Une Cabane Au Canada - Revision history

Fredd-E: split quote marcus/mike

2025-06-18T16:56:36Z

split quote marcus/mike

Fredd-E at 11:19, 3 December 2021

2021-12-03T11:19:39Z

ZosoCon: minor changes

2020-05-07T17:51:16Z

minor changes

ZosoCon: minor changes

2020-05-07T17:38:00Z

minor changes

ZosoCon: minor changes

2020-05-07T17:31:40Z

minor changes

ZosoCon at 12:41, 14 November 2018

2018-11-14T12:41:21Z

ZosoCon: /* A Cabin in Canada */

2018-11-14T12:40:18Z

‎A Cabin in Canada

ZosoCon: /* Extended Interview: */

2018-11-12T19:46:12Z

‎Extended Interview:

ZosoCon: /* Scans */

2018-11-12T18:52:55Z

‎Scans

ZosoCon: /* Translated text */

2018-11-12T18:39:08Z

‎Translated text

← Older revision		Revision as of 16:56, 18 June 2025
Line 212:		Line 212:
	{{question\|Is there much pressure when working on a new record ?}}		{{question\|Is there much pressure when working on a new record ?}}

−	{{boc\|'''Marcus''': The only pressure on us when we're recording music is from ourselves. If you let the fans or the record company start to apply pressure on you, your music would suffer. So we just keep away from everyone and get on with jamming and writing, and after a while a record comes out of it. Mike: That's precisely one of the most important things about us as a band. We hate listening to perfect music, and one of the things we strive to do is to damage the sound in such a way that the listener can't tell what time-period the music comes from. We have a lot of techniques for this, such as obvious things like adding drop-outs, wobble, filtering, scratches, flutters, as well as a few secret recipes. <sub>The damaged sound adds a character that you can associate with an imaginary and distant time or place. It's like a barely controlled chaos, it's always on edge, threatening to fall apart, just like the best music of the past, before everyone started using computers to sanitise and sterilise music in a cold and clinical way.</sub>}}	+	{{boc\|'''Marcus''': The only pressure on us when we're recording music is from ourselves. If you let the fans or the record company start to apply pressure on you, your music would suffer. So we just keep away from everyone and get on with jamming and writing, and after a while a record comes out of it.}}
		+
		+	{{boc\|'''Mike''': That's precisely one of the most important things about us as a band. We hate listening to perfect music, and one of the things we strive to do is to damage the sound in such a way that the listener can't tell what time-period the music comes from. We have a lot of techniques for this, such as obvious things like adding drop-outs, wobble, filtering, scratches, flutters, as well as a few secret recipes. <sub>The damaged sound adds a character that you can associate with an imaginary and distant time or place. It's like a barely controlled chaos, it's always on edge, threatening to fall apart, just like the best music of the past, before everyone started using computers to sanitise and sterilise music in a cold and clinical way.</sub>}}

@@ Line 9: / Line 9: @@
 }}
 </onlyinclude>
 __TOC__
 == Original Text ==
 <onlyinclude>
 {{original}}
-</onlyinclude>
+'''Une Cabane Au Canada'''
-'''Par Joseph Ghosn'''
+Par Joseph Ghosn
-'''Photo Peter Iain Campbell'''
+Photo Peter Iain Campbell
@@ Line 84: / Line 84: @@
 == Translated text  ==
-<onlyinclude>
+By Joseph Ghosn
-'''By Joseph Ghosn'''
+Photo: Peter Iain Campbell
 With a pastoral and childlike first album, the Scots of Boards Of Canada invented an electronic folk, whose influence shines today from Radiohead to hip-hop. With Geogaddi, the mysterious duo delivers a second pastoral and uneasy masterpiece.
@@ Line 147: / Line 147: @@
 </onlyinclude>
-== Extended Interview: ==
+== Extended Interview ==
 <onlyinclude>
 Source: J Ghosn's retrieved Feb 2008 <ref>https://web.archive.org/web/20080514123923/http://blogs.lesinrocks.com:80/j-ghosn/index.php?2008/02/02/56-digital-fck-2-boards-of-canada</ref>
@@ Line 236: / Line 235: @@
 </onlyinclude>
-== Highlights and Notes ==
+== Highlights ==
+*
 == Scans  ==

