Showing posts with label boards of canada. Show all posts
Showing posts with label boards of canada. Show all posts

Sunday, 14 October 2018

Log #107 - The Beauty Of Simplicity

Eddy Bamyasi

Miles Davis - Bitches Brew CD2
Air - Moon Safari
Tangerine Dream - Zeit CD2
Boards of Canada - Geogaddi
Granados - Goyescas
William Ackerman - Past Light

Here we have another lovely piano CD in the shape of Granados courtesy of the excellent Naxos label. Naxos do a very comprehensive series of budget classical CDs which are a great way to get into the world of classical music.

Enrique Granados's music, like his Spanish compatriot Isaac Albeniz, is more well known in its classical guitar form than the original piano versions. Indeed the Spanish flavour of many of these pieces works brilliantly for Spanish guitar and pieces by both composers have formed the set lists of the best classical guitar players throughout the 20th century, initially through Segovia who initiated many of the guitar transcriptions from such heavyweight composers, through Williams and Bream and others in his footsteps. Hence you are generally much more likely to have heard Asturias or Sevilla or Oriental on guitar than piano.

I'm not sure Segovia's approach was right. In an almost single handed effort to get the classical elite to take his instrument seriously he personally transcribed many pieces originally written for piano, or other classical instruments like the violin, for guitar. He also commissioned established composers from the classical world to write for the guitar. The results of both approaches are mixed. For one thing the versions for guitar are fiendishly difficult which stands to reason when you consider the differences between the instruments. Some things possible on a piano are physically not possible on a guitar. Similarly the sustain possible on a violin is likewise not possible on a guitar. Segovia was also too hasty in dismissing wonderful music written by composers who wrote exclusively for guitar - composers who understood the unique characteristics of the instrument most notably a lot of the South American composers such as Barrios and Lauro who did not come up to Segovia's snobbish standards. So generally I steer clear of guitar transcriptions of classical pieces. Despite some exceptions like a lot of these Spanish pieces (and Bach interestingly) they are usually better in their original forms.

While on the subject of guitarists we have our first sighting of Will Ackerman. Continuing the snobby theme there are many classical guitarists (Segovia would definitely be one) who wouldn't give someone like Will Ackerman the time of day. They would consider his playing and his music beneath them as it is relatively simple and played on a steel string acoustic guitar rather than a "proper" classical.

The Beatles are very nice young men, no doubt, but their music is horrible.
Segovia on hearing George Harrison describe him as the "Father of us all".


I'm pleased I've grown out of that attitude both as a listener and a player. We should all appreciate that the simplicity/complexity scale is no yardstick by which to measure the greatness of music. Furthermore as a player it is much better to master a simpler piece well with musicality and feeling, than to struggle through a car crash of a complicated piece. The great King Crimson guitarist Robert Fripp was classically trained but said hearing one Jimi Hendrix chord meant more to him than the whole classical repertoire. For me seeing Tommy Emmanuel (an acoustic guitarist who doesn't even read music) live for the first time about ten years ago absolutely blew my mind (he was so good it made me want to throw my guitar away forever). Will Ackerman is not in the same league as Tommy Emmanuel but I have very much enjoyed both playing and listening to his beautiful music. In fact I play his albums much more than Tommy Emmanuel's who is more of a live showman than a recording artist and his compositions don't quite come across the same way on record. That's interesting isn't it? You need the spectacle as the music itself is not enough. It's a case of seeing someone do something in the flesh and thinking "wow, how did he do that?". This becomes meaningless on a recording. I've been playing a lot of ambient and DJ/electronic music recently. It is lovely to listen to, but as a live spectacle does it have the same effect? No, it's completely different. [Btw, don't you get tired seeing those best guitarist of all time posts on facebook groups? It's so boring and predictable. The answer btw is Tommy Emmanuel (not Jimmy Page, or David Gilmour].

