GENERAL NEW RELEASE SPECULATION TOPIC

[Frindia]

I was super surprised hearing the mix of Extract and Melissa juice on Halloween. I was not expecting that.

I never know what to expect during any amks.live but that was a present, indeed. I'm not insinuating that towards a new release but golly, wowzers.

[Thatch]

For the people who weren't here, there was basically a thread that questioned if BOC's mystique was fabricated. Personally, I think it's a fair question to discuss and I might even ask it earnestly, but the problem was, it was started by a very troubled person and then another troll came in and continued where he left off.

I'll stand by what I said in the thread. BOC, like Daft Punk and the Residents, have deliberately elaborated on their mystique to some extent. And it is that window dressing that makes their allure so powerful, aside from the music. But that's not to deny that Mike and Marcus are genuine geniuses, because they are. They are musical geniuses and marketing geniuses as well.

I commented something along the lines of "if it turned out that BoC lived in suburbia and fabricated their elusive back catalogue, this semi-mythical appeal might be lessened a bit". I stick by it - it's like how the KLF used to put out records with an exclusive remix in certain countries, in limited numbers, and how you used to have to trade for them from listings at the back of magazines. It's all part of record collector fetishism - which I believe BoC might subscribe to based on their song picks for Societas X Tape.

However the original poster came across as someone who had just discovered that some electronic music contains samples and was having a breakdown that Daft Punk didn't play every instrument on Discovery. He also claimed that Julie and Candy is made up of samples, which is clearly isn't. Basically he was coming across as a bit of a prick.

[Frindia]

Stop talking about it


Sent from my iPhone using Tapatalk

[Thatch]

No need to be rude!

[Frindia]

My friend, I am not being rude. I should have said please. I just do not believe this needs any more attention than it already had. Makes me sick.

[sandrail]

That's wonderful. Always nice to have a positive reminder of BOC's existence in the universe.

I'll also add that MDG logged in today. Is that a coincidence since the gates are clearing for Warp to announce something?

and also, there were some clips of protect and survive on amks.live, the same ones from boc's live@ATP gig
coincidence? i think.. yes

Well, two hours ago the amkslive account on Instagram started following bocpages... for what it's worth.

https://instagram.com/bocpages
https://instagram.com/amkslive

I played their Halloween broadcast, cool stuff. Nice to see Skam is still alive. Would like to see them put out another compilation again, like MASK with BoC in it.

[sandrail]

I'm not sure whether it will help anyone else in this thread, particularly because I consider myself a bit of a stranger here, but I try to remind myself that uncertain things remain indifferent to any of our attempts to impose certainty upon them.

I lived a good bit of my life fearing an uncertain end and obsessing endlessly over some of the more disturbing mysteries in the basement of the human soul before I finally realized that. I try not to regret having spent so much time losing myself in the rabbit holes of my mind, but every so often I do wonder what else I could have done with my life during those years. I'm more at peace with myself now, living with still unanswered questions about human nature, but knowing better what to avoid knowing.

BoC's music was relevant to my experience, both then and now, as I plunged myself into the depths of uncertainty, realized all I got out of it was a more profound sadness, and then resigned myself to my ignorance before finally moving on. I find it difficult to explain how exactly their music was so relevant, except to say that some album or another formed part of the soundtrack of my mind as I weathered those times. As I listen again to those old albums, I'm reminded that I've made it this far, and am happy for it.

I'm confident that whatever they release next, whenever that might be, it'll be relevant to each of us and our experiences, however we understand ourselves. There always seems to be something new to discover in BoC's music, and I'm certain that the next release will be no exception as it eventually integrates itself into the soundtrack of our minds.

BoC is merely a reflection of Mike and Marcus' childhood, which with them being ordinary (to an extent) folks, invokes nostalgia for ordinary people. To actually get that nostalgic feeling, it needs to truly reflect those times, which weren't the happy paradise you remember. Instead you had the threat of nuclear war always in your mind fucking around with your emotions, childhood betrayal, bullying and accelerating climate change, mixed in with Phillip Glass playing music in Sesame Street segments. Humans tend to forget bad things and remember the past as happy, which makes things BoC puts out seem otherworldly. Their music figuratively brings back your bad memories and shoves them right in your face.

