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Difference between revisions of "The Golden Apples Of The Sun"
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| â | "[[The Golden Apples Of The Sun]]" is a 2006 interview by Kazumichi Sato/Hidetsugu Ito It originally appeared in the Japanese music magazine Cookie Scene. | + | "[[The Golden Apples Of The Sun]]" is a 2006 interview by Kazumichi Sato/Hidetsugu Ito. It originally appeared in the Japanese music magazine Cookie Scene. |
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== English translation == | == English translation == | ||
| + | '''*Note''': Translated using Google's Translate tool. | ||
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[[The Golden Apples Of The Sun]] | [[The Golden Apples Of The Sun]] | ||
| â | {{ | + | |
| + | "Road movie soundtrack in a psychedelic fantasy world". [[Boards of Canada]]'s new album, ''[[The Campfire Headphase]]'', is a masterpiece that clearly sets out the stance of being truly psychedelic. What kind of illusion did they see in the shimmering flames of the campfire (which happens to be another animal collective unit name, Campfire Songs)? | ||
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| + | Question creation, sentence / Kazumichi Sato <br> | ||
| + | Question creation / Translated by Hidetsugu Ito / Itsuko Ishimura | ||
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| + | {{question|[[Boards of Canada]] (BOC)'s new album ''[[The Campfire Headphase]]'' has finally been released. I think it's a wonderful work. First of all, I will give you a rough impression. Compared to the previous work, I felt that it was a work that was very pop in a sense and had more "spaces that even first-time listeners could easily enter." And, like the previous works, you can feel as if you are watching a movie, but I feel that the movie has become a more "general" work. .. How about?}} | ||
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| + | {{boc|[[Marcus Eoin]] (MA): As an instrumental band, whenever I make a record, I take the approach of making a travel or movie soundtrack. I think the previous album ''[[Music Has the Right to Children]]'' was the first album for many to know our music. It was an album like a soundtrack for documentaries and bizarre animations. The previous work, ''[[Geogaddi]]'', was geometric and claustrophobic, with the image of a dark experience or something sinful. And this is ''[[The Campfire Headphase]]'' which I made with the approach of an outdoor soundtrack for road movies in a psychedelic fantasy world. It was an attempt to make more positive and simple melody-oriented music, rather than sticking to the fine details of the samples.}} | ||
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| + | {{question|However, it has been more than three years since the release of the previous work. During that time, except for some remix work, BOC information was not well communicated. How have you spent the last three years? For example, did you go on a trip somewhere?}} | ||
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| + | {{boc|MA: After I finished recording ''[[Geogaddi]]'', there were some songs I didn't record. So we were wondering if we could make another new album soon. But we both had to find a new studio, and it took us a whole year to find one and settle down there. So I tried to start with the songs I left for ''[[Geogaddi]]'', but over time I realized that our tastes had changed. That's why I decided to start this album from scratch with a whole new look. Mike spent a lot of time in New Zealand, which is one of the reasons why the album was delayed. We turned off the switch called BOC and did what we were free to do. I was free to travel, adventure and act freely, freeing myself from the belief that I had to be in the studio 365 days a year. This is one of the reasons why the release interval of the album has been vacant, but in addition to that, when we make music, we make records very carefully in order to give sound and texture, so other I think it may take longer to complete the sound than a band.}} | ||
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| + | {{question|What was the most memorable event in the last three years? How do you think it is reflected in the new work?}} | ||
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| + | {{boc|MA: I had an accident in the French Alps, which had a positive effect on me. Thanks to that accident, I suddenly felt the existence of death, which made me want to raise the level of BOC activities and leave as many works as possible in the world. Through my personal life and BOC activities, some things have depressed me, but through that accident, I was able to work on BOC work with a new feeling and renewed spirit. That's right.}} | ||
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| + | {{question|According to the materials, Mike had a child in the summer of 2004. Congratulations! How are your children?}} | ||
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| + | {{boc|[[Michael Sandison]] (MI): Thank you. My daughter is fine. With her birth, 2004 is arguably the best year of my life. She actually showed up in the studio from time to time for a few months, just as we were finishing the recording for this album. She seems to like her music and it was our pleasure to see her reacting to her favorite music. Perhaps she has influenced her selection of songs on this album.}} | ||
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| + | {{question|By the way, you've been remixing Clouded and Boom VIP over the last three years.}} | ||
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| + | {{boc|MI: I've always been good friends with anticon artists. So I was always talking about collaborations and remixes. So when I got a remix request from Clouddead or Boom Bip, I could easily answer without hesitation. I've been asked to mix by bigger artists than them, but I've always refused. We want to be honest with our art and we don't want to sell our songs to the people who make the most money. In that respect, I loved the music made by Clouddead and Boom Bip. It's a little disappointing that Clouddead no longer exists, but what they've built isn't that weathered. That alone makes me happy. This isn't an official deal, but Doze One and Odd Nosdam said they'd remix our songs as material, so I'm hoping that someday I'll get the check ( Lol).}} | ||
