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A Bunker Full of Memories is an interview by René Passet originally published online Apr. 1998 on the Forcefield website. [1]
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| − | [[A Bunker Full of Memories]] is | + | <onlyinclude> |
| + | {{interview | ||
| + | |title=A Bunker Full of Memories | ||
| + | |author=René Passet | ||
| + | |date=1998/04/14 | ||
| + | |publication=Forcefield | ||
| + | |issue= | ||
| + | |pages= | ||
| + | }} | ||
| + | </onlyinclude> | ||
| + | |||
| + | <onlyinclude> | ||
| + | [[A Bunker Full of Memories]] is an interview by René Passet originally published online Apr. 1998 on the Forcefield website. <ref>http://web.archive.org/web/20010305221908/http://www.forcefield.org/boc.html</ref> | ||
| + | </onlyinclude> | ||
__TOC__ | __TOC__ | ||
| − | == Text == | + | == Original Text == |
| + | <onlyinclude> | ||
{{original}} | {{original}} | ||
| − | [[ | + | 'Strong emotional melodies'. That pretty much sums up the essence of what [[Boards of Canada]] is about. After various hard-to-get releases on cassettes, [[Skam Records]] (and it's enigmatic offshoot Mask) the [[BoC|Scottish duo]] has just released their debut album ''[[Music Has The Right To Children]]'' on [[Warp Records]]. The first of five on the [[wikipedia:Sheffield|Sheffield]] label! |
| − | + | Five albums. That might explain why [[Mike|Mike Sanderson]] and [[Marcus Eoin]] are extremely busy in their Hexagon Studio and reject most [[Interviews|interview]] requests. So many tracks to finish, so little time. But Forcefield managed to enter the bunker which hosts the Hexagon Studio. Via E-mail. Here is what they said. | |
| − | |||
| − | Five albums. That might explain why Mike Sanderson and Marcus Eoin are extremely busy in their Hexagon Studio and reject most interview requests. So many tracks to finish, so little time. But Forcefield managed to enter the bunker which hosts the Hexagon Studio. Via E-mail. Here is what they said. | ||
{{question|The name Boards of Canada is inspired by [[National Film Board of Canada|The National Filmboard of Canada]]. Could you explain what was so special about the nature-documentaries and their soundtracks?}} | {{question|The name Boards of Canada is inspired by [[National Film Board of Canada|The National Filmboard of Canada]]. Could you explain what was so special about the nature-documentaries and their soundtracks?}} | ||
| − | {{boc|"Yes the NFB films were one of our influences when we were younger. I think most of their films have been socio-political, but there are animations and suchlike. The thing about the older films is that the quality of picture and soundtrack wasn't perfect, it was grainy and wobbly. We used to record compositions on cheap tapes which gave a similar rough quality, and we've always returned to that sound because it feels personal and nostalgic."}} | + | {{boc|"Yes the [[National_Film_Board_of_Canada|NFB films]] were one of our influences when we were younger. I think most of their films have been socio-political, but there are animations and suchlike. The thing about the older films is that the quality of picture and soundtrack wasn't perfect, it was grainy and wobbly. We used to record compositions on cheap tapes which gave a similar rough quality, and we've always returned to that sound because it feels personal and nostalgic."}} |
| − | {{question|Where you living in Canada when you saw the documentaries?}} | + | {{question|Where you living in [[wikipedia:Canada|Canada]] when you saw the documentaries?}} |
| − | {{boc|"We saw a lot of those films here in the UK during the 1970's, but we both lived in Alberta briefly in the late 70's."}} | + | {{boc|"We saw a lot of those films here in the UK during the 1970's, but we both lived in [[wikipedia:Alberta|Alberta]] briefly in the late 70's."}} |
| − | {{question|Apart from these soundtracks, you also namedrop [[wikipedia:Joni Mitchell|Joni Mitchell]] and the [[wikipedia:Incredible String Band|Incredible String Band]] when it comes to instrumentation. | + | {{question|Apart from these soundtracks, you also namedrop [[wikipedia:Joni Mitchell|Joni Mitchell]] and the [[wikipedia:Incredible String Band|Incredible String Band]] when it comes to instrumentation. What was so special about their musical aproach?}} |
