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{{boc|Every so often we rummage through old tapes and if we discover a melody that makes us feel something, that makes us nostalgic, we rework it. It's one of the most important aspects of Boards Of Canada's music, because for us music must be introspective. It must carry within itself something bitter, thoughtful. It must give emotion.}} So '''Michael Sandison''' summarizes what is the philosophy of Boards Of Canada, an English duo that last year, with Music Has The Right To Children and more recently with Peel Sessions, was one of the most interesting surprises within that ever less visible, increasingly "intelligent" ambient scene. The secret to their "success"? A music that, as often happens in the territories haunted by Warp (for which they influence) and Rephlex (the label of Aphex Twin), is playful, ludic and at the same time genetically melancholic, made of simple piano melodies looped and then embedded between them according to a mathematical consequential criterion. A music that is a flow of elaborate and often "distorted" rhythms in the Aphex Twin manner, but above all, inside the evolution of the sound, everything flows tenderly, according to a new "intimist" attitude that dyes with soft colors the music of Music Has The Right Io Children, letting everything be filtered by a desire to thrill and be moved and magically going beyond the logic of the dance floor. It could not have existed otherwise. Just know where Micheal and Marcus (Eoin) arrive to understand this unusual positioning. In fact, in 1992, after having been part of several projects, they started to play regularly on their own, during an evening (Redmoon) that takes place every month, among the ruins of a monastery, in Scotland, a thousand miles away from the roar of dance floor. Three years later, in '95, they formed a studio in a bunker in the Pentland Hills, Scotland, where the first pieces of Music Has The Right To Children were born. Apart from this physical isolationism BOC confirm their distance from "dance" with a "modus operandi" that says a lot about the propensity towards melancholic atmospheres and harmonics that have nothing to do with the physicality of a big-beat and hedonistic chemical generation. | {{boc|Every so often we rummage through old tapes and if we discover a melody that makes us feel something, that makes us nostalgic, we rework it. It's one of the most important aspects of Boards Of Canada's music, because for us music must be introspective. It must carry within itself something bitter, thoughtful. It must give emotion.}} So '''Michael Sandison''' summarizes what is the philosophy of Boards Of Canada, an English duo that last year, with Music Has The Right To Children and more recently with Peel Sessions, was one of the most interesting surprises within that ever less visible, increasingly "intelligent" ambient scene. The secret to their "success"? A music that, as often happens in the territories haunted by Warp (for which they influence) and Rephlex (the label of Aphex Twin), is playful, ludic and at the same time genetically melancholic, made of simple piano melodies looped and then embedded between them according to a mathematical consequential criterion. A music that is a flow of elaborate and often "distorted" rhythms in the Aphex Twin manner, but above all, inside the evolution of the sound, everything flows tenderly, according to a new "intimist" attitude that dyes with soft colors the music of Music Has The Right Io Children, letting everything be filtered by a desire to thrill and be moved and magically going beyond the logic of the dance floor. It could not have existed otherwise. Just know where Micheal and Marcus (Eoin) arrive to understand this unusual positioning. In fact, in 1992, after having been part of several projects, they started to play regularly on their own, during an evening (Redmoon) that takes place every month, among the ruins of a monastery, in Scotland, a thousand miles away from the roar of dance floor. Three years later, in '95, they formed a studio in a bunker in the Pentland Hills, Scotland, where the first pieces of Music Has The Right To Children were born. Apart from this physical isolationism BOC confirm their distance from "dance" with a "modus operandi" that says a lot about the propensity towards melancholic atmospheres and harmonics that have nothing to do with the physicality of a big-beat and hedonistic chemical generation. | ||
{{boc|Paradoxically, most of the time we spend working on rhythms.}} says '''Michael'''. {{boc|It is a technical precision with which we try to create dirty and "old" sounds that are close to 70s records. This is why we spend hours and hours playing the rhythm or melody ourselves and then "degrade" it. Finally, once this is done, let's move on to the melodies. We record hundreds of incomplete micromelodies. Then we make a selection. We choose the ones we like best and we build the pieces around them, always keeping a concept in mind; to mentally filter the music, trying to hear sinister sounds, in which there is always something nostalgic, melancholic.}} | {{boc|Paradoxically, most of the time we spend working on rhythms.}} says '''Michael'''. {{boc|It is a technical precision with which we try to create dirty and "old" sounds that are close to 70s records. This is why we spend hours and hours playing the rhythm or melody ourselves and then "degrade" it. Finally, once this is done, let's move on to the melodies. We record hundreds of incomplete micromelodies. Then we make a selection. We choose the ones we like best and we build the pieces around them, always keeping a concept in mind; to mentally filter the music, trying to hear sinister sounds, in which there is always something nostalgic, melancholic.}} | ||
Revision as of 09:04, 11 June 2019
| title | Facce Nuove: Boards of Canada |
|---|---|
| author | Gian Paolo Giabini |
| publication | Rumore |
| date | 1999/05 |
| issue | 88 |
| pages | p.11 |
Contents
Original Text
Facce Nuove: Boards of Canada was an interview (in Italian) by Gian Paolo Giabini originally published May 1999 in Rumore magazine Number 88 p.11.
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.
