Difference between revisions of "The Golden Apples Of The Sun"

Revision as of 15:14, 5 March 2021

title	The Golden Apples Of The Sun
author	Kazumichi Sato/Hidetsugu Ito
publication	Cookie Scene
date	2006/01
issue	46
pages	18-21

English translation

*Note: Translated using Google's Translate tool.

The Golden Apples Of The Sun

"Road movie soundtrack in a psychedelic fantasy world". Boards of Canada's new album, The Campfire Headphase, is a masterpiece that clearly sets out the stance of being truly psychedelic. What kind of illusion did they see in the shimmering flames of the campfire (which happens to be another animal collective unit name, Campfire Songs)?

Question creation, sentence / Kazumichi Sato
Question creation / Translated by Hidetsugu Ito / Itsuko Ishimura

Boards of Canada (BOC)'s new album The Campfire Headphase has finally been released. I think it's a wonderful work. First of all, I will give you a rough impression. Compared to the previous work, I felt that it was a work that was very pop in a sense and had more "spaces that even first-time listeners could easily enter." And, like the previous works, you can feel as if you are watching a movie, but I feel that the movie has become a more "general" work. .. How about?

Marcus Eoin (MA): As an instrumental band, whenever I make a record, I take the approach of making a travel or movie soundtrack. I think the previous album Music Has the Right to Children was the first album for many to know our music. It was an album like a soundtrack for documentaries and bizarre animations. The previous work, Geogaddi, was geometric and claustrophobic, with the image of a dark experience or something sinful. And this is The Campfire Headphase which I made with the approach of an outdoor soundtrack for road movies in a psychedelic fantasy world. It was an attempt to make more positive and simple melody-oriented music, rather than sticking to the fine details of the samples.

However, it has been more than three years since the release of the previous work. During that time, except for some remix work, BOC information was not well communicated. How have you spent the last three years? For example, did you go on a trip somewhere?

MA: After I finished recording Geogaddi, there were some songs I didn't record. So we were wondering if we could make another new album soon. But we both had to find a new studio, and it took us a whole year to find one and settle down there. So I tried to start with the songs I left for Geogaddi, but over time I realized that our tastes had changed. That's why I decided to start this album from scratch with a whole new look. Mike spent a lot of time in New Zealand, which is one of the reasons why the album was delayed. We turned off the switch called BOC and did what we were free to do. I was free to travel, adventure and act freely, freeing myself from the belief that I had to be in the studio 365 days a year. This is one of the reasons why the release interval of the album has been vacant, but in addition to that, when we make music, we make records very carefully in order to give sound and texture, so other I think it may take longer to complete the sound than a band.

What was the most memorable event in the last three years? How do you think it is reflected in the new work?

MA: I had an accident in the French Alps, which had a positive effect on me. Thanks to that accident, I suddenly felt the existence of death, which made me want to raise the level of BOC activities and leave as many works as possible in the world. Through my personal life and BOC activities, some things have depressed me, but through that accident, I was able to work on BOC work with a new feeling and renewed spirit. That's right.

According to the materials, Mike had a child in the summer of 2004. Congratulations! How are your children?

Michael Sandison (MI): Thank you. My daughter is fine. With her birth, 2004 is arguably the best year of my life. She actually showed up in the studio from time to time for a few months, just as we were finishing the recording for this album. She seems to like her music and it was our pleasure to see her reacting to her favorite music. Perhaps she has influenced her selection of songs on this album.

By the way, you've been remixing Clouded and Boom VIP over the last three years.

MI: I've always been good friends with anticon artists. So I was always talking about collaborations and remixes. So when I got a remix request from Clouddead or Boom Bip, I could easily answer without hesitation. I've been asked to mix by bigger artists than them, but I've always refused. We want to be honest with our art and we don't want to sell our songs to the people who make the most money. In that respect, I loved the music made by Clouddead and Boom Bip. It's a little disappointing that Clouddead no longer exists, but what they've built isn't that weathered. That alone makes me happy. This isn't an official deal, but Doze One and Odd Nosdam said they'd remix our songs as material, so I'm hoping that someday I'll get the check ( Lol).

Above all, the clouddead remix was the Mid-term Beatles, and it was very interesting because it had a sound that reminded me of it. What did you keep in mind when working on this remix?

MA: I received a song from Clouddead that was just made for remixing, but I wanted to make it an angle that no one could predict. Many people expect that when they hear we've done a remix, they'll make a lot of sambles and an electronics version of the song. , Mike was messing around. That's why I noticed that the common chord progressions represented by The Beatles fit perfectly into this song. I thought it would be very interesting to do this arrangement for the whole song. I was tired of remixing just a lot of dance beats. That's why we usually extract only the vocal part and re-add the song. That remix work was a lot of fun. Because I wondered how interesting and crazy psychedelic sounds could be added to each section. But when we read a magazine that said we sampled the Beatles sound in that remix, I was a little confused. Because the sound of that remix was all the sound we made from nothing, and the song itself was a tribute to a song of the Electric Light Orchestra (ELO). But maybe ELO was paying homage to The Beatles in their song, so I can't say anything.

Now, I would like to ask you various specific questions about the new album. First of all, was there a big difference in the production process compared to the previous work Geogaddi If so, what are the points?

MI: For the new recordings, I tried to use the way we used to make music. It was about recording live sound. I used a mic to capture all the mood and noise of the scene, layer those sounds, and sometimes use multi-track tape and sampling to do a lot of things. I also wanted to disappoint everyone's expectations for our records, such as a variety of easy-to-understand samples and fragmented children's voices. After all, I've heard other people doing the same thing as we do, and maybe I was influenced by our records, but now that's the way it is. It's even thought to be a joke. That's why I focused on the texture of the melody and sound in this work. The decisive difference from Geogaddi is that Geogaddi is made up of blocks. It was made in a way that the song was made by adding things little by little. But in The Campfire Headphase, many of the songs are based on ideas that came from a jam session in our two studios. It's like using an instrument to find the core idea. Then it was like finishing the song by solidifying around that core.

I had the impression that your previous sounds were wrapped in something like a mysterious "fog". However, this time it was fine and I feel that each sound can be heard clearly. Was this intentional?

MI: I think it's more positive to say that the sound is more positive than it is to be clear. I used to hide the sound. It was dull and foggy, and it was hard to find. I wanted to make it sound more like summer in this work. Maybe it's our reaction to the world situation. After all, the world today is darker than it was when we made Geogaddi. So our aim was to make a record of escapism. I wanted to make a record that would provide a place for people to forget everything and go on a trip, a place for people to escape the darkness. Maybe in Geogaddi we were offering that darkness.

Also, probably because "the sound became positive", the beat sounded very comfortable like the early rhythm box heard in the late 70's and early 80's.

