artists mentioned by Boards of Canada in their interviews
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{{interview | {{interview | ||
|title=In An Imaginary Place Out In The Country | |title=In An Imaginary Place Out In The Country | ||
β | |author= | + | |author=Ryotaro Wada, Ito Eisuke, Aoki Tatsuya, Iizuka Satoshi, Hashimoto Satoshi, Honma Satoshi |
|date=2002/03 | |date=2002/03 | ||
|publication=Cookie Scene | |publication=Cookie Scene | ||
|issue=24 | |issue=24 | ||
+ | |pages=09-15 | ||
}} | }} | ||
+ | </onlyinclude> | ||
+ | <onlyinclude> | ||
+ | "[[In An Imaginary Place Out In The Country]]" is an interview (in Japanese) by Ryotaro Wada, Ito Eisuke, et al. originally published Mar. 2002 in Cookie Scene magazine Number 24, pp. 09-15. | ||
+ | </onlyinclude> | ||
β | + | __TOC__ | |
+ | == Original Text == | ||
+ | <onlyinclude> | ||
+ | {{transcription-needed}} | ||
+ | θ³ͺεδ½ζγζ/εη°ζε€ͺι θ³ͺεδ½ζγεζγ翻訳/δΌθ€θ±ε£ θ³ͺεδ½ζ/ιζ¨ιδΉγι£―ε‘θεΏγζ©ζ¬θ‘γζ¬ιθ‘ | ||
</onlyinclude> | </onlyinclude> | ||
β | |||
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+ | == Translated text == | ||
<onlyinclude> | <onlyinclude> | ||
β | + | {{translation-needed}} | |
β | '''Note:''' The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by | + | '''Note:''' The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by Toni Lanov. |
Initially it was a drop of water. Small ripples flowed and gathered upon the surface and began to spread. Eventually ''[[Music Has the Right to Children]]'' was given to the world in 1998, released under both [[Warp Records|Warp]] and [[SKAM]] record labels. | Initially it was a drop of water. Small ripples flowed and gathered upon the surface and began to spread. Eventually ''[[Music Has the Right to Children]]'' was given to the world in 1998, released under both [[Warp Records|Warp]] and [[SKAM]] record labels. | ||
β | The [[Boards of Canada]] and the impact of ''[[Music Has the Right to Children]]'' was strongly felt. The brothers engineering direct pluronic music, ambient atmospheres and utilizing aspects of Hip-Hop, but all genres of music | + | The [[Boards of Canada]] and the impact of ''[[Music Has the Right to Children]]'' was strongly felt. The brothers engineering direct pluronic music, ambient atmospheres and utilizing aspects of Hip-Hop, but all genres of music were used to propagate their unique sound. Words begin to fade into the music and become one with the sound, but they maintain their sense of direction and flow, a sound full of immersive vitality. The beauty of their sound proceeded to propagate and quickly spread throughout the world. ''[[Music Has the Right to Children]]'' had become an exceptionally prominent seller on the Indie charts in the UK. Their signature identity, their je ne sais quoi and otherworldly sounds were immediately recognizable but they didn't show you the whole picture with ease. Giving few interviews and rarely seen in photographs, their style and their activities were constantly wrapped in a veil. Sometimes referred to as 'Scotland's greatest mystery'. |
β | Their sound continues to impact the music scene in a variety of ways. The methodology, sound texture being a duality of sonic mastery. IDM and post-rock | + | Their sound continues to impact the music scene in a variety of ways. The methodology, sound texture being a duality of sonic mastery. IDM and post-rock were being sold readily with coined nicknames such as 'Nupsychedelic', but still, [[Boards of Canada]]'s sound is something that doesn't fade, it continues to grow into something beautiful over time. Their sound is unique. |
β | Meeting and exceeding the high expectations of future releases that fans | + | Meeting and exceeding the high expectations of future releases that fans were left with after their 1998 release, '''[[Geogaddi]]''' (2002) saw the light of day. Sounds and phrases, everything is composed of great beauty. Great moments of euphoria are reached in the new release. Within lies a psychedelic world that only the brothers Sandison can create. In addition to this, the few that have seen them at a live setting have also told of the charming characteristics of their, often intimate, live performances. The perfect blend of both psychedelic video and sound entrances the listener with all senses. |