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| + | {{question|Above all, the clouddead remix was the Mid-term Beatles, and it was very interesting because it had a sound that reminded me of it. What did you keep in mind when working on this remix?}} | ||
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| + | {{boc|A: I received a song from Clouddead that was just made for remixing, but I wanted to make it an angle that no one could predict. Many people expect that when they hear we've done a remix, they'll make a lot of sambles and an electronics version of the song. , Mike was messing around. That's why I noticed that the common chord progressions represented by The Beatles fit perfectly into this song. I thought it would be very interesting to do this arrangement for the whole song. I was tired of remixing just a lot of dance beats. That's why we usually extract only the vocal part and re-add the song. That remix work was a lot of fun. Because I wondered how interesting and crazy psychedelic sounds could be added to each section. But when we read a magazine that said we sampled the Beatles sound in that remix, I was a little confused. Because the sound of that remix was all the sound we made from nothing, and the song itself was a tribute to a song of the Electric Light Orchestra (ELO). But maybe ELO was paying homage to The Beatles in their song, so I can't say anything.}} | ||
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| + | {{question|Now, I would like to ask you various specific questions about the new album. First of all, was there a big difference in the production process compared to the previous work ''[[Geogaddi]]'' If so, what are the points?}} | ||
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| + | {{boc|MI: For the new recordings, I tried to use the way we used to make music. It was about recording live sound. I used a mic to capture all the mood and noise of the scene, layer those sounds, and sometimes use multi-track tape and sampling to do a lot of things. I also wanted to disappoint everyone's expectations for our records, such as a variety of easy-to-understand samples and fragmented children's voices. After all, I've heard other people doing the same thing as we do, and maybe I was influenced by our records, but now that's the way it is. It's even thought to be a joke. That's why I focused on the texture of the melody and sound in this work. The decisive difference from ''[[Geogaddi]]'' is that ''[[Geogaddi]]'' is made up of blocks. It was made in a way that the song was made by adding things little by little. But in ''[[The Campfire Headphase]]'', many of the songs are based on ideas that came from a jam session in our two studios. It's like using an instrument to find the core idea. Then it was like finishing the song by solidifying around that core.}} | ||
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| + | {{question|I had the impression that your previous sounds were wrapped in something like a mysterious "fog". However, this time it was fine and I feel that each sound can be heard clearly. Was this intentional?}} | ||
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| + | {{boc|MI: I think it's more positive to say that the sound is more positive than it is to be clear. I used to hide the sound. It was dull and foggy, and it was hard to find. I wanted to make it sound more like summer in this work. Maybe it's our reaction to the world situation. After all, the world today is darker than it was when we made ''[[Geogaddi]]''. So our aim was to make a record of escapism. I wanted to make a record that would provide a place for people to forget everything and go on a trip, a place for people to escape the darkness. Maybe in ''[[Geogaddi]]'' we were offering that darkness.}} | ||
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| + | {{question|Also, probably because "the sound became positive", the beat sounded very comfortable like the early rhythm box heard in the late 70's and early 80's.}} | ||
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| + | {{boc|MA: I've always been into electro in the early 80's. I like the beaty sounds of Herbie Hancock, Chaka Khan and the break bear scene. In fact, I was influenced by funk records and the rhythm of Earth, Wind & Fire songs. The sounds you hear on the album are what we actually played. For example, clapping, Mike is playing the drums. Rather than just sampling someone else's beat, I like to actually see how they created it. So I'm going to add those techniques and styles to my new album. It's really hard to elevate yourself, but it's better than stealing a tree in someone else's garden.}} | ||
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| + | {{question|This may also be due to the "sound becoming positive", but the overall natural tone of the guitar is very impressive. By the way, the guitar was featured in the Boom Bip remix mentioned above. Why did that happen?}} | ||
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| + | {{boc|MI: We've always been making music featuring guitars. I think it would be surprising if everyone knew what kind of songs we were making in extracurricular activities other than BOC. Before working as BOC, we both played in rock bands with drums, lead guitar and bass. You can hear guitar sampling on BOC records in the past, but it's been heavily modified so you probably won't even notice the sound of the guitar. But this time we wanted to keep the overall image of the music simple, so we decided not to hide the sound of the guitar strangely. But lock separately I didn't suddenly want to make an album that felt like a roll. This time I tried to get a unique guitar sound that you can hear in the late 70's movie soundtrack. It's not like listening to rock music, it's like Joni Mitchell, John Abercrombie, Zabriskie Point's guitar. Even now, I handle such elements synthetically. We sample our guitar sounds and add a twist to them, change the pitch, layer filters, and remove them.}} | ||
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| + | {{question|Do you also play these guitars yourself?}} | ||
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| + | {{boc|MI: That's right. Of course, we all play ourselves. We listen to so much different guitar music.}} | ||
