____twoism

(Double posted by accident)

Still love it...one of the top 10 tracks they've ever done, IMHO.

Did a video for it (almost two years ago now)...contains bees and flowers.

https://youtu.be/7Sx4QyMwiWs

I'm quite sure I head the guitar(banjo?) loop of this track in some psych/folk anti-nuclear track from maybe 60-70's some while back but cant remember what it was at the moment. I'll try and investigate. The singer was actually singing something about nuclear bombs or whatever. Buggin'!

Something in the vain of Sensations's Fix (btw check their first album if you dig BoC, maybe some influences there too) but something more known maybe.

ravedamage wrote:Still love it...one of the top 10 tracks they've ever done, IMHO.

It's in there. I'd put it at maybe no. 10 or 9 exactly. I feel like they maybe managed to take a surprise turn at exactly the right moment with the ending of New Seeds and if they hadn't, a lot of the effect would have been lost.

But when that line comes in and the percussion starts in the beginning, it's very nice. Cuts it very close as it is with the length. Maybe it feels like this because it almost seems like two songs that got smashed into each other with the transition being lost. I like that effect when they do it right.

Rodheh wrote:I feel like they maybe managed to take a surprise turn at exactly the right moment with the ending of New Seeds and if they hadn't, a lot of the effect would have been lost.

Those qualities, the "surprise turns" and the "right moments" that Boards of Canada manage to reach in their music so well...probably my favorite thing about them by far. Whether intentionally done, or accidentally found while composing---and their published music is likely a good balance between these---my music taste, and music-making, forever took a terrific shift because of them.

For instance, I still can't say I really "play piano" these days, I still do it by ear. I sort of "hop around" on the keys until I find good combinations. I can say that Boards of Canada likely had a great influence on how I explore and seek out melodies. When crafting music, I don't base it on something like a certain number of BPM or a "fashionable" sound that would get me a record deal--which I am totally fine with--instead I focus on the mood a melody can bring about, and put focus on the progression of what follows, and how it leads a listener's inner imagery.

I think it's one of the greatest properties of music to be able to make people picture things without actual visuals taking place in front of their eyes.

Rodheh wrote:Maybe it feels like this because it almost seems like two songs that got smashed into each other with the transition being lost. I like that effect when they do it right.

New Seeds definitely has a very open, building sound to it, sort of like Seven Forty Seven.
A nice fall-rise-fall. In reference to the words of yours I first quoted above, that brilliant ending apparently came about naturally in this case, although I do know what you're referring to about the cohesiveness of songs of theirs where even if they were separate pieces, fit together just right. To quote their NY Times interview:

There’s a point where the melody blossoms into something new, like a clearing in the clouds, and the timing of that moment just happened naturally while we were jamming it down.

Valotonin wrote:

that's cool actually,

there's a hiss at the beginnig of the track, a little to the left, but it's already gone at the end of it, almost like it was processed during the production, the same goes with JC,

what a great track actually, the melodies collide and at times it feels almost like a total mess, and then that little melodie spring up, little by little and the track starts to build up arround it, beatifull.

I have many interpretations arround this track, but the main feeling is somehow melancholic and enthussiastic, almost like humans, living their life, hoping for a better tomorrow

arvy wrote:

Valotonin wrote:

that's cool actually,

there's a hiss at the beginnig of the track, a little to the left, but it's already gone at the end of it, almost like it was processed during the production, the same goes with JC,

what a great track actually, the melodies collide and at times it feels almost like a total mess, and then that little melodie spring up, little by little and the track starts to build up arround it, beatifull.

I have many interpretations arround this track, but the main feeling is somehow melancholic and enthussiastic, almost like humans, living their life, hoping for a better tomorrow

'Hoping for a better tomorrow'. This is going to sound preachy and inplausible but I have always felt that the song is representative of the brothers visiting London coming straight down from nature in to the center of the urban landscape. At the beginning the loop is that of mobile phone interference that one gets a lot with musical equipment (picked up by amplifiers very loudly on occasion) representative of the obsession with distraction and unreal gadgetry and the way human beings can seem to accept it as the norm if everyone else accepts it as the norm. The rest of the song I feel has three movements.

Movement I : London's dirty Industry/ modes of transport
Movement II: Chemical Haze (the consequence) which is heard as the chorus of voices rolling in like a fog
Movement III: The song of the rain as the cleanser of the chemicals and fog *(1)
(earth cleansing its self and saving us from the dust that we must all come to eventually)
But I also feel this could be about the human brain having a very similar process; flushing out the pollutants and healing its self from the microwaves (wifi and phone signals heard throughout the track)*(2) with melatonin, cerebrospinal fluid and sleep like mental rain.

*(1) (just fitting)
*(2)http://www.ncbi.nlm.nih.gov/pubmed/22134878

https://benblash.bandcamp.com/track/new ... erdy-remix

anybody heard this? it goes HARD

Dandegyrecorder wrote:https://benblash.bandcamp.com/track/new ... erdy-remix

anybody heard this? it goes HARD

My first thought was that I hate hearing a track I love soiled by a dance remix... My second thought was I'd probably pee myself with joy if this came on while lit up at a club.

The main guitarish sounding chords almost sound like "morse code" to me. Like messages in the note progressions with the percussion also following in on it but in fractals.

Has anyone else thought of morse code? I could be completely wrong but I swear I hear dots and dashes. I think I might learn morse code now lol

Soul_Slip wrote:Has anyone else thought of morse code? I could be completely wrong but I swear I hear dots and dashes. I think I might learn morse code now lol

Yes the subject of morse code in TH songs has come up before. I am convinced that the beginning of Reach For The Dead has morse code in the static sounds and I posted a little about it. I don't have the time to start trying to pick Morse Code out of this record though. Thats a tall order! The beginning of New Seeds also sounds very much like morse code to me too.

Sweet, glad I am not the only one. You are definitely right about it being a difficult feat. I just feel like there are definite secrets to be understood yet. I still plan on learning it from my uncle, he is a Ham radio operator so he knows all about that stuff.

good track. I like how the constant "bell sound" let the whole track progress and blossom. maybe the ending just a little too weak, or maybe it could just progress to something more enganing, but still it has very strong tone. the whole "d" side is just balls to the wall. new seeds, then epic come to dust and deadly semena mertvykh. this side is almost on par with "b" side: telepath, cold earth, transmisiones ferox, sick times and [collapse].

i still think there is very clear morse code within the arpeggiated guitar chords/note rhythm.... might seek someone out who is well versed in the subject

THE OCEAN IS THERE AT THE END OF THE TRACK! THE OCEAN! I HAVE LISTENED TO IT SO MANY TIMES AND ONLY RECENTLY NOTICED THE OCEAN CALLING YOU BACK AT THE END OF THE TRACK!