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== Original Text == | == Original Text == | ||
<onlyinclude> | <onlyinclude> | ||
â | {{ | + | {{original}} |
+ | '''Note''': Transcription by Apple's [https://support.apple.com/en-gb/guide/preview/prvw625a5b2c/mac Live Text] on a MacBook Pro | ||
+ | |||
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+ | [[File:2002_04_Snoozer_No30_pg41.jpg|100px|right]] | ||
+ | |||
+ | |||
+ | '''BOARDS''' | ||
+ | |||
+ | |||
+ | '''OF''' | ||
+ | |||
+ | |||
+ | '''CANADA''' | ||
+ | |||
+ | by RYOTA KATO / JIRO DAI | ||
+ | |||
+ | |||
+ | [[File:2002_04_Snoozer_No30_pg42.jpg|100px|right]] | ||
+ | |||
+ | '''[[BoC|BOARDS OF CANADA]]''' | ||
+ | |||
+ | Interview with [[Marcus|MARCUS EOIN]] & [[Mike|MICHAEL SANDISON]] | ||
+ | |||
+ | |||
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</onlyinclude> | </onlyinclude> | ||
â | == Translated | + | == Translated Text == |
<onlyinclude> | <onlyinclude> | ||
â | {{ | + | '''Note''': Translation by ChatGPT-o4 |
+ | |||
+ | |||
+ | |||
+ | [[File:2002_04_Snoozer_No30_pg41.jpg|100px|right]] | ||
+ | |||
+ | |||
+ | '''BOARDS''' | ||
+ | |||
+ | |||
+ | '''OF''' | ||
+ | |||
+ | |||
+ | '''CANADA''' | ||
+ | |||
+ | by RYOTA KATO / JIRO DAI | ||
+ | |||
+ | |||
+ | [[File:2002_04_Snoozer_No30_pg42.jpg|100px|right]] | ||
+ | |||
+ | '''[[BOC|BOARDS OF CANADA]]''' | ||
+ | |||
+ | Interview with [[Marcus|MARCUS EOIN]] & [[Mike|MICHAEL SANDISON]] | ||
+ | |||
+ | <blockquote> | ||
+ | {{boc|"We create music that seems to have its own universe and time. That place is another reality. It always exists just around the corner, or beyond the mirror."}} | ||
+ | </blockquote> | ||
+ | |||
+ | This sweet and dangerous trip into nostalgia, invited by [[BoC|a duo]] living communally in the mountains of Scotland, is both the most popular symbol and the greatest anomaly of the electronica boom. Is this [[wikipedia:escapism|escapism]], or a transformation of reality? Despite the worldwide enthusiasm, the pied piper's tune continues to play. The long-awaited interview, conducted via email, was finally realized with the release of their second album in three and a half years, "[[Geogaddi]]". | ||
+ | |||
+ | {{question|"I went to [[Live @ ATP|All Tomorrow's Parties]] in 2001, and I heard that after that point, you went into seclusion to work on a new album. Is that the kind of environment that [[BOC]]'s ([[Boards of Canada]]) music demands?"}} | ||
+ | |||
+ | {{boc|[[Michael Sandison]] ([[Mike]]): "That's right. It's necessary to cut off all relationships with everyone. To keep our minds clear about what we're doing, there's no other way. If other people are around, the music gets negatively influenced."}} | ||
+ | |||
+ | {{question|"Why does [[BOC]] stick to the sound of analog synthesizers? Are you interested in DSP software like [[wikipedia:Max (software)|MAX/MSP]] that [[Autechre]] uses?"}} | ||
+ | |||
+ | {{boc|[[Marcus Eoin]] ([[Marcus]]): "We have no interest in making clean, 'modern' sounding music. It's something anyone can do. Today, thanks to powerful computers and software, you can create professional-sounding music with almost no effort. We dislike the sound of clean digital music; it's too perfect and too smooth, lacking personality. We want to create music that reflects a specific period in the pastâfor example, early '80s TV music. That's why we deliberately make things more complicated and spend a long time degrading the sound quality."}} | ||
+ | |||
+ | {{question|"[[Autechre]]'s [[wikipedia:Sean Booth|Sean]] once said, "[[BOC]]'s music is good, but it's too nostalgic for me to listen to." Personally, I think this comment captures the nature of both [[Autechre]] and [[BOC]]. How do you respond to this?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: "I love [[Autechre|their music]]. It's always fresh and there's always something new to find. But we are a completely different band from them. They are obsessed with patterns, while we are obsessed with melody, texture, and the tactile feeling of sound."}} | ||
+ | |||
+ | {{question|"What was the experience of acid house and ecstasy culture like for you? Do you still feel its influence today?"}} | ||
+ | |||
+ | {{boc|[[Marcus]]: "When acid house first came, I was obsessed for a very short time. But it didn't have a big influence on me."}} | ||