MA: I've always been into electro in the early 80's. I like the beaty sounds of Herbie Hancock, Chaka Khan and the break bear scene. In fact, I was influenced by funk records and the rhythm of Earth, Wind & Fire songs. The sounds you hear on the album are what we actually played. For example, clapping, Mike is playing the drums. Rather than just sampling someone else's beat, I like to actually see how they created it. So I'm going to add those techniques and styles to my new album. It's really hard to elevate yourself, but it's better than stealing a tree in someone else's garden.

This may also be due to the "sound becoming positive", but the overall natural tone of the guitar is very impressive. By the way, the guitar was featured in the Boom Bip remix mentioned above. Why did that happen?

MI: We've always been making music featuring guitars. I think it would be surprising if everyone knew what kind of songs we were making in extracurricular activities other than BOC. Before working as BOC, we both played in rock bands with drums, lead guitar and bass. You can hear guitar sampling on BOC records in the past, but it's been heavily modified so you probably won't even notice the sound of the guitar. But this time we wanted to keep the overall image of the music simple, so we decided not to hide the sound of the guitar strangely. But lock separately I didn't suddenly want to make an album that felt like a roll. This time I tried to get a unique guitar sound that you can hear in the late 70's movie soundtrack. It's not like listening to rock music, it's like Joni Mitchell, John Abercrombie, Zabriskie Point's guitar. Even now, I handle such elements synthetically. We sample our guitar sounds and add a twist to them, change the pitch, layer filters, and remove them.

Do you also play these guitars yourself?

MI: That's right. Of course, we all play ourselves. We listen to so much different guitar music.

This may be a bit unusual for a question to BOC, but who are the guitarists affected?

MI: In my case, one day I listened to The Velvet Underground, and the next day I listened to The Misfitz. This time I wanted to make it sound dry and audible outdoors. It's a little psychedelic guitar style. I wanted to make a sound that symbolizes freedom, the sound of The Doors and James Taylor.

There was a song on the album that I felt in common with "How to combine guitar and electronic sound" in a track made by an artist called Bibio, who debuted from Mash at the recommendation of Marcus last year." What do you think of his music?

MA: Maybe I'm suffering from being affected by Bibio. But there is also the fact that the music he listens to is similar to the music we listen to. I know that Stephen of Bibio was initially influenced by our music, and I think this is a great synergy of so-called two-way. I listen to his music eight times more than everyone listens to his music, but he's really a music genius. 95% of his music is awesome and fits my wavelength perfectly. There aren't many artists like him who are always musically clear. He is particular about the texture of the sound. He values old sounds, damaged sounds, unfinished sounds, and so on. If there's a song that goes beyond the most beautiful songs in the world, I think it's a song that's old, it's about to crumble, it's almost silent, but it's still alive while struggling. Also, Steven has an amazing talent as a guitarist.

Does this work contain field-recorded sounds other than transformers and electronic sounds? If so, what does it sound like?

MA: There are many recordings of the sound of space. I wanted to express the outdoor feeling in this album, but I didn't want it to be expressed too prominently. We recorded the sound of a large space, the sound of a different environment, but it's rather playing in the background, making our music even stronger. For example, "'84 Pontiac Dream" is a recording of the hustle and bustle of the streets of New York. In the sound, an angry taxi driver and a fat American woman shopping are recorded. The reason why I used such a sound is that this song originally had such a background or concept. Also, most of the sounds in "Chromakey Dreamcoat" were recorded on the beach. We like to delusion various things from the song title.

In particular, I think that many of your song titles stir your imagination along with the music. However, what surprised me a little this time was the title "'84 Pontiac Dream". Speaking of Pontiac, I feel that the image of "sporty American cars" such as Trans Am is strong. The year 1984 is attached to it ... It's very different from the image of BOC. Why do you have a title like this?

MI: This song is about a man caught in a stasis in the middle of the city in bad weather. In the traffic, he envisions in his mind another fantasy self, riding a sports car and sprinting through the highways of wilderness. His fantasies are going on in his mind at the same time, but in the end he gets into a crappy car and returns to his true self caught in the traffic jams of the rainy city. I think we're really influenced by the movies and TV shows we watched as a kid. That's largely because I lived in Canada and had similar shows in the UK, but at one point I had a very strong image of North America, big TV logos, sports cars in the early 80's, stunt movies, For example, there was a time when it was disseminated by "Cannonball" and "Great Stuntman". There's music that's very analog, but it uses synthesizers, with the image of that "Running 5000km", the Pontiac Firebird, and the image of a race where Trans Am runs through the wilderness. I wanted to get closer to that sound. That's why this song shows consent to Glen A. Larson and Lorimar, who were involved in the production of the TV show at the time.

This time, there is also the title "Dayvan Cowboy". This "Day van" is also a car, isn't it?

MI: This song has a special story. It's a surfer's story, he thinks he's a hero. He has a very personal illusion. The illusion is that you go out into the wilderness, do various radical things, and go on a trip like that, where you stay in a van that you have customized yourself, but this bread is like Davan. It's called an astrovan, and it was a popular vehicle for traveling to North America in the late 70's and early 80's. For us, Davan is a virtue of the television and road movies of the time, with vibratoed synthesizer-heavy theme songs. Also, the graphics on the customized Davan body are an inspiration for us, reminiscent of the positive side of the so-called "Americana". I have the image of traveling and adventuring while interacting with nature. When we're writing songs, we often feel like we're making a soundtrack for someone's road trip. This time I felt like I was making an anthem to praise Davan.

The album has titles such as "Into the Rainbow Vein", "Peacock Tail", "Ataronchronon" (the name of the Iroquois country, which is an indigenous people of North America, meaning "People in the swamps"), and "Tears from the Compound Eye". The place where these psychedelic keywords with nature and living things as motifs are mixed with fantastic electronic sounds and guitar sounds is exactly the "world of BOC". That's why the title with a car motif seemed surprising. Don't you love nature and the reasonable way of life that follows it? Still, I don't think I've fallen into mere "nature worship" or "nature admiration".

MA: I'm sure we're not making music to worship nature. It's true that we are influenced by nature, but that's just one factor. Music journalists often describe our work as being naturalistic, but that's our instinctive taste, and keep it in mind when writing songs. It's not like that. We get song inspiration and title ideas from different places and ideas. So, in our affairs, songs inspired by nature are exactly the same as songs inspired by cars and certain times. However, there is no difference in the process, just because the morals were inspired by different things. This album has the atmosphere of exploring, traveling, traveling by car, and getting lost in a surreal world where you can't understand what's going on along the way. .. It's a world that's unfolding in a completely unclear state, whether it's an actual journey or a fantasy journey that you envision in your head. And that world is set in a golden age when we tribute, places like North America and Canada in beautiful times that we personally remember, and times when things were simpler and happier than they are now. I'm here.

