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The Golden Apples Of The Sun
| title | The Golden Apples Of The Sun |
|---|---|
| author | Kazumichi Sato/Hidetsugu Ito |
| publication | Cookie Scene |
| date | 2006/01 |
| issue | 46 |
| pages | 18-21 |
"The Golden Apples Of The Sun" is a 2006 interview by Kazumichi Sato/Hidetsugu Ito. It originally appeared in the Japanese music magazine Cookie Scene.
English translation
*Note: Translated using Google Translate and DeepL.
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 great piece of work. Let me give you a general impression first. Compared to the previous album, I felt that it was in a way very pop and had more "space for new listeners to get into". And just like the previous works, you can feel as if you are watching a film, but I felt that the film is more "generic". How about it?
Marcus Eoin (MA): As an instrumental band, we always approach making a record as if we were traveling or making a soundtrack for a movie. I think our previous album Music Has the Right to Children was the first album that many people discovered our music. It was an album that sounded like a soundtrack for a documentary or a bizarre animation. Our last album, Geogaddi, was geometric and claustrophobic, a dark experience, a sinful act of some kind. Then came The Campfire Headphase, which we approached as an outdoor soundtrack for a road movie set in a psychedelic fantasy world. It was an attempt to make more positive, simple, melody-oriented music, rather than focusing on the fine details of the samples.
However, it's been more than three years since the release of your last album. During that time, apart from some remix work, not much information about BOC has been conveyed to us. How did you spend your time during these three years? For example, did you go on any trips?
MA: After we finished recording "Geogaddi", there were a few songs left that we didn't record. So we thought we would be able to make a 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. We tried to start with the songs we had left over from "Geogaddi", but as time went on, we realized that our tastes had changed. So we decided to start this album completely fresh, from scratch. Mike spent a lot of time in New Zealand, so that was another reason for the delay in making the album. We did this by turning off the BOC switch and letting loose, freeing ourselves from the assumption that we had to be in the studio 365 days a year, traveling, adventuring, and just being free. That's one of the reasons why we've had such a long gap between releases, but I think another reason is that we're very meticulous about creating a record that has a certain sound and texture to it, so it takes us longer to perfect our sound than other bands.
What has been the most memorable event of the past three years? In what ways do you think they are reflected in the new album?
MA: I had an accident in the French Alps, which had a positive effect on me. Thanks to that accident, I suddenly felt the presence of death, which made me want to raise the level of BOC activities and leave as much work as possible in this world. Some things in my personal life and in BOC's work had been depressing me, but the accident has allowed me to work on BOC with a fresh mind and a renewed spirit.
According to the materials, Mike had a child in the summer of 2004. Congratulations! How are your children?
Michael Sandison (MI): Thank you. She's doing great. Her birth definitely made 2004 one of the best years of my life. She actually came to see me in the studio from time to time for a few months, right around the time we were finishing up the recording of this album. She seemed to like the music, and it was fun for us to see her react to the music she liked. Maybe she had some influence on the song selection for this album.
By the way, you've done remixes for Clouddead and Boom Bip in the last three years.
MI: I've actually been good friends with the Anticon artists for a long time. So we were always talking about collaborations and remixes. So when Clouddead or Boom Bip asked me to do a remix, it was easy for me to say yes without hesitation. I've been asked to do remixes for much bigger artists than them, but I've always turned them down. We like to be honest about our art and don't want to sell our songs to the highest bidder. In that respect, we loved the music that Clouddead and Boom Bip made. It's a bit of a shame that Clouddead doesn't exist anymore, but what they built hasn't faded away that much. I'm glad for that. This isn't an official deal, but Doseone and Odd Nosdam have said they'll be remixing some of our songs as material, so now I'm praying for a check to come my way someday (laughs).
The remix of "Clouddead" was particularly interesting because it reminded me of the mid-period Beatles themselves. What was the most important thing you kept in mind when working on this remix?
