Jump to content
Sign in to follow this  
LOL Alzado

Boards of Canada - Tomorrow's Harvest

Recommended Posts

 

Anyone know nederlandish?

 

[youtubehd]SRsECrUIDZk[/youtubehd]

the discussion about the boc mystery is not very interesting. the older guy with the yellow shirt is a cool guy though. he had the best record shop in Amsterdam until about five or six years ago when the shop had to close because the rent was too high...

It'd be interesting to mention one of them had an interview session of a couple of hours with the brothers back when the campfire was released in Glasgow. Oddly, although they came from Edinburgh, they were completely oblivious to knowing places in Glasgow. The Dutch interviewer who had been in Glasgow a year before had to tell them which way to go for a nice place for the interview ( some local pub apparently).

About the brothers, Marcus made the impression of a snowboarder with lots of friends. In short, a snowboarding jock. Mike on the other hand, was the silent guy who apparently said he had been dealing with heavy depressions in the past.

 

Hearing their music, it sounds pretty obvious how big of an influence Mike's emotional state is on the music. A large part of it sounds like an almost desperate search for happiness in childhood memories, in the context of a deep depression, imo. And that's basically what the interviewer thought as well.

 

Personally, I think one of the reasons for the long period between releases might be this emotional side of the story. There's this discrepancy between the need for this depression to create music, but at the same time a depression might be one of the most unproductive emotional states possible. That's something a lot of people here could confirm.

Share this post


Link to post
Share on other sites

Also, it makes those boc albums more awesome, imo. If people are able to use their depression to create albums like that... Wow.

 

Respect.

Share this post


Link to post
Share on other sites

 

 

Anyone know nederlandish?

 

[youtubehd]SRsECrUIDZk[/youtubehd]

the discussion about the boc mystery is not very interesting. the older guy with the yellow shirt is a cool guy though. he had the best record shop in Amsterdam until about five or six years ago when the shop had to close because the rent was too high...
It'd be interesting to mention one of them had an interview session of a couple of hours with the brothers back when the campfire was released in Glasgow. Oddly, although they came from Edinburgh, they were completely oblivious to knowing places in Glasgow. The Dutch interviewer who had been in Glasgow a year before had to tell them which way to go for a nice place for the interview ( some local pub apparently).

About the brothers, Marcus made the impression of a snowboarder with lots of friends. In short, a snowboarding jock. Mike on the other hand, was the silent guy who apparently said he had been dealing with heavy depressions in the past.

 

Hearing their music, it sounds pretty obvious how big of an influence Mike's emotional state is on the music. A large part of it sounds like an almost desperate search for happiness in childhood memories, in the context of a deep depression, imo. And that's basically what the interviewer thought as well.

 

Personally, I think one of the reasons for the long period between releases might be this emotional side of the story. There's this discrepancy between the need for this depression to create music, but at the same time a depression might be one of the most unproductive emotional states possible. That's something a lot of people here could confirm.

Can you find / upload / scan that interview? I have not heard about it before or is he talking about it in the video? Edited by o00o

Share this post


Link to post
Share on other sites

Good theory, makes sense to me. I was re-reading some BoC interviews on BoCpages the other day, and was surprised to read that Marcus was responsible for the melody on Everything You Do is a Balloon. I had always figured Mike to be the musical heart of the group, for some reason. I also believe I recall reading Marcus was responsible for Pontiac Dream, one of my favorites off of TCH. So maybe I haven't given the "snowboarding jock" enough credit.

 

Those who have been on watmm long enough may remember my guess that Mike fried his noggin on drugs around the time of Geogaddi, which led to the big shift between everything pre-Geogaddi and everything after. It's just an armchair hypothesis, but I do wonder (no judgment intended, as I've personally fried my brain on drugs and taken several years to recover). Mike has referred to going through a horrible year around that time. I feel like everything up to and including IABPOITC had a very unique feeling, that was not present as much in the later work (and even only partially present in Geogaddi). If you look at earlier pics of the group, Mike often has a kind of mischievous look on his face, but in the later pics he often looks kind of depressed or shell shocked. Could be reading too much into it, I guess.

 

What you said about depression rings true, it might give you insight, but can also rob motivation and productivity.

Share this post


Link to post
Share on other sites

He talks about it, although it might be in the interview as well. I don't know if it's available online, but if a search on "oor boards canada" doesn't produce results I'm afraid I wont be of much help.

