Difference between revisions of "Vi Sampler til Helvede og Tilbage"
(added interview text) |
m |
||
| (9 intermediate revisions by 2 users not shown) | |||
| Line 1: | Line 1: | ||
<onlyinclude> | <onlyinclude> | ||
{{interview | {{interview | ||
| − | |title= | + | |title=Vi Sampler til Helvede og Tilbage |
|author=Emil Kragh-Schwarz | |author=Emil Kragh-Schwarz | ||
|date=2005/12 | |date=2005/12 | ||
| Line 9: | Line 9: | ||
}} | }} | ||
</onlyinclude> | </onlyinclude> | ||
| + | <onlyinclude> | ||
| + | [[Vi Sampler til Helvede og Tilbage]] was an interview (in Danish) by Emil Kragh-Schwarz originally published December 2005 in Soundvenue magazine Number 04 (Winter) p.37. | ||
| + | </onlyinclude> | ||
| + | |||
__TOC__ | __TOC__ | ||
| − | |||
== Original Text == | == Original Text == | ||
<onlyinclude> | <onlyinclude> | ||
| − | |||
{{original}} | {{original}} | ||
| − | |||
| − | + | '''Vi Sampler til Helvede og Tilbage''' | |
| − | + | ||
| + | '''tekst''' Emil Kragh-Schwarz | ||
| − | + | '''link''' [[www.boardsofcanada.com]] | |
| Line 59: | Line 61: | ||
Læs anmeldelse af 'The Campfire Headphase' på side 149. | Læs anmeldelse af 'The Campfire Headphase' på side 149. | ||
| − | |||
| − | |||
</onlyinclude> | </onlyinclude> | ||
== Translated text == | == Translated text == | ||
<onlyinclude> | <onlyinclude> | ||
| − | + | '''To Hell and Back''' | |
| + | |||
| + | |||
| + | '''Text''' by Emil Kragh-Schwarz | ||
| + | |||
| + | '''Link''' [[www.boardsofcanada.com]] | ||
| + | |||
| + | |||
| + | In all modesty, we are actually a bit proud. The Scottish electronica duo [[Boards of Canada]], currently promoting their album ''[[The Campfire Headphase]]'' rarely give interviews, and one of the few has been dedicated to Soundvenue. Their reticence has cemented their reputation as one of the most mysterious and legendary groups in the electronica scene. However, this reputation also has other foundations. | ||
| + | |||
| + | Ever since the release of their fabulous debut album ''[[Music Has the Right to Children]]'' in 1998, rumors about hidden, occult, and political messages in the group's productions have flourished among fans worldwide. I ask the gentlemen [[Michael Sandison]] and [[Marcus Eoin]] if one could get anything out of playing ''[[The Campfire Headphase]]'' backwards. [[Eoin]] explains that they have always embedded messages in their music, titles, and artwork. | ||
| + | {{boc|But really, it's mainly because, as an instrumental band, we have the opportunity to center a track around a topic we're interested in. As individuals, we're very interested in politics, so such themes will always be close to us.}} | ||
| + | At the same time, he points out that on ''[[The Campfire Headphase]]'' the focus has been removed from the darker themes. | ||
| + | |||
| + | {{boc|We wanted to make a really 'melodic spaced out acid-jam record' for once.}} | ||
| + | |||
| + | However, the more or less hidden messages are not the sole cause of the mystery. For a long time, the two brothers [[Eoin]] and [[Sandison]] lived in a remote and secret artist collective. Isolation from the outside world and civilization has been highly valued by the two Scots. | ||
| + | |||
| + | {{boc|We appreciate the privacy and the peace of life away from the city's background noise,}} | ||
| + | [[Sandison]] says. When asked where the inspiration for the new album comes from, he explains further: | ||
| + | |||
| + | {{boc|We partially isolate ourselves, especially from the urban scene, to create music that exists in its own style and time bubble.}} | ||
| + | |||
| + | With those words, it is time to focus on the most important thing: the music. Throughout their career, the sound has not changed drastically, with the exception of the previous album ''[[Geogaddi]]'' and the unique [[Boards of Canada]] sound, which allows fans to instantly recognize one of the duo's tracks, remains intact. | ||
| + | |||
| + | {{boc|We don't start with a formula, but I believe that when you put your soul into a musical composition, there will always be a kind of mental communication that fans will recognize,}} | ||
| + | [[Eoin]] says. | ||
| + | |||
| + | |||
| + | In this way, one can rightly claim that the ambition to create music that exists in its own style and time bubble succeeds every time. [[Boards of Canada]]'s productions are characterized by being both banal and unique simultaneously. The formula, with semi-abstract beats and floating, beautiful ambient layers, was something they helped establish, but to this day, it has been copied so extensively by others that it alone makes it difficult to stand out. Nonetheless, their mysteriously captivating beauty achieves exactly that. Part of the explanation may lie in the way they work with sounds. | ||
| + | |||
| + | {{boc|For instance, there are many places where guitars are used, but they are sampled to hell and back, so they are no longer recognizable as guitars,}} | ||
| + | [[Sandison]] says. | ||
| + | |||
| + | This special production method makes everything recognizable and alien at the same time, and maybe that's exactly where the magic happens. Perhaps the secret lies in the fact that 'maybe' is the closest you can get. True magic cannot be explained. | ||
| + | |||
| + | |||
| + | Read the review of ''[[The Campfire Headphase]]'' on page 149. | ||
</onlyinclude> | </onlyinclude> | ||
== Scans == | == Scans == | ||
<gallery> | <gallery> | ||
| − | Image: | + | Image:2005 12 Soundvenue Winter No4 Cover.jpg |
| − | Image: | + | Image:2005 12 Soundvenue Winter No4 pg37.jpg |
| − | |||
</gallery> | </gallery> | ||
| + | |||
| + | |||
| + | == Highlights == | ||
| + | * "As individuals, we're very interested in politics, so such themes will always be close to us." | ||
| + | |||
| + | == External Links == | ||
| + | * | ||
| + | |||
== References == | == References == | ||
Latest revision as of 12:32, 22 July 2024
| title | Vi Sampler til Helvede og Tilbage |
|---|---|
| author | Emil Kragh-Schwarz |
| publication | Soundvenue |
| date | 2005/12 |
| issue | 04 (Winter) |
| pages | 37 |
Original Text[edit]
This is an original text copied verbatim from the original source. Do not edit this text to correct errors or misspellings. Aside from added wikilinks, this text is exactly as it originally appeared.