MA: I received a song from Clouddead that was just made for remixing, but we wanted to capture it from an angle that no one would expect. A lot of people, when they hear that we've done a remix, they expect us to do a version with a lot of samples and electronics. One day, Mike was tweaking the vocals on a song that Clouddead had given him, and I realized that a common chord progression, typical of the Beatles, would work perfectly for this song. I thought it would be really interesting to do this arrangement for the whole song. I was tired of a lot of remixes that just put a dance beat on it. So we'd usually just take the vocals and rework the song. I really enjoyed that remixing process. I had a lot of fun doing that remix, because I was trying to figure out how many interesting, outlandish psychedelic sounds I could add to each verse. But when I read in a magazine that we sampled the Beatles' sound for that remix, I was a little confused, because the sound of that remix was all something we made up out of thin air, and the song itself was a tribute to a song by Electric Light Orchestra. But maybe ELO was paying homage to the Beatles with their songs, I can't say.
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: When we recorded the new album, we tried to do it the way music used to be made. It was about recording live sound. We used microphones to capture all the ambience and noise of the scene, and then layered those sounds and manipulated them in various ways, sometimes using multi-track tape and sampling to do a lot of things. We also wanted to defy people's expectations of our records, which are based on the use of obvious samples and fragmented children's voices. Because we've already heard other people doing the same kind of things that we do, and maybe they were influenced by our record, but nowadays those kinds of techniques are even considered a joke. That's why we focused on the melody and the texture of the sound on this record. One thing that's really different from Geogaddi is that Geogaddi is structured like building blocks. It was written in a way that you can build up a song by adding things little by little. But a lot of the songs on The Campfire Headphase are based on ideas that came out of jam sessions between the two of us in the studio. We used instruments to find the core ideas. And then we just kind of built around that core idea and worked on the songs.
In the past, I had the impression that your sound was shrouded in a mysterious "fog". This time, however, it seems to have cleared up and each sound can be heard clearly. Was this intentional?
MI: I would say that the sound has become more positive than clear. Before, the sound was hidden. Before, I was hiding my sound, it was dark and foggy and hard to find. With this one, I wanted to make it sound more like summer. Maybe it's our reaction to the state of the world. Maybe it's our reaction to the state of the world, because the world is rather darker now than it was when we made Geogaddi. So our aim was to make a record about escaping reality. We wanted to make a record that would provide a place where people could forget everything and go on a trip, a place where people could escape the darkness. Maybe in Geogaddi we were offering that darkness.
Also, maybe it's because the "sound has become more positive," but the beat sounds very much like the early rhythm boxes you could hear in the late 70s and early 80s.
MA: I've always been into early 80's electro. I've always been into early 80's electro, like Herbie Hancock, Chaka Khan, and the beatific sounds of Break Machine. I've also been influenced by funk records and the rhythms of Earth, Wind and Fire songs. The sounds you hear on the album are things that we actually played ourselves. For example, the hand claps, and Mike plays the drums. I don't just sample other people's beats, I like to actually examine how they came up with them. So I'll add those techniques and styles to a new album. It's really hard to improve yourself, but it's better than stealing a tree from someone else's garden.
This may also be due to the "positive sound," but the overall natural tone of the guitar is very impressive. Come to think of it, the guitar was also featured heavily in the aforementioned Boom Bip remix. Why did that happen?
MI: We've always made music that features guitars, and I think people would be surprised to know what kind of music we make in our extracurricular activities outside of BOC. Before BOC, we both played in rock bands with drums, lead guitar and bass. On past BOC records, you can hear some sampled guitars, but they're so heavily modified that you don't even know they're guitars. But this time we wanted to keep the overall image of the music simple, so we decided not to hide the guitar sound. But it's not that we suddenly wanted to make a rock and roll album. This time I tried to get that unique guitar sound that you would hear in a late 70's movie soundtrack. It's not the kind of thing you hear in rock music, it's more like Joni Mitchell or John Abercrombie or Zabriskie Point guitar. I'm still working with those elements in a synthetic way. We sample our own guitar sounds and try to give them a twist, change the pitch, layer filters, or remove them.
Do you also play these guitars yourself?
MI: Yes, we do. Of course, we play them all ourselves. We listen to a lot of different guitar music.
This may be a bit unusual for a BOC question, but who are your guitarist influences?
MI: For me, one day I'm listening to the Velvet Underground, and the next day I'm listening to the Misfits. I wanted it to sound dry and outdoorsy this time. A little psychedelic guitar style. I wanted to create a sound that symbolized freedom, that sound of The Doors or James Taylor.
