Difference between revisions of "Der Eckige Kreis"

Latest revision as of 12:57, 25 October 2022

title	Der Eckige Kreis
author	Holger In't Veld/Heiko Zwirner
publication	Spex
date	2002/04
issue	253
pages	72-75

Der Eckige Kreis was an interview (in German) by Holger In't Veld/Heiko Zwirner originally published April 2002 in Spex magazine Number 253 pp. 72-75.

Original Text[edit]

Der Eckige Kreis

Die Geschichte beginnt in einer Vollmondnacht. Eine Gruppe Pubertierender ist in ihrem Lieblingsclub zusammengekommen, einer Burgruine im Nordosten Schottlands. Sie tragen sechseckige Amulette und haben Tonbandgeräte, Kabel, Verstärker, Musikinstrumente und Projektoren mitgebracht. Und einen dieselgetriebenen Stromgenerator, der als friedfertiger Drache unten im Festungsgraben vor sich hinbrummt. Ein Feuer wirft flackerndes Licht auf die alten Steine. Durch die Schatten erscheinen Aufnahmen von Wäldern. Die Filmrolle stammt aus dem Archiv des National Film Board of Canada. Seltsame Geräusche hallen durch die Nacht. Elektronischer Puls, langsam drehende Spieluhren, Kinderlieder, digitales Sirren und rückwärtslaufende Sprachfetzen aus Radio und Fernsehen.

Der Abendnebel über dem Moor hat sich verzogen. Marcus Eoin lehnt an der Bassbox. Er hält einen Käfer in der Hand, den er vor den Schuhen seiner tanzenden Freunde gerettet hat, betrachtet ihn aufmerksam und setzt ihn vorsichtig zurück ins Gras. Etwas abseits schaufelt Michael Sandison eine Grube. Als sie mannsgroß ist, legt er sich hinein und starrt in den klaren Nachthimmel.

In einem Proberaum weiter unten im Süden schreit eine Gitarre. Kevin Shields probt zum ersten Mal mit seiner Band My Bloody Valentine. Ein paar Meilen poshwärts fährt Jimmy Page seinen Aston Martin in die Hotelgarage. Er ist nicht mehr nüchtern. Drüben auf dem Kontinent testen Florian Schneider-Eissieben und Ralf Hütter das programmierbare Oberheim Stage-Piano. Es macht leise »Pling«. George Orwell dreht sich im Grabe herum. Wir schreiben 1984 und die Welt ist für einige alt, für andere neu.

Michael ist 13 Jahre alt, Marcus 14. Marcus bewegt sich zu den langsamen, mulchigen Rhythmen seiner Musik. Michael richtet sich auf. Zahlen, Buchstaben und geometrische Figuren kreisen in seinem Kopf und ergeben immer neue Bedeutungsketten. Michael Sandison. A Dimension Clash. Hi Sonic Leadsman. Held As lnsomniac. Handline Mosaics. Marcus Eoin. Mosaic Rune. lnsure Coma. Sour Cinema. No Music Era. A Crime On Us.

Das Sechseck. Immer wieder das Sechseck. Einmal mehr hatte man sich bei Warp darum bemüht, dem Buch der Prama-Strategien ein neues Kapitel hinzuzufügen. Im Netz tippten sich die Newsgrouper wund: welche Tracks, wo wie wann und sind wirklich Teufelsköpfe im Artwork? Um keine Missverständnisse aufkommen zu lassen, wurden in England, Schottland, Japan, Frankreich und New York Kirchen für die »Geogaddi«-Listening Session angemietet. Plastik-Hexagons ersetzten die Gebetsbücher. In Deutschland musste der Rote Salon der Volksbühne ausreichen, um einen besonders tristen Berliner Januarnachmittag mit Schleifen, Drones und Bildern zu veredeln. Auf der Leinwand: organische/anorganische Sechsecke und immer wieder die Farbe, mit der sich »Geoqaddi« verpackt: rost-biut-alt-rot.

