MadMaz wrote:https://pitchfork.com/features/article/why-boards-of-canadas-music-has-the-right-to-children-is-the-greatest-psychedelic-album-of-the-90s/
They just exchanged a few emails
A shame they chose to communicate with Pitchfork. Such a terribly smug website and basically the Rolling Stone magazine for indie rock. The article is quite good though ( I had never seen the article until now and it really touches on all the facets of MHTRTC) and I especially like this bit at the end:
With Music Has the Right, BoC did build their own world, set apart from the wider currents of late-’90s electronica. After such an achievement, it would be unreasonable to expect the brothers to unfurl a wholly new sound and vision on each subsequent album. As their discography unfolded over the ensuing 20 years, Sandison and Eoin first intensified their approach with In a Beautiful Place Out in the Country and Geogaddi, then inflected it with the shoegaze-tinged The Campfire Headphase, and finally simply reiterated it with Tomorrow’s Harvest. But then the idea of Boards of Canada “progressing” or “evolving” goes against their very essence. Their intent with Music Has the Right to Children was to create a haunted haven outside the onward flow of Time. Why wouldn’t they want to live there forever?
Not only did it verify that BOC as an enterprise still exist, but it hints at a continued "future in the past" approach.
arvy wrote:Echelon wrote:Actually curious about this, but do you guys think they would ever Daft Punk us?
Love how that's a term now for any electronic group that splits unceremoniously
Hope, bro, hope
Welcome back Arvy! Perhaps I should have hope. After all, it's one more day before Lonelady drops, clearing up the release window!
Maybe this is finally our time! Either that or more Yves Tumor and Jockstrap. These guys rule Warp more than the IDM giants these days.