[Echelon]

I commented something along the lines of "if it turned out that BoC lived in suburbia and fabricated their elusive back catalogue, this semi-mythical appeal might be lessened a bit". I stick by it - it's like how the KLF used to put out records with an exclusive remix in certain countries, in limited numbers, and how you used to have to trade for them from listings at the back of magazines. It's all part of record collector fetishism - which I believe BoC might subscribe to based on their song picks for Societas X Tape.

However the original poster came across as someone who had just discovered that some electronic music contains samples and was having a breakdown that Daft Punk didn't play every instrument on Discovery. He also claimed that Julie and Candy is made up of samples, which is clearly isn't. Basically he was coming across as a bit of a prick.

Honestly, BOC made me aware of the whole underbelly of music that never got transferred to CD from the 70s and 80s. Obscure solo offerings from artists of relatively obscure bands (Stefan Zauner) and curious sound experiments from other countries that few people from the UK or US ever heard. In a way, I can see how BOC would want to do that with their own back catalog. Not only paying tribute to those obscurities but become an obscurity themselves. No other IDM artist has that mystique (even though unintentionally, Richard does come close sometimes with the sheer amount of music he's made and placed on hard to get obscure releases).

When Jango9 made that awesome timeline for BOC, I remember Negamuse remarking that a lot of it sounded like embellished stories. Crazy things like Mike drumming all night. I'm sure there's some truth and some lies, but they are carefully mixed together to create a legendary image.

On a side note, that Daft Punk stuff was interesting. Not sure how much of it was true. The whole bit about leaving an artist uncredited for sampling in One More Time and the artist being poor as a result. Is that actually true or was that simply a theory?

[sandrail]

I commented something along the lines of "if it turned out that BoC lived in suburbia and fabricated their elusive back catalogue, this semi-mythical appeal might be lessened a bit". I stick by it - it's like how the KLF used to put out records with an exclusive remix in certain countries, in limited numbers, and how you used to have to trade for them from listings at the back of magazines. It's all part of record collector fetishism - which I believe BoC might subscribe to based on their song picks for Societas X Tape.

However the original poster came across as someone who had just discovered that some electronic music contains samples and was having a breakdown that Daft Punk didn't play every instrument on Discovery. He also claimed that Julie and Candy is made up of samples, which is clearly isn't. Basically he was coming across as a bit of a prick.

Honestly, BOC made me aware of the whole underbelly of music that never got transferred to CD from the 70s and 80s. Obscure solo offerings from artists of relatively obscure bands (Stefan Zauner) and curious sound experiments from other countries that few people from the UK or US ever heard. In a way, I can see how BOC would want to do that with their own back catalog. Not only paying tribute to those obscurities but become an obscurity themselves. No other IDM artist has that mystique (even though unintentionally, Richard does come close sometimes with the sheer amount of music he's made and placed on hard to get obscure releases).

When Jango9 made that awesome timeline for BOC, I remember Negamuse remarking that a lot of it sounded like embellished stories. Crazy things like Mike drumming all night. I'm sure there's some truth and some lies, but they are carefully mixed together to create a legendary image.

On a side note, that Daft Punk stuff was interesting. Not sure how much of it was true. The whole bit about leaving an artist uncredited for sampling in One More Time and the artist being poor as a result. Is that actually true or was that simply a theory?

Pretty sure Jango9 used that timeline that PIC wrote back in 2000 as a reference. I vaguely remember that "drumming all night" statement from somewhere. I doubt PIC would lie about them.

[Echelon]

I commented something along the lines of "if it turned out that BoC lived in suburbia and fabricated their elusive back catalogue, this semi-mythical appeal might be lessened a bit". I stick by it - it's like how the KLF used to put out records with an exclusive remix in certain countries, in limited numbers, and how you used to have to trade for them from listings at the back of magazines. It's all part of record collector fetishism - which I believe BoC might subscribe to based on their song picks for Societas X Tape.

However the original poster came across as someone who had just discovered that some electronic music contains samples and was having a breakdown that Daft Punk didn't play every instrument on Discovery. He also claimed that Julie and Candy is made up of samples, which is clearly isn't. Basically he was coming across as a bit of a prick.