»Geogaddi« holt aus zur Imax-Musik, Widescreen-Panoramen kündigen sich an:

Gletscher, Lavaströme unter Wasser, die Sonne über dem Mount Everest. Aber kurz bevor sie ins Pittoreske abschweift, erinnert sich diese Musik daran, dass sie gemacht ist und nicht gegeben. Der Projektor im Imax-Theater gerät aus dem Lauf, die Bilder verziehen sich. Die Platte beginnt zu eiern. Sie verweigert sich der Einheit von Ton, Bild und Gefühl. Die Strukturen öffnen sich. Referenzen: Autechre hier, The Orb dort. Und da hinten in der Ecke grinst Boyd Rice. Nicht ganz die reine Mathematik, nicht ganz der fiese Kolorismus. Das Runde rollt ins Eckige. Ein bisschen Magick ist im Spiel. Und ein bisschen Horror. Der in Zeitlupe. Das Kettenkarussel kreist noch, aber es ist leer, die Kinder springen plötzlich gaaanz langsam auf und ab, das Bild wird körniger, der Film reißt. Dreht euch nicht um! Es passiert viel im Hintergrund und nicht alles ist gut.

Enter Neunziger. My Bloody Valentine veröffentlichen »Loveless«, den Schwanengesang des lndierock. Kraftwerk sind in ihrem eigenen Mix. Mike, Marcus und ihre Freunde treffen sich immer noch in der Ruine. Mit jedem Mal werden es mehr. Aus den beiden ist eine Band geworden, der musikalische Teil des Kollektivs Boards Of Canada, wiederum Teil des Kollektivs Hexagon Sun. So heißt auch das Studio in der Nähe. Ihr Studio. Marcus und Mike sind Techno-Hippies. Sie sind auf dem Land geblieben.

Mike: Es ist wichtig für mich, meine Musik da zu schreiben, wo ich lebe. Ich habe auch schon Stücke in der Stadt geschrieben, aber die klingen ganz anders. In einer urbanen Umgebung habe ich nie den Raum im Kopf, den ich brauche, um in meiner Musik aufzugehen.

Die Natur scheint für euch eine wichtige Inspiration zu sein. Nehmt ihr Natur als geordnet oder als chaotisch wahr?

Marcus: Die Natur erscheint so lange chaotisch, bis man ganz genau hinschaut und bemerkt, dass sie von den immer gleichen Mustern organisiert ist. Wenn man sich zu sehr in dieses Thema vertieft, wird es überwältigend, fast beängstigend - die Idee, dass man alles in der Natur durch Mathematik beschreiben kann.

Stimmt es, dass ihr den Goldenen Schnitt als Ordnungsprinzip für eure Tracks verwendet? Haltet ihr euch an das klassische Verständnis von Schönheit?

Mike: Wir haben den Goldenen Schnitt immer mal wieder als Kompositionsgrundlage benutzt. Wir haben herumexperimentiert und Melodien mit Hilfe mathematischer Gleichungen generiert, aber generell orientiert sich unsere Musik an keinem Code. Alles was die Kraft hat, dich zu bewegen, alles was geordnet ist oder perfekt, ist schön. Ich finde zum Beispiel alle Tiere schön, auch die fiesen.

Die Welt der Boards of Canada ist bevölkert von Kindern. Haben Kinder einen direkteren Zugang zur Natur und ihrer Schönheit?

Marcus: Kinder haben mit Sicherheit einen direkteren Bezug zur Natur. Als Erwachsene staunen wir nicht mehr über die kleinen, gewöhnlichen Dinge. Ich denke, Erwachsene werden blind gegenüber den kleinen wichtigen Dingen, etwa für so etwas wie der Farbe eines Insekts. Unser Gehirn verarbeitet diese Details nur noch als Hintergrund-Rauschen. Deshalb sind Kinder von winzigen Dingen wie Murmeln und Würmern fasziniert, während wir Erwachsenen sie einfach ignorieren.

