____twoism

calm before the storm....

I might be reading too much into it but I got the sense that they're treating the Sexual Objects differently to the other artists they remix because the relationship is different. The other artists are well established in a way TSO aren't, and with TSO, BoC were coming on board as producers earlier on. You can imagine them not wanting to kind of overshadow them by making their release about BoC (which is kind of what's happening anyway).

I dunno. Maybe I'm reaching there.

Did the Sexual Objects just not destroy an entire album after selling it once recently

Glen_Glog wrote:Did the Sexual Objects just not destroy an entire album after selling it once recently

Yes, one copy was sold to the highest bidder, that was this album Marshmellow and the buyer was Triassic Tusk Records.

This may be a bit distracting from the debate over BoC's musicality, but in terms of music theory this remix is pretty interesting, especially for this band.

The intro with the synth pads is undeniably in C# Major; however the flute in the background hangs on A and B a bit much. A and B aren't notes that are part of the C# Major scale, they belong to C# Minor, which gives a bit of extra tension/sadness/melancholy to the intro. However the really interesting thing about this song is when the piano & bass come in they are both playing in B Major, which is a whole step down from C# Major. As this new section comes in, the synth pads fade away and thus we have a very subtle modulation right in the middle of a BoC song. This is relatively new for the brothers, I can't think of many of their songs with modulations in them, though there are a few (Aquarius, Split Your Infinities, New Seeds, and maybe Palace Posy). The fact that most of those songs are from TH shows perhaps a willingness to step away from staying in just one key for the whole song, which is given further proof through this remix. However, one of the reasons I like BoC so much is their interest in unusual chords, a staple of their music that usually means they don't need to rely on modulations to create excitement.

With that, the chords in this song are interesting yet at the same time more conventional than a typical BoC progression (and I'm not sure exactly how much of this is due to the original song, BoC have proven that they are quite capable of outstepping the bounds of every song they remix). The chords during the main part of the song are B Major, Bdom7 in third inversion, C# Minor, and F# Major. With Roman numerals this would be I V7/IV ii V. The V7/IV (Bdom7 in third inversion) is an interesting chord which generally leans toward the major IV or minor iv in first inversion or possibly a flat major VI. The brothers aren't strangers to this chord, because they use it in 5/9/78 with the next chord being the flat major VI (and I suspect this progression is why 5/9/78 is enjoyed so much). However, here it moves to the minor ii instead of resolving correctly - which isn't to say it's bad, just unexpected. But what's perhaps stranger is that the ii moves to the major V which loops back to the major I. The strange thing about this progression is that it's totally normal and by any other band's standards expected. BoC typically stray away from these sorts of circle progressions and even if they do adapt them something is usually changed (the V being made a minor v in Dawn Chorus, for example). This might be because it's a remix and the chords are just being taken from the original, but like I said earlier, BoC could have definitely changed them without a hitch. I don't know what made them decide to take the slightly more conventional route for this remix (though of course the V7/IV going to a ii is unconventional).

Anyway I could go on way too long about the music theory behind BoC songs but the bottom line here is that this remix, and especially the Tomorrow's Harvest tracks I mentioned show a step in a new direction for the band. Sure, the crazy chord progressions and percussion loops of 90's-era BoC are fantastic and a big part of defining their sound, and this isn't to put down those things, but just to note that they open to new ideas, which is exactly what I love to see in a band. Excited to hear more proof that BoC is taking this sort of direction with their music and I can't wait to hear how it gets integrated into their next album (if at all, they may completely reject the idea and do something different)!

So I was curious, what's the consensus on who the marionette's are of? My friend thinks it's of The Sexual Objects, but the video only came out with the remix. Is this the closest we get to live?

In other news, had my birthday party this past Saturday! I constructed an 8'x16' screen on a flat bed trailer and projected this music video onto it in a field, it was a great time. With an 8' screen the marionettes looked life size. Afterwards my friends and I watched episode 8 of the new twin peaks, it was lit.

rick7487 wrote:So I was curious, what's the consensus on who the marionette's are of? My friend thinks it's of The Sexual Objects, but the video only came out with the remix. Is this the closest we get to live?

The drum pads are hexagon-shaped so I'd imagine the ones on the keyboard and drums are intended to be the brothers. Maybe there are different ones for the vocalists? I can't tell if there are 2 different puppets at the mic or not.

It confuses me to a certain extent. The puppets doing the vocals do appear to be the same as the ones playing the keys and pads. Although obviously the vocal sample is taken from the original as performed by the Sexual Objects. The beanie hats indicate that they could be the brothers but they don't bear much physical resemblance to them other than that (Even as puppets go).