| − | What was so special about their musical aproach?}} | ||
| − | {{boc|"Much of the music we like is not electronic, although we've probably been influenced by [[wikipedia:Devo|Devo]]. We love acoustic music on old recordings because they tend to have natural qualities such as tape compression and distortion. But I think Joni Mitchell's voice is so beautiful it almost sounds synthesised, so maybe there's the connection. The Incredible String Band still sound unusual today, because they changed the arrangement for every song, and their own influences were far and wide apart, and they always wrote emotional melodies which were a bit unusual, you know, with melodies which took unexpected twists. A unique band."}} | + | {{boc|"Much of the music we like is not electronic, although we've probably been influenced by [[wikipedia:Devo|Devo]]. We love acoustic music on old recordings because they tend to have natural qualities such as tape compression and distortion. But I think [[wikipedia:Joni Mitchell|Joni Mitchell]]'s voice is so beautiful it almost sounds synthesised, so maybe there's the connection. [[wikipedia:The Incredible String Band|The Incredible String Band]] still sound unusual today, because they changed the arrangement for every song, and their own influences were far and wide apart, and they always wrote emotional melodies which were a bit unusual, you know, with melodies which took unexpected twists. A unique band."}} |
{{question|What else do you consider important musical influences, past and present?}} | {{question|What else do you consider important musical influences, past and present?}} | ||
| − | {{boc|"Devo, [[wikipedia:Wendy Carlos|Walter/Wendy Carlos]], [[wikipedia:Deutsch-Amerikanische Freundschaft|DAF]], television themes, corporate jingles from TV and film, [[wikipedia:Jeff Wayne|Jeff Wayne]], [[wikipedia:Julian Cope|Julian Cope]], [[wikipedia:My Bloody Valentine|My Bloody Valentine]], 80's pop music."}} | + | {{boc|"[[wikipedia:Devo|Devo]], [[wikipedia:Wendy Carlos|Walter/Wendy Carlos]], [[wikipedia:Deutsch-Amerikanische Freundschaft|DAF]], television themes, corporate jingles from TV and film, [[wikipedia:Jeff Wayne|Jeff Wayne]], [[wikipedia:Julian Cope|Julian Cope]], [[wikipedia:My Bloody Valentine (band)|My Bloody Valentine]], 80's pop music."}} |
{{question|Could you tell me more about your so-called Psychedelic aproach, the alterations from start to finish in a track?}} | {{question|Could you tell me more about your so-called Psychedelic aproach, the alterations from start to finish in a track?}} | ||
| − | {{boc|"We sometimes make a tune metamorphose as it plays. An example is "[[Nlogax]]" from the | + | {{boc|"We sometimes make a tune metamorphose as it plays. An example is "[[Nlogax]]" from the ''[[Hi Scores (release)|Hi Scores EP]]'' on [[SKAM|Skam]], which begins like an old electro or disco track but halfway through it suddenly becomes something nightmarish, like your brain is starting to malfunction in the middle of the tune. [[wikipedia:Psychedelic_drug|Psychedelics]] make music sound entirely different. Tiny details become massive, a five-minute track can feel like it's five hours long on psychedelics. You know when you're on a ride at a fairground, the pitch of the music rises and falls because of the [[wikipedia:Doppler effect|Doppler-Effect]]? That's another thing we love to do in our tracks, and it's a fairly psychedelic-sounding effect too."}} |
{{question|How *DO* you write music? What's the starting point? A feeling, a sound or an idea? And who of you two makes the first sketches?}} | {{question|How *DO* you write music? What's the starting point? A feeling, a sound or an idea? And who of you two makes the first sketches?}} | ||
| − | {{boc|"It's a team effort. Usually the starting point is a melody. We write hundreds of little melodies, and the most attractive ones last in our minds. We go back to them and pick the ones that really stand out, then we start piecing together rhythms. Both of us write the tunes and rhythms. On the album | + | {{boc|"It's a team effort. Usually the starting point is a melody. We write hundreds of little melodies, and the most attractive ones last in our minds. We go back to them and pick the ones that really stand out, then we start piecing together rhythms. Both of us write the tunes and rhythms. On the album ''[[Music Has The Right To Children]]'' 50% was by [[Marcus]], 50% by me ([[Mike]], rp). Not one of the tracks was totally written by one person."}} |
