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on 9 January 2015
The Very best so far I think from BOC
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on 5 May 2017
I fav one had to be enjoyed one vinyl...
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on 19 June 2013
wonderfully composed and thought out pieces from one of my favourite bands of all time. I'm already having "Everything you do is a balloon" played at my funeral, albeit for some time yet. The campfire headphase went slightly more acoustic for their last outing which was fine and is nice to experiment with your sounds. However, this instantly feels more like the Classic BOC sounds which are what they do best. I don't know what the people who gave it less stars who claim to be long standing fans are going on about? It's a Boards of canada album so it is going to sound like Boards of canada. They certainly have a distinct sound and this album seems to have heavier percussion on many of the tracks. I also noticed lots of more subtler melodies and rhythms on other songs. Like a fine cheese this matures excellently with age and more listens actually improves the whole experience. You can tell they have deliberately although quite subtly put lots of hidden messages in the album, some of which I may be starting to understand. At the end of the day though these amazing musicians have been and will continue create wonderful, timeless and amazing music. Boards has and will continue to be a wonderful soundtrack to my life and many others. Thank you.
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on 6 December 2014
I've been a Boards of Canada fan for almost fifteen years now, have all their output, and I've waited a long time to review this album. That is not a reflection on it's quality, merely that I have come to consider this their most profound album to date and it's taken me a while to realise this. There has been a clear progression with this album, away from the nostalgia-laden tracks of their early work and into a more progressive, mature, serious, and altogether darker aural landscape, one that befits their years of development and contemplation.

Several of the tracks on here are somewhat abrasive but are complimented by others that are simply transcendent and soar beautifully across a terrain of abandoned machinery, dying circuitry and the final breath of the human-machine interface. The album has at its essence a sense of foreboding that I find deeply affecting, a portent of things to come.

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on 8 October 2013
"Perhaps the only album in three years (since 2010's Gorillaz Plastic Beach) that I waited and anticipated for to buy at first release and on hard copy. Scottish electronic music duo bring back their experimental and moody flair with Tomorrow's Harvest, a collection of 17 pieces complementing much of their nostalgic, analogue-sounding cues with more high-definition sound and menace.

The album takes much more a Geogaddi direction in its sound design and mood than Campfire Headphase (which is phenomenal in case the haters deny) and Music Has the Right... At first a hard one to try and grasp as the album acted a bit sluggish and compromising at the beginning, the second try at listening to it was a bit more rewarding which is why I did not automatically give it a 5-star review. Issues of immediacy and variety did arise in the beginning as I heard this album. The beginning with the recently known and very sci-fi-like Reach for the Dead did not kick-start with much surprise or intrigue as An Eagle in Your Mind or Chromakey Dreamcoat (the first ever BoC song I ever heard, in truth).

As I got grasp of much of their signature elements and the funky-psychedelic rhythms, then I started developing my already obsessive interest of the album. Within respected order, Jacquard Causeway (while repetitive, it was still spectacular with much of its Burial-esque drumming pattern), Telepath (clearly BoC from the haunting voice sample and editing), Palace Posy (which sounds like slow-tuned jungle meets French electronica act Deep Forest), Nothing is Real (cheerful, beautifully done, and romantic in a kind of way), New Seeds (calculating and a bit like the Tortoise song, Djed), and the difficult-to-pronounce Semena Merlvykh (a foreboding, extremely well-done orchestral type of piece that could have fitted the Prometheus soundtrack any day and made it more appreciable to its already displeased fans). The artwork is also complementary with some abstract and naturalistic designs of Californian desert, military buildings, and grainy shots of outer San Francisco which are well-done in its 8mm like film but kind of contradictory to their image as either Canadians or Scottish.