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| + | {{question|This may be a bit unusual for a question to BOC, but who are the guitarists affected?}} | ||
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| + | {{boc|MI: In my case, one day I listened to The Velvet Underground, and the next day I listened to The Misfitz. This time I wanted to make it sound dry and audible outdoors. It's a little psychedelic guitar style. I wanted to make a sound that symbolizes freedom, the sound of The Doors and James Taylor.}} | ||
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| + | {{question|There was a song on the album that I felt in common with "How to combine guitar and electronic sound" in a track made by an artist called Bibio, who debuted from Mash at the recommendation of Marcus last year." What do you think of his music?}} | ||
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| + | {{boc|MA: Maybe I'm suffering from being affected by Bibio. But there is also the fact that the music he listens to is similar to the music we listen to. I know that Stephen of Bibio was initially influenced by our music, and I think this is a great synergy of so-called two-way. I listen to his music eight times more than everyone listens to his music, but he's really a music genius. 95% of his music is awesome and fits my wavelength perfectly. There aren't many artists like him who are always musically clear. He is particular about the texture of the sound. He values ââold sounds, damaged sounds, unfinished sounds, and so on. If there's a song that goes beyond the most beautiful songs in the world, I think it's a song that's old, it's about to crumble, it's almost silent, but it's still alive while struggling. Also, Steven has an amazing talent as a guitarist.}} | ||
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| + | {{question|Does this work contain field-recorded sounds other than transformers and electronic sounds? If so, what does it sound like?}} | ||
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| + | {{boc|MA: There are many recordings of the sound of space. I wanted to express the outdoor feeling in this album, but I didn't want it to be expressed too prominently. We recorded the sound of a large space, the sound of a different environment, but it's rather playing in the background, making our music even stronger. For example, "[['84 Pontiac Dream]]" is a recording of the hustle and bustle of the streets of New York. In the sound, an angry taxi driver and a fat American woman shopping are recorded. The reason why I used such a sound is that this song originally had such a background or concept. Also, most of the sounds in "[[Chromakey Dreamcoat]]" were recorded on the beach. We like to delusion various things from the song title. | ||
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| + | {{question|In particular, I think that many of your song titles stir your imagination along with the music. However, what surprised me a little this time was the title "[['84 Pontiac Dream]]". Speaking of Pontiac, I feel that the image of "sporty American cars" such as Trans Am is strong. The year 1984 is attached to it ... It's very different from the image of BOC. Why do you have a title like this?}} | ||
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| + | {{boc|MI: This song is about a man caught in a stasis in the middle of the city in bad weather. In the traffic, he envisions in his mind another fantasy self, riding a sports car and sprinting through the highways of wilderness. His fantasies are going on in his mind at the same time, but in the end he gets into a crappy car and returns to his true self caught in the traffic jams of the rainy city. I think we're really influenced by the movies and TV shows we watched as a kid. That's largely because I lived in Canada and had similar shows in the UK, but at one point I had a very strong image of North America, big TV logos, sports cars in the early 80's, stunt movies, For example, there was a time when it was disseminated by "Cannonball" and "Great Stuntman". There's music that's very analog, but it uses synthesizers, with the image of that "Running 5000km", the Pontiac Firebird, and the image of a race where Trans Am runs through the wilderness. I wanted to get closer to that sound. That's why this song shows consent to Glen A. Larson and Lorimar, who were involved in the production of the TV show at the time.}} | ||
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| + | {{question|This time, there is also the title "[[Dayvan Cowboy]". This "Day van" is also a car, isn't it?}} | ||
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| + | {{boc|MI: This song has a special story. It's a surfer's story, he thinks he's a hero. He has a very personal illusion. The illusion is that you go out into the wilderness, do various radical things, and go on a trip like that, where you stay in a van that you have customized yourself, but this bread is like Davan. It's called an astrovan, and it was a popular vehicle for traveling to North America in the late 70's and early 80's. For us, Davan is a virtue of the television and road movies of the time, with vibratoed synthesizer-heavy theme songs. Also, the graphics on the customized Davan body are an inspiration for us, reminiscent of the positive side of the so-called "Americana". I have the image of traveling and adventuring while interacting with nature. When we're writing songs, we often feel like we're making a soundtrack for someone's road trip. This time I felt like I was making an anthem to praise Davan.}} | ||
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| + | {{question|The album has titles such as "[[Into the Rainbow Vein]]", "[[Peacock Tail]]", "[Atraronchronon]" (= the name of the Iroquois country, which is an indigenous people of North America, meaning" people in the swamps "), and "[Tears From the Compound Eye]]" Contains songs. The place where these psychedelic keywords with nature and living things as motifs are mixed with fantastic electronic sounds and guitar sounds is exactly the "world of BOC". That's why the title with a car motif seemed surprising. Don't you love nature and the reasonable way of life that follows it? Still, I don't think I've fallen into mere "nature worship" or "nature admiration."}} | ||
