Tomorrow's Harvest

[inAuthenticLifeform]

go back to what we started

"phone for you"
mother, can't you see I'm in the bath
they say that we're at war again and disappearing fast
yeah I need to get to London and I need to get there fast
but my car is a polluter and it's messing up my future...

Who in shitting crikey do you think you are ? Posting Julian Cope music with every response? Jesus H Christ

[WATER_CAN-_-]

"In the summer of 1990, I had a vision of the world. In that vision I saw the Mother Earth - an enormous goddess standing upright and proud, but throwing her head back in pain and confusion at the treatment that Mankind has chosen to mete out to her. The goddess's hair was the wind around the world and her left arm was outstretched, the moon spinning on the index finger of her left hand. She was bruised from chemical dumping, and her expression one of ecstatic and religious/spiritual sadness. There were rays of blazing light piercing the centre of her cranium as the ozone hole causes sunlight to pierce the North Pole. This classic mythical image of "enlightenment" of the soul ironically mirrored the supposed death of the world through the Greenhouse Effect. It was a beautiful and absurd double-edged sword. This enormous Mother Earth was standing at the very edge of the highest cliff of Infinity - and was about to leap off … I had to make this record about the crazy situation. Nowadays I call Mother Earth "Peggy Suicide"."

Julian Cope 1991

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[♄ope keeper]

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[Samplehunter]

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Now that you mention it, both Linkin Park's A Thousand Suns and TH have a kind of post-apocalyptic aspect.

It reminds me that I've seen comparisons between their song Session and BoC, though I hardly see how this one would be BoCish:

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They have mentioned liking and being influenced by Aphex Twin, but that's all concerning IDM acts.

[Soul_Slip]

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Now that you mention it, both Linkin Park's A Thousand Suns and TH have a kind of post-apocalyptic aspect.

It reminds me that I've seen comparisons between their song Session and BoC, though I hardly see how this one would be BoCish:

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They have mentioned liking and being influenced by Aphex Twin, but that's all concerning IDM acts.

A Thousand Suns was and is my least favorite of theirs except anything after. It was a huge let down for me because there was only one Chester Screaming song “Blackout” that even remotely sounded like them from before. I just don’t see any similarities at all between the two even if a song is darker in theme about history.

[Den]

I really like that Linkin Park song Healing Foot.

I’ve been listening to Tomorrow’s Harvest and it’s so good. I could make it a couple more years without new music.

[Logan71]

Hey

Can someone please guide me to the Tomorrow's Harvest livestream event thread from 2013? I'd like to listen to it again and relive the moment in preparation for Inferno.

Thanks in advance.

[razlomlogic]

Hey

Can someone please guide me to the Tomorrow's Harvest livestream event thread from 2013? I'd like to listen to it again and relive the moment in preparation for Inferno.

Thanks in advance.

viewtopic.php?f=2&t=10659&hilit=listening+event

[Logan71]

Yer a diamond, thanks.

[♄ope keeper]

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[WATER_CAN-_-]

Sometimes, when listening to the album, there's an impression of hearing birdsong and other sounds of nature. Aren't those samples?

"It's a big influence - it's certainly true that nature influences us, especially when the studio windows are open! (laughs). There's this track on the album called "Rue The Whirl", where you can hear birds singing. What happened was that I was listening to the track, and, oddly, I could hear birds singing. Then I realized that the window was open in the studio, and since the birdsong went so well with the music, we recorded it to capture the feel of what we experienced listening with the window open."

Is it also perhaps because of the name of the group, which evokes lots of images?

"The name of the group comes from the soundtrack of one of the nature films that had such a big influence on our childhood. That's our nostalgic side. But there's also a more raucous side, harder, and darker. Our music is born from a strange union of the air of childhood and more troubled feelings, representing a more terrible reality which blends paradoxically with our childhood dreams."

https://bocpages.org/wiki/Two_Aesthetes ... onic_Music 1998

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each day we get closer to the big bad fire ♪

[Scories]

About Telepath/Nothing is Real (both tracks are related for the palindromic nature of the album) :

Regarding the poem about Jesus: Im not convinced by the idea interpretation that this is the band’s unfiltered opinion of Jesus (because, according to their own statements, they’ve become more nihilistic over the years). The childlike nature of the poem, the accusatory tone, and the context seem to me to disprove this hypothesis.