The unpredictability and nature vibe is what them interesting in the first place. I got this album for that reason just mentioned and because I am a rather big fan of their work. Thankfully, much of it did not disappoint and they stayed to their guts unlike the increasingly-pop Royksopp and Hot Chip, or the same old, same old Autechre. Thankfully, BoC reign high and strong with their strange melodic standards compared to other musicians who have had long waits from its respected fans like My Bloody Valentine, Daft Punk, and David Bowie."
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on 11 June 2013
Well thank gawd they did'nt retire as they'd gone to ground for so long because this album is just the mutts nuts as far as I'm concerned. Love it right from the off and I've played it through 4 times already and I only bought it yesterday. There's enough of a progression for them to not be accused of offering the same old stuff but there's still enough of the familiar trademark sounds not to make you think 'WTF are they playing at' as has been the case with Massive Attack's 'Heligoland' and Groove Armada's 'Black Light'. This is the best release from Warp in aeons. Great cover pic as well. Welcome back fellas, it's been worth the wait.
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on 13 November 2013
First century philosopher (and Roman emperor) Marcus Aurelius had a lot to say about the nature of change. "On death. Either dispersal, if we are atoms: or if we are a unity, extinction or a change of home". (Meditations)

Brian Eno conjures up millennia of change (past, present and future) in a simple, slightly chilling 3 word title: "Before and After Science". Before And After Science

Kurt Vonnegut in Slaughterhouse 5 repeats the phrase "so it goes" anytime anything dies. Not a signal of sorrow or mourning, more an acknowledgement of the inevitable. Although maybe there's often a hint at the absurdity at its timing or circumstances.(Slaughterhouse 5, or The Children's Crusade - A Duty-dance with Death)

There are clues as to what this record's about. The title Palace Posy - while on the surface a pleasant image of a 15th century palace and a bunch of flowers - is also an anagram of apocalypse. Semena Mertvykh is a transliteration of the Russian script Семена мертвых, which translates as Seeds of the Dead. (I didn't work these things out for myself by the way, I was told them. No university for G. O'D and no mistake!)

The record doesn't really present us with detail though, and it's all the better for that. There's no explicit nuclear war theme - and who knows, maybe a far-future apocalypse will involve things that are far worse than the dark toys the Manhattan Project dreamed up. The events of August 1945 do kind of cast a shadow over this record though.

Sonically, this is great stuff from end to end and it's the only BoC record I can say that about - not that MHTRTC and Geogaddi didn't have their moments, of course. In fact there are no moments in Tomorrow's Harvest where you hear a great bit of tune that you instantly want to rewind the tape and play again. It's just not that kind of record. At the risk of sounding like a bit of a James Blunt (if I don't already - cheers) this record takes you on a journey. Thermodynamics, the fall of empires, civilisations, entire species - it's all here. And it just about avoids pretension - unlike me.
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VINE VOICEon 11 November 2013
There are, I think, some people who may have been hasty in reviewing this album. OK, so "Tomorrow's Harvest" doesn't have the high points of Music Has The Right To Children [New Version], nor does it have its sonic novelty value. But give it time. There is real atmosphere and depth on this record which reveals itself with repeated listens. The concept is implied, not explicit, but would appear to be about the world after some sort of cataclysmic event. A world where nature has taken back hold of Earth but, maybe, where machines and a handful of humans still survive. The music is mildly threatening yet still melodic and compelling. A pessimistic view of the future, to say the least, but a strangely fascinating one. Check out "White Cyclosa" which sounds like some kind of weird requiem for the human race, or "Palace Posy", where the Boards get all Riddley Walker on our asses. That "Tomorrow's Harvest" has a concept of sorts perhaps makes it, for me, a more cohesive listen than The Campfire Headphase or Geogaddi. Then again, revisiting the latter two records now (as this latest release has inspired me to do) they too sound better than ever. Perhaps that was BOC's intention all along?

The 8 year gap between this and their last LP has not been time wasted. Messrs Sandison and Eoin have subtly updated their sound whilst still sounding recognisably like themselves. A gap bridged, and a record that will appear to a wide age range of music fans. A bit of a classic, I think.

