I'm really intrigued by the fact that the credits so specifically say all tracks were written and produced by Mike Sandison and that Marcus Eoin is only credited as a performer. I can also see why they might be reluctant to do interviews this time around as that might lead to a lot of personal questions. Hope all is good in the camp
This intrigues me more than any of the build up, the first release that credits Mike on his own as the writer and producer of the music. I'll be interested to read an interview, if they do one, to see if they both do it, or will Mike go solo.
If I can be slightly pedantic here, was that not credited to both David Henderson & Mike Sandison? Besides, that was a remix, this is the first actual official BOC release for which Mike is given sole writing credits.
Apparently Farewell Fire is a Marcus only track like I remembered. A great composition too. Well it was only said that he played it but why would he play it if Mike wrote it, when they both can play. So this isn't a usual situation that Mike wrote all the tracks and the 13 year timeframe makes it stranger. Can't imagine Marcus stopping to compose or having all his tracks sacked by Mike but maybe that happened. Maybe Mike made a "hell themed" album and we're getting a "heaven themed" Marcus album later lol...
Mine hasn't shipped yet (to Canada), however, checking my original email, it says it should be shipping tomorrow (May 26th). My shipping option was 3-5 business days, I was kind of hoping to have got a notification by now, but I guess it's all estimated timing and what not.
I AM GOD. THE ULTIMATE RESONANCE.
There are a lot of different 'me's, you know. There's the mad me, when I get angry.
Reason I say this is it’s a decent discussion to elaborate on but seems silly to hide it behind spoilers all the time.
Maybe we can open up on this so we can discuss freely?
Some of us on the discord have found the sample sources for almost all of the main speech on Father and Son. It's from the same documentary they used for some visuals on Tape 05. - At 33:40 there is a conversation between a Father and his son who is indoctrinated into the cult and the father wants him to leave and come home. Once again like a lot of things with Inferno, it's very on the nose and unsubtle. But yeah that one conversation between the father and son makes up the bulk of the speech samples in the song.
audiotrack wrote:Reason I say this is it’s a decent discussion to elaborate on but seems silly to hide it behind spoilers all the time.
Maybe we can open up on this so we can discuss freely?
Some people are super keen not to have any kind of information on the album prior to Friday's release, which I can understand. So I put the spoiler tag on to respect that.
audiotrack wrote:Reason I say this is it’s a decent discussion to elaborate on but seems silly to hide it behind spoilers all the time.
Maybe we can open up on this so we can discuss freely?
Some people are super keen not to have any kind of information on the album prior to Friday's release, which I can understand. So I put the spoiler tag on to respect that.
Fair enough. It’s only a short wait now anyway but I think this deserves its own topic. Will see.
(1997) What are the advantages of working as a duo?
MS: "Definitely quality control. Some artists, which I will not mention here, publish too much and often too average material. If they had a partner, he could tell them: I understand why you did it, but it's just shit. So we do it. Actually, we produce a lot of tracks, of which I write the most and Marcus tells me then what he thinks of it. Before others hear our tracks, we've both found them good enough."
(1998) How *DO* you write music? What's the starting point? A feeling, a sound or an idea? And who of you two makes the first sketches?
"It's a team effort. Usually the starting point is a melody. We write hundreds of little melodies, and the most attractive ones last in our minds. We go back to them and pick the ones that really stand out, then we start piecing together rhythms. Both of us write the tunes and rhythms. On the album Music Has The Right To Children 50% was by Marcus, 50% by me (Mike, rp). Not one of the tracks was totally written by one person."
(2002) In making your work, who takes on the specific roles?
Marcus: "Mike has become a source of inspiration for the core of the songs, he always has unique melodies and strange and wonderful ideas."
Mike: "Marcus' strengths are a great combination of musical experience. He is a great music producer and also the anti-producer in a way. A kind of guru in many ways."
(2013) Among the recorded tracks, which one was the most difficult to complete or had the most emotional significance to you?
Michael: "Hmm, on the album, "Jacquard Causeway" was technically the most difficult. Part of the melody kept being flagged as 'out of phase' with the other parts."
What do you mean by that?
Michael: "Basically, when played in mono, all the melody lines would error out and disappear. In order to solve the issue, we had to invert the phase — but we couldn’t just flip it like that. The problem was, when we fixed one part of the melody, another part would go out of sync instead, and we’d get a new error. It was a total nightmare. But Marcus is a technology genius, so he managed to save the entire track. Thanks to that, we were able to include it on the album."
