Short Interview blurb from Mike Sandison in boxset article

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Unless this is from an older source, they actually got him to break silence for the first time since 2013(!) Very nice quote too in tribute of a guy who gave so many underground, creative bands air time.

https://warp.net/editorial/radio-live-t ... xKYHwjcHEI

One of Warp’s best loved acts is the enigmatic Scottish electronic duo, Boards Of Canada, and perhaps unsurprisingly, John Peel was an early supporter. Their session, which was originally broadcast on 21 July 1998, came just months after the release of their full-length debut album Music Has The Right To Children. The broadcast included notably different, dreamier, more psychedelic and pastoral versions of key tunes ‘Olson’ and ‘Aquarius’ plus the noticeably alternative hip hop influenced version of ‘Happy Cycling’. Perhaps the most interesting track here for BOC spotters is ‘XYZ’, which has been left off previous official releases of this session due to sampling rights issues.

The sessions nearly always tended to be recorded in advance either at the BBC or mailed in on DAT (this was in contrast to bands playing live on air during the show which weren’t counted as sessions). For some reason however these four tracks were recorded while the show was being broadcast meaning that Boards Of Canada, a notoriously publicity shy duo, were one of the only bands to give a live interview on air as their session went out.

Mike Sandison of BOC recalls sneaking off during a break to nosey around different rooms situated off the warren-like corridors of Maida Vale, with the vain hope of bumping into Radiophonic Workshop and KPM library music legend, Paddy Kingsland. What they found instead was “a shabby old place illuminated by the ghosts of Hendrix, Marc Bolan and Ian Curtis”.

Talking about the session he says: "It was an honour to be invited by John Peel to perform in the haunted environment at BBC Maida Vale in 1998. Sadly we never got to do our second session for John which had been scheduled shortly before he passed away in 2004, but we still hope to play it to him someday.”

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If you can be arsed reading more Xaugh shite, feel free to click on the Spoiler.

Spoiler: show
GIVE ME THE FUCKING BOARDS OF CANADA MUSIC DAMMIT!!!!!!!!!!!!

SATURDAY INDEX
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COPY THOSE BITCHES AND PUT IT ON THE FUCKING MY INTERNET

W W W IT'S A WORL WIDE MUSICAL WAR

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on the internets

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GIVE ME BOARDS OF CANADA
BANDCAMP OF RARE BOARDS OF CANADA





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GET

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UP

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Eagle Minded
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That's amazing.. An unheard boc peel session

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Dayvan Cowboy
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Is there a chemical remedy for acid casualties, an antacid?

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Yeah, that's new and very interesting, but frustrating about the second session.

I noticed on the 12" sleeve it explicitly mentions the sample on XYZ so that's obviously the reason it wasn't included before

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"but we still hope to play it to him someday”
Aww. Very nice (-:

No offense intended by my earlier post, Xaugh. I hope you are okay.

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2004? Wonder what they had planned for his show at that time...

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Sherbet Head
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funny how he manages to talk just like a guy who doesn't have a bunch of albums that are 20 years overdue for release

lol @ xaugh
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I could only imagine 2004 yielding some more Geogaddi/Campfire Headphase hybrids like Mirror Lake.

Hey maybe if we're lucky we might hear it one day...ah who am I kidding, file this next to the acoustic Music Has The Right and the Geogaddi outtakes.

Edit: To be fair though they do have a good reason not to share this stuff out of respect for John Peel. With the acoustic MHTRTC it was just, to quote the maestros themselves, "lame."

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Echelon wrote:I could only imagine 2004 yielding some more Geogaddi/Campfire Headphase hybrids like Mirror Lake.


I never thought of the Mirror Lake remix (2003) as this before, but you're right.

There's definitely a preview into what they were working on for The Campfire Headphase here, two years before the album came out.

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Forget the BOC stuff, Xaugh just stepped out of character for a moment!

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Yep. I agree. Always stated that what I wanted more than anything else was the material akin to Mirror Lake that would have been between Geogaddi and Campfire in aesthetic. Thank you for finding and sharing the interview segment, Echelon, as it is pretty thrilling to know that there are more completed tracks from that period in time. It is almost a shame that what we are presented in albums tends to be around the peak of their newest direction, rather than much in the way of material showing the transitions between.