Boards of Canada rütteln an den Pforten der Wahrnehmung. Das Raum-Zeit-Kontinuum hat viele Fenster und dahinter geht's noch weit und weiter. Die mit psychedelisch nur ungenügend beschriebenen Chöre und Texturen, rückwärtslaufenden Spuren, die ungreifbare Distanz, in der sich die Musik abspielt, das immer wieder an »Loveless« erinnernde wow & flutter (vulg. »eiern«) - alles Futter für die Schnappmechanismen der Psycho-Heads. »Music Has The Right To Children« steht in der NME-Liste der »Psychedelic Records of All Time« auf Platz 25. »Geogaddi« dürfte höher einsteigen. Während sich bei My Bloody Valentine durch die Abwesenheit von Stille eine Totalität des reinen Klangs manifestiert, operieren Eoin und Sandison immer wieder überfallartig mit semantischen Einheiten, deren Unmittelbarkeit dem friedlich dahingleitenden Headphonauten so mir nichts dir nichts den Teppich unter dem Hintern wegzieht. Word up. Bei »Alpha and Orneqa« sagt eine weibliche Stimme plötzlich »Yellow«, Einfach nur: »Yellow«, Bei »1969« fällt die Zeile »969 in the Sunshine« aus dem Vocoder und stellt sich wie ein neonschimmerndes Hologramm in den Raum. Wer das mit erweiterten Synapsen zum ersten Mal hört, dürfte diesen Moment für den Rest seines Lebens nicht mehr vergessen.

Nicht nur die Vokalspuren, auch viele Teile der Musik erscheinen rückwärts gespielt.

Marcus: Ja, in einigen Fällen haben wir den Track geschrieben, aufgenommen, rückwärts abgespielt, die Reverse-Version wiederum neu eingespielt und sie letztendlich wieder umgedreht.

Gibt es ein Kriterium für eure Auswahl von Stimmen? Versucht ihr, unterschwellige Botschaften zu platzieren?

Mike: Wir benutzen nur Stimmen, deren Klang wir mögen. Die meisten stammen von Leuten, die wir kennen und gefragt haben. Manchmal benutzen wir Stimmen als Instrument in einer Melodie, so wie in »ln A Beautiful Place Out In The Country« oder »Sunshine Recorde« auf der neuen Platte. In anderen Fällen verstecken wir Stimmen so, dass die Hörer ihre Anwesenheit gar nicht bemerken, so wie in »An Eagle In Your Mind« oder »Alpha and Omega«, Es ist interessant zu sehen, ob es einen Effekt hat. Wir sehen sie als kleine Bündel von Information und sind neugierig, ob es jemand schafft, sie zu hören.

Die Suggestivkraft dieser Informationsbündel ist schon erstaunlich. Eines der weniger subtilen Stücke heißt »The Devil ls In The Detail« und es hält, was es verspricht. Ein Kind weint, während sich eine Frau mit heruntergepichter, zusätzlich verflutterter Stimme in Selbsthypnose versetzt. Ein Musik gewordener Alptraum.

Mike: Ich schreibe Musik in meinen Träumen. Manchmal höre ich so dermaßen erstaunliche komplexe Melodien im Traum, dass ich davon aufwache. Aber in der Zeit, in der ich ein Instrument oder ein Aufnahmegerät suche, ist die Musik wieder verschwunden. Das ist eine extrem frustrierende Angelegenheit.

Ihr müsst eure Musik ohne Strom spielen. Was für Instrumente/Gerätschaften würdet ihr wählen?

Mike: Wir sind beide Gitarristen, ich bin Drummer, also kämen wir schon zurecht. Ich besitze sieben oder acht akustische Gitarren. Wir haben sogar eine komplett akustische Version von »Music Has The Right To Children« aufgenommen, die noch niemand jemals gehört hat. Vielleicht veröffentlichen wir sie eines Tages, wenn sich jemand dafür interessiert.

Euer Kürzel ist fast das gleiche wie das von Blue Öyster Cult. Seht ihr eine Verbindung?

Mike: Wenn du uns einen Umlaut gibst, klingen wir genau gleich.

Wenn Satan existiert, wo manifestiert er sich?

Marcus: Im Internet.

