Archive — Music

Boards of Canada ‘Music Has the Right to Children’ turns 20

Boards of Canada ‘Music Has the Right to Children’ turns 20

More on the 20th anniversary of Music Has the Right to Children.

The music imprints ideas in your head, subliminally or through uncanny association: opener “Wildlife Analysis” sounds like an old TV ident left to wander into the woods, the treated, wobbly synth harmonies of “Olson” could’ve come from a half-remembered Stevie Wonder or Gary Wright song heard as background music during some family car ride, and “Turquoise Hexagon Sun” sinks its minimalist, graceful melody in so deep through repetition that the realization you can hear indistinct voices in the background is almost startling. There’s something deeper in the music than just music…

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An Eagle in Your Mind — Boards of Canada

Music Has the Right to Children (cover detail)

Music Has the Right to Children (cover detail)

It is 20 years to the day since Boards of Canada released Music Has the Right to Children.

Seminal is a word that is bandied around easily when talking about music. But it may be genuinely applicable in this case. Simon Reynolds in Pitchfork notes how the album seemed to kick-start a transformation in electronic music.

Before this point, electronic music was unashamedly futuristic. Boards of Canada set the template for a nostalgic yet dark genre known as hauntology, since explored further by the Ghost Box label among others.

The album’s cover, featuring a weathered, decades-old family photograph with each person’s facial features redacted, sets the scene. Following a short introductory track, Music Has the Right to Children introduces the listener to the Boards of Canada sound in uncompromising fashion, with An Eagle in Your Mind.

A wistful drone slowly evolves into a darker, brooding melody. Crunchy, syncopated beats and glitching speech samples then take precedence, while narration from a nature documentary subliminally slips beneath. Things get psychedelic, before an unpredictable abstract hip-hop vibe takes over. A childlike melody discordantly tinkles on top, hammering home the sense that something has gone horribly wrong.

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Rock On — Tortoise

Tortoise’s most recent original music may not be as good as their material from the 1990s. But they have developed a knack for producing some excellent cover versions. This cover of Rock On is the highlight of their most recent album, The Catastrophist.

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Every Recording of Gymnopedie 1 — Hey Exit

Today is Piano Day. I am in favour of this. The piano is the best instrument. 🎹

The clip above is of every recording of Erik Satie’s Gymnopédie № 1, put together by an artist called Hey Exit. Each recording is timestretched to the length of the longest one, and they are placed on top of each other. It’s a brilliant idea, with a truly ethereal sound.

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1/1 — Brian Eno

Ambient 1 / Music for Airports is 40 years old this month.

1/1 artwork

It is spurious to claim that Brian Eno invented ambient music. Erik Satie’s furniture music deserves mention. Eno himself recognised the role of Muzak.

Music for Airports is not even Eno’s first ambient album, despite its Ambient 1 moniker. But it certainly is the most important.

Music for Airports is both experimental and timeless. Bold yet gentle. You can consciously listen to it. But it may also affect your mood without you consciously being aware of it. Or in the words of Eno, “it must be as ignorable as it is interesting.”

It was a genuinely new idea. It introduced the notion of designing music for a specific purpose, yet was still packaged as a pop album. A stunning concept.

But how would we feel if music like this was played in an airport? Would it be a calming influence? Or would it grate like Muzak?

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My original iPod is a time capsule from 2002

My original iPod is a time capsule from 2002

What happened when one person started up his iPod for the first time in 15 years.

…I also came across music and artists which made me wonder what on earth I was thinking of when I loaded their tracks into iTunes. If I could talk to my 2002 self, I would sit him down and explain that Limp Bizkit’s album Chocolate Starfish and the Hot Dog Flavored Water is an abomination and not at all funny (my London music buddies and I thought it was hilarious at the time)…

…looking back through the playlists on my first and oldest iPod I was struck by the fact that some of the music from 2001 and 2002 seemed far more dated than some of the ’70s, ’80s, and ’90s.

I certainly have a memory of music from 2001/2002. In fact, because of my age, it is precisely when a lot of my favourite music was released. But I do wonder what I would discover if I found my iTunes library from that period, warts and all?

