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Difference between revisions of "El Cielo Herido"
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| + | "[[El Cielo Herido]]" is an interview (in Spanish) by David Broc originally published Mar. 2002 in Mondo Sonoro magazine Issue 83, pp.28-29. | ||
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| − | == Text == | + | == Original Text == |
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| + | '''El Cielo Herido''' | ||
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| − | Boards Of Canada conservan la extraña virtud de conmover a sus seguidores con una ecuación expresiva con pocas probabilidades de traspasar la epidermis. Electrónica invernal, ritmos hip hop, melodías nostálgicas, atmósferas perturbadoras y tradición Warp componen su herencia. A partir de ahí, el dúo inglés se inventa el sonido del desasosiego: esa música herida que las grandes urbes de nuestro día a día evitan sentir como propia. Banda sonora del desconcierto, la distancia y el aliento gris que invaden nuestras ciudades, nuestras vidas, la música de Boards Of Canada contiene la verdad que muchos se niegan a ver o escuchar, y en su función de espejo involuntario recae la tristeza, emoción y ensoñación de las obras que, ahora y mañana, están destinadas a sobrevivirnos. En su aparente abstracción sonora reside otro milagro de la sensibilidad post-moderna. No es contraproducente, pues, comprobar como Radiohead y otros referentes sumidos en crisis creativas han optimizado su reorientación estilística a través de “Music Has The Right To Children”, debut en formato largo (antes llegó un Ep homónimo publicado por Skam) de esta inquietante formación. Su impacto ha respondido a las coordenadas que todos le exigimos al arte: inquietud, aventura, esencia y emoción. “Geogaddi”, segundo disco del dúo británico (dos Ep´s y una peel session se añaden al cómputo global de su legado; todos ellos, salvo “Boards Of Canada”, publicados por Warp), supone, en ese sentido, una de las obras mayúsculas de 2002. No sólo porque en su propuesta cohabiten los aspectos anteriormente citados, sino también porque se trata de un ejercicio sublime que se eleva por encima de su contexto y aspira a la perdurabilidad total. Marcus Eoin y Michael Sandison han invertido cuatro años en la confección de este esperado y ansiado álbum. Un silencio alterado únicamente por “In A Beatiful Place Out In The Country”, un Ep sólido e importante que hizo las veces de aperitivo antes de la definitiva salida al mercado de su deseado regreso discográfico. Y ahora, enmarcados en la vorágine promocional de todo producto, los dos creadores mantienen su fidelidad al hermetismo casi autista. Su renuncia a la concesión de entrevistas telefónicas, nos obliga, así, a la comunicación vía e-mail. Ningún problema: ellos parece más cómodos con el teclado que con el teléfono. | + | [[Boards Of Canada]] conservan la extraña virtud de conmover a sus seguidores con una ecuación expresiva con pocas probabilidades de traspasar la epidermis. Electrónica invernal, ritmos hip hop, melodías nostálgicas, atmósferas perturbadoras y tradición Warp componen su herencia. A partir de ahí, el dúo inglés se inventa el sonido del desasosiego: esa música herida que las grandes urbes de nuestro día a día evitan sentir como propia. Banda sonora del desconcierto, la distancia y el aliento gris que invaden nuestras ciudades, nuestras vidas, la música de Boards Of Canada contiene la verdad que muchos se niegan a ver o escuchar, y en su función de espejo involuntario recae la tristeza, emoción y ensoñación de las obras que, ahora y mañana, están destinadas a sobrevivirnos. En su aparente abstracción sonora reside otro milagro de la sensibilidad post-moderna. No es contraproducente, pues, comprobar como Radiohead y otros referentes sumidos en crisis creativas han optimizado su reorientación estilística a través de “Music Has The Right To Children”, debut en formato largo (antes llegó un Ep homónimo publicado por Skam) de esta inquietante formación. Su impacto ha respondido a las coordenadas que todos le exigimos al arte: inquietud, aventura, esencia y emoción. “Geogaddi”, segundo disco del dúo británico (dos Ep´s y una peel session se añaden al cómputo global de su legado; todos ellos, salvo “Boards Of Canada”, publicados por Warp), supone, en ese sentido, una de las obras mayúsculas de 2002. No sólo porque en su propuesta cohabiten los aspectos anteriormente citados, sino también porque se trata de un ejercicio sublime que se eleva por encima de su contexto y aspira a la perdurabilidad total. Marcus Eoin y Michael Sandison han invertido cuatro años en la confección de este esperado y ansiado álbum. Un silencio alterado únicamente por “In A Beatiful Place Out In The Country”, un Ep sólido e importante que hizo las veces de aperitivo antes de la definitiva salida al mercado de su deseado regreso discográfico. Y ahora, enmarcados en la vorágine promocional de todo producto, los dos creadores mantienen su fidelidad al hermetismo casi autista. Su renuncia a la concesión de entrevistas telefónicas, nos obliga, así, a la comunicación vía e-mail. Ningún problema: ellos parece más cómodos con el teclado que con el teléfono. |
