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Difference between revisions of "Julie And Candy"
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*In interviews, Boards of Canada have used Julie and Candy as a point of reference for their approach to music production: | *In interviews, Boards of Canada have used Julie and Candy as a point of reference for their approach to music production: | ||
| − | Remix Magazine, July 2002 | + | ::<b>Remix Magazine, July 2002</b> |
| − | "In the past, we've taken a much more minimal approach to the texture, like single melody lines where you could clearly hear the instrument. I guess we're heading back toward that empty sound now after Geogaddi, but sometimes it's nice to make a track that just sounds like a weird cacophony of undefined instruments. ''Most of "Julie and Candy" was actually made up of recorders and flutes.''" | + | :::*"In the past, we've taken a much more minimal approach to the texture, like single melody lines where you could clearly hear the instrument. I guess we're heading back toward that empty sound now after Geogaddi, but sometimes it's nice to make a track that just sounds like a weird cacophony of undefined instruments. ''Most of "Julie and Candy" was actually made up of recorders and flutes.''" |
| − | HMV Magazine, February 2002 | + | ::<b>HMV Magazine, February 2002</b> |
| − | "We don't like using digital things or computer effects so we get sounds by doing things like running whole parts through a really bad tape recorder or something like that. ''Like the intro on 'Julie and Candy' for example, we just played the melody on a couple of whistles and then we bounced it back and forward between the internal mics of two tape-decks until the sound started disappearing into hell. Like when you look at an image reflected within two mirrors forever, in the distance it gets darker and greener and murkier.''" | + | :::*"We don't like using digital things or computer effects so we get sounds by doing things like running whole parts through a really bad tape recorder or something like that. ''Like the intro on 'Julie and Candy' for example, we just played the melody on a couple of whistles and then we bounced it back and forward between the internal mics of two tape-decks until the sound started disappearing into hell. Like when you look at an image reflected within two mirrors forever, in the distance it gets darker and greener and murkier.''" |
==Samples/Lyrics== | ==Samples/Lyrics== | ||
Revision as of 02:53, 17 January 2008
| Julie and Candy | |
|---|---|
| Running time | 5:30 |
| Appears on | Geogaddi |
http://i176.photobucket.com/albums/w175/thedisavowed/seasonofthewitchscaled.jpg
The cover of John Romero's 1972
film, "Season of the Witch".
Production
- In interviews, Boards of Canada have used Julie and Candy as a point of reference for their approach to music production:
- Remix Magazine, July 2002
- "In the past, we've taken a much more minimal approach to the texture, like single melody lines where you could clearly hear the instrument. I guess we're heading back toward that empty sound now after Geogaddi, but sometimes it's nice to make a track that just sounds like a weird cacophony of undefined instruments. Most of "Julie and Candy" was actually made up of recorders and flutes."
- HMV Magazine, February 2002
- "We don't like using digital things or computer effects so we get sounds by doing things like running whole parts through a really bad tape recorder or something like that. Like the intro on 'Julie and Candy' for example, we just played the melody on a couple of whistles and then we bounced it back and forward between the internal mics of two tape-decks until the sound started disappearing into hell. Like when you look at an image reflected within two mirrors forever, in the distance it gets darker and greener and murkier."
Samples/Lyrics
- In the opening bars of Julie and Candy (and again at 2:46), a sample of dialogue taken from George A. Romero's 1972 film "Season of The Witch" (alternately titled "Hungry Wives") can be heard:
Shirley: "You're putting me on!" Gregg: "We're going to try it, you ever try it?" Shirley: "You're putting me on!" Gregg: "I'm TURNING you on." Shirley: "You're putting me on! Where did you get that stuff?" Gregg: "Oh, Nikki's growing a patch out in the backyard". Shirley: "Come on, you're putting me on." Nikki: "Yeah, he's putting you on, he's a brat!" Shirley: "Uh-huh. Sure, sure!"