Death Under The Sun - Revision history

Fredd-E: /* Highlights and Notes */

2025-03-27T20:45:12Z

‎Highlights and Notes

Fredd-E at 20:43, 27 March 2025

2025-03-27T20:43:03Z

Fredd-E: replaced rough Google translation with Le Chat - Mistral AI

2025-03-27T20:36:54Z

replaced rough Google translation with Le Chat - Mistral AI

Mouzes at 17:20, 27 March 2025

2025-03-27T17:20:06Z

Fredd-E: /* Translated text */

2025-03-25T18:43:13Z

‎Translated text

Fredd-E at 12:57, 24 April 2022

2022-04-24T12:57:40Z

ZosoCon: added interview text

2022-04-24T12:35:24Z

added interview text

New page

<onlyinclude>
{{interview
|title=Death Under The Sun
|author=Phil Canning
|publication=Play
|date=2006/04
|issue=Play
|pages=50-52
}}
</onlyinclude>
__TOC__

== Original Text ==
<onlyinclude>
"[[Death Under The Sun]]" is an interview (in Russian) by Phil Canning (Translated by Miloslav Chemodanov) originally published April 2006, in Play magazine No. 04 (83).
{{original}}
</onlyinclude>

<onlyinclude>
=== смерть Под солНцем ===

Текст Фил КЭННИНГ

Они не часто дают интервью, эти братья Сэндисон. Потому же, почему они отказываются использовать в своей музыке вокал. Они хотят, чтобы музыка была таинственной. Чтобы в ней оставалось волшебство. Они могут себе это позволить: недаром их альбом „Geogaddi" включен РLАY в пятерку лучших электронных пластинок XXI века. Но нет правил без исключений. Спустя пять месяцев с релиза их самого последнего альбома, „Тhе Campfire Hеаdрhаsе", шотландский дуэт вдохновенных электронных продюсеров ВОАRDS ОF СANADА вдруг соглашается приоткрыть завесу тайны над их работой.

{{question|oчень похоже, что вы при записи этого альбома использовали не только сэмплы, но и музыкальные инструменты, гитару уж точно. Чего вы хотели этим добиться?}}

{{boc|'''Маркус Эон Сэндисо''': О да, на этом альбоме „настоящих" инструментов в достатке. Гитары, перкуссия и даже целая секция струнных, ио мы приложили немало усилий, чтобы обработать их звук, чтобы затем превратить его в нечто уникальное, может быть, даже архаичное... В нечто прекрасное. Мы знали, что сможем гармонично вписать любой инстру мент в концепцию Воards Оf Саnadа, а не только мастерить и лепить друг к другу электронные звуки. Что, ясное дело, означает в некотором роде убийство этих инструментов. В нашей музыке никогда не услышишь их чистого, первосортно записанного звучания, потому что одна из основных задач Воагds Оf Саnadа — лишать музыку чувства времени и пространства. Обычно мы перезаписываем те куски, в которых звучат инструменты, на некачественную пленку, а потом вставляем их обратно в песню. Что-то из того, что мы делаем, едва различимо — это, понимаете, такие маленькие хитрости, которые не каждый сможет заметить. Иной раз мы прибегаем к весьма экстремальным мерам, чтобы добиться нашего любимого „траги-ческого" звучания. Ну то есть мы вполне способны записываться идеально чисто, но нас это не интересует. Совершенно. Лучше мы будем слушать запись акустической гитары на кассетном магнитофоне тридцатилетней давности, чем на каком-нибудь современном, чудовищно навороченном цифровом оборудовании.}}

{{question|- Если сравнивать ваш последний альбом с его предшественником, „Gеоgаddi". есть ощущение, что время на нем движется медленнее — из-за этой особой мелодичности и простоты, что ли…}}

{{boc|'''Майкл Сэндисон''': Ну да, все верно — _Тhе Саmpfiге Неаdрhаsе“ и должен был звучать позитивней предыдущего. У нас была идея записать треки, вполне для нас характерные, но при этом более теплые и легкомысленные, чем обычно. Альбом вообще виделся как такой летний релиз. С самого начала мы стремились найти в нем баланс между беззаботной пляжной попсой и зловещим чувством головокружения. Эта музыка должна была одурманивать. Очень специфическая штука: как будто нормальная поп-пластинка, оставленная лежать на солнце лет па двадцать.}}