{{boc|'''Sandison''': Somos culpables de ello. Grabamos mucha música a lo largo de los últimos años, pero nos tomamos un respiro hasta sentirnos satisfechos con la combinación definitiva de las canciones. Es importante conseguir un equilibrio entre los distintos tipos de canciones, especialmente porque nosotros esperamos que la gente se escuche el álbum de un tirón. Nosotros realmente no vemos las canciones de nuestros discos como piezas individuales, sino que todo compone una gran historia. Así que los temas en ´Geogaddi´ son en sí mismos un grupo, un sabor, y hemos grabado suficiente música como para editar otro disco.}} | {{boc|'''Sandison''': Somos culpables de ello. Grabamos mucha música a lo largo de los últimos años, pero nos tomamos un respiro hasta sentirnos satisfechos con la combinación definitiva de las canciones. Es importante conseguir un equilibrio entre los distintos tipos de canciones, especialmente porque nosotros esperamos que la gente se escuche el álbum de un tirón. Nosotros realmente no vemos las canciones de nuestros discos como piezas individuales, sino que todo compone una gran historia. Así que los temas en ´Geogaddi´ son en sí mismos un grupo, un sabor, y hemos grabado suficiente música como para editar otro disco.}} | ||
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| − | == Translated Text | + | == Translated Text == |
<onlyinclude> | <onlyinclude> | ||
| − | + | '''Note''': Translated by ChatGPT-4o | |
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| − | ''' | + | '''The Wounded Sky''' |
| + | '''Partly responsible for [[wikipedia:Radiohead|Radiohead]]'s musical conversion, [[Boards of Canada]] continue to confront the void from modernity, two concepts that today often go hand in hand, but in [[BoC|the British duo]]'s proposal find their definitive opposition. ''[[Geogaddi]]'' ([[Warp]]/Satélite K, 02), their new album, brings tears to contemporaneity.''' | ||
| − | |||
| − | [[Boards | + | The undersigned is aware that the vast majority of Mondo Sonoro readers will have frowned upon seeing [[Boards Of Canada]] on the cover of this March issue. Some, due to simple ignorance of their music. Others, because they know it all too well. And a few more, astonished, feeling that the magazine has once again betrayed its rock spirit with a direct child of this modernity that they so little understand and, consequently, esteem. But the truth is that in its long career, Mondo Sonoro has never served as an exclusive platform for rock or any other musical style, quite the contrary. And the same could be said to that other audience that, astonished, watches as the magazine that gives them hives (we know one is never cool enough) supports one of their favorite references. Let's say that the presence of [[Boards Of Canada]] on the March cover responds to the same criteria that has led the publication to feature [[wikipedia:Sigur Rós|Sigur Ró]], [[wikipedia:Mogwai|Mogwai]], [[wikipedia:Nine Inch Nails|Nine Inch Nails]], or [[wikipedia:Doble V|Doble V]] in its central pages: the tireless search for emotion, talent to be tamed, and a perspective of the future in all the crossable terrains of the musical panorama. And that's it. |
| − | |||
| − | Its impact has | + | [[Boards Of Canada]] retain the strange virtue of moving their followers with an expressive equation with little chance of penetrating the epidermis. Winter electronics, hip-hop rhythms, nostalgic melodies, disturbing atmospheres, and [[Warp]] tradition compose their heritage. From there, [[BoC|the English duo]] invents the sound of unease: that wounded music that the great cities of our daily lives avoid feeling as their own. Soundtrack of confusion, distance, and the gray breath that invades our cities, our lives, the music of [[Boards Of Canada]] contains the truth that many refuse to see or hear, and in its role as an involuntary mirror lies the sadness, emotion, and reverie of works that, now and tomorrow, are destined to outlive us. In their apparent sonic abstraction resides another miracle of post-modern sensitivity. It is not counterproductive, then, to see how Radiohead and other references immersed in creative crises have optimized their stylistic reorientation through ''[[Music Has The Right To Children]]'', the long-format debut (preceded by a self-titled EP released by [[Skam]]) of this disturbing formation. Its impact has responded to the coordinates that we all demand of art: restlessness, adventure, essence, and emotion. ''[[Geogaddi]]'', the second album by [[BoC|the British duo]] (two EPs and a Peel session add to the global count of their legacy; all of them, except for [[Boards Of Canada]], published by [[Warp]]), represents, in that sense, one of the major works of 2002. Not only because its proposal encompasses the aforementioned aspects but also because it is a sublime exercise that rises above its context and aspires to total endurance. [[Marcus Eoin]] and [[Michael Sandison]] have invested four years in the creation of this eagerly awaited and desired album. A silence altered only by ''[[In a Beautiful Place out in the Country (release)|In a Beautiful Place out in the Country]]'', a solid and important EP that served as an appetizer before the definitive release of their long-awaited return to the market. And now, framed in the promotional whirlwind of any product, [[BoC|the two creators]] maintain their fidelity to almost autistic hermeticism. Their refusal to grant phone interviews forces us, then, to communicate via email. No problem: they seem more comfortable with the keyboard than with the phone. |
