"Marcus: We're at our studio right now, the whole place is

under snow at the moment. Everything's cool. Geogaddi must be one of the most anticipated records of 2002. I guess this weekend saw the first string of reviews in the

magazines."

"Marcus: We try not to look at reviews. It starts to

affect your work if you read the comments people make. Even positive comments can be damaging, I mean it's a lot easier for us to have fun writing music if we imagine

nobody is listening to it."

"Mike: a and b. Especially a. Music Has The Right To

Children was one of those seminal records that got better and more personal every time you listened to it. Its reputation seemed to grow every year. It's a modern classic. Geogaddi won't get the time and space to grow in people's subconsciousness, as MHTRTC did. People are taking in the album from day one, swallowing every track,

hungry as they are."

"Mike: Thanks, yeah I think you're right, it's easier when

you appear out of nowhere with your first album. After that, if people let their expectations grow too much, then it's inevitable that any subsequent records won't have the same effect, no matter what the music sounds like. Our music is never intended to do its work on just the first listen. Like Jack Dangers said, "play twice

before listening".

"Mike: We'd much rather that people find our music by

themselves, you know, so that it's something that feels like it belongs to them. If it was up to us there would be no promotion for our music at all. MHTRTC was a one-off moment of magic you can't possibly repeat - because of the aforementioned situation. Wasn't it? Is it fair to expect another album of such class? Best thing to do in a situation like this is to disappear for good...

and let legend begin."

"Mike: Our best work is still ahead of us. We were writing

and recording our own music for about fifteen years before 'Music Has The Right...', and we're never going to stop creating music. We wouldn't have left it at just that album, just because that's the first record that became quite widely-known. The truth is that when we released that record we had no idea it would develop the

kind of cult thing that it has."

"Marcus: We're not into milking the media and we're not

interested in trying to become famous. There are too many artists out there who barely put any records out, yet they're on television and in magazines all the time. If that's what they want, that's fine, but I think that's the mentality of someone who came to the music world quite late in their life, but for us we've been doing what we do for years already, and we'd be doing it anyway even if nobody knew us. The music industry is full of people who are famous for being famous. We just want to create good music, and it doesn't matter to us to do all

the other nonsense.

"Mike: That's exactly why we try to create a sound that

isn't attached to the current time. I hope our music could be enjoyed thirty years in the future without sounding like it came from an identifiable trend or a scene. We've always loved the sound of things that are a little sad and broken-sounding. I think that because we try to capture a damaged, eerie effect in our music, it ends up sounding nostalgic to some listeners. But you could be right because the intention is to make it sound like it's something strangely familiar but perpendicular

to the real world, and in a way timeless."

"Marcus: It's about what fits in the context of the album.

When we play live we often play tracks that haven't been released. Sometimes those tracks will be used later, sometimes we will move on from that sound and leave the

track behind."

"Mike: Haha, yeah there will be another record very soon

after this one. As Marcus said, you make an album by compiling what fits together, and we're already putting

together a different record."

"Mike: It's meant to play like the soundtrack for some

strange musical, or an imagined movie. The theme with Geogaddi is a kind of confusion, as though you're going through a kind of 'Alice in Wonderland' adventure, but with adamaged mind. Those short tracks you mention, we write far more of those than the so-called "full on"

tracks, and in a way, they are our own favorites."

"Mike: If we wanted, we could release 10 albums tomorrow

made up only with those short tracks. The ones on Geogaddi are the ones that make most sense in the overall

flow."

"Mike: If you mean how does it differ from what might have

been compiled into an album in 2000, I think it would have been pretty different. We go through phases, Geogaddi has a lot to do with what we were listening to in the last year. If we'd made it in 2000 it might have been more electronic, but over time we've tried to create something more fuzzy and organic. Every time we make a record we see it as an individual project, separate from what went before and what will happen afterwards.

Likewise the next record will sound different."

"Marcus: The idea of the perfect album is this amorphous

thing that we're always aiming at. For us it can mean something that's full of imperfection, because part of our aim has always been to destroy the sound in a beautiful way. It doesn't mean that we expect everyone would like it. I'm not sure that we will ever get there, to make the perfect record. But the whole point of making

music is at least to aim at your own idea of perfection."