| − | {{question|The album is joint release by Skam & Warp. Was this done to improve promotion & distribution?}} | + | {{question|The album is joint release by [[SKAM|Skam]] & [[Warp]]. Was this done to improve promotion & distribution?}} |
| − | {{boc|"We began work on the album at the beginning of 1997 and it was meant to be for Skam, but in the summer Warp came to us and said "we'd like this album", so the labels decided to co-release it."}} | + | {{boc|"We began work on the album at the beginning of 1997 and it was meant to be for [[Skam]], but in the summer [[Warp]] came to us and said "we'd like this album", so the labels decided to co-release it."}} |
| − | {{question|Skam gained respect amongst IDM-minded musiclovers in very little time. A new Skam record is considered something special nowadays. But they're always hard to find.}} | + | {{question|[[Skam]] gained respect amongst [[wikipedia:IDM|IDM]]-minded musiclovers in very little time. A new [[Skam]] record is considered something special nowadays. But they're always hard to find.}} |
| − | {{boc|"Skam is truly underground, truly independent. I'm sure that if we asked Skam to release only one copy of a new release, they would do it."}} | + | {{boc|"[[SKAM|Skam]] is truly underground, truly independent. I'm sure that if we asked [[SKAM|Skam]] to release only one copy of a new release, they would do it."}} |
| − | {{question|But why make music that (almost) no one can get their hands on, like the two MASK ep's, which were released in issues of 100 and 200 copies?}} | + | {{question|But why make music that (almost) no one can get their hands on, like the two ''[[SKAM#Selected_discography|MASK ep's]]'', which were released in issues of 100 and 200 copies?}} |
{{boc|"We've been making music since we were at school in the early 80's, and nobody will ever hear most of it, so it doesn't bother us to do a really limited release. Our friends and families hear all the music we write, and that's all that matters really. You wouldn't believe how much music we have on tape."}} | {{boc|"We've been making music since we were at school in the early 80's, and nobody will ever hear most of it, so it doesn't bother us to do a really limited release. Our friends and families hear all the music we write, and that's all that matters really. You wouldn't believe how much music we have on tape."}} | ||
| Line 53: | Line 64: | ||
{{boc|"Of course, it's lovely to hear that people we've never met are really enjoying our music, because it feels as though we must have something in common, I mean psychologically, with those listeners. So it is satisfying, and fascinating."}} | {{boc|"Of course, it's lovely to hear that people we've never met are really enjoying our music, because it feels as though we must have something in common, I mean psychologically, with those listeners. So it is satisfying, and fascinating."}} | ||
| − | {{question|Do you feel any pressure, now that you have signed a contract with Warp?}} | + | {{question|Do you feel any pressure, now that you have signed a contract with [[Warp]]?}} |
| − | {{boc|"Yes, that's part of what you accept when you sign to a bigger label."}} | + | {{boc|"Yes, that's part of what you accept when you sign to a [[Warp|bigger label]]."}} |
| − | {{question|Warp has announced a [[Geogaddi|second BoC-album]], to be released at the end of this year. In what ways will it differ from the first album?}} | + | {{question|[[Warp]] has announced a ''[[Geogaddi|second BoC-album]]'', to be released at the end of this year. In what ways will it differ from the first album?}} |
{{boc|"I won't give away our plans for the next one, but it will be different. It's going to be stranger, more concentrated, more melodic."}} | {{boc|"I won't give away our plans for the next one, but it will be different. It's going to be stranger, more concentrated, more melodic."}} | ||
| Line 65: | Line 76: | ||