| − | + | {{boc|[[Sandison]]: We are guilty of it. We recorded a lot of music over the past few years, but we took a break until we felt satisfied with the final combination of the songs. It is important to achieve a balance between the different types of songs, especially because we hope people listen to the album in one go. We really do not see the songs on our records as individual pieces, but rather everything makes up one big story. So the tracks on ''[[Geogaddi]]'' are in themselves a group, a flavor, and we have recorded enough music to release another album.}} | |
| − | {{boc| | + | {{boc|[[Eoin]]: But no, it has not been very difficult. In fact, our biggest problem as a band is that we tend to record too much music, although we later focus only on a small proportion of what we have done. The only difficulty lies in combining songs that fit together. For every song included in ''[[Geogaddi]]'' there are twelve that we have omitted for some particular reason.}} |
| − | {{ | + | {{question|Divided into two fronts (on one side, songs with introduction, knot, and outcome, in the old-fashioned way; on the other, brief ambient inserts that not only reinforce the whole but, on occasions, function autonomously), this album does not bring changes at first glance within the [[BoC|Boards]]' discourse. But here, the pursuit is not the metamorphosis that, like a revolutionary tax, the current situation and the course of events demand (what did you want: nu school breakz?). Precisely, the maximum point of support of this work lies in its internal functioning. Its search does not attempt to transcend the laws of the moment but the laws of its own sound. That is to say: ''[[Geogaddi]]'' is a valuable step forward in the construction of the [[Boards Of Canada]] discourse. It improves, solidifies, emboldens, and complements it. And from there, it greatly benefits from that close and modest exploration. The main ones affected are the rhythms. It is worth pausing on this element because a thorough analysis of it invites great joy: the beats on this album feature one of the most overwhelming works of recent months.}} |
| − | + | {{boc|[[Eoin]]: This time we decided to revolutionize a bit and make the rhythms less conventional. We always have the hip hop feeling lurking, but in ''[[Geogaddi]]'' we tried to let things grow stylistically, and this also affected the rhythms. There is a really satisfying beat for us on the album, it is "[[You Could Feel The Sky]]" (one of the best moments of the entire length), which sounds like a rope being stretched over the deck of a wooden ship.}} | |
| − | {{ | + | {{question|All this is supported by a change in the working method. It is in the rare perception one has when listening to their discourse that one stumbles upon old elements and views. In their process of self-construction, the band confronts the artisanal touch and the organic pulse with the elusive patterns of the computer and machines.}} |
| − | + | {{boc|[[Sandison]]: Well, yes, we have recently started to return to the old, and also simpler, working method. After ''[[Music Has The Right To Children]]'' we insisted on using more computer technology with the mistaken intention of speeding up our composition process. But with computers, you always end up being hindered by the possibilities offered by technical production, which has the unpleasant effect of gradually drying up all your inspiration. So we reacted against it and have now returned to the simpler way of doing things, just as we did in the beginning: simply using a sampler, a sequencer, and going straight to the point with the melodies. This makes it more instantaneous and fun for us.}} | |
| − | {{ | + | {{question|With that premise, they both absorb sounds and ideas to integrate their melodies into the rhythmic framework. More organic, we insist, and twisted than in ''[[Music Has The Right To Children]]'' and their EP ''[[In a Beautiful Place out in the Country (release)|In a Beautiful Place out in the Country]]'', they offer an emotional catalog that is confusing, extremely strange, almost psychedelic.}} |
| − | + | {{boc|[[Eoin]]: We try to create melodies that go straight to the point, some of them based on uniform sounds or the repetition of riffs that appear suddenly and then develop. You listen to the album and you stay with some charming moments that, in any case, are transient; but after successive listens, you are surprised again when you find something you had forgotten since the first listen.}} | |
| − | {{ | + | {{question|Rediscovery work and sensitive puzzle? Why worry when what we have here, right now, in the CD player, is a wild plea for pure and detoxified emotion. Another desperate antidote against the overestimation of electronics as an inexhaustible source of lective lucidity and creative progress without attachment to the dictates of the epidermis. God knows that in [[Boards Of Canada]] the only thing that matters is the capacity of their music to move the listener.}} |
