Editing Sweet and Sour Melodies Wander Around between Positive and Celebrative Sounds and Swaying Sadness - bocpages

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"[[Sweet and Sour Melodies Wander Around between Positive and Celebrative Sounds and Swaying Sadness]]" is a 2005 interview by Masaaki Hara.  It originally appeared in ''Vibe-Net''.

== Text ==
[[Sweet and Sour Melodies Wander Around between Positive and Celebrative Sounds and Swaying Sadness]]

[[Boards of Canada]] released their 3rd full album ''[[The Campfire Headphase]]''. Containing a full of unchanged finest melancholy in this release, it is described by themselves as “a normal pop album that has been exposed under the sun for 20 years”. What’s the truth in it? I interviewed them about the background of the album including the production process.

{{question|What did you pay attention to when you made this album ‘Campfire Headphase’?}}

{{boc|"Michael Sandison: It’s like a feeling of one note changing shape into another note in 2 different measures; non-repeated sense. Therefore, through the album, the textures are flowing and most of the songs have their climax or goals. That becomes the moving power of the songs."}}

{{question|In the ''[[The Campfire Headphase|Campfire Headphase]]'', there are some instruments playing including guitars, aren’t there?}}

{{boc|"Marcus Eoin: Yeah, we used a lot of live musical instruments in this album. Guitars, drums, percussions, strings, etc… We processed those sounds and made them unique, antiquated but beautiful. We thought that the core concept of [[Boards of Canada|BoC]] could have been adapted not only with electrically made sounds but also with other instruments. So this is a kind of destruction of sounds. The majority of the work we do is to bring the sensation of time and places to music; and we do not use the clean and perfect recorded sounds. Normally we record onto low quality cassette tapes to bring the quality down and then re-compose the music. We’re not interested in the clean and tight music although we could make them. We do much prefer to listen to acoustic guitar melodies from 30 years ago than terribly clean digital work stations."}}

{{question|Do any secrets exist in the titles like the previous releases?}}

{{boc|"Marcus Eoin: Yeah, not as much as the one before. Titles always have the meanings of connections or codes. We used more distinct and bigger pictures, well, canvases, again this time. We want listeners to understand that. In this record, we intentionally did not fill up with mysterious vocal samples. We wanted you concentrate with the music itself. Sweet and sour melodies wander around between positive and celebrative sounds and swaying sadness."}}

{{question|How have the music making environments changed since your debut to now? And what hasn’t changed?}}

{{boc|"Marcus Eoin: That’s a difficult question. If I have to say something, we turned our back to the horizontal grids, what they call sequencers. It feels to me limited. We used to make music only with cassette tape recorders in the past and there weren’t any restrictions in front of my eyes. There wasn’t the feeling of being “filled in” within the tight grids. Nowadays, most of the producers, including the orchestra composers, make music within the grids unconsciously and they have not realized that they’re limiting their creativities."}}

{{question|Do you not plan to play as a band again?}}

{{boc|"Michael Sandison: We might do something in the future. We have been attracted to that direction for a number of years. There are merits and demerits though. However, Marcus and I want to control everything to excess, so when we make music, we sometimes want to make the sounds exactly same as the ones in our minds. It is hard to work together with other people when we make music with those extreme polarized visions. We want them to understand that’s how we create the best music which are personal and internal."}}

interview by Masaaki Hara, October 2005.

== External Links ==
* ''[http://www.vibe-net.com/ Vibe]'', [http://www.vibe-net.com/musicinfo/interview/boc.html online]
* [http://forum.watmm.com/index.php?showtopic=23039]
* [http://www.twoism.org/forum/viewtopic.php?t=3776]