β | I am overjoyed to be interviewing both [[Michael Sandison]] and [[Marcus Eoin]], the masters behind the music, listening intently as I am aware of some of our readers anticipation and interest in hearing their story. Although I am not aware of how familiar they will be to Cookie Scene readers, I find that their sound alone leads me to want to know the story beneath. I tell myself: 'Before beginning this interview, I will want to recap their history'. ''[[Geogaddi]]'' was distributed to the press upon its release. I find myself wondering 'Are their four, or perhaps even five members of the group to create such a diverse sound?' The answer to this is now apparent. In 1995 the band and a group of their lucky friends gathered in [[Hexagon Sun]] studios in the Pentland Hills, Scotland and held an ordinance for their new release. [[Hexagon Sun]] is often the venue of small scale, closed audiovisual events for members of the collective. Their early releases | + | I am overjoyed to be interviewing both [[Michael Sandison]] and [[Marcus Eoin]], the masters behind the music, listening intently as I am aware of some of our readers anticipation and interest in hearing their story. Although I am not aware of how familiar they will be to Cookie Scene readers, I find that their sound alone leads me to want to know the story beneath. I tell myself: 'Before beginning this interview, I will want to recap their history'. ''[[Geogaddi]]'' was distributed to the press upon its release. I find myself wondering 'Are their four, or perhaps even five members of the group to create such a diverse sound?' The answer to this is now apparent. In 1995 the band and a group of their lucky friends gathered in [[Hexagon Sun]] studios in the Pentland Hills, Scotland and held an ordinance for their new release. [[Hexagon Sun]] is often the venue of small scale, closed audiovisual events for members of the collective. Their early releases were on a self-produced label '[[Music70]]'. The very first release had been layered with melancholic melodies and rough rhythm sections. |
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[[Hexagon Sun]] began a regular event and referred to said event only as 'Redmoon'. People sat around a large bonfire akin to an old nursery rhyme. In February, I continued to scan over the UK indie chart Top 200. | [[Hexagon Sun]] began a regular event and referred to said event only as 'Redmoon'. People sat around a large bonfire akin to an old nursery rhyme. In February, I continued to scan over the UK indie chart Top 200. | ||
β | This interview will comprise of three parts.Part one will be applying their roots, they tell me that they | + | This interview will comprise of three parts.Part one will be applying their roots, they tell me that they were releasing records from childhood. |
{{question|''Is the production company 'Film [[Boards of Canada]]' attached to your work aesthetically? Have you taken well to this and can you tell me anything about the namesake of your group?''}} | {{question|''Is the production company 'Film [[Boards of Canada]]' attached to your work aesthetically? Have you taken well to this and can you tell me anything about the namesake of your group?''}} | ||
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{{boc|[ambiguous as to which of the brothers replied] | {{boc|[ambiguous as to which of the brothers replied] | ||
β | ''I feel that it had a great deal of influence yes. For example to the north, there is very sightly and beautiful nature and wildlife combined with sometimes brutal and barren landscapes. For children who live there, there is not much to do however. We | + | ''I feel that it had a great deal of influence yes. For example to the north, there is very sightly and beautiful nature and wildlife combined with sometimes brutal and barren landscapes. For children who live there, there is not much to do however. We were given little entertainment. Self sufficiency at the heart that is stirred up by the decision to try to create something was our real motivation''}} |
{{question|''The band in its original form was born out of nature. Using a microphone and a few complimentary synthesizers. Was the potent music coming out of the United States at the time of your earlier experimental work a strong influence to you?''}} | {{question|''The band in its original form was born out of nature. Using a microphone and a few complimentary synthesizers. Was the potent music coming out of the United States at the time of your earlier experimental work a strong influence to you?''}} | ||
β | {{boc|Marcus: ''We knew a handful of bands from that place and time. We always listened to the rough, loose kind of music. More so than music created by groups and bands purely to be listened to in and of itself at the time, we | + | {{boc|Marcus: ''We knew a handful of bands from that place and time. We always listened to the rough, loose kind of music. More so than music created by groups and bands purely to be listened to in and of itself at the time, we were influenced by an array of Canadian documentaries and their soundtracks during our time there''}} |
β | {{boc|Mike: ''Our music emerged mostly from natural chance at that time. One month we | + | {{boc|Mike: ''Our music emerged mostly from natural chance at that time. One month we were making a b-music production, another eight and we were making an amateur video production accompanied by our own music. This was fueled by the basic impulse to create simple videos for ourselves''}} |
{{question|''What was the relationship between music and video for you at the time? And how do you perceive that now?''}} | {{question|''What was the relationship between music and video for you at the time? And how do you perceive that now?''}} | ||
