Re: Boards of Canada - Teaser tracks Introit/Prophecy at 1420hz
Zombiefly <[email protected]> Fri, 8 May 2026 08:21:11 +0100
| Newsgroups | gmane.music.idm |
|---|---|
| Message-ID | <CABLz19pawJG=58rATN9Oo=E6iBcedSmoiUg_r0AQTL7-bRNPhg@mail.gmail.com> |
--0000000000007e8b3c0651493e6e Content-Type: text/plain; charset="UTF-8" given the amount of output over the years, i'd remove everything you wrote and replace it with: "2 guys who aren't really into it anymore decided to compile a list of tracks they've been noodling with on a sunday afternoon"... warp did the rest. On Fri, 8 May 2026 at 01:09, kent williams <[email protected]> wrote: > https://youtu.be/74NluS3jzTo?si=zl43p1J6eRmmKPHG (Entroit) > https://youtu.be/oVLbPMFr1cE?si=fRrrxNe8Cla_wJeI (just Prophecy) > Boards Of Canada are nothing if not consistent. The video is 4/3 and > it looks like it was either dubbed to VHS and re-digitzed. > > They return to their theme of apocalyptic religion with a Vocoded > essay on the subject of nothingness and transcendence. > > I don't know if they wrote it or if it's from something. > > The music is a pastiche of sounds from the pass, in this case there's > a real frisson of 1980s industrial music, like Caberet Voltaire. And > that doomy chorus guitar sounds like they borrowed it from Cocteau > Twins. > > It's more straightforward than many of their old tracks. There isn't > as much subliminal masking. But every drum hit, guitar line and synth > part bristles with conscious intention. Everything is placed in > perfect relation to everything else. > > About 2:18 in "Prophecy" there short interlude of drums, string synth > and guitar (or synth? Hard to tel) plays a spare funk pattern, like > Nile Rodgers riffing, but it's atonal, dissonant relative to the key > of the drone bass. They take something familiar and making it strange. > > I have a theory about musical intention: The person making music has > ideas they're implementing. They may be complicated ideas, not > directly audible in the music, but there's a system and intention > behind the raw audio hitting your ears. Listeners intuitively > recognize the system in the music, even if it's not as plain as 12 bar > blues. A hidden structure still feels like structure, giving the > music a visceral meaning. > > So with BOC, they may have started out messing around with machines > and seeing what comes out, but everything they do now is > hyper-detailed, hyper-intentional. Every surprising sound, every > unidentifiable echoey sound that only happens once, was put there for > a purpose. > > What they do is fun for them, and fun as fan service. I'm interested > in what people not so enmeshed with this music think of it. I think > it's quality - everything they do is quality - but sometimes the > attention that goes into every last, wobbly detail turns into > overthinking. > > In the end what I'm trying to say is that I wish they fooled around > and tried goofy shit more. They've got the taste to pick out just the > good parts. But sometimes the feeling like they're arranging a > diorama of "The Garden of Early Delights" on a ping pong table in > their attic, moving little bits about obsessively. > -- ---------------------------------------- not sent from an iDevice ---------------------------------------- --0000000000007e8b3c0651493e6e Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"ltr"><span aria-invalid=3D"grammar" class=3D"Lm ng" style=3D"bo= rder-style:none;background:none">given</span> the amount of output over the= years, <span aria-invalid=3D"grammar" class=3D"Lm ng" style=3D"border-styl= e:none;background:none">i'd</span> remove everything you wrote and repl= ace it with:<br>"2 guys who aren't really into it anymore decided = to compile a list of tracks they've been noodling with on a sunday afte= rnoon"... warp did the rest.