Honestly, BOC made me aware of the whole underbelly of music that never got transferred to CD from the 70s and 80s. Obscure solo offerings from artists of relatively obscure bands (Stefan Zauner) and curious sound experiments from other countries that few people from the UK or US ever heard. In a way, I can see how BOC would want to do that with their own back catalog. Not only paying tribute to those obscurities but become an obscurity themselves. No other IDM artist has that mystique (even though unintentionally, Richard does come close sometimes with the sheer amount of music he's made and placed on hard to get obscure releases).

When Jango9 made that awesome timeline for BOC, I remember Negamuse remarking that a lot of it sounded like embellished stories. Crazy things like Mike drumming all night. I'm sure there's some truth and some lies, but they are carefully mixed together to create a legendary image.

On a side note, that Daft Punk stuff was interesting. Not sure how much of it was true. The whole bit about leaving an artist uncredited for sampling in One More Time and the artist being poor as a result. Is that actually true or was that simply a theory?

Pretty sure Jango9 used that timeline that PIC wrote back in 2000 as a reference. I vaguely remember that "drumming all night" statement from somewhere. I doubt PIC would lie about them.

Yeah I don't think he would lie either. I'm only tempering my view a bit to make room for an "if." But of course, we'll never know either way. But either way, BOC are legendary and it's their music that matters first and foremost.

[rodox_head]

On a side note, that Daft Punk stuff was interesting. Not sure how much of it was true. The whole bit about leaving an artist uncredited for sampling in One More Time and the artist being poor as a result. Is that actually true or was that simply a theory?

Kinda.
From a quick look at an article referenced on Wikipedia, it seems that Daft Punk paid royalties to use the sample despite it going uncredited on the album, but it was to the owners of the song who may or may not have transferred any of the money to Eddie Johns.

Quote from Wikipedia article:
"It has been observed that "One More Time" contains a sample of Eddie Johns' song "More Spell on You",[30] despite it being uncredited in the Discovery liner notes. The Los Angeles Times confirmed this following the breakup of Daft Punk and found that Daft Punk does pay royalties for the sample twice a year to the label, GM Musipro"

[sandrail]

Honestly, BOC made me aware of the whole underbelly of music that never got transferred to CD from the 70s and 80s. Obscure solo offerings from artists of relatively obscure bands (Stefan Zauner) and curious sound experiments from other countries that few people from the UK or US ever heard. In a way, I can see how BOC would want to do that with their own back catalog. Not only paying tribute to those obscurities but become an obscurity themselves. No other IDM artist has that mystique (even though unintentionally, Richard does come close sometimes with the sheer amount of music he's made and placed on hard to get obscure releases).

When Jango9 made that awesome timeline for BOC, I remember Negamuse remarking that a lot of it sounded like embellished stories. Crazy things like Mike drumming all night. I'm sure there's some truth and some lies, but they are carefully mixed together to create a legendary image.

On a side note, that Daft Punk stuff was interesting. Not sure how much of it was true. The whole bit about leaving an artist uncredited for sampling in One More Time and the artist being poor as a result. Is that actually true or was that simply a theory?

Pretty sure Jango9 used that timeline that PIC wrote back in 2000 as a reference. I vaguely remember that "drumming all night" statement from somewhere. I doubt PIC would lie about them.

Yeah I don't think he would lie either. I'm only tempering my view a bit to make room for an "if." But of course, we'll never know either way. But either way, BOC are legendary and it's their music that matters first and foremost.

From Matador site:
"1987: The band (then a five-piece) performed at an all-weekend benefit gig where a stage invasion resulted in members of the audience playing some of the keyboard parts: "...one person for every key on my synth. It was chaos. We just left the stage and watched..." Michael says this was some of the best music the band has ever played. At another all-weekend gig Michael consumed a large amount of Pro-Plus and performed a six-hour drum solo onstage from 1am to 7am."

[Echelon]

On a side note, that Daft Punk stuff was interesting. Not sure how much of it was true. The whole bit about leaving an artist uncredited for sampling in One More Time and the artist being poor as a result. Is that actually true or was that simply a theory?

Kinda.
From a quick look at an article referenced on Wikipedia, it seems that Daft Punk paid royalties to use the sample despite it going uncredited on the album, but it was to the owners of the song who may or may not have transferred any of the money to Eddie Johns.