Enter 2002. Noch keine Tribal Gatherings dieses Jahr. Nebel liegt über Schottland - mist, myst, haze, fog, dust, smoke, shade, clouds und was auch immer noch an Gasförmigkeiten zwischen Himmel und Hölle herumflottiert. Der Beautiful Place Out In The Country hat gerade seine Blair Witch-Woche. Weiter unten im Süden wird Kevin Shields auf der Straße angesprochen und muss eine »Loveless«-CD signieren. »Geogaddi« steigt in Britannien auf Platz 21 in die Charts ein. Jimmy Page streichelt seinen Pentagramm-Ring. Er ist komplett nüchtern. Florian Schneider-Eissieben und Ralf Hütter testen den neuen Bordeaux-Jahrgang. Es macht leise »gluck«.

BOC veröffentlichten auch unter dem Pseudonym »Hell lnterface«. Um die CD auf die Gesamtlänge von 66 Minuten und 6 Sekunden zu bringen, haben sie noch ein paar Bytes Stille angefügt.

»Geogaddi« von Boards Of Canada ist bei Warp/Zamba erschienen.

Translated text[edit]

The following text has been translated by butlerianApostle.

The base translation was done with DeepL, a neural machine translation service, followed by manual corrections of any weird translations or choices of words.^[1]

The Square Circle

by Holger In't Veld and Heiko Zwirner

The story begins on a full moon night. A group of pubescents has gathered at their favorite club, a ruined castle in northeastern Scotland. They wear hexagonal amulets and have brought tape recorders, cables, amplifiers, musical instruments and projectors. And a diesel-powered electricity generator that hums away like a placid dragon down in the moat. A fire casts flickering light on the old stones. Shots of forests appear through the shadows. The film reel comes from the archives of the National Film Board of Canada. Strange sounds echo through the night. Electronic pulses, slowly turning music boxes, nursery rhymes, digital buzzing, and backward snippets of speech from radio and television.

The evening fog over the moor has lifted. Marcus Eoin leans against the bass box. He holds a beetle he has rescued from the shoes of his dancing friends, looks at it intently, and carefully places it back in the grass. A little off to the side, Michael Sandison is digging a pit. When it is as big enough for a man, he lies down in it and stares up at the clear night sky.

In a rehearsal room farther south, a guitar screams. Kevin Shields is rehearsing for the first time with his band, My Bloody Valentine. A few miles "poshwards", Jimmy Page drives his Aston Martin into the hotel garage. He's no longer sober. Over on the continent, Florian Schneider-Eissieben and Ralf Hütter test the programmable Oberheim stage piano. It makes a quiet "pling." George Orwell is turning in his grave. We write 1984 and the world is old for some, new for others.

Michael is 13 years old, Marcus 14. Marcus moves to the slow, mulchy rhythms of his music. Michael straightens up. Numbers, letters, and geometric figures circle in his head, always creating new chainns of meaning. Michael Sandison. A Dimension Clash. Hi Sonic Leadsman. Held As lnsomniac. Handline Mosaics. Marcus Eoin. Mosaic Rune. lnsure Coma. Sour Cinema. No Music Era. A Crime On Us.

The Hexagon. Again and again the hexagon. Once again Warp had tried to add a new chapter to the book of Prama strategies. On the net, newsgroupers were typing away: which tracks, where and when, and are there really devil heads in the artwork? To avoid any misunderstandings, churches in England, Scotland, Japan, France and New York were rented for the Geogaddi listening session. Plastic hexagons replaced the prayer books. In Germany, the Red Salon of the Volksbühne had to suffice to enhance a particularly dreary Berlin January afternoon with loops, drones and images. On the canvas: organic/inorganic hexagons and, again and again, the color with which Geogaddi wraps itself: rust-blood-red.

Geogaddi takes off to Imax music, widescreen panoramas announce themselves:

Glaciers, lava flows under water, the sun over Mount Everest. But just before it digresses into the picturesque, this music remembers that it is made, not given. The projector in the Imax theater goes off the rails, the images warp. The record begins to wobble. It refuses the unity of sound, image and feeling. The structures open up. References: Autechre here, The Orb there. And back there in the corner, Boyd Rice grins. Not quite the pure mathematics, not quite the nasty colorism. The round rolls into the square. There's a bit of magick involved. And a bit of horror. The one in slow motion. The chairoplane is still circling, but it's empty, the children suddenly jump up and down very slowly, the image becomes more grainy, the film tears. Don't turn around! There's a lot happening in the background and not everything is good.