Vi Sampler til Helvede og Tilbage
tekst Emil Kragh-Schwarz
Sagt i alt beskedenhed, er vi faktisk lidt stolte. Den skotske electronica-duo Boards of Canda, der er aktuelle med albummet 'The Camfire Headphase', laver, deres status taget i betragtning, ganske få interviews, og ét af de få er blevet helliget Soundvenue. At de i den grad holder tankerne for sig selv er med til at fastnagle deres ry som én af electronica-scenens mest mystiske og sagnomspundne grupper. Et ry, der imidlertid også har andre grunde.
Helt tilbage fra før det fabelagtige debutalbum 'Music Has the Right to Children' udkom i 1998, har rygterne omkring skjulte, okkulte såvel som politiske budskaber i gruppens produktioner floreret lystigt blandt fans verden over. Jeg spørger d'herrer Michael Sandison og Marcus Eoin, om man så vil få noget ud af at spille 'The Campfire Headphase' baglæns? Eoin fortæller, at de altid har indlagt beskeder i musik, titler og artwork.
De mere eller mindre skjulte budskaber er imidlertid heller ikke hele årsagen til mystikken. I lang tid boede de to brødre Eoin og Sandison i et afsides liggende og for offentligheden hemmeligt kunstnerkollektiv. I det hele taget har isolation fra omverdenen og ikke mindst civilisationen været afholdt af de to skotter.
Med de ord er det tid til at se på det vigtigste overhovedet. Det, der gør myterne mulige og interessante: Musikken. I løbet af deres karriere er udtrykket - med undtagelse af det forrige album 'Geogaddi' - ikke blevet ændret voldsomt meget, og den helt specielle 'Boards of Canada-lyd', der gør, at fans til enhver tid vil kunne spotte ét af duoens numre, hænger til stadighed ved.
På den måde kan man også med god ret påstå, at ambitionen om at lave musik, som eksisterer i sin egen stil og tidsboble, lykkes hver gang. Boards of Canadas produktion er nemlig kendetegnet ved på én gang at være både banal og unik. Formlen, med semiabstrakte beats og svævende, smukke ambient flader, var de i sin tid med til at grundlægge, men op til i dag er den blevet kopieret af andre i så rigt et omfang, at det alene ved hjælp af den, er blevet vanskeligt at skille sig ud. Ikke desto mindre er det nøjagtigt, hvad de med deres mystisk dragende skønhed gør. En del af forklaringen kan ligge i måden at arbejde med lydene på.
Denne specielle produktionsform gør alt genkendeligt og fremmed på samme tid, og måske er det netop der, at magien opstår. Måske ligger hemmeligheden netop i, at 'måske' er det nærmeste, man kan komme. Ægte magi kan ikke forklares.
Læs anmeldelse af 'The Campfire Headphase' på side 149.
Translated text[edit]
To Hell and Back
Text by Emil Kragh-Schwarz
In all modesty, we are actually a bit proud. The Scottish electronica duo Boards of Canada, currently promoting their album The Campfire Headphase rarely give interviews, and one of the few has been dedicated to Soundvenue. Their reticence has cemented their reputation as one of the most mysterious and legendary groups in the electronica scene. However, this reputation also has other foundations.
Ever since the release of their fabulous debut album Music Has the Right to Children in 1998, rumors about hidden, occult, and political messages in the group's productions have flourished among fans worldwide. I ask the gentlemen Michael Sandison and Marcus Eoin if one could get anything out of playing The Campfire Headphase backwards. Eoin explains that they have always embedded messages in their music, titles, and artwork.
At the same time, he points out that on The Campfire Headphase the focus has been removed from the darker themes.
However, the more or less hidden messages are not the sole cause of the mystery. For a long time, the two brothers Eoin and Sandison lived in a remote and secret artist collective. Isolation from the outside world and civilization has been highly valued by the two Scots.
Sandison says. When asked where the inspiration for the new album comes from, he explains further:
With those words, it is time to focus on the most important thing: the music. Throughout their career, the sound has not changed drastically, with the exception of the previous album Geogaddi and the unique Boards of Canada sound, which allows fans to instantly recognize one of the duo's tracks, remains intact.
Eoin says.
In this way, one can rightly claim that the ambition to create music that exists in its own style and time bubble succeeds every time. Boards of Canada's productions are characterized by being both banal and unique simultaneously. The formula, with semi-abstract beats and floating, beautiful ambient layers, was something they helped establish, but to this day, it has been copied so extensively by others that it alone makes it difficult to stand out. Nonetheless, their mysteriously captivating beauty achieves exactly that. Part of the explanation may lie in the way they work with sounds.
Sandison says.
This special production method makes everything recognizable and alien at the same time, and maybe that's exactly where the magic happens. Perhaps the secret lies in the fact that 'maybe' is the closest you can get. True magic cannot be explained.
Read the review of The Campfire Headphase on page 149.
Scans[edit]
Highlights[edit]
- "As individuals, we're very interested in politics, so such themes will always be close to us."
External Links[edit]