@@ Line 21: / Line 21: @@
 '''Par Joseph Ghosn'''
 '''Photo Peter Iain Campbell'''
 Avec un premier album bucolique et enfantin, les Ecossais de Boards Of Canada inventaient un folk électronique, dont l'influence rayonne aujourd'hui de Radiohead au hip-hop. Avec Geogaddi, le mystérieux duo livre un deuxième chef-d'œuvre pastoral et inquiet.
@@ Line 87: / Line 89: @@
 '''By Joseph Ghosn'''
 '''Photo: Peter Iain Campbell'''
@@ Line 147: / Line 150: @@
 <onlyinclude>
-Source: J Ghosn's [https://web.archive.org/web/20080514123923/http://blogs.lesinrocks.com:80/j-ghosn/index.php?2008/02/02/56-digital-fck-2-boards-of-canada Blog] retrieved Feb 2008
+Source: J Ghosn's retrieved Feb 2008 <ref>https://web.archive.org/web/20080514123923/http://blogs.lesinrocks.com:80/j-ghosn/index.php?2008/02/02/56-digital-fck-2-boards-of-canada</ref>
-[http://www.twoism.org/forum/viewtopic.php?f=2&t=3551]
+<ref>http://www.twoism.org/forum/viewtopic.php?f=2&t=3551</ref>
@@ Line 232: / Line 235: @@
 </onlyinclude>
 == Scans  ==
@@ Line 245: / Line 251: @@
 <references />
 [[Category: Geogaddi era]]

@@ Line 1: / Line 1: @@
 <onlyinclude>
 {{interview
-|title= Un Cabane Au Canada
+|title= Une Cabane Au Canada
 |author= Joseph Ghosn
 |date=2002/02 (Feb/Mar)
@@ Line 13: / Line 13: @@
 == Original Text ==
 <onlyinclude>
-"Un Cabane Au Canada" is an interview (in French) by Joseph Ghosn originally published Feb./Mar. 2002 in Les Inrockuptibles magazine, Issue 327, pg.20-23
+"[[Une Cabane Au Canada]]" is an interview (in French) by Joseph Ghosn originally published Feb./Mar. 2002 in Les Inrockuptibles magazine, Issue 327, pg.20-23
 {{original}}
 </onlyinclude>
 <onlyinclude>
-=== Un Cabane Au Canada ===
+=== Une Cabane Au Canada ===
 '''Par Joseph Ghosn'''

@@ Line 11: / Line 11: @@
 __TOC__
-== Text ==
+== Original Text ==
 <onlyinclude>
 === Un Cabane Au Canada ===

@@ Line 3: / Line 3: @@
 |title= Un Cabane Au Canada
 |author= Joseph Ghosn
-|date=2002-02 (Feb/Mar)
+|date=2002/02 (Feb/Mar)
 |publication=Les Inrockuptibles
-|issue=No.327
+|issue=327
-|pages=pp.20-23
+|pages=20-23
 }}
 </onlyinclude>

@@ Line 85: / Line 85: @@
 With a pastoral and childlike first album, the Scots of Boards Of Canada invented an electronic folk, whose influence shines today from Radiohead to hip-hop. With Geogaddi, the mysterious duo delivers a second pastoral and uneasy masterpiece.
-Autistic hermits, acute paranoids chained to their computers, fools cloistered in front of their machines ... The wildest rumors circulating on Boards Of Canada since the release of their first album Music Has the Right, five years ago . An impenetrable duo, the group had then managed a power grab rarely imitated, real OPA implied in the music, on all sides, unbridled. Their sound, ginned into a handful of electronic pieces, has managed, almost slyly, to reconcile in the same movement the activists of all tendencies, the ayatollahs of rap, rock and electronica.
+Autistic [Altruistic?] hermits, acute paranoids chained to their computers, fools cloistered in front of their machines ... The wildest rumors circulating on Boards Of Canada since the release of their first album Music Has the Right, five years ago . An impenetrable duo, the group had then managed a power grab rarely imitated, real OPA implied in the music, on all sides, unbridled. Their sound, ginned into a handful of electronic pieces, has managed, almost slyly, to reconcile in the same movement the activists of all tendencies, the ayatollahs of rap, rock and electronica.
 Initially, however, nothing really distinguished the Scots Marcus Eoin and Mike Sandison from their contemporaries. For many, the duo was just another clone of another group with an almost mystical aura: Autechre. The similarities were obvious: same record company (Warp), same dark treatment of deleterious musical moods, same duo formation, false pair united in front of machines and passionate by the creation of parallel universes, as graphic as it is musical. The similarity, however, stops there. As much as Autechre's music is steeped in post-industrial and violent landscapes, often arid and crevassed, Boards Of Canada is marked by pastoral, quasi-impressionistic and dreamlike visions.

