Boards of Canada: Classic or Dud?

I'd have agreed with you about Plone once, Gareth, but now I find those tracks *unlistenably* twee; I can't get more than a minute into "Marbles" without choking, and don't get me started on "Bibi Plone". Conversely, "Busy Working", "The Greek Alphabet" and "Top And Low Rent" sound better to me than they ever did.

K-reg hits the nail on the head, as often, I think.

elliot

What better comparison point for a band who call a track "M9"?

and into a world where synthesizers coexist with hundred-year-old willow trees.

-----

love this. Also the term 'soccer children' = beautiful, somehow very BoC. Ah well, that used to be me ;)

Since one of my earlier threads seems to have been resuscitated, I'll just add that I probably rate BoC higher in terms of *magic realism* than I ever have. I can sort of see where Billy's coming from with the ISB comparison, as well: if you're looking for the halfway point, Bill, I'm waiting with a C90 of "The Fourth Dimension" ...

The 70's BBC children's television series, The Changes, is an
indisputable influence for MHTRC. Robin Carmody is well aware. His BBC Radiophonic Workshop essay is outstanding.

IABP and Geogaddi are minor shifts in the BoC sound. The whole David Koresh theme is creepy, but I love it.

I say they're ace, hands-down, CLASSIC. They make beautiful textures, tones, and melodies with very few synths and outdated samplers and that is no simple feat!

Any ILXors ever been to the Pentland Hills area or met the BoC or any of the music70 collective?

Boards of Canada = Near Classic; depends on what they do next.

re: the "british sound" as mentioned above: stirmonster (v. occasional glaswegan ILM poster) once mentioned elsewhere [heavy paraphrase ahead] that he found the prettiness of BoC's music a sharp contrast to the dreadful starkness of the north coast of scotland.

Not in the north of Scotland though, just next to Edinburgh. The Pale Saints recorded some of their records near there.

anyhow, classic, "geogaddi" included.

in some ways i think much of their back catalogue is a bit tainted by the beats. as in, they seem unnecessarily leaden. they certainly date the records to a particular time period (its less apparent on geogaddi i guess). i like pretty much everything still, but the beats detract for me, or, at least, are the worst parts of most of their stuff

i can't think of many examples of tracks where the beat seems a real problem to be honest - anyone have any specific examples? it seems like a bit of a shot in the dark otherwise. i can think of many examples where the heaviness of beat compliments what else is going on - 'Whitewater' from 'Boc Maxima' for example - but i can see what is meant by the suggestion that more could've been done with the beats - they just come in and seem to trundle from A to B without varying much of the time, but somehow they manage to seem quite deft rather than leaden (Orange Romeda! Amo Bishop Roden!). it may just be the tempo of most BOC songs that makes the beats seem leaden rather than the sounds used to construct them (muffled, dirty, retro - to match the overall sound).

i think the drums on something like Mort Garson's Plantasia would have been a better approach

i nearly always find the beats a welcome addition, and BOC always seem to have valued electronic rhythm to a fair extent and they tend to prefer it heavy. it's usually one of the last things to come in, which can give the impression the track has been built to support the beat rather than the other way round, no? which is an understandable criticism if true, only i don't hear it as a big problem myself - i don't think it would make a significant difference to how i hear BOC. 'ROYGBIV' seems as good an example as any of the beat being useful, if only for the bit where the bassdrum drops out again just for 4 bars - that's possibly the best bit, but it couldn't work without the beat beforehand.

how about Autechre or Biopshere? do their beats sound better because they're complex or 'modern', or 'lighter'?

what are the drums on 'Plantasia' like (hint)?

It’s pretty coincidental; I listened to Music again last night and it didn’t work for me as well as it usually does. (I believe) I too felt the beats slightly lacking. But hey, some of my favourite moments are things happening to the beats. There is a wonderful bit in ‘Kid For Today’ where the heavier beat enters and plays two snares in a row (so that one is on the spot of a bass drum). And the lo-fi drums at the end of ‘Aquarius’. And the fantastic beat fucking in ‘Pete Standing Alone’. And the sonically beautiful drums in ‘Roygbiv’, ‘Turquoise Hexagon Sun’, ‘Last Walk Around Mirror Lake’... yeah, they’re not so bad after all.

all their albums have slightly different vibes but Campfire Headphase really feels like the outlier in all that. I bang on about this a lot on ILM but it's at once the most and therefore the least accessible to me. I can't hear the devil in those details. it's washy and pretty, but in the same way as Moon Safari is washy and pretty. it lacks that darkside occultism that drew me to them

but i also find "eraserhead" to be a fucking hilarious movie. i find cioran to be one of the funniest goddamn writers i've ever read

― Kate (rushomancy), Tuesday, August 18, 2020 5:50 PM (one hour ago) bookmarkflaglink

I find Cioran as depressing as it gets but I definitely agree about Eraserhead. How do people not find, for instance, the “OK Paul!” and “So I cut it like a regular chicken?” scenes uproarious?