Enter the 90s, My Bloody Valentine release "Loveless", the swan song of indie rock. Kraftwerk are in their own mix. Mike, Marcus and their friends still meet in the ruin. With each time there are more of them. They have become a band, the musical part of the collective Boards Of Canada, in turn part of the collective Hexagon Sun. That's also the name of the studio nearby. Their studio. Marcus and Mike are techno hippies. They have stayed in the country.

Mike: It's important for me to write my music where I live. I've also written pieces in the city, but they sound very different. In an urban environment, I never have the space in my head that I need to be absorbed in my music.

Nature seems to be an important inspiration for you. Do you perceive nature as orderly or chaotic?

Marcus: Nature seems chaotic until you look really closely and notice that it is organized by the same patterns over and over again. If you get too deep into this, it becomes overwhelming, almost scary - the idea that you can describe everything in nature through mathematics.

Is it true that you use the golden ratio as an organizing principle for your tracks? Do you adhere to the classical understanding of beauty?

Mike: We've used the golden ratio as a basis for composition every now and then. We've experimented around and generated melodies using mathematical equations, but generally our music doesn't follow any code. Everything that has the power to move you, everything that is orderly or perfect, is beautiful. For example, I think all animals are beautiful, even the mean ones.

The world of Boards of Canada is populated by children. Do children have a more direct approach to nature and its beauty?

Marcus: Children certainly have a more direct connection to nature. As adults, we no longer marvel at the small, ordinary things. I think adults become blind to the small important things, such as something like the color of an insect. Our brains only process these details as background noise. That's why children are fascinated by tiny things like marbles and worms, while we adults just ignore them.

Boards of Canada rock the doors of perception. The space-time continuum has many windows and beyond them it goes far and wide. The choruses and textures insufficiently described with psychedelic, backward tracks, the intangible distance in which the music takes place, the wow & flutter (vulg. "wobble") always reminiscent of Loveless - all fodder for the snapping mechanisms of psycho heads. Music Has The Right To Children is ranked #25 in the NME's list of "Psychedelic Records of All Time," with Geogaddi likely to enter higher. While My Bloody Valentine manifests a totality of pure sound through the absence of silence, Eoin and Sandison repeatedly operate in an ambush-like manner with semantic units whose directness pulls the rug out from under the peacefully gliding headphones. Word up. On "Alpha And Omega" a female voice suddenly says "Yellow", Just: "Yellow", On "1969" the line "1969 in the Sunshine" falls out of the vocoder and stands like a neon-shimmering hologram in the room. Whoever hears this with expanded synapses for the first time is unlikely to forget this moment for the rest of his life.

Not only the vocal tracks, but a lot of the music seems to be played backwards.

Marcus: Yes, in some cases we wrote the track, recorded it, played it backwards, re-recorded the reverse version again, and finally reversed it.

Is there a criteria for your selection of voices? Do you try to place subliminal messages?

Mike: We only use voices whose sound we like. Most of them are from people we know and have asked. Sometimes we use voices as an instrument in a melody, like in "In a Beautiful Place out in the Country" or "Sunshine Recorder" on the new record. In other cases we hide voices so that listeners don't even notice their presence, like in "An Eagle in Your Mind" or "Alpha And Omega," It will be interesting to see if it has an effect. We see them as little bundles of information and are curious to see if anyone manages to hear them.

The suggestive power of these bundles of information is quite amazing. One of the less subtle pieces is called "The Devil Is In The Details" and it delivers on its promise. A child cries, while a woman with a down-pitched, additionally cursed voice puts herself into self-hypnosis. A nightmare turned into music.

Mike: I write music in my dreams. Sometimes I hear such amazing complex melodies in my dreams that it wakes me up. But by the time I'm looking for an instrument or recording device, the music has disappeared again. This is an extremely frustrating thing.