@@ Line 145: / Line 145: @@
 [http://www.twoism.org/forum/viewtopic.php?f=2&t=3551]
-'''Une interview de Boards of Canada, réalisée par email au moment de l'album Geogaddi. J'ai gardé la version originale, comme au cinéma, maisj'ai oublié de sous-titrer. bonne lecture et décryptage.'''
@@ Line 151: / Line 155: @@
 {{boc|'''Mike''': I remember annoying my family by playing tunes on my grandparents' piano all day. I had a mostly happy childhood, always getting into trouble, which is probably a good way to learn about the world. I remember when I was very little playing in a park and an older girl told me that worms were born inside the veins on the leaves on trees, and I believed her.
-I've been in love with music since I was a baby, it's very hard to remember a specific time. I can remember when I was a toddler standing up on the back seat of my parent's car singing songs at the top of my voice. The earliest record I can remember hearing on the radio was Terry Jacks' version of 'Seasons in the Sun', which was in the charts at the time.
+<sub>I've been in love with music since I was a baby, it's very hard to remember a specific time. I can remember when I was a toddler standing up on the back seat of my parent's car singing songs at the top of my voice. The earliest record I can remember hearing on the radio was Terry Jacks' version of 'Seasons in the Sun', which was in the charts at the time.
-I started to make my own music when I was about 5 or 6 years old, because my grandparents had a piano and I used to beg my parents to let me go there to play it. I didn't do formal lessons at that time, so I just made tunes up.}}
+I started to make my own music when I was about 5 or 6 years old, because my grandparents had a piano and I used to beg my parents to let me go there to play it. I didn't do formal lessons at that time, so I just made tunes up.</sub>}}
 {{question|How did you start BOC ?}}
-{{boc|'''Marcus''': About twelve years ago we were using a few different names for our projects, as we had a live band with guitars, as well as recording electronic things as side projects. One of the projects was Boards of Canada, named after the National Film Board of Canada, because we used to watch the documentaries made by the National Film Board and the music was usually synth-based and had a distinctive 'damaged' quality. I think perhaps the tapes they mastered the soundtracks on were poor quality, and the music had drop-outs and 'wow and flutter', which inspired our sound.}}
+{{boc|'''Marcus''': About twelve years ago <sub>we were using a few different names for our projects, as we had a live band with guitars, as well as recording electronic things as side projects. One of the projects was Boards of Canada, named after the National Film Board of Canada, because we used to watch the documentaries made by the National Film Board and the music was usually synth-based and had a distinctive 'damaged' quality. I think perhaps the tapes they mastered the soundtracks on were poor quality, and the music had drop-outs and 'wow and flutter', which inspired our sound.</sub>}}
-{{boc|'''Marcus''': We've always been quite prolific and back then all that mattered to us was to give all our friends copies of our music, so we started making up tapes and packaging them, and circulating them. It was just for the love of it so we never asked anyone to pay for them. We were struggling to raise cash to do it so we worked in crappy day-jobs. We started to set up our studio and it meant we needed to somehow get our music out to more people so we could fund what we do. It was mostly a fun time but we had some very tough years. In 1993 we all suffered and had a terrible year for various personal reasons, and everything nearly went down the drain. But somehow we kept on with recording and playing local gigs and things got a lot better.
+{{boc|'''Marcus''': <sub>We've always been quite prolific and back then all that mattered to us was to give all our friends copies of our music, so we started making up tapes and packaging them, and circulating them. It was just for the love of it so we never asked anyone to pay for them. We were struggling to raise cash to do it so we worked in crappy day-jobs.</sub> We started to set up our studio and it meant we needed to somehow get our music out to more people so we could fund what we do. It was mostly a fun time but we had some very tough years. In 1993 we all suffered and had a terrible year for various personal reasons, and everything nearly went down the drain. But somehow we kept on with recording and playing local gigs and things got a lot better.
-We recorded a sort of mini-album called 'Twoism', for the first time with the intention of sending them to bands we liked. We got 100 copies pressed on vinyl with our own cash. I think we only gave away about 50 copies in the end, to a few bands and friends and so on. One of the copies went to Autechre, and Sean Booth called us up the day after we sent it, and asked us to do a record with Skam, which they were involved with. Then we made an EP with Skam, and then Warp called us up, and we decided to make an album to be released jointly by both labels, in 1998, which turned into 'Music Has the Right to Children'.}}
+<sub>We recorded a sort of mini-album called 'Twoism', for the first time with the intention of sending them to bands we liked. We got 100 copies pressed on vinyl with our own cash. I think we only gave away about 50 copies in the end, to a few bands and friends and so on. One of the copies went to Autechre, and Sean Booth called us up the day after we sent it, and asked us to do a record with Skam, which they were involved with. Then we made an EP with Skam, and then Warp called us up, and we decided to make an album</sub> to be released jointly by both labels, in 1998, which turned into 'Music Has the Right to Children'.}}
