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

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{{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?}}
 
{{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?}}
  
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{{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.}}
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{{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?}}
 
{{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?}}
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{{question|Does this work contain field-recorded sounds other than transformers and electronic sounds? If so, what does it sound like?}}
 
{{question|Does this work contain field-recorded sounds other than transformers and electronic sounds? If so, what does it sound like?}}
  
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{{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?}}
 
{{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?}}
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{{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.}}
 
{{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.}}
  
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{{question|This time, there is also the title "[[Dayvan Cowboy]". This "Day van" is also a car, isn't it?}}
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{{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.}}
 
{{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.}}
  
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{{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.}}
 
{{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.}}
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{{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?}}
 
{{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?}}
  
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{{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.}}
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{{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)?}}
 
{{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


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'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)

ボヌズオブ・カナダ以䞋BOCのニュヌ・アルバム「ザ・キャンプファむダヌヘッドフェむズ」が぀いにリリヌスされたしたね。玠晎らしい䜜品だず思いたす。たずは倧雑把な感想をお䌝えしたす。前䜜に比べ、ある意味ずおもポップで「初めおのリスナヌにも入っおいきやすい空間」がより倚くある䜜品だず感じたした。そしお、これたでの䜜品ず同じように、たるで䞀線の映画を芳おいるような感芚が味わえるのですが、その映画は、より“䞀般的な "䜜品ずなっおいるような気がしたした。いかがでしょうマヌカス・むオン
以䞋MAむンストゥルメンタルバンドずしお、レコヌドを䜜るずきはい぀も旅や映画のサりンドトラックを䜜るようなアプロヌチで臚んでいる。以前のアルバム「ミュヌゞックハズザラむト・トゥチルドレン」は、倚くの人にずっお、初めお俺達の音楜を知ったアルバムだったず思う。あれはドキュメンタリヌや奇怪なアニメヌションのためのサりンドトラックのようなアルバムだった。前䜜の「ゞオガディ」は幟䜕孊的で閉所恐怖症で、ダヌクな䜓隓、䜕か眪深い行為ずいったようなむメヌゞを抱きながら制䜜したんだ。そしおこの「ザ・キャンプファむダヌヘッドフェむズ」になるんだけど、これはサむケデリックな空想の䞖界で繰り広げられるロヌド・ムヌビヌのための屋倖甚のアりトドアサりンドトラックずいうアプロヌチで䜜ったんだ。それは、サンプルの现かいディテヌルにこだわるのではなくお、もっずポゞティノでシンプルなメロディ重芖の音楜を䜜ろうずいう詊みだったんだ。
ただ、前䜜のリリヌスから3幎以䞊の歳月がたっおいたすね。その間、いく぀かのリミックスワヌクを陀けば、BOCの情報があたり䌝わっおきたせんでした。この3幎間、どのように過ごされたのですか䟋えばどこかぞ旅行などには出かけられたりしたしたか
MA「ゞオガディ」を録り終えた埌、いく぀か収録しなかった曲が残っおいたんだ。だから、すぐにたた新しいアルバムを䜜るこずができるんだろうなっお、俺達自身は思っおいたんだ。けど、俺達ふたりずも新しいスタゞオを探さなくちゃならなくお、結局スタゞオを探しお、そこに萜ち着くたで、䞞1幎かかっおしたったんだ。それで、「ゞオガディ」のずきに残した曲から始めようずしたんだけど、時間が経過しお、俺達の趣向も移り倉わっおいたこずに気付いたんだ。だから、このアルバムはたったく新しくれロからの状態で始めるこずにしたんだ。マむクはニュヌゞヌランドで長い時間を過ごしおいたから、それもアルバムの制䜜が遅れた理由のひず぀ずしお挙げられるね。俺達は、BOCずいうスむッチをオフにしお、自由になるずいうこずを実行したんだ。365日スタゞオにいないずいけないっおいうような思い蟌みから自らを解攟しお、旅行したり、冒険したり、自由に行動したんだ。これは、アルバムのリリヌス間隔が空いおしたった理由のひず぀なんだけど、他にも俺達が音楜を䜜るにあたっお、サりンドや質感を出すために、ものすごく䞹念にレコヌドを䜜り蟌んでいくから、他のバンドに比べお、音を完成させるのに時間がかかるずいうこずもあるず思うよ。
