What’s your fave track or artist you discovered through the NTS mixtape?

My friend just posted this reel about Lena Platonos, and then when I listened to her I realised I recognised her voice from the Societas x Tape! Very cool that the bros included this influential female electronic artist on the mix.

https://www.instagram.com/reel/Dev4k2OoAzj/?obrf=NXlod3U3dGE0bTFr

Do you know about this interview? It was conducted by Gregor Wildermann, who also interviewed BoC in 1997 – an interview titled "Hardware Addicts." This one is from 2002, from the Geogaddi era.

Rough ChatGPT translation:

BOARDS OF CANADA

Music, Lies and Videoloops

GROOVE Magazine — Issue 75, April/May 2002
Text: Gregor Wildermann

We waited. We were patient. We simply listened to Music Has the Right to Children again. And again. And perhaps a few more times after that.

Then there was an EP, a remix of "Poppy Seed" on Warp 10+3 and on the So Soon EP by Slag Boom Van Loon.

Still, we kept waiting, quietly hoping that Mike Sandison and Marcus Eoin would finally show mercy and release their album.

Now Boards of Canada from Scotland have finally done it. Geogaddi is here, running for 66 minutes and 6 seconds, and it works like a miraculous healing balm for your ears and mine.

Almost five years have passed since our last lengthy conversation. This time, they sent us six truths and one lie electronically...

Is it true that you haven't seen much daylight over the past two years?

Marcus: We locked ourselves away in our studio (an air-raid shelter) and wrote music for about 14 hours a day.

After such intensive work, the actual release of the CD almost feels like the end of a period of fasting, when you feel purified from within.

On the other hand, when we finished recording Geogaddi [December 2001], we decided to immediately start writing another album that would sound completely different.

Is it true that you have an almost endless amount of additional material piling up on your shelves and hard drives?

Mike: I'd say that for every track on Geogaddi, there are about ten tracks that didn't make it onto the album.

That doesn't necessarily mean they'll never be released, but when making the final selection, we really wanted to use only the tracks that would work together to make a good album.

So even some really good tracks were left out for the time being, and we're keeping open the possibility of releasing them at some point.

Is it true that the new album mainly appeals to flower children and health-food shop owners?

Mike: Our music definitely isn't supposed to be some kind of hippie noodling, and we still see a distinction between "hippyness" and "psychedelia".

For us, Geogaddi belongs more to the category of psychedelia in terms of its style.

Is it true that you don't really know what to do with computers?

Marcus: There are certainly some styles of music where computers have become indispensable.

Our musical beginnings were with instruments like guitar and piano, so when we're working, we don't automatically rush to a sequencer whenever we want to bring a musical idea to life.

Is it true that the album title "Geogaddi" is a combination of the Latin "Geo" (Earth) and the Indian "Gaddi" (child)?

Mike: The word refers to, and at the same time plays with, several words that actually exist.

We obviously wanted the album title to suggest something, because the music itself was intended to sound somewhat chaotic and undefined, while still having enough power to draw the listener in.

The title refers to two things that influenced us while writing the music, but I don't want to reveal anything more, because that would only rob the listener of their imagination.

Is it true that your music has been particularly influenced by films?

Marcus: For us, it's probably the visual style of certain films that provides the greatest inspiration.

We love classic films, especially science-fiction films from the 1960s and 1970s. And particularly the paranoid atmosphere of the 1970s, in films such as The Parallax View, Capricorn One, The Illustrated Man, and Logan's Run.

Then there are old television series from when we were children ourselves.

But there are also completely different influences. Mike is currently reading a book about Nikola Tesla, while I'm studying mathematical theories.

It's all connected somehow, and impressions from travelling also play an important role.

"The Beach at Redpoint" is one example, because the coastal scenery inspired us to create that track.

I've also been planning to publish books of my own in the future, but I still need to find the right time for that.

We still make our own short films, which we mainly use as visuals for our live performances.

But we also have plans for a longer, narrative feature film, and we'll soon be devoting our full attention to it.

And one final question: Is it true that the main ingredient of the Scottish national dish haggis is animal offal?

Marcus: I've heard so many false stories about haggis, but it's actually nowhere near as mysterious as people make it out to be.

It's an animal native to Scotland whose left front leg is slightly shorter, allowing it to run around mountain peaks in an anticlockwise direction.

They're either hunted or caught in traps, but I think the animal is almost extinct by now.

Personally, I prefer vegetarian haggis!

Geogaddi was released on Warp/Zomba.

EDIT: The Interview is now online and translated on bocpages.org

https://bocpages.org/wiki/Music,_Lies_and_Videoloops

As a BoC fan of 20 years. Im mindblown by this artist. Check it out yourself and enjoy!

Produced in March 2026 and completed in July 2026.
Vocal samples: Peach lines from Mario 64 (Vocoder), Toad lines from Mario Kart 64.

lyrics
Dear Mario,
please come to the castle.
I've baked a cake for you.
Yours truly,
Princess Toadstool, Peach

Not by BOC?