β | {{boc|Marcus: ''I think there are various stages in relation to film and music in terms of our own productions. Many of our earlier home-made films | + | {{boc|Marcus: ''I think there are various stages in relation to film and music in terms of our own productions. Many of our earlier home-made films were purely experimental. I feel it was in contrast to a lot of the music videos coming out that were typically a combination of both dancing and music, with little other visuals. There was also the commercial aspect of that.''}} |
β | Recently, one feels that the commercial music scene is coming back in a way, but there | + | Recently, one feels that the commercial music scene is coming back in a way, but there were always artists with a particular palette in terms of audiovisual creations. In many ways, the video is now viewed as one of the elements to music creation. In some cases, the videos were never intended to be reflective of the music, but were purposed for it in such a manor anyway. |
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{{question|''And as we have been focusing on current activities, the last part of our interview will focus more on future activities. I have heard much talk of potential projects for the future. It was over three years since your last LP...''}} | {{question|''And as we have been focusing on current activities, the last part of our interview will focus more on future activities. I have heard much talk of potential projects for the future. It was over three years since your last LP...''}} | ||
β | {{boc|Mike: ''There are actually an awful lot of songs that | + | {{boc|Mike: ''There are actually an awful lot of songs that were not used for ''[[Geogaddi]]''. An awful lot that have not been used. We'll have fun creating the new album, our lifestyle warrants that. You might hear a few of the unused tracks making it to the production line in future.''}} |
{{question|''What technology do you use on a daily basis and what is your view of technology generally?''}} | {{question|''What technology do you use on a daily basis and what is your view of technology generally?''}} | ||
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{{boc|[Ambiguous as to who responds] | {{boc|[Ambiguous as to who responds] | ||
β | ''I think that artists feel a sense of intimacy in the country. At that time (60's) I think fields and nature represented a certain sense of freedom. I also feel that psychedelic and hippie music has its roots in country music and was effectively an adaptation of such. They | + | ''I think that artists feel a sense of intimacy in the country. At that time (60's) I think fields and nature represented a certain sense of freedom. I also feel that psychedelic and hippie music has its roots in country music and was effectively an adaptation of such. They were tributaries and offshoots of the main river that is country music. It eventually became a fashionable existence to identify as a 'hippie'. We empathize and relate to the fundamental ethics of that stream of music, though.''}} |
{{question|''Do you think that aspects of your daily life reflect your ethics and roots as musicians?''}} | {{question|''Do you think that aspects of your daily life reflect your ethics and roots as musicians?''}} | ||
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{{boc|[Ambiguous as to who replies] | {{boc|[Ambiguous as to who replies] | ||
β | ''For Pink Floyd, they generally don't compare us. There isn't so much to hear in their early works. The same can be said about Brian | + | ''For Pink Floyd, they generally don't compare us. There isn't so much to hear in their early works. The same can be said about Brian Eno. Some of his works we've certainly enjoyed though despite not listening to all of his works. We adore and are well connected with Autechure. It feels like a vast difference between our sounds though. I tend to focus on music to surpass limits of rhythm and electronic sounds, the core of our sound is generally a melody. With God Speed we have also listened to a small quantity of their work but by no means all of it and I would like to express the greatest respect for Darrel, also my friend. He is probably one of the nicest guys in the people who are doing electronic music.''}} |
{{question|''You guys are on [[SKAM]] as well as [[Warp Records|Warp Records]]...''}} | {{question|''You guys are on [[SKAM]] as well as [[Warp Records|Warp Records]]...''}} | ||
β | {{boc|Mike: ''[[SKAM]], they are not affected by the commercial thing. A 'do-it-yourself' atmosphere that you have to stick to to a certain extent. Andy Maddox (head of [[SKAM]] records) is, while being a layed-back person, someone that would come up with ideas to realize that you want to do immediately. I think we just wanted to feel that we | + | {{boc|Mike: ''[[SKAM]], they are not affected by the commercial thing. A 'do-it-yourself' atmosphere that you have to stick to to a certain extent. Andy Maddox (head of [[SKAM]] records) is, while being a layed-back person, someone that would come up with ideas to realize that you want to do immediately. I think we just wanted to feel that we were running our own creation. [[Warp Records|Warp]] is more of a 'big label' type situation but I also feel that we are one large family in music.''}} |