{{boc|"We're much more interested in melody than rhythm, and we appreciate the emotional power of a melody. Maybe that's too uncool for a lot of electronic artists."}} | {{boc|"We're much more interested in melody than rhythm, and we appreciate the emotional power of a melody. Maybe that's too uncool for a lot of electronic artists."}} | ||
| − | {{question|Some people might argue that Boards of Canada make 'depressing' music.What would you like to comment on that? Are you pessimistic or optimistic towards life?}} | + | {{question|Some people might argue that [[Boards of Canada]] make 'depressing' music.What would you like to comment on that? Are you pessimistic or optimistic towards life?}} |
| − | {{boc|"We're very optimistic. We might sound | + | {{boc|"We're very optimistic. We might sound melancholic, but that's just the way we write music."}} |
| − | {{question|What kind of special [[equipment]] do you use? I understand some of your machines are quite big. And you have something what you call 'the SecretWeapon'.}} | + | {{question|What kind of special [[Equipment|equipment]] do you use? I understand some of your machines are quite big. And you have something what you call '[[Equipment#Secret_weapon|the SecretWeapon]]'.}} |
| − | {{boc|"If I told you what the secret weapon is, it wouldn't be a secret anymore. We have more than one really. We use a mixture of old and new equipment. We don't have lots of synths, we use hi-fi gear and other tricks to achieve our sound."}} | + | {{boc|"If I told you what the [[Equipment#Secret_weapon|secret weapon]] is, it wouldn't be a secret anymore. We have more than one really. We use a mixture of old and new equipment. We don't have lots of synths, we use hi-fi gear and other tricks to achieve our sound."}} |
{{question|You run a company called [[Music70]]. What is the goal of this company?}} | {{question|You run a company called [[Music70]]. What is the goal of this company?}} | ||
| − | {{boc|"Music70 makes short films and creates images, paintings and other art. It's done purely for ourselves and our friends, and it has no commercial aims at all. Most Music70 work is like D.I.Y., but it's always emotional."}} | + | {{boc|"[[Music70]] makes short films and creates images, paintings and other art. It's done purely for ourselves and our friends, and it has no commercial aims at all. Most [[Music70]] work is like D.I.Y., but it's always emotional."}} |
{{question|How is the planned full length Super-8 movie with soundtrack coming along?}} | {{question|How is the planned full length Super-8 movie with soundtrack coming along?}} | ||
| Line 81: | Line 92: | ||
{{boc|"That film will start shooting in summer."}} | {{boc|"That film will start shooting in summer."}} | ||
| − | {{question|You use a bunker in the Pentland Hills as a studio. Does the atmosphere of the Hexagon Studio reflects in any way on your music?}} | + | {{question|You use a bunker in the [[wikipedia:Pentland Hills|Pentland Hills]] as a studio. Does the atmosphere of the Hexagon Studio reflects in any way on your music?}} |
{{boc|"We don't have an urban lifestyle, so that might make us unusual in electronic music. The things we do with friends are more rural or organic, like outdoor gatherings and so on."}} | {{boc|"We don't have an urban lifestyle, so that might make us unusual in electronic music. The things we do with friends are more rural or organic, like outdoor gatherings and so on."}} | ||
| Line 87: | Line 98: | ||
{{question|Some of the tracktitles are quite cryptic. Could you please explain some of them?}} | {{question|Some of the tracktitles are quite cryptic. Could you please explain some of them?}} | ||
| − | {{boc|"Our titles are always cryptic references which the listener might understand or might not. Some of them are personal, so the listener is unlikely to know what it refers to. | + | {{boc|"Our titles are always cryptic references which the listener might understand or might not. Some of them are personal, so the listener is unlikely to know what it refers to. ''[[Music Has The Right To Children]]'' is a statement of our intention to affect the audience using sound. "[[The Color Of The Fire]]" was a reference to a friend's psychedelic experience. "[[Kaini Industries]]" is a company that was set up in [[wikipedia:Canada|Canada]] ( by coincidence in the month [[Mike]] was born), to create employment for a settlement of [[wikipedia:Cree|Cree Indians]]. "[[Olson]]" is the surname of a family we know, and "[[Smokes Quantity]]" is the nickname of a friend of ours."}} |