"Mike: That's partially true. For the album we hoped to

make something where all the tracks had a similar undercurrent while being diverse. The songs on IABPOITC could have ended up on Geogaddi, but at the time, we realized they worked well together so they became their

own EP."

"Marcus: We don't try to plot a route with where we go

musically. It has more to do with our own moods at the time of writing, and for example, what we have read or watched as an influence. That EP had it's own little theme. Because Geogaddi has a lot more tracks than an EP, it's easier to draw a connection between it and our last album, because we are the same band! Usually we're a lot more minimal than the songs on Geogaddi, but this time we wanted to do something with more facets, more detail and a kind of concentrated recipe of chaotic little melodies. It reflected a chaotic time in our personal lives. I guess we'll probably go back in a more minimal direction next. If you were to point out one difference, one

progression from MHTRTC, what would it be?"

"Mike: I would say 'Music Has The Right...' is a record

for outdoors on a cold, blue-skied day, while 'Geogaddi' is a record for some sort of trial-by-fire, a claustrophobic, twisting journey that takes you into some pretty dark experiences before you reach the open air again. It has a kind of narrative. That's why we ended it with 'Corsair', it's like the light at the end of the

tunnel.

"Marcus: Definitely, even more so. Our influences while

creating Geogaddi involved much darker material, so I

think this comes through in the album."

"Mike: Yeah it's possible. I think the best way to freshen

up what you're doing is to strip it down and go minimal, so we'll see. Though our next EP could just as easily be a collection of ROYGBIV-like songs. Every so often we like to stop ourselves and change direction, it's important to do that or you can become tired of your own music. Every record is like a reaction to the last one, so I guess at the moment we're feeling more like heading

in a minimal direction, simplifying the sound again."

"Marcus: I think it's flattering that we may be

influencing others to create music. But I think everyone should find their own path. In a way, if people copy us

closely, it just keeps me on my toes."

"Mike: Very. There's a lot of acoustic instrumentation

used in Geogaddi, though not in obvious ways. We love artists like Joni Mitchell and The Incredible Stringband. There's a sort of purity of sound that they have, and I

guess we are striving for that ourselves"

"Marcus: Definitely! We have all the Stringband records! In fact, they come from the same place where we live now. We see them from time to time. So I guess our rural sensibilities are similar. Personally, I think they are one of the most important and underrated bands in the past forty years of music. They influenced so many other artists yet they never get due credit."

"Mike: We are interested in pagan roots. We're very much into older cultures and lifestyles. People forget just how transitory this period of time in the modern world is. It's important to be able to consider other approaches to society and life than what's around you. Take a look at Julian Cope for example, he uses these influences to fuel his music in a wonderful unique way. It can influence your work in other ways too, not necessarily just in the sound of the music."

"Marcus: As evil as Mickey Mouse."

"Mike: It's just a pattern. It captures some people's imaginations."

"Marcus: Heh, only if you want it to happen."

"Mike: You could say that. We're not Satanists, or Christians, or pagans. We're not religious at all. We just put symbols into our music sometimes, depending on what we're interested in at the time. We do care about people and the state of the world, and if we're spiritual at all it's purely in the sense of caring about art and inspiring people with ideas."

"Marcus: We're very much anti-globalisation. One think that disturbs me is a trend today for technology to be created and used just for it's own sake. I recently heard a politician in the UK saying that population decline was a terrible thing and that if we don't build more houses then quality of life and the economy would suffer. It's such a naïve and ignorant approach to the world. Where exactly do they stop? Once there is no land left, just industrial estates and housing? I think it's the saddest thing in the world that we have all the space and resources to give everyone a decent life, but it doesn't happen. George Bush is right in that there is an "axis of evil", but it lies at the door of big business and government. We try to support the idea of a less urbanised lifestyle in our music, but I don't want to preach to anyone."