Then, "Is" color "in Maa of "Slow This Bird Down" a metaphor?

MI: The title has two meanings. This is part of another fantasy journey that goes on in the journey that the album brings. In a superficial sense, this title is a word that pilots on small planes might say. It feels like the pilot has found a place to land and is giving instructions like, "There, let's loosen the speed of this small aircraft (This Bird) and land." But what I really wanted to convey is that this world is currently in a very terrible and deadlocked state. I think that's true politically, technically, and environmentally. That's why the title This Bird really refers to this world.

The title of the last song is "Farewell Fire". There is a word "okuribi" in Japanese. "The last night of Obon, the fire that burns to send the love of our ancestors that we have been hospitable to." While listening to this song, the scene of such "okuribi" may come to my mind. What do you think about it? How did this song come about?

MA: That interpretation is good. For me, this song is a very sad song. But it doesn't mean anything concrete. It's like music that marks the end of something. It has a very lively and emotional end. Some of the songs on this album are well organized after a lot of work, including composition and sound process. But "Farewell Fire" is different. This song was recorded live and I was trying to do it because it was midnight. In the United States, burning in the open is called "Farewell Fire". So it could be said that "Farewell Fire" is our own okuribi. Because this song was a song to send out the music that was created up to the present day.

From "Farewell Fire", the album title is only The Campfire Headphase, and literally "Flame of the farewell of the last night of the camp" comes to mind. What made you decide to use the word "campfire" in the album title this time (I think it's similar to BOC music, which connects to the night in the wilderness)?

MI: We see this album as a travel soundtrack. It can be a real trip or a fictitious trip. At the beginning of the album, there is a scene as if someone goes on a trip. And along the way, there are some sights and adventures, and the highlight of the trip is the summer campfire. This long journey may actually be just a few minutes ago in someone's mind surrounding the campfire. This campfire exists to remind you of those ideas. This is close to the theory that there is distortion in time, and the definition of time becomes vague in that world. It's a vague ambiguity between the real-life experience of a trip, the feeling of leaving the city and becoming wild, and the journey in your head, between the real and imaginary worlds.

It's also very interesting that some suspicious word "headphase" sticks to it. By the way, in Japan, it is customary to go to camp as a school event when you are in elementary school or junior high school, and there are many people who experience campfire only at that time in their lifetime. Even if it isn't, I'll just go on vacation for high school and college students ... I was the same. From the phrase "The Campfire Headphase," I said, "A boy who experienced a few campfires- a state where his head was caught in the summer of adolescence" or "while being illuminated by the campfire (liquor). I think of a state in which my head is blown away (because of some other influence). How about this kind of interpretation?

MA: Yeah, I think it's a very good interpretation. We used to campfire when we were kids. There was a mysterious atmosphere in such an event. But even now that I'm an adult, I think I'm still influenced by that kind of mystery. You get drunk and lie down with a stone pillow beside the campfire. However, my head was extremely clear, and only my brain popped out of my actual head, and I got into an old sports car with rust and went out for a few weeks drive. This album is trying to express that feeling.

By the way, during the interview with this magazine when the previous work was released, there was a statement that "I sympathize with the fundamental ethics of the psychedelic movement of the 1960s." On the other hand, there was a comment that "flower power was created by the media as fashion." I think your music inherits the "freedom" of the original music and expressions of the time. What do you think of this view?

MA: The idea of freedom at that time was extremely exciting. You abandoned the custom and did something experimental. It went beyond drugs to music and art, and even to so-called consciousness reform. Some of the artists and bands of the time were very loyal to the concept, pushing up the possibilities of music and art. But at the same time, there were clearly companies and people trying to take advantage of the psychedelic and hippie epidemics commercially. They turned that fad into a commercial tool and tried to profit from it. In the end, those movements lost the spirit of freedom that the fashion brought about, and the world of free creation. I always think I shouldn't forget what the real artists at the time did, their reaction to the restrictions, their reaction to the restricted culture and society. So I believe I can be like them today. You don't have to dress like them, though. You don't even have to look like The Monkees. But I think we can understand the alternative culture of the 1960s and get rid of this boring and boring coziness and recreate the movement of the time.

Do you have any plans for live performances in the near future?

MA: I'm just adjusting the upcoming live schedule. Perhaps next year, I'll be playing live again.

This is the last question. Did you let Mike's daughter hear the new sound? What reaction did she have if she listened?

MI: She seems to like her too. She used to come to the studio when she was writing the song, but when she was recording "Peacock Tail", she often moved around and didn't stay still. .. So her favorite song is "Peacock Tail".

Original text (Japanese)

ボーズオブ・カナダ（以下BOC）のニュー・アルバム「ザ・キャンプファイヤーヘッドフェイズ」がついにリリースされましたね。素晴らしい作品だと思います。まずは大雑把な感想をお伝えします。前作に比べ、ある意味とてもポップで「初めてのリスナーにも入っていきやすい空間」がより多くある作品だと感じました。そして、これまでの作品と同じように、まるで一編の映画を観ているような感覚が味わえるのですが、その映画は、より“一般的な "作品となっているような気がしました。いかがでしょう？マーカス・イオン

（以下MA）：インストゥルメンタルバンドとして、レコードを作るときはいつも旅や映画のサウンドトラックを作るようなアプローチで臨んでいる。以前のアルバム「ミュージックハズザライト・トゥチルドレン」は、多くの人にとって、初めて俺達の音楽を知ったアルバムだったと思う。あれはドキュメンタリーや奇怪なアニメーションのためのサウンドトラックのようなアルバムだった。前作の「ジオガディ」は幾何学的で閉所恐怖症で、ダークな体験、何か罪深い行為といったようなイメージを抱きながら制作したんだ。そしてこの「ザ・キャンプファイヤーヘッドフェイズ」になるんだけど、これはサイケデリックな空想の世界で繰り広げられるロード・ムービーのための屋外用のアウトドアサウンドトラックというアプローチで作ったんだ。それは、サンプルの細かいディテールにこだわるのではなくて、もっとポジティヴでシンプルなメロディ重視の音楽を作ろうという試みだったんだ。

ただ、前作のリリースから3年以上の歳月がたっていますね。その間、いくつかのリミックスワークを除けば、BOCの情報があまり伝わってきませんでした。この3年間、どのように過ごされたのですか？例えばどこかへ旅行などには出かけられたりしましたか？