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| + | {{boc|MA: I'm sure we're not making music to worship nature. It's true that we are influenced by nature, but that's just one factor. Music journalists often describe our work as being naturalistic, but that's our instinctive taste, and keep it in mind when writing songs. It's not like that. We get song inspiration and title ideas from different places and ideas. So, in our affairs, songs inspired by nature are exactly the same as songs inspired by cars and certain times. However, there is no difference in the process, just because the morals were inspired by different things. This album has the atmosphere of exploring, traveling, traveling by car, and getting lost in a surreal world where you can't understand what's going on along the way. .. It's a world that's unfolding in a completely unclear state, whether it's an actual journey or a fantasy journey that you envision in your head. And that world is set in a golden age when we tribute, places like North America and Canada in beautiful times that we personally remember, and times when things were simpler and happier than they are now. I'm here.}} | ||
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| + | {{question|Then, "Is" color "in Maa of "[[Slow This Bird Down]]" a metaphor?}} | ||
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| + | {{boc|MI: The title has two meanings. This is part of another fantasy journey that goes on in the journey that the album brings. In a superficial sense, this title is a word that pilots on small planes might say. It feels like the pilot has found a place to land and is giving instructions like, "There, let's loosen the speed of this small aircraft (This Bird) and land." But what I really wanted to convey is that this world is currently in a very terrible and deadlocked state. I think that's true politically, technically, and environmentally. That's why the title This Bird really refers to this world.}} | ||
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| + | {{question|The title of the last song is "[[Farewell Fire]]". There is a word "okuribi" in Japanese. "The last night of Obon, the fire that burns to send the love of our ancestors that we have been hospitable to." While listening to this song, the scene of such "okuribi" may come to my mind. What do you think about it? How did this song come about?}} | ||
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| + | {{boc|MA: That interpretation is good. For me, this song is a very sad song. But it doesn't mean anything concrete. It's like music that marks the end of something. It has a very lively and emotional end. Some of the songs on this album are well organized after a lot of work, including composition and sound process. But "[[Farewel Fire]" is different. This song was recorded live and I was trying to do it because it was midnight. In the United States, burning in the open is called "Farewell Fire". So it could be said that "[[Farewell Fire]]" is our own okuribi. Because this song was a song to send out the music that was created up to the present day.}} | ||
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| + | {{question|From "[[Farewell Fire]]", the album title is only ''[[The Campfire Headphase]]'', and literally "Flame of the farewell of the last night of the camp" comes to mind. What made you decide to use the word "campfire" in the album title this time (I think it's similar to BOC music, which connects to the night in the wilderness)?}} | ||
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| + | {{boc|MI: We see this album as a travel soundtrack. It can be a real trip or a fictitious trip. At the beginning of the album, there is a scene as if someone goes on a trip. And along the way, there are some sights and adventures, and the highlight of the trip is the summer campfire. This long journey may actually be just a few minutes ago in someone's mind surrounding the campfire. This campfire exists to remind you of those ideas. This is close to the theory that there is distortion in time, and the definition of time becomes vague in that world. It's a vague ambiguity between the real-life experience of a trip, the feeling of leaving the city and becoming wild, and the journey in your head, between the real and imaginary worlds.}} | ||
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| + | {{question|It's also very interesting that some suspicious word "headphase" sticks to it. By the way, in Japan, it is customary to go to camp as a school event when you are in elementary school or junior high school, and there are many people who experience campfire only at that time in their lifetime. Even if it isn't, I'll just go on vacation for high school and college students ... I was the same. From the phrase "The Campfire Headphase," I said, "A boy who experienced a few campfires- a state where his head was caught in the summer of adolescence" or "while being illuminated by the campfire (liquor). I think of a state in which my head is blown away (because of some other influence). How about this kind of interpretation?}} | ||
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| + | {{boc|MA: Yeah, I think it's a very good interpretation. We used to campfire when we were kids. There was a mysterious atmosphere in such an event. But even now that I'm an adult, I think I'm still influenced by that kind of mystery. You get drunk and lie down with a stone pillow beside the campfire. However, my head was extremely clear, and only my brain popped out of my actual head, and I got into an old sports car with rust and went out for a few weeks drive. This album is trying to express that feeling.}} | ||
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| + | {{question|By the way, during the interview with this magazine when the previous work was released, there was a statement that "I sympathize with the fundamental ethics of the psychedelic movement of the 1960s." On the other hand, there was a comment that "flower power was created by the media as fashion." I think your music inherits the "freedom" of the original music and expressions of the time. What do you think of this view?}} | ||