There was a song on the album that I felt had something in common with the way the guitar and electronic sounds are fused in the tracks of Bibio, an artist who made his debut on Mush last year on the recommendation of Marcus. What do you think about his music?
MA: I'm probably influenced 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 from Bibio was initially influenced by our music, and I think this is probably a great two-way synergy. I listen to his music about 8 times more than most people listen to his music, and he really is a musical genius. 95% of his music is really great and fits my wavelength perfectly. There are very few artists who are always as musically brilliant as he is. He's very particular about the texture of his sound. He values sounds that are old, damaged, unfinished, and so on. I think if there is a song that surpasses the most beautiful song in the world, it's the one that is old, crumbling, soundless, but struggling to stay alive. Also, Stephen is an amazingly talented guitarist.
Are there any field-recorded sounds on this album other than instruments and electronic sounds? If so, what kind of sounds are they?
MA: There are a lot of recordings of space sounds. I wanted to have an outdoorsy feel to the album, but I also didn't want it to be too pronounced. We recorded sounds of wide open spaces and different environments, but they are more in the background and make our music more powerful. For example, "'84 Pontiac Dream" uses a recording of the hustle and bustle of the streets of New York City. Among the sounds are an angry cab driver and a fat American woman shopping. The reason why I used those sounds is because the song originally had that kind of background or concept. Also, most of the sounds on "Chromakey Dreamcoat" were recorded on the beach by the ocean. We like to fantasize about a lot of things from song titles.
I think many of your song titles in particular spark the imagination along with the music. However, I was a little surprised by the title "'84 Pontiac Dream" this time. I think Pontiac has a strong image of "sporty American cars" such as the Trans Am. The year 1984 attached to it...it's quite different from the image of BOC. Why do you have a title like this?
MI: This song is about a guy who is caught in a traffic jam in the middle of the city in bad weather. IIn 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 ends up back to his real self, stuck in a rainy city traffic in a dorky car. I think we're all heavily influenced by the movies and TV shows we watched as kids. There was a time when a very strong image of North America was spread by big TV logos, early 80's sports cars, and stunt movies like "Cannonball" and "The Great Stuntman". There's a very analog but synthesized music that goes along with the "5000km" image, or the Pontiac Firebird, or the image of the Trans Am racing through the wilderness. I wanted to get close to that sound. So this song is a statement of agreement with Glenn 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: There's a special story in this song. It's about a surfer who thinks he's a hero. He has a very personal fantasy. This fantasy is about going out into the wilderness, doing extreme things, and staying overnight in a van that he customizes. The van was called a day van or astrovan, and it was a common vehicle used to travel around North America in the late 70s and early 80s. To us, Day vans are like the art of TV and road movies of the time, with their vibrato-drenched, synthesizer-heavy theme songs. The graphics on the body of the customized Day van are also an inspiration to us and remind us of the positive side of so-called "Americana". It's about being in touch with nature, traveling, and adventure. When we're writing songs, we often feel like we're soundtracking someone's road trip. This time we felt like we were making an anthem to honor Day van.
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: We certainly don't make music to worship nature, that's for sure. It's true that we are influenced by nature, but that's just one element. Music journalists often describe our work as being steeped in naturalism, but that's an instinctive preference of ours, not something we have in mind when we're writing. We get our song inspirations and title ideas from many places and ideas. So, in our minds, a song inspired by nature, a song inspired by cars, or a song inspired by a certain time period are all the same thing. It's just that they are inspired by different things, and there is no difference in the process. The album has a vibe of exploring, traveling, taking a car trip, and getting lost in a surreal world where you don't understand what's going on during the journey. It's a world that unfolds in a state of complete confusion as to whether it's a real journey or an imaginary one that you're imagining in your head. And that world is set in the golden age that we're paying tribute to, a beautiful time that we personally remember, in North America and Canada, when things were simpler and happier than they are now.
So is the color in "Slow This Bird Down" a metaphor for something else?
MI: The title has a double meaning. It's part of another fantasy journey that is going on in the journey that the album brings. In a superficial sense, the title sounds like something a pilot in a small plane would say. It's like a pilot finding a place to land and saying, "Okay, I'm going to loosen the speed of this small aircraft (This Bird) and land". But the meaning I really wanted to convey was that this world is in a very bad and dead-end state right now. This is true politically, technologically, and environmentally. So the title "This Bird" is really referring to this world.