この3幎間で最も印象に残った出来事はどのような圢で新䜜に反映されおいるず思いたすか
MAフランスのアルプスで事故に遭ったんだけど、それは俺にずっおボゞティノな効果をもたらしおくれた。あの事故のおかげで、急に死ずいうものの存圚を感じるようになっお、BOCの掻動のレベルをさらに高めおもっずできるだけ倚くの䜜品をこの䞖に残しおおきたいずいう気持ちにさせおくれたんだ。俺の私生掻、そしおBOCの掻動を通しお、あるいく぀かのこずが俺の気持ちを萜ち蟌たせおいたんだけど、あの事故を通しお、新たな気持ちで、たた気合を入れ盎しお、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幎の倏にマむクさんにお子さんが生たれたそうですね。おめでずうございたすお子さんはお元気ですかマむクサンディ゜ン
以䞋MI有難う。嚘は元気だよ。圌女の誕生によっお、2004幎は俺の人生で最高の幎になったこずは間違いないね。圌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ヌディングの仕䞊げをしおいる頃、スタゞオにずきどき顔を芋せおくれたんだ。圌女は音楜が奜きみたいで、自分の奜きな音楜に反応しおいるのを芋るのが、俺達の楜しみだった。もしかしたら、圌女は今回のアルバムの遞曲に圱響を䞎えおいるかもしれないね
■ずころで、この3幎間にクラりデッドずブヌム・ビップのリミックスを手がけおいたすね。
MIアンチコンのアヌティストずは、実際に昔から良い友達だったんだ。それで、い぀もコラボレヌションだずか、リミックスなんかの話をしおたんだ。だから、クラりデッドやブヌム・ビップからリミックスの䟝頌を受けたずきは、迷うこずなく簡単に、いいよっお答えるこずができたんだ。圌らよりも、もっずビッグなアヌティストにりミックスを䟝頌されたこずがあるけど、それたでずっず断り続けおいたんだ。俺達は自分の芞術に察しお正盎でいたいし、䞀番高い金を積んでくれる人に俺達の曲を売ろうずは思わないんだ。その点、クラりデッドやブヌム・ビップが䜜った音楜は倧奜きだった。クラりデッドがもう存圚しないっおいうこずは、ちょっず残念だけど、圌らが築いおきたものはそれほど颚化しおいないよね。それだけでも俺はうれしいず思うよ。これは公匏な契玄ではないんだけどドヌズ・ワンずオッドノズダムが、俺達の曲をネタずしおリミックスするっお蚀っおたから、今はい぀の日か俺の手元に小切手が届くこずを祈っおいるよ笑。
䞭でもクラりデッドのリミックスは䞭期ビヌトルズそれが、を思い起こさせるようなサりンドに仕䞊がっおいお非垞に面癜かったです。このリミックスを手がける際に最も心がけたこずは䜕ですか
MAクラりデッドから、リミックスするために出来たお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䜜品にしようず思ったんだ。倚くの人は俺達がリミックスをやったず聞いたら、サンブルを倚甚したり、゚レクトロニクスを駆䜿したノァヌゞョンの曲を䜜るだろうず予想するず思うんだよねある日、クラりデッドから枡された曲のノォヌカルバヌトを、マむクがいじっおいたんだ。それで気付いたんだけど、ビヌトルズに代衚される、よくあるコヌド進行がこの曲にピッタリずハマったんだ。このアレンゞを曲党䜓でやったら、すごく面癜いだろうなっお思っおね。俺は倚くのダンスビヌトをのせただけのリミックスに飜き飜きしおいたんだ。だから、俺達は倧抵ノォヌカルの郚分だけを抜出しお、曲を新たに付け盎すずいう䜜業をするんだ。あのリミックス䜜業はすごく楜しかった。だっお、俺はそれぞれの節にどれだけ面癜い、突拍子もないサむケデリックなサりンドを付け足せるかっお思考錯誀したからね。けど、俺達があのリミックスでビヌトルズの音をサンプリングしたっお曞いおある雑誌を読んだずきは、ちょっず困惑しちゃったね。だっお、あのリミックスの音は、すべお俺達が無の状態から䜜り䞊げた音だったし、曲自䜓も゚レクトリックラむトオヌケストラ以䞋ELOのある曲に敬意を衚したものだったんだ。けど、もしかしたらELOは、圌らの曲でビヌトルズに敬意を衚しおいたのかもしれないから、䜕ずも蚀えないんだけどね。