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| + | {{boc|MA: The idea of ââfreedom at that time was extremely exciting. You abandoned the custom and did something experimental. It went beyond drugs to music and art, and even to so-called consciousness reform. Some of the artists and bands of the time were very loyal to the concept, pushing up the possibilities of music and art. But at the same time, there were clearly companies and people trying to take advantage of the psychedelic and hippie epidemics commercially. They turned that fad into a commercial tool and tried to profit from it. In the end, those movements lost the spirit of freedom that the fashion brought about, and the world of free creation. I always think I shouldn't forget what the real artists at the time did, their reaction to the restrictions, their reaction to the restricted culture and society. So I believe I can be like them today. You don't have to dress like them, though. You don't even have to look like The Monkees. But I think we can understand the alternative culture of the 1960s and get rid of this boring and boring coziness and recreate the movement of the time.}} | ||
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| + | {{question|Do you have any plans for live performances in the near future?}} | ||
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| + | {{boc|MA: I'm just adjusting the upcoming live schedule. Perhaps next year, I'll be playing live again.}} | ||
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| + | {{question|This is the last question. Did you let Mike's daughter hear the new sound? What reaction did she have if she listened?}} | ||
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| + | {{boc|MI: She seems to like her too. She used to come to the studio when she was writing the song, but when she was recording "[[Peacock Tail]]", she often moved around and didn't stay still. .. So her favorite song is "[[Peacock Tail]]".}} | ||
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Revision as of 03:39, 5 March 2021
| title | The Golden Apples Of The Sun |
|---|---|
| author | Kazumichi Sato/Hidetsugu Ito |
| publication | Cookie Scene |
| date | 2006/01 |
| issue | 46 |
| pages | 18-21 |
"The Golden Apples Of The Sun" is a 2006 interview by Kazumichi Sato/Hidetsugu Ito. It originally appeared in the Japanese music magazine Cookie Scene.
English translation
*Note: Translated using Google's Translate tool.
The Golden Apples Of The Sun
"Road movie soundtrack in a psychedelic fantasy world". Boards of Canada's new album, The Campfire Headphase, is a masterpiece that clearly sets out the stance of being truly psychedelic. What kind of illusion did they see in the shimmering flames of the campfire (which happens to be another animal collective unit name, Campfire Songs)?
Question creation, sentence / Kazumichi Sato
Question creation / Translated by Hidetsugu Ito / Itsuko Ishimura
Boards of Canada (BOC)'s new album The Campfire Headphase has finally been released. I think it's a wonderful work. First of all, I will give you a rough impression. Compared to the previous work, I felt that it was a work that was very pop in a sense and had more "spaces that even first-time listeners could easily enter." And, like the previous works, you can feel as if you are watching a movie, but I feel that the movie has become a more "general" work. .. How about?
Marcus Eoin (MA): As an instrumental band, whenever I make a record, I take the approach of making a travel or movie soundtrack. I think the previous album Music Has the Right to Children was the first album for many to know our music. It was an album like a soundtrack for documentaries and bizarre animations. The previous work, Geogaddi, was geometric and claustrophobic, with the image of a dark experience or something sinful. And this is The Campfire Headphase which I made with the approach of an outdoor soundtrack for road movies in a psychedelic fantasy world. It was an attempt to make more positive and simple melody-oriented music, rather than sticking to the fine details of the samples.
However, it has been more than three years since the release of the previous work. During that time, except for some remix work, BOC information was not well communicated. How have you spent the last three years? For example, did you go on a trip somewhere?
MA: After I finished recording Geogaddi, there were some songs I didn't record. So we were wondering if we could make another new album soon. But we both had to find a new studio, and it took us a whole year to find one and settle down there. So I tried to start with the songs I left for Geogaddi, but over time I realized that our tastes had changed. That's why I decided to start this album from scratch with a whole new look. Mike spent a lot of time in New Zealand, which is one of the reasons why the album was delayed. We turned off the switch called BOC and did what we were free to do. I was free to travel, adventure and act freely, freeing myself from the belief that I had to be in the studio 365 days a year. This is one of the reasons why the release interval of the album has been vacant, but in addition to that, when we make music, we make records very carefully in order to give sound and texture, so other I think it may take longer to complete the sound than a band.
What was the most memorable event in the last three years? How do you think it is reflected in the new work?
MA: I had an accident in the French Alps, which had a positive effect on me. Thanks to that accident, I suddenly felt the existence of death, which made me want to raise the level of BOC activities and leave as many works as possible in the world. Through my personal life and BOC activities, some things have depressed me, but through that accident, I was able to work on BOC work with a new feeling and renewed spirit. That's right.
According to the materials, Mike had a child in the summer of 2004. Congratulations! How are your children?
Michael Sandison (MI): Thank you. My daughter is fine. With her birth, 2004 is arguably the best year of my life. She actually showed up in the studio from time to time for a few months, just as we were finishing the recording for this album. She seems to like her music and it was our pleasure to see her reacting to her favorite music. Perhaps she has influenced her selection of songs on this album.
