____twoism

2020k wrote:I trust RA a lot more than I trust, uh, the financial times. So.

https://ra.co/reviews/36354

Very good review.
"Say goodbye to the fuzz and wistfulness" makes me kind of sad, though.

Wildfire wrote:

Naraka makes it seem as if they’re laughing at eastern religion, too – either that or they’re just deploying lazy orientalism (which later reappears with the sitar twang of Deep Time).

Peak Guardian. Taking something joyful and then purposefully intellectualising/politicising it to the point of negativity. I truly dislike that newspaper so much these days. Maybe if BOC hadn't been white middle aged males this review would have been different (I'm sure I'll take heat for that one but fuck it). Also it's not a sitar you c**t.

The dude even mismatched "Deep Time" over "Blood in the Labyrinth". Invalid.

Not really getting into criticism of the review as such - they’ve heard the record, I haven’t- and ultimately it’s a case of “man dislikes album by pop group” - which is fine…. But the Guardian’s music reviews used to be really reliable but have definitely dropped off. Alexis Pedridis (sp?) is a decent writer and I like Dave Simpson, but they’ve definitely gone all in on the whole poptimism over th last few years (and I love pop!).

On the whole though it’s a very “Guardian” review - looking for problems from a cultural appropriation POV rather than “is it a good pop record”. The comment about Amo Bishop Rosen being “proto dubstep” is telling given that when In A Beautiful Place.. came out in 2000 (?) dubdtep was busy being invented elsewhere (FWD>> / Rinse FM) and sounded bugger all lime Amo…


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Well, in general, I don't trust music journalism at all. People write too much — too many words. As for this new release, while it's still not available to everyone, I'd rather talk about it in a more nonverbal way, drawing correlations with more music and platonic ideas.

It’s the guardian, and he’s got a double barrelled name. Thinks he’s so clever, he probably thought Mumford and Sons were great until someone told him they were uncool.

Anyway, not reading any reviews yet and The Guardian these days are basically the vanguard of UK liberal reactionaryism, so fuck 'em.

You don't review a boards of canada album after a few hours, you review it after a year of two

I'll put this in spoilers I guess even though you'd expect people who open this thread to be willing to be spoiled?

Spoiler: show

Guardian wrote:On Father and Son, voices of people having crises of faith are jokily cut up into a light funky rhythm, recalling the Avalanches’ Frontier Psychiatrist. Perhaps Richard Dawkins would be amused by it; others will find it excruciatingly unfunny

I heard from other sources that Father and Son might be pretty messed up? This description sounds like the writer genuinely thought the intention was to ridicule and have a laugh? If it's meant to come across as insensitive to me like it sounds like it's about creating an uneasy atmosphere like "channeling the Devil who is mocking these people". And that does sit right with me. If anything I wish they went full psycho

That is exactly the vibe I got from it, and why it's used there, yes. Look at the picture, not the pieces.

I want to keep my positive energy up and not sweat bad reviews of a thing I like cos taste is subjective after all. But "orientalism is when white guys play a sitar" is SO fucking dumb lol. They absolutely rage-baited me with that one

from Scotland…

5 stars

https://www.heraldscotland.com/life_sty ... 2c4b7fe926

In the article, they refer to the track Amo Bishop Roden as being “proto-dubstep”. Is that supposed to be a joke, or is the reviewer that disconnected from reality?

GUNBOUND wrote:As for this new release, while it's still not available to everyone, I'd rather talk about it in a more nonverbal way, drawing correlations with more music and platonic ideas.

You want to talk about it nonverbally?

Negamuse wrote:That is exactly the vibe I got from it, and why it's used there, yes. Look at the picture, not the pieces.

I want to keep my positive energy up and not sweat bad reviews of a thing I like cos taste is subjective after all. But "orientalism is when white guys play a sitar" is SO fucking dumb lol. They absolutely rage-baited me with that one

The irony is he's only showing his own limited understanding of their music. He's projecting his own naivety onto the album and then concluding everyone is racist, insensitive and sardonic. It's so weak and desperate.

There are now several different topics covering the various Inferno interviews, so I thought it might be useful to create one central thread to collect them all together in one place.

This topic is specifically intended for interviews related to Inferno, whether that’s magazine articles, podcasts etc. The goal is mainly to keep things organised and make it easier for members to follow everything without needing to jump between multiple threads.

Feel free to share anything relevant you come across.

Gazebo4 wrote:You don't review a boards of canada album after a few hours, you review it after a year of two

This is the truth. TH sat fiercely at the bottom of my ranking of BOC releases until 2020 where it shot its way up to the top where it still lives today.

From the Scot review: the advance streaming link for Inferno states it is for an album called Helium by a band of the same name. Likewise Boards Of Canada album artwork generally poses more questions than it answers.

Worth noting.

pigammon wrote:

GUNBOUND wrote:As for this new release, while it's still not available to everyone, I'd rather talk about it in a more nonverbal way, drawing correlations with more music and platonic ideas.

You want to talk about it nonverbally?

Yes, to speak instrumentally. Music doesn’t need words to express itself, don’t you agree?

"The dreamer glimpses things he has never seen before
And they will change him forever
In the world of dreams
Things happen that are not possible in the world he came from
Questions are answered
But the answers are in a language he has never heard before
He understands that language, though, in the dream
Everything is resolved in the dream, or so it seems
But it all must remain in the dream
When he awakens, he will forget that language
It will be incomprehensible again
He will only remember that when he dreamed, he understood it
He will forget the music he heard in his dream
Music that made him fly
Music that made him escape from his body
Music that made him escape from time itself
But he will remember when he awakens
That there was this music
That there must be music like this somewhere
Even if it is only in dreams
The dreamer experiences everything passively
He lies asleep and it moves through him
These experiences may be more wondrous
Than anything else he has ever tasted
But they are perpetually out of his grasp
The dreamer has no power
He has no will
The dreams enter through him
And he is their vessel"

DJ Mag review - 'Gorgeous mechanical unease'

https://djmag.com/reviews/boards-of-canada-inferno

2020k wrote:

Gazebo4 wrote:You don't review a boards of canada album after a few hours, you review it after a year of two

This is the truth. TH sat fiercely at the bottom of my ranking of BOC releases until 2020 where it shot its way up to the top where it still lives today.

Yes that's a good example.

I feel nowadays more than ever there is such a shallow "thumbs up or down" way of labeling things immediately, like it's so black and white. It's the brain constantly liking of disliking, comparing, evaluating, analyzing... What about an open mind, truly listening/looking instead of constantly labeling what we perceive, letting it all sink in for a good while, contemplating and being open to new ideas or experiences.
It's fine if it's not to our liking of course, but at least give it a while and step out of our own limited perspective of what we already know. Life will be much more rich and have much more depth as a result.

Its more about feeling than constantly rationalizing and trying to understand.

Gazebo4 wrote:You don't review a boards of canada album after a few hours, you review it after a year of two

I completely agree; I thought I was one of the few who felt that way. I’ve felt that way about every release except MHTRTC. To me iIt’s like a fine wine: it needs time to mature and develop a richer flavour.

It's true. I recently started loving Palace Posy, after 13 years of it being my least favourite track on Tomorrow's Harvest.