{{question|- В названиях треков ваших предыду щих альбомов были зашифрованы некие тайные послания. Это относится и к последнему?}}

{{boc|'''Маркус''': Да — но, впрочем, не так, как к предпоследнему. Наши названия всегда отсылают к чему-то или имеют второй, тайный, смысл. Это относится и к трекам „Тhе Саmрfiге Неаdрhаsе“, но скорее в смысле, что треки здесь призваны составить одну большую, очень непростую картину, которую, мы надеемся, смогут разглядеть хотя бы некоторые из слушателей. К тому же на этой пластинке мы умышленно вставляли в композиции скрытые вокальные сэмплы. И вседля того, чтобы получить праздничный танцевальный звук с щемящей сердце грустью в нем.}}

{{question|- А почему бы вам не попробовать как-нибудь действительно использовать в ваших композициях вокал? На этом диске, например, вокал явно не испортил бы многие треки…}}

{{boc|'''Майкл''': Нет, на альбомах Воаrds Оf Саnadа — никогда. Это может убить множественность значений, все волшебство нашей музыки. Поймите правильно: нам нравится работать с вокалом. Когда мы делаем ремикс на чью-нибудь песню, нам больше всего нравится работать именно с вокалом, потому что он позволяет отбросить большую часть других элементов музыки и сплести совершенно новую канву. Но — повторю еще раз — на пластинках Воаrds Оf Саnadа вокал находится под запретом — это дает слушателю максимальный простор для воображения.}}

{{question|-Раскройте секрет: ударные на ваших альбомах — чистый синтез или сэмплы?}}

{{boc|'''Маркус''': Раз на раз не приходится. Иногда это целиком наше с компьютером детище, иногда — сэмплы, не без этого. Вообще же, мы оба играем на ударных, а Майк в этом деле самый настоящий профи. На „Тhе Campfire Hеаdphasе" огромное количество отрывков с ударными записано вживую. Мы, понятное дело, можем создавать самые разнообразные и сложные комплексы из электронных звуков, как и прочие продюсеры, по, как правило, предпочитаем не тратить на это время — мелодии проще существовать в соседстве с простым ритмом. Но даже в случае с самыми простыми треками мы проводим массу времени в погоне за их сухим и твердым, „выдержанным" звучанием. В случае с „Тhе Саmpfiге Неаdрhаsе" это было особенно важно — нам был нужен звук 70-х и 80-х.}}

{{question|-Припомните, какая новая аппаратура появлялась с тех пор, когда были образованы Воаrds Оf Сапаdа, и как ее совершенствование влияло на запись вашей музыки?}}

{{boc|'''Маркус''': Хитрый вопрос. Дело в том, что мы в каком-то смысле стараемся оградить себя от технической эволюции. Мы против того, как делается сейчас большинство аранжировок — посредством компьютерной программы, с этой, знаете, горизонтальной сеткой на экране. Большинство продюсеров сейчас буквально конструирует музыку, у них вся работа происходит в этой горизонтальной сетке, они уже не могут не визуализировать звук — даже „симфонические" композиторы, и те, кажется, не понимают, как сильно это влияет на креативность. Мы же всеми силами стараемся не увязнуть в „сеточном" мышлении и по мере возможности используем старые методы записи, разные там муль-титрековые кассетные магнитофоны и тому подобное.}}

{{question|- Вы оба играете на ударных, а почему бы вам не обзавестись целой группой? В этом ведь тоже есть свое волшебство — в том, что создается группой…}}

{{boc|'''Майкл''': Мы точно должны прийти к чему-то подобному в будущем. Давно уже двигаемся в этом направлении. Когда Воаrds Оf Саnаdа еще не существовало, у нас было что-то вроде группы. Да и сейчас мы с удовольствием репетируем с друзьями в свободное время. У группы есть и преимущества, и недостатки. Поймите, мы с Маркусом — самые настоящие психи, помешанные на полном контроле над всем происходящим с нашей музыкой. Иногда просто жизненно необходимо, чтобы в результате все звучало точно так, как у тебя в голове. При этом очень тяжело работать с другими людьми, ведь приходится просить их понять вещи очень личные — те, из которых и рождается лучшая музыка.}}

Перевод Милослав ЧЕМОДАНОВ

Рецензию на альбом Воаrds Оf Сапаdа „Тhе Campfire Hеаdphasе" читайте в РLAY №21, 2005

</onlyinclude>

== Translated text ==
<onlyinclude>
=== Death Under The Sun ===
{{translation-needed}}
ROUGH GOOGLE TRANSLATION:

Text by Phil Canning

They don't give interviews often, those Sandison brothers. The same reason why they refuse to use vocals in their music. They want the music to be mysterious. To keep the magic in it. They can afford it: it's not for nothing that their album "Geogaddi" is included in the top five electronic records of the 21st century by PLAY. But there are no rules without exceptions. ВОАRDS OF CANADA suddenly agrees to lift the veil of secrecy over their work.

