometimes we even use cryptic and enigmatic titles for our tracks because we are curious if anyone will understand what they refer to. A title can make the music sound completely different, and that can be a great thing if done carefully.}}
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| − | {{question|'''F.P.''': How do the visuals you use in your concerts relate to the music you play? Are there any messages you want to convey through these images?}}
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| − | {{boc|'''Mike''': I like people to form their own opinions about what the music means, and the same goes for the visuals, which is why we create ambiguous images that suggest specific things. We usually make quite abstract images, with loops of cartoons and gloomy clips of sad moments. In the same way, a track can have a voice, and the listener might not recognize exactly what the voice is saying, we like to use abstract images with subtle or subconscious tricks. Recently, we have been using images that take a theme and make strange connections between art, geometry, mathematics, and religion. We always change our concept every time we release a new album.}}
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| − | {{question|'''F.P.''': What are your favorite albums of all time?}}
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| − | {{boc|'''Marcus''': I could answer this forever, but the top of the top for me are [[wikipedia:Loveless_(album)|Loveless]] by [[wikipedia:My_Bloody_Valentine_(band)|My Bloody Valentine]], [[wikipedia:New_Traditionalists|New Traditionalists]] by [[wikipedia:Devo|Devo]], [[wikipedia:Pet_Sounds|Pet Sounds]] by [[wikipedia:The_Beach_Boys|The Beach Boys]], [[wikipedia:Heaven_or_Las_Vegas|Heaven or Las Vegas]] and [[wikipedia:Blue_Bell_Knoll|Blue Bell Knoll]] by [[wikipedia:Cocteau_Twins|Cocteau Twins]], and [[wikipedia:20_Mothers|20 Mothers]] by [[wikipedia:Julian_Cope|Julian Cope]].}}
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| − | {{boc|'''Mike''': My answer would change from time to time, but for now, I would say [[wikipedia:Garlands_(album|Garlands]] by [[wikipedia:Cocteau_Twins|Cocteau Twins]], Geno by [[wikipedia:Dexy's_Midnight_Runners|Dexy's Midnight Runners]], anything by [[wikipedia:Wendy_Carlos|Wendy Carlos]], [[wikipedia:Clouds_(Joni_Mitchell_album)|Clouds]] by [[wikipedia:Joni_Mitchell|Joni Mitchell]], and [[wikipedia:I_Don%27t_Know_Why|I Don't Know Why I Love You]] by [[wikipedia:Stevie_Wonder|Stevie Wonder]]...}}
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| − | {{question|'''F.P.''': Listening to Boards Of Canada makes me feel like a child again. How do past experiences influence your material?}}
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| − | {{boc|'''Mike''': We like to play with images and memories of childhood; it's a good source of inspiration because we all were children once, and we all have lost that part of our lives. Almost all pop music is based on current themes and adult interests, but most of this material leaves me empty and indifferent. I want music to make me feel sad; I want music to make me feel anything. That's why in my music, I recall memories, some good and some tragic. I also believe that, when you are young, you can have strange ideas and sophisticated thoughts in your mind, but as you grow older, all these are repressed and enter the subconscious. Maybe we are trying to recapture these ideas by writing our music. We try to disguise something complex as something simple and naive, and perhaps when someone listens to our music, it seems childish or simplistic, but this is true only on the surface of our music.}}
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| − | {{question|'''F.P.''': Is there anything you miss from the early days of [[Boards Of Canada]] when you were a broader artistic collective without official jobs?}}
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| − | {{boc|'''Mike''': Yes, I miss the anonymity.}}
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| − | {{question|'''F.P.''': How do you achieve this multi-dimensional type of music where the listens, no matter how many, never lose their interest?}}
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| − | {{boc|'''Marcus''': Our tracks are quite musical. I mean that we are better musicians than what the sound style of [[Boards Of Canada]] might reveal, and we place enormous importance on writing melodies that have a sufficient degree of emotional "resolution" within them. The magical "[[wikipedia:Fifth (chord)|fifth chord]]". When we compose our tracks, we want them to include things that are not obvious the first few times you listen to them, so that after several listens, you can find sounds and hidden melodies that you hadn't noticed before. We also write a lot of tracks. Only one-twentieth of our work finds its way to the market, and only after we have worked on them for months, only then do we have a good idea of which tracks have the most staying power.}}
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| − | {{question|'''F.P.''': The new album is somewhat darker than ''[[Music Has the Right to Children|Music Has The Right to Children]]'. What led you to this change in direction?}}
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| − | {{boc|'''Marcus''': It wasn't our intention to write a darker album. I think the sound simply reflects our mood while we were recording it. I believe we subconsciously reacted to the feeling that the sound of our previous album was a bit lighter than we actually are and also reacted to certain personal, traumatic experiences of the past few years.}}
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| − | {{question|'''F.P.''': You rarely perform live and don't communicate much with your audience. How do you get feedback on your music? How do you evaluate this feedback and to what extent do you let it influence your music?}}
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| − | {{boc|'''Mike''': We actually try not to get feedback. It's easier for us to have fun creating our music when we imagine that no one is listening to us. Most of the feedback we get is from friends. We don't like to follow what others think because it's very easy to get discouraged by a bad review. When we started making music, we were very happy not knowing what others thought about us since there were neither expectations nor demands. We don't want to let what people say change us, whether it's good or bad, so these days we try hard to lock ourselves away from the outside world and imagine we're still in our early days.}}
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| − | {{question|'''F.P.''': How do you envision the future?}}
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| − | {{boc|'''Marcus''': If in twenty years we're still creating things that I find interesting and we're still getting satisfaction from it, I'll be very happy.}}
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| − | {{boc|'''Mike''': Music forever.}}
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