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</onlyinclude> | </onlyinclude> | ||
â | |||
== Translated text == | == Translated text == | ||
<onlyinclude> | <onlyinclude> | ||
â | {{ | + | '''Note''': OCR with MacBook Pro, Translation with ChatGPT-4o |
+ | |||
+ | |||
+ | For us, texture is as important as melody. One thing we always focus on is creating a dazzling feeling. We want to bring out a sound texture that feels kaleidoscopic, constantly changing. However, only a vague memory of the song remains. | ||
+ | |||
+ | |||
+ | [[Marcus Eoin]], whose first record purchase was [[wikipedia:The Human League|The Human League]]'s ''[[wikipedia:Travelogue|Travelogue]]'', and [[Mike Sandison]], who said he wanted to make "unassuming new wave," started their musical activities in the mid-80s. This marks the beginning of the history of [[Boards of Canada]]. Based in [[wikipedia:Edinburgh|Edinburgh, Scotland]], they arrived at their emotionally rich electronic music through various transformations. With a dreamy soundscape that feels deeply shrouded in mist and a pleasant down-tempo beat, their work skillfully navigates between delicacy and boldness, fitting well within the context of recent electronica and post-rock. [[Marcus]] & [[Mike]] create an emotional and psychedelic sound using a variety of tools. Their new work, ''[[The Campfire Headphase]]'', arrives after about three years (their third album overall). The soft guitar tones, more pronounced than in their previous albums, give it a distinctly organic feel. As usual, there is no clear concept presented, but melodies float up and dissolve into various patterns that meld into one cohesive sound. | ||
+ | |||
+ | |||
+ | In this email interview, we delved into the warm yet melancholic core of their new work. | ||
+ | |||
+ | |||
+ | {{question|This work has a rounder, softer light compared to previous ones. Did this direction come about due to changes in your environment or internal changes?}} | ||
+ | |||
+ | {{boc|Marcus: "When we finished ''[[Geogaddi]]'', we realized we had a lot of leftover tracks. The initial plan was to quickly finish those tracks, add a few more, and release a new album as soon as possible. However, we had wanted to move our studio for a while, and ended up wasting months looking for a new location. By the time we settled into the new studio, considerable time had passed, and our feelings about the leftover tracks had changed. Our musical tastes had shifted, so we decided to scrap everything and start over. Consequently, the new work became a reaction to ''[[Geogaddi]]''. Since ''[[Geogaddi]]'' was dark and complex, we thought it would be nice to pursue a simpler approach focusing purely on melody and sound for the new album."}} | ||
+ | |||
+ | {{question|The title "[[Into the Rainbow Vein]]" suggests a sound imbued with transparent colors, like a rainbow reflected on the water's surface.}} | ||
+ | |||
+ | {{boc|Marcus: "I don't intend to use mystical expressions when discussing themes, but we include various meanings in our work. For example, it could be 'chroma key' used in videos (a technique where an image is shot against a specific color background and then combined with other images) or colors seen as a result of synesthesia, where certain sounds evoke specific colors. I believe that certain colors match specific sounds or environments. For this album, I think we aimed for a neutral space. Not dark, not happy, but something like a faded blue-green, like an old tin can left under the sun."}} | ||
+ | |||
+ | {{question|This album has a pleasant "wobble," which gives each track a rich expression. What do you think is essential to achieve this comfort?}} | ||
+ | |||
+ | {{boc|Mike: "This time, we consciously aimed to bring out dynamism in the tracks. The sound texture might have contributed to that feeling. Melodies can be reinterpreted through instruments or styles, but texture is relatively unchangeable. For us, texture is as important as melody. Otherwise, we'd be composing ringtones. One thing we always focus on is creating a dazzling feeling. We want to bring out a sound texture that feels kaleidoscopic, constantly changing. It's similar to dreaming about musicâvague and indescribable, only leaving a fuzzy memory of the song. Striving to capture that in recordings is what makes it interesting for us."}} | ||
+ | |||
+ | {{question|Your work mixes various sound textures. What do you pay the most attention to when refining the overall sound?}} | ||
+ | |||