I'm with kate and all those who find the music profoundly unsettling. Are those of us who do so roughly in our 40s or older? I feel like the music, as it does the makers, may have the melancholic resonance for those of us who grew up in an analogue era and watched 70s era science filmstrips.

― Boring, Maryland, Tuesday, August 18, 2020 5:55 PM (one hour ago) bookmarkflaglink

otm (I’m mid forties and I agree with you and Kate)

all their albums have slightly different vibes but Campfire Headphase really feels like the outlier in all that. I bang on about this a lot on ILM but it's at once the most and therefore the least accessible to me. I can't hear the devil in those details. it's washy and pretty, but in the same way as Moon Safari is washy and pretty. it lacks that darkside occultism that drew me to them

― doorstep jetski (dog latin), Tuesday, August 18, 2020 7:23 PM (eight minutes ago) bookmarkflaglink

we've probably been over this in a million other threads but despite BOC being one of my favorite acts of all time I flat-out dislike most of CH. One of my biggest musical letdowns ever (redeemed eight years later by the brilliant TH) - maybe this is why?

oh man, i really disagree with this. their music-as-music is really unique and what makes (made?) them great and not pleasant incidental music - how synth lines fold together, suggest modalities but don't resolve into them, open up into a sudden vista with one sudden shift, etc.

I honestly think it’s in the melodic/harmonic department where the fakers falter, map otm re their odd modulations, unresolved harmonies etc.. there’s a lot of cool counterpoint going... like the whole thing that “June 9th “ builds up to..

But also, their early textures sounded legit naturally mucked up... it’s like saw 85-92, ‘shitty’ tech like the rebels in Star Wars...idk

but also I don’t think eg freescha and those types ever tried for a VHS-80s creeps type vibe, it was just reverb, pitch modulation lfo whatsit... they were stuck on some kind of astronomical wonder bullshit. idk.

I've not been able to listen to Tomorrow's Harvest since the start of the pandemic. Thought I was ready to do so but I just picked it up, had a look at the artwork and put it right back on the shelf. Still too scary for me.

'New Seeds' on TH I do find to be one of the warmest-yet-coolest things they've done. Melancholy bliss. Not that I've been reaching for BoC much this year either.

we've probably been over this in a million other threads but despite BOC being one of my favorite acts of all time I flat-out dislike most of CH. One of my biggest musical letdowns ever (redeemed eight years later by the brilliant TH) - maybe this is why?

― Paul Ponzi, Tuesday, 18 August 2020 23:34 (yesterday) bookmarkflaglink

my opinions of these albums are diametrically inverted. the wonder of taste!

New Seeds is amazing.

Campfire is their weakest album overall, but has a handful of stunners (Chromakey, Dayvan Cowboy, Peacock Tail).

It seems very BoC that "Macquarie Ridge", which for me remains the most beautiful piece they ever recorded, was hidden away as a bonus track on the Japanese release of Campfire. Perhaps they were embarrassed about how nakedly emotive it is.

so i've never heard that song before and was pleased to find it easily listenable on youtube, but i also am somewhat annoyed that the country specific bonus track continues to be a thing.

good song in any case though.

so i've never heard that song before and was pleased to find it easily listenable on youtube, but i also am somewhat annoyed that the country specific bonus track continues to be a thing.

― Totally different head. Totally. (Austin)

oh yeah? well, i'm annoyed that _countries_ continue to be a thing! :-P

but yeah it is a great song and i dont' think i'd heard it before. also, their remixes are awesome and some of my favorite things of theirs, and they're not often heard either.

back to leyland kirby!

If anything, Everywhere at the End of Time (stages 4-6 in particular) goes to show just how tranquil and airy BoC's music is in comparison. Like lukas said, it remains tethered to ambiguity even at its darkest and thus differs greatly from the explicitly tragic, progressive breakdown of memory The Caretaker lays out in sound. There is nothing as hellish as Stage 6 in BoC's discography, and even if there were, it doesn't go on for more than an hour.