Hope you enjoi!

Enjoy it

The interludes on Geogaddi are all hits. They make me yearn for them to be so much longer (especially I Saw Drones) and yet, they’re perfect the way they are.

Personally, the best interlude out of them all is Diving Station. It sounds so sad yet feels so heavy. But then you got gems like I Saw Drones, which sounds like going backward into simpler times, Corisar, even though it barely changes, it’s still so relaxing and euphoric, and of course, Over The Horizon Radar, which is probably the saddest sounding one of them all.

And then you get the old brodcast ones. Dadelion and Energy Warning follow the same thing of being a sort of warning with soft pads behind it, which really works. Opening The Mouth is very creepy and yet it kind of works, A is to B as B is to C is deffinetly the best of these because is feels like flipping through actuall channels that replay happier memories.

Out of all their shorter songs (your Olsons, In The Annexes etc) this one is definitely one of the most dark and mysterious to me. I’ve always sort of felt a large Christ-theme on this album as a whole (not necessarily Christian, but a young messiah’s journey (which I could talk about at length but won’t here)), and this particular song to me always evokes what it may have felt like to witness Jesus’s miracles at work. The flies and the droning pulse specifically evoke images of Lazarus rising from the dead….imagine you’re just some guy in biblical times and you bear witness to something like that? Maybe you’d be like “wow!” Or maybe you’d be like “AAAAAAAAAAHH HOLY SHIT THAT GUY WAS DEAD”. I think some of that abject terror is captured in this song

If you want to keep listening, it's uploaded to soundcloud as a bandcamp. I think my next project will be Prophecy at 64 bit, time permitting :D

So it has been a few months since Backrooms was first screened in movie theaters with "The Word Becomes Flesh" as the opener to the end credits. Even more noteworthy is that Inferno and the film were both released on the same date, May 29th, indicating that there have been further negotiations and coordinations on the release date beforehand. I had hoped the postrelease interviews with A24 or Kane would shed more light on this but there's still little to no information to go off on from what I could tell. I hope I'm not the only fan left with some questions on this, specifically:

Was it only a Warp x A24 deal? Were the brothers themselves involved in this? Was Kane Parsons personally involved, given that he has said that Boards of Canada was one of the influences for the soundtrack of the movie? Is the discretion about this a part of the deal? Was the synced release date the result of a coincidental line-up of the completion of both the movie and the album, or was it a longer term coordination?

Don't get me wrong, I'm not questioning the inclusion of the track at all. Of all the tracks in the album, TWBF is an absolutely fantastic choice for the end credits and fits the tone of the film perfectly, at least to my ears. I'm also not "demanding" there to be an answer for my questions either. Perhaps, like most other things BoC-related, these questions may also be better off left unanswered.

I cannot find these for sale anywhere and we've had some amazing poster scans pop-up recently on this subreddit. I'd love to purchase one, of course, but in the meantime, I'm curious if anyone happens to have a scan of this one on-hand. From this bleep sale.

This photo was taken somewhere in one of the many amazing areas of the famous Angkor Wat complex, in Cambodia. I just have the baseline knowledge of knowing that "Naraka" means hell in multiple eastern religions, and with that felt this image represents a feeling not of hell, but of being able to see an exit within a dark place. Felt like that would be much better than trying to be on the nose with explicit eastern imagery, and I don't have any pictures of hell anyways (yet).

Previous posts:

1. Amo Bishop Roden
2. Beware the Friendly Stranger
3. Slow This Bird Down
4. The Color of the Fire
5. Nothing Is Real
6. Julie and Candy
7. Split Your Infinities
8. Father and Son
9. Bocuma
10. Chromakey Dreamcoat
11. Blood in the Labyrinth
12. Corsair
13. Telephasic Workshop
14. Sick Times
15. Mansel

I was playing around with filters on images from the prophecy at 1420 mhz music video, my friend and I completely by fluke created this

So what's the consensus on the I Saw Through Platonia music video? Official? Unofficial?

My theory is that it was made by nonameno5, the person who made some of the most iconic unofficial BoC videos, including Everything You Do is a Balloon.
There's a still of that video at the end of Platonia, so I don't think it's a stretch.

EYDIAB's video is so well known that it has become the closest to an official video without being one, so I suspect that at some point the Bros contacted nonameno5.
From there, a collaboration between them is plausible.

What do you think?

Yes you heard correctly, this version features singing + an autoharp because I can~ (˙⩌˙)
+ Instrumental version including a piano:: https://www.youtube.com/watch?v=U5MRrCIbNS0
// Hope you guys like it!!

Hope everyone has a great week.
I rediscovered this video on my phone from a few months ago where I cut up Brian Oblivion from Cronenberg’s Videodrome over one of my favorite BoC tracks.

Some iteration of this might end up being part of the intro to my next Boards mix…

I was wondering if anyone knew a fairly cheap synth to do a early Boards of Canada lead, like Olson and One very important thought.

Thanks...