{{question|it looks like you used not only samples, but also musical instruments during the recording of this album, guitar for sure. What did you want to achieve with this?}}

{{boc|'''Marcus Eon Sandison''': Oh yes, there are plenty of "real" instruments on this album. Guitars, percussion and even a whole string section, and we put a lot of effort into processing their sound to then transform into something unique, perhaps even archaic... into something beautiful. We knew that we could fit any instrument harmoniously into the concept of Boards of Canada, and not just craft and sculpt electronic sounds together. Which, of course, means killing these instruments in a way. In our music you will never hear them sound clean, first-rate recorded sound, because one of the main tasks of Boards Of Canada is to deprive music of a sense of time and space. Usually we re-record the parts in which the instruments sound on and then put them back into the song.Some of what we do is subtle - it's, you know, little tricks that not everyone can notice.Sometimes we resort to very extreme measures to achieve our favorite "tragic" sound. I mean, we're quite capable of recording perfectly clean, but we're not interested in that. Absolutely. We'd rather listen to a recording of an acoustic guitar on a 30-year-old cassette recorder than on some modern, freakishly sophisticated digital equipment.}}

{{question|- If you compare your latest album with its predecessor, "Geogaddi", there is a feeling that time moves more slowly on it - because of this special melody and simplicity, or something ...}}

{{boc|'''Michael Sandison''': Well, yes, that's right - _The Сampfige Neadrhase“ and should have sounded more positive than the previous one. We had an idea to record tracks that are quite characteristic of us, but at the same time warmer and more frivolous than usual. The album was generally seen as such a summer release. From the very beginning, we aimed to find a balance in it between light-hearted beach pop and an ominous sense of dizziness. This music was meant to be intoxicating. A very specific thing: like a normal pop record left to lie in the sun for twenty years.}}

{{question|- Some secret messages were encrypted in the titles of the tracks of your previous albums. Does this apply to the last one as well?}}

{{boc|'''Marcus''': Yes, but not in the same way as the penultimate one. Our names always refer to something or have a second, secret meaning. This also applies to the tracks of "The Campfire Heaphase", but rather in the sense that the tracks here are designed to form one big, very complex picture, which, we hope, will be able to make out at least some of the listeners. In addition, on this record, we deliberately inserted hidden vocal samples into the compositions. And all in order to get a festive dance sound with heart-wrenching sadness in it.}}

{{question|- Why don't you try to really use vocals in your compositions somehow? On this disc, for example, vocals would obviously not spoil many tracks...}}

{{boc|'''Michael''': No, never on Boards Of Canada albums. It can kill the multiplicity of meanings, all the magic of our music. Don't get me wrong, we love working with vocals. When we're remixing someone's song, it's the vocals that we love the most because it allows us to strip away most of the other elements of the music and weave a whole new thread. But - I repeat once again - vocals are banned on Boards Of Canada records - this gives the listener maximum scope for imagination.}}

{{question|-Reveal the secret: are the drums on your albums pure synthesis or samples?}}

{{boc|'''Marcus''': Once in a while it doesn't have to. Sometimes it's entirely our brainchild with the computer, sometimes - samples, not without it. In general, we both play drums, and Mike is a real pro in this business. On "The Campfire Headphase" a huge number of excerpts with drums are recorded live. We, of course, can create the most diverse and complex complexes from electronic sounds, like other producers, but, as a rule, we prefer not to spend time on this - melodies are easier to exist next to a simple rhythm, but even with the simplest tracks we spend a lot of time chasing their dry and hard, "seasoned" sound. In the case of "The Campfire Headphase", this was especially important - we needed the sound of the 70s and 80s.}}

{{question|-Do you remember what new equipment has been introduced since Boards Of Canada was formed, and how its improvement has affected the recording of your music?}}

