Tomorrow's Harvest

[arvy]

i only wanted to add something to the mix to keep the conversation moving

quote was posted in response to you saying how the new record is somehow missing their original voice:

i hear a lot of their original voice and themes Tomorrow's Harvest

e.g

it opens with a recreation of a public broadcast film indent

Counting on Telepath akin to the number station recording on Gyroscope

Cold Earth is full of chopped samples of children voices

I dunno if it's a PB indent, more like one of the intros movie companies show at the beginning of a movie

Gyroscope doesn't really sound like a number station at all, I think. It's just a girl who's counting. Numbers stations sound entirely different

Yeah I guess that one song has this boy's voice...

But it's almost as if they're REFERENCING some of their old stuff, but none of it is in there still. Changing a direction in which an artist goes is one thing, but abandoning a whole legacy is a different thing altogether.

There is none of that weird warmth which to me was present even throughout Geogaddi, the usage of lots of distorted sounds of nature, real instruments AND synthesizers is gone- it's an entirely new direction. I guess you could say that after 8 years of course there was bound to be some change, but I feel like if they had released some stuff which actually showed in what direction they are evolving, what they are experimenting with, I would like TH a lot more.

The change is simply too abrupt. I'm listening to Trans Canada Highway and I listen to myself- oh boy, those were some nice, lush, detailed songs! A perfect addition to The Campfire Headphase! I wonder what's next! And then Tomorrow's Harvest comes in with nothing of that original flavour left. It's a shock to my delicate, poor ears.

I guess that my feelings are comparable to those people who absolutely hate TCH (LP/EP) because they're ENTIRELY different from Geogaddi, which is probably their most popular album...?

In your opinion.

[Najlepsiejszy]

In your opinion.

No crap?

I wouldn't expect them to not change the number station sample in Gyroscope at all... according to information on bocpages the counting in Gyroscope is literally taken from a recording of a Number Station broadcast that Autechre gifted to Boards of Canada.

I'm sorry, yes, you are apparently right! Bocpages says that the song samples The Conet Project. I wish I knew what song they were sampling.

I don't know if the changes are a legacy by now...I don't think so. The Campfire Headphase was only the 1st WIDELY ACCEPTED case of annoyance caused by them

[Peacock Tail]

I'm sorry, yes, you are apparently right! Bocpages says that the song samples The Conet Project. I wish I knew what song they were sampling.

Try searching for '5 dashes I say again' from The Conet Project.

[john fonda]

why do people compare albums? they aren't the same people as when they made geogaddi, the world wasn't the same back then either

futile argument

[Opothecary]

why do people compare albums? they aren't the same people as when they made geogaddi, the world wasn't the same back then either

futile argument

I agree with that, it also follows that you aren't the same person you were when you listened to Geogaddi. BoC might've spoken to you at the point in the time that you were on similar wavelengths, but both the artist and listener's tastes can change over time. It's not them, it's not you, it's them and you.

[FernieCanto]

why do people compare albums? they aren't the same people as when they made geogaddi, the world wasn't the same back then either

futile argument

Comparisons are natural; it's basically the way our brains are wired to understand the world, establishing connections, detecting patterns, noticing similarities and differences. I see no problem in that. I just think it's a shame when someone seems a rupture or a drastic change like some kind of "betrayal", you know? It's music, it's art, there are no rules, no boundaries. The artist is the sole owner of his music, and only they can know it intimately (and sometimes not even they can!). We, as listeners, can only guess.

Personally, what fascinated me the most about Tomorrow's Harvest is exactly that it is still noticeably Boards of Canada, and yet is something entirely new; and on the other side, it's radically different, but all the old ingredients and essences are there. The anthitesis works both ways, like flipping a coin. I can listen to it both as a "good ole BoC" and as a "brand new thing". I wouldn't have it any other way. And I perfectly accept those who feel differently (just as I wish to be accepted for feeling that roughly half of The Campfire Headphase is very subpar). It's just that, you know, they "abandoned a legacy"? Even if they did, well, we will never truly enter their mind and see exactly what went on. We can only guess, and I'm uncomfortable when people cross the line between guessing and judging. Yes, it's all opinions, but every opinion has an intent.

Now, all that is petty nitpicking on my part. The only thing that really nags on my brain is: they no longer use "real" instruments and synths? Well, what do they use then? Imaginary instruments? Call me an infidel if you will, but if they started using solely software plugins and digital stuff, I wouldn't give a shit. If they maintain their melodic sensibility, the subtle rthythmic complexity and the overall feeling for atmosphere, it will still be BoC to me. And if they flick all that off and go for something entirely different, I say bring it on, bitches.