Wildfire wrote:Forget the BOC stuff, Xaugh just stepped out of character for a moment!


That appeared to be an edit published much later than the original message, as it didn't say "Edited at (x)" underneath, it was a Moderator. Still, that would have been really funny.

I am going to say it was Mexi, but I could be wrong.

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I lurk here everyday of my life and rarely do I post, unless Xaugh incites me. I love Xaugh . Please don't filter him, mods.
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Valotonin wrote: It is almost a shame that what we are presented in albums tends to be around the peak of their newest direction, rather than much in the way of material showing the transitions between.


King Crimson had a boxset called The Road to Red. What I would not give for a "Road to Geogaddi" or a "Road to Headphase."

At least we have part of a Road To Geogaddi with all those live tracks from ATP. I'm pretty sure most of them are Geogaddi outtakes and I definitely think ATP02 is a Geogaddi outtake because it has the same jagged minimal beats, backwords voices and evil harrowing synths recreating the brothers' own personal hell. Some of the unreleased vignettes follow suit too.

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I think I would wager that the shift from Campfire into TH was more sudden although I hope it wasn't purely for the fact that it would be incredibly interesting to hear a combination of Campfire and Harvest. Vaguely hippie acoustic guitars with the cold creeping synths of a certain perception of 'reality' forcing their way through, like the forest in Campfire being paved over with concrete and cheap godawful LED street lights being installed.

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Valotonin wrote:I think I would wager that the shift from Campfire into TH was more sudden although I hope it wasn't purely for the fact that it would be incredibly interesting to hear a combination of Campfire and Harvest. Vaguely hippie acoustic guitars with the cold creeping synths of a certain perception of 'reality' forcing their way through, like the forest in Campfire being paved over with concrete and cheap godawful LED street lights being installed.

Ahhh yess this... that is almost the same picture I get with Seven Forty Seven! To me that was a perfect bridge to the coming Harvest... and also Skyliner!

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Soul_Slip wrote:Ahhh yess this... that is almost the same picture I get with Seven Forty Seven! To me that was a perfect bridge to the coming Harvest... and also Skyliner!


I had completely forgotten to factor Trans Canada Highway into it! Thank you for reminding me. TCH was like running Tomorrow's Harvest hardware on Campfire Headphase software. The tools that would later be used for Tomorrow's Harvest being used in a positive light. I suppose that is a part of the bridge gapped, I suppose the synths just got colder as time went on.

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Valotonin wrote:I think I would wager that the shift from Campfire into TH was more sudden although I hope it wasn't purely for the fact that it would be incredibly interesting to hear a combination of Campfire and Harvest. Vaguely hippie acoustic guitars with the cold creeping synths of a certain perception of 'reality' forcing their way through, like the forest in Campfire being paved over with concrete and cheap godawful LED street lights being installed.


Slow This Bird Down was the last track done for TCH and it points to the direction they were headed. Not only is it the most emotionally numb and cold track on TCH but the whole final side of TCH seems to be a lament for the death of nature. I always imagine the proposed campfire trip ending on the final side of TCH as the summer changes to autumn and the world grows cold.

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Beautifully stated, Echelon. It was cold technology from a mid 00s perspective, there is something still very FM radio, Satellite TV and CRT television about it. To the extent that it makes me nostalgic for the latter portion of my childhood, when CRT televisions started coming with DVD players built in and the lighting at home was replaced by those CFL energy saving bulbs that cast everything in an almost radioactive looking light (still warmer than those godawful LEDs yuck). Slow this bird down is a really powerful track in all honesty. If for no other reason than being a documentary of emotions and aesthetics from a certain point in time.

I also have a gut feeling that Julie and Candy was the track they were getting recorded for Geogaddi when 9/11 happened and that the changes to the song were as a result. That is purely speculation, though.

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Our local YMCA just installed masty bright blue light LED lights in their sauna and replaced the nice relaxing warm candle light traditional bulbs.... idiots.... you get a constant headache and it is hard to relax.... anyways slow this bird down always felt out of place to me but in a good way.... that intentional uneasiness that TH was soon to be.... Skyliner and Seven Forty Seven remind me of the death of the old world and into the new dystopian wasteland of AI and drones and grid networking controlled police state haha that

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