では、そろそろニュヌアルバムに぀いお、具䜓的にいろいろ質問しおいきたいず思いたす。たず、前䜜「ゞオガディ」ず比范した堎合、制䜜プロセスの面で倧きな違いはありたしたかあったずすれば、どんな点が
MI新䜜のレコヌディングでは、昔俺達が音楜を䜜るずきに行なっおいたようなやり方を甚いるようにしお取り組んだ。それは、生のサりンドをレコヌディングするずいうものだったんだ。マむクを甚いお、その堎の雰囲気やノむズすべおを取り蟌んで、それらのサりンドを重ねお、ずきにはマルチトラックテヌブやサンプリングを䜿ったりしお、いろいろず操䜜するんだ。あず、わかりやすいサンプルや断片的な子䟛の声を倚様しおいるずいうような、俺達のレコヌドに察しお予想できるみんなの期埅を裏切りたかった。だっお、他の人達が俺達ず同じようなこずをやっおいるのを、もう䜕床も耳にしおいお、たぶん俺達のレコヌドに圱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ゞョヌクだずすら思われおいるからね。だから、今䜜ではメロディずサりンドのテクスチャヌに重きを眮いたっおわけさ。「ゞオガディ」ず決定的に異なる点ず しお、「ゞオガディ」は積み朚のような圢で構成されおいるんだ。少しず぀物事を足しおいきながら曲を䜜り䞊げるずいうようなやり方で䜜られたのさ。けど、「ザ・キャンプファむダヌヘッドフェむズ」では、倚くの曲が、俺達ふたりのスタゞオでのゞャム・セッションから生たれたアむディアに基いお䜜られおいるんだ。楜噚を甚いお栞ずなるアむディアを探すずいうような方法でね。それから、その栞の呚りを固めるようにしお曲を仕䞊げおいくずいう感じだったんだ。
以前のあなた達のサりンドは、䞍思議な“霧”のようなものに包たれおいた印象がありたした。しかし今回はそれが晎れ、ひず぀ひず぀のサりンドがクリアヌに聞こえおくるような気がしたす。これは意図的なものだったのでしょうか
MI俺はサりンドがクリアヌになったずいうよりは、ポゞティノになったずいうほうがしっくりくるね。以前はサりンドを隠しおいたんだ。どんよりずしおいお霧がかった感じで、芋぀けるのが難しいずいう感じだったね。今䜜では、もっず倏のようなサりンドにしたかったんだ。たぶん、それは䞖界の状況に察する俺達のリアクションだず思うんだ。だっお、むしろ今の䞖界は、俺達が「ゞオガディ」を䜜った頃よりも暗いものになっおいる。だから、俺達のねらいは珟実逃避のレコヌドを䜜るこずだった。人々がすべおを忘れお旅行に行ける堎所、人々が暗闇を免れるための堎所を提䟛するようなレコヌドを䜜りたかったんだ。たぶん、「ゞオガディ」では、俺達はその暗間のほうを提䟛しおいたんじゃないかな。
たた「サりンドがポゞティノになった」せいか、そのビヌトが70幎代埌半〜80幎代初頭に聞けた初期のリズム・ボックスのように、ずおも心地よく響きたした。
MA俺はこれたでずっず80幎代初頭の゚レクトロにハマっおいたんだ。ハヌビヌハンコックやチャカカヌン、ブレむクマシヌンのビヌトの利いたサりンドなんかが奜きなんだ。実際ファンクのレコヌドや、アヌス・りむンド・アンド・ファむアヌの曲のリズムなんかにも圱響を受けたよ。アルバムで聎けるそういったサりンドは、実際に俺達自身がプレむしたものなんだ。䟋えば、手拍子もそうだし、マむクはドラムを叩いおいるしね。誰か他の人のビヌトを単にサンプリングするんじゃなくお、俺は圌らがそれをどのようにしお生み出したかを実際に怜蚌しおみるのが奜きなん 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むルを加えおいくんだ。自分自身を高めおいくのは本圓に難しいこずだけど、他人の庭の朚を盗むよりはいいはずさ。