{{boc|'''Marcus''': Tricky question. The fact is that in a sense we are trying to protect ourselves from technical evolution. We're against the way most arrangements are done now - by computer program, with this, you know, horizontal grid on the screen. Most producers now literally construct music, they have all the work done in this horizontal grid, they can no longer visualize the sound - even "symphonic" composers, and they don't seem to understand how much this affects creativity. We do our best to try not to get bogged down in "grid" thinking and whenever possible we use old methods of recording, different multi-track cassette tape recorders and the like.}}

{{question|- You both play drums, why don't you get a whole band? After all, this also has its own magic - in what is created by the group ...}}

{{boc|'''Michael''': We should definitely come up with something like this in the future. We have been moving in this direction for a long time. When Boards Of Canada didn't exist yet, we had something like a band. And now we are happy to rehearse with friends in our free time. The group has both advantages and disadvantages. Understand, Marcus and I are real psychos, obsessed with complete control over everything that happens with our music. Sometimes it's just vital that the end result sounds exactly like it's in your head. At the same time, it is very difficult to work with other people, because you have to ask them to understand very personal things - those from which the best music is born.}}

Translation by Miloslav Chemodanov

Review of the album Boards Of Canada "The Campfire Headphase" read in PLAY No. 21, 2005

</onlyinclude>

== Highlights and Notes ==
*

== Scans ==
<gallery>
Image:2006_04_Play No04_Cover.jpg
Image:2006_04_Play No04_pg50.jpg
Image:2006_04_Play No04_pg51.jpg
Image:2006_04_Play No04_pg52.jpg
</gallery>

== References ==
<references />

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

@@ Line 147: / Line 147: @@
 == Highlights and Notes ==
 * [[Marcus]]: Our titles always refer to something or have a second, hidden meaning.
-* [Michael]] states there will never be vocals on a [[BoC]] album.
+* [[Michael]] states there will never be vocals on a [[BoC]] album.
 * [[Marcus]] states their drums are a combination of pure synthesis and samples. Both play drums too.

@@ Line 65: / Line 65: @@
 == Translated text  ==
 <onlyinclude>
-ROUGH GOOGLE TRANSLATION:
+'''Note''': translation provided by [https://chat.mistral.ai/chat Le Chat - Mistral AI]
 Text by Phil Canning
-{{question|it looks like you used not only samples, but also musical instruments during the recording of this album, guitar for sure. What did you want to achieve with this?}}
+They don't often give interviews, these [[Sandison]] brothers. For the same reason they refuse to use vocals in their music. They want the music to remain mysterious. To retain its magic. They can afford to do this: after all, their album ''[[Geogaddi]]'' was included by PLAY in the top five electronic records of the 21st century. But there are no rules without exceptions. Five months after the release of their latest album, ''[[The Campfire Headphase]]'', the [[BOC|Scottish duo]] of inspired electronic producers [[BOC|BOARDS OF CANADA]] suddenly agrees to lift the veil of secrecy over their work.
-{{boc|'''Michael Sandison''': Well, yes, that's right - The Сampfire Headphase“ and should have sounded more positive than the previous one. We had an idea to record tracks that are quite characteristic of us, but at the same time warmer and more frivolous than usual. The album was generally seen as such a summer release. From the very beginning, we aimed to find a balance in it between light-hearted beach pop and an ominous sense of dizziness. This music was meant to be intoxicating. A very specific thing: like a normal pop record left to lie in the sun for twenty years.}}
+{{question|Recall what new equipment has appeared since the formation of [[Boards of Canada]] and how its improvement has influenced the recording of your music?}}
-{{question|- Why don't you try to really use vocals in your compositions somehow? On this disc, for example, vocals would obviously not spoil many tracks...}}
+{{boc|[[Marcus]]: That's a tricky question. The thing is, we somehow try to shield ourselves from technical evolution. We are against how most arrangements are made now—through a computer program with that horizontal grid on the screen. Most producers now literally construct music; all their work happens in this horizontal grid. They can no longer not visualize sound—even "symphonic" composers seem not to understand how much this affects creativity. We, on the other hand, try our best not to get bogged down in "grid" thinking and use old recording methods as much as possible, like various multi-track cassette recorders and the like.}}
-{{boc|'''Marcus''': Once in a while it doesn't have to. Sometimes it's entirely our brainchild with the computer, sometimes - samples, not without it. In general, we both play drums, and Mike is a real pro in this business. On "The Campfire Headphase" a huge number of excerpts with drums are recorded live. We, of course, can create the most diverse and complex complexes from electronic sounds, like other producers, but, as a rule, we prefer not to spend time on this - melodies are easier to exist next to a simple rhythm, but even with the simplest tracks we spend a lot of time chasing their dry and hard, "seasoned" sound. In the case of "The Campfire Headphase", this was especially important - we needed the sound of the 70s and 80s.}}
+{{question|You both play drums, so why not form a whole band? There is also magic in what is created by a group...}}
-{{question|- You both play drums, why don't you get a whole band? After all, this also has its own magic - in what is created by the group ...}}
+{{boc|[[Michael]]: We will definitely come to something like that in the future. We've been moving in that direction for a long time. When [[Boards of Canada]] didn't exist yet, we had something like a band. And even now, we enjoy rehearsing with friends in our free time. A band has its advantages and disadvantages. Understand, [[Marcus]] and I are real control freaks, obsessed with having complete control over everything that happens with our music. Sometimes it's just vital that the result sounds exactly as you hear it in your head. At the same time, it's very difficult to work with other people because you have to ask them to understand very personal things—those from which the best music is born.}}
@@ Line 106: / Line 139: @@