{{question|Is [[Bocuma]] perhaps named after [[wikipedia:Bochum Welt|Bochum Welt]]? It sounds very 'Bochummy' :)}} | {{question|Is [[Bocuma]] perhaps named after [[wikipedia:Bochum Welt|Bochum Welt]]? It sounds very 'Bochummy' :)}} | ||
| Line 96: | Line 107: | ||
interview by René Passet, April 1998. | interview by René Passet, April 1998. | ||
| − | |||
| − | Check out [[EHX]] for a very informing interview [[Cosmic Crofter]] had with Boards of Canada. And for the Boards of Canada page. | + | The album ''[[Music Has The Right To Children]]'' is out now on [[Warp]]/[[SKAM|Skam]], as is their remix of [[wikipedia:Mira Calix|Mira Calix]]' [[Mira_Calix_-_Sandsings|Sandsings]]. [https://www.discogs.com/release/28759-Various-We-Are-Reasonable-People?redirected=true WAP100] will contain an exclusive track by [[Boards of Canada]], called [[Orange Romeda]]. Soon the Turquoise [[Hexagon Sun]] website will open it's gates. |
| + | |||
| + | |||
| + | Check out [[EHX]] for a very informing interview [[Cosmic Crofter]] had with Boards of Canada. | ||
| + | And for the [[Boards of Canada]] page. | ||
| + | |||
reviews at Forcefield:<br> | reviews at Forcefield:<br> | ||
| − | :: Various - Skampler - CD - Silent/Skam<br> | + | :: Various - Skampler - CD - Silent/[[Skam]]<br> |
:: Various Artists - Mask EP - 12" - Mask<br> | :: Various Artists - Mask EP - 12" - Mask<br> | ||
| − | :: Boards of Canada - [[Hi Scores|High Scores]] - 12" - Skam<br> | + | :: Boards of Canada - ''[[Hi Scores (release)|High Scores]]'' - 12" - [[SKAM|Skam]]<br> |
| + | </onlyinclude> | ||
| + | |||
== Scans == | == Scans == | ||
| − | + | <gallery> | |
| + | Image:1998 04 Forcefield screenshot.jpg | ||
| + | </gallery> | ||
| + | |||
| + | |||
| + | == Highlights == | ||
| + | * “It's a team effort. Usually the starting point is a melody. We write hundreds of little melodies, and the most attractive ones last in our minds. We go back to them and pick the ones that really stand out, then we start piecing together rhythms. Both of us write the tunes and rhythms. On the album ''[[Music Has The Right To Children]]'' 50% was by [[Marcus]], 50% by me ([[Mike]], rp). Not one of the tracks was totally written by one person.” | ||
| + | * "We've been making music since we were at school in the early 80's, and nobody will ever hear most of it, so it doesn't bother us to do a really limited release. Our friends and families hear all the music we write, and that's all that matters really. You wouldn't believe how much music we have on tape." | ||
| + | * "We're much more interested in melody than rhythm, and we appreciate the emotional power of a melody. Maybe that's too uncool for a lot of electronic artists." | ||
| + | * "We're very optimistic. We might sound melancholic, but that's just the way we write music." | ||
| + | * "We don't have an urban lifestyle, so that might make us unusual in electronic music. The things we do with friends are more rural or organic, like outdoor gatherings and so on." | ||
| + | |||
| + | |||
| + | == External Links == | ||
| + | * http://web.archive.org/web/20010305221908/http://www.forcefield.org/boc.html | ||
| + | * [https://www.angelfire.com/on/pisd/intboc.html Pop Is Dead Issue 7, feb. 1999] | ||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | + | == References == | |
| + | <references /> | ||
[[Category: Interviews]] | [[Category: Interviews]] | ||
| + | [[Category: Music Has the Right to Children era]] | ||
Latest revision as of 09:30, 2 August 2025
| title | A Bunker Full of Memories |
|---|---|
| author | René Passet |
| publication | Forcefield |
| date | 1998/04/14 |
| issue | |
| pages |
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.
'Strong emotional melodies'. That pretty much sums up the essence of what Boards of Canada is about. After various hard-to-get releases on cassettes, Skam Records (and it's enigmatic offshoot Mask) the Scottish duo has just released their debut album Music Has The Right To Children on Warp Records. The first of five on the Sheffield label!