これも「サりンドがポゞティノになった」せいかもしれたせんが、党䜓的にナチュラルなトヌンのギタヌがずおも印象に残りたす。そういえば、先述したブヌム・ビップのリミックスでもギタヌが倧きくフィヌチャヌされおいたしたね。なぜ、そうなったのでしょうか
MI俺達はこれたでも垞にギタヌをフィヌチャヌした音楜を䜜っおきた。BOC以倖の課倖掻動で俺達がどんな曲を䜜っおいるのか、みんな知ったら驚くだろうなっお思うよ。BOCずしお掻動する前は、俺達ふたりずも、ドラムやリヌド・ギタヌやベヌスなんかのいるロック・バンドでプレむしおいたんだ。過去のBOCのレコヌドでは、ギタヌのサンプリングなんかも聎けるけど、激しく手が加えられおいるから、それがギタヌの音だっお、きっず気付かないず思うんだよね。けど、今回俺達は音楜の党䜓的なむメヌゞずいうものを単玔なものにしたかったから、ギタヌの音を倉に隠さないこずに決めた。でも、別にロックンロヌルっお感じのアルバムを急に䜜りたくなったたわけではないんだ。今回は70幎代埌期の映画のサりンドトラックで聎けるような独特なギタヌ・サりンドを埗ようず努力したんだ。それは、ロックミュヌゞックで聎けるようなものではなくお、ゞョニミッチェルやゞョンアバクロンビヌ、ザブリスキヌポむントのギタヌのようなものなんだ。今でも、そういった芁玠を合成的に扱ったりしおいる。自分達のギタヌサりンドをサンプリングしお、それにひずひねり加えたり、ピッチを倉えたり、フィルタヌを重ねおみたり、取り陀いおみたりしおいるんだ。
これらのギタヌもあなた達自身で匟いおいるのですか
MIそうだよ。もちろん、すべお自分達で匟いおいる。俺達はすごくたくさんのいろんなギタヌミュヌゞックを聎くんだ。
これはBOCに察する質問ずしおは少々異䟋かもしれたせんが、圱響を受けたギタリストは
MI俺の堎合、ある日はノェルノェット・アンダヌグラりンドを聎いお、その翌日にはザ・ミスフィッツを聎いおいたりずね。今回はドラむな感じの、屋倖で聞 こえるようなサりンドにしたかったんだ。ちょっずサむケデリックなギタヌ・スタむルでね。自由を象城するようなサりンド、ザ、ドアヌズずかゞェヌムステむラヌのあの音を出しおみたかったんだ。
昚幎マヌカスの掚薊によっおマッシュからデビュヌしたバむビオBibioずいうアヌティストが䜜るトラックにおけるギタヌず電子音ずの融合のさせ方」ず共通点を感じる曲がアルバムにありたした。圌の音楜に぀いおはどう思いたすか
MAたぶん、バむビオに俺は圱響撃されおいるずは患うよ。けど、圌が聎く音楜が、俺達が聎く音楜ず䌌おいるずいう事実もあるんだ。バむビォのスティヌノンが最初俺達の音楜に圱響を受けおいたずいうこずは知っおいるし、たぶんこればいわゆる双方向の玠晎らしい盞乗効果だず思うんだ。俺は、みんなが圌の音楜を聎くよりも8倍ぐらい倚く、圌の音楜を聎いおいるけど、圌は本圓に音楜の倩才だよ。圌の音楜の95はものすごく玠晎らしいし、俺の波長にビッタリくるものなんだ。圌のように、い぀も音楜的に冎えおいるアヌティストっお少ないんだよね。圌はサりンドの質感にこだわりを持っおいる。。幎老いたサりンド、ダメヌゞを受けたサりンド、未完成のサりンド、そういった音を圌は倧切にするんだ。䞖界で䞀番矎しい曲を超える曲があるずすれば、それは叀くなり、厩れそうになり、音も出ないような状態なのに、もがきながらも生き続けおいる曲だず思うんだよね。あず、スティヌノンはギタリストずしおも驚くほど玠晎らしい才胜を持っおいるんだ。
今䜜には、倉噚類や電子音以倖の、フィヌルド・レコヌディングされた音は入っおいたすかもし入っおいるずしたら、それは䜕の音ですか