By the way, you've been remixing Clouded and Boom VIP over the last three years.
MI: I've always been good friends with anticon artists. So I was always talking about collaborations and remixes. So when I got a remix request from Clouddead or Boom Bip, I could easily answer without hesitation. I've been asked to mix by bigger artists than them, but I've always refused. We want to be honest with our art and we don't want to sell our songs to the people who make the most money. In that respect, I loved the music made by Clouddead and Boom Bip. It's a little disappointing that Clouddead no longer exists, but what they've built isn't that weathered. That alone makes me happy. This isn't an official deal, but Doze One and Odd Nosdam said they'd remix our songs as material, so I'm hoping that someday I'll get the check ( Lol).
Above all, the clouddead remix was the Mid-term Beatles, and it was very interesting because it had a sound that reminded me of it. What did you keep in mind when working on this remix?
A: I received a song from Clouddead that was just made for remixing, but I wanted to make it an angle that no one could predict. Many people expect that when they hear we've done a remix, they'll make a lot of sambles and an electronics version of the song. , Mike was messing around. That's why I noticed that the common chord progressions represented by The Beatles fit perfectly into this song. I thought it would be very interesting to do this arrangement for the whole song. I was tired of remixing just a lot of dance beats. That's why we usually extract only the vocal part and re-add the song. That remix work was a lot of fun. Because I wondered how interesting and crazy psychedelic sounds could be added to each section. But when we read a magazine that said we sampled the Beatles sound in that remix, I was a little confused. Because the sound of that remix was all the sound we made from nothing, and the song itself was a tribute to a song of the Electric Light Orchestra (ELO). But maybe ELO was paying homage to The Beatles in their song, so I can't say anything.
Now, I would like to ask you various specific questions about the new album. First of all, was there a big difference in the production process compared to the previous work Geogaddi If so, what are the points?
MI: For the new recordings, I tried to use the way we used to make music. It was about recording live sound. I used a mic to capture all the mood and noise of the scene, layer those sounds, and sometimes use multi-track tape and sampling to do a lot of things. I also wanted to disappoint everyone's expectations for our records, such as a variety of easy-to-understand samples and fragmented children's voices. After all, I've heard other people doing the same thing as we do, and maybe I was influenced by our records, but now that's the way it is. It's even thought to be a joke. That's why I focused on the texture of the melody and sound in this work. The decisive difference from Geogaddi is that Geogaddi is made up of blocks. It was made in a way that the song was made by adding things little by little. But in The Campfire Headphase, many of the songs are based on ideas that came from a jam session in our two studios. It's like using an instrument to find the core idea. Then it was like finishing the song by solidifying around that core.
I had the impression that your previous sounds were wrapped in something like a mysterious "fog". However, this time it was fine and I feel that each sound can be heard clearly. Was this intentional?
MI: I think it's more positive to say that the sound is more positive than it is to be clear. I used to hide the sound. It was dull and foggy, and it was hard to find. I wanted to make it sound more like summer in this work. Maybe it's our reaction to the world situation. After all, the world today is darker than it was when we made Geogaddi. So our aim was to make a record of escapism. I wanted to make a record that would provide a place for people to forget everything and go on a trip, a place for people to escape the darkness. Maybe in Geogaddi we were offering that darkness.
Also, probably because "the sound became positive", the beat sounded very comfortable like the early rhythm box heard in the late 70's and early 80's.
MA: I've always been into electro in the early 80's. I like the beaty sounds of Herbie Hancock, Chaka Khan and the break bear scene. In fact, I was influenced by funk records and the rhythm of Earth, Wind & Fire songs. The sounds you hear on the album are what we actually played. For example, clapping, Mike is playing the drums. Rather than just sampling someone else's beat, I like to actually see how they created it. So I'm going to add those techniques and styles to my new album. It's really hard to elevate yourself, but it's better than stealing a tree in someone else's garden.
This may also be due to the "sound becoming positive", but the overall natural tone of the guitar is very impressive. By the way, the guitar was featured in the Boom Bip remix mentioned above. Why did that happen?
MI: We've always been making music featuring guitars. I think it would be surprising if everyone knew what kind of songs we were making in extracurricular activities other than BOC. Before working as BOC, we both played in rock bands with drums, lead guitar and bass. You can hear guitar sampling on BOC records in the past, but it's been heavily modified so you probably won't even notice the sound of the guitar. But this time we wanted to keep the overall image of the music simple, so we decided not to hide the sound of the guitar strangely. But lock separately I didn't suddenly want to make an album that felt like a roll. This time I tried to get a unique guitar sound that you can hear in the late 70's movie soundtrack. It's not like listening to rock music, it's like Joni Mitchell, John Abercrombie, Zabriskie Point's guitar. Even now, I handle such elements synthetically. We sample our guitar sounds and add a twist to them, change the pitch, layer filters, and remove them.