| − | + | {{boc|[[Sandison]]: I agree: our music has more to do with emotion than with intelligence. But we do not approach songs with the intention of making them emotional deliberately. The basic melodies of our songs are usually written quickly and instinctively, so they are never conscious or deliberate. I always find a sound I like, improvise and experiment around it, and then a melody appears and I stick with it. After this process is when we start to apply composition techniques consciously.}} | |
| − | {{ | + | {{question|A vital point, in any case, on which a heartbreaking proposal takes shape. [[Eoin]] and [[Sandison]] are shaping up, album by album, as two chronic nostalgics, as two creators withered by an incessant sadness that translates, undoubtedly, into each of their staves. Unintentionally, perhaps, they photograph the warmth of collapse, the hunger of melancholy. And that is, most probably, one of the aspects that distinguish them from many other electronic references that have not yet opted to sacrifice the imperatives of the psyche. They create music infinitely more human and close than many rock, emocore, pop, folk, or techno bands.}} |
| − | + | {{boc|[[Sandison]]: I suppose the point is that we do not consciously write songs that sadden people. We simply write what we feel, and usually, the music comes out that way. Many of the melodies have been written by me, and I know I have a certain tendency towards sadness.}} | |
| − | {{boc| | + | {{boc|[[Eoin]]: I think the fact that we sound nostalgic and all that is not something we pursue, but it happens because of who we are as people and how we think. We have a private and amorphous idea in our minds of how the last [[Boards Of Canada]] album is supposed to sound. It's like a goal that we are clear about and always approaching, but never quite reaching. That keeps us going because we know that it is in our hands to speak through our ideas; we just know that if we keep working, we will reach that goal someday.}} |
| − | |||
Author: David Broc | Author: David Broc | ||
| − | + | Photography: Archive | |
| − | |||
</onlyinclude> | </onlyinclude> | ||
| + | |||
| + | == Scans == | ||
| + | <gallery> | ||
| + | Image:2002 03 MondoSonoro No83 Cover.jpg | ||
| + | Image:2002 03 MondoSonoro No83 pg28.jpg | ||
| + | Image:2002 03 MondoSonoro No83 pg29.jpg | ||
| + | </gallery> | ||
| − | == | + | == Highlights == |
| + | * [[Sandison]]: “It is important to achieve a balance between the different types of songs, especially because '''we hope people listen to the album in one go'''. We really do not see the songs on our records as individual pieces, but rather everything makes up one big story. So the tracks on ''[[Geogaddi]]'' are in themselves a group, a flavor, '''and we have recorded enough music to release another album'''.” | ||
| + | * [[Eoin]]: “For every song included in ''[[Geogaddi]]'' there are '''twelve that we have omitted for some particular reason'''.” | ||
| + | * [[Eoin]]: “There is a '''really satisfying beat''' for us on the album, it is "[[You Could Feel The Sky]]" (one of the best moments of the entire length), which sounds like a rope being stretched over the deck of a wooden ship.” | ||
| + | * [[Sandison]]: “So we reacted against it (using more computer technology) and have now '''returned to the simpler way of doing things''', just as we did in the beginning: simply using a sampler, a sequencer, and going straight to the point with the melodies. This makes it more instantaneous and fun for us.” | ||
| + | * [[Sandison]]: “I agree: '''our music has more to do with emotion than with intelligence'''. But we do not approach songs with the intention of making them emotional deliberately. The basic melodies of our songs are usually written quickly and instinctively, so they are never conscious or deliberate.” | ||
| + | * [[Sandison]]: I suppose the point is that we do not consciously write songs that sadden people. '''We simply write what we feel''', and usually, the music comes out that way. '''Many of the melodies have been written by me''', and I know I have a certain tendency towards sadness. | ||
| + | |||
| + | == External Links == | ||
| + | * https://web.archive.org/web/20040308112529/http://www.mondosonoro.es/detall_entrevista.asp?id=202770 | ||
| − | |||
| − | == | + | == References == |
| + | <references /> | ||
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| − | |||
| − | |||
| − | [[Category:Interviews]] [[Category: | + | [[Category: Interviews]] |
| + | [[Category: Geogaddi era]] | ||
Latest revision as of 14:15, 18 July 2024
| title | El Cielo Herido |
|---|---|
| author | David Broc |
| publication | Mondo Sonoro |
| date | 2002/03 |
| issue | 83 |
| pages | 28-29 |
"El Cielo Herido" is an interview (in Spanish) by David Broc originally published Mar. 2002 in Mondo Sonoro magazine Issue 83, pp.28-29.
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.
El Cielo Herido
Culpables, en parte, de la reconversión musical de Radiohead, Boards of Canada siguen atacando el vacío desde la modernidad, dos conceptos que a día de hoy acostumbran A ir de la mano, pero que en la propuesta del dúo británico halla su definitiva contraposición. “Geogaddi” (Warp/Satélite K, 02), su nuevo disco, araña lágrimas a la contemporaneidad.