MA：「ジオガディ」を録り終えた後、いくつか収録しなかった曲が残っていたんだ。だから、すぐにまた新しいアルバムを作ることができるんだろうなって、俺達自身は思っていたんだ。けど、俺達ふたりとも新しいスタジオを探さなくちゃならなくて、結局スタジオを探して、そこに落ち着くまで、丸1年かかってしまったんだ。それで、「ジオガディ」のときに残した曲から始めようとしたんだけど、時間が経過して、俺達の趣向も移り変わっていたことに気付いたんだ。だから、このアルバムはまったく新しくゼロからの状態で始めることにしたんだ。マイクはニュージーランドで長い時間を過ごしていたから、それもアルバムの制作が遅れた理由のひとつとして挙げられるね。俺達は、BOCというスイッチをオフにして、自由になるということを実行したんだ。365日スタジオにいないといけないっていうような思い込みから自らを解放して、旅行したり、冒険したり、自由に行動したんだ。これは、アルバムのリリース間隔が空いてしまった理由のひとつなんだけど、他にも俺達が音楽を作るにあたって、サウンドや質感を出すために、ものすごく丹念にレコードを作り込んでいくから、他のバンドに比べて、音を完成させるのに時間がかかるということもあると思うよ。

この3年間で最も印象に残った出来事は？どのような形で新作に反映されていると思いますか

MA：フランスのアルプスで事故に遭ったんだけど、それは俺にとってボジティヴな効果をもたらしてくれた。あの事故のおかげで、急に死というものの存在を感じるようになって、BOCの活動のレベルをさらに高めてもっとできるだけ多くの作品をこの世に残しておきたいという気持ちにさせてくれたんだ。俺の私生活、そしてBOCの活動を通して、あるいくつかのことが俺の気持ちを落ち込ませていたんだけど、あの事故を通して、新たな気持ちで、また気合を入れ直して、BOCの仕事に取り組めるようになったんだ。

資料によれば2004年の夏にマイクさんにお子さんが生まれたそうですね。おめでとうございます！お子さんはお元気ですか？マイクサンディソン

（以下MI）：有難う。娘は元気だよ。彼女の誕生によって、2004年は俺の人生で最高の年になったことは間違いないね。彼女は実際に数カ月間、ちょうど俺達がこのアルバムのレコーディングの仕上げをしている頃、スタジオにときどき顔を見せてくれたんだ。彼女は音楽が好きみたいで、自分の好きな音楽に反応しているのを見るのが、俺達の楽しみだった。もしかしたら、彼女は今回のアルバムの選曲に影響を与えているかもしれないね

■ところで、この3年間にクラウデッドとブーム・ビップのリミックスを手がけていますね。

MI：アンチコンのアーティストとは、実際に昔から良い友達だったんだ。それで、いつもコラボレーションだとか、リミックスなんかの話をしてたんだ。だから、クラウデッドやブーム・ビップからリミックスの依頼を受けたときは、迷うことなく簡単に、いいよって答えることができたんだ。彼らよりも、もっとビッグなアーティストにりミックスを依頼されたことがあるけど、それまでずっと断り続けていたんだ。俺達は自分の芸術に対して正直でいたいし、一番高い金を積んでくれる人に俺達の曲を売ろうとは思わないんだ。その点、クラウデッドやブーム・ビップが作った音楽は大好きだった。クラウデッドがもう存在しないっていうことは、ちょっと残念だけど、彼らが築いてきたものはそれほど風化していないよね。それだけでも俺はうれしいと思うよ。これは公式な契約ではないんだけどドーズ・ワンとオッドノズダムが、俺達の曲をネタとしてリミックスするって言ってたから、今はいつの日か俺の手元に小切手が届くことを祈っているよ（笑）。

中でもクラウデッドのリミックスは中期ビートルズそれが、を思い起こさせるようなサウンドに仕上がっていて非常に面白かったです。このリミックスを手がける際に最も心がけたことは何ですか？

MA：クラウデッドから、リミックスするために出来たての曲を受け取ったんだけど、誰も予想できないようなアングルで捉えた作品にしようと思ったんだ。多くの人は俺達がリミックスをやったと聞いたら、サンブルを多用したり、エレクトロニクスを駆使したヴァージョンの曲を作るだろうと予想すると思うんだよねある日、クラウデッドから渡された曲のヴォーカルバートを、マイクがいじっていたんだ。それで気付いたんだけど、ビートルズに代表される、よくあるコード進行がこの曲にピッタリとハマったんだ。このアレンジを曲全体でやったら、すごく面白いだろうなって思ってね。俺は多くのダンスビートをのせただけのリミックスに飽き飽きしていたんだ。だから、俺達は大抵ヴォーカルの部分だけを抽出して、曲を新たに付け直すという作業をするんだ。あのリミックス作業はすごく楽しかった。だって、俺はそれぞれの節にどれだけ面白い、突拍子もないサイケデリックなサウンドを付け足せるかって思考錯誤したからね。けど、俺達があのリミックスでビートルズの音をサンプリングしたって書いてある雑誌を読んだときは、ちょっと困惑しちゃったね。だって、あのリミックスの音は、すべて俺達が無の状態から作り上げた音だったし、曲自体もエレクトリックライトオーケストラ（以下ELO）のある曲に敬意を表したものだったんだ。けど、もしかしたらELOは、彼らの曲でビートルズに敬意を表していたのかもしれないから、何とも言えないんだけどね。

では、そろそろニューアルバムについて、具体的にいろいろ質問していきたいと思います。まず、前作「ジオガディ」と比較した場合、制作プロセスの面で大きな違いはありましたか？あったとすれば、どんな点が？

MI：新作のレコーディングでは、昔俺達が音楽を作るときに行なっていたようなやり方を用いるようにして取り組んだ。それは、生のサウンドをレコーディングするというものだったんだ。マイクを用いて、その場の雰囲気やノイズすべてを取り込んで、それらのサウンドを重ねて、ときにはマルチトラックテーブやサンプリングを使ったりして、いろいろと操作するんだ。あと、わかりやすいサンプルや断片的な子供の声を多様しているというような、俺達のレコードに対して予想できるみんなの期待を裏切りたかった。だって、他の人達が俺達と同じようなことをやっているのを、もう何度も耳にしていて、たぶん俺達のレコードに影響を受けたのかもしれないけど、今じゃそういった手法はジョークだとすら思われているからね。だから、今作ではメロディとサウンドのテクスチャーに重きを置いたってわけさ。「ジオガディ」と決定的に異なる点として、「ジオガディ」は積み木のような形で構成されているんだ。少しずつ物事を足していきながら曲を作り上げるというようなやり方で作られたのさ。けど、「ザ・キャンプファイヤーヘッドフェイズ」では、多くの曲が、俺達ふたりのスタジオでのジャム・セッションから生まれたアイディアに基いて作られているんだ。楽器を用いて核となるアイディアを探すというような方法でね。それから、その核の周りを固めるようにして曲を仕上げていくという感じだったんだ。

以前のあなた達のサウンドは、不思議な“霧”のようなものに包まれていた印象がありました。しかし今回はそれが晴れ、ひとつひとつのサウンドがクリアーに聞こえてくるような気がします。これは意図的なものだったのでしょうか？