@@ Line 176: / Line 180: @@
 {{question|Why do you avoid most public appearances ?}}
-{{boc|'''Marcus''': Ha, we're not particularly shy… We just feel more in control of what we're doing if we keep everyone away from us. We're not really hermits as some people seem to think. We have a lot of friends and we do a lot of other things besides this music. We got involved with music years ago because we love the music, we've never had any desire to become famous or to push ourselves on people. We love doing what we do, and we intend to carry on making music for many years, so it's important that we keep it at a level where we don't feel that it is putting too much pressure on our lives. It's also important to us not to take it all too seriously.}}
+{{boc|'''Marcus''': Ha, we're not particularly shy… <sub>We just feel more in control of what we're doing if we keep everyone away from us. We're not really hermits</sub> as some people seem to think. We have a lot of friends and we do a lot of other things besides this music. <sub>We got involved with music years ago because we love the music, we've never had any desire to become famous or to push ourselves on people. We love doing what we do, and we intend to carry on making music for many years, so it's important that we keep it at a level where we don't feel that it is putting too much pressure on our lives. It's also important to us not to take it all too seriously.</sub>}}
-{{boc|'''Mike''': To some extent, we believe that getting well known for your music is a toxic thing for the band. People start to feel that they own you and your music, and they get very particular about what they want you to do. It can become claustrophobic. So the way we deal with it is to keep everyone and everything at arm's length. We've not allowed ourselves or our lives to change at all since the band became better known. It's much better this way. Somehow we write much better music when we don't imagine anyone hearing it. I'm not sure why this works but it does. It's cool because we keep ourselves inspired just like the early days when nobody had ever heard our music.}}
+{{boc|'''Mike''': To some extent, we believe that getting well known for your music is a toxic thing for the band. People start to feel that they own you and your music, and they get very particular about what they want you to do. It can become claustrophobic. So the way we deal with it is to keep everyone and everything at arm's length. <sub>We've not allowed ourselves or our lives to change at all since the band became better known. It's much better this way. Somehow we write much better music when we don't imagine anyone hearing it. I'm not sure why this works but it does. It's cool because we keep ourselves inspired just like the early days when nobody had ever heard our music.</sub>}}
-{{boc|'''Marcus''': Yes that's just it. When we started out we spent years playing music in the 'standard band format' of drums guitars and voices. Our backgrounds in music are very different from what we're doing in Boards of Canada. We were never DJ's or whatever, and we didn't come to electronic music from the computer side of things. When we first got into electronics in the mid-1980's we would record all the parts by hand, we didn't have sequencers. So it makes sense that we still write in that way nowadays}}.
+{{boc|'''Marcus''': Yes that's just it. When we started out <sub>we spent years playing music in the 'standard band format' of drums guitars and voices.</sub> Our backgrounds in music are very different from what we're doing in Boards of Canada. <sub>We were never DJ's or whatever, and we didn't come to electronic music from the computer side of things. When we first got into electronics in the mid-1980's we would record all the parts by hand, we didn't have sequencers. So it makes sense that we still write in that way nowadays.</sub>}}
 {{boc|'''Mike''': We still play live instruments all the time. We both play a few different instruments. We have quite a few guitars. We collect instruments, and I've got a lot of percussion instruments for example. We record music like this a lot, though we just haven't released any of it on the scale that we are releasing the Boards of Canada tracks. But one day we will.}}
@@ Line 186: / Line 190: @@
 {{question|There is a common quality to most of your tracks : the decaying of the sound, like it is on the verge of falling apart.}}
-{{boc|'''Mike''': We just destroy the sound. Most people spend ages trying to polish the sound and improve it, but we use tapes and old gear and analogue synths to downgrade the sound and make it more damaged, to sound older.}}
+{{boc|'''Mike''': <sub>We just destroy the sound. Most people spend ages trying to polish the sound and improve it, but we use tapes and old gear and analogue synths to downgrade the sound and make it more damaged, to sound older.</sub>}}
 {{question|You seem to champion a way of life outside of urban environments}}
-{{boc|Marcus: We've both spent most of our lives in the country, although we've both also had periods of our lives living in cities too. We get more ideas for our music and art when we're in the countryside. It's not easy to explain. We think it's because being in the city tends to make musicians influence each other, and fashions and so on get mingled. You can't avoid being homogenized in the city. But when you're away from it you can let your imagination run wild and you don't stop for a minute to worry about what other people are going to think of your work. The peace we get in the countryside is analogous to having space in your head to dream.}}