Quien abajo firma es consciente que la inmensa mayoría de lectores de Mondo Sonoro habrán fruncido el ceño al ver a Boards Of Canada en la portada de este número de marzo. Unos, por simple desconocimiento de su música. Otros, por conocerla demasiado bien. Y algunos más, estupefactos, por sentir que la revista ha vuelto a traicionar su espíritu rockero con un hijo directo de esa modernidad que tan poco entienden y, en consecuencia, estiman. Pero lo cierto es que en su ya dilatada carrera, Mondo Sonoro nunca ha ejercido de plataforma exclusiva del rock o cualquier otro estilo musical, más bien al contrario. Y lo mismo se le podría decir a ese otro público que, atónito, contempla como la revista que les produce urticaria (ya sabemos que nunca se es suficientemente cool) respalda a uno de sus referentes favoritos. Digamos que la presencia de Boards Of Canada en la portada de marzo responde al mismo criterio que ha empujado a la publicación a situar en sus páginas centrales a Sigur Rós, Mogwai, Nine Inch Nails o Doble V: la búsqueda de emoción infatigable, talento por domesticar y perspectiva de futuro en todos los terrenos franqueables del panorama musical. Y punto.
Boards Of Canada conservan la extraña virtud de conmover a sus seguidores con una ecuación expresiva con pocas probabilidades de traspasar la epidermis. Electrónica invernal, ritmos hip hop, melodías nostálgicas, atmósferas perturbadoras y tradición Warp componen su herencia. A partir de ahí, el dúo inglés se inventa el sonido del desasosiego: esa música herida que las grandes urbes de nuestro día a día evitan sentir como propia. Banda sonora del desconcierto, la distancia y el aliento gris que invaden nuestras ciudades, nuestras vidas, la música de Boards Of Canada contiene la verdad que muchos se niegan a ver o escuchar, y en su función de espejo involuntario recae la tristeza, emoción y ensoñación de las obras que, ahora y mañana, están destinadas a sobrevivirnos. En su aparente abstracción sonora reside otro milagro de la sensibilidad post-moderna. No es contraproducente, pues, comprobar como Radiohead y otros referentes sumidos en crisis creativas han optimizado su reorientación estilística a través de “Music Has The Right To Children”, debut en formato largo (antes llegó un Ep homónimo publicado por Skam) de esta inquietante formación. Su impacto ha respondido a las coordenadas que todos le exigimos al arte: inquietud, aventura, esencia y emoción. “Geogaddi”, segundo disco del dúo británico (dos Ep´s y una peel session se añaden al cómputo global de su legado; todos ellos, salvo “Boards Of Canada”, publicados por Warp), supone, en ese sentido, una de las obras mayúsculas de 2002. No sólo porque en su propuesta cohabiten los aspectos anteriormente citados, sino también porque se trata de un ejercicio sublime que se eleva por encima de su contexto y aspira a la perdurabilidad total. Marcus Eoin y Michael Sandison han invertido cuatro años en la confección de este esperado y ansiado álbum. Un silencio alterado únicamente por “In A Beatiful Place Out In The Country”, un Ep sólido e importante que hizo las veces de aperitivo antes de la definitiva salida al mercado de su deseado regreso discográfico. Y ahora, enmarcados en la vorágine promocional de todo producto, los dos creadores mantienen su fidelidad al hermetismo casi autista. Su renuncia a la concesión de entrevistas telefónicas, nos obliga, así, a la comunicación vía e-mail. Ningún problema: ellos parece más cómodos con el teclado que con el teléfono.
Sandison: Somos culpables de ello. Grabamos mucha música a lo largo de los últimos años, pero nos tomamos un respiro hasta sentirnos satisfechos con la combinación definitiva de las canciones. Es importante conseguir un equilibrio entre los distintos tipos de canciones, especialmente porque nosotros esperamos que la gente se escuche el álbum de un tirón. Nosotros realmente no vemos las canciones de nuestros discos como piezas individuales, sino que todo compone una gran historia. Así que los temas en ´Geogaddi´ son en sí mismos un grupo, un sabor, y hemos grabado suficiente música como para editar otro disco.
Eoin: Pero no, no ha sido muy difícil. De hecho, nuestro mayor problema como banda es que tendemos a grabar demasiada música, aunque posteriormente sólo nos centremos en una pequeña proporción de lo que hemos hecho. La única dificultad reside en combinar canciones que se adapten entre sí. Por cada canción incluida en ´Geogaddi´ existen doce que hemos obviado por alguna razón determinada.
Dividido en dos frentes (por un lado, canciones con introducción, nudo y desenlace, a la vieja usanza; por el otro, breves insertos ambientales que no sólo refuerzan el conjunto, sino que, en ocasiones, funcionan con autonomía propia), este disco no aporta cambios a primera vista dentro del discurso de Boards. Pero es que aquí no se persigue la metamorfosis que, cual impuesto revolucionario, exige la coyuntura y el devenir de la actualidad (¿qué querían: nu school breakz?). Precisamente, el máximo punto de apoyo de este trabajo cabe hallarlo en su funcionamiento interno. Su búsqueda no intenta trascender las leyes del momento, sino las leyes de su propio sonido. Es decir: “Geogaddi” es un valioso paso adelante en la edificación del discurso de Boards Of Canada. Lo mejora, solidifica, envalentona y complementa. Y a partir de ahí, éste se beneficia sobremanera de esa exploración cercana y modesta. Los principales afectados, los ritmos. Cabe detenerse en este elemento, porque un análisis voraz del mismo nos invita al regocijo mayúsculo: los beats de este disco contemplan uno de los trabajos más abrumadores de los últimos meses.