Believe the hype - maybe the album of the year.
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on 9 August 2013
Seven long years since the Trans Canada Highway EP. Then the strange change on the website 'transmisiones...' and then flickers of news finally giving way to the Boards 4th full album.
I got it over a month ago, and it has not stopped, suiting the unusual still heat of the summer we have been getting. Looking through the sleeve booklet you'll find fairly typical 70's style photos yet most , when thought of as a continuous piece seem to paint a picture of surveillance in a world that seems dusty and shattered.
So the music! Well to say 'brilliant' is too easy. Its great too of course, but not in the way that 'heroes' by bowie is a great song for this is captivating in a whole different way. So different that frankly I'm not sure why its great, only that it is so immersive and its not letting go!
It begins with a 70's style tv broadcast announcement 'jingle' and thrusting us into gemini; with lush bass and radio frequencies, alluding to my theory on the surveillance theme, and at which point 'the campfire headphase' is already a distant dream and I'm nearer to a 'beautiful place out in the country'. Except this is not beautiful, this is dark.
Reach for the dead, has that unmistakeable BoC bass with a rich depth of sound pulsating almost from the heart of the earth itself. This, to me, is one of BoC's most sublime moments; there is much time at the beginning of this track where nothing particularly happens, its all in the tones before the beat and pace picks up then dumps you and leaves you, (well, me anyway) feeling bewildered.
White Cyclosa is a spider apparently, (I didn't know), and here it is coming, creepng up quite fast, and then pounding....
Escape onto 'jacquard causeway' with its throbbing relentless beat and classic Boards sound, distorted yet wonderfully melodic . I could go on, but you should find out for yourself and go on your own journey with it, I don't know where it leads, it hasn't finished with me yet but its the best BoC journey yet.
While Geogaddi has been my favourite album and 'a beautiful place....' my favourite ep this could uproot both. It certainly follows on better from those and perhaps some of 'twoism' and 'music has the right' than the 'campfire...' whch I still struggle with.
So is it all brilliant? Well, I don't particularly like 'palace posy' to the point I don't even know what its doing here, its title and clumsy rhythm jar against my vision of what's going on with this album.... although the track does get better at the end! Cold Earth is standard Boards so it gets no prizes either, but then you get moments of genius like the achingly hauntingly beautiful 'split your infinties', and 'come to dust' amongst others that make it, on balance, brilliant!!
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on 18 June 2013
Well, what can I say, 8 years on and my favourite artists are back with an album that I personnelly class as impressive as Geogaddi.

The same as others have said, when the Vinyl day happened in NY and London it went viral online with everyone trying to pick apart what it meant for a new album with all the XXXXXX/XXX....

Soon as I could, I preordered the vinly and CD of course!

After so many listens I am in awe of it, its such a step away from their sound of Geo.. MHT... and The Campfire Headphase, Ep's aside.
Much darker than Geogaddi (without the sound of children laughing or counting) but with a wash over of Music Has The Right To Children easy synths.
The first half has a very low-budget 70's si-fi soundtrack sound to it up to Palace Posy were it charges to a more hopefull sound, like its Tomorrow's Harvest.

8 years is a long long time to wait for an album but it was worth the wait and I look forward to many years of listens to this masterpiece and finding new layers to each track everytime.

Just got the FLAC version from Bleep. try your best to get it too.

I do hope we get more work from them with this new sound in a EP in the next few months. And also I hope they are still working on the BoCset to be released at some point.

PS: Some friends of mine find it very hard to get into BoC, and I have excepted that, even though they are masters at what they do, some people just ddont get them. As one friend said to me, 'you have been listening to them for the best part of 3 decades (1997 to now), you've had a lot of time to listen, it will take a while for me to understand them.'

It shouldnt be that hard to understand what they are trying to get across in each album but I guess he is right, people just dont have the patience to listen to an album and lose themselves in an artists work anymore, guess thats society today for ya.

PSS: Come to Dust is an amazing track!
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