MA空間の音を録音したものは倚いよ。アりトドアな感じをこのアルバムでは衚珟したかったんだけど、それがあたりにも顕著に衚珟されるずいうこずも、したくはなかった。広い空間の音、違った環境の音をレコヌディングしたんだけど、それはどちらかずいうず、バックグラりンドで鳎っおいお、俺達の音楜を、よりカ匷いものにしおいる。䟋えば、「84 Pontiac Dream」は、ニュヌペヌクの通りの喧隒をレコヌディングしたものが䜿われおいる。その音の䞭には、怒っおいるタクシヌの運転手の様子や、倪ったアメリカの女性がショッピングをしおいる様子なんかが録音されおいる。なぜそんな音を䜿ったのかずいうず、この曲にはもずもず、そういった背景ずいうか、コンセプトがあったからなんだ。あず、「Chromakey Dreamcat」のほずんどのサりンドは海蟺のビヌチで録音されたものなんだ。我々は曲名から、いろいろなこずを劄想するのが奜きです。特にあなた達の曲のタむトルには音楜ず共に想像力を掻き立おるものが倚いず思いたす。ただ、今回ちょっずビックリしたのが、「84 Pontiac Dream」ずいうタむトルです。ポンティアックずいえば、トランザムなど「スポヌティヌなアメリカ車」のむメヌゞが匷い気がしたす。そこに1984幎ずいう幎号がくっ぀いお 。BOCのむメヌゞずはずいぶん異なりたす。なぜ、このようなタむトルをMIこの曲は悪倩候の䞭、郜䌚の真ん䞭で波滞に巻き蟌たれおいる男の話なんだ。圌はその枋滞の䞭で、もうひずりの空想の自分、スポヌツカヌに乗っお、荒野のハむりェむを疟走しおいる自分を頭の䞭で思い描いおいるんだ。圌の空想は、はば同時進行で圌の頭の䞭で進んでいるんだけど、最埌には、結局ダサい車に乗っお雚の街の枋滞に巻き蟌たれおいる実際の自分に戻るんだ。俺達は子䟛の頃に芳た映画やテレビ番組に、ものすごく圱響を受けおいるず思う。それはカナダに䜏んでいたり、UKでも同じような番組がやっおいたこずが倧きな理由なんだけど、ある時期、ものすごく匷烈な北米のむメヌゞが、倧きなテレビのロゎや80幎代前半のスポヌツカヌ、スタント映画、䟋えば「キャノンボヌル」「グレヌト・スタントマン」ずかによっお流垃されおいた時代があったんだ。あの「激走 5000キロ」のむメヌゞずか、ボンティアックのファむアヌバヌドずか、トランザムが荒野を駆け抜けるレヌスのむメヌゞだずかず䞀緒に流れおいる、すごくアナログだけど、シンセサむザヌを䜿っおいる音楜があるよね。あの音に近づきたかったんだ。だから、この曲は圓時のテレビ番組の制䜜に携わっおいたグレンAラヌ゜ンや、Lorimarぞの同意を瀺した曲なんだ。
今回は「Dayvan Cowboy」ずいうタむトルもありたす。この「Dayvan」ずいうのも車のこずですよね。
MIこの曲には、特別なストヌリヌがあるんだ。あるサヌファヌの話なんだけど、圌は自分のこずをヒヌロヌだず思っおいおね。圌はすごくパヌ゜ナルな幻想を持っおいるんだ。その幻想っおいうのは、倧自然に出お過激なこずをいろいろしお、自分でカスタマィズしたバンで違泊りするっおいう、そういった旅行をするずいうものなんだけど、このパンっおいうのは、デむバンずかアストロバンず呌ばれるもので、70幎代埌半から、80幎代前半に北米を旅するのに、よく䜿われた乗り物だったんだ。俺達にずっお、デむバンは、ビブラヌトのかかったシンセサむザヌを倚甚したテヌマ曲を䜿っおいた、圓時のテレビやロヌド・ムヌビヌを術埳ずさせるものなんだ。あず、カスタマむズされたデむバンの車䜓に描かれたグラフィックも、俺達にずっおはむンスピンヌションであり、いわゆる“アメリカヌナ”のポゞティノな䞀面を思い起こさせるものなんだ。自然ず觊れ合いながら、旅をしお、アドノェンチャヌを繰り広げる、そんなむメヌゞがあるんだ。俺達は曲を䜜っおいるずき、よく誰かのロヌド・トリップのためのサりンドトラックを䜜っおいるような気持ちに陥るんだ。今回はデむバンを讃えるためのアンセムを䜜っおいるようラな気持ちだったね。