Five albums. That might explain why Mike Sanderson and Marcus Eoin are extremely busy in their Hexagon Studio and reject most interview requests. So many tracks to finish, so little time. But Forcefield managed to enter the bunker which hosts the Hexagon Studio. Via E-mail. Here is what they said.
The name Boards of Canada is inspired by The National Filmboard of Canada. Could you explain what was so special about the nature-documentaries and their soundtracks?
"Yes the NFB films were one of our influences when we were younger. I think most of their films have been socio-political, but there are animations and suchlike. The thing about the older films is that the quality of picture and soundtrack wasn't perfect, it was grainy and wobbly. We used to record compositions on cheap tapes which gave a similar rough quality, and we've always returned to that sound because it feels personal and nostalgic."
Where you living in Canada when you saw the documentaries?
"We saw a lot of those films here in the UK during the 1970's, but we both lived in Alberta briefly in the late 70's."
Apart from these soundtracks, you also namedrop Joni Mitchell and the Incredible String Band when it comes to instrumentation. What was so special about their musical aproach?
"Much of the music we like is not electronic, although we've probably been influenced by Devo. We love acoustic music on old recordings because they tend to have natural qualities such as tape compression and distortion. But I think Joni Mitchell's voice is so beautiful it almost sounds synthesised, so maybe there's the connection. The Incredible String Band still sound unusual today, because they changed the arrangement for every song, and their own influences were far and wide apart, and they always wrote emotional melodies which were a bit unusual, you know, with melodies which took unexpected twists. A unique band."
What else do you consider important musical influences, past and present?
"Devo, Walter/Wendy Carlos, DAF, television themes, corporate jingles from TV and film, Jeff Wayne, Julian Cope, My Bloody Valentine, 80's pop music."
Could you tell me more about your so-called Psychedelic aproach, the alterations from start to finish in a track?
"We sometimes make a tune metamorphose as it plays. An example is "Nlogax" from the Hi Scores EP on Skam, which begins like an old electro or disco track but halfway through it suddenly becomes something nightmarish, like your brain is starting to malfunction in the middle of the tune. Psychedelics make music sound entirely different. Tiny details become massive, a five-minute track can feel like it's five hours long on psychedelics. You know when you're on a ride at a fairground, the pitch of the music rises and falls because of the Doppler-Effect? That's another thing we love to do in our tracks, and it's a fairly psychedelic-sounding effect too."
How *DO* you write music? What's the starting point? A feeling, a sound or an idea? And who of you two makes the first sketches?
"It's a team effort. Usually the starting point is a melody. We write hundreds of little melodies, and the most attractive ones last in our minds. We go back to them and pick the ones that really stand out, then we start piecing together rhythms. Both of us write the tunes and rhythms. On the album Music Has The Right To Children 50% was by Marcus, 50% by me (Mike, rp). Not one of the tracks was totally written by one person."
"We began work on the album at the beginning of 1997 and it was meant to be for Skam, but in the summer Warp came to us and said "we'd like this album", so the labels decided to co-release it."
Skam gained respect amongst IDM-minded musiclovers in very little time. A new Skam record is considered something special nowadays. But they're always hard to find.
"Skam is truly underground, truly independent. I'm sure that if we asked Skam to release only one copy of a new release, they would do it."
But why make music that (almost) no one can get their hands on, like the two MASK ep's, which were released in issues of 100 and 200 copies?
"We've been making music since we were at school in the early 80's, and nobody will ever hear most of it, so it doesn't bother us to do a really limited release. Our friends and families hear all the music we write, and that's all that matters really. You wouldn't believe how much music we have on tape."
But why release records at all, if all that matters is that your friends and families hear all the music? You must feel some sort of proud when records are bought by musicfans and get good press reviews. Or don't you?
"Of course, it's lovely to hear that people we've never met are really enjoying our music, because it feels as though we must have something in common, I mean psychologically, with those listeners. So it is satisfying, and fascinating."
Do you feel any pressure, now that you have signed a contract with Warp?
"Yes, that's part of what you accept when you sign to a bigger label."
Warp has announced a second BoC-album, to be released at the end of this year. In what ways will it differ from the first album?
