I had some time to kill the other day, so went for a pint and popped my headphones on. "Ah yeah, Music Has the Right to Children!" I said, queueing it up for the millionth time in my life.
This band, and these albums... just fucking amazing aren't they?
MHTRTC was probably the first electronic album I properly got into. Back when I first heard it at the start of the 00s, I was still a bit of a guitar guy - granted it was more the weirder side of guitar stuff, and was less about the britpop I'd grown up listening to, but I'd not branched out into the wider world of weird electronica just yet.
Kid A hit the suburbs like a freight train btw - we were all middle class nerdy kids living in small villages in the north of England, and not exactly clued up on what was happening outside of Melody Maker and NME, so when Radiohead came along and starting citing people like Autechre, BoC, Aphex, Squarepusher, etc. it led us all down the path to disover what this stuff was for ourselves.
I'd been exposed to my fair share of electronic and dance music through being a kid in the early 90s, and having a brother who was a budding DJ - I'd hear stuff like Underworld, Cassius, Hybrid, all that Roule stuff, etc. it was fun, but there wasn't anything that quite matched my unabashed love of the melancholic in all that, until that is I downloaded 'Kaini Industries' from some file sharing network I've now completely forgotten about.
That first compact hit - I'd chosen that one to download as it was super short, so wouldn't take very long to download on a dial up modem - crept up on me. I'd always thought it had a nice little sound, but it took a while to investigate further. Once those wobbly, fluid synth lines has embedded themselves in my skull, I was ready - I remember listening to their first albums on repeat. Think it was Geogaddi I got first, via CDwow.com, which shipped tax free from Hong Kong, so you could get CDs on the cheap. What a time.
I loved everything about it, in and outside of the actual music - the way the band operated was so special, the fact you didn't know much about these dudes, but snatched glimpses of their process, the fact you had to rely on these albums as transmissions.
I remember I used to put 'like Mogwai and Boards of Canada' on early satan press releases, as I wanted to fuse a sort of bastard child between them both. Creepy synths and glacial guitars, packed into 2-3 minute tracks, that was how satan went in the early days.
It's also hilarious that for a band that prided itself on mysterious analogue gear, every new plugin going has something or other that makes things sound exactly like BoC.
That's just a cheap cop-out though, you can't force yourself to sound like Boards - it has to come from somewhere, and where they were coming from was a deeply personal place, indebted to fading childhood memories, that old nostalgia for something you barely remember. The past truly being a different country. The mixture of emotions that brings - something you cherish, but can never repeat ever again, something so beautiful, but you have to leave behind forever, fits perfectly into their chosen sound of bitcrushed hip hop beats, TV samples and all those LFO heavy woozy synth lines.
But the best thing about it all, is that you can just jettison all that if you want and just enjoy it on a very surface level. You can just sit and enjoy the melodies, the shimmering guitars of Dayvan Cowboy, the pummeling rhythms of Gyroscope, the skittering madness of XYZ. They're like Lynch movies - you can remove all the context if you like and just bathe in the weirdness of it all, and you can do that here - just enjoy it, no need for any extra detail if you don't want.
But ah man, what a fucking band though eh? What a fucking band.