β | {{question|''You | + | {{question|''You were also working under the name '[[Hell Interface]]' ?''}} |
{{boc|Marcus: ''We are. We made a song that is sampled from the basic elements of a rather famous song, in order to avoid any legal trouble, we thought it would be best to release it under the pseudonym.''}} | {{boc|Marcus: ''We are. We made a song that is sampled from the basic elements of a rather famous song, in order to avoid any legal trouble, we thought it would be best to release it under the pseudonym.''}} | ||
β | {{question|''The John ''[[Peel Session]]''s | + | {{question|''The John ''[[Peel Session]]''s were also a great release, we don't yet have any recordings other than that of seeing you perform in a live setting. Do you consider yourself to be more expressive through live works or do you tend towards the studio side of the situation?''}} |
{{boc|Mike: ''Thank you! We spend several months preparing for a performance, mostly because of the visual side of things and using our 8mm film footage. Trying to accurately time psychedelic imagery with the music and we use some unusual effects''}} | {{boc|Mike: ''Thank you! We spend several months preparing for a performance, mostly because of the visual side of things and using our 8mm film footage. Trying to accurately time psychedelic imagery with the music and we use some unusual effects''}} | ||
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{{question| ''Do you see yourselves ever performing in Japan?''}} | {{question| ''Do you see yourselves ever performing in Japan?''}} | ||
β | {{boc|Marcus: ''Really, we have actually wanted to do so. Several times we | + | {{boc|Marcus: ''Really, we have actually wanted to do so. Several times we were invited to play in japan, in fact. However, its not like we have a 'This year I want to do a gig' sentiment very often.}} |
{{boc|Mike: ''We've already begun working on the new album so we have plenty to keep ourselves busy with. After that, perhaps, we will complete a video and consider a live event.''}} | {{boc|Mike: ''We've already begun working on the new album so we have plenty to keep ourselves busy with. After that, perhaps, we will complete a video and consider a live event.''}} | ||
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== Scans == | == Scans == | ||
<gallery> | <gallery> | ||
Image:Boardsofcanadacookie024.jpg | Image:Boardsofcanadacookie024.jpg | ||
+ | Image:Cookie-scene-2002-boc-interview-09.jpg | ||
Image:Cookie-scene-2002-boc-interview-02.jpg | Image:Cookie-scene-2002-boc-interview-02.jpg | ||
Image:Cookie-scene-2002-boc-interview-03.jpg | Image:Cookie-scene-2002-boc-interview-03.jpg | ||
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Image:Cookie-scene-2002-boc-interview-07.jpg | Image:Cookie-scene-2002-boc-interview-07.jpg | ||
Image:Cookie-scene-2002-boc-interview-08.jpg | Image:Cookie-scene-2002-boc-interview-08.jpg | ||
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</gallery> | </gallery> | ||
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β | + | == Highlights == | |
+ | * | ||
+ | |||
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+ | == External Links == | ||
+ | * | ||
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β | </ | + | == References == |
+ | <references /> | ||
β | [[Category: | + | [[Category: Interviews]] |
β | [[Category: | + | [[Category: Geogaddi era]] |
title | In An Imaginary Place Out In The Country |
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author | Ryotaro Wada, Ito Eisuke, Aoki Tatsuya, Iizuka Satoshi, Hashimoto Satoshi, Honma Satoshi |
publication | Cookie Scene |
date | 2002/03 |
issue | 24 |
pages | 09-15 |
"In An Imaginary Place Out In The Country" is an interview (in Japanese) by Ryotaro Wada, Ito Eisuke, et al. originally published Mar. 2002 in Cookie Scene magazine Number 24, pp. 09-15.
This article needs to be transcribed. If you can provide a transcription, please update this article! |
θ³ͺεδ½ζγζ/εη°ζε€ͺι θ³ͺεδ½ζγεζγ翻訳/δΌθ€θ±ε£ θ³ͺεδ½ζ/ιζ¨ιδΉγι£―ε‘θεΏγζ©ζ¬θ‘γζ¬ιθ‘
This article needs to be translated. If you can provide a translation, please update this article! |
Note: The original magazine was scanned to PDF. That PDF was sent to an online OCR tool to be converted to Japanese character text. The resulting text was translated on a basic level by Google Translate. That translation has been rewritten and interpreted into proper English by Toni Lanov.
Initially it was a drop of water. Small ripples flowed and gathered upon the surface and began to spread. Eventually Music Has the Right to Children was given to the world in 1998, released under both Warp and SKAM record labels.