"I won't give away our plans for the next one, but it will be different. It's going to be stranger, more concentrated, more melodic."
Melody is very important in most of your work. While many other electronic musicians focus more on rhythm. Is this perhaps one of the secrects of your succes?
"We're much more interested in melody than rhythm, and we appreciate the emotional power of a melody. Maybe that's too uncool for a lot of electronic artists."
Some people might argue that Boards of Canada make 'depressing' music.What would you like to comment on that? Are you pessimistic or optimistic towards life?
"We're very optimistic. We might sound melancholic, but that's just the way we write music."
What kind of special equipment do you use? I understand some of your machines are quite big. And you have something what you call 'the SecretWeapon'.
"If I told you what the secret weapon is, it wouldn't be a secret anymore. We have more than one really. We use a mixture of old and new equipment. We don't have lots of synths, we use hi-fi gear and other tricks to achieve our sound."
You run a company called Music70. What is the goal of this company?
"Music70 makes short films and creates images, paintings and other art. It's done purely for ourselves and our friends, and it has no commercial aims at all. Most Music70 work is like D.I.Y., but it's always emotional."
How is the planned full length Super-8 movie with soundtrack coming along?
"That film will start shooting in summer."
You use a bunker in the Pentland Hills as a studio. Does the atmosphere of the Hexagon Studio reflects in any way on your music?
"We don't have an urban lifestyle, so that might make us unusual in electronic music. The things we do with friends are more rural or organic, like outdoor gatherings and so on."
Some of the tracktitles are quite cryptic. Could you please explain some of them?
"Our titles are always cryptic references which the listener might understand or might not. Some of them are personal, so the listener is unlikely to know what it refers to. Music Has The Right To Children is a statement of our intention to affect the audience using sound. "The Color Of The Fire" was a reference to a friend's psychedelic experience. "Kaini Industries" is a company that was set up in Canada ( by coincidence in the month Mike was born), to create employment for a settlement of Cree Indians. "Olson" is the surname of a family we know, and "Smokes Quantity" is the nickname of a friend of ours."
Is Bocuma perhaps named after Bochum Welt? It sounds very 'Bochummy' :)
"Sorry, I'm afraid not... It's an abbreviation/crossover of BOC Maxima and Documa, an obscure reference to 80's video culture."
interview by René Passet, April 1998.
The album Music Has The Right To Children is out now on Warp/Skam, as is their remix of Mira Calix' Sandsings. WAP100 will contain an exclusive track by Boards of Canada, called Orange Romeda. Soon the Turquoise Hexagon Sun website will open it's gates.
Check out EHX for a very informing interview Cosmic Crofter had with Boards of Canada.
And for the Boards of Canada page.
reviews at Forcefield:
- Various - Skampler - CD - Silent/Skam
- Various Artists - Mask EP - 12" - Mask
- Boards of Canada - High Scores - 12" - Skam
- Various - Skampler - CD - Silent/Skam
Scans[edit]
Highlights[edit]
- “It's a team effort. Usually the starting point is a melody. We write hundreds of little melodies, and the most attractive ones last in our minds. We go back to them and pick the ones that really stand out, then we start piecing together rhythms. Both of us write the tunes and rhythms. On the album Music Has The Right To Children 50% was by Marcus, 50% by me (Mike, rp). Not one of the tracks was totally written by one person.”
- "We've been making music since we were at school in the early 80's, and nobody will ever hear most of it, so it doesn't bother us to do a really limited release. Our friends and families hear all the music we write, and that's all that matters really. You wouldn't believe how much music we have on tape."
- "We're much more interested in melody than rhythm, and we appreciate the emotional power of a melody. Maybe that's too uncool for a lot of electronic artists."
- "We're very optimistic. We might sound melancholic, but that's just the way we write music."
- "We don't have an urban lifestyle, so that might make us unusual in electronic music. The things we do with friends are more rural or organic, like outdoor gatherings and so on."
External Links[edit]
- http://web.archive.org/web/20010305221908/http://www.forcefield.org/boc.html
- Pop Is Dead Issue 7, feb. 1999