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)
Hey guys. Here’s my conclusion of this album’s analysis. Hope you all enjoy.
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)
Honestly, I didn’t think this was ever going to happen, but I found a slam-dunk crystal clear vocal sample in Dayvan Cowboy a couple nights ago. Got me all pumped, all tingly in my scalp and spine. I live for moments like that.
At 3:09, (listening to the Trans-Canada Highway version now for reference, but i heard it in both) there’s a crescendoing cymbal buildup that’s followed by two big cymbal crashes. Around 3:12, right after the second big crash, a quiet male voice in the left channel says “Yeah!” It’s a quiet voice at the peak of the song, so it will doubtless take a few listens. It’s there, though. I promise.
I don’t think much analysis is needed. It’s an uplifting track, and I’m glad this disembodied voice is as into it as I am!
There are probably several more voices waiting to be found in this track. I’ll keep you posted.
Update: At :07, I hear a whispery voice saying “Goodbye”. “Good” in the right channel, “bye” out the left, and then a very quiet voice to the left, sounds like it’s descending, and I hear it say “everyone.”
That’s all I got for now. Goodbye everyone!