@@ Line 146: / Line 146: @@
 == Highlights and Notes ==
+* [[Marcus]]: Our titles always refer to something or have a second, hidden meaning.
 == Scans  ==
@@ Line 155: / Line 157: @@
 Image:2006_04_Play No04_pg52.jpg
 </gallery>
 == References  ==

@@ Line 80: / Line 80: @@
 {{question|- If you compare your latest album with its predecessor, "Geogaddi", there is a feeling that time moves more slowly on it - because of this special melody and simplicity, or something ...}}
-{{boc|'''Michael Sandison''': Well, yes, that's right - _The Сampfige Neadrhase“ and should have sounded more positive than the previous one. We had an idea to record tracks that are quite characteristic of us, but at the same time warmer and more frivolous than usual. The album was generally seen as such a summer release. From the very beginning, we aimed to find a balance in it between light-hearted beach pop and an ominous sense of dizziness. This music was meant to be intoxicating. A very specific thing: like a normal pop record left to lie in the sun for twenty years.}}
+{{boc|'''Michael Sandison''': Well, yes, that's right - The Сampfire Headphase“ and should have sounded more positive than the previous one. We had an idea to record tracks that are quite characteristic of us, but at the same time warmer and more frivolous than usual. The album was generally seen as such a summer release. From the very beginning, we aimed to find a balance in it between light-hearted beach pop and an ominous sense of dizziness. This music was meant to be intoxicating. A very specific thing: like a normal pop record left to lie in the sun for twenty years.}}
 {{question|- Some secret messages were encrypted in the titles of the tracks of your previous albums. Does this apply to the last one as well?}}
-{{boc|'''Marcus''': Yes, but not in the same way as the penultimate one. Our names always refer to something or have a second, secret meaning. This also applies to the tracks of "The Campfire Heaphase", but rather in the sense that the tracks here are designed to form one big, very complex picture, which, we hope, will be able to make out at least some of the listeners. In addition, on this record, we deliberately inserted hidden vocal samples into the compositions. And all in order to get a festive dance sound with heart-wrenching sadness in it.}}
+{{boc|'''Marcus''': Yes, but not in the same way as the penultimate one. Our names always refer to something or have a second, secret meaning. This also applies to the tracks of "The Campfire Headphase", but rather in the sense that the tracks here are designed to form one big, very complex picture, which, we hope, will be able to make out at least some of the listeners. In addition, on this record, we deliberately inserted hidden vocal samples into the compositions. And all in order to get a festive dance sound with heart-wrenching sadness in it.}}
 {{question|- Why don't you try to really use vocals in your compositions somehow? On this disc, for example, vocals would obviously not spoil many tracks...}}

@@ Line 9: / Line 9: @@
 }}
 </onlyinclude>
 __TOC__
 == Original Text ==
 <onlyinclude>
 {{original}}
-<onlyinclude>
+смерть Под солНцем
 Текст Фил КЭННИНГ
@@ Line 64: / Line 65: @@
 == Translated text  ==
 <onlyinclude>
 {{translation-needed}}
 ROUGH GOOGLE TRANSLATION:
 Text by Phil Canning