MI：俺はサウンドがクリアーになったというよりは、ポジティヴになったというほうがしっくりくるね。以前はサウンドを隠していたんだ。どんよりとしていて霧がかった感じで、見つけるのが難しいという感じだったね。今作では、もっと夏のようなサウンドにしたかったんだ。たぶん、それは世界の状況に対する俺達のリアクションだと思うんだ。だって、むしろ今の世界は、俺達が「ジオガディ」を作った頃よりも暗いものになっている。だから、俺達のねらいは現実逃避のレコードを作ることだった。人々がすべてを忘れて旅行に行ける場所、人々が暗闇を免れるための場所を提供するようなレコードを作りたかったんだ。たぶん、「ジオガディ」では、俺達はその暗間のほうを提供していたんじゃないかな。

また「サウンドがポジティヴになった」せいか、そのビートが70年代後半〜80年代初頭に聞けた初期のリズム・ボックスのように、とても心地よく響きました。

MA：俺はこれまでずっと80年代初頭のエレクトロにハマっていたんだ。ハービーハンコックやチャカカーン、ブレイクマシーンのビートの利いたサウンドなんかが好きなんだ。実際ファンクのレコードや、アース・ウインド・アンド・ファイアーの曲のリズムなんかにも影響を受けたよ。アルバムで聴けるそういったサウンドは、実際に俺達自身がプレイしたものなんだ。例えば、手拍子もそうだし、マイクはドラムを叩いているしね。誰か他の人のビートを単にサンプリングするんじゃなくて、俺は彼らがそれをどのようにして生み出したかを実際に検証してみるのが好きなんだ。それで、新しいアルバムに、そういったテクニックやスタイルを加えていくんだ。自分自身を高めていくのは本当に難しいことだけど、他人の庭の木を盗むよりはいいはずさ。

これも「サウンドがポジティヴになった」せいかもしれませんが、全体的にナチュラルなトーンのギターがとても印象に残ります。そういえば、先述したブーム・ビップのリミックスでもギターが大きくフィーチャーされていましたね。なぜ、そうなったのでしょうか？

MI：俺達はこれまでも常にギターをフィーチャーした音楽を作ってきた。BOC以外の課外活動で俺達がどんな曲を作っているのか、みんな知ったら驚くだろうなって思うよ。BOCとして活動する前は、俺達ふたりとも、ドラムやリード・ギターやベースなんかのいるロック・バンドでプレイしていたんだ。過去のBOCのレコードでは、ギターのサンプリングなんかも聴けるけど、激しく手が加えられているから、それがギターの音だって、きっと気付かないと思うんだよね。けど、今回俺達は音楽の全体的なイメージというものを単純なものにしたかったから、ギターの音を変に隠さないことに決めた。でも、別にロックンロールって感じのアルバムを急に作りたくなったたわけではないんだ。今回は70年代後期の映画のサウンドトラックで聴けるような独特なギター・サウンドを得ようと努力したんだ。それは、ロックミュージックで聴けるようなものではなくて、ジョニミッチェルやジョンアバクロンビー、ザブリスキーポイントのギターのようなものなんだ。今でも、そういった要素を合成的に扱ったりしている。自分達のギターサウンドをサンプリングして、それにひとひねり加えたり、ピッチを変えたり、フィルターを重ねてみたり、取り除いてみたりしているんだ。

これらのギターもあなた達自身で弾いているのですか？

MI：そうだよ。もちろん、すべて自分達で弾いている。俺達はすごくたくさんのいろんなギターミュージックを聴くんだ。

これはBOCに対する質問としては少々異例かもしれませんが、影響を受けたギタリストは？

MI：俺の場合、ある日はヴェルヴェット・アンダーグラウンドを聴いて、その翌日にはザ・ミスフィッツを聴いていたりとね。今回はドライな感じの、屋外で聞こえるようなサウンドにしたかったんだ。ちょっとサイケデリックなギター・スタイルでね。自由を象徴するようなサウンド、ザ、ドアーズとかジェームステイラーのあの音を出してみたかったんだ。

昨年マーカスの推薦によってマッシュからデビューしたバイビオ（Bibio）というアーティストが作るトラックにおけるギターと電子音との融合のさせ方」と共通点を感じる曲がアルバムにありました。彼の音楽についてはどう思いますか？

MA：たぶん、バイビオに俺は影響撃されているとは患うよ。けど、彼が聴く音楽が、俺達が聴く音楽と似ているという事実もあるんだ。バイビォのスティーヴンが最初俺達の音楽に影響を受けていたということは知っているし、たぶんこればいわゆる双方向の素晴らしい相乗効果だと思うんだ。俺は、みんなが彼の音楽を聴くよりも8倍ぐらい多く、彼の音楽を聴いているけど、彼は本当に音楽の天才だよ。彼の音楽の95％はものすごく素晴らしいし、俺の波長にビッタリくるものなんだ。彼のように、いつも音楽的に冴えているアーティストって少ないんだよね。彼はサウンドの質感にこだわりを持っている。。年老いたサウンド、ダメージを受けたサウンド、未完成のサウンド、そういった音を彼は大切にするんだ。世界で一番美しい曲を超える曲があるとすれば、それは古くなり、崩れそうになり、音も出ないような状態なのに、もがきながらも生き続けている曲だと思うんだよね。あと、スティーヴンはギタリストとしても驚くほど素晴らしい才能を持っているんだ。

今作には、変器類や電子音以外の、フィールド・レコーディングされた音は入っていますか？もし入っているとしたら、それは何の音ですか？

MA：空間の音を録音したものは多いよ。アウトドアな感じをこのアルバムでは表現したかったんだけど、それがあまりにも顕著に表現されるということも、したくはなかった。広い空間の音、違った環境の音をレコーディングしたんだけど、それはどちらかというと、バックグラウンドで鳴っていて、俺達の音楽を、よりカ強いものにしている。例えば、「84 Pontiac Dream」は、ニューヨークの通りの喧騒をレコーディングしたものが使われている。その音の中には、怒っているタクシーの運転手の様子や、太ったアメリカの女性がショッピングをしている様子なんかが録音されている。なぜそんな音を使ったのかというと、この曲にはもともと、そういった背景というか、コンセプトがあったからなんだ。あと、「Chromakey Dreamcat」のほとんどのサウンドは海辺のビーチで録音されたものなんだ。我々は曲名から、いろいろなことを妄想するのが好きです。特にあなた達の曲のタイトルには音楽と共に想像力を掻き立てるものが多いと思います。ただ、今回ちょっとビックリしたのが、「84 Pontiac Dream」というタイトルです。ポンティアックといえば、トランザムなど「スポーティーなアメリカ車」のイメージが強い気がします。そこに1984年という年号がくっついて…。BOCのイメージとはずいぶん異なります。なぜ、このようなタイトルを？MI：この曲は悪天候の中、都会の真ん中で波滞に巻き込まれている男の話なんだ。彼はその渋滞の中で、もうひとりの空想の自分、スポーツカーに乗って、荒野のハイウェイを疾走している自分を頭の中で思い描いているんだ。彼の空想は、はば同時進行で彼の頭の中で進んでいるんだけど、最後には、結局ダサい車に乗って雨の街の渋滞に巻き込まれている実際の自分に戻るんだ。俺達は子供の頃に観た映画やテレビ番組に、ものすごく影響を受けていると思う。それはカナダに住んでいたり、UKでも同じような番組がやっていたことが大きな理由なんだけど、ある時期、ものすごく強烈な北米のイメージが、大きなテレビのロゴや80年代前半のスポーツカー、スタント映画、例えば「キャノンボール」「グレート・スタントマン」とかによって流布されていた時代があったんだ。あの「激走 5000キロ」のイメージとか、ボンティアックのファイアーバードとか、トランザムが荒野を駆け抜けるレースのイメージだとかと一緒に流れている、すごくアナログだけど、シンセサイザーを使っている音楽があるよね。あの音に近づきたかったんだ。だから、この曲は当時のテレビ番組の制作に携わっていたグレンAラーソンや、Lorimarへの同意を示した曲なんだ。