 

Fredd-E was from Belgium, I believe. And Aestethics is Dutch, so I'm sure they'll be able to help. I'm surprised they havent put it online already. Although i must admit to not having checked their site. I'm basically operating on the assumption that was your first place to look.

Share this post


Link to post
Share on other sites

i want a fallout game where "Telepath" is a soundtrack of abandoned rocket base with this looped distorted countdown coming from speakers, and a "New Seeds" as the end titles music. :)

Share this post


Link to post
Share on other sites

Here's a link to the interview (taken in glasgow in 2005) in Dutch:

http://bocpages.org/wiki/The_Last_Secret_of_Pop

 

Theres a section for the translation, but it's empty.

 

I might post some sort of summary later on, but it's a huge piece. So that's going to take a while.

Edited by goDel

Share this post


Link to post
Share on other sites

i want a fallout game where "Telepath" is a soundtrack of abandoned rocket base with this looped distorted countdown coming from speakers, and a "New Seeds" as the end titles music. :)

 

*cums srupid hard*

Share this post


Link to post
Share on other sites

It's been years since I've been so excited for an album release.

Share this post


Link to post
Share on other sites

Let me take a wild guess, 8 years?

Share this post


Link to post
Share on other sites
Guest Aces

Good theory, makes sense to me. I was re-reading some BoC interviews on BoCpages the other day, and was surprised to read that Marcus was responsible for the melody on Everything You Do is a Balloon. I had always figured Mike to be the musical heart of the group, for some reason. I also believe I recall reading Marcus was responsible for Pontiac Dream, one of my favorites off of TCH. So maybe I haven't given the "snowboarding jock" enough credit.

 

Those who have been on watmm long enough may remember my guess that Mike fried his noggin on drugs around the time of Geogaddi, which led to the big shift between everything pre-Geogaddi and everything after. It's just an armchair hypothesis, but I do wonder (no judgment intended, as I've personally fried my brain on drugs and taken several years to recover). Mike has referred to going through a horrible year around that time. I feel like everything up to and including IABPOITC had a very unique feeling, that was not present as much in the later work (and even only partially present in Geogaddi). If you look at earlier pics of the group, Mike often has a kind of mischievous look on his face, but in the later pics he often looks kind of depressed or shell shocked. Could be reading too much into it, I guess.

 

What you said about depression rings true, it might give you insight, but can also rob motivation and productivity.

 

This is an interesting theory. I too fried my brain, it certainly changed me a lot. Depression is a bitch. I lost a couple of years of music making to it, not totally but I might as well have done.

Share this post


Link to post
Share on other sites

 

What you said about depression rings true, it might give you insight, but can also rob motivation and productivity.

 

Awesome post, lmup!

 

The quoted sentence is also beautifully concise. Well put!

Share this post


Link to post
Share on other sites
Guest bitroast

omg.

 

this is such a beautiful album.

 

nothing is real. :') :') :') :') :') :') :') :') :') :') :') :') :') :') :') :') :')

Share this post


Link to post
Share on other sites
Guest bitroast

omg.

 

this is such a beautiful album.

 

nothing is real. :') :') :') :') :') :') :') :') :') :') :') :') :') :') :') :') :')

 

i think i understand how people are calling this soundtrack music. it's so evocative and emotional. it's a trip. through nastiness and beauty.

 

in awe of this album ^~^

Share this post


Link to post
Share on other sites
Guest bitroast

the joy of listening to this album was a cross between the production-awe of autechre's exai and evocative melodies-awe of ceephax's cro magnox.

((while being a sort of dark and gloomy followup to geogaddi and sounding 100% like old-school current-gen boc)).

 

*crying* thank you, 2013.

Share this post


Link to post
Share on other sites

Yeah, second listen through and it's really doing it for me. So excellent.

 

edit, damn, that bass in Cold Earth, woahhh

Edited by modey

Share this post


Link to post
Share on other sites

Listen to the leak, this album is a certified 10/10, Boards of Canada back to their best.

Share this post


Link to post
Share on other sites

I'm getting really excited about hearing this now (have avoided hearing anything except 'Reach for the Dead'.) Just want to be prepared, though; I read in The Skinny that "although impeccably produced, much of Tomorrow's Harvest feels tentative in nature (understandable given how long BOC have been AWOL) with numerous tracks petering out before developing into anything particularly engaging."