+{{boc|Marcus: <sub>We've both spent most of our lives in the country, although we've both also had periods of our lives living in cities too. We get more ideas for our music and art when we're in the countryside. It's not easy to explain. We think it's because being in the city tends to make musicians influence each other, and fashions and so on get mingled. You can't avoid being homogenized in the city. But when you're away from it you can let your imagination run wild and you don't stop for a minute to worry about what other people are going to think of your work. The peace we get in the countryside is analogous to having space in your head to dream.</sub>}}
 {{question| what about the ecological concerns that seem to be at the core of your records ?}}
-{{boc|'''Mike''': It's not a huge deal to us, it's just one issue we're concerned about, amongst a lot of issues. We're conscious of world issues such as the environment, debt, terrorism, censorship, human rights, and so on, and we can be very outspoken about our political beliefs at times, but usually we try to avoid letting it into our music. Another reason for the inclusion of those tracks is just the aesthetic of them, I mean we believe in the statements, but we also want to include things like that just because they evoke a certain type of Governmental public-awareness broadcast. It adds to the idea that you're not actually listening to an album by one band, but in fact a collage of different recordings, a bit like tuning between stations on a shortwave radio.}}
+{{boc|'''Mike''': It's not a huge deal to us, it's just one issue we're concerned about, amongst a lot of issues. We're conscious of world issues such as the environment, debt, terrorism, censorship, human rights, and so on, and we can be very outspoken about our political beliefs at times, but usually we try to avoid letting it into our music. <sub>Another reason for the inclusion of those tracks is just the aesthetic of them, I mean we believe in the statements, but we also want to include things like that just because they evoke a certain type of Governmental public-awareness broadcast. It adds to the idea that you're not actually listening to an album by one band, but in fact a collage of different recordings, a bit like tuning between stations on a shortwave radio.</sub>}}
 {{question|Is there much pressure when working on a new record ?}}
-{{boc|'''Marcus''': The only pressure on us when we're recording music is from ourselves. If you let the fans or the record company start to apply pressure on you, your music would suffer. So we just keep away from everyone and get on with jamming and writing, and after a while a record comes out of it. Mike: That's precisely one of the most important things about us as a band. We hate listening to perfect music, and one of the things we strive to do is to damage the sound in such a way that the listener can't tell what time-period the music comes from. We have a lot of techniques for this, such as obvious things like adding drop-outs, wobble, filtering, scratches, flutters, as well as a few secret recipes. The damaged sound adds a character that you can associate with an imaginary and distant time or place. It's like a barely controlled chaos, it's always on edge, threatening to fall apart, just like the best music of the past, before everyone started using computers to sanitise and sterilise music in a cold and clinical way.}}
+{{boc|'''Marcus''': The only pressure on us when we're recording music is from ourselves. If you let the fans or the record company start to apply pressure on you, your music would suffer. So we just keep away from everyone and get on with jamming and writing, and after a while a record comes out of it. Mike: That's precisely one of the most important things about us as a band. We hate listening to perfect music, and one of the things we strive to do is to damage the sound in such a way that the listener can't tell what time-period the music comes from. We have a lot of techniques for this, such as obvious things like adding drop-outs, wobble, filtering, scratches, flutters, as well as a few secret recipes. <sub>The damaged sound adds a character that you can associate with an imaginary and distant time or place. It's like a barely controlled chaos, it's always on edge, threatening to fall apart, just like the best music of the past, before everyone started using computers to sanitise and sterilise music in a cold and clinical way.</sub>}}
 {{question|You have been an inspiration to many musicians. Are you aware of your huge influence ?}}
-{{boc|'''Marcus''': We're a bit clueless about this to be honest, especially as we just get on with things and we don't listen to a lot of current 'electronica'. If we've inspired anyone to make their own records then that's great.}}
+{{boc|'''Marcus''': We're a bit clueless about this to be honest, especially as we just get on with things and we don't listen to a lot of current 'electronica'. <sub>If we've inspired anyone to make their own records then that's great.</sub>}}
 {{boc|'''Mike''': Absolutely not. I mean it's gratifying to know that people are out there who are really into our music, and those people matter to us. But commercial success and being in magazines and so on is a bit of a stress really and we don't care for it. You can't look at music as a business or a competition at the same time as making music you genuinely love. And we will never make music that we don't genuinely love.}}
@@ Line 223: / Line 227: @@
 </onlyinclude>
 == Scans  ==