"Mike: I think you're quite right, and to us the association of electronic music with science fiction and futurism is a cliche. It's a really corny, dated, unsophisticated way of thinking. And yet most current electronic artists still seem to fall into that trap. It might have been original in the 1970's when Kraftwerk were at their peak, but not now. For us, the technological aspect of our music goes as far as the studio recording techniques we use, but we don't let the technology dictate the purpose of our art to us. Too many electronic bands get carried away with the influences of computers and the internet and other technology, and they end up using that as their sole inspiration because at the end of the day that's all they do. So they let their song-titles and themes be direct references to current technological buzzwords or fashions, and to us that's a total lack of imagination. They're geeks obsessed with equipment and computers and ultimately it's become fucking predictable and boring. They should go out and live. Or travel around or something, get some real ideas, and real emotions. I mean, we too are interested in technology and science, but our music is influenced by much further-reaching ideas than that. And it's not just about recapturing the past. We've touched upon the theme of lost childhood a few times because it's something personal to me that gives me real inspiration through its sadness. I think sometimes the best way to get inspiration is to face up to the things that make you very sad in your life, and use them."

"Mike: The future is very interesting to us too, we're very forward-thinking. But as I said, it's become the accepted standard for electronic artists to be constantly projecting into the future, and as a band we love electronic music but we hate the cliches. As people we're both quite reflective, particularly myself, and sometimes I find that the most positive way to convey hope for the future is to delve into the past. It could just as easily be an exploration of a tragedy or it could be a reflection of some wonderful golden period from the past."

"Mike: In that song it refers to a specific period in the history of a religious group, and at the same time the period in general, the hopefulness of a forward-thinking generation that wasn't aware of what was coming in their collective future."

"Marcus: It's a bit of both. Some of our tracks are using messages to lend the sound of the tune a context, to make it easier for people to understand what frame of mind we intend the track to be taken in. It can mean the difference between someone understanding our sense of irony or not. We're very conscious of what we sound like, and we have a sense of humor that can be completely missed if you don't fully understand what we're about. At the same time, we're quite serious about a lot of issues, we're politically motivated, and we're genuinely interested in a lot of cultural and scientific subjects. We do a lot of research. So, some of our tracks are putting across a very specific message."

"Marcus: It's true and we've experimented with a lot of other equations and phenomena. But it's not the primary purpose behind the band. Most of the time we're really just into making music the normal way."

"Mike: Seventy."

"Mike: Yeah the main thing is these titles are evocative and the idea is it helps put a picture in your mind to associate with the track. We don't want to go too far as it's important to leave a certain space there for the listener's imagination. On this album a lot of the tracks are referring to science and nature and maths, it's just what we were into at the time of writing it. When we work on music we often imagine a visual part, as though the track is meant to accompany a short film of some kind, so yeah I suppose each track has a theme that we want to convey in some vague way."

"Marcus: Yes the films we've done are mostly abstract, organic-looking things. Loops and collages of clips, made into patterns, which seem to be in the style of documentaries or information films, or nature films. We want our music to be provocative and inspiring so we try to put suggestions into the live visual show to reinforce this. We make them ourselves, we don't sample bits of other people's films, but we make them look like they came from something older."

"Marcus: Most of the films we use in our live gigs are made entirely by Mike and myself."

"Marcus: It's a floating number of friends who are working on music or films or photography. There's only a handful of us, about a dozen. Mike and I have done other side projects in the past that are currently taking a back-seat while we concentrate on Boards of Canada, although in the future we intend to get into other things again, films and books."

"Mike: Maybe."

"Mike: We heard about this. It's ridiculous. If people have that much money to spend on music it's up to them. There has been no decision about doing any re-releases yet, and if there was, nobody would know about it because we never tell anybody anything."

"Marcus: We'd like to play in Holland at some point if we get a chance, if anyone wants us to. There are no plans at the moment for a tour because we're working on another record, but we love visiting Europe and we'd love an excuse to experience Holland, so maybe it'll happen sometime soon."

"Marcus: It's silly. We don't pay any attention to that. These compilations just lump us together with all sorts of music that has no connection with what we do. I don't know what 'chill-out' is. We're not into scenes or any of that. There isn't one phrase to describe our music because it changes drastically from one track to the next."

"Mike: We don't keep in touch with anyone in the music world. It doesn't pay to be involved with people in the music industry. There's no specific preference or prejudice. We just keep everyone at the same distance."

"Mike: It's a combination of different words, there are a few different meanings you can take from it. We have our own meaning and we want the listener to make up his or her own meaning. It's more personal that way."

"BoC: Thanks Koen..."