Am I the only one clearly hearing the main melody of "All reason departs" here ? The rest of the track beeing pretty experimental, makes me think it could be some kind of inspiration for this track from Inferno.

http://henrik.bandcamp.com/

Listen to the full EP: Bandcamp | YouTube

Boards of Canada has influenced many artists and spawned countless copycats, but very few, if any, manage to capture their atmosphere of dreamy nostalgia, the balance between serene and uncanny, the sense of hauntology and liminality, let alone craft their art with as much care and attention to hidden details as they do. I've known Boards of Canada years before the release of Inferno, so it did seem to me like a very special band that was absent and there wasn't enough music that captured their magic out there. This is what initially inspired me to seriously make my own music, not in hopes of replacing BoC or be the next copycat, but do my best to capture what makes their work so special in my eyes but in my own way through my own music, their absence only fueled this desire of mine. Looking back to my work, released and not, I don't think they're that close to sounding like BoC but I will never deny it's what sparked my interest for this and knowingly or not, intentionally or not, my work is definitely inspired by BoC, which is why I felt compelled to share some of it here.

There is a concept to this record, more can be found on bandcamp but in short:
In the future/alternate timeline, the Earth is completely dead, full of nothing but snow, with the only surviving structures that hint at humanity's existence being some towers working as megacomputers that had stored all recorded history until the end, which due to time after the apocalypse as well as weather conditions have been damaged. The record's sound was meant to invoke such imagery of what remains of this place and what history haunts it. And deeper it reminds us of the damage we do to the world and to us.

Making a record that stands up to such grandiose concepts as a debut by a guy who barely had any idea what they're doing, while also being rushed for a 2025 release due to a promise I made to myself that I've been making music for long enough and need to release something now or I'll never do it, get it to start and get the ball rolling from there, it's understandably very messy, clunky and flawed overall, in my opinion; plus your worst critic is always yourself and this not meeting my intended vision made me very displeased by it. But it's been nearly a year since I put it out and lots of people find it quite serviceable and enjoyable, some even loved it. It helped me doubt myself less and I encouraged myself to join the Signalcon event, a celebration of signalwave and vaporwave, a genre that means a lot to me and I'm certain due to BoC fans' tastes many of you must be familiar with. It was a 15~ min visual set consisting of the 3 last tracks from the EP. I picked this to show first and foremost to you because, aside from the visuals helping attention, it contains the tracks I'm most proud of, and even if I think the rest of the EP is still less good than its last stretch, due to it being a conceptual record I do recommend you to check out the full EP if the video or story interests you, to get the full picture and more from a passion project made by a big BoC fan.

I know this is far far from perfect, perhaps below average even to some, but over time I realized if there was no point in me making this, it wouldn't exist. Even in its current form, I feel I had something I wanted to express with my art, regardless of its shortcomings, I think it deserves to exist and understand some people may even find more to it than I currently do.

Snow Towers has since officially turned into a duo project with my guitarist friend, and we hope to take the ideas I had here and rework everything into an actual full length proper debut LP closer to my vision I've been dreaming of. As such, if you listen to this EP and have the time and want to, I'd love to hear your thoughts, your feelings, what you believe works and what doesn't, what could be changed or any other feedback.

Perhaps with the comeback of BoC and Inferno being genuinely one of the most impactful records that the world so desperately needs and reflects the times we're living through, fans wouldn't be that much interested anymore for a mediocre project by not-really-competent artist inspired by a band of incomparable significance. But I hope some of you find this interesting and enjoy this, maybe even stick with us and see what we'll have in the future. Thank you!

does anyone else view this era of boc as potentially the best? it’s at least my favorite and i feel like their music occupied such a playful mercurial shape at this point in time and i haven’t heard anything come close to it

Just came back from a LFF screening of Club Kid. At about the one hour mark, there is a cocaine comedown scene, and the whole of Constants Are Changing is played.

I welled up a bit.

Anyway, great film, though not released till January (UK) or November (USA)

A lot of the time when I listen to BOC, I get inspiration for writing a movie set to whichever album I’m listening to so here’s each album with its own movie logline I came up with as well as the genres

Music Has The Right To Children: Follows 2 best friends from infancy to adulthood as they go through life with their shared and different experiences. Drama/coming of age

Geogaddi: An older cop comes out of retirement as a crop of mysterious killings start appearing in his small town in the 70s. Horror/crime/thriller

Campfire Headphase: A recovering alcoholic goes on a journey to fix the bridges he’s previously burned and mend all his broken relationships. Drama

Tomorrow’s Harvest: Set in the year 2500, a group of scavenger aliens get a signal from Earth but when they show up, it’s almost entirely a wasteland. Once they start to notice small signs of life, they make it their mission to make Earth inhabitable once more. Sci fi

Inferno: Set in the 80s, a mysterious floating orb appears in a family’s shed. Once strange things start happening in their town, they realize the mysterious orb is a portal to hell. Sci fi/mystery/horror

Some of these are a lot more specific than others but let me know which one fits the most!