____twoism

WATER_CAN-_- wrote:

Dude what is up with you posting random videos with zero explanation? Bordering on shitposting!

WATER_CAN-_- wrote:

WATER_CAN-_- wrote:

WATER_CAN-_- wrote:

dana wrote:

WATER_CAN-_- wrote:

WATER_CAN-_- wrote:

WATER_CAN-_- wrote:

dana wrote:

WATER_CAN-_- wrote:

Redd Panderson wrote:

Dude what is up with you posting random videos with zero explanation? Bordering on shitposting!

WATER_CAN-_- has a good track record of providing value and also context to discussions by sharing snippets from interviews with BOC, so whatever we can say about their video posts, I wouldn't call them a shitposter.

That being said, I wouldn't mind more context with your video posts, water can. Even just a sentence conveying the connection you're making could help us know you're intent, what to look for, or a "too long, didn't watch/listen."

♄ope keeper wrote:Inferno sketches the everyday nature of evil: false idols and ominous prophets, mass hysteria and filthy conflicts – its layered sound materializes all of this and more.

Thirteen years after Tomorrow's Harvest, Boards Of Canada return to stimulate reflection on a fundamental point: the viscous and radically evil modernity in which we navigate is the result of harmful choices, made not in the name of a generalized (and in any case abstract) common good but clearly to the advantage of a few, with the effect of having gradually transformed the lives of most into a very earthly and equally intricate hell.

However, Mike Sandison and Marcus Eoin also seem to want to point out that there are still uncontaminated horizons to which we can turn a glance – even if it is the last one – of hope; they are there where their fifth album becomes more liquid and crystalline (Deep Time, Arena Americanada) or where it gives way to a collective chant (Naraka) or, again, to an ascending glimmer (You Retreat In Time And Space).

https://www.nonsiamodiqui.it/boards-of-canada-inferno

In this perspective, Inferno is a political work: through the use of samples (never so many), of a grammar that at times seems to go back to Geogaddi geometries and elsewhere recalls echoes of Daft Punk (the processed voices of Father And Son and The World Becomes Flash) and Kraftwerk (there it was a warning about the perfection of the computer, while here of the ephemeral of its application - v. Into The Magic Land), the Boards Of Canada stage the erosion of all certainty, the constant ruin of the present.

And it doesn't matter, after all, what and how much beauty can remain, and where. It's a matter of time. Hell is the world that burns, neighborhood by neighborhood, up to the threshold of the house.