The title of the last song is "Farewell Fire". In Japanese, there is a word called "okuribi" (farewell fire), which means "a fire burned on the last night of the Obon Festival to send off the love of the ancestors who have been so hospitable". As I listen to this song, I can't help but think of the scene of "okuribi". What do you think about that? How did you come up with this song?
MA: I like that interpretation. For me, it's a very sad song. But it doesn't mean anything specific. It's a kind of music that represents the end of something. It's a very powerful and emotional ending. Some of the songs on the album are well composed, having gone through a lot of work in the writing and sound process. However, "Farewell Fire" is different. It was recorded live, and it was late at night, so I was a bit woozy. In the United States, burning in the open is called "farewell fire".. So you could say that "Farewell Fire" is our own okuribi. Because this song was a send off for the music that has been made up to this day.
From "Farewell Fire", the album title is The Campfire Headphase, which literally means "the farewell fire on the last night of camping". What made you decide to use the word "campfire" in the title of the album (which is connected to the night in the wilderness, which I think is very appropriate for BOC's music)?
MI: We see this album as a soundtrack to a journey. It can be a real journey or an imaginary journey. At the beginning of the album, there is a scene as if someone is going on a trip. There are some sights and adventures along the way, and the highlight of the journey is the summer campfire. This long journey may actually be a journey that took place just a few minutes ago in the mind of someone sitting around a campfire. This campfire is there to remind us of those ideas. This is similar to the theory that time is distorted, and in that world, the definition of time becomes fuzzy. It's a hazy, fuzzy thing between the real world of travel and the imaginary world of travel in my head, and the real experience of real travel and the feeling of being wild and out of the city.
It's also very interesting that some suspicious word "headphase" sticks to it. In Japan, it is customary to go camping as a school event when you are in elementary or junior high school, and there are many people who experience campfire only at that time in their lifetime. Many people only experience campfires at that time in their lives, and even if they don't, they go during vacations of high school and college students. I was one of them. As such, the phrase "The Campfire Headphase" reminds me of the state of being "trapped in my head during the summers of my youth and adolescence, when I experienced the few campfires I had", or "having my head blown off while being illuminated by the campfire (due to the influence of alcohol or something else)". This is what I think of. How about this kind of interpretation?
MA: Yes, I think that's a very good interpretation. We used to have campfires when we were kids. There was a mysterious atmosphere to such events. But now that we're adults, we can still be influenced by these strange things. You're drunk and you're lying on a rock pillow by the campfire, but your mind is so clear that your brain just pops out of your actual head and you get into your rusty old sports car and go on a road trip for a few weeks. That's the feeling I'm trying to capture with this album.
By the way, when we interviewed you for this magazine at the time of the release of your last album, you said that you sympathized with the fundamental ethics of the psychedelic movement of the 60s. On the other hand, there was a statement that "flower power is something that the media created as a fashion statement". It seems to me that your music has inherited the "freedom" of the original music and expression of the time. What do you think about this kind of view?
MA:
The idea of freedom at that time is very exciting. They threw away the conventions of the past and did experimental things. It went beyond drugs to music, art, and even consciousness-raising. Some of the artists and bands at the time were very loyal to the concept, pushing up the possibilities of music and art. But at the same time, there were companies and people who clearly wanted to exploit the psychedelic and hippie fads for commercial purposes. They tried to turn the fad into a business tool and profit from it. In the end, the spirit of freedom and the free world of creativity that the fad brought with it was lost. I always think that we should remember what the real artists of that time did, their reaction to being restricted, their reaction to a restricted culture and society. So I believe that we can be like them today. You don't have to dress like them, though. You don't have to dress like them, but you don't have to dress like the Monkees either. But I do believe that we can understand the alternative culture of the 60's and leave this boring, dull comfort behind and create another movement like that.
Do you have any plans to perform live in the near future?
MA: We're just working out the schedule for future shows. Probably next year we'll start playing live again.
Last question. Have you let your daughter listen to the new album? If you did, how did she react to it?
MI:
She seems to like it. She used to come to the studio when we were writing songs, and when we were recording "Peacock Tail", she often moved around and didn't stay still... So her favorite song is "Peacock Tail".
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