"Sometimes" (BOC remix) aka "The Protection of Happiness Generator" (2017)
Producer: Mike Sandison
Producer: Marcus Eoin
Composer, Lyricist: Mike Sandison
I attended the NYC Inferno 7:00 pm listening session, and was blown away. As a fan since 2001 - and very partial to the earliest sound - I honestly love this new music. It’s an amazing record. As with most BoC, the new music feels like a collection of old tv show and documentary soundtracks being heard in a very distant future (i.e. the digital glitches in analog voice recordings, some sounding like the earliest recordings in history).
At the beginning of the session, in the dark red light of the knave, it felt as if we were being initiated into a hi-tech cult of the 80s. The opening announcement itself reminded me of the beginning of Blue Man Group performance - a truly experiential alternate reality, minus the marshmallows and spray paint. I think it was a wink and nod for the vibe to come.
The record sounds like the most “produced” BoC ever. It’s seems like Warp Records and the Brothers put a lot of work (and money?) into the final product and experience. The marketing campaign alone taps right into the zeitgeist of the BoC fan (with a humorous wink and nod, perhaps) in ways that show they know exactly what everyone from the less initiated to the most ardent superfan has been thinking and talking about throughout the Brothers' career - from the voice samples (and their enigmatic meanings), to instructional videos of the past, and onto the “specially designed audio triggers - what we call hex-recordings” - this music transports you into memories that may or may not yet exist. That's one of the most unusual draws - the memories feel real, even if you don't have them. But as I listened to Inferno with my eyes closed, I felt truly transported to another place inside my mind - implanted experiences that somehow feel real. I think all of us have a very specific reason why BoC resonates inside us. Part of what initially drew me in was the amazing beats and melodies. But subconsciously, I think there's a deeper trigger - perhaps familiar sounds of my childhood and a fascination with the mysterious and enigmatic (I listened to shortwave number stations more than a decade before I ever heard BoC). Either way, Inferno draws me in on more sublime level than before. Cannot wait to hear it through headphones.
I attended the NYC Inferno 7:00 pm listening session, and was blown away. As a fan since 2001 - and very partial to the earliest sound - I honestly love this new music. It’s an amazing record. As with most BoC, the new music feels like a collection of old tv show and documentary soundtracks being heard in a very distant future (i.e. the digital glitches in analog voice recordings, some sounding like the earliest recordings in history).
At the beginning of the session, in the dark red light of the knave, it felt as if we were being initiated into a hi-tech cult of the 80s. The opening announcement itself reminded me of the beginning of Blue Man Group performance - a truly experiential alternate reality, minus the marshmallows and spray paint. I think it was a wink and nod for the vibe to come.
The record sounds like the most “produced” BoC ever. It’s seems like Warp Records and the Brothers put a lot of work (and money?) into the final product and experience. The marketing campaign alone taps right into the zeitgeist of the BoC fan (with a humorous wink and nod, perhaps) in ways that show they know exactly what everyone from the less initiated to the most ardent superfan has been thinking and talking about throughout the Brothers' career - from the voice samples (and their enigmatic meanings), to instructional videos of the past, and onto the “specially designed audio triggers - what we call hex-recordings” - this music transports you into memories that may or may not yet exist. That's one of the most unusual draws - the memories feel real, even if you don't have them. But as I listened to Inferno with my eyes closed, I felt truly transported to another place inside my mind - implanted experiences that somehow feel real. I think all of us have a very specific reason why BoC resonates inside us. Part of what initially drew me in was the amazing beats and melodies. But subconsciously, I think there's a deeper trigger - perhaps familiar sounds of my childhood and a fascination with the mysterious and enigmatic (I listened to shortwave number stations more than a decade before I ever heard BoC). Either way, Inferno draws me in on more sublime level than before. Cannot wait to hear it through headphones.
Thank you for this great post, supergrine!
I'm really optimistic about the album now. Seems it's pretty good.
soooo apparently, the end credits of the upcoming backrooms movie feature a yet unheard song off inferno, the word becomes flesh. there was a reddit post about it which got taken down, including a tiktok clip with a few seconds of audio, but I'm not sure if I can post it here.
soooo apparently, the end credits of the upcoming backrooms movie feature a yet unheard song off inferno, the word becomes flesh. there was a reddit post about it which got taken down, including a tiktok clip with a few seconds of audio, but I'm not sure if I can post it here.
I'm very skeptical, that means they (the filmmakers) had access to the song before the album was announced/came out, for that kind off movie (first time director). It seems unlikely but I would be interested in seeing evidence to the contrary.
" if you are reading this you are spending too much time at your computer. go outside and get some fresh air. "
