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Track List
01) Into the Rainbow Vein
02) Chromakey Dreamcoat
03) Satellite Anthem Icarus
04) Peacock Tail
05) Dayvan Cowboy
06) A Moment of Clarity
07) '84 Pontiac Dream
08) Sherbet Head
09) Oscar See Through Red Eye
10) Ataronchronon
11) Hey Saturday Sun
12) Constants Are Changing
13) Slow This Bird Down
14) Tears From the Compound Eye
15) Farewell Fire
01) Into the Rainbow Vein
02) Chromakey Dreamcoat
03) Satellite Anthem Icarus
04) Peacock Tail
05) Dayvan Cowboy
06) A Moment of Clarity
07) '84 Pontiac Dream
08) Sherbet Head
09) Oscar See Through Red Eye
10) Ataronchronon
11) Hey Saturday Sun
12) Constants Are Changing
13) Slow This Bird Down
14) Tears From the Compound Eye
15) Farewell Fire
0:44
5:47
6:04
5:24
5:00
0:51
3:49
2:41
5:08
1:14
4:56
1:42
6:09
4:03
8:28
Data Complete
80%
Total Rating
80%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2005
Ambient
Trippy
Electronic
---
Slow
Album
0 copies
Album Description
Available in:
The Campfire Headphase is the third studio album by Boards of Canada. Released by Warp Records in October 2005, the album featured the addition of heavily treated acoustic guitars and the use of more conventional song structures. The album took the duo three years to make.
“ We usually imagine our music to have a visual element while we're writing it, so we were picturing this character losing his mind at the campfire and compressing weeks of events into a few hours, in that time-stretching way that acid fucks with your perception.
– Michael Sandison
User Album Review
Boards Of Canada: the name is mysterious and just a touch forbidding. The group's track titles similarly combine an eye for poetic resonance, nostalgia and the peculiar. Until now the group have remained mute and allowed their music and texts to speak for them, while an ever-inquisitive public have projected their own images upon their shadowy outlines. The lengthy periods of silence that have accreted between their infrequent releases have only served to amplify the fascination.
Music Has The Right To Children (1998) and the EP, In A Beautiful Place In The Countryside (2000), forged their reputation for a haunted nostalgia that at times touched the sublime. Once led into their labyrinth by the dreamy voices of cult members and the laughter of distant children, it's difficult not to find oneself lost in reveries about long-lost polaroids edged with the encroaching darkness of times evermore distant. Boards Of Canada's best work teases the listener with things that lie just beyond reach. The Campfire Headphase returns to the seductive beauty of those works. It also successfully recaptures the fluid coherence fundamental to the success of their hypnotic appeal, something that its predecessor, Geogaddi ultimately failed to do.
Given the foregoing, it seems strange that Mark and Mike Sandison have now embarked upon a concerted campaign of demystification. Lengthy interviews published in The Wire magazine and on the Pitchfork website express their frustration at the public's mythmaking and talk keenly of the ageing techniques that they apply painstakingly to their music. It's difficult to see how such disclosure enhances their art and it's a tribute to the strength of The Campfire Headphase that it survives this puzzlingly banal urge.
As with its predecessors, The Campfire Headphase initially sounds almost too easy on the ear. The music itself offers little more than a tweaking of the duo's template to date. The only real change is the presence of guitars and the reduced prominence of vocal samples (where they do occur they're much more blurred and distant than before). This latter may be a reaction to the relentless puzzle-solving provoked by Geogaddi's multiple references.
Only time will tell whether Boards Of Canada can continue to produce this kind of music without surrendering to the rule of diminishing returns. Despite this concern, the duo remain extremely adept at creating lacunae at the heart of their music, spaces into which you can project your own feelings and memories. As you do so, you'll slip into a gentle whirlpool of slowly emerging sonic details. The effect is seductive and remarkably subtle. A perfect accompaniment to summer evenings as dusk falls, The Campfire Headphase provides a key to the lost art of daydreaming.
External Album Reviews
None...
User Comments
Available in:
The Campfire Headphase is the third studio album by Boards of Canada. Released by Warp Records in October 2005, the album featured the addition of heavily treated acoustic guitars and the use of more conventional song structures. The album took the duo three years to make.
“ We usually imagine our music to have a visual element while we're writing it, so we were picturing this character losing his mind at the campfire and compressing weeks of events into a few hours, in that time-stretching way that acid fucks with your perception.
– Michael Sandison
User Album Review
Boards Of Canada: the name is mysterious and just a touch forbidding. The group's track titles similarly combine an eye for poetic resonance, nostalgia and the peculiar. Until now the group have remained mute and allowed their music and texts to speak for them, while an ever-inquisitive public have projected their own images upon their shadowy outlines. The lengthy periods of silence that have accreted between their infrequent releases have only served to amplify the fascination.
Music Has The Right To Children (1998) and the EP, In A Beautiful Place In The Countryside (2000), forged their reputation for a haunted nostalgia that at times touched the sublime. Once led into their labyrinth by the dreamy voices of cult members and the laughter of distant children, it's difficult not to find oneself lost in reveries about long-lost polaroids edged with the encroaching darkness of times evermore distant. Boards Of Canada's best work teases the listener with things that lie just beyond reach. The Campfire Headphase returns to the seductive beauty of those works. It also successfully recaptures the fluid coherence fundamental to the success of their hypnotic appeal, something that its predecessor, Geogaddi ultimately failed to do.
Given the foregoing, it seems strange that Mark and Mike Sandison have now embarked upon a concerted campaign of demystification. Lengthy interviews published in The Wire magazine and on the Pitchfork website express their frustration at the public's mythmaking and talk keenly of the ageing techniques that they apply painstakingly to their music. It's difficult to see how such disclosure enhances their art and it's a tribute to the strength of The Campfire Headphase that it survives this puzzlingly banal urge.
As with its predecessors, The Campfire Headphase initially sounds almost too easy on the ear. The music itself offers little more than a tweaking of the duo's template to date. The only real change is the presence of guitars and the reduced prominence of vocal samples (where they do occur they're much more blurred and distant than before). This latter may be a reaction to the relentless puzzle-solving provoked by Geogaddi's multiple references.
Only time will tell whether Boards Of Canada can continue to produce this kind of music without surrendering to the rule of diminishing returns. Despite this concern, the duo remain extremely adept at creating lacunae at the heart of their music, spaces into which you can project your own feelings and memories. As you do so, you'll slip into a gentle whirlpool of slowly emerging sonic details. The effect is seductive and remarkably subtle. A perfect accompaniment to summer evenings as dusk falls, The Campfire Headphase provides a key to the lost art of daydreaming.
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