Difference between revisions of "Vi Sampler til Helvede og Tilbage"
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'''Vi Sampler til Helvede og Tilbage''' | '''Vi Sampler til Helvede og Tilbage''' | ||
| â | '''tekst''' Emil Kragh-Schwarz '''link''' www.boardsofcanada.com | + | |
| + | '''tekst''' Emil Kragh-Schwarz | ||
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| + | '''link''' [[www.boardsofcanada.com]] | ||
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LÊs anmeldelse af 'The Campfire Headphase' pÄ side 149. | LÊs anmeldelse af 'The Campfire Headphase' pÄ side 149. | ||
</onlyinclude> | </onlyinclude> | ||
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== Translated text == | == Translated text == | ||
<onlyinclude> | <onlyinclude> | ||
| â | {{ | + | '''To Hell and Back''' |
| â | + | ||
| + | '''Text''' by Emil Kragh-Schwarz | ||
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| + | '''Link''' [[www.boardsofcanada.com]] | ||
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| + | In all modesty, we are actually a bit proud. The Scottish electronica duo [[Boards of Canada]], currently promoting their album ''[[The Campfire Headphase]]'' rarely give interviews, and one of the few has been dedicated to Soundvenue. Their reticence has cemented their reputation as one of the most mysterious and legendary groups in the electronica scene. However, this reputation also has other foundations. | ||
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| + | Ever since the release of their fabulous debut album ''[[Music Has the Right to Children]]'' in 1998, rumors about hidden, occult, and political messages in the group's productions have flourished among fans worldwide. I ask the gentlemen [[Michael Sandison]] and [[Marcus Eoin]] if one could get anything out of playing ''[[The Campfire Headphase]]'' backwards. [[Eoin]] explains that they have always embedded messages in their music, titles, and artwork. | ||
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| + | {{boc|But really, it's mainly because, as an instrumental band, we have the opportunity to center a track around a topic we're interested in. As individuals, we're very interested in politics, so such themes will always be close to us.}} | ||
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| + | At the same time, he points out that on ''[[The Campfire Headphase]]'' the focus has been removed from the darker themes. | ||
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| + | {{boc|We wanted to make a really 'melodic spaced out acid-jam record' for once.}} | ||
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| + | However, the more or less hidden messages are not the sole cause of the mystery. For a long time, the two brothers [[Eoin]] and [[Sandison]] lived in a remote and secret artist collective. Isolation from the outside world and civilization has been highly valued by the two Scots. | ||
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| + | {{boc|We appreciate the privacy and the peace of life away from the city's background noise,}} | ||
| + | [[Sandison]] says. When asked where the inspiration for the new album comes from, he explains further: | ||
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| + | {{boc|We partially isolate ourselves, especially from the urban scene, to create music that exists in its own style and time bubble.}} | ||
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| + | With those words, it is time to focus on the most important thing: the music. Throughout their career, the sound has not changed drastically, with the exception of the previous album ''[[Geogaddi]]'' and the unique [[Boards of Canada]] sound, which allows fans to instantly recognize one of the duo's tracks, remains intact. | ||
| + | |||
| + | {{boc|We don't start with a formula, but I believe that when you put your soul into a musical composition, there will always be a kind of mental communication that fans will recognize,}} | ||
| + | [[Eoin]] says. | ||
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| + | |||
| + | In this way, one can rightly claim that the ambition to create music that exists in its own style and time bubble succeeds every time. [[Boards of Canada]]'s productions are characterized by being both banal and unique simultaneously. The formula, with semi-abstract beats and floating, beautiful ambient layers, was something they helped establish, but to this day, it has been copied so extensively by others that it alone makes it difficult to stand out. Nonetheless, their mysteriously captivating beauty achieves exactly that. Part of the explanation may lie in the way they work with sounds. | ||
| + | |||
| + | {{boc|For instance, there are many places where guitars are used, but they are sampled to hell and back, so they are no longer recognizable as guitars,}} | ||
| + | [[Sandison]] says. | ||
| + | |||
| + | This special production method makes everything recognizable and alien at the same time, and maybe that's exactly where the magic happens. Perhaps the secret lies in the fact that 'maybe' is the closest you can get. True magic cannot be explained. | ||
| + | |||
| + | Read the review of ''[[The Campfire Headphase]]'' on page 149.</onlyinclude> | ||
== Scans == | == Scans == | ||
Revision as of 15:37, 16 July 2024
| title | Vi Sampler til Helvede og Tilbage |
|---|---|
| author | Emil Kragh-Schwarz |
| publication | Soundvenue |
| date | 2005/12 |
| issue | 04 (Winter) |
| pages | 37 |
Original Text
This is an original text copied verbatim from the original source. Do not edit this text to correct errors or misspellings. Aside from added wikilinks, this text is exactly as it originally appeared.
