The Ottawan Empire - Revision history

Fredd-E at 19:23, 7 December 2021

2021-12-07T19:23:47Z

Fredd-E at 13:28, 1 December 2021

2021-12-01T13:28:05Z

Fredd-E: formatting

2021-10-22T17:43:27Z

formatting

Fredd-E: Fredd-E moved page The Ottawan Empire: Introducing...Boards of Canada to The Ottawan Empire: simplification

2021-10-22T17:23:39Z

Fredd-E moved page The Ottawan Empire: Introducing...Boards of Canada to The Ottawan Empire: simplification

ZosoCon: added hyphen

2021-10-15T12:30:29Z

added hyphen

ZosoCon: added interview text

2021-10-15T12:25:10Z

added interview text

New page

<onlyinclude>
{{interview
|title=The Ottawan Empire: Introducing...Boards of Canada
|author=Toby Manning
|publication=NME
|date=1998/04
|issue=Apr. 18th, 1998
|pages=p.33
}}
</onlyinclude>
__TOC__

==Original Text==
<onlyinclude>
"[[The Ottawan Empire: Introducing...Boards of Canada]]" is an interview by Toby Manning originally published Apr 1998 in NME magazine April 18th, 1998.
{{original}}
</onlyinclude>

<onlyinclude>
===The Ottawan Empire: Introducing...Boards of Canada===

{{question|Who are?}} An enigmatic duo holed up in a rural bunker somewhere near Edinburgh, from where they emit languorous, airy electronica with the charm and simplicity of cartoon theme tunes.
{{question|What’s the name about?}}
Like their music, it comes from a shared past in front of the TV. {{boc|When we were kids a lot of our favourite TV programmes, particularly wildlife documentaries, were made by the Film Board Of Canada,}} says '''Mike Sandison''', the elder and more vocal of these two bearded urchins whose woolly hats seem to be surgically attached to their heads. He and Marcus Eoin have been friends since they were toddlers, growing up in Scotland before sharing a brief sojourn in the Canada when their parents moved there for work.

{{question|Documentaries? Yawn...}}
{{boc|We just loved the soundtracks,}} counters '''Mike'''. {{boc|It's something people don’t
normally pay much attention to. Like the strings at the end of programmes, the corporate logos with a little flourish and a little happy melody. They’re ultimate in psychedelia, but no-one ever notices them or talks about them. Whereas a pop song disappears after a few weeks, a jingle will be repeated for ten years and end up subliminally lodged in people’s brains.}} Boards Of Canada attempt to create their own versions of these tunes -soundtracks for imaginary wildlife documentaries, jingles for invented corporations. Or, as '''Marcus''' puts it: {{boc|An image of something you can’t quite remember, but that sounds like it should be familiar.}}
{{question|Not exactly banging club tracks, then?}} Hardly. Their debut album for Warp, ‘Music Has The Right To Children’, is equally reminiscent of forgotten TV themes, all powered by rhythms distantly related to hiphop. It’s a strangely rural sound, infinitely less mechanised than the average Warp record. {{boc|We kind of see what we do as folk music - just made electronically,}} says '''Mike'''.
That said, there’s also a distinctly sinister undercurrent inherent in their stuttering, cutup vocals. {{question|Subliminal messages at play, perhaps?}} {{boc|You’ll probably find all these Ozzy Osbourne fans committing suicide after listening too deeply to our music,}} chuckles '''Mike'''. Then there’s that malicious psychedelic edge, too, hardly all hippy vibes and sunshine. {{boc|Psychedelic experiences are more attractive to us if they’re creepy,}} says '''Mike''', adding that such chemical shenanigans have already lost the band one member to date. {{boc|Let’s just say it got to the point where it wasn’t recreational any more,}} explains '''Mike''', grimly.
{{question|And what’s the kiddy connection?}} {{boc|We’re totally nostalgic about childhood,}} admits '''Mike''', before '''Marcus''' chips in, {{boc|Not that we’re that far removed from childhood. Sometimes you look at people and it seems like growing up is just the process of giving up everything you enjoy. The source of all our music is that we’ve refused to accept adulthood.}}
The nappy hardcore revival starts here!

Toby Manning

BOARDS OF CANADA’S ‘MUSIC HAS THE RIGHT TO CHILDREN’ ALBUM IS OUT ON WARP ON MONDAY.
</onlyinclude>

==Highlights and Notes==
*

==Scans==
<gallery>
Image:1998_04_NME_18 Apr 98_Cover.jpg
Image:1998_04_NME_18 Apr 98_pg33.jpg
Image:1998_04_NME_18 Apr 98_pg31.jpg
Image:BoC_NME_1998_04.jpg
Image:BoC_NME_1998_04_no2.jpg
</gallery>

==References==
<references />

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

@@ Line 52: / Line 52: @@
 </onlyinclude>
 ==Scans==
@@ Line 63: / Line 61: @@
 Image:BoC_NME_1998_04_no2.jpg
 </gallery>
 ==References==
 <references />
 [[Category: Interviews]]
 [[Category: Music Has the Right to Children era]]

@@ Line 1: / Line 1: @@
 <onlyinclude>
 {{interview
-|title=The Ottawan Empire: Introducing...Boards of Canada
+|title=The Ottawan Empire
 |author=Toby Manning
 |publication=NME
@@ Line 9: / Line 9: @@
 }}
 </onlyinclude>
 <onlyinclude>
 "[[The Ottawan Empire]]" is an interview by Toby Manning originally published Apr 1998  in NME magazine April 18th, 1998.
-{{original}}
+__TOC__
 <onlyinclude>
-===The Ottawan Empire: Introducing...Boards of Canada===
+{{original}}
 {{question|Who are?}} An enigmatic duo holed up in a rural bunker somewhere near Edinburgh, from where they emit languorous, airy electronica with the charm and simplicity of cartoon theme tunes.