Eoin: Esta vez decidimos revolucionarnos un poco y hacer los ritmos menos convencionales. Nosotros siempre tenemos el sentimiento hip hop merodeando, pero en ´Geogaddi´ intentamos dejar que las cosas crecieran estilísticamente, y esto también afectaba a los ritmos. En el disco hay un beat realmente satisfactorio para nosotros, es el de ´You Could Feel The Sky [uno de los mejores momentos de todo el minutaje], que suena como si una cuerda fuese estirada sobre la cubierta de un barco de madera.
Todo ello, secundado por un cambio de registro en el método de trabajo. Es en la rara percepción que se tiene al escuchar su discurso que uno se tropieza con elementos y miradas añejas. En su proceso de autoconstrucción, la banda enfrenta el toque artesanal y la pulsación orgánica a los patrones esquivos del ordenador y las máquinas.
Sandison: Bueno, sí, nosotros últimamente hemos empezado a volver al antiguo, y también más simple, método de trabajo. Tras ´Music Has The Right To Children´ nos empeñamos en usar más tecnología de ordenador con la equivocada intención de acelerar nuestro proceso de composición. Pero con los ordenadores siempre te acaban entorpeciendo las posibilidades que ofrece la producción técnica, que tiene el desagradable efecto de secarte paulatinamente toda tu inspiración. Así que reaccionamos contra ello y ahora hemos vuelto a la forma más simple de hacer las cosas, tal y como trabajamos en nuestros inicios: simplemente usando un sampler, un secuenciador y yendo al grano con las melodías. Esto lo hace más instantáneo y divertido paranosotros.
Con esa premisa, ambos absorben sonidos e ideas para llevar a cabo la integración de sus melodías en el armazón rítmico. Más orgánicas, insistimos, y retorcidas que en “Music Has The Right To Children” y su Ep “In a Beautiful Place Out In The Country”, éstas deparan un catálogo emotivo confuso, extrañísimo, casi lisérgico.
Eoin: Intentamos crear melodías que vayan al grano, algunas de ellas basadas en sonidos uniformes o en la repetición de riffs que aparecen súbitamente y luego se desarrollan. Tú escuchas el disco y te quedas con algunos momentos encantadores que, en todo caso, son transitorios; pero después de sucesivas escuchas te sorprendes nuevamente cuando encuentras algo que habías olvidado desde la primera escucha.
¿Trabajo de redescubrimiento y puzzle sensitivo? Para qué preocuparse cuando lo que tenemos aquí, ahora mismo, en el aparato reproductor de cedés, es un salvaje alegato a favor de la emoción pura y desintoxicada. Otro antídoto desesperado contra la sobreestimación de la electrónica como fuente inagotable de lucidez lectiva y progreso creativo sin apego al dictado de la epidermis. Dios sabe que en Boards Of Canada lo único que cuenta es la capacidad de conmoción que su música ejerce en el oyente.
Sandison: Estoy de acuerdo: nuestra música tiene que ver más con la emoción que con la inteligencia. Pero no nos acercamos a las canciones con la intención de hacerlas emocionales de forma deliberada. Las melodías básicas de nuestras canciones acostumbran a escribirse de forma rápida e instintiva, así que nunca son conscientes o deliberadas. Yo siempre encuentro un sonido que me gusta, improviso y experimento a su alrededor, y entonces aparece una melodía y me quedo con ella. Después de este proceso es cuando empezamos a aplicar técnicas de composición conscientemente.
Un punto vital, en todo caso, sobre el que adopta forma una propuesta descorazonadora. Eoin y Sandison se perfilan, disco a disco, como dos nostálgicos crónicos, como dos creadores marchitos por una tristeza incansable que se traduce, sin duda alguna, en cada uno de sus pentagramas. Sin quererlo, quizás, ambos fotografían la calidez del derrumbe, la hambruna de la melancolía. Y eso es, muy probablemente, uno de los aspectos que les distinguen de muchos otros referentes electrónicos que todavía no han optado por sacrificar los imperativos de la psique. Ellos fabrican música infinitamente más humana y cercana que muchas bandas de rock, emocore, pop, folk o techno.
Sandison: Supongo que la cuestión es que nosotros no escribimos a conciencia canciones que entristecen a la gente. Nosotros simplemente escribimos aquello que sentimos, y habitualmente la música surge de ese modo. Muchas de las melodías han sido escritas por mí, y sé que yo tengo cierta tendencia a la tristeza.