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MA俺達は、別に自然を厇拝するために音楜を䜜っおいるんじゃないこずに確かだね。俺達が自然から圱響を受けおいるのは確かだけど、それはあるひず぀の芁玠にすぎない。音楜ゞャヌナリスト達は、俺達の䜜品を、よく自然䞻矩に蒞いおいるずいうような曞き方で衚すけど、それは俺達の本胜的な趣向であっお、曲䜜りしおいるずきに念頭に眮いおやっおいるようなこずではないんだ。俺達は、いろんな堎所やアむテディアから、曲のむンスピレヌションやタむトルのアィディアを埗おいるんだ。だから、俺達の患考の䞭では、自然によっおむンスパむアされた曲も、自動車やある特定の時代にむンスパむアされた曲も、たったく同じものなんだ。ただ、倫達が異なるものによっお刺激を受けただけで、その過皋に違いはないんだ。このアルバムは探怜したり、旅行したり、自動車で旅をしたりするこず、そしおその旅の途䞭で䜕が起こっおいるのか理解できないような、シュヌルな䞖界に迷い蟌むずいうような雰囲気を持っおいる。それは、実際の旅なのか、頭の䞭で思い描いおいる空想の旅なのか、たったくわけのわからない状態の䞭で繰り広げられおいる䞖界なんだ。そしお、その䞖界は俺達がトリビュヌトする黄金時代、個人的に俺達が思い出すような、矎しい時代の北米やカナダずいう堎所、物事が、今よりもシンプルで、もっずハッピヌだった時代に蚭定されおいるんだ。
では「Slow This Bird Downlのマアでいう「色」ず は、䜕かのメタファヌだったりしたすか
MIタむトルにふた぀の意味を持たせおいるんだ。これは、アルバムがもたらす旅の䞭で進行する、もうひず぀の空想の旅の䞀郚なんだ。衚面的な意味で蚀えば、このタむトルは小型飛行機に乗っおいるパむロットが蚀いそうな蚀葉だよね。パむロットが着陞する堎所を芋぀けお、“それじゃ、この小型機This Birdのスビヌドを緩めお満陞するぞ "っおいうような指瀺を出しおいる感じだね。けど、俺が本圓に䌝えたかった意味は、この䞖界が珟圚すごく酷くお、行き詰った状態であるこず。それは政治的にも、技術的にも、環境の面からも蚀えるこずだず思うんだ。だから、タむトルのThis Birdっお、本圓はこの䞖界のこずを指し瀺しおいるんだ。
ラスト曲のタむトルは「Farewell Fire」ですね。日本語には「送り火」ずいう蚀葉がありたす。「お盆の最埌の日の倜、今たでもおなしおいた祖先の愛を送るために燃やす火」のこずです。この曲を聎きながら、そんな「送り火」の光景が、぀い頭に浮かんでくるこずもありたす。それに぀いお、どう思いたすかこの曲は、どのようにしお生たれたのでしょうか
MAその解釈はいいね。俺にずっおは、この曲はずおも悲しい曲なんだ。でも、別に具䜓的な事柄は意味しおいないんだけどね。䜕かの終わりを衚す音楜のようなものなんだ。非垞に豪響で感情的な終わりを瀺しおいるんだ。このアルバムに収録されおいるいく぀かの曲は、䜜曲やサりンドプロセスずいった倚くの䜜業を経お、䞊手く構成されおいる。けど、「Farewel Fire」は違うんだ。この曲は生で録音したものだし、深倜だったからもうろうずしおいたんだ。アメリカでは、野焌きをするこずを「Farewell Fire」ず呌ぶんだ。だから、「Farewell Fire」ずいうのは俺達自身の送り火だずいうこずが蚀えるかもしれない。だっお、この曲は珟代たでに䜜り出された音楜を送り出すための曲だったからね。
「Farewell Fire」からは、アルバム・タむトルが「ザ・キャンプファむダヌヘッドフェむズ」だけに、文字通り「キャンプの最埌の倜の別れの炎」ずいった光景も浮かびたす。今回アルバムタむトルに「キャンプファむダヌ」ずいう蚀葉倧自然の䞭の倜ず぀ながる、BOCの音楜に䌌぀かわしいものであるず思いたすを䜿おうず思った経織は
MI俺達は、このアルバムを旅のサりンドトラックず芋なしおいる。それは本圓の旅でも、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ヌンがあったりする。そしお、その道䞭では、いく぀かの光景や冒険があっお、その旅のハむラむトずしお倏のキャンプファむャヌがあるんだ。この長い旅路ずいうのは、実はキャンプファむダヌを囲んでいる、ある人の頭の䞭で起こった、たった数分前の旅かもしれないんだ。そういったアむディアを思い起こさせるために、このキャンプファむダヌは存圚しおいるんだ。これは、時間に歪みが存圚するずいう理論に近いもので、その䞖界では時間の定矩はあやふやなものになっおしたうんだ。それは、珟実に起こっおいる実際の旅の䜓隓や、郜䌚を離れ野生的になる感芚ず、自分の頭の䞭で旅をしおいるずいう、珟実ず想像の䞖界の狭間の、がんやりずしたあいたいなものなんだ。
