____twoism

Echelon wrote:If Tomorrow's Harvest was a burning house, these are the first few I'd save

I think TH is an already burned down house and the songs that are on it are the ones that were saved.

drillkicker wrote:

Echelon wrote:If Tomorrow's Harvest was a burning house, these are the first few I'd save

I think TH is an already burned down house and the songs that are on it are the ones that were saved.

That's a good analogy. Honestly, some stuff on it just sounds like melted, malfunctioned machinery like Transmissions and Uritual

Echelon wrote:

drillkicker wrote:

Echelon wrote:If Tomorrow's Harvest was a burning house, these are the first few I'd save

I think TH is an already burned down house and the songs that are on it are the ones that were saved.

That's a good analogy. Honestly, some stuff on it just sounds like melted, malfunctioned machinery like Transmissions and Uritual

In the song Split Your Infinities, they used the “voltage drops/switching” sounds that occur as the tape switches between audio recording heads and the video record heads as a loop in one of the main lofi loops that spirals around... it is very subtle but it sounds like little feedback harmonics and little swirling metallic sounds.... I find it cool they used them as a note progression loop... those are artifacts that are almost impossible to eliminate...

Every time I read "Split Your Infinities" I see/hear it as "Split Your Infinitives". I actually believed that was the real name of the track for a long time and tagged it like that on my digital copies. My mind just fills in the V.

Omikron wrote:Every time I read "Split Your Infinities" I see/hear it as "Split Your Infinitives". I actually believed that was the real name of the track for a long time and tagged it like that on my digital copies. My mind just fills in the V.

I'm glad I'm not the only one. Only when I sat down and truly read the title did it become infinities

Soul Slip, I think I might get in trouble for saying this, but for me that weird drum sound you perfectly described is the highlight of the track. It reminds me of the old days where BOC would have some really unusual and creative sounding drum tracks

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Soul_Slip wrote: In the song Split Your Infinities, they used the “voltage drops/switching” sounds that occur as the tape switches between audio recording heads and the video record heads as a loop in one of the main lofi loops that spirals around... it is very subtle but it sounds like little feedback harmonics and little swirling metallic sounds.... I find it cool they used them as a note progression loop... those are artifacts that are almost impossible to eliminate...

The sound of sweeping across frequencies on an old radio are thrown in there too

Yesterday's gems are Tomorrow's Harvest. I think the title (at least in part) refers to their leaked tapes, and the more drastic departure from the sounds of earlier works is a result of using completely different materials that they knew were unheard. It is for this reason that I suspect they would be unwilling to release old materials. Their past experiments with sound are a constant part of their aural journey and, as group that draws on its own past experience so much, they would be likely to incorporate elements or ideas from these experiments in future compilations, if not use them directly.

I have to admit that I was disappointed when I heard Tomorrow's Harvest--or, at the very least, confused. Music Has the Right to Children and Geogaddi were both so integral to my musical exploration that I wasn't prepared for something so bleak--a descriptor I have come to renounce with regard to the album. My senses were confounded with both The Campfire Headphase and Tomorrow's Harvest: one album too upbeat and seemingly happy-go-lucky, and one with no signs of life. Both have grown on me in completely different ways.

The Campfire Headphase oozes something--slowly, which is why it took some time--that at first you try to wipe off and only end up rubbing it in more. You give up once you realize it's permanently stained, but simultaneously realize it's just such a slightly different shade that it blends in, and, in fact, is very complementary. It takes some time to see the whole picture, or rather to unsee the parts of the picture your mind has already filled in the blanks with. Once the lightness has seeped into you, you can really appreciate the depths that it takes you to.

Tomorrow's Harvest does quite the opposite. It makes you dig in with surgical instruments, slicing through the skin as with a scalpel trying to divine the source of whatever illness has possessed it. I wasn't even aware this album existed until about a year ago, having given up on the hope that Boards of Canada would return to whatever form I had preconceived of them before The Campfire Headphase came out. My initial dejection faded when I gave it a fair shake with headphones on and few distractions. The tracks came to life in a way that I didn't expect. The album as a whole has a lot of nuanced details that I didn't catch until I gave it my undivided attention, that didn't speak to me until I addressed them individually; the message jumped out at me, still obscured by my own judgment, but I could see its shape. It's something that even still I can't exactly put into words, but there's a beauty and wholeness to the work that hit me in a profound way. It is still a bit repetitive in some parts, but the work stands on its own--Jacquard Causeway and Reach for the Dead are, for me, two of their most inspiring songs to date.

The only problem I have with this album is that it is maybe too slow at times. There's not enough "Come to Dust" moments of epicness. After great introduction we have JC. It is probably the longest track on the album. And you want that the album would heat up at that moment. But instead we get Telepath. It is cold ambient track. And then is Cold earth, it is great track, but pretty slow for my taste. The things gets better after the monstrous psychedelic interlude Transmisiones Ferox. Then, Sick times, Collapse, Palace Posy. Great great tracks....And the album gets weirder and better almost to the end. But maybe not enough. I think that if they try to make Tomorrow's Harvest part 2 now. It would have more punch power.

It was made to make us feel 'let down'; I had a message erased about what I think the real title of TH is, so I won't post it again.

Torn n Frayed wrote:I had a message erased about what I think the real title of TH is, so I won't post it again.

Hey I want to know what it was.

Radiobuzz wrote:

Torn n Frayed wrote:I had a message erased about what I think the real title of TH is, so I won't post it again.

Hey I want to know what it was.

Pm'd.

drixlin wrote:All I'm going to say is this - when I first heard Reach For the Dead - I was kinda "let down"? I don't even know if that's the right vernacular or not...but either way, I kinda felt like, huh?

Then I heard it on Zane's show. Then I downloaded my track from Bleep...then I watched it's video on youtube...then it's on my phone, now it's on my work computer...and now I can't stop listening to it and I absolutely LOVE it. This all happened within hours...It is such a fantastic track, and that building throughout just drives it home for me.

I haven't really listened to much of the rest of the album (never went past Jacquard) - I really do want to wait for my vinyl, as the missus and myself will be sitting back with our headphones on and soaking it all in! I expect to have the same reaction as I listen to the album, a lot of oh dears...and huh?'s will be happening - but I fully expect to have a positive reaction to it and then I won't be able to stop playing it.

So, without reading the rest of the pages (as my tolerance for that atm is lacking after the weeks of constant reading about releases and conspiracies has left me a bit drained, lol) I threw my 2 cents in.

No refunds or exchanges, plz

conspiracies are just spoilers for the future