Eoin: Creo que el hecho de sonar nostálgicos y todo eso no es algo que persigamos, sino que ocurre por cómo somos como personas y cómo pensamos. Tenemos una privada y amorfa idea en nuestras mentes de cómo se supone que debe sonar el último disco de Boards Of Canada. Es como un objetivo que tenemos claro y al que siempre nos estamos aproximando, pero al que nunca acabamos de llegar. Eso nos mantiene porque sabemos que está en nuestras manos hablar a través de nuestras ideas; tan sólo tenemos claro que si seguimos trabajando llegaremos algún día a ese objetivo.
Autor: David Broc
Fotografia: Archivo
Translated Text[edit]
Note: Translated by ChatGPT-4o
The Wounded Sky
Partly responsible for Radiohead's musical conversion, Boards of Canada continue to confront the void from modernity, two concepts that today often go hand in hand, but in the British duo's proposal find their definitive opposition. Geogaddi (Warp/Satélite K, 02), their new album, brings tears to contemporaneity.
The undersigned is aware that the vast majority of Mondo Sonoro readers will have frowned upon seeing Boards Of Canada on the cover of this March issue. Some, due to simple ignorance of their music. Others, because they know it all too well. And a few more, astonished, feeling that the magazine has once again betrayed its rock spirit with a direct child of this modernity that they so little understand and, consequently, esteem. But the truth is that in its long career, Mondo Sonoro has never served as an exclusive platform for rock or any other musical style, quite the contrary. And the same could be said to that other audience that, astonished, watches as the magazine that gives them hives (we know one is never cool enough) supports one of their favorite references. Let's say that the presence of Boards Of Canada on the March cover responds to the same criteria that has led the publication to feature Sigur Ró, Mogwai, Nine Inch Nails, or Doble V in its central pages: the tireless search for emotion, talent to be tamed, and a perspective of the future in all the crossable terrains of the musical panorama. And that's it.
Boards Of Canada retain the strange virtue of moving their followers with an expressive equation with little chance of penetrating the epidermis. Winter electronics, hip-hop rhythms, nostalgic melodies, disturbing atmospheres, and Warp tradition compose their heritage. From there, the English duo invents the sound of unease: that wounded music that the great cities of our daily lives avoid feeling as their own. Soundtrack of confusion, distance, and the gray breath that invades our cities, our lives, the music of Boards Of Canada contains the truth that many refuse to see or hear, and in its role as an involuntary mirror lies the sadness, emotion, and reverie of works that, now and tomorrow, are destined to outlive us. In their apparent sonic abstraction resides another miracle of post-modern sensitivity. It is not counterproductive, then, to see how Radiohead and other references immersed in creative crises have optimized their stylistic reorientation through Music Has The Right To Children, the long-format debut (preceded by a self-titled EP released by Skam) of this disturbing formation. Its impact has responded to the coordinates that we all demand of art: restlessness, adventure, essence, and emotion. Geogaddi, the second album by the British duo (two EPs and a Peel session add to the global count of their legacy; all of them, except for Boards Of Canada, published by Warp), represents, in that sense, one of the major works of 2002. Not only because its proposal encompasses the aforementioned aspects but also because it is a sublime exercise that rises above its context and aspires to total endurance. Marcus Eoin and Michael Sandison have invested four years in the creation of this eagerly awaited and desired album. A silence altered only by In a Beautiful Place out in the Country, a solid and important EP that served as an appetizer before the definitive release of their long-awaited return to the market. And now, framed in the promotional whirlwind of any product, the two creators maintain their fidelity to almost autistic hermeticism. Their refusal to grant phone interviews forces us, then, to communicate via email. No problem: they seem more comfortable with the keyboard than with the phone.
Sandison: We are guilty of it. We recorded a lot of music over the past few years, but we took a break until we felt satisfied with the final combination of the songs. It is important to achieve a balance between the different types of songs, especially because we hope people listen to the album in one go. We really do not see the songs on our records as individual pieces, but rather everything makes up one big story. So the tracks on Geogaddi are in themselves a group, a flavor, and we have recorded enough music to release another album.
Eoin: But no, it has not been very difficult. In fact, our biggest problem as a band is that we tend to record too much music, although we later focus only on a small proportion of what we have done. The only difficulty lies in combining songs that fit together. For every song included in Geogaddi there are twelve that we have omitted for some particular reason.
Divided into two fronts (on one side, songs with introduction, knot, and outcome, in the old-fashioned way; on the other, brief ambient inserts that not only reinforce the whole but, on occasions, function autonomously), this album does not bring changes at first glance within the Boards' discourse. But here, the pursuit is not the metamorphosis that, like a revolutionary tax, the current situation and the course of events demand (what did you want: nu school breakz?). Precisely, the maximum point of support of this work lies in its internal functioning. Its search does not attempt to transcend the laws of the moment but the laws of its own sound. That is to say: Geogaddi is a valuable step forward in the construction of the Boards Of Canada discourse. It improves, solidifies, emboldens, and complements it. And from there, it greatly benefits from that close and modest exploration. The main ones affected are the rhythms. It is worth pausing on this element because a thorough analysis of it invites great joy: the beats on this album feature one of the most overwhelming works of recent months.