+ | {{boc|Marcus: "While [[Mike]] seems to focus on melody, both of us are obsessed with how much we can refine the sound. Music is not just about playing songs. A song's tuning might be slightly off, or the sound might be muffled, distant, or distorted, evoking a completely different level of emotion. For us, it feels like turning a two-dimensional song into three dimensions. Personally, I like sounds with a bumpy surface, like the cracked relief covering the surface of an oil painting. I want that in our music."}} | ||
+ | |||
+ | {{question|I often think of the sea when listening to this album. The sound of waves is also included in the tracks.}} | ||
+ | |||
+ | {{boc|Mike: "Recently, we moved closer to the sea, so it's very easy to record such sounds. Both of us grew up near the sea, and through this album, we've revisited the sense of wide-open spaces like a coastline."}} | ||
+ | |||
+ | {{question|Various instruments and equipment like analog synths, tape echo, and guitars are used in this album. What tools did you frequently use during production?}} | ||
+ | |||
+ | {{boc|"When we were young, we didn't have money to buy instruments or recording equipment, so we had to make do with what we had. We would gather beer cans, plastic boxes, and school bags, hit them with sticks, and record the rhythms on a cheap tape machine. Each time we recorded, the tape's sound would get more and more distorted, but it was the best sound ever.""}} | ||
+ | |||
+ | {{boc|Mike: âThis time, we've used tape echo quite a lot. It appears in places you might not even notice at first. Nowadays, anyone can easily make electronic music. With a laptop and $50 software, you can create some kind of music. Electronic music has actually been around for a long time. Many of today's electronic musicians and fans think it's a recent phenomenon, but it's been around for decades. For instance, [[wikipedia:Stevie Wonder|Stevie Wonder]] created polyphonic and chromatic music with synthesizers in the 70s. I love that. He made organic sounds without using computer sequences, just multi-tracking with monophonic synths. His album ''[[wikipedia:Stevie_Wonder%27s_Journey_Through_%22The_Secret_Life_of_Plants%22|Secret Life]]'' is full of wonderful tracks played freely on synthesizers. It's not quantized, and it's far removed from recent electronic dance music. We see our music in the same way. Although we make electronic music, we don't use the standard specifications and techniques that most people use today.â}} | ||
+ | |||
+ | {{question|You've been self-taught on various instruments since your teens and recorded different sounds on cassette tapes. What kind of sounds did you record back then?}} | ||
+ | |||
+ | {{boc|Marcus: âWhen we were young, we didn't have the money to buy the instruments or recording equipment we wanted, so we had to be creative with what was around us. We tried to do a kind of multi-track tape recording using several stereo tape recorders and cheap microphones. We would gather beer cans, plastic boxes, school bags, and hit them with drum sticks, recording the rhythms on a cheap tape machine. Then we would play that back through ordinary speakers and record it onto another machine while overdubbing sounds like piano, handclaps, and acoustic guitar. It was like an experiment in dissonance. Each time we recorded, the tape's sound would get more and more distorted and blurred, but it was the best sound ever. It was a creative experience. We added whatever we could. If something interesting was on TV, we'd turn up the volume and record it. The resulting tracks were intense, like chaotic new wave jams.â}} | ||
+ | |||
+ | {{question|I see. By the way, you live in the mountains near [[wikipedia:Edinburgh|Edinburgh]]. What's the biggest advantage of being able to immerse yourself in art in such an environment? Do you feel any disadvantages?}} | ||
+ | |||
+ | {{boc|Marcus: âThe biggest advantage is that you can create a 'bubble' isolated from the secular modern culture that houses your art. If you were exposed daily to loud music and flashy scenes in clothing stores and cafes, it would naturally influence your creativity. Not that it's a bad thingâit depends on the person's music and art. But for us, it would be difficult to visually and aurally focus on the world of [[Boards of Canada]] while surrounded by that environment every day. But there are disadvantages too. If you don't get external stimuli occasionally, it's hard to generate new aspects and ideas for your art. Such stimuli are easier to come by in a vibrant environment. So sometimes, you need to immerse yourself in urban culture or, as we often do, travel.â}} | ||
+ | |||
+ | {{question|You distance yourselves from movements happening in the outside world, yet you've continued to remix tracks for others like [[wikipedia:Clouddead|Clouddead]], [[wikipedia:Boom Bip|Boom Bip]], and [[wikipedia:Beck|Beck]], albeit infrequently.}} | ||
+ | |||
