- Audio CD (Sept. 22 1998)
- Number of Discs: 1
- Label: Matador Records
- ASIN: B000009VOM
- In-Print Editions: Audio CD | LP Record
- Average Customer Review: 153 customer reviews
- Amazon Bestsellers Rank: #65,781 in Music (See Top 100 in Music)
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Music Has the Right to Children
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2 cd set. Music has the right to children - the first american release by this scottish duo has drawn rave reviews on both sides of the atlantic. The music ranges from goofball, perry-kingsley style retro-techno to ambient (in fact, sometimes eerily reminiscent of eno's 'ambient music i') to just about anything else you can dream up for a couple of synthesizers and a drum machine. Boards of canada's music has drawn frequent comparisons to wildlife documentaries from the '70s, but you've got to wonder what kind of nature documentary would have distorted drum machines and weird voices darting in and out of the mix Geogaddi - 'geogaddi' is the second album from boards of canada and follows on from their 1998 release 'music has the right to children'. Similar to early autechre and aphex twin, mixing electro-synth with sampled hip hop beats and ambient techno. Reminiscent of 1970's educational tv documentary music.
Like dust motes dancing in hazy afternoon sunlight, the compositions of Scottish duo Boards of Canada seduce listeners by illuminating almost imperceptible elements flitting through the cluttered cosmos. Though their saturated hip-hop beats and deployment of timbres as tactile textures recalls Autechre, Boards of Canada are distinguished by sweet melodies and a fondness for using vaguely familiar sounds outside of Western harmonic tradition--snippets of party conversations, bouncing Ping-Pong balls--to function as emotional triggers. Despite its sonic watercolor washes and childlike exclamations of "I love you" ("The Color of the Fire"), Music Has the Right to Children is not some yellowing document scribbled by glassy-eyed, loved-up rave casualties. This exemplary, evocative recording almost hovers above any fixed point on the time line of pop-music history. --Kurt B. Reighley
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Does this approach sound familiar? Perhaps because it was created by the Aphex Twin. Every sound on this album, every production value, every musical structure, every offhand, ironic twist was pioneered by the Aphex Twin. Every twitch-styling, every moment in which a sample of a child's voice calls to question innocence and instead invokes a vague, spine-chilling fear, every pattern on this album has been traced before, in very similar detail, by the Aphex Twin.
The previous reviewers miss the sad truth. This album does not sound 'like' early Aphex Twin... its entirety, its being, exists as a sadly mundane cloning experiment. The only difference to be noted between the Boards' approach is that a certain palette of the sonic spectrum (the ability of Aphex' sounds to occasionally rip through the production value of the rest of the song and literally leap right out of the speaker, rattling brains and panes of glass) is sacrificed for a more synchronous flow, a smooth connection in the tracks that percolates more cohesively than most Aphex albums.
That said, the decision is up to you - whether you'd like to delve beyond Aphex' huge back catalog to an album that appropriates it and smooths together the edges, in turn blurring a bit of the challenging nature of the sound. In that light, the title of the album comes across a bit like a plea rather than an assertion - not only sinister in its attempt to convince but embarassingly obvious as an excuse. One wonders what Richard thinks of all these bastard children he's spawned.. or if the multiplicity he's cultivated isn't in some way responsible for the results. Maybe the idea is to shift the blame?
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