You have to play your music without electricity. What kind of instruments/equipment would you choose?

Mike: We're both guitarists, I'm a drummer, so we'd be fine. I own seven or eight acoustic guitars. We even recorded a completely acoustic version of "Music Has The Right To Children" that no one has ever heard. Maybe one day we'll release it if someone is interested.

Your moniker is almost the same as Blue Öyster Cult. Do you guys see a connection?

Mike: If you give us an umlaut, we sound exactly the same.

If Satan exists, where does he manifest himself?

Marcus: On the internet.

Enter 2002. No tribal gatherings yet this year. Fog is over Scotland - mist, myst, haze, fog, dust, smoke, shade, clouds, and whatever other vapours float between heaven and hell. The Beautiful Place Out In The Country is having its Blair Witch week right now. Further down south, Kevin Shields gets approached on the street and has to sign a "Loveless" CD. Geogaddi enters the charts in Britain at #21. Jimmy Page is stroking his pentagram ring. He is completely sober. Florian Schneider-Eissieben and Ralf Hütter test the new Bordeaux vintage. It makes a quiet "gluck".

BOC also published under the pseudonym Hell Interface. To bring the CD to the total length of 66 minutes and 6 seconds, they added a few bytes of silence.

Geogaddi by Boards Of Canada has been released by Warp/Zamba.

Scans[edit]

Highlights[edit]

Mike reveals that they have done an acoustic version of MHTRTC

External Links[edit]

References[edit]

↑ https://www.reddit.com/r/boardsofcanada/comments/ycpk00/the_square_circle_translation_of_geogaddi_era

[1] ttps://www.reddit.com/r/boardsofcanada/comments/ycpk00/the_square_circle_translation_of_geogaddi_era