Vi Sampler til Helvede og Tilbage
tekst Emil Kragh-Schwarz
Sagt i alt beskedenhed, er vi faktisk lidt stolte. Den skotske electronica-duo Boards of Canda, der er aktuelle med albummet 'The Camfire Headphase', laver, deres status taget i betragtning, ganske fÄ interviews, og ét af de fÄ er blevet helliget Soundvenue. At de i den grad holder tankerne for sig selv er med til at fastnagle deres ry som én af electronica-scenens mest mystiske og sagnomspundne grupper. Et ry, der imidlertid ogsÄ har andre grunde.
Helt tilbage fra fÞr det fabelagtige debutalbum 'Music Has the Right to Children' udkom i 1998, har rygterne omkring skjulte, okkulte sÄvel som politiske budskaber i gruppens produktioner floreret lystigt blandt fans verden over. Jeg spÞrger d'herrer Michael Sandison og Marcus Eoin, om man sÄ vil fÄ noget ud af at spille 'The Campfire Headphase' baglÊns? Eoin fortÊller, at de altid har indlagt beskeder i musik, titler og artwork.
De mere eller mindre skjulte budskaber er imidlertid heller ikke hele Ă„rsagen til mystikken. I lang tid boede de to brĂždre Eoin og Sandison i et afsides liggende og for offentligheden hemmeligt kunstnerkollektiv. I det hele taget har isolation fra omverdenen og ikke mindst civilisationen vĂŠret afholdt af de to skotter.
Med de ord er det tid til at se pÄ det vigtigste overhovedet. Det, der gÞr myterne mulige og interessante: Musikken. I lÞbet af deres karriere er udtrykket - med undtagelse af det forrige album 'Geogaddi' - ikke blevet Êndret voldsomt meget, og den helt specielle 'Boards of Canada-lyd', der gÞr, at fans til enhver tid vil kunne spotte ét af duoens numre, hÊnger til stadighed ved.
PÄ den mÄde kan man ogsÄ med god ret pÄstÄ, at ambitionen om at lave musik, som eksisterer i sin egen stil og tidsboble, lykkes hver gang. Boards of Canadas produktion er nemlig kendetegnet ved pÄ én gang at vÊre bÄde banal og unik. Formlen, med semiabstrakte beats og svÊvende, smukke ambient flader, var de i sin tid med til at grundlÊgge, men op til i dag er den blevet kopieret af andre i sÄ rigt et omfang, at det alene ved hjÊlp af den, er blevet vanskeligt at skille sig ud. Ikke desto mindre er det nÞjagtigt, hvad de med deres mystisk dragende skÞnhed gÞr. En del af forklaringen kan ligge i mÄden at arbejde med lydene pÄ.
Denne specielle produktionsform gĂžr alt genkendeligt og fremmed pĂ„ samme tid, og mĂ„ske er det netop der, at magien opstĂ„r. MĂ„ske ligger hemmeligheden netop i, at 'mĂ„ske' er det nĂŠrmeste, man kan komme. Ăgte magi kan ikke forklares.
LÊs anmeldelse af 'The Campfire Headphase' pÄ side 149.
Translated text
To Hell and Back
Text by Emil Kragh-Schwarz
In all modesty, we are actually a bit proud. The Scottish electronica duo Boards of Canada, currently promoting their album The Campfire Headphase rarely give interviews, and one of the few has been dedicated to Soundvenue. Their reticence has cemented their reputation as one of the most mysterious and legendary groups in the electronica scene. However, this reputation also has other foundations.
Ever since the release of their fabulous debut album Music Has the Right to Children in 1998, rumors about hidden, occult, and political messages in the group's productions have flourished among fans worldwide. I ask the gentlemen Michael Sandison and Marcus Eoin if one could get anything out of playing The Campfire Headphase backwards. Eoin explains that they have always embedded messages in their music, titles, and artwork.
At the same time, he points out that on The Campfire Headphase the focus has been removed from the darker themes.
However, the more or less hidden messages are not the sole cause of the mystery. For a long time, the two brothers Eoin and Sandison lived in a remote and secret artist collective. Isolation from the outside world and civilization has been highly valued by the two Scots.
Sandison says. When asked where the inspiration for the new album comes from, he explains further:
With those words, it is time to focus on the most important thing: the music. Throughout their career, the sound has not changed drastically, with the exception of the previous album Geogaddi and the unique Boards of Canada sound, which allows fans to instantly recognize one of the duo's tracks, remains intact.
Eoin says.
In this way, one can rightly claim that the ambition to create music that exists in its own style and time bubble succeeds every time. Boards of Canada's productions are characterized by being both banal and unique simultaneously. The formula, with semi-abstract beats and floating, beautiful ambient layers, was something they helped establish, but to this day, it has been copied so extensively by others that it alone makes it difficult to stand out. Nonetheless, their mysteriously captivating beauty achieves exactly that. Part of the explanation may lie in the way they work with sounds.
Sandison says.
This special production method makes everything recognizable and alien at the same time, and maybe that's exactly where the magic happens. Perhaps the secret lies in the fact that 'maybe' is the closest you can get. True magic cannot be explained.
Read the review of The Campfire Headphase on page 149.
Scans
Highlights
External Links