... I sound like a real fanboy now, don't I?

[d e n]

O,

yes! to its "you and boc" . robert anton wilson would say the same thing i imagine! important to remember

fernie,

i feel everything youre saying too.

i do think it is missing the point to compare the value of the albums. equally confusing to me are the "pick favorite from each release" threads. i understand its a fun game but that question doesnt make much sense when one almost always listens to the records as a whole. sure, tracks like dawn chorus, or reach for the dead, get my blood pumping but to think of specific tracks or records in terms of favorites doesnt feel right because as O said things are always changing.

N, im not trying to be a bully or anything but i honestly think the perspective of "abandoning their legacy" is absurd. there are so many clear instances of their original sound and themes throughout tomorrows harvest. as I tried to say before if boc is too be described in terms of any history its that by now it should
be known that every record is distinctly unique from the next and yet its still going to sound like them. even trans canada highway had its own thing going on totally unique from campfire even while including daycan cowboy! that is precisely what makes them so great to me and what has kept my ongoing (to be honest) obsession with their band.

another thought , i hear the voice on telepath saying at one point "ahh, this is pointless" in between counting (havent looked in telepath thread to see if this was commonly heard) ... gives me an awesome impression but im not sure how to describe it... feel like there is some funny irony in there

[Opothecary]

I feel the exact same way as Fernie does about half of Campfire, but I respect that it's some peoples' overall favorite album too. It speaks to their strength that all of their work, even the stuff we're not meant to hear is loved by different segments of their fanbase.

I think TH is a massive improvement but the same people who loved Campfire might feel the exact opposite. This album is a lot more bleak (but also at times, more melodic) than the last one was. Geogaddi probably did the best job of interweaving darkness and melody, but that's what I'd expect out of something that's a psychedelic masterpiece.

I think they were going for something a little more monochromatic with this one and they succeeded at that too. What it comes down to is I think I can love anything they do, as long as it seems to me like they felt inspired while creating it. Campfire had some nice moments but it also seemed like it was made because they were obligated to make it. They stand by it but to me its the most directionless set of their music. Even OT/R35TT keeps my interest more because it jumps from idea to idea, never boring the listener.

[Najlepsiejszy]

they aren't the same people as when they made geogaddi, the world wasn't the same back then either

The first time I've ever heard BoC was in 2013 and I loved Geogaddi so I dunno

It's just that, you know, they "abandoned a legacy"?

TH doesn't sound like the previous releases at all to me. The only thing which makes it sound kind of like them is the use of distorted sounds

Now, all that is petty nitpicking on my part. The only thing that really nags on my brain is: they no longer use "real" instruments and synths? Well, what do they use then? Imaginary instruments?

I never said that

melodic sensibility

What do you mean by that?

subtle rthythmic complexity

What do you mean by that?

the overall feeling for atmosphere

But on TH it's so pretentious and fake it hurts. The album feels like it was done for the money. Also, we've all been through this. Feelings of desolation, being lost in the world, hopelessness have all already been explored by BoC on, I think, all of their releases except for The Campfire Headphase

N, im not trying to be a bully or anything but i honestly think the perspective of "abandoning their legacy" is absurd. there are so many clear instances of their original sound and themes throughout tomorrows harvest.

I haven't found at least 1 of them anywhere to be honest

be known that every record is distinctly unique from the next and yet its still going to sound like them. even trans canada highway had its own thing going on totally unique from campfire even while including daycan cowboy! that is precisely what makes them so great to me and what has kept my ongoing (to be honest) obsession with their band.

But at least there is some continuity- even when you go from Geogaddi to The Campfire Headphase. Geogaddi makes you noided and scared, and then The Campfire Headphase comes in and says "it's okay"

another thought , i hear the voice on telepath saying at one point "ahh, this is pointless" in between counting (havent looked in telepath thread to see if this was commonly heard) ... gives me an awesome impression but im not sure how to describe it... feel like there is some funny irony in there

It's probably supposed to mean: a) the character of the movie is trying to get in contact with other people, but he fails; b) we are all lost in the world, there is nothing we can do to save us, be scared and sad

[Najlepsiejszy]

"ahh, this is pointless"

Oh by the way, it's actually "this is quite close". Then the voice says "let's play it back and see what it sounds like." "Letting my voice (?)..." "NERVOUS!" "Don't be nervous.". And the counting starts again...I didn't mention it earlier because I'd forgotten about it, I haven't listened to the track in a while

[d e n]

i feel like making this post is pointless but here goes:

It sounds like you're trying to rationalize your disliking Tomorrow's Harvest... its okay to not like the music, but going out and saying "it sounds like they did it for the money" just disrespects music that is so clearly made with honest intentions and is what's compelling me to write this post ( with friendly intent )

does it make much sense that Boards of Canada would work on a record for 6 years for the sole purpose of making money? They probably would be approaching their output differently if that's all they were interested in... do you listen to Uritiual and think "yeah, they really were just trying to rake in the $ with this one".