+ | |||
+ | {{question|[[BOC]]'s music is fundamentally melody-oriented. If that understanding is correct, what does melody mainly represent to you?}} | ||
+ | |||
+ | {{boc|[[Mike]]: "For me, melody is a kind of language that acts extremely strongly on human emotions. It's a language that can express things that words absolutely cannot. That language can be understood by anyone, regardless of their background."}} | ||
+ | |||
+ | {{question|"Then, what does 'beat' represent or symbolize in [[BOC]]'s music?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: "Punctuation."}} | ||
+ | |||
+ | {{question|"Is the track title '[[Music Is Math|musicismath]]' a statement of your attitude toward music, or is it ironic?"}} | ||
+ | |||
+ | {{boc|[[Marcus]]: "I think it's both. First, we are interested in creating melodies from the heart, but at the same time, we are also fascinated by the science (knowledge system) that supports it."}} | ||
+ | |||
+ | {{question|"[[wikipedia:Psychedelia|Psychedelic culture]] seems to break down various barriers such as race, sexuality, class, and religion. What is [[BOC]]'s relationship with [[wikipedia:Psychedelia|psychedelic culture]]?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: "I don't think it applies to us. When I hear [[wikipedia:Psychedelia|psychedelic culture]], I think of hippie culture or [[wikipedia:New Age|New Age]] culture, which is completely different from us. Clearly, we are about love and peace, but we don't identify with [[wikipedia:New Age|New Age]] culture. Our interest in [[wikipedia:Psychedelia|psychedelia]] is purely in the biological process and the art that it generates."}} | ||
+ | |||
+ | {{question|"Pop music was born to give the audience a sense of community. The [[wikipedia:Pschedelia|psychedelic culture]] of the '60s aimed for a new community outside of society, and dance music clubs seem to create a one-night-only community. Do you think [[BOC]]'s music has a communal aspect, even partially?"}} | ||
+ | |||
+ | {{boc|[[Marcus]]: "I don't know, but probably, a certain type of person identifies with that. There are many people in the world who think the same way we do about the worldâand they gather by sharing an interest in our kind of musicâI'd like to think so."}} | ||
+ | |||
+ | {{question|"The track title '[[1969]]' represents the year you were both born, or is it a reference to a historical or cultural fact?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: "We weren't born yet in that year. It refers to a special year in the history of a [[wikipedia:Branch Davidians|certain American religious group]]."}} | ||
+ | |||
+ | {{question|"In [[1969|the above track]], you can hear the phrase 'in the sunshine.' Can you tell us what this phrase means?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: "We wanted to reflect the feeling of hope and certainty that the [[wikipedia:Branch Davidians|religious group]] felt at that time."}} | ||
+ | |||
+ | <blockquote> | ||
+ | {{boc|"The 1970s, in a sense, marked the end of a golden age. It was the beginning of a new era, one rife with selfishness and materialism. Think about how disappointing the second [[wikipedia:Woodstock Festival|Woodstock Festival]] in the late '90s was. Our generation has always been spoiled."}} | ||
+ | </blockquote> | ||
+ | |||
+ | {{question|"There was also a track titled 'sixtyniner' before. Does '[[1969]]' hold a special significance for [[BOC]]?"}} | ||
+ | |||
+ | [[File:2002_04_Snoozer_No30_pg43.jpg|100px|right]] | ||
+ | |||
+ | {{boc|[[Marcus]]: âThat title has a double meaning⊠at least in English. The track is based on a tape where a man describes his first sexual experience in [[1969]].â}} | ||
+ | |||
+ | {{question|Interviewer: "The following year, in 1970, the [[wikipedia:Isle of Wight Festival|Isle of Wight Festival]] ended in a historic failure. That period is remembered as the âseason of the end of hippie culture.â Do you have any personal memories associated with that time?"}} | ||
+ | |||
+ | {{boc|[[Marcus]]: âI don't have any personal memories. In 1970, I was still just a sperm. But indeed, we are very into the culture of that era. The 70s were, in a way, the end of a golden age. It marked the start of a new era dominated by selfishness and materialism. Just thinking about how disappointing the second Woodstock Festival in the late '90s was, where kids trashed the place, burned cars, and committed rapes. Yes, our generation has been spoiled.â}} | ||