Do you also play these guitars yourself?
MI: That's right. Of course, we all play ourselves. We listen to so much different guitar music.
This may be a bit unusual for a question to BOC, but who are the guitarists affected?
MI: In my case, one day I listened to The Velvet Underground, and the next day I listened to The Misfitz. This time I wanted to make it sound dry and audible outdoors. It's a little psychedelic guitar style. I wanted to make a sound that symbolizes freedom, the sound of The Doors and James Taylor.
There was a song on the album that I felt in common with "How to combine guitar and electronic sound" in a track made by an artist called Bibio, who debuted from Mash at the recommendation of Marcus last year." What do you think of his music?
MA: Maybe I'm suffering from being affected by Bibio. But there is also the fact that the music he listens to is similar to the music we listen to. I know that Stephen of Bibio was initially influenced by our music, and I think this is a great synergy of so-called two-way. I listen to his music eight times more than everyone listens to his music, but he's really a music genius. 95% of his music is awesome and fits my wavelength perfectly. There aren't many artists like him who are always musically clear. He is particular about the texture of the sound. He values ââold sounds, damaged sounds, unfinished sounds, and so on. If there's a song that goes beyond the most beautiful songs in the world, I think it's a song that's old, it's about to crumble, it's almost silent, but it's still alive while struggling. Also, Steven has an amazing talent as a guitarist.
Does this work contain field-recorded sounds other than transformers and electronic sounds? If so, what does it sound like?
{{boc|MA: There are many recordings of the sound of space. I wanted to express the outdoor feeling in this album, but I didn't want it to be expressed too prominently. We recorded the sound of a large space, the sound of a different environment, but it's rather playing in the background, making our music even stronger. For example, "'84 Pontiac Dream" is a recording of the hustle and bustle of the streets of New York. In the sound, an angry taxi driver and a fat American woman shopping are recorded. The reason why I used such a sound is that this song originally had such a background or concept. Also, most of the sounds in "Chromakey Dreamcoat" were recorded on the beach. We like to delusion various things from the song title.
In particular, I think that many of your song titles stir your imagination along with the music. However, what surprised me a little this time was the title "'84 Pontiac Dream". Speaking of Pontiac, I feel that the image of "sporty American cars" such as Trans Am is strong. The year 1984 is attached to it ... It's very different from the image of BOC. Why do you have a title like this?
MI: This song is about a man caught in a stasis in the middle of the city in bad weather. In the traffic, he envisions in his mind another fantasy self, riding a sports car and sprinting through the highways of wilderness. His fantasies are going on in his mind at the same time, but in the end he gets into a crappy car and returns to his true self caught in the traffic jams of the rainy city. I think we're really influenced by the movies and TV shows we watched as a kid. That's largely because I lived in Canada and had similar shows in the UK, but at one point I had a very strong image of North America, big TV logos, sports cars in the early 80's, stunt movies, For example, there was a time when it was disseminated by "Cannonball" and "Great Stuntman". There's music that's very analog, but it uses synthesizers, with the image of that "Running 5000km", the Pontiac Firebird, and the image of a race where Trans Am runs through the wilderness. I wanted to get closer to that sound. That's why this song shows consent to Glen A. Larson and Lorimar, who were involved in the production of the TV show at the time.
{{question|This time, there is also the title "[[Dayvan Cowboy]". This "Day van" is also a car, isn't it?}}
MI: This song has a special story. It's a surfer's story, he thinks he's a hero. He has a very personal illusion. The illusion is that you go out into the wilderness, do various radical things, and go on a trip like that, where you stay in a van that you have customized yourself, but this bread is like Davan. It's called an astrovan, and it was a popular vehicle for traveling to North America in the late 70's and early 80's. For us, Davan is a virtue of the television and road movies of the time, with vibratoed synthesizer-heavy theme songs. Also, the graphics on the customized Davan body are an inspiration for us, reminiscent of the positive side of the so-called "Americana". I have the image of traveling and adventuring while interacting with nature. When we're writing songs, we often feel like we're making a soundtrack for someone's road trip. This time I felt like I was making an anthem to praise Davan.
{{{1}}}
MA: I'm sure we're not making music to worship nature. It's true that we are influenced by nature, but that's just one factor. Music journalists often describe our work as being naturalistic, but that's our instinctive taste, and keep it in mind when writing songs. It's not like that. We get song inspiration and title ideas from different places and ideas. So, in our affairs, songs inspired by nature are exactly the same as songs inspired by cars and certain times. However, there is no difference in the process, just because the morals were inspired by different things. This album has the atmosphere of exploring, traveling, traveling by car, and getting lost in a surreal world where you can't understand what's going on along the way. .. It's a world that's unfolding in a completely unclear state, whether it's an actual journey or a fantasy journey that you envision in your head. And that world is set in a golden age when we tribute, places like North America and Canada in beautiful times that we personally remember, and times when things were simpler and happier than they are now. I'm here.
