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Vibe-Net interview
Japanese Babelfish fun


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#1 Guest_Moebius_*

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Posted 01 July 2007 - 12:38 AM

Found a Japanese interview with the exciting electronic band "Bords Of Canada". As usual, the Babelfish translation is almost completely unreadable. But it does has a nice photo of the BoC casual wardrobe.

http://www.vibe-net....erview/boc.html

#2 hexson

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Posted 01 July 2007 - 01:19 PM

i got something interesting out of this, my gf translated this for me. will create new topic...

#3 LOL Alzado

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Posted 01 July 2007 - 01:25 PM

can someone please copy and paste this into the topic? i'm unable to read it for some reason.

#4 hexson

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Posted 01 July 2007 - 01:27 PM

dl jap font to read...

#5 Guest_Moebius_*

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Posted 01 July 2007 - 05:43 PM

QUOTE (LOL Alzado @ Jul 1 2007, 02:25 PM) <{POST_SNAPBACK}>
can someone please copy and paste this into the topic? i'm unable to read it for some reason.


You do realize it's in Japanese? But what the hell.

QUOTE (Vibe-Net interview)
Bords Of Canada
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。

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


#6 LOL Alzado

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Posted 01 July 2007 - 08:08 PM

um, yeah, i meant could someone paste the translated version

#7 Guest_mrx_*

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Posted 01 July 2007 - 08:17 PM

QUOTE (LOL Alzado @ Jul 1 2007, 10:08 PM) <{POST_SNAPBACK}>
um, yeah, i meant could someone paste the translated version

no prob.

my girlfriend translated the article for me
QUOTE
Bords Of Canada
We wanted concentrating on music itself, it is. It is the kind of work where sweet-sour melody, congratulatory sound heart walks the grief which it shakes simultaneously with ポジティヴ and crosses.
Bords Of Canada
Total the full album ' Campfire Headphase which becomes 3rd ' release ボーズ of Canada which is done (BOC). It has been said furthermore it pierces the melancholia of the highest quality which does not have the fact that it changes is cool this work these people, "the normal pop album 20 years was exposed is the feeling which in the sun,", so is. The real intention how? It included also production process, asked the background of the album.

─ ─ this time, in regard to production, is the point which especially considers where?
Microphone サンディソン (S): In tune from one sound it tried to try to become deformed in the following sound. 2 neatness, the kind of feeling which is not repeated no matter what. Therefore as for all textures being fluxional, most tunes is a climax or arrival point through the album. That becomes motive force of tune, it is.
Don't you think? ─ ─ ' Campfire Headphase ' with, several, there is the kind of development which performs the musical instrument including the guitar?
マーカス ion (E): So, don't you think? is, as for this album using the many raw musical instruments, the る. The guitar, the drum, percussion and the string...... processing that and the like sound, being unique, old fashion and it changed to beautiful ones, it is. You thought that there is no just sound which made the core concept of BOC electronically and can be adapted even with the て other musical instrument it is. Therefore, this is destructive what of a kind of sound. Because most of the job which I do is to inspire the feeling of time and the place in tune being clean, you do not use the sound which is recorded perfectly altogether. Usually low quality the tape stuffing sound in the sound recording format, lowering quality, and resetting to the equipment and material, it reconstructs tune. As for recording clean music with tight however it is possible, at all there is no interest, it is. Rather than to be terrible the cleanliness hearing at the digital work station, the person who inquires about the melody of the acoustic guitar with cassette sound recording of 30 years ago at all is favorite what.
The release work in so far the ─ ─, several secret was hidden in title and the like, but this time as for such secret, it probably is to exist?
E: So, don't you think? is, with it is not about the previous production. Always it has been related title the り there is the meaning of being encoded in something. But this time so clearer large picture, with saying, or keeping making the canvas, the る. We want understanding that in the listener, it is. With this record purposely it tried not to do all the way with the vocal sample which the secret め is. We wanted concentrating on music itself, it is. It is the kind of work where sweet-sour melody, congratulatory sound heart walks the grief which it shakes simultaneously with ポジティヴ and crosses.
From ─ ─ debut that time to presently, there is some change in the environment which is related to production and increase is high? In addition, is the surface which does not change probably what?
E: Don't you think? that is difficult question. If anything being recent music being well made, the kana which repels the grid of る horizontal type, vis-a-vis the generally known sequencer. You are moved by restrict, it is, don't you think?. Former times making music with only tape recorder, before the て eye with the meaning which does not have visual indication "set in the hard grid and were included and the る" っ て there was no feeling which is said, it is. Now also most producers and the composer of the orchestra including, in non consciousness making music with grid thought, you do not become aware in restricting て creativity, it is.
It probably is there is no intention of being active the ─ ─ again, as a band?
S: Perhaps in the future what you do. Many years being pulled by the direction, the る. However there is a merit and a demerit, don't you think?. Because wish to control extremely with so and マーカス I anything, making occasionally music, when the sound which at the time of the る is in the head liking to make perfectly simultaneous, it is, it is. Making music when it has the vision which such extreme polarization is done the る and the other person and working together are difficult, it is, don't you think?. To be enormous being personal in that person, the inside, those of the place where the best music is born understanding and others, because the trap coming ゃ it is not good, don't you think?.