You are stuck on inflexibly viewing this record as a movie or something... and its completely up to the listener to decide what they feel––you are simplifying the messages and themes of the individual records... even BOC has expressed in their interviews that ultimately it is all about the music. there isn't much room for "this probably means" but there IS a lot of room for the listener to come up with their own meaning. For example, they explicitly said that one their ideas for Campfire Headphase was "a road-trip headed west in the brain" and sense of 'being lost' , even blissfully , may be felt from that and the music.

This is a good time to post Vijay Iyers review of Tomorrow's Harvest. He is a prestigous piano player/Harvard music professor and he really spoke poorly of the record and definitely took a more pretentious approach with the writing style. I respected his honesty and I even felt that cold emptiness he mentions for the first year or so of listening to the record on and off. However, I feel like when I started to embrace the emptiness and let it be without expectation I started to feel the music.

http://thetalkhouse.com/music/talks/vij ... s-harvest/

This review makes me reflect on how differently people interpret Boards of Canada. Something that is so near and dear can be felt as trivial to another listener. I think this is where Opothecary's last post is important to remember.

Anyway, it's cool how this music can bring about so many different feelings and interpretations.

[john fonda]

boards of canada make plenty of money from publishing

none of their albums are commercial despite being heavy on melody

[arvy]

I think this album will outlive us all, this is somehow saddens me but also fascinates, i'm glad I was a part of it, I think the band really had their moment

[green calx]

there's " I Like You " message in New Seeds for some hardcore listeners

[john fonda]

I'm just glad they are back

Still one of the best bands around no matter how much scrutiny they undergo

[Najlepsiejszy]

It sounds like you're trying to rationalize your disliking Tomorrow's Harvest...

I am trying to find out why people like TH

They probably would be approaching their output differently if that's all they were interested in...

"Well, old chap, looks like we're running out of money!" "Oh no, I guess you're right! Let's release an LP then". This is how I think it actually went. Don't tell me it took them 8 years to make the right songs. They've admitted in one of their interviews that they really started working on the album in 2012. That's also around the time when MDG started saying an album would be out soon

Do you listen to Uritiual and think "yeah, they really were just trying to rake in the $ with this one".

Oh I'm afraid so, yes! They're MUCH MUCH MUCH better than Uritual

You are stuck on inflexibly viewing this record as a movie or something...

But they said many times that they wanted to recreate the feeling of old sci-fi movies' OSTs

also

http://thecreatorsproject.vice.com/blog ... ws-harvest

"According to Krug, there doesn't appear to have been any creative pressure from the band or the label to film things a certain way, but atmosphere was discussed plenty. Krug notes that one of the things they were going for was an air of paranoia and bleak sci-fi dystopia that was probably inspired by films from the mid-70s."

you are simplifying the messages and themes of the individual records

Absolutely not. I am seeing TH for what it is though

I respected his honesty and I even felt that cold emptiness he mentions for the first year or so of listening to the record on and off. However, I feel like when I started to embrace the emptiness and let it be without expectation I started to feel the music

But the coldness is so incredibly boring. There ARE SO MANY depressing albums. We don't and we DIDN'T need another one from them. Especially after the release of IABPOITC which to me is exactly like TH

[Najlepsiejszy]

boards of canada make plenty of money from publishing

none of their albums are commercial despite being heavy on melody

Melody isn't non-mainstream...

[Mexicola]

Eh? So melody IS mainstream? It can be, but that does seem a bit sweeping.

For what its worth, I do agree with some of the points you've made. I just happen to enjoy the album overall

[d e n]

they said they knew the title for the record 6 years prior or so and to me that is when the work begins...

going to try and answer your question stream of consciousness--

i like TH because i feel it as another step into a whole new world of sound. i feel that they had to make something like this to keep the band moving and to explore new territory--at the same time the record feels distinctly BOC. i also have a feeling that the record is reflective of their feelings about life and the world and whatever this all is. where the film influence may just be an inspiring guide for them to help transmit the ideas and feelings into tracks.

[d e n]

also,

i admire that they set out to make a specific record and kept with the original idea throughout the course of years. that is inspiring to me because its so easy to not finish what you begin.