Then, "Is" color "in Maa of "Slow This Bird Down" a metaphor?
MI: The title has two meanings. This is part of another fantasy journey that goes on in the journey that the album brings. In a superficial sense, this title is a word that pilots on small planes might say. It feels like the pilot has found a place to land and is giving instructions like, "There, let's loosen the speed of this small aircraft (This Bird) and land." But what I really wanted to convey is that this world is currently in a very terrible and deadlocked state. I think that's true politically, technically, and environmentally. That's why the title This Bird really refers to this world.
The title of the last song is "Farewell Fire". There is a word "okuribi" in Japanese. "The last night of Obon, the fire that burns to send the love of our ancestors that we have been hospitable to." While listening to this song, the scene of such "okuribi" may come to my mind. What do you think about it? How did this song come about?
{{boc|MA: That interpretation is good. For me, this song is a very sad song. But it doesn't mean anything concrete. It's like music that marks the end of something. It has a very lively and emotional end. Some of the songs on this album are well organized after a lot of work, including composition and sound process. But "[[Farewel Fire]" is different. This song was recorded live and I was trying to do it because it was midnight. In the United States, burning in the open is called "Farewell Fire". So it could be said that "Farewell Fire" is our own okuribi. Because this song was a song to send out the music that was created up to the present day.}}
From "Farewell Fire", the album title is only The Campfire Headphase, and literally "Flame of the farewell of the last night of the camp" comes to mind. What made you decide to use the word "campfire" in the album title this time (I think it's similar to BOC music, which connects to the night in the wilderness)?
MI: We see this album as a travel soundtrack. It can be a real trip or a fictitious trip. At the beginning of the album, there is a scene as if someone goes on a trip. And along the way, there are some sights and adventures, and the highlight of the trip is the summer campfire. This long journey may actually be just a few minutes ago in someone's mind surrounding the campfire. This campfire exists to remind you of those ideas. This is close to the theory that there is distortion in time, and the definition of time becomes vague in that world. It's a vague ambiguity between the real-life experience of a trip, the feeling of leaving the city and becoming wild, and the journey in your head, between the real and imaginary worlds.
It's also very interesting that some suspicious word "headphase" sticks to it. By the way, in Japan, it is customary to go to camp as a school event when you are in elementary school or junior high school, and there are many people who experience campfire only at that time in their lifetime. Even if it isn't, I'll just go on vacation for high school and college students ... I was the same. From the phrase "The Campfire Headphase," I said, "A boy who experienced a few campfires- a state where his head was caught in the summer of adolescence" or "while being illuminated by the campfire (liquor). I think of a state in which my head is blown away (because of some other influence). How about this kind of interpretation?
MA: Yeah, I think it's a very good interpretation. We used to campfire when we were kids. There was a mysterious atmosphere in such an event. But even now that I'm an adult, I think I'm still influenced by that kind of mystery. You get drunk and lie down with a stone pillow beside the campfire. However, my head was extremely clear, and only my brain popped out of my actual head, and I got into an old sports car with rust and went out for a few weeks drive. This album is trying to express that feeling.
By the way, during the interview with this magazine when the previous work was released, there was a statement that "I sympathize with the fundamental ethics of the psychedelic movement of the 1960s." On the other hand, there was a comment that "flower power was created by the media as fashion." I think your music inherits the "freedom" of the original music and expressions of the time. What do you think of this view?
MA: The idea of ââfreedom at that time was extremely exciting. You abandoned the custom and did something experimental. It went beyond drugs to music and art, and even to so-called consciousness reform. Some of the artists and bands of the time were very loyal to the concept, pushing up the possibilities of music and art. But at the same time, there were clearly companies and people trying to take advantage of the psychedelic and hippie epidemics commercially. They turned that fad into a commercial tool and tried to profit from it. In the end, those movements lost the spirit of freedom that the fashion brought about, and the world of free creation. I always think I shouldn't forget what the real artists at the time did, their reaction to the restrictions, their reaction to the restricted culture and society. So I believe I can be like them today. You don't have to dress like them, though. You don't even have to look like The Monkees. But I think we can understand the alternative culture of the 1960s and get rid of this boring and boring coziness and recreate the movement of the time.
Do you have any plans for live performances in the near future?
MA: I'm just adjusting the upcoming live schedule. Perhaps next year, I'll be playing live again.
This is the last question. Did you let Mike's daughter hear the new sound? What reaction did she have if she listened?
MI: She seems to like her too. She used to come to the studio when she was writing the song, but when she was recording "Peacock Tail", she often moved around and didn't stay still. .. So her favorite song is "Peacock Tail".
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