今回は「Dayvan Cowboy」というタイトルもあります。この「Dayvan」というのも車のことですよね。

MI：この曲には、特別なストーリーがあるんだ。あるサーファーの話なんだけど、彼は自分のことをヒーローだと思っていてね。彼はすごくパーソナルな幻想を持っているんだ。その幻想っていうのは、大自然に出て過激なことをいろいろして、自分でカスタマィズしたバンで違泊りするっていう、そういった旅行をするというものなんだけど、このパンっていうのは、デイバンとかアストロバンと呼ばれるもので、70年代後半から、80年代前半に北米を旅するのに、よく使われた乗り物だったんだ。俺達にとって、デイバンは、ビブラートのかかったシンセサイザーを多用したテーマ曲を使っていた、当時のテレビやロード・ムービーを術徳とさせるものなんだ。あと、カスタマイズされたデイバンの車体に描かれたグラフィックも、俺達にとってはインスピンーションであり、いわゆる“アメリカーナ”のポジティヴな一面を思い起こさせるものなんだ。自然と触れ合いながら、旅をして、アドヴェンチャーを繰り広げる、そんなイメージがあるんだ。俺達は曲を作っているとき、よく誰かのロード・トリップのためのサウンドトラックを作っているような気持ちに陥るんだ。今回はデイバンを讃えるためのアンセムを作っているようラな気持ちだったね。

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MA：俺達は、別に自然を崇拝するために音楽を作っているんじゃないことに確かだね。俺達が自然から影響を受けているのは確かだけど、それはあるひとつの要素にすぎない。音楽ジャーナリスト達は、俺達の作品を、よく自然主義に蒸いているというような書き方で表すけど、それは俺達の本能的な趣向であって、曲作りしているときに念頭に置いてやっているようなことではないんだ。俺達は、いろんな場所やアイテディアから、曲のインスピレーションやタイトルのアィディアを得ているんだ。だから、俺達の患考の中では、自然によってインスパイアされた曲も、自動車やある特定の時代にインスパイアされた曲も、まったく同じものなんだ。ただ、倫達が異なるものによって刺激を受けただけで、その過程に違いはないんだ。このアルバムは探検したり、旅行したり、自動車で旅をしたりすること、そしてその旅の途中で何が起こっているのか理解できないような、シュールな世界に迷い込むというような雰囲気を持っている。それは、実際の旅なのか、頭の中で思い描いている空想の旅なのか、まったくわけのわからない状態の中で繰り広げられている世界なんだ。そして、その世界は俺達がトリビュートする黄金時代、個人的に俺達が思い出すような、美しい時代の北米やカナダという場所、物事が、今よりもシンプルで、もっとハッピーだった時代に設定されているんだ。

では「Slow This Bird Downlのマアでいう「色」とは、何かのメタファーだったりしますか？

MI：タイトルにふたつの意味を持たせているんだ。これは、アルバムがもたらす旅の中で進行する、もうひとつの空想の旅の一部なんだ。表面的な意味で言えば、このタイトルは小型飛行機に乗っているパイロットが言いそうな言葉だよね。パイロットが着陸する場所を見つけて、“それじゃ、この小型機（This Bird）のスビードを緩めて満陸するぞ "っていうような指示を出している感じだね。けど、俺が本当に伝えたかった意味は、この世界が現在すごく酷くて、行き詰った状態であること。それは政治的にも、技術的にも、環境の面からも言えることだと思うんだ。だから、タイトルのThis Birdって、本当はこの世界のことを指し示しているんだ。

ラスト曲のタイトルは「Farewell Fire」ですね。日本語には「送り火」という言葉があります。「お盆の最後の日の夜、今までもてなしていた祖先の愛を送るために燃やす火」のことです。この曲を聴きながら、そんな「送り火」の光景が、つい頭に浮かんでくることもあります。それについて、どう思いますか？この曲は、どのようにして生まれたのでしょうか？

MA：その解釈はいいね。俺にとっては、この曲はとても悲しい曲なんだ。でも、別に具体的な事柄は意味していないんだけどね。何かの終わりを表す音楽のようなものなんだ。非常に豪響で感情的な終わりを示しているんだ。このアルバムに収録されているいくつかの曲は、作曲やサウンドプロセスといった多くの作業を経て、上手く構成されている。けど、「Farewel Fire」は違うんだ。この曲は生で録音したものだし、深夜だったからもうろうとしていたんだ。アメリカでは、野焼きをすることを「Farewell Fire」と呼ぶんだ。だから、「Farewell Fire」というのは俺達自身の送り火だということが言えるかもしれない。だって、この曲は現代までに作り出された音楽を送り出すための曲だったからね。

「Farewell Fire」からは、アルバム・タイトルが「ザ・キャンプファイヤーヘッドフェイズ」だけに、文字通り「キャンプの最後の夜の別れの炎」といった光景も浮かびます。今回アルバムタイトルに「キャンプファイヤー」という言葉（大自然の中の夜とつながる、BOCの音楽に似つかわしいものであると思います）を使おうと思った経織は？

MI：俺達は、このアルバムを旅のサウンドトラックと見なしている。それは本当の旅でも、架空の旅でもいいんだ。アルバムの冒頭で、あたかも誰かが旅に出かけるようシーンがあったりする。そして、その道中では、いくつかの光景や冒険があって、その旅のハイライトとして夏のキャンプファイャーがあるんだ。この長い旅路というのは、実はキャンプファイヤーを囲んでいる、ある人の頭の中で起こった、たった数分前の旅かもしれないんだ。そういったアイディアを思い起こさせるために、このキャンプファイヤーは存在しているんだ。これは、時間に歪みが存在するという理論に近いもので、その世界では時間の定義はあやふやなものになってしまうんだ。それは、現実に起こっている実際の旅の体験や、都会を離れ野生的になる感覚と、自分の頭の中で旅をしているという、現実と想像の世界の狭間の、ぼんやりとしたあいまいなものなんだ。