+ | {{boc|Mike: âWe are very selective about remix work. In fact, we accept maybe one out of five offers. We've even turned down big-name artists. It's partly because we're busy, but mostly because we don't feel a connection between our world and the artist's world. [[wikipedia:Beck|Beck]] is one of the few musicians we find hard to resist. Once you get a grasp of his work, you want everything he puts out. In a sea of mundane recent music, [[wikipedia:Beck|Beck]] continues to produce amazing music that surprises everyone with each new release. He's popular, and his clips often play on MTV, so some people call him a 'sellout', but that's a huge misunderstanding. [[wikipedia:Beck|Beck]] sees himself as a pop artist. He doesn't force himself to stay cool and underground. That shows self-confidence. If more creative bands took that approach, the pop charts would be more interesting.â}} | ||
+ | |||
+ | {{question|So, what music are you into lately?}} | ||
+ | |||
+ | {{boc|Marcus: âWe always try to discover new music, but we listen to a mix of recent stuff and very old stuff from around 30 years ago. I often listen to [[wikipedia:Sufjan Stevens|Sufjan Stevens]], [[wikipedia:Beach Boys|Beach Boys]], [[wikipedia:Joy Zipper|Joy Zipper]], [[wikipedia:Dykhouse|Dykehouse]], and [[wikipedia:John Frusciante|John Frusciante]].â}} | ||
+ | |||
+ | {{question|[[Boards of Canada]]'s work provides a special experience similar to traveling. What kind of journey do you want to take through music in the future?}} | ||
+ | |||
+ | {{boc|Mike: âI've always wanted to go beyond music. Ideally, I'd like to travel the world and have wild adventures. I'd love to go to the [[wikipedia:Arctic|Arctic]], for instance. Maybe I'll talk to the record company and get them to let us shoot a video there (laughs).â}} | ||
</onlyinclude> | </onlyinclude> | ||
â | |||
== Scans == | == Scans == | ||
Line 38: | Line 159: | ||
== Highlights == | == Highlights == | ||
â | * | + | * [[Mike]]: âFor us, texture is as important as melody. Otherwise, we'd be composing ringtones. One thing we always focus on is creating a dazzling feeling. We want to bring out a sound texture that feels kaleidoscopic, constantly changing. It's similar to dreaming about musicâvague and indescribable, only leaving a fuzzy memory of the song. Striving to capture that in recordings is what makes it interesting for us." |
â | + | * [[Marcus]]: âThe biggest advantage is that you can create a 'bubble' isolated from the secular modern culture that houses your art. If you were exposed daily to loud music and flashy scenes in clothing stores and cafes, it would naturally influence your creativity. Not that it's a bad thingâit depends on the person's music and art. But for us, it would be difficult to visually and aurally focus on the world of Boards of Canada while surrounded by that environment every day. But there are disadvantages too. If you don't get external stimuli occasionally, it's hard to generate new aspects and ideas for your art. Such stimuli are easier to come by in a vibrant environment. So sometimes, you need to immerse yourself in urban culture or, as we often do, travel.â | |
== External Links == | == External Links == |
title | The new work is like a bright-blue-green color |
---|---|
author | Takuro Ueno |
publication | Crossbeat |
date | 2005/12 |
issue | 266 |
pages | 120-123 |
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Note: OCR with MacBook Pro, Translation with ChatGPT-4o
For us, texture is as important as melody. One thing we always focus on is creating a dazzling feeling. We want to bring out a sound texture that feels kaleidoscopic, constantly changing. However, only a vague memory of the song remains.
Marcus Eoin, whose first record purchase was The Human League's Travelogue, and Mike Sandison, who said he wanted to make "unassuming new wave," started their musical activities in the mid-80s. This marks the beginning of the history of Boards of Canada. Based in Edinburgh, Scotland, they arrived at their emotionally rich electronic music through various transformations. With a dreamy soundscape that feels deeply shrouded in mist and a pleasant down-tempo beat, their work skillfully navigates between delicacy and boldness, fitting well within the context of recent electronica and post-rock. Marcus & Mike create an emotional and psychedelic sound using a variety of tools. Their new work, The Campfire Headphase, arrives after about three years (their third album overall). The soft guitar tones, more pronounced than in their previous albums, give it a distinctly organic feel. As usual, there is no clear concept presented, but melodies float up and dissolve into various patterns that meld into one cohesive sound.
In this email interview, we delved into the warm yet melancholic core of their new work.