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In — Brothomstates

This is the opening track from the 2001 album Claro by Brothomstates. That was a special purchase for me, because it was the first IDM album I bought. I already knew I liked this sort of music because I was exploring what I could with whatever clips of tracks I could find online. But Claro was the first full album of this genre that I had heard. This was opening up a new world of sonic possibility to me, and I never looked back.

Wintry weather brings this album to mind. I have vivid memories of walking around my home town of Kirkcaldy in icy weather while listening to Claro on a Discman.

In particular, this opening track, In, epitomises the chilly vibe. The piercing synthesised staccato whistles may as well be icicles falling from the sky.

When thinking of what jam to feature this week, as the Beast from the East descended on the UK, I could make no other choice.

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The time Aphex Twin opened for Björk

Shuffle mode has just reminded me of the time Richard D James (best known as Aphex Twin), using the pseudonym DJ Smojphace, opened for Björk at the Hammersmith Apollo in 2003.

From the YouTube video description:

For almost 2 hours Richard played nothing but “noise and feedback” from the backstage, only appearing in stage to cheerily wave goodbye in front of a very, very pissed audience.

Listen to the booing! Delightfully funny.

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Bittersweet Bundle of Misery — Graham Coxon

Bittersweet Bundle of Misery — Graham Coxon

This song is a little bit too close to Coffee & TV for comfort. But after having left Blur, perhaps Graham Coxon wanted his own version of his own song, which I guess is fair enough.

Looking back, this song almost seems like a last gasp of the Britpop sensibility — an unashamedly, straightforwardly good pop song.

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Sense — The Lightning Seeds

Sense — The Lightning Seeds

The Lightning Seeds were one of the first bands I really liked. They don’t seem to have as much indie-cred as I think they deserve. Maybe that’s what happens when your biggest hit is a football anthem.

Sense is a little bit before my time, but I still think it’s one of their finest songs.

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Everywhen — Massive Attack

Everywhen — Massive Attack

A lot of bands I liked wilted somewhat after Radiohead released Kid A. Not Massive Attack. 100th Window may not be their most admired album. But I thought it was one of the few that successfully met the Kid A challenge.

Gone were the trademark trip-hop beats that made them so successful in the 90s. In came a more clinical, experimental electronica sound. It switched some people off, but I think elements of this album are superb. It was an impressive reinvention, but it was also still unmistakably Massive Attack.

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Note — 2018-01-15

Modified Blue Jam artwork

There may be no real science behind the concept of Blue Monday. But there is definitely something strange about mornings in January.

I always go back to work as soon as possible after the new year. On my morning walk to work, the streets are dark unlike any other time of year, and eerily quiet.

It’s now a new year tradition of mine to spend my first morning walk of each week listening to Blue Jam. Chris Morris’s peerless radio programme of the late 1990s mixed dark comedy with downtempo music. It was originally broadcast on BBC Radio 1 in the small hours of the morning, maximising its unsettling vibe.

That vibe seems to suit these weird, dark Mondays in January.

The programmes are available to download via Cook’d and Bomb’d.

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Roundabout — Yes

Roundabout — Yes

I used to think I got my proggy tendencies from my dad. However, he was recently dismayed to learn that I like Yes, who he says are too noodly. I guess I developed an excellent taste in music all by myself.

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Conditions of a Shared Belief — Soulwax

Every Friday evening I’m going to post a tune that I’m digging right now. Because why not?

Conditions of a Shared Belief — Soulwax

I’d never taken notice of Soulwax before. But after reading a review of their latest album From Deewee in an end-of-year list, I decided to check it out on YouTube.

Wow! The motorik beat grabbed me; the climactic melody hooked me. I have become obsessed with this tune.

The album, supposedly recorded in one take, is also magnificent. This is bold, uncompromising electronic music that
commands attention. It continually surprises without being pretentious.

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John Bult: Julie’s Sixteenth Birthday

John Bult: Julie’s Sixteenth Birthday

The story of one of the worst record covers of all time.

“During the photo shoot, Ted kept telling her to look serious, like her dad is talking to her,” Bult said. “But she just kept looking sad to me.”

When the final album was pressed, and Bult saw the finished product, he was livid.

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Uncommon

I was delighted to receive Uncommon by Owen Hatherley from a friend at Christmas. I am a huge Pulp fan, but this book had slipped under my radar. Pulp are a great subject for a book, but this analysis ultimately disappoints. Read full article

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