+ | |||
+ | {{question|Interviewer: "This might be a simplistic comparison, but do you think [[BOC]]'s music suits better under the sunlight or in the darkness of night? Also, does it fit better in summer or winter?"}} | ||
+ | |||
+ | {{boc|[[Marcus]]: âIn the bright sunlight of midwinter.â}} | ||
+ | |||
+ | {{question|Interviewer: "So far, [[BOC]]'s artwork has centered around cool colors like blue. But in the new work, you boldly feature warm colors like red and yellow. Is there any particular meaning behind this?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: âWe wanted this artwork to represent a combination of fire and religious iconography. The geometric patterns in kaleidoscope images are similar to the perfect symmetry often seen in religious paintings. Everything is unified into a single image of a burning summer ritual.â}} | ||
+ | |||
+ | {{question|Interviewer: "In what situations do you listen to [[BOC]]'s music yourself?"}} | ||
+ | |||
+ | {{boc|[[Marcus]]: âWe always listen to our music. There's a huge archive of unreleased tracks that we love to revisit. Personally, I enjoy listening to our music the most when I am completely alone, like when I'm outdoors or driving. It allows my imagination to run free.â}} | ||
+ | |||
+ | {{question|Interviewer: "Your track titles are always quite mysterious. Is there a resonance with Celtic culture?"}} | ||
+ | |||
+ | {{boc|[[Marcus]]: âI don't think we've consciously created anything influenced by Celtic culture, but we do like some traditional Scottish music, especially a cappella Gaelic songs. They sound really strange, almost like reverse music, and bring about a supernatural effect.â}} | ||
+ | |||
+ | {{question|Interviewer: "In an interview with Stuart from [[wikipedia:Mogwai|Mogwai]], he said, âScottish and Welsh culture are very positive but still have this underdog feeling.â Do you agree with his words?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: âAbsolutely. I can only speak about Scots, but Scots don't have any ambition to go out into the world and improve themselves. Even though they are friendly, intelligent, and approachable, they don't encourage each other to get better. There's a defeatist attitude as if they've lost even before they started. Perhaps it's because Scotland is generally much poorer compared to neighboring countries and has been exploited by the English from the start of history.â}} | ||
+ | |||
+ | {{question|Interviewer: [[BOC]]'s work often feels like messages are subtly hidden in the music through voices. Is this an intentional angle?}} | ||
+ | |||
+ | {{boc|[[Marcus]]: âOf course. We hide various elements in our music for you to discover.â}} | ||
+ | |||
+ | {{question|Interviewer: "Much of Celtic history is said to be tragic, as many Celts did not have written language. Are you trying to pass on their history?"}} | ||
+ | |||
+ | {{boc|[[Marcus]]: âArtistically, we don't consider ourselves Celtic at all. We're influenced by much farther afield. But we do take some pride in being Scottish. We support the continuation of Celtic traditions and languages and are interested in the politics of Scotland.â}} | ||
+ | |||
+ | {{question|Interviewer: "Some artists driven by a rebellious spirit against modern civilization, like those represented by [[wikipedia:Radiohead|Radiohead]]'s "[[wikipedia:Amnesiac (album)|Amnesiac]]" incorporate references to ancient civilizations as a counter-element. Is there a similar nuance in [[BOC]]'s music?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: âIt's impossible to analyze one's culture without comparing it to the past. For instance, if we compare 2002 with the times of the First or Second World War, we could say we live in a period of great peace. However, if we compare it to the ancient times of the Druids or farmers, we seem to live in a barbaric era. Overall, as artists, we see today's world as full of possibilities but also fraught with terrifying threats. While we're very positive individuals, we're interested in how our generation was born into this great era of paranoia and how that reflects in the cultural products like movies, books, and music.â}} | ||
