Strap in guys, we’re getting into some pretty wacky territory here. Hope you enjoy, hope you find it interesting. I sure do.
John Baez on 24 (gets juicy at about 48:00)
Heyyyyy piano players! I’ve got some new tutorials up on some great BoC tracks. Make the most of it!
Yo, I’m back with a hot new podcast, putting into words my own speculations on the true influence of psychedelics on Boards of Canada’s music. Don’t do drugs guys. (I’m serious, hit ya boy up on FB and i’ll elaborate)
The conclusion to my analysis of Tomorrow’s Harvest.
Two videos referenced in the video:
Hey guys, D again. Wanted to float some thoughts about Cold Earth, probably my fav track on TH.
First, some structural matters (check my work!):
Drum loop A enters at 0:42 and and continues through the melody’s introduction, repeating for 24 measures i.e. 4 phrases (save for dramatic pauses and sfx–sound of an old telephone being slammed at 1:23). Loop B then enters at 1:24 and repeats for 12 measures/2 phrases ending with a (radio-esque imo) vocal sample (1:42). Loop C then begins its 12-measure run, and at the midway point we hear that weird sound (1:54)  heralding the introduction of the voices. Then we drop back into loop B (2:07–voice also says “zero” here), which plays again for 12 measures, then we’re with loop A again for 24 measures to the conclusion.
So A-B-C-B-A, roughly. Yet another palindrome.
Thematically this evokes evolution and devolution, perhaps the effect of planetwide communication on human society. The introduction of electric media was a relatively sudden event in human history–voices traveled through air that was empty just a few decades before. In the geological blink of a fly’s eye, everyone could hear everyone else, and good or bad, it was a point of no return for this species. 
To approach it from another angle, the structure of the drum loops and transitions–especially the abrupt, thunderous turnaround at 1:54–also reminds me of the system of historical “ages” (think iron, stone etc) as poetically outlined in Joyce’s Finnegan’s Wake.  Each human age–separate in time, but paradoxically involving the same characters and situations–is punctuated by a great thunder which ushers in the next. Relate that to the shifting drum patterns and unchanging chord progression as you like.
 Ever since I read in this interview of the mysterious piece of gear that “cost [the boys] a lot of time and road miles to source” and resulting one-second sample, I’ve suspected the screechy groan at 1:54 is it.
 Anyone who hasn’t should check out the very important work of Marshall McLuhan–for more on the advent of radio, check out chapter 30, “Radio: the Tribal Drum,” from his Understanding Media.
 For a thorough if offbeat explanation of this, see here (timelinked to the relevant segment, though the whole lecture is a solid intro to the Wake). Ol’ BoCcast Mikey is a known fan of the Wake too, and we’ve discussed how it relates to TH in the past, so keep your ears peeled if pomo lit is your fancy.
Here’s a little primer for the next installment of the podcast. This is from 0:38 in Collapse, sped up some in audacity. I definitely hear a voice saying something pretty clearly, but I’m interested to hear what you guys think without my input.
What do you hear? Hit up the ol’ comments and don’t be shy!
Left, Athenian Owl at the Acropolis — the chief temple dedicated to Athena/Minerva — in Athens; right, an exact replica at the Bohemian Club in San Francisco, which even includes the missing beak.
This is the first in a series of podcasts dedicated to detailed analysis of Boards of Canada’s newest album, Tomorrow’s Harvest.
Let me know what you think, hope you enjoy! Feel free to leave your own interpretations in the comments section.
If you enjoyed, be sure to subscribe, there’s a lot of mind-bending stuff going on here, and this first podcast barely scratches the surface.
Hey, Mikey here, so deep into the sounds that I’ve got the chills.
I’m listening to Jacquard Causeway, and I hear a looping voice out of the left channel that builds, starting around 4:40 saying “Death will take them all,” at a steady crescendo, almost crystal clear at 5:10 or so. I tend to agree with the interpretation that the song is about the evolution of information processing, starting at the Jacquard Loom and its punchcards, developing to reflect digital information and its ubiquity in the modern world. In light of that interpretation though, what could the sample mean? My reading is that the brothers see the species imminent death as a grim, undeniable truth, or at least a serious possibility that’s exaggerated through the pessimistic lens of Tomorrow’s Harvest.
Now that information is more accessible, it’s apparent to anyone in tune with global news that an omega point for humanity is far from impossible. Access to global news has changed the way people see their country’s mainstream media sources. I find it pretty easy to be pessimistic about the world I live in when it’s easy to figure out the degree to which massive populations are misled by the mainstream media. I think Tomorrow’s Harvest is a real meditation on global politics and media (more on this later). To that end, I think the availability of information has made it clear to a lot of people that the world is not nearly as stable as one’s own national news media makes it out to be, and that’s what this ghostly voice is reflecting at the peak of the causeway.
It’s 1984, but you wouldn’t know it unless you’re in tune with the internet (no wonder the ol’ US is talking about making it jailable to pose as a journalist without credentials).