#8 hexson

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Posted 02 July 2007 - 08:42 AM

QUOTE (mrx @ Jul 2 2007, 03:17 AM) <{POST_SNAPBACK}>
QUOTE (LOL Alzado @ Jul 1 2007, 10:08 PM) <{POST_SNAPBACK}>
um, yeah, i meant could someone paste the translated version

no prob.

my girlfriend translated the article for me
QUOTE
Bords Of Canada
We wanted concentrating on music itself, it is. It is the kind of work where sweet-sour melody, congratulatory sound heart walks the grief which it shakes simultaneously with ポジティヴ and crosses.
Bords Of Canada
Total the full album ' Campfire Headphase which becomes 3rd ' release ボーズ of Canada which is done (BOC). It has been said furthermore it pierces the melancholia of the highest quality which does not have the fact that it changes is cool this work these people, "the normal pop album 20 years was exposed is the feeling which in the sun,", so is. The real intention how? It included also production process, asked the background of the album.

─ ─ this time, in regard to production, is the point which especially considers where?
Microphone サンディソン (S): In tune from one sound it tried to try to become deformed in the following sound. 2 neatness, the kind of feeling which is not repeated no matter what. Therefore as for all textures being fluxional, most tunes is a climax or arrival point through the album. That becomes motive force of tune, it is.
Don't you think? ─ ─ ' Campfire Headphase ' with, several, there is the kind of development which performs the musical instrument including the guitar?
マーカス ion (E): So, don't you think? is, as for this album using the many raw musical instruments, the る. The guitar, the drum, percussion and the string...... processing that and the like sound, being unique, old fashion and it changed to beautiful ones, it is. You thought that there is no just sound which made the core concept of BOC electronically and can be adapted even with the て other musical instrument it is. Therefore, this is destructive what of a kind of sound. Because most of the job which I do is to inspire the feeling of time and the place in tune being clean, you do not use the sound which is recorded perfectly altogether. Usually low quality the tape stuffing sound in the sound recording format, lowering quality, and resetting to the equipment and material, it reconstructs tune. As for recording clean music with tight however it is possible, at all there is no interest, it is. Rather than to be terrible the cleanliness hearing at the digital work station, the person who inquires about the melody of the acoustic guitar with cassette sound recording of 30 years ago at all is favorite what.
The release work in so far the ─ ─, several secret was hidden in title and the like, but this time as for such secret, it probably is to exist?
E: So, don't you think? is, with it is not about the previous production. Always it has been related title the り there is the meaning of being encoded in something. But this time so clearer large picture, with saying, or keeping making the canvas, the る. We want understanding that in the listener, it is. With this record purposely it tried not to do all the way with the vocal sample which the secret め is. We wanted concentrating on music itself, it is. It is the kind of work where sweet-sour melody, congratulatory sound heart walks the grief which it shakes simultaneously with ポジティヴ and crosses.
From ─ ─ debut that time to presently, there is some change in the environment which is related to production and increase is high? In addition, is the surface which does not change probably what?
E: Don't you think? that is difficult question. If anything being recent music being well made, the kana which repels the grid of る horizontal type, vis-a-vis the generally known sequencer. You are moved by restrict, it is, don't you think?. Former times making music with only tape recorder, before the て eye with the meaning which does not have visual indication "set in the hard grid and were included and the る" っ て there was no feeling which is said, it is. Now also most producers and the composer of the orchestra including, in non consciousness making music with grid thought, you do not become aware in restricting て creativity, it is.
It probably is there is no intention of being active the ─ ─ again, as a band?
S: Perhaps in the future what you do. Many years being pulled by the direction, the る. However there is a merit and a demerit, don't you think?. Because wish to control extremely with so and マーカス I anything, making occasionally music, when the sound which at the time of the る is in the head liking to make perfectly simultaneous, it is, it is. Making music when it has the vision which such extreme polarization is done the る and the other person and working together are difficult, it is, don't you think?. To be enormous being personal in that person, the inside, those of the place where the best music is born understanding and others, because the trap coming ゃ it is not good, don't you think?.



ive met your girlfriend is she called Ms. Babe L. Fish? angry.gif

#9 hexson

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Posted 20 March 2008 - 10:23 AM

well, here it is, translated properly by my wife:

VIBE-NET INTERVIEW



Boards of Canada



“Sweet and sour melodies wander around between positive and celebrative sounds and swaying sadness.”

Boards of Canada (BOC) released their 3rd full album『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.



―What did you pay attention to when you made this album ‘Campfire Headphase’?



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.



―In the ‘Campfire Headphrase’, there are some instruments playing including guitars, aren’t there?



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 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.



―Do any secrets exist in the titles like the previous releases?



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.



―How have the music making environments changed since your debut to now? And what hasn’t changed?



Marcus Eoin: That’s a difficult question. If I have to say something, we turned out 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.



―Do you not plan to play as a band again?



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 & Article / Masaaki Hara

Translation / Naoko Ross

Thank you again to my wife for getting around to this.

(original japanese text interview link: http://www.vibe-net....erview/boc.html )

Edited by hexagon son, 20 March 2008 - 10:26 AM.


#10 lumpenprol

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Posted 21 March 2008 - 06:49 AM

Post pics of your wife!

I jest. Funny to get a translation after so long, but thanks to you and her. You might want to hit up Fredd-E to see if he has this yet...

#11 hexson

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Posted 21 March 2008 - 11:48 AM

LOL! nah, i contacted him and he didn't have a translation of this. so i posted it here and on twoism. hope it helps fill any gaps in the interview connection. it was good of my wife to do this for me really.

#12 Guest_synthisist_*

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Posted 21 March 2008 - 03:21 PM

Appreciate the translation, thanks.

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Posted 10 April 2008 - 06:23 PM

another +*food music*+
sweet... i love this guy