@@ Line 227: / Line 227: @@
 == Scans  ==
 <gallery>
-Image: 2002_02_Les Inrockuptibles Feb_Mar No327_Cover
+Image: 2002 02 Les Inrockuptibles Feb Mar No327 Cover.jpg
-Image: 2002_02_Les Inrockuptibles Feb_Mar No327_pg20
+Image: 2002 02 Les Inrockuptibles Feb Mar No327 pg20.jpg
-Image: 2002_02_Les Inrockuptibles Feb_Mar No327_pg21
+Image: 2002 02 Les Inrockuptibles Feb Mar No327 pg21.jpg
-Image: 2002_02_Les Inrockuptibles Feb_Mar No327_pg22
+Image: 2002 02 Les Inrockuptibles Feb Mar No327 pg22.jpg
-Image: 2002_02_Les Inrockuptibles Feb_Mar No327_pg23
+Image: 2002 02 Les Inrockuptibles Feb Mar No327 pg23.jpg
 </gallery>

@@ Line 127: / Line 127: @@
 {{boc|We spent years playing music in the 'standard band format' of drums guitars and voices. We were never DJ's or whatever, and we didn't come to electronic music from the computer side of things. When we first got into electronics in the mid-1980's we would record all the parts by hand, we didn't have sequencers. So it makes sense that we still write in that way nowadays.}}
-It is this approach to composition, inherited from rock or pop, that drives the music of the duo. A music that is revealed on Geogaddi, even more damaged and battered than usual. The tracks, never sanitized, are filled with swings, stops, sails and bumps. The album, in the end, is of a dull beauty, populated by ghosts and spectra in a bad way.
+It is this approach to composition, inherited from rock or pop, that drives the music of the duo. A music that is revealed on Geogaddi, even more damaged and battered than usual. The tracks, never sanitized, are filled with swings, stops, sails and bumps. The album, in the end, is of a dull beauty, populated by ghosts and troubled spectra.
 {{boc|We just destroy the sound. Most people spend ages trying to polish the sound and improve it, but we use tapes and old gear and analogue synths to downgrade the sound and make it more damaged, to sound older. The damaged sound adds a character that you can associate with an imaginary and distant time or place. It's like a barely controlled chaos, it's always on edge, threatening to fall apart, just like the best music of the past, before everyone started using computers to sanitize and sterilize music in a cold and clinical way.}}
-Listening to Geogaddi, looking at the distorted visuals in the cover, one has the impression of holding an imaginary group, without human substance. As if these pieces were made from an intangible material, like a collage of heterogeneous materials, from lost civilizations, crystallized in lava flows. Kids' voices, informative message excerpts, which navigate between slow beats, combine to create funky, cerebral music, reminiscent of Sly Stone distorted by Brian Eno's synthesizers. A dream brotherhood that brings together, on the same disc, the best musical craftsmen. The duo seeks, above all, to de-compartmentalize their music, to induce their listener in error, to point out red herrings.
+Listening to Geogaddi, looking at the distorted visuals on the cover, one has the impression of holding an imaginary group, without human substance. As if these pieces were made from an intangible material, like a collage of heterogeneous materials, from lost civilizations, crystallized in lava flows. Kids' voices, informative message excerpts, which navigate between slow beats, combine to create funky, cerebral music, reminiscent of Sly Stone distorted by Brian Eno's synthesizers. A dream brotherhood that brings together, on the same record, the best musical craftsmen. The duo seeks, above all, to de-compartmentalize their music, to mislead the listener, to point out red herrings.
 {{boc|Another reason for the inclusion of those tracks is just the aesthetic of them, I mean we believe in the statements, but we also want to include things like that just because they evoke a certain type of Governmental public-awareness broadcast. It adds to the idea that you're not actually listening to an album by one band, but in fact a collage of different recordings, a bit like tuning between stations on a shortwave radio.}}