Hi all! Dunno if anyone already noticed the presence of strings/cellos on this remix!? I just absolutely love it! A very similar feeling to Dayvan Cowboy. I wish the brothers were using more of these just like they did with guitars on the Campfire Headphase...maybe in the next chapter? P.S: recently went to Giant's Causeway, it was a blast with luckily not that many people and great weather, a must see for any hardcore BoC listeneners!

15Dreams wrote: Anyway I could go on way too long about the music theory behind BoC songs but the bottom line here is that this remix, and especially the Tomorrow's Harvest tracks I mentioned show a step in a new direction for the band. Sure, the crazy chord progressions and percussion loops of 90's-era BoC are fantastic and a big part of defining their sound, and this isn't to put down those things, but just to note that they open to new ideas, which is exactly what I love to see in a band. Excited to hear more proof that BoC is taking this sort of direction with their music and I can't wait to hear how it gets integrated into their next album (if at all, they may completely reject the idea and do something different)!

Sometimes I wish BOC fans geeked out more..... SOOOOMMEETAAAAAAAAAIIIIIIIIMMMESSSSSSS.

Aka I'd be highly interested in you dissecting the theory behind BOC songs. Would love if you threw some info up on this forum or even better contribute to BOCpages since it's less likely to get lost long term there.

rick7487 wrote:So I was curious, what's the consensus on who the marionette's are of? My friend thinks it's of The Sexual Objects, but the video only came out with the remix. Is this the closest we get to live?

In other news, had my birthday party this past Saturday! I constructed an 8'x16' screen on a flat bed trailer and projected this music video onto it in a field, it was a great time. With an 8' screen the marionettes looked life size. Afterwards my friends and I watched episode 8 of the new twin peaks, it was lit.

I assumed it was the brothers, especially around 2:09 when the key melody comes in- the shot focuses right on it- and no such instrumental reminisce exists in the original track. The shots sync up with the remix version, instruments and the number of people performing it (2). Oh, and beanies.

In other news- happy late birthday, sounds like it was a good time.

Had a listen to the original Sexual Objects track first. The video was humorous but the song itself didn't really do much for me. The whole duration I was thinking "how're the boys gonna make this vocal work?" and I guess the answer was to 'AE' it & loop only a single word and phrase over a track of their own. Fine by me. The first 2.5 minutes are glorious!

breadmaker wrote:

Peacock Tail wrote:Download available here:

https://triassictusk.bandcamp.com/album ... es-remixes

Thanks for this link.

Is it me or does the Andrew Weatherall dub seem cut off in a way that doesn't sound intentional?

Yeah it seems to be an upload error on their end as the mix on the vinyl is over 8 minutes. Emailed Triassic about this just now, hopefully it'll get addressed promptly.

Funnily enough, I've not warmed to the Andy Weatherall mix yet. Need to give it a few more spins I think.

Goiter Sanchez wrote:

breadmaker wrote:

Peacock Tail wrote:Download available here:

https://triassictusk.bandcamp.com/album ... es-remixes

Thanks for this link.

Is it me or does the Andrew Weatherall dub seem cut off in a way that doesn't sound intentional?

Yeah it seems to be an upload error on their end as the mix on the vinyl is over 8 minutes. Emailed Triassic about this just now, hopefully it'll get addressed promptly.

Fixed now, Weatherall mix is now 8:44 on the DL. ReDL the track if you care to/haven't already.

definitely beginning to grow on me this tune

maybe I struggled with the juxtaposition of the first and second halves, first the deep almost classic Boards synths (which immediately made my eyes and ears light up) and then suddenly stitched into the throwaway indie pop vocals which I wasn't so keen on and seemed to really ruin the vibe and good first aid treatment to the goosebumps I initially received

even so, it gets better each time I hear it

I wonder if the lyrics have a special message. Like in this song there is a question “You okay?” and an answer “Sometimes.” I can really relate.

Is this song down right boring or is it just me? It's having a Last Walk Around Mirror Lake effect but i eventually grew to like that one. This ones not cutting it. It's too drawn out or is it?

It doesn't feel drawn out to me, it builds slow for sure, but all that time seems needed. I can't think where they could have cut time.

It is laid back though even when it gets going. There's no immediacy in it, it's just a wash of slow burning tune that dissolves to an almost lullaby conclusion. I can see how that might divide opinion... I love it personally, it feels confident.

Not a huge fan of the cadential ending (the final chords that close out the melody in a neat n tidy way); have always tended to prefer this kind of music to just drift out more often than not. Other than that and the vox... this is wonderful!