Facce Nuove: Boards of Canada
Ogni tanto frughiamo fra vecchi nastri e se scopriamo una melodia che ci fa sentire qualcosa, che ci rende nostalgici, la rielaboriamo. E' uno degli aspetti più importanti della musica di Boards Of Canada, perché per noi la musica deve essere introspettiva. Deve portare in sé un che di amaro, di riflessivo. Deve dare emozioni.
Così Michael Sandison sintetizza quella che è la filosofia di Boards Of Canada, duo inglese che lo scorso anno, con Music Has The Right To Children e più di recente con Peel Sessions, è stato una delle sorprese più interessanti all'interno di quella scena ambient sempre meno visibile, sempre più "intelligente". Il segreto del loro "successo"? Una musica che, come spesso accade nei territori bazzicati da Warp (per cui incidono) e Rephlex (l'etichetta di Aphex Twin), è giocoso, ludica e allo stesso tempo geneticamente malinconica, fatta di semplici melodie per piano mandate in loop e poi incastonate fra loro secondo un criterio consequenziale matematico. Una musica che è flusso di ritmiche elaborate e spesso "distorte" alla maniera di Aphex Twin, ma in cui soprattutto, all'interno dell'evoluzione del suono, tutto confluisce teneramente, secondo un'inedita attitudine "intimista" che tinteggia con colori tenui la musica di Music Has The Right Io Children, lasciando che ogni cosa venga filtrata da un desiderio di emozionare ed emozionarsi e andando magicamente oltre le logiche del dance floor. Non avrebbe potuto essere altrimenti. Basta sapere da dove arrivano Michael e Marcus (Eoin) per capire questo posizionamento inusuale. Nel '92 infatti, dopo aver fatto parte di diversi progetti, iniziano a suonare regolarmente da soli, durante una serata (Redmoon) che si svolge tutti i mesi, fra le rovine di un monastero, in Scozia, lontano mille miglia dal fragore del dance floor. Tre anni dopo, nel '95, costituiscono uno studio in un bunker fra le colline di Petland, in Scozia, dove nascono i primi pezzi di Music Has The Right To Children. A parte questo isolazionismo fisico BOC confermano la loro lontananza dalla "dance" con un "modus operandi" che la dice lungo sulla propensione ad atmosfere crepuscolari ed armoniche che nulla hanno a che fare con la fisicità dei big-beat e della chemical generation. Paradossalmente la maggior parte del tempo lo passiamo a lavorare sulle ritmiche
dice Michael. E' un lavoro di precisione tecnica con cui cerchiamo di creare dei suoni sporchi e "vecchi" che si avvicinino ai dischi degli anni 70. E' per questo che passiamo ore e ore a suonare noi stessi ritmiche o melodie per poi "degradarle". Infine, una volta fatto questo, passiamo alla melodia. Registriamo centinaia di micromelodie incomplete. Poi facciamo una selezione. Scegliamo quelle che ci piacciono di più e ci costruiamo attorno i pezzi, tenendo sempre ben presente un concetto; quello di filtrare mentalmente la musica, cercando di sentire suoni sinistri, in cui ci sia sempre un che di nostalgico, di malinconico.
Translated text
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ROUGH TRANSLATION:
New faces: Boards of Canada
Every so often we rummage through old tapes and if we discover a melody that makes us feel something, that makes us nostalgic, we rework it. It's one of the most important aspects of Boards Of Canada's music, because for us music must be introspective. It must carry within itself something bitter, thoughtful. It must give emotion.
So Michael Sandison summarizes what is the philosophy of Boards Of Canada, an English duo that last year, with Music Has The Right To Children and more recently with Peel Sessions, was one of the most interesting surprises within that ever less visible, increasingly "intelligent" ambient scene. The secret to their "success"? A music that, as often happens in the territories haunted by Warp (for which they influence) and Rephlex (the label of Aphex Twin), is playful, ludic and at the same time genetically melancholic, made of simple piano melodies looped and then embedded between them according to a mathematical consequential criterion. A music that is a flow of elaborate and often "distorted" rhythms in the Aphex Twin manner, but above all, inside the evolution of the sound, everything flows tenderly, according to a new "intimist" attitude that dyes with soft colors the music of Music Has The Right Io Children, letting everything be filtered by a desire to thrill and be moved and magically going beyond the logic of the dance floor. It could not have existed otherwise. Just know where Micheal and Marcus (Eoin) arrive to understand this unusual positioning. In fact, in 1992, after having been part of several projects, they started to play regularly on their own, during an evening (Redmoon) that takes place every month, among the ruins of a monastery, in Scotland, a thousand miles away from the roar of dance floor. Three years later, in '95, they formed a studio in a bunker in the Pentland Hills, Scotland, where the first pieces of Music Has The Right To Children were born. Apart from this physical isolationism BOC confirm their distance from "dance" with a "modus operandi" that says a lot about the propensity towards melancholic atmospheres and harmonics that have nothing to do with the physicality of a big-beat and hedonistic chemical generation.
Paradoxically, most of the time we spend working on rhythms.
says Michael. It is a technical precision with which we try to create dirty and "old" sounds that are close to 70s records. This is why we spend hours and hours playing the rhythm or melody ourselves and then "degrade" it. Finally, once this is done, let's move on to the melodies. We record hundreds of incomplete micromelodies. Then we make a selection. We choose the ones we like best and we build the pieces around them, always keeping a concept in mind; to mentally filter the music, trying to hear sinister sounds, in which there is always something nostalgic, melancholic.
