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| − | '''note''': translation done via [https://openai.com/index/hello-gpt-4o/ ChatGPT-4o].
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| − | A vintage psychedelia that feels ephemeral, solemn, faint, innocent, and nostalgic, as if delivered from a world far beyond the horizon. Listen closely, and you’ll hear the throbbing sounds of [[Boards of Canada]]…
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| − | Written by Ryo Harada
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| − | '''Like an old road movie'''
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| − | [[Boards of Canada]] (hereafter [[BOC]]), a sound creation unit consisting of [[Mike Sandison]] and [[Marcus Eoin]] living in Scotland, is a mysterious existence. At the time of their debut, they were praised in comparison to [[wikipedia:My Bloody Valentine|My Bloody Valentine]], but they are not a rock band. Also, their previous work, ''[[Geogaddi]]'', was acclaimed as a definitive album in the electronica category, but [[Mike]] said,
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| − | {{boc|'''Mike''': “We’ve never made laptop music, and we don’t listen to that kind of music much.”}} | |
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| − | In any case, [[BOC]], who have consistently provided fresh and nostalgic home-recorded masterpieces, have reversed their approach this year with their new work, ''[[The Campfire Headphase]]'', their first in three years, offering music that is both nostalgic and fresh. It features guitar tones stroked by the two, gently swung shakers, creaking loose-tuned snare, and other elements scattered throughout, creating a wooden psychedelia. Sticking to their own pace, they explain:
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| − | {{boc|'''Marcus''': “''[[Music Has The Right To Children]]'' was an album heavily using synthesisers, and ''[[Geogaddi]]'' was relatively sample-centered, so the new album needed to have a different texture. At the same time, we wanted to give it an older, dirtier sound than our other works. That’s how the idea of using guitars to create a vintage road movie-like sound came up. It’s reminiscent of sounds like [[wikipedia:James Taylor|James Taylor]] or [[wikipedia:Joni Mitchel|Joni Mitchell]]l. So, we paid great attention to the dry, jangly guitar tones. Before [[BOC]], there was a time when we used guitars more, and we wanted to incorporate some of the 80s vibes, which leaned towards [[wikipedia:Krautrock|Krautrock]] and garage sounds, into this work.”}}
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| − | To fit [[BOC]] into the so-called “electronica” framework would separate them from the younger laptop artists by a generation; they are veterans active since the 80s. Therefore, in this work, to achieve the “vintage road movie-like sound” they aimed for, they seem to have pulled out one of their diverse musical experiences. For example, some might find shadows of shoegaze in the multi-layered feedback guitars of "[[Dayvan Cowboy]]".
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| − | '''Music flowing from another dimension'''
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| − | Meanwhile, regarding the beats supporting the backbone of their sound, there is also a hip-hop sensibility reminiscent of their early works.
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| − | {{boc|'''Mike''': “We put a lot of effort into getting that tight snare sound that creates a nice sense of up-and-down and a pleasantly ducking feel. The woody, uneffected sound is often heard in 70s works like those of [[wikipedia:Stevie Wonder|Stevie Wonder]], but here we used it to create a solid rhythm akin to slowed-down hip-hop beats. We got into hip-hop around the time [[wikipedia:Public Enemy|Public Enemy]] released Yo! Bum Rush The Show, but it was listening to [[wikipedia:Souls of Mischief|Souls of Mischief]] in ’93 that made us want to actually produce such beats.”}}
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| − | [[wikipedia:Krautrock|Krautrock]], [[wikipedia:shoegaze|Shoegaze]], post-new school hip-hop… ''[[The Campfire Headphase]]" seems to reveal various backgrounds (and generational views) through its sound gaps, but these contexts are kept to the level of a mere “presence.” The overall sound remains as usual: simple and obscure like a landscape painting with multiple layers of watercolor. For example, in "[[Farewell Fire]]", which closes the album, you can hear a solemn tone like that of a pipe organ, but it’s not the sound of an organ itself.
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| − | {{boc|'''Mike''': “We often create sounds with intricate resonances to make it hard to easily distinguish what they are. I think it’s beautiful when melodies within organ-like tones sound like human voices or something else. It removes the image of ‘someone playing it’ and creates a magical, isolated-from-reality feeling as if music is flowing from another dimension.”}}
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| − | The babbling of a river, the vintage texture of noise. Borrowing the words of [[Mike]], who recently became a father, the “sense of being isolated from reality” behind their sound might be like this:
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| − | {{boc|'''Mike''': “A child’s perspective is interesting. For example, she might keep her hand under the flowing water from a faucet because she doesn’t yet understand that gravity pulls water down. Our music, always conscious of such perspectives that look back at what we usually see, incorporates many subtle and delicate elements. So, if you listen with headphones, isolating yourself from the world, many tiny details will reveal themselves. It’s like a child gazing intently at the light outside from inside a tunnel during the process of discovering the world.”}}
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| − | To those who pride themselves on having listened to most music, I urge you to listen to ''[[The Campfire Headphase]]'' with headphones. [[BOC]] will surely awaken that sense of wonder at the things in front of you.
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