Re: Boards of Canada - Teaser tracks Introit/Prophecy at 1420hz
Aleks <[email protected]> Sat, 9 May 2026 14:00:09 +0200
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| Message-ID | <CAHq=sf+fqh4FCxnjtMwm3YtTQDaOsff+urnE8uOmea=t0P8Qog@mail.gmail.com> |
--000000000000fb71fd06516141ac Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable I loved it, gives you the same feeling of meeting someone from the past who you had a really great time with, and they tell you a new story. Anyone else pick up a NIN drift right at the end of one of the tracks? cheers On Sat, 9 May 2026 at 00:56, Andrea Bardelli Danieli <[email protected]> wrote: > I think it=E2=80=99s inevitable after all these years. > > And in this sense it could somewhat paradoxically amount to a nostalgic > take on the original nostalgia. > > Whether this is good or bad I don=E2=80=99t know - I suppose the album wi= ll tell > (so I am really looking forward to it!) > > > On 8 May 2026, at 01:08, kent williams <[email protected]> wrote: > > > > =EF=BB=BFThey return to their theme of apocalyptic religion with a Voco= ded > > 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. > > > > --000000000000fb71fd06516141ac Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"auto">I loved it, gives you the same feeling of meeting someone= from the past who you had a really great time with, and they tell you a ne= w story.=C2=A0</div><div dir=3D"auto"><br></div><div dir=3D"auto">Anyone el= se pick up a NIN drift right at the end of one of the tracks?=C2=A0</div><d= iv dir=3D"auto"><br></div><div dir=3D"auto">cheers=C2=A0</div><div><br><div= class=3D"gmail_quote gmail_quote_container"><div dir=3D"ltr" class=3D"gmai= l_attr">On Sat, 9 May 2026 at 00:56, Andrea Bardelli Danieli <<a href=3D= "mailto:[email protected]">[email protected]</a>> wrote:<br></div>= <blockquote class=3D"gmail_quote" style=3D"margin:0px 0px 0px 0.8ex;border-= left-width:1px;border-left-style:solid;padding-left:1ex;border-left-color:r= gb(204,204,204)">I think it=E2=80=99s inevitable after all these years. <br= > <br> And in this sense it could somewhat paradoxically amount to a nostalgic tak= e on the original nostalgia.<br> <br> Whether this is good or bad I don=E2=80=99t know - I suppose the album will= tell (so I am really looking forward to it!)<br> <br> > On 8 May 2026, at 01:08, kent williams <<a href=3D"mailto:chaircrus= [email protected]" target=3D"_blank">[email protected]</a>> wrote:<br> > <br> > =EF=BB=BFThey return to their theme of apocalyptic religion with a Voc= oded<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= 9;s<br> > a real frisson of 1980s industrial music, like Caberet Voltaire. And<b= r> > 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, str= ing synth<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 k= ey<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<b= r> > ideas they're implementing.=C2=A0 They may be complicated ideas, n= ot<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 interest= ed<br> > in what people not so enmeshed with this music think of it.=C2=A0 I th= ink<br> > it's quality - everything they do is quality - but sometimes the<b= r> > 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 aroun= d<br> > and tried goofy shit more. They've got the taste to pick out just = the<br> > 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 tab= le in<br> > their attic, moving little bits about obsessively.<br> > <br> <br> </blockquote></div></div> --000000000000fb71fd06516141ac--