+ | |||
+ | {{question|Interviewer: "Do you sympathize with the idea held by many ancient cultures, like the Celts and Native Americans, that ''nature belongs to no one''"?}} | ||
+ | |||
+ | {{boc|[[Marcus]]: âYes. This nature and environment have existed longer than you, me, any government, country, or generation. It should continue to exist, but that requires us to treat it with respect.â}} | ||
+ | |||
+ | {{question|Interviewer: "Lastly, what's your view on the syncretism of Druid numbers and Christianity?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: âI imagine all the religions practiced in the world today are amalgams of various ancient religions. That's why extreme fundamentalism in religion is absurd. Modern rituals and teachings cannot be the original words of God. Everything has been adjusted, mixed, and edited over the ages to suit the regimes of those times.â}} | ||
+ | |||
+ | {{question|Interviewer: "Celtic art often features spiral patterns and braided designs found in relics and ornaments, symbolizing the ''eternal knot'', which represents the Celtic view of life and death without a beginning or end. [[BOC]]'s music, while each track is very individual, leaves the listener with a sense that the music continues even after it has ended. Do you think there's a connection there?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: âI understand what you mean by the spiral patterns. In our tracks, there are elements that repeat or cycle, like arpeggios. We often design our tracks to sound as if they go on forever. We edit them to make it seem like what you hear on the record is just a small part of a huge, infinite whole. It appears for a while and then naturally fades away, making you feel like it continues somewhere else forever. That's how we create our music.â}} | ||
+ | |||
+ | [[File:2002_04_Snoozer_No30_pg44.jpg|100px|right]] | ||
+ | |||
+ | <blockquote> | ||
+ | I have a vision of my own utopia. I'm sure it would be a future where people, well-educated to embrace their differences, would challenge each other to games instead of resorting to violence. In that future, trees would grow to 30 feet tall in just 10 seconds, and ten suns of different colors would shine all day long. | ||
+ | </blockquote> | ||
+ | |||
+ | {{question|How do you perceive âhippieismâ?}} | ||
+ | |||
+ | {{boc|[[Marcus]]: "The only real connection between us and âhippieismâ is all the fantastic music that blossomed in the 1960s. We know a lot about it, and we love it."}} | ||
+ | |||
+ | {{question|"In the 1960s, writer [[wikipedia:Richard Brautigan|Richard Brautigan]], considered a guru by hippies, depicted a kind of utopia in his work â[[wikipedia:In_Watermelon_Sugar|In Watermelon Sugar]]â. This utopia, named âIDEATH,â was a peaceful and unchanging world achieved by killing (or at least reducing) ego, starting with âme-ism.â What do you think of such a utopia? Do you approve of it?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: "But it could also become a world inhabited only by zombies. No individuality, no surprises, no original thoughts, and no progress. There is progress that can only be born through friction."}} | ||
+ | |||
+ | {{question|"Do you think [[BOC]]'s music is something that realizes a kind of utopia? If so, what kind of utopia is it?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: "I hope [[Discography|our music]] presents an alternative to the current state of things. In other words, when I compose, I hope it's music that is detached from this monotonous reality of the real world. And maybe at that time, I'm envisioning my own personal utopia. I'm sure it would be a future where people, well-educated to embrace their differences, would challenge each other to games instead of resorting to violence. In that future, trees would grow to 30 feet tall in just 10 seconds, and ten suns of different colors would shine all day long."}} | ||
+ | |||
+ | {{question|"I think what characterizes [[BOC]]'s music is designing a leisurely flow of time that is clearly different from the outside world. Do you have the angle that you want to âchangeâ the listener's sense of time through your music?"}} | ||
+ | |||