Quote from Wikipedia article:
"It has been observed that "One More Time" contains a sample of Eddie Johns' song "More Spell on You",[30] despite it being uncredited in the Discovery liner notes. The Los Angeles Times confirmed this following the breakup of Daft Punk and found that Daft Punk does pay royalties for the sample twice a year to the label, GM Musipro"

On a side note, that Daft Punk stuff was interesting. Not sure how much of it was true. The whole bit about leaving an artist uncredited for sampling in One More Time and the artist being poor as a result. Is that actually true or was that simply a theory?

Kinda.
From a quick look at an article referenced on Wikipedia, it seems that Daft Punk paid royalties to use the sample despite it going uncredited on the album, but it was to the owners of the song who may or may not have transferred any of the money to Eddie Johns.

Quote from Wikipedia article:
"It has been observed that "One More Time" contains a sample of Eddie Johns' song "More Spell on You",[30] despite it being uncredited in the Discovery liner notes. The Los Angeles Times confirmed this following the breakup of Daft Punk and found that Daft Punk does pay royalties for the sample twice a year to the label, GM Musipro"

I've definitely heard about record companies screwing artists over before. If the company gets the royalties for OMT rather than the artist, that's sad. But at least DP are paying for it.

Sure was nice of BOC/Warp to actually get the sample sorted out with XYZ before releasing it.

[himeiro_hesukhias]

I'm not sure whether it will help anyone else in this thread, particularly because I consider myself a bit of a stranger here, but I try to remind myself that uncertain things remain indifferent to any of our attempts to impose certainty upon them.

I lived a good bit of my life fearing an uncertain end and obsessing endlessly over some of the more disturbing mysteries in the basement of the human soul before I finally realized that. I try not to regret having spent so much time losing myself in the rabbit holes of my mind, but every so often I do wonder what else I could have done with my life during those years. I'm more at peace with myself now, living with still unanswered questions about human nature, but knowing better what to avoid knowing.

BoC's music was relevant to my experience, both then and now, as I plunged myself into the depths of uncertainty, realized all I got out of it was a more profound sadness, and then resigned myself to my ignorance before finally moving on. I find it difficult to explain how exactly their music was so relevant, except to say that some album or another formed part of the soundtrack of my mind as I weathered those times. As I listen again to those old albums, I'm reminded that I've made it this far, and am happy for it.

I'm confident that whatever they release next, whenever that might be, it'll be relevant to each of us and our experiences, however we understand ourselves. There always seems to be something new to discover in BoC's music, and I'm certain that the next release will be no exception as it eventually integrates itself into the soundtrack of our minds.

BoC is merely a reflection of Mike and Marcus' childhood, which with them being ordinary (to an extent) folks, invokes nostalgia for ordinary people. To actually get that nostalgic feeling, it needs to truly reflect those times, which weren't the happy paradise you remember. Instead you had the threat of nuclear war always in your mind fucking around with your emotions, childhood betrayal, bullying and accelerating climate change, mixed in with Phillip Glass playing music in Sesame Street segments. Humans tend to forget bad things and remember the past as happy, which makes things BoC puts out seem otherworldly. Their music figuratively brings back your bad memories and shoves them right in your face.

I guess that's quite a bit of what I was going through back then. I suppose that I welcomed letting myself feel overwhelmed with nostalgia in between bouts of losing myself in rabbit holes and obsessions and neglecting my experience of the present moment. BoC apparently fulfilled that role of nostalgia at first, but I must have caught on eventually to the fact that their music was handing back to me some of the worst aspects of my childhood, plus some other aspects of life I didn't previously realize were as bad as they were. I ended up drifting away from their music for a couple years while I spent some time improving myself, which involved glorifying my past less than I used to.

With that in mind, I'm not sure why I'm here again. I have a feeling that I'm searching for something without knowing what it is. On one hand, I'm curious to see if this forum has any clues about what BoC's next release will be like—whenever that happens—but on the other hand, I'm wondering why BoC remains relevant to me even though I've grown a bit more critical of the whole nostalgia thing.

[Thatch]

Thomas Bangalter's father owns the mechanical copyright to a lot of funk and soul songs from the 60s and 70s. I believe he bought them up when he worked as an exec for a record label. Hence how Daft Punk could get away with sampling some of those records and not crediting/paying the original artists. It's morally dubious but legal.