[1

@@ Line 108: / Line 108: @@
 == Translated text  ==
-<onlyinclude>
+The following text has been translated by [https://www.reddit.com/user/butlerianApostle/ butlerianApostle].
-{{translation-needed}}
-</onlyinclude>
+The base translation was done with [http://deepl.com DeepL], a neural machine translation service, followed by manual corrections of any weird translations or choices of words.<ref>https://www.reddit.com/r/boardsofcanada/comments/ycpk00/the_square_circle_translation_of_geogaddi_era</ref>
+'''The Square Circle'''
+by Holger In't Veld and Heiko Zwirner
+The story begins on a full moon night. A group of pubescents has gathered at their favorite club, a ruined castle in northeastern [[wikipedia:Scotland|Scotland]]. They wear hexagonal amulets and have brought tape recorders, cables, amplifiers, musical instruments and projectors. And a diesel-powered electricity generator that hums away like a placid dragon down in the moat. A fire casts flickering light on the old stones. Shots of forests appear through the shadows. The film reel comes from the archives of the [[wikipedia:National Film Board of Canada|National Film Board of Canada]]. Strange sounds echo through the night. Electronic pulses, slowly turning music boxes, nursery rhymes, digital buzzing, and backward snippets of speech from radio and television.
+The evening fog over the moor has lifted. [[Marcus Eoin]] leans against the bass box. He holds a beetle he has rescued from the shoes of his dancing friends, looks at it intently, and carefully places it back in the grass. A little off to the side, [[Michael Sandison]] is digging a pit. When it is as big enough for a man, he lies down in it and stares up at the clear night sky.
+In a rehearsal room farther south, a guitar screams. [[wikipedia:Kevin Shields|Kevin Shields]] is rehearsing for the first time with his band, [[wikipedia:My Bloody Valentine|My Bloody Valentine]]. A few miles "poshwards", [[wikipedia:Jimmy Page|Jimmy Page]] drives his Aston Martin into the hotel garage. He's no longer sober. Over on the continent, Florian Schneider-Eissieben and Ralf Hütter test the programmable Oberheim stage piano. It makes a quiet "pling." [[wikipedia:George Orwell|George Orwell]] is turning in his grave. We write 1984 and the world is old for some, new for others.
+[[Michael]] is 13 years old, [[Marcus]] 14. [[Marcus]] moves to the slow, mulchy rhythms of his music. [[Michael]] straightens up. Numbers, letters, and geometric figures circle in his head, always creating new chainns of meaning. [[Michael Sandison]]. A Dimension Clash. Hi Sonic Leadsman. Held As lnsomniac. Handline Mosaics. Marcus Eoin. Mosaic Rune. lnsure Coma. Sour Cinema. No Music Era. A Crime On Us.
+The Hexagon. Again and again the hexagon. Once again [[Warp]] had tried to add a new chapter to the book of Prama strategies. On the net, newsgroupers were typing away: which tracks, where and when, and are there really devil heads in the artwork? To avoid any misunderstandings, churches in England, Scotland, Japan, France and New York were rented for the ''[[Geogaddi]]'' listening session. Plastic hexagons replaced the prayer books. In Germany, the Red Salon of the Volksbühne had to suffice to enhance a particularly dreary Berlin January afternoon with loops, drones and images. On the canvas: organic/inorganic hexagons and, again and again, the color with which ''[[Geogaddi]]'' wraps itself: rust-blood-red.
+''[[Geogaddi]]'' takes off to Imax music, widescreen panoramas announce themselves:
+Glaciers, lava flows under water, the sun over Mount Everest. But just before it digresses into the picturesque, this music remembers that it is made, not given. The projector in the Imax theater goes off the rails, the images warp. The record begins to wobble. It refuses the unity of sound, image and feeling. The structures open up. References: [[Autechre]] here, [[wikipedia:The Orb|The Orb]] there. And back there in the corner, Boyd Rice grins. Not quite the pure mathematics, not quite the nasty colorism. The round rolls into the square. There's a bit of magick involved. And a bit of horror. The one in slow motion. The chairoplane is still circling, but it's empty, the children suddenly jump up and down very slowly, the image becomes more grainy, the film tears. Don't turn around! There's a lot happening in the background and not everything is good.
+Enter the 90s, [[wikipedia:My Bloody Valentine|My Bloody Valentine]] release "Loveless", the swan song of indie rock. [[wikipedia:Kraftwerk|Kraftwerk]] are in their own mix. [[Mike]], [[Marcus]] and their friends still meet in the ruin. With each time there are more of them. They have become a band, the musical part of the collective [[Boards Of Canada]], in turn part of the collective [[Hexagon Sun]]. That's also the name of the studio nearby. Their studio. [[Marcus]] and [[Mike]] are techno hippies. They have stayed in the country.
+{{boc|'''Mike''': It's important for me to write my music where I live. I've also written pieces in the city, but they sound very different. In an urban environment, I never have the space in my head that I need to be absorbed in my music.}}
+{{question|Nature seems to be an important inspiration for you. Do you perceive nature as orderly or chaotic?}}
+{{boc|'''Marcus''': Nature seems chaotic until you look really closely and notice that it is organized by the same patterns over and over again. If you get too deep into this, it becomes overwhelming, almost scary - the idea that you can describe everything in nature through mathematics.}}