Eoin: This time we decided to revolutionize a bit and make the rhythms less conventional. We always have the hip hop feeling lurking, but in Geogaddi we tried to let things grow stylistically, and this also affected the rhythms. There is a really satisfying beat for us on the album, it is "You Could Feel The Sky" (one of the best moments of the entire length), which sounds like a rope being stretched over the deck of a wooden ship.
All this is supported by a change in the working method. It is in the rare perception one has when listening to their discourse that one stumbles upon old elements and views. In their process of self-construction, the band confronts the artisanal touch and the organic pulse with the elusive patterns of the computer and machines.
Sandison: Well, yes, we have recently started to return to the old, and also simpler, working method. After Music Has The Right To Children we insisted on using more computer technology with the mistaken intention of speeding up our composition process. But with computers, you always end up being hindered by the possibilities offered by technical production, which has the unpleasant effect of gradually drying up all your inspiration. So we reacted against it and have now returned to the simpler way of doing things, just as we did in the beginning: simply using a sampler, a sequencer, and going straight to the point with the melodies. This makes it more instantaneous and fun for us.
With that premise, they both absorb sounds and ideas to integrate their melodies into the rhythmic framework. More organic, we insist, and twisted than in Music Has The Right To Children and their EP In a Beautiful Place out in the Country, they offer an emotional catalog that is confusing, extremely strange, almost psychedelic.
Eoin: We try to create melodies that go straight to the point, some of them based on uniform sounds or the repetition of riffs that appear suddenly and then develop. You listen to the album and you stay with some charming moments that, in any case, are transient; but after successive listens, you are surprised again when you find something you had forgotten since the first listen.
Rediscovery work and sensitive puzzle? Why worry when what we have here, right now, in the CD player, is a wild plea for pure and detoxified emotion. Another desperate antidote against the overestimation of electronics as an inexhaustible source of lective lucidity and creative progress without attachment to the dictates of the epidermis. God knows that in Boards Of Canada the only thing that matters is the capacity of their music to move the listener.
Sandison: I agree: our music has more to do with emotion than with intelligence. But we do not approach songs with the intention of making them emotional deliberately. The basic melodies of our songs are usually written quickly and instinctively, so they are never conscious or deliberate. I always find a sound I like, improvise and experiment around it, and then a melody appears and I stick with it. After this process is when we start to apply composition techniques consciously.
A vital point, in any case, on which a heartbreaking proposal takes shape. Eoin and Sandison are shaping up, album by album, as two chronic nostalgics, as two creators withered by an incessant sadness that translates, undoubtedly, into each of their staves. Unintentionally, perhaps, they photograph the warmth of collapse, the hunger of melancholy. And that is, most probably, one of the aspects that distinguish them from many other electronic references that have not yet opted to sacrifice the imperatives of the psyche. They create music infinitely more human and close than many rock, emocore, pop, folk, or techno bands.
Sandison: I suppose the point is that we do not consciously write songs that sadden people. We simply write what we feel, and usually, the music comes out that way. Many of the melodies have been written by me, and I know I have a certain tendency towards sadness.
Eoin: I think the fact that we sound nostalgic and all that is not something we pursue, but it happens because of who we are as people and how we think. We have a private and amorphous idea in our minds of how the last Boards Of Canada album is supposed to sound. It's like a goal that we are clear about and always approaching, but never quite reaching. That keeps us going because we know that it is in our hands to speak through our ideas; we just know that if we keep working, we will reach that goal someday.
Author: David Broc
Photography: Archive
Scans[edit]
Highlights[edit]
- Sandison: “It is important to achieve a balance between the different types of songs, especially because we hope people listen to the album in one go. We really do not see the songs on our records as individual pieces, but rather everything makes up one big story. So the tracks on Geogaddi are in themselves a group, a flavor, and we have recorded enough music to release another album.”
- Eoin: “For every song included in Geogaddi there are twelve that we have omitted for some particular reason.”
- Eoin: “There is a really satisfying beat for us on the album, it is "You Could Feel The Sky" (one of the best moments of the entire length), which sounds like a rope being stretched over the deck of a wooden ship.”
- Sandison: “So we reacted against it (using more computer technology) and have now returned to the simpler way of doing things, just as we did in the beginning: simply using a sampler, a sequencer, and going straight to the point with the melodies. This makes it more instantaneous and fun for us.”
- Sandison: “I agree: our music has more to do with emotion than with intelligence. But we do not approach songs with the intention of making them emotional deliberately. The basic melodies of our songs are usually written quickly and instinctively, so they are never conscious or deliberate.”
- Sandison: I suppose the point is that we do not consciously write songs that sadden people. We simply write what we feel, and usually, the music comes out that way. Many of the melodies have been written by me, and I know I have a certain tendency towards sadness.
External Links[edit]
- https://web.archive.org/web/20040308112529/http://www.mondosonoro.es/detall_entrevista.asp?id=202770