The Boards of Canada and the impact of Music Has the Right to Children was strongly felt. The brothers engineering direct pluronic music, ambient atmospheres and utilizing aspects of Hip-Hop, but all genres of music were used to propagate their unique sound. Words begin to fade into the music and become one with the sound, but they maintain their sense of direction and flow, a sound full of immersive vitality. The beauty of their sound proceeded to propagate and quickly spread throughout the world. Music Has the Right to Children had become an exceptionally prominent seller on the Indie charts in the UK. Their signature identity, their je ne sais quoi and otherworldly sounds were immediately recognizable but they didn't show you the whole picture with ease. Giving few interviews and rarely seen in photographs, their style and their activities were constantly wrapped in a veil. Sometimes referred to as 'Scotland's greatest mystery'.
Their sound continues to impact the music scene in a variety of ways. The methodology, sound texture being a duality of sonic mastery. IDM and post-rock were being sold readily with coined nicknames such as 'Nupsychedelic', but still, Boards of Canada's sound is something that doesn't fade, it continues to grow into something beautiful over time. Their sound is unique.
Meeting and exceeding the high expectations of future releases that fans were left with after their 1998 release, Geogaddi (2002) saw the light of day. Sounds and phrases, everything is composed of great beauty. Great moments of euphoria are reached in the new release. Within lies a psychedelic world that only the brothers Sandison can create. In addition to this, the few that have seen them at a live setting have also told of the charming characteristics of their, often intimate, live performances. The perfect blend of both psychedelic video and sound entrances the listener with all senses.
I am overjoyed to be interviewing both Michael Sandison and Marcus Eoin, the masters behind the music, listening intently as I am aware of some of our readers anticipation and interest in hearing their story. Although I am not aware of how familiar they will be to Cookie Scene readers, I find that their sound alone leads me to want to know the story beneath. I tell myself: 'Before beginning this interview, I will want to recap their history'. Geogaddi was distributed to the press upon its release. I find myself wondering 'Are their four, or perhaps even five members of the group to create such a diverse sound?' The answer to this is now apparent. In 1995 the band and a group of their lucky friends gathered in Hexagon Sun studios in the Pentland Hills, Scotland and held an ordinance for their new release. Hexagon Sun is often the venue of small scale, closed audiovisual events for members of the collective. Their early releases were on a self-produced label 'Music70'. The very first release had been layered with melancholic melodies and rough rhythm sections.
[Unintelligible section omitted]
Boards of Canada utilized Hexagon Sun visuals in live settings, often accompanied by depressive and subliminal texts, gradually increasing the degree of audiovisual perfectionism.
Mike and Marcus immigrated between Scotland and southern Canada as children. The original form of Boards of Canada was based around a 1950's microphone, making experimental sounds using borrowed drums, synths and tape machines. Also utilizing 8mm cine-film video. A great deal of their influence comes from the soundtracks of educational documentaries, movies and music. The name 'Boards of Canada' coming from a Canadian documentary service: 'The Film Boards of Canada'. In 1996, Christ who was originally the group's 3rd member and helped to compose certain tracks on the Twoism EP, left the group leaving Mike and Marcus to continue. This year in London, the brothers performed a live show at an intimate Lighthouse venue on the River Thames, complete with super 8mm video for the duration. I attended this event, the 'Warp Lighthouse Party' seeing other artists from WarpRecords perform along with the Boards of Canada. Tortoise and Autechure are other notable appearances.
Hell Interface is the Board's side project and focuses mainly on intricate remix work, often sublime.
On February 2nd 2002, their long silence was ended and their second warp LP, Geogaddi emerged from the caverns and Warp Records gave away several releases for the press. Boards of Canada's name began to be well known in Japan. Four years ago, in the United Kingdom, the brothers appeared on the long established 'John peel radio show'. Peel referred to the broadcasting of it as 'one of his best sessions'.
Hexagon Sun began a regular event and referred to said event only as 'Redmoon'. People sat around a large bonfire akin to an old nursery rhyme. In February, I continued to scan over the UK indie chart Top 200.
This interview will comprise of three parts.Part one will be applying their roots, they tell me that they were releasing records from childhood.
For us Japanese, the series of words that 'Boards of Canada' is, isn't. We have but a small idea of the image, the phrase is only applicable or understandable to those who's native language is English.
Recently, one feels that the commercial music scene is coming back in a way, but there were always artists with a particular palette in terms of audiovisual creations. In many ways, the video is now viewed as one of the elements to music creation. In some cases, the videos were never intended to be reflective of the music, but were purposed for it in such a manor anyway.