Guitarists mentioned here:from top to bottom, left to right, Lauro, Hendrix, Emmanuel, Barrios, Williams, Bream, Segovia, Fripp, Ackerman (and no Page or Gilmour)

So back on message - Will Ackerman has recorded many a solo guitar album for the Windham Hill new age label which he co-founded. This album Past Light is a collaboration with other musicians including labelmates Mark Isham and Michael Hedges, who flesh the sound out with guitar, synthesizer, piano, cello and fretless bass. The Kronos Quartet also guest on one track. It's gorgeous relaxing music. Not particularly earth shattering or memorable, but lovely to listen to when in the mood.

A very small point for Will Ackerman obsessives (if indeed there are any out there). On my album cover the word Visiting is very faintly visible after Past Light. With a keen eye you can just about make it out on the picture above. Visiting is the opening track on the album but the album itself is definitely called Past Light and not Past Light Visiting.






Sunday, 7 October 2018

Log #106 - So Much Good Music Under The Sun

Eddy Bamyasi

I'm excited about this week's listening. Sometimes it's hard to think of 6 albums to listen to, but this week the CDs were positively jumping off the shelf like those springy sticky toys we used to have.


This was because my interest in ambient minimalist electronica was re-ignited and this opened up a wealth of potential listening from the likes of Tangerine Dream, Squarepusher, Aphex Twin, Four Tet, and Brian Eno.

Debussy - Preludes Books I and II
Penguin Cafe Orchestra - Union Cafe
Tangerine Dream - Zeit
Boards of Canada - Geogaddi
Fripp and Eno - No Pussyfooting
Blue States - Nothing Changes Under The Sun

Take Tangerine Dream for example. Last year, or maybe the year before, through this blog I became reacquainted with the band mainly via their classic mid 70s albums like Phaedra and Force Majeure.  Checkout a track like Cloudburst Flight if you aren't convinced. But I hadn't ventured deeper into history to hear much of their early 70s work which was much more ambient before they started introducing pulsed rhythms.

Zeit seemed to be the go-to album for most fans of early period Tan Dream. I bought the new remastered double album version containing the original double album plus a live disc. I haven't even got on to the live disc yet. The original album is gorgeous. It's just what I want from an ambient piece of music. Consisting of just 4 "side-long" tracks of chilling dark drone music - you can safely stick it on repeat all day, and go about your business. It's great to listen to passively, as background music.

It's very unobtrusive and as such creeps up on you very subtly. You pick up different things each time you walk past your speaker, things you haven't noticed before.

Contrary to what you may expect I actually find incredible depth and interest in this sort of music. Because it is so subtle there is a lot to discover that isn't immediately obvious. New sounds and textures reveal themselves gradually over repeated plays. It really challenges conventional understandings of what music is.

In comparison The Penguin Cafe Orchestra are relatively mainstream. This album is also a "double" in old money. I think it suffers slightly from covering too many different styles across it's 16 tracks. There are straight forward classical like pieces (these are the most successful), ambient sound effects, and whimsical throwaways. As such, as a whole it does not convey the mood or continuous aesthetic of a piece like Zeit. My favourite PCO album is their debut, Music From...

Fans of instrumental electronic music are in safe hands with the assured Boards of Canada. With only 4 full length albums over a 20 year career (Geogaddi from 2002 is officially their second not counting the excellent extended EP Twoism with which they announced themselves in 1995) they practise quality over quantity.

Spoken word samples are backed by ghostly synth melodies over down tempo hip hop beats. I always think their particular type of analogue synth music sounds vaguely out of tune with it's variations, clicks, flutters, crackles and bends; this makes it all the more organic and earthy.

When I first bought Fripp and Eno's No Pussyfooting (1973) I remember whizzing through the two side long tracks in double quick time trying to find where they changed (I had it on cassette tape). Of course they didn't change and I was left confused for a long time before realising the point of this classic ambient collaboration. Ironically later releases of the album included a half speed/double length version of one side of the album - The Heavenly Music Corporation (as well as a recording of the entire album in reverse!). I'm not sure how I feel about this. To me it devalues the original, making it seem even more random and thrown together than it did already.