Ever since the early 90s, most major artists won't risk releasing a record with uncleared samples, otherwise they'll get sued. The Verve took a segment of an orchestral cover of a Rolling Stones song for Bitter Sweet Symphony and were forced to give 100% of the proceeds to the Stones for 20 years. It's just not worth risking it if you're a major label artist.

Having said that, MDG has said that the samples in Old Tunes are all cleared already. I find this a bit hard to get my head around (Sir Prancelot Brainfire springs to mind) but all the tracks are registered to Mike & Marcus with 50/50 songwriting, so Warp must have sorted it all out at some point. They may have no intention of releasing it - they just want to make sure someone else doesn't claim the songwriting credits first.

[sandrail]

I think MDG logs on around twice a year to see what the community is doing/what we're talking about/what our expectations are for new BoC material. I doubt he relays our thoughts to the brothers but at least he knows what we're thinking, and I feel good about that.

He probably just logs in whenever he gets a PM that is worth responding to. All PMs on Twoism go directly to your email, unless you disabled the setting to do so. I doubt he ever really checks in here, unless BoC just announced a release.

[funnnnpng]

Thomas Bangalter's father owns the mechanical copyright to a lot of funk and soul songs from the 60s and 70s. I believe he bought them up when he worked as an exec for a record label. Hence how Daft Punk could get away with sampling some of those records and not crediting/paying the original artists. It's morally dubious but legal.

Ever since the early 90s, most major artists won't risk releasing a record with uncleared samples, otherwise they'll get sued. The Verve took a segment of an orchestral cover of a Rolling Stones song for Bitter Sweet Symphony and were forced to give 100% of the proceeds to the Stones for 20 years. It's just not worth risking it if you're a major label artist.

Having said that, MDG has said that the samples in Old Tunes are all cleared already. I find this a bit hard to get my head around (Sir Prancelot Brainfire springs to mind) but all the tracks are registered to Mike & Marcus with 50/50 songwriting, so Warp must have sorted it all out at some point. They may have no intention of releasing it - they just want to make sure someone else doesn't claim the songwriting credits first.

I definitely think all the old tunes songs are cleared, aren’t they all registered in the ASCAP(can’t remember the exact name)song database?

[sandrail]

Thomas Bangalter's father owns the mechanical copyright to a lot of funk and soul songs from the 60s and 70s. I believe he bought them up when he worked as an exec for a record label. Hence how Daft Punk could get away with sampling some of those records and not crediting/paying the original artists. It's morally dubious but legal.

Ever since the early 90s, most major artists won't risk releasing a record with uncleared samples, otherwise they'll get sued. The Verve took a segment of an orchestral cover of a Rolling Stones song for Bitter Sweet Symphony and were forced to give 100% of the proceeds to the Stones for 20 years. It's just not worth risking it if you're a major label artist.

Having said that, MDG has said that the samples in Old Tunes are all cleared already. I find this a bit hard to get my head around (Sir Prancelot Brainfire springs to mind) but all the tracks are registered to Mike & Marcus with 50/50 songwriting, so Warp must have sorted it all out at some point. They may have no intention of releasing it - they just want to make sure someone else doesn't claim the songwriting credits first.

I definitely think all the old tunes songs are cleared, aren’t they all registered in the ASCAP(can’t remember the exact name)song database?

Yes https://www.ascap.com/ace/#/ace/performer/BOARDS%20OF%20CANADA

[Magrathea]

If BOC comes out with a collective box set of 30-year-old crap not good enough to make the cut back then, I would be utterly gutted.

There is a reason it has not surfaced, no matter what mdg or pic or anyone says. At the end of the day, the bro's know what they are doing, they are musicians, and musicians do not come out with their old cold cuts that never were good enough to fly anyway.

Unless they are burned out and want to milk the cash cow.

I don't think we are there.

[Jango9]

Pretty sure Jango9 used that timeline that PIC wrote back in 2000 as a reference. I vaguely remember that "drumming all night" statement from somewhere. I doubt PIC would lie about them.

There were three different officially sanctioned BoC biographies posted on the net at different points that cover different aspects of the band's history (with some overlap). All of them were primarily built around info from PIC and that timeline from 2000 was indeed one of them. I cited all my sources right at the top of that timeline, you can check 'em for yourself lmao