+{{question|Is it true that you use the golden ratio as an organizing principle for your tracks? Do you adhere to the classical understanding of beauty?}}
+{{boc|'''Mike''': We've used the [[wikipedia:golden ratio|golden ratio]] as a basis for composition every now and then. We've experimented around and generated melodies using mathematical equations, but generally our music doesn't follow any code. Everything that has the power to move you, everything that is orderly or perfect, is beautiful. For example, I think all animals are beautiful, even the mean ones.}}
+{{question| The world of Boards of Canada is populated by children. Do children have a more direct approach to nature and its beauty?}}
+{{boc|'''Marcus''': Children certainly have a more direct connection to nature. As adults, we no longer marvel at the small, ordinary things. I think adults become blind to the small important things, such as something like the color of an insect. Our brains only process these details as background noise. That's why children are fascinated by tiny things like marbles and worms, while we adults just ignore them.}}
+[[Boards of Canada]] rock the doors of perception. The space-time continuum has many windows and beyond them it goes far and wide. The choruses and textures insufficiently described with psychedelic, backward tracks, the intangible distance in which the music takes place, the wow & flutter (vulg. "wobble") always reminiscent of ''[[wikipedia:Loveless|Loveless]]'' - all fodder for the snapping mechanisms of psycho heads. ''[[Music Has The Right To Children]]'' is ranked #25 in the NME's list of "Psychedelic Records of All Time," with ''[[Geogaddi]]'' likely to enter higher. While [[wikipedia:My Bloody Valentine|My Bloody Valentine]] manifests a totality of pure sound through the absence of silence, [[Eoin]] and [[Sandison]] repeatedly operate in an ambush-like manner with semantic units whose directness pulls the rug out from under the peacefully gliding headphones. Word up. On "[[Alpha And Omega]]" a female voice suddenly says "Yellow", Just: "Yellow", On "[[1969]]" the line "1969 in the Sunshine" falls out of the vocoder and stands like a neon-shimmering hologram in the room. Whoever hears this with expanded synapses for the first time is unlikely to forget this moment for the rest of his life.
+Not only the vocal tracks, but a lot of the music seems to be played backwards.
+{{boc|'''Marcus''': Yes, in some cases we wrote the track, recorded it, played it backwards, re-recorded the reverse version again, and finally reversed it.}}
+{{question|Is there a criteria for your selection of voices? Do you try to place subliminal messages?}}
+{{boc|'''Mike''': We only use voices whose sound we like. Most of them are from people we know and have asked. Sometimes we use voices as an instrument in a melody, like in "[[In a Beautiful Place out in the Country (song)|In a Beautiful Place out in the Country]]" or "[[Sunshine Recorder]]" on the new record. In other cases we hide voices so that listeners don't even notice their presence, like in "[[An Eagle in Your Mind]]" or "[[Alpha And Omega]]," It will be interesting to see if it has an effect. We see them as little bundles of information and are curious to see if anyone manages to hear them.}}
+The suggestive power of these bundles of information is quite amazing. One of the less subtle pieces is called "[[The Devil Is In The Details]]" and it delivers on its promise. A child cries, while a woman with a down-pitched, additionally cursed voice puts herself into self-hypnosis. A nightmare turned into music.
+{{boc|'''Mike''': I write music in my dreams. Sometimes I hear such amazing complex melodies in my dreams that it wakes me up. But by the time I'm looking for an instrument or recording device, the music has disappeared again. This is an extremely frustrating thing.}}
+{{question| You have to play your music without electricity. What kind of instruments/equipment would you choose?}}
+{{boc|'''Mike''': We're both guitarists, I'm a drummer, so we'd be fine. I own seven or eight acoustic guitars. We even recorded a completely acoustic version of "[[Music Has The Right To Children]]" that no one has ever heard. Maybe one day we'll release it if someone is interested.}}
+{{question| Your moniker is almost the same as Blue Öyster Cult. Do you guys see a connection?}}
+{{boc|'''Mike''': If you give us an umlaut, we sound exactly the same.}}
+{{question|If Satan exists, where does he manifest himself?}}
+{{boc|'''Marcus''': On the internet.}}
+Enter 2002. No tribal gatherings yet this year. Fog is over [[wikipedia:Scotland|Scotland]] - mist, myst, haze, fog, dust, smoke, shade, clouds, and whatever other vapours float between heaven and hell. The Beautiful Place Out In The Country is having its Blair Witch week right now. Further down south, [[wikipedia:Kevin Shields|Kevin Shields]] gets approached on the street and has to sign a "[[wikipedia:Loveless|Loveless]]" CD. ''[[Geogaddi]]'' enters the charts in Britain at #21. Jimmy Page is stroking his pentagram ring. He is completely sober. Florian Schneider-Eissieben and Ralf Hütter test the new Bordeaux vintage. It makes a quiet "gluck".
+[[BOC]] also published under the pseudonym [[Hell Interface]]. To bring the CD to the total length of 66 minutes and 6 seconds, they added a few bytes of silence.
+''[[Geogaddi]]'' by [[Boards Of Canada]] has been released by [[Warp]]/Zamba.
 == Scans  ==