Urban myth says that on release the album was accidentally played on BBC radio backwards (I have no idea how this happened, it sounds very unlikely, but I'm not surprised that the only one who noticed was apparently Brian Eno himself who phoned in to complain). 

Nevertheless with it's epic distorted Frippertronic guitar improvisations over Eno's loops and phased drones it remains an early classic of the ambient genre and entirely unexpected coming from two artists respectively members of the bands King Crimson and Roxy Music at the time. Great cover too.


Fripp and Eno recorded a second album Evening Star (1975). When later asked about a promised third album that had never materialised Fripp sarcastically replied it had already been done in the form of Eno's celebrated collaboration with David Byrne - My Life In The Bush Of Ghosts which appeared in 1981 (Fripp did receive a writing credit).

Cover album this week is Nothing Changes Under The Sun by Blue States which is the stage name (or more fittingly the studio name) for producer Andy Dragazis. The music is less ambient and more chilled down tempo electronica along the lines of Zero 7, Kruder and Dorfmeister, and most of all Air. If you like Air's Moon Safari you'll love this too.

As I've said before this sort of music can run the risk of becoming wallpaper or elevator fodder. It's a fine line but the right side of the line is maintained when the melodies are as consistently good as they are here on beautiful tracks like Diamente or Trainer Shuffle or Heroes' Elegy

Hear Diamente below (with apologies to email readers for whom I don't think videos render - please click into the source blog or try this link >> https://www.youtube.com/watch?v=eC6fD_j0Cqw ):


Finally, just occasionally you just need some classical music on a dull Sunday morning, and when you need some classical, you can't get better than Debussy. I'm no expert on classical music but for me he seems to bridge the gap between traditional melodic classical music and more modern discordant 20th Century "classical" music. So you get beautiful melodies, but with originality and a modern edge. It's a win win.

Also there's not much of him as I understand (willing to be contradicted by any Debussy experts out there?). This is a big advantage in any music, but particularly classical where you have not only 400 years worth of history but also multiple copies of the same pieces. Debussy didn't write any symphonies and all his orchestral works can be entirely found on one classic double album, the famous Phillips edition:



This is so worth getting. Even if you don't think you've heard any Debussy before you will recognise some of the tracks on here. It's a beautiful record that will reward repeated listens. It's your duty to try it even if you are an outright punk rocker! It might just change your life.

[..actually classical is a definition oft misused in classical music. It refers to a particular era in music, rather than a style. So classical is a term equivalent to baroque, or romantic, or renaissance for example. But for the purposes of this blog, and most people's understanding, classical stands for all music that people generally understand and accept as "classical", ie. stuff that uses traditional acoustic wooden and brass instruments like violins and oboes and stuff and is often performed in chambers, quartets and orchestras and... you know what I mean] ... I'm glad you've cleared that up. Ed.

The album in the slot this week isn't actually this one. We have here Debussy's books of solo piano preludes. These are mostly short tracks - mostly very pleasing, although as I mention above, with an edge. It's not pure easy listening that's for sure. Some of these tracks have been made famous in ads and films like The Usual Suspects.



Tuesday, 7 August 2018

Album Review: Music Has The Right To Children by Boards Of Canada

Eddy Bamyasi


Music Has the Right to Children is the moment when Boards of Canada – Scottish brothers Marcus Eoin and Mike Sandison – stepped free of the electronic underground and began their relationship with wider audiences.

The 1998 album wasn’t the duo’s first – 1996’s Boc Maxima, a super-limited release through their own Music70 label, ran to over 60 minutes. But it saw such a restricted physical run that Music Has… is deemed the group’s de facto debut.

Boc Maxima and its surrounding EPs, 1995’s Twoism and 1996’s Hi Scores, heavily inform this 17-tracker (expanded to 18 on subsequent reissues). Music Has… features no shortage of older material brought up to date – Smokes Quantity first appeared on Twoism.

But Music Has… is better than a mere summary-to-date of Boards of Canada’s music. It works as a brilliant album in its own right, past work reshaped to suit the pair’s (then) present creative mindsets. It doesn’t hurry its way through an hour-plus run time, but never does a track outstay its welcome.