そこに「ヘッドフェイズ」という、なにやら怪しげな言葉がくっつくのも、すごく面白いですね。ちなみに、日本では小学生や中学生のとき学校行事としてキャンプに行くという習慣があり、一生のうち、そのときしかキャンプファイヤーを体験しない人も少なくありません。そうでなくとも、高校生や大学生の要休みに行くくらいで…。私もそうでした。そんな私は「ザ・キャンプファァイヤーヘッドフェイズ」というフレーズから、「数少ないキャンプファイヤーを体験した少年〜青年期の夏に頭がとらわれてしまった状態」、もしくは「キャンプファイヤーに照らされながら（お酒や他の何かの影響もあって）頭がぶっ飛んだ状態」を思い浮かべます。こういった解釈はいかがでしょう？

MA：そうだね、すごくいい解釈だと思う。俺達も子供の頃、キャンプファイヤーをしていたよ。そういう行事には不思議な雰囲気があったよね。けど、大人になった今だって、そういった不思議な影響を受けることだってあると思う。酔っ払って、キャンプファイャーの傍らで石を枕にして横になるよね。けど、頭はものすごく冴えてて、実際の頭から脳みそだけが飛び出して、サビついた昔のスポーツカーに乗り込んで、数週間のドライヴに出る。そんな感覚をこのアルバムは表現しようとしているんだ。

ところで、前作リリース時の本誌の取材中に、「60年代のサイケデリック・ムーヴメントの根本的な倫理には共感を覚える」という発言がありました。一方で「フラワーパワーなんてものはメディアがファッションとして作り上げたものだ」という発言もありました。あなた達の音楽は、当時のオリジナルな音楽や表現の持つ「自由さ」を現代に継承しているようにも思います。こういった見方についてはどう思いますか？

MA：あの当時の自由という考えは、ものすごく刺激的なものだね。それまでの慣習を捨てて、実験的なことをしたよね。それはドラッグに留まることなく、音楽、芸術にまで飛び火して、いわゆる意識改革にまで及んだ。当時のアーティストやバンドの中には、そのコンセブトにすごく忠実な人達もいて、音楽や芸術の可能性を押し上げたんだ。けど、それと時を同じくして、明らかにサイケデリックやヒッピーの流行を商業的に利用しようとする企業や人々がいた。彼らは、あの流行を商売道具へと変えて、そこから利益を得得ようとしたんだ。そういった動きによって、結局あの流行がもたらした自由の精神だとか、自由な創造の世界というものは失われてしまったんだ。俺はいつも、当時活躍した本物のアーティスト達がやったこと、制限されることに対する彼らの反応、制限された文化や社会に対する彼らの反応を忘れてはいけないと思っているんだ。だから、俺は現代でも彼らのようになれると信じている。別に彼らのような服装をする必要はないけどね。ザ・モンキーズみたいな格格好をする必要もない。けど、60年代のオルタナティヴな文化を理解して、この退屈でつまらない居心地の良さを捨て去って、当時のようなムーヴメントをまた作り出すことはできると思うんだ。

今後近いうちにライヴパフォーマンスを行なう予定はありますか？

MA：ちょうど今後のライヴの予定について調整しているところだよ。おそらく、来年には、またライヴをやるようになるんじゃないのかな。

最後の質問です。マイクさんの娘さんには新作の音を聴かせましたか？もし聴かせていたら、彼女はどんな反応を示しましたか？

MI：彼女も気に入ってくれているみたいだよ。曲を書き上げている頃に、彼女もスタジオに来てたりしたんだけど、「Peacock Tail」をレコーディングしているときなんて、彼女はよくあちこち動き回って、じっとしていなかったんだ。だから、彼女のお気に入りの曲は「Peacock Tail」だね。