First of all, this album was conceived as the soundtrack to a fictional film set shortly before or shortly after a major global catastrophe. Consequently, any form of narration should be the expression of one of the protagonists of this film, in which the action and consequences would unfold primarily in the U.S. (if I’m to go by the cover art).

Many have suggested that the voice reading the poem might be the voice of the "military". I find this interpretation logical. The voice on Telepath is dictating station numbers. There is some kind of a military operation going on here. The atmosphere seems tense, as if there was something terrible about to happen. It is both comical and frightening to hear this menacing voice reciting numbers like a 6-year-old learning to count. A movie scenario where a menacing man-child having nuclear codes and is learning how to use it.

Behind the need for brutal authority and displays of power often lies a neglected child (and various forms of “daddy issues”). Nothing is Real begins with the time-stretched sound of a crying child. The music also evokes MHTRTC. 

But why would this “military entity” direct reproaches at Jesus?
Throughout history, conquerors—to justify the sacrifice of human lives in the name of their own ambitions—have had to resort to some form of higher moral justification: either by invoking their divine nature (as was the case in the Roman Empire and feudal Japan) or by aligning themselves with religious leaders who do the work for them. In the West, the Christian clergy played this role. More than anyone else, military leaders must be steeped in this idea. They must sincerely believe they are the extension of God’s arm and are in direct contact with Him (through some form of so-called telepathy). But what happens when an empire collapses and discovers that God has never been with them?

Consider the trauma that occurred in feudal Japan: On January 1, 1946, when the emperor Hirohito announced to his people that he was no longer a god, it caused utter consternation among the population. This was followed by a wave of suicides among high-ranking military officers and a complete loss of moral compass. It has been a major theme in Japanese literature ever since. Fortunately, Japan did not had nuclear weapon at this time.

How might the West react upon realising that it has never had God’s support? In a society populated by dogmatic child-men, one should not expect much emotional maturity from them. They might shift the blame onto Jesus and take refuge in nihilistic superlatives: ‘Everything is a lie, nothing is real.’ In this absolute moral void arises the child-man’s final pleasure: the temptation to reduce everything to ashes.

But that's just a movie.

[Scories]

Sorry, I should have written: “In a society ruled by dogmatic, childish military leaders, you can’t expect much emotional maturity from them. I wasn’t referring to the general population. And we’re still talking about a fictional film setting. I just wanted to clarify that.

[WATER_CAN-_-]

[Scories]

Exactly. I also picked these details back in the days.

TH/Propchecy at 1420MHz reminds me of these words from the Sermon on the Mount:

15 “Watch out for false prophets. They come to you in sheep’s clothing, but inwardly they are ferocious wolves. 16 By their fruit you will recognize them. Do people pick grapes from thornbushes, or figs from thistles? 17 Likewise, every good tree bears good fruit, but a bad tree bears bad fruit. 18 A good tree cannot bear bad fruit, and a bad tree cannot bear good fruit. 19 Every tree that does not bear good fruit is cut down and thrown into the fire. 20 Thus, by their fruit you will recognize them.

21 “Not everyone who says to me, ‘Lord, Lord,’ will enter the kingdom of heaven, but only the one who does the will of my Father who is in heaven. 22 Many will say to me on that day, ‘Lord, Lord, did we not prophesy in your name and in your name drive out demons and in your name perform many miracles?’ 23 Then I will tell them plainly, ‘I never knew you. Away from me, you evildoers!’

[WATER_CAN-_-]

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[Den]

I just read an interview from a Japanese magazine for The Campfire Headphase and was reminded that they were already alluding to Tomorrow's Harvest directly back then.

Marcus: "I think 'a lost future' is a good idea. Every generation has its own ideas about what the future will be like. What will the future bring? When one generation disappears, their vision of the future also disappears and is replaced by something different. Mike and I were greatly influenced by the bittersweet and contradictory visions of the future that existed from the late '70s to the early '80s. At that time, sci-fi movies and novels had a theme that the future would be both wonderfully astonishing and terrifying. That dark, paranoid view of the future is something we've carried with us to this day, and we like to inject it into our own art and music. If you've sensed that in this record, it will become even more pronounced in the next album."

https://bocpages.org/wiki/Music_of_Struggle

[writetomhatcher]

Holy shit that’s amazing.