― pomenitul

for me the caretaker and boc are different in several ways. first, everywhere at the end of time is a monumental work of _individual_ desolation and loss. alzheimer's is a particularly strong fear for me, particularly disturbing to me. i'd prefer there to be bright lines between the living and the dead, we all act as if there are for a number of reasons, but in point of fact there aren't, necessarily. a life is not just heartbeat, a life is not just breath, it is a number of things that are beyond our ability to name sometimes, and beyond our ability to agree on most of the time, so heartbeat, breath, we treat them as absolutes when they aren't, when it is not just possible but not uncommon for people to die while still breathing, while their heart still beats.

that is what terrifies me about alzheimer's, the prospect of dying not all at once but by degrees, the person i was slowly slipping away and being replaced with confusion and pain, of wanting to make a final end to it but never knowing when or how. the way cioran meant to kill himself but in the end it went too fast.

the most disturbing stages of "everywhere at the end of time" for me are stages 3 and 4. what used to be comforting is twisted and transformed into a nightmare, moments of respite and solace turn wrong and hellish without warning. the subject sees themselves slipping away and can do nothing, hope for nothing.

i haven't listened to stages 5 and 6 all the way through. i'm not interested in doing so. not because they're too "disturbing" but because they have no _meaning_ for me. there are no words, there is no reference to the person the subject of the work once was. it's all pain and confusion and sometimes bliss but none of it accessible to me, a living person.

to me, what tomorrow's harvest does is to cover a lot of the same ground as stages 3 and 4 of "everywhere at the end of time", but that record is not about individual desolation and loss, but about _collective_ desolation and loss. in "everywhere at the end of time", the subject loses themselves. in "tomorrow's harvest", we watch the world dying, everything we loved, everything we knew, coming to dust, knowing that there is no hope for it, for our children, for any of us.

that's very hard. should i look away?

hmmm I just listened to Semena Myrtvykh again and I'm starting to come around to your way of thinking, and that was before I googled what it means

They're no Blue Öyster Cult, that's for sure.

https://bocpages.org/wiki/Semena_Mertvykh

Mike had the following to say about this track:

"...at the end of the whole album, you've reached some sort of sanctuary and then the whole thing is stolen away from you again with the final track. That last track has a deliberate feeling of complete futility that I find kind of funny. That's where the obsessive, scientific work comes in, and yeah, it takes us ages."

Good thread. I've never picked up despair from BoC or at least I've not been very sensitive to that side. Creepy yes, bleak sometimes, but also regularly serene and life-affirming (eg Campfire, which unlike most is prob my fave). For me the most disturbing aspect of their stuff is the whole "past inside the present" thing (very similar from what I ger out of Patrick Modiano's books) and the idea on the one hand that the past is still very much alive in what we do and how we live, and on the other hand that the present is twisting our grasp of the past (that's kinda how I interpret the blurred faces on the cover of MHTRTC). The pagan mystic stuff and numerology is fun but secondary and probably not really worth digging too deep. Mainly, I just find their music incredibly beautiful.

https://www.youtube.com/watch?v=PI3b6EEltD4

machine yearning

New Neverman remix. Hopefully they release a new full length soon. https://lexrecords.com/news/treat-em-right-boards-of-canada-remix/

https://www.youtube.com/watch?v=iNUrhlEBKBM

Possible that this YouTube upload is genuinely a 30 year old copy of Hooper Bay that some guy in a Edinburgh has had in a box for 30 years

side A https://www.youtube.com/watch?v=2H9Kk8V1Rp0

side B: https://www.youtube.com/watch?v=-pIFVsAw6mI

I know there have been lots of fake BoC leaks in the past but this one sounds good to me, especially side B

Someone, probably the YT uploader, has also uploaded a couple of photos to discogs:

https://www.discogs.com/release/26811377-Boards-Of-Canada-Hooper-Bay

and he just happens to be unable to record it properly? bull.

(sorry, I'm not a believer)

There’s been discussion about the recording quality on the BoC forum. Posters who I assume are teenagers are speculating that if this is a 50 year old from Scotland that maybe he doesn’t have access to smart phones and can’t use technology. Which I laughed at but also cried a bit because I resemble that demographic. But it makes sense to me, he’s apparently said he was posting because people didn’t believe he had it. Posting in deliberately low quality helps back up his claim, but if it was a FLAC quality rip it would be all over the net and might open him up to WARP’s solicitors contacting him.

then why not record 1 minute of each track in high quality? Anyway - I've been burned by hoaxes too often, it's safer to not believe :-)

Iirc the only previously known snippets of this single/ep was “circle”, shared by BOC themselves.

If that one matches the snippet then it could be legit.

Here’s the snippet
https://www.youtube.com/watch?v=6s-LHQdQnsU

as any medieval monk worth his salt will tell you, the secret to a good forgery is mixing in actual authentic stuff with the fakes

Turns out this was a fake after all. At least the people responsible didn’t drag it out too long

yep

https://www.youtube.com/watch?v=hiXfSh1tYP0

I wish they'd just work with Warp and drop all this old material already and put these bootlegs and BS forgeries to rest finally.

gy!be did it with "all lights..." and it seems to have worked out pretty quietly, which I always understood to be what they wanted, so you never know, maybe one day.