<div><br></div><div><br></div></div><br><d= iv class=3D"gmail_quote gmail_quote_container"><div dir=3D"ltr" class=3D"gm= ail_attr">On Fri, 8 May 2026 at 01:09, kent williams <<a href=3D"mailto:= [email protected]">[email protected]</a>> wrote:<br></div><blo= ckquote class=3D"gmail_quote" style=3D"margin:0px 0px 0px 0.8ex;border-left= :1px solid rgb(204,204,204);padding-left:1ex"><a href=3D"https://youtu.be/7= 4NluS3jzTo?si=3Dzl43p1J6eRmmKPHG" rel=3D"noreferrer" target=3D"_blank">http= s://youtu.be/74NluS3jzTo?si=3Dzl43p1J6eRmmKPHG</a> (Entroit)<br> <a href=3D"https://youtu.be/oVLbPMFr1cE?si=3DfRrrxNe8Cla_wJeI" rel=3D"noref= errer" target=3D"_blank">https://youtu.be/oVLbPMFr1cE?si=3DfRrrxNe8Cla_wJeI= </a> (just Prophecy)<br> Boards Of Canada are nothing if not consistent. The video is 4/3 and<br> it looks like it was either dubbed to VHS and re-digitzed.<br> <br> They return to their theme of apocalyptic religion with a Vocoded<br> essay on the subject of nothingness and transcendence.<br> <br> I don't know if they wrote it or if it's from something.<br> <br> The music is a pastiche of sounds from the pass, in this case there's<b= r> a real frisson of 1980s industrial music, like Caberet Voltaire. And<br> that doomy chorus guitar sounds like they borrowed it from Cocteau<br> Twins.<br> <br> It's more straightforward than many of their old tracks. There isn'= t<br> as much subliminal masking. But every drum hit, guitar line and synth<br> part bristles with conscious intention.=C2=A0 Everything is placed in<br> perfect relation to everything else.<br> <br> About 2:18 in "Prophecy" there short interlude of drums, string s= ynth<br> and guitar (or synth? Hard to tel) plays a spare funk pattern, like<br> Nile Rodgers riffing, but it's atonal, dissonant relative to the key<br= > of the drone bass. They take something familiar and making it strange.<br> <br> I have a theory about musical intention: The person making music has<br> ideas they're implementing.=C2=A0 They may be complicated ideas, not<br= > directly audible in the music, but there's a system and intention<br> behind the raw audio hitting your ears. Listeners intuitively<br> recognize the system in the music, even if it's not as plain as 12 bar<= br> blues.=C2=A0 A hidden structure still feels like structure, giving the<br> music a visceral meaning.<br> <br> So with BOC, they may have started out messing around with machines<br> and seeing what comes out, but everything they do now is<br> hyper-detailed, hyper-intentional. Every surprising sound, every<br> unidentifiable echoey sound that only happens once, was put there for<br> a purpose.<br> <br> What they do is fun for them, and fun as fan service. I'm interested<br= > in what people not so enmeshed with this music think of it.=C2=A0 I think<b= r> it's quality - everything they do is quality - but sometimes the<br> attention that goes into every last, wobbly detail turns into<br> overthinking.<br> <br> In the end what I'm trying to say is that I wish they fooled around<br> and tried goofy shit more. They've got the taste to pick out just the<b= r> good parts.=C2=A0 But sometimes the feeling like they're arranging a<br= > diorama of "The Garden of Early Delights" on a ping pong table in= <br> their attic, moving little bits about obsessively.<br> </blockquote></div><div><br clear=3D"all"></div><div><br></div><span class= =3D"gmail_signature_prefix">-- </span><br><div dir=3D"ltr" class=3D"gmail_s= ignature"><div dir=3D"ltr"><font face=3D"tahoma, sans-serif">--------------= --------------------------</font><div><font face=3D"tahoma, sans-serif">=C2= =A0 =C2=A0 =C2=A0not sent from an iDevice</font></div><div><span style=3D"f= ont-size:12.8px"><font face=3D"tahoma, sans-serif">------------------------= ----------------</font></span><br></div></div></div> --0000000000007e8b3c0651493e6e--