____twoism

https://www.clashmusic.com/reviews/boar ... da-inferno

"Now, a quarter of a century on, here we are again — mired in a geopolitical disorder not quite seen since the 1940s, the utopian promise of social media and AI having curdled into something that connects us in theory whilst driving us ever further apart, feeding us misinformation and eroding our grip on the day-to-day. If there was ever a moment to zone out in the ominous glow of a Boards of Canada record, it is this one."

9/10

Ominous glow. Quite a good description of BoC that.

I'm compiling the reviews @ https://bocpages.org/wiki/Inferno#Reviews

Thanks Fredd-E.

Fredd-E wrote:I'm compiling the reviews @ https://bocpages.org/wiki/Inferno#Reviews

Doin' God's work. The God with horns! Appreciate ya!

No interviews yet.

I compiled all their remixes including the tracks produced for The Sexual Objects, and had that on loop for a long time. So the stylistic changes of the new album came as absolutely no surprise. Father and Son could be a cLOUDEAD track.
Imagine how disappointing it would have been if they’d just made Tomorrows Harvest again. So glad the sense of whimsy returned. I swear Memory Death has an autotuned sample of someones laboured breathing in it, its like a bleak mirror to Dawn Chorus

Completely agree, whether one thinks it good, bad, or uninspired, the album definitely has a sense of whimsy (mostly due to the vocal manipulation). There's nothing "tense" or "coiled" about it - it's very welcoming, and not even very dark.

Father and Son is the funniest track they've ever done. love it. cool album.

A few disappointed people on Discogs it seems. Some people finding this one lacks the subtlety of their pre-2007 releases.

I'm fascinated by this album. It really feels like an evolution, and one that I am very much into...I feel bad for folks so hung up on their past works that they simply can't see what's right in front of them. Why should any artist remain stagnant and do the same thing over and over?

I'll say this too, there's a lot happening in various scenes, labels like Ghost Box, etc, that continue to try and capture their sound and ethos. I like to think the brothers are reacting to that in some way.

burst__of__indigo wrote:I'm fascinated by this album. It really feels like an evolution, and one that I am very much into...I feel bad for folks so hung up on their past works that they simply can't see what's right in front of them. Why should any artist remain stagnant and do the same thing over and over?

I'll say this too, there's a lot happening in various scenes, labels like Ghost Box, etc, that continue to try and capture their sound and ethos. I like to think the brothers are reacting to that in some way.

That was my thought on the first listen, it'd divide out those people that absolutely had to have that MHTRTC feel, and I expected to see more of that in the reviews, honestly. But mostly they've seemed pretty dialled in

I've only heard it through twice so far. First play I was struck by how new it sounded for BoC. On the second play, though, I picked up how much it continues on from the previous albums, sonically. It's a really rich, involving, detailed record. I love Tomorrow's Harvest and never understood the dislike it gets from some quarters, but Inferno feels so much more enveloping and overwhelming.

burst__of__indigo wrote:I'm fascinated by this album. It really feels like an evolution, and one that I am very much into...I feel bad for folks so hung up on their past works that they simply can't see what's right in front of them. Why should any artist remain stagnant and do the same thing over and over?

I'll say this too, there's a lot happening in various scenes, labels like Ghost Box, etc, that continue to try and capture their sound and ethos. I like to think the brothers are reacting to that in some way.

I especially felt that with “You Retreat in Time and Space”. It feels like they’re articulating their trademark sound and claiming ownership of it.

Oseary Drakoulias wrote:I've only heard it through twice so far. First play I was struck by how new it sounded for BoC. On the second play, though, I picked up how much it continues on from the previous albums, sonically. It's a really rich, involving, detailed record. I love Tomorrow's Harvest and never understood the dislike it gets from some quarters, but Inferno feels so much more enveloping and overwhelming.

I only recently realised people hadn’t embraced Tomorrows Harvest as an outright masterpiece, I knew people didn't like Campfire Headphase (which I think is one of the best albums ever made by anyone). I thought that was slightly odd that some of the fanbase only liked the earlier records and were just waiting for them to repeat themselves again. But it’s all a matter of personal taste. I’m just happy I’ve got a new BoC record. I really want to read/ hear them talk about this new one though

“He’s obviously a fan of the proto dubstep track Amo Bishop Roden” has now entered my daily vocabulary.

noveltywave wrote:“He’s obviously a fan of the proto dubstep track Amo Bishop Roden” has now entered my daily vocabulary.

yup! from now I will also be calling the use of any instruments used with origin east of the levant used by anyone west of it "lazy orientalism" to get kudos points

Thinking back to 2013, it seemed like Tomorrow's Harvest's subtlety was a source of divisiveness. I'm curious to see how this unfolds with Inferno. I've seen some critical comments elsewhere online that sound like they're written in the voice of someone who has had their brain altered by social media, or outsourced to something other than themselves.

Pitchfork gives Inferno 8.6. Same score as Geogaddi. Nice!

https://pitchfork.com/genre/electronic

The Quietus https://thequietus.com/quietus-reviews/ ... a-inferno/

No scores but positive with lots of good lines. I liked

The portents of Tomorrow’s Harvest have passed – it’s all hell from here out