そこに「ヘッドフェむズ」ずいう、なにやら怪しげな蚀葉がくっ぀くのも、すごく面癜いですね。ちなみに、日本では小孊生や䞭孊生のずき孊校行事ずしおキャンプに行くずいう習慣があり、䞀生のうち、そのずきしかキャンプファむダヌを䜓隓しない人も少なくありたせん。そうでなくずも、高校生や倧孊生の芁䌑みに行くくらいで 。私もそうでした。そんな私は「ザ・キャンプファァむダヌヘッドフェむズ」ずいうフレヌズから、「数少ないキャンプファむダヌを䜓隓した少幎〜青幎期の倏に頭がずらわれおしたった状態」、もしくは「キャンプファむダヌに照らされながらお酒や他の䜕かの圱響もあっお頭がぶっ飛んだ状態」を 思い浮かべたす。こういった解釈はいかがでしょう
MAそうだね、すごくいい解釈だず思う。俺達も子䟛の頃、キャンプファむダヌをしおいたよ。そういう行事には䞍思議な雰囲気があったよね。けど、倧人になった今だっお、そういった䞍思議な圱響を受けるこずだっおあるず思う。酔っ払っお、キャンプファむャヌの傍らで石を枕にしお暪になるよね。けど、頭はものすごく冎えおお、実際の頭から脳みそだけが飛び出しお、サビ぀いた昔のスポヌツカヌに乗り蟌んで、数週間のドラむノに出る。そんな感芚をこのアルバムは衚珟しようずしおいるんだ。
ずころで、前䜜リリヌス時の本誌の取材䞭に、「60幎代のサむケデリック・ムヌノメントの根本的な倫理には共感を芚える」ずいう発蚀がありたした。䞀方で「フラワヌパワヌなんおものはメディアがファッションずしお䜜り䞊げたものだ」ずいう発蚀もありたした。あなた達の音楜は、圓時のオリゞナルな音楜や衚珟の持぀「自由さ」を珟代に継承しおいるようにも思いたす。こういった芋方に぀いおはどう思いたすか
MAあの圓時の自由ずいう考えは、ものすごく刺激的なものだね。それたでの慣習を捚おお、実隓的なこずをしたよね。それはドラッグに留たるこずなく、音楜、芞術にたで飛び火しお、いわゆる意識改革にたで及んだ。圓時のアヌティストやバンドの䞭には、そのコンセブトにすごく忠実な人達もいお、音楜や芞術の可胜性を抌し䞊げたんだ。けど、それず時を同じくしお、明らかにサむケデリックやヒッピヌの流行を商業的に利甚しようずする䌁業や人々がいた。圌らは、あの流行を商売道具ぞず倉えお、そこから利益を埗埗ようずしたんだ。そういった動きによっお、結局あの流行がもたらした自由の粟神だずか、自由な創造の䞖界ずいうものは倱われおしたったんだ。俺はい぀も、圓時掻躍した本物のアヌティスト達がやったこず、制限されるこずに察する圌らの反応、制限された文化や瀟䌚に察する圌らの反応を忘れおはいけないず思っおいるんだ。だから、俺は珟代でも圌らのようになれるず信じおいる。別に圌らのような服装をする必芁はないけどね。ザ・モンキヌズみたいな栌栌奜をする必芁もない。けど、60幎代のオルタナティノな文化を理解しお、この退屈で぀たらない居心地の良さを捚お去っお、圓時のようなムヌノメントをたた䜜り出すこずはできるず思うんだ。
今埌近いうちにラむノパフォヌマンスを行なう予定はありたすか
MAちょうど今埌のラむノの予定に぀いお調敎しおいるずころだよ。おそらく、来幎には、たたラむノをやるようになるんじゃないのかな。
最埌の質問です。マむクさんの嚘さんには新䜜の音を聎かせたしたかもし聎かせおいたら、圌女はどんな反応を瀺したしたか
MI圌女も気に入っおくれおいるみたいだよ。曲を曞き䞊げおいる頃に、圌女もスタゞオに来おたりしたんだけど、「Peacock Tail」をレコヌディングしおいるずきなんお、圌女はよくあちこち動き回っお、じっずしおいなかったんだ。だから、圌女のお気に入りの曲は「Peacock Tail」だね。


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