Τρίτη, 27 Σεπτεμβρίου 2005

rescue yourself [from being dragged along with the flood]

«When I was a kid, about five years old», λέει ο Mike Sandison, «a relative of mine had one of those tacky ceramic owls on their mantelpiece, and it had multifaceted diamante eyes. I was totally obsessed with these sparkly glass eyes, for ages. I felt like looking into them was like looking sideways through everything, right through time. That’s what we’re trying to do with our music».
«On this album», συνεχίζει παρακάτω, «it’s interesting because we’ve aged it and made it more like it’s been recorded 25 years ago or something, with each track that we’ve used the guitars on, we’ve put things in it which are impossible on a 1970s record. Sometimes we’ll construct an entire song out of samples that we’ll make, so we’ll maybe take instruments and play parts or play notes and we’ll make entire spans of notes out of sounds we really like, and then play them in ways that the original instrument couldn’t have played. You could take a span of lots of notes on the guitar, and then you would play chords on that guitar by hitting them all at once, in a way that a real guitar could never be played. And then of course we would do a lot of other things to the guitar to really tweak it and make it sound very, very gnarly and damaged.
One thing we tried to do, προσθέτει ο Eoin, and we’re trying to do more of, is a sense that you’re hearing a piece of music that’s come through the wringer a bit-it’s definitely not coming literally. It’s not just a guy standing in front of you with the latest keyboard workstation. There’s a sense that you’re listening to a tune, but how many times has that been copied from tape to tape…by the time it’s reached you it’s crumbled, it’s turned into powder.
Somewhere up in the Highlands, they tell me [γράφει ο Rob Young], lies a valley that’s the last remaining site in the UK where radio signals, microwaves and mobile phone signals can’t reach. An Eden such as this, free of the harmful effects of technology and sheltered from a penetration by foreign chatter, sounds like the kind of place Boards of Canada’s music could happily live. A place where you might be able to start to observe the world directly, anew, unmediated by outside influence. In such places you can build your ark, rescue yourself from being dragged along with the flood. Most of the music they love and admire is made by folk who have build their own bubble, where the music lives in its own epoch, its own special crafted box…
[αποσπάσματα απ’ τη συνέντευξη των Boards of Canada στον Rob Young στο τελευταίο Wire. pix by Leon Chew]

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