“We asked 100 people to name a musical duo from Scotland.”
With a TV audience of millions watching and a five or six-figure jackpot prize hanging on your answer, the chances of a clued-in contestant offering up Boards Of Canada, let alone finding them in the list of Family Fortunes‘ half a dozen top answers would be slim to non-existent.
“The Proclaimers!” Ding!
“The Alexander Brothers?” Ding!
“Eh… Arab??… eh… Strap??” Ding!
But not, never, Boards Of Canada. !Klax-on!
Boards Of Canada rarely make videos. Hardly ever (and possibly never) do press. Haven’t played live in over 20 years. The likelihood of them popping up between Phil and Ally to provide an alternative, modern-thinking, left-of-centre soundtrack while Jackie Bird brings in the bells from Edinburgh Castle is about as likely as a statue of Margaret Thatcher being erected in Auchinleck town centre. They are low-lying to the point of anonymity, and I suspect that’s the way, uh-huh uh-huh, they like it.
Formed in 1995 by brothers Mike and Marcus Sandison in the north east seaside town of Cullen, their music has given the world four albums and a handful of EPs. All are different yet all are fairly recognisable as the work of a band steeped in analogue production, vintage synths and the use of unfashionable and outdated technology as a means to produce warm, ambient electronic music that boils and bubbles with all the warm blooded soul of a beating human heart.
2006’s Trans Canada Highway EP may well be the missing link between Radiohead’s more adventurous excursions in electronica and My Bloody Valentine’s self-indulgent guitar manipulation.
Dayvan Cowboy – Boards Of Canada
Opening track Dayvan Cowboy is the band in miniature, its looping whitewash of fuzzed guitars, skeletal percussion and layered windrush of synths nestling murkily inside your head before the musical clouds part and, two minutes and seven seconds in, a bright light of aural sunshine sweeps the room. In dance terms, you would call this ‘the drop’. In Dayvan Cowboy, it’s the drop in reverse, the equivalent of coming up for air after a deep sea dive, a gasp of clean oxygen at the end of a journey living on borrowed air.
Gently broken hip hop beats rattle and ricochet, synthesised strings sweep across the ambient electronica, more rushing wind, more tinkling percussion, lovely wee doorbell-like chimes every now and then; head music for the soul as it peters out to its untimely multi-layered end. Someone should make one of those ultra slowed-down 3-hour versions and stick it on the internet for full-on effect. I suspect it would be just as brilliant.
All in, it’s lovely stuff and it makes even more sense in (slightly edited) video form:
Elsehwere on the EP you’ll find Left Side Drive – (LSD?) – yet more ear-burrowing, creeping electronica that features a borrowed rhythm that may well be a processed version of the beats in Massive Attack’s Karmacoma melded to slo-mo flotation tank music that very possibly was recorded in a dimly-lit bedroom or basement, with a couple of lava lamps and a copy of Pink Floyd’s Meddle for company, perhaps even the fragrant fug of Morocco’s finest curling tantalisingly around the nostrils.
Left Side Drive – Boards Of Canada
Interestingly, or incredulously even, Solange Knowles – Beyonce’s wee sister – recorded a totally unofficial track that features her breathy soulful vocals floating across Left Side Drive‘s wafty ambience. It’s not the best track you’ll hear this week, but nor is it the worst. Chances are, given that it first surfaced in 2011, you’ve heard it before.
So there y’go; a track that links pop R’n’B superstar Beyonce to Scotland’s under the radar electronica pioneers Boards Of Canada. Who knew?!