@@ Line 14: / Line 14: @@
 ==Original Text==
 <onlyinclude>
-"[[The Ottawan Empire: Introducing...Boards of Canada]]" is an interview by Toby Manning originally published Apr 1998  in NME magazine April 18th, 1998.
+"[[The Ottawan Empire]]" is an interview by Toby Manning originally published Apr 1998  in NME magazine April 18th, 1998.
 {{original}}
 </onlyinclude>
@@ Line 20: / Line 22: @@
 <onlyinclude>
 ===The Ottawan Empire: Introducing...Boards of Canada===
 {{question|What’s the name about?}}
-Like their music, it comes from a shared past in front of the TV. {{boc|When we were kids a lot of our favourite TV programmes, particularly wildlife documentaries, were made by the Film Board Of Canada,}} says '''Mike Sandison''', the elder and more vocal of these two bearded urchins whose woolly hats seem to be surgically attached to their heads. He and Marcus Eoin have been friends since they were toddlers, growing up in Scotland before sharing a brief sojourn in the Canada when their parents moved there for work.
+Like their music, it comes from a shared past in front of the TV. {{boc|When we were kids a lot of our favourite TV programmes, particularly wildlife documentaries, were made by the Film Board Of Canada,}} says [[Mike Sandison]], the elder and more vocal of these two bearded urchins whose woolly hats seem to be surgically attached to their heads. He and [[Marcus Eoin]] have been friends since they were toddlers, growing up in Scotland before sharing a brief sojourn in the Canada when their parents moved there for work.
 {{question|Documentaries? Yawn...}}
-{{boc|We just loved the soundtracks,}} counters '''Mike'''. {{boc|It's something people don’t
+{{boc|We just loved the soundtracks,}} counters [[Mike]]. {{boc|It's something people don’t normally pay much attention to. Like the strings at the end of programmes, the corporate logos with a little flourish and a little happy melody. They’re ultimate in psychedelia, but no-one ever notices them or talks about them. Whereas a pop song disappears after a few weeks, a jingle will be repeated for ten years and end up subliminally lodged in people’s brains.}}
-normally pay much attention to. Like the strings at the end of programmes, the corporate logos with a little flourish and a little happy melody. They’re ultimate in psychedelia, but no-one ever notices them or talks about them. Whereas a pop song disappears after a few weeks, a jingle will be repeated for ten years and end up subliminally lodged in people’s brains.}} Boards Of Canada attempt to create their own versions of these tunes -soundtracks for imaginary wildlife documentaries, jingles for invented corporations. Or, as '''Marcus''' puts it: {{boc|An image of something you can’t quite remember, but that sounds like it should be familiar.}}
+[[Boards Of Canada]] attempt to create their own versions of these tunes -soundtracks for imaginary wildlife documentaries, jingles for invented corporations. Or, as [[Marcus]] puts it:
-{{question|Not exactly banging club tracks, then?}} Hardly. Their debut album for Warp, ‘Music Has The Right To Children’, is equally reminiscent of forgotten TV themes, all powered by rhythms distantly related to hiphop. It’s a strangely rural sound, infinitely less mechanised than the average Warp record. {{boc|We kind of see what we do as folk music - just made electronically,}} says '''Mike'''.
+{{boc|An image of something you can’t quite remember, but that sounds like it should be familiar.}}
-That said, there’s also a distinctly sinister undercurrent inherent in their stuttering, cut-up vocals. {{question|Subliminal messages at play, perhaps?}} {{boc|You’ll probably find all these Ozzy Osbourne fans committing suicide after listening too deeply to our music,}} chuckles '''Mike'''. Then there’s that malicious psychedelic edge, too, hardly all hippy vibes and sunshine. {{boc|Psychedelic experiences are more attractive to us if they’re creepy,}} says '''Mike''', adding that such chemical shenanigans have already lost the band one member to date. {{boc|Let’s just say it got to the point where it wasn’t recreational any more,}} explains '''Mike''', grimly.
-{{question|And what’s the kiddy connection?}} {{boc|We’re totally nostalgic about childhood,}} admits '''Mike''', before '''Marcus''' chips in, {{boc|Not that we’re that far removed from childhood. Sometimes you look at people and it seems like growing up is just the process of giving up everything you enjoy. The source of all our music is that we’ve refused to accept adulthood.}}
+{{question|Not exactly banging club tracks, then?}}
 The nappy hardcore revival starts here!

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