 

Is that true? I find those kinds of structural/development issues in tracks the hardest to deal with in some ways. A track can be flawed (to my ears) but if it at least developes towards something interesting and sounds 'finished', it'll be relatively easy to enjoy.

Share this post


Link to post
Share on other sites
Guest Aces

I'm getting really excited about hearing this now (have avoided hearing anything except 'Reach for the Dead'.) Just want to be prepared, though; I read in The Skinny that "although impeccably produced, much of Tomorrow's Harvest feels tentative in nature (understandable given how long BOC have been AWOL) with numerous tracks petering out before developing into anything particularly engaging."

 

Is that true? I find those kinds of structural/development issues in tracks the hardest to deal with in some ways. A track can be flawed (to my ears) but if it at least developes towards something interesting and sounds 'finished', it'll be relatively easy to enjoy.

 

You'll just have to listen to it and decide for yourself. There isn't a consensus on it, I mean with music taste being subjective and all.

Share this post


Link to post
Share on other sites

Tracks like Palace Posy develop very nicely. Great ending on that one. Some very minimal synth interludes in there that don't go anywhere but sound good and fit the mood. Sundown is a beautiful track... New Seeds is also awesome and develops nicely. I guess in the middle, around Ferox / Sick Times it gets a little repetitive, but the rest are very nice

Share this post


Link to post
Share on other sites

 

I'm getting really excited about hearing this now (have avoided hearing anything except 'Reach for the Dead'.) Just want to be prepared, though; I read in The Skinny that "although impeccably produced, much of Tomorrow's Harvest feels tentative in nature (understandable given how long BOC have been AWOL) with numerous tracks petering out before developing into anything particularly engaging."

 

Is that true? I find those kinds of structural/development issues in tracks the hardest to deal with in some ways. A track can be flawed (to my ears) but if it at least developes towards something interesting and sounds 'finished', it'll be relatively easy to enjoy.

 

You'll just have to listen to it and decide for yourself. There isn't a consensus on it, I mean with music taste being subjective and all.

 

 

That's true. But I guess a track petering out before really developing into something new, or going into a new musical idea but cutting it short just before it 'gets going' - I guess it's subjective as to whether that's a bad or good thing, but a bit more objective in terms of what is going on with the music? What I mean is, if a track has 4 minutes of the same musical sounds repeating and then at the end, for 30 seconds, something new occurs, most people would be able to agree on that, even if some would say it's a stroke of genius what with how it leaves you wanting more and others would find it unsatisfying. :-)

Tracks like Palace Posy develop very nicely. Great ending on that one. Some very minimal synth interludes in there that don't go anywhere but sound good and fit the mood. Sundown is a beautiful track... New Seeds is also awesome and develops nicely. I guess in the middle, around Ferox / Sick Times it gets a little repetitive, but the rest are very nice

 

Thanks, that's good to hear. I'm looking forward to the little atmospheric interludes as much as I am the 'main' tracks, but it's great to hear that the main ones themselves 'go somewhere'.

Edited by Lianne

Share this post


Link to post
Share on other sites

I think some of my favourite ever pieces are the ones that leaving you wanting more. I'm sure it's deliberate.

Keeps you coming back again and again.

 

 

 

"I think we are trying to do that more and more now," says Sandison. "I like to think that where we are going is trying to compose totally horizontally. The vertical way of composing is the lazy way, where you just build stuff up and build stuff up, and then just bring them in and out. I think the way we work is so much more orchestrated, so that you can hear something that just happens, and you want it to carry on because it’s so tantalizing, and you want to hear it again and again. We both understand the principle that if you put something beautiful into a piece of music just once, it makes people put the record back on because they want to hear it again."

 

Old XLR8R interview.

Edited by fumi

Share this post


Link to post
Share on other sites

These tracks are ALL too short, and the editing is horrible. It almost makes their creativity work against them, with the average track length at about 3 1/2 minutes!! Why aren't these tracks given time to develop and sink in? They're great tracks otherwise. Oh well, I guess I'm just fucked.

Share this post


Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
Sign in to follow this  

  • Recently Browsing   0 members

    No registered users viewing this page.

×
×
  • Create New...