[[Category: Interviews]]
[[Category: The Campfire Headphase era]]
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-<onlyinclude>
-{{interview
-|title=Sweet and Sour Melodies Wander Around between Positive and Celebrative Sounds and Swaying Sadness
-|author=Masaaki Hara
-|date=2005
-|publication=Vibe-Net
-|issue=
-}}
-</onlyinclude>
-<onlyinclude>
-"[[Sweet and Sour Melodies Wander Around between Positive and Celebrative Sounds and Swaying Sadness]]" is a 2005 interview by Masaaki Hara.  It originally appeared in ''Vibe-Net''.
-</onlyinclude>
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-== Original Text ==
-Bords Of Canada
+"[[Sweet and Sour Melodies Wander Around between Positive and Celebrative Sounds and Swaying Sadness]]" is a 2005 interview by Masaaki Hara.  It originally appeared in ''Vibe-Net''.
-音楽自体に集中してほしかったんだ。甘酸っぱいメロディが、ポジティヴで祝賀的な音と心揺さぶる悲しさを同時に歩き渡る様な作品だよ。
+== Text ==
-通算3枚目となるフル・アルバム『Campfire Headphase』をリリースしたボーズ・オブ・カナダ（BOC）。変わることのない極上のメランコリアを更に突きつめた本作は、本人達曰く「普通のポップ・アルバムが太陽に20年間さらされた感じなのだ」そうだ。その真意は如何に？　制作プロセスも含め、アルバムの背景を訊いた。
-──今回、制作上で、特に留意した点はどこですか？
-マイク・サンディソン（S）： 曲の中で１つの音から次の音に変形するようにしようとした。2小節、絶対繰り返さないような感覚。だからアルバムを通してすべてのテクスチャーは流動的で、ほとんどの曲はクライマックスか到着点がある。それが曲の原動力になるんだ。
-──『Campfire Headphase』では、ギターを始め、いくつか楽器を演奏しているような展開がありますね？
-マーカス・イオン（E）： そうだね、このアルバムはたくさんの生楽器を使ってるよ。ギター、ドラム、パーカッション、ストリングとかも……それ等の音を加工してユニークで古風かつ美しい物に変化させたんだ。BOCのコア・コンセプトを電子的に作った音だけじゃなくて他の楽器でも適応できると思ったんだよ。だから、これは一種の音の破壊なんだ。僕達が行なう作業の大部分は、時間と場所の感覚を曲に吹き込むことだからクリーンで完璧に録音された音は一切使わない。普段は低品質なテープとかの録音フォーマットに音を詰め込んで質を下げて、そして機材に戻して曲を再構成する。タイトできれいな音楽を録ることはできるけど全然興味がないんだ。ひどくクリーンなデジタル・ワークステーションで聴くより30年前のカセット録音でアコースティック・ギターのメロディを聴く方が全然好きなんだよ。
-──これまでのリリース作品には、タイトルなどにいくつか秘密が隠されていましたが、今回もそういった秘密は存在するのでしょうか？
-E： そうだね、でも前作ほどではないよ。タイトルは常に何かに関連してたり暗号化された意味はある。今回もそうだけど、もっと明確な大きい絵、というかキャンバスを作って行ってる。それをリスナーに理解してほしいんだ。このレコードではわざと秘密めいたヴォーカルサンプルでいっぱいにしないようにした。音楽自体に集中してほしかったんだ。甘酸っぱいメロディが、ポジティヴで祝賀的な音と心揺さぶる悲しさを同時に歩き渡る様な作品だよ。
-──デビュー当時から現在までに、制作を巡る環境にはどんな変化がありましたか？　また、変わらない面は何でしょうか？
-E： それは難しい質問だね。強いて言えば最近の音楽でよく作られてる水平型のグリッド、いわゆるシーケンサーに対して反発したかな。制限的に感じるんだよね。昔はテープレコーダーのみで音楽を作ってて目の前には視覚的な表示がなかった訳で固いグリッドに“はめこめられてる”っていう感覚がなかったんだよ。今はほとんどのプロデューサー、オーケストラの作曲家も含めて、無意識にグリッド的な考え方で音楽を作ってて創造性を制限してることに気付いてないんだよ。
-──再び、バンドとして活動するつもりはないのでしょうか？
-S： 将来何かやるかもしれない。その方向に何年も引き付けられてきてるよ。メリットとデメリットがあるけどね。でもマーカスと僕は極端に何でもコントロールしたがるから、時々音楽を作ってる時に頭の中にある音と完璧に一緒にしたい時があるんだよ。そういう極度な分極したヴィジョンを持った状態で音楽を作ってると、他の人と一緒に作業するのは難しかったりするんだよね。その人にすごくパーソナルで内面的な、最もいい音楽が生まれる所のものを理解してもらわなきゃいけないからね。
-インタビュー・文／原　雅明
-== Translated Text ==
-<onlyinclude>
 [[Sweet and Sour Melodies Wander Around between Positive and Celebrative Sounds and Swaying Sadness]]
@@ Line 95: / Line 29: @@
 {{boc|"Michael Sandison: We might do something in the future. We have been attracted to that direction for a number of years. There are merits and demerits though. However, Marcus and I want to control everything to excess, so when we make music, we sometimes want to make the sounds exactly same as the ones in our minds. It is hard to work together with other people when we make music with those extreme polarized visions. We want them to understand that’s how we create the best music which are personal and internal."}}
-interview by Masaaki Hara, October 2005.<br />
+interview by Masaaki Hara, October 2005.
-(translated by Naoko Ross <ref>https://www.twoism.org/forum/viewtopic.php?p=61512</ref>)
-</onlyinclude>
 == External Links ==
-* https://web.archive.org/web/20080919154829/http://www.vibe-net.com/musicinfo/interview/boc.html
+* ''[http://www.vibe-net.com/ Vibe]'', [http://www.vibe-net.com/musicinfo/interview/boc.html online]
-* http://forum.watmm.com/index.php?showtopic=23039
+* [http://forum.watmm.com/index.php?showtopic=23039]
-* http://www.twoism.org/forum/viewtopic.php?t=3776
+* [http://www.twoism.org/forum/viewtopic.php?t=3776]
-== References ==
-<references />
 [[Category: Interviews]]
 [[Category: The Campfire Headphase era]]