Boards of Canada’s breakthrough is a piece of vital electronica history.

These are deliciously down-tempo arrangements, which, when allowed to stretch to six minutes (An Eagle in Your Mind, Pete Standing Alone), lock the listener into a deep and fantastical daydream.

Appealingly analogue tones caress clinical circuit-board beats; vocal samples slip between bars, beckoning one to journey deeper into the mix. At its most enveloping – Turquoise Hexagon Sun is a chiming delight; Open the Light an ambient amalgam of twinkles and drones – one may hope the dream never ends.

Music Has… occasionally shows its age, exhibiting a handful of trite trip-hop motifs. These skittering, scratchy moments, like the jittery turntables of Sixtyten, are still very accomplished affairs. But they don’t transcend the era of their inception.

Overall, though, Music Has… is a vital piece of electronica history. Its makers sat easily beside Warp stable-mates Squarepusher and Aphex Twin on cursory evaluation; but their approach has always been more oddball than most peers.

A critical hit – nostalgic and at one with nature, yet resolutely future-facing – Music Has… set the scene for Boards of Canada’s later successes. 2002’s Geogaddi reached 21 on the UK album chart, a tremendous result for music that, in the grand scheme, orbits planet pop at a considerable distance.

***

This review is a guest review by Mike Diver shared under a Creative Commons licence. The original work appears at http://www.bbc.co.uk/music/reviews/rxwx/


Sunday, 5 February 2017

Log #19 - Have a flutter with purveyors of out of tune electronica Boards of Canada

Eddy Bamyasi


1. Neu! - Neu!
2. Boards of Canada - Music Has The Right to Children
3. Boards of Canada - Twoism
4. Bob Dylan - Desire
5. Kruder and Dorfmeister - Sessions CD 2
6. Mo Wax - Headz Volume 1


Boards of Canada are two Scottish brothers who make electronic music. Their music is weird and strangely appealing. I think this is just as it is so unusual - it therefore does different things inside your brain than most music and hence stands out and becomes memorable. The effect is rather like hearing the minimalism composers Part, Glass or Reich for the first time, or music from a different culture (eg. Indian, or Chinese, or South East Asian) that sounds alien to our western ears.

We believe that there are powers in music that are almost supernatural.

Unlike most electronic contemporaries the Boards of Canada make wide use of vintage and analogue equipment including tapes. This gives their music an authenticity and warmth rarely present in the more mathematically perfect music of other electronic pioneers like Kraftwerk. On casual listening a lot of their music sounds "out of tune" but stick with it and literally "tune-in" and it becomes beguiling and hypnotic.


The reclusive Boards of Canada, unmasked

Debut album Twoism (1995) was a home recorded affair and was a real mind bender like a Chris Nolan film - but one of his earlier low budget ones. Like my favourite film of all time Memento Twoism sounds like it was recorded backwards. Follow up Music Has The Right To Children (1998) was a studio album recorded for Warp Records but is barely more "commercial".

Both records make liberal use of samples over a characteristic mix of loops, flutters, drone, squeaks, pips and wobbles, pinned by primitive drum machine beats. Aquarius from the latter album is a very accessible start point for new listeners. Things get a lot weirder than this lovely "counting" song (but checkout how the sequential count in the "lyrics" goes awry after 36 - I wonder if there is any pattern or coded meaning to this? - I expect a BoC geek, of whom there are many apparently, has investigated).


Someone even plotted the lyrics to Aquarius!

The boys' apparent love of codes, hidden meanings, fractals, subliminal messages, numerology and cults, allied with the paucity of their releases and live appearances, has added suitably to their mythical status over their 20 year career. Hashtag cool!