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@@ Line 51: / Line 51: @@
 {{question|Above all, the clouddead remix was the Mid-term Beatles, and it was very interesting because it had a sound that reminded me of it. What did you keep in mind when working on this remix?}}
-{{boc|A: I received a song from Clouddead that was just made for remixing, but I wanted to make it an angle that no one could predict. Many people expect that when they hear we've done a remix, they'll make a lot of sambles and an electronics version of the song. , Mike was messing around. That's why I noticed that the common chord progressions represented by The Beatles fit perfectly into this song. I thought it would be very interesting to do this arrangement for the whole song. I was tired of remixing just a lot of dance beats. That's why we usually extract only the vocal part and re-add the song. That remix work was a lot of fun. Because I wondered how interesting and crazy psychedelic sounds could be added to each section. But when we read a magazine that said we sampled the Beatles sound in that remix, I was a little confused. Because the sound of that remix was all the sound we made from nothing, and the song itself was a tribute to a song of the Electric Light Orchestra (ELO). But maybe ELO was paying homage to The Beatles in their song, so I can't say anything.}}
+{{boc|MA: I received a song from Clouddead that was just made for remixing, but I wanted to make it an angle that no one could predict. Many people expect that when they hear we've done a remix, they'll make a lot of sambles and an electronics version of the song. , Mike was messing around. That's why I noticed that the common chord progressions represented by The Beatles fit perfectly into this song. I thought it would be very interesting to do this arrangement for the whole song. I was tired of remixing just a lot of dance beats. That's why we usually extract only the vocal part and re-add the song. That remix work was a lot of fun. Because I wondered how interesting and crazy psychedelic sounds could be added to each section. But when we read a magazine that said we sampled the Beatles sound in that remix, I was a little confused. Because the sound of that remix was all the sound we made from nothing, and the song itself was a tribute to a song of the Electric Light Orchestra (ELO). But maybe ELO was paying homage to The Beatles in their song, so I can't say anything.}}
 {{question|Now, I would like to ask you various specific questions about the new album. First of all, was there a big difference in the production process compared to the previous work ''[[Geogaddi]]'' If so, what are the points?}}
@@ Line 83: / Line 83: @@
 {{question|Does this work contain field-recorded sounds other than transformers and electronic sounds? If so, what does it sound like?}}
-{{boc|MA: There are many recordings of the sound of space. I wanted to express the outdoor feeling in this album, but I didn't want it to be expressed too prominently. We recorded the sound of a large space, the sound of a different environment, but it's rather playing in the background, making our music even stronger. For example, "[['84 Pontiac Dream]]" is a recording of the hustle and bustle of the streets of New York. In the sound, an angry taxi driver and a fat American woman shopping are recorded. The reason why I used such a sound is that this song originally had such a background or concept. Also, most of the sounds in "[[Chromakey Dreamcoat]]" were recorded on the beach. We like to delusion various things from the song title.
+{{boc|MA: There are many recordings of the sound of space. I wanted to express the outdoor feeling in this album, but I didn't want it to be expressed too prominently. We recorded the sound of a large space, the sound of a different environment, but it's rather playing in the background, making our music even stronger. For example, "[['84 Pontiac Dream]]" is a recording of the hustle and bustle of the streets of New York. In the sound, an angry taxi driver and a fat American woman shopping are recorded. The reason why I used such a sound is that this song originally had such a background or concept. Also, most of the sounds in "[[Chromakey Dreamcoat]]" were recorded on the beach. We like to delusion various things from the song title.}}
 {{question|In particular, I think that many of your song titles stir your imagination along with the music. However, what surprised me a little this time was the title "[['84 Pontiac Dream]]". Speaking of Pontiac, I feel that the image of "sporty American cars" such as Trans Am is strong. The year 1984 is attached to it ... It's very different from the image of BOC. Why do you have a title like this?}}
@@ Line 89: / Line 89: @@
 {{boc|MI: This song is about a man caught in a stasis in the middle of the city in bad weather. In the traffic, he envisions in his mind another fantasy self, riding a sports car and sprinting through the highways of wilderness. His fantasies are going on in his mind at the same time, but in the end he gets into a crappy car and returns to his true self caught in the traffic jams of the rainy city. I think we're really influenced by the movies and TV shows we watched as a kid. That's largely because I lived in Canada and had similar shows in the UK, but at one point I had a very strong image of North America, big TV logos, sports cars in the early 80's, stunt movies, For example, there was a time when it was disseminated by "Cannonball" and "Great Stuntman". There's music that's very analog, but it uses synthesizers, with the image of that "Running 5000km", the Pontiac Firebird, and the image of a race where Trans Am runs through the wilderness. I wanted to get closer to that sound. That's why this song shows consent to Glen A. Larson and Lorimar, who were involved in the production of the TV show at the time.}}
-{{question|This time, there is also the title "[[Dayvan Cowboy]". This "Day van" is also a car, isn't it?}}
+{{question|This time, there is also the title "[[Dayvan Cowboy]]". This "Day van" is also a car, isn't it?}}
 {{boc|MI: This song has a special story. It's a surfer's story, he thinks he's a hero. He has a very personal illusion. The illusion is that you go out into the wilderness, do various radical things, and go on a trip like that, where you stay in a van that you have customized yourself, but this bread is like Davan. It's called an astrovan, and it was a popular vehicle for traveling to North America in the late 70's and early 80's. For us, Davan is a virtue of the television and road movies of the time, with vibratoed synthesizer-heavy theme songs. Also, the graphics on the customized Davan body are an inspiration for us, reminiscent of the positive side of the so-called "Americana". I have the image of traveling and adventuring while interacting with nature. When we're writing songs, we often feel like we're making a soundtrack for someone's road trip. This time I felt like I was making an anthem to praise Davan.}}
-{{question|The album has titles such as "[[Into the Rainbow Vein]]", "[[Peacock Tail]]", "[Atraronchronon]" (= the name of the Iroquois country, which is an indigenous people of North America, meaning" people in the swamps "), and "[Tears From the Compound Eye]]" Contains songs. The place where these psychedelic keywords with nature and living things as motifs are mixed with fantastic electronic sounds and guitar sounds is exactly the "world of BOC". That's why the title with a car motif seemed surprising. Don't you love nature and the reasonable way of life that follows it? Still, I don't think I've fallen into mere "nature worship" or "nature admiration."}}
+{{question|The album has titles such as "[[Into the Rainbow Vein]]", "[[Peacock Tail]]", "[[Ataronchronon]]" (the name of the Iroquois country, which is an indigenous people of North America, meaning "People in the swamps"), and "[[Tears from the Compound Eye]]". The place where these psychedelic keywords with nature and living things as motifs are mixed with fantastic electronic sounds and guitar sounds is exactly the "world of BOC". That's why the title with a car motif seemed surprising. Don't you love nature and the reasonable way of life that follows it? Still, I don't think I've fallen into mere "nature worship" or "nature admiration". }}
 {{boc|MA: I'm sure we're not making music to worship nature. It's true that we are influenced by nature, but that's just one factor. Music journalists often describe our work as being naturalistic, but that's our instinctive taste, and keep it in mind when writing songs. It's not like that. We get song inspiration and title ideas from different places and ideas. So, in our affairs, songs inspired by nature are exactly the same as songs inspired by cars and certain times. However, there is no difference in the process, just because the morals were inspired by different things. This album has the atmosphere of exploring, traveling, traveling by car, and getting lost in a surreal world where you can't understand what's going on along the way. .. It's a world that's unfolding in a completely unclear state, whether it's an actual journey or a fantasy journey that you envision in your head. And that world is set in a golden age when we tribute, places like North America and Canada in beautiful times that we personally remember, and times when things were simpler and happier than they are now. I'm here.}}
@@ Line 103: / Line 103: @@
 {{question|The title of the last song is "[[Farewell Fire]]". There is a word "okuribi" in Japanese. "The last night of Obon, the fire that burns to send the love of our ancestors that we have been hospitable to." While listening to this song, the scene of such "okuribi" may come to my mind. What do you think about it? How did this song come about?}}
-{{boc|MA: That interpretation is good. For me, this song is a very sad song. But it doesn't mean anything concrete. It's like music that marks the end of something. It has a very lively and emotional end. Some of the songs on this album are well organized after a lot of work, including composition and sound process. But "[[Farewel Fire]" is different. This song was recorded live and I was trying to do it because it was midnight. In the United States, burning in the open is called "Farewell Fire". So it could be said that "[[Farewell Fire]]" is our own okuribi. Because this song was a song to send out the music that was created up to the present day.}}
+{{boc|MA: That interpretation is good. For me, this song is a very sad song. But it doesn't mean anything concrete. It's like music that marks the end of something. It has a very lively and emotional end. Some of the songs on this album are well organized after a lot of work, including composition and sound process. But "[[Farewell Fire]]" is different. This song was recorded live and I was trying to do it because it was midnight. In the United States, burning in the open is called "Farewell Fire". So it could be said that "[[Farewell Fire]]" is our own okuribi. Because this song was a song to send out the music that was created up to the present day.}}
 {{question|From "[[Farewell Fire]]", the album title is only ''[[The Campfire Headphase]]'', and literally "Flame of the farewell of the last night of the camp" comes to mind. What made you decide to use the word "campfire" in the album title this time (I think it's similar to BOC music, which connects to the night in the wilderness)?}}

Revision as of 15:14, 5 March 2021

Contents

English translation

Original text (Japanese)

Scans

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