+ | {{boc|[[Mike]]: "Yes! That's one of the tricks. It's one of the most obvious effects of psychedelics. To aim for that through music, there are many methods we can list. For example, composing music like a spiral, using [[wikipedia:Arpeggio|arpeggios]], incorporating details that expand more and more the closer you listen. And creating melody loops and placing some key changes that make you feel like it continues endlessly in your head even after the record stops playing. These effects are born from that."}} | ||
+ | |||
+ | {{question|"In [[BOC]]'s artwork and song titles, especially starting from the previous EP, there are many references to rural things. Simply put, I think âruralâ means outside of civilization. Do you have such an angle?"}} | ||
+ | |||
+ | {{boc|[[Marcus]]: "Hmm, when writing songs, I don't imagine them being heard in some other environment or by someone else. So for us, it's 100% related to the very environment in front of us, our lives, and our memories. That happens to be a very rural influence."}} | ||
</onlyinclude> | </onlyinclude> | ||
â | |||
== Scans == | == Scans == | ||
Line 41: | Line 599: | ||
== Highlights == | == Highlights == | ||
â | * | + | * [[Marcus]]: âWe dislike the sound of clean digital music; it's too perfect and too smooth, lacking personality. We want to create music that reflects a specific period in the pastâfor example, early '80s TV music. That's why we deliberately make things more complicated and spend a long time degrading the sound quality.â |
â | + | * [[Mike]]: âWe don't identify with [[wikipedia:New Age|New Age]] culture. Our interest in [[wikipedia:Psychedelia|psychedelia]] is purely in the biological process and the art that it generates.â | |
+ | * [[Marcus]]: âOur music sounds better in the bright sunlight of midwinter.â | ||
+ | * [[Marcus]]: âWe always listen to our music. There's a huge archive of unreleased tracks that we love to revisit. Personally, I enjoy listening to our music the most when I am completely alone, like when I'm outdoors or driving. It allows my imagination to run free.â | ||
+ | * [[Marcus]]: "Hmm, when writing songs, I don't imagine them being heard in some other environment or by someone else. So for us, it's 100% related to the very environment in front of us, our lives, and our memories. That happens to be a very rural influence." | ||
+ | * [[Mike]]: "We didn't reference it. That was a story made up by a journalist. It was named after [[wikipedia:Zoetrope|an early animation device]] (rotating picture viewer)." (About â[[Zoetrope]]â allegedly referencing the [[wikipedia:Francis Ford Coppola|Francis Ford Coppola]] studio in San Francisco.) | ||
== External Links == | == External Links == |
title | We're making music that has its own universe and time |
---|---|
author | Ryota Kato/Jiro Dai |
publication | Snoozer |
date | 2002/04 |
issue | 30 |
pages | 40-45 |
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.
Note: Transcription by Apple's Live Text on a MacBook Pro
BOARDS
OF
CANADA
by RYOTA KATO / JIRO DAI
Interview with MARCUS EOIN & MICHAEL SANDISON
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BOARDS
OF
CANADA
by RYOTA KATO / JIRO DAI
Interview with MARCUS EOIN & MICHAEL SANDISON
"We create music that seems to have its own universe and time. That place is another reality. It always exists just around the corner, or beyond the mirror."
This sweet and dangerous trip into nostalgia, invited by a duo living communally in the mountains of Scotland, is both the most popular symbol and the greatest anomaly of the electronica boom. Is this escapism, or a transformation of reality? Despite the worldwide enthusiasm, the pied piper's tune continues to play. The long-awaited interview, conducted via email, was finally realized with the release of their second album in three and a half years, "Geogaddi".
"The 1970s, in a sense, marked the end of a golden age. It was the beginning of a new era, one rife with selfishness and materialism. Think about how disappointing the second Woodstock Festival in the late '90s was. Our generation has always been spoiled."
I have a vision of my own utopia. I'm sure it would be a future where people, well-educated to embrace their differences, would challenge each other to games instead of resorting to violence. In that future, trees would grow to 30 feet tall in just 10 seconds, and ten suns of different colors would shine all day long.