Similar but not really at all is the compilation release from the Mo Wax label Headz. This sort of bland sampled jazzy looped trip hop may have been cutting edge at the time (1994!) but now sounds frankly a bit lazy and soulless despite containing cuts by Autechre and DJ Shadow. It always fascinates me how music of very similar styles can either leave you inspired or cold. To describe the difference between say Bonnie Prince Billy, Iron and Wine, The National, Fleet Foxes, Mumford and Sons, Bears Den and The Felice Brothers, may be quite difficult in words but you'll rarely find someone who likes all those bands, and one is fairly universally disliked for whatever reason (any guesses?)! I also have this debate with my teenage son who loves "his" music and "hates" my music although on the face of it there is barely any difference.

Fancy a flutter on Boards of Canada? No better place to start than here >>

 

Sunday, 6 November 2016

Log #6 - More Than One Way to Play a Guitar

Eddy Bamyasi


Not a classic week this week, with only one album keeping it's spot this weekend; Efterklang's Piramida. The sumptuous Efterklang have just released a new album actually (Leaves) which has been described as some sort of interactive opera which they will be performing at the Barbican, London, early next year. I've heard a couple of tracks and am wondering, although it is admirable they continue to push the envelope, if they may have over stretched their ambitions this time. However in the meantime the effortlessly graceful Piramida continues to impress. If you like this one check out Magic Chairs next, their previous album which contains most of their best known tracks.

1. Efterklang - Piramida
2. Al Di Meola - Cielo e Terra
3. Tricky - Maxinquaye
4. Curtis Mayfield - Love's Sweet Sensation
5. Soft Machine - Third
6. Boards of Canada - Geogaddi

As a keen amateur guitarist I used to listen to alot of classical repertoire as a student - John Williams, Julian Bream, Segovia, Narcisco Yepes and John Mills. I was also keenly aware of the most revered electric guitarists out there - David Gilmour, Rory Gallagher, Neil Young, Andy Latimer, Richie Blackmore (who is reforming a version of Rainbow I hear), Eddie Van Halen, Jimmy Page and Jimi Hendrix of course, although I missed the point at first and snobbily frowned upon these electric maestros for not using their little finger of their left hands (right in Jimi's case) and barring the bass strings with their thumbs (a no-no for the classically trained). In a similar fashion I also dismissed any electronic music at the time for not using real instruments and therefore not requiring skill (my favourite band as a teenager was ELO as they played proper instruments like violins - and wasn't Jeff Lynne great at the last Glastonbury?).

I was completely unaware of whole areas of guitar playing in between these two extremes of classical and rock - acoustic, flamenco, blues and jazz for instance. I remember this began to change when a friend played me a record called Friday Night in San Francisco by three legendary acoustic guitarists I had never heard of - Al Di Meola, John McLaughlin and Paco de Lucia basically jamming at breakneck speed in front of a live audience. Skillful and exciting that record paved the way towards my love now for the visionary acoustic players like Tommy Emmanuel and Will Ackerman. Having said that the featured record in this list, Al Di Meola's Cielo e Terra actually sounds a bit dated now and is very reminiscent of the 80s guitar fashions of synth-guitars and Ovation electro-acoustics. It is similar to Pat Metheny's revered Offramp album which I play a lot more. I always like the cover though, reproduced above, and there is at least one stand out track in the 9-minute Traces (Of a Tear).

On the other hand Tricky's hip hop masterpiece Maxinquaye still sounds fresh and current. It came out around the time of Portishead's stunning debut album Dummy. Maxinquaye is as good.

Curtis Mayfield's album may be a compilation. It's smooth and sensual as you'd expect with several well known tunes. Mayfield's latter years were unfortunately dogged by ill health after a serious injury resulting from an on stage accident where a lighting rig fell on him.

I used to have an old cassette of Soft Machine music. I don't know what the music was but it had a lovely organic groove with organ and drums - the lack of a guitarist was interesting. Their albums are called 1, 2, 3, 4, 5 etc. Most of their music is instrumental which is a good thing when drummer Robert Wyatt is your vocalist. This one, Third, has lots of jazz honks and squeaks and not much groove. The rest of the family call it "car-crash" music.

I have never heard anything like Boards of Canada. Their instrumental electronica music literally sounds out of tune, but is strangely entrancing. Completely original - it is a different kind of "car-crash" music and it's brilliant.

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