Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today, we revisit an album that changed ambient music forever. The facts were thin on the ground. Richard D. James was from Cornwall, yes—a geographical outsider in the context of earlys UK rave, a kind of coastal cowpoke. James claimed to sleep just two hours a night; claimed, too, that he could control his dreams, even wrote much of his music in his sleep. Did he really drive a decommissioned tank?
No matter how tall the tales grew around this Cornish Paul Bunyan, none of them ever came close to eclipsing the music itself. James emerged in , at 20 years old, just as UK producers were scrambling to keep up with the newfound domestic demand for electronic dance music.
The sound was born in Chicago and Detroit in the mids and imported to the UK in when a handful of London DJs stumbled upon acid, the musical style—along with ecstasy, the chemical compound—while on holiday in Ibiza.
Their horizons instantly broadened, they connived to bring the stuff back home, and wham: a canary-yellow smiley face landed upon fair Albion like a pallet of rations air-dropped by a benevolent conqueror.
Local production went into overdrive, and few native sons or daughters it was mostly sons were more determined than James to put their shoulders to the wheel. The floodgates opened. In addition to techno, ambient music—more than that, really, the idea of ambient music—was in the air in the early s, even if nobody could quite agree on what the term was supposed to mean.
As a comedown soundtrack, ambient provided a gentle landing pad for psychonauts returning from the trips of the night before; as a mind-expanding spiritual elixir, it went along with oxygen bars, smart drinks, and other trappings of the dial-up counterculture in the final decade of the 20th century.
Both were long, largely seamless journeys whose ebb and flow mimicked the fluid path of a psychedelic trip—swirling collages conjoining bucolic synths, pedal steel, classical strings, dub and acid-house rhythms, the occasional thunderclap or train whistle, and barnyard animals. By the ethereal style was unstoppable.
The independent label Caroline countered with its own franchise, Excursions in Ambience. Sunday 5 September Monday 6 September Tuesday 7 September Wednesday 8 September Thursday 9 September Friday 10 September Saturday 11 September Sunday 12 September Monday 13 September Tuesday 14 September Wednesday 15 September Thursday 16 September Friday 17 September Saturday 18 September Sunday 19 September Monday 20 September Tuesday 21 September Wednesday 22 September Thursday 23 September Friday 24 September Saturday 25 September Sunday 26 September Monday 27 September Tuesday 28 September Wednesday 29 September Thursday 30 September Friday 1 October Saturday 2 October Sunday 3 October Monday 4 October Tuesday 5 October Wednesday 6 October Thursday 7 October Friday 8 October Saturday 9 October Sunday 10 October Monday 11 October Tuesday 12 October Wednesday 13 October Thursday 14 October Friday 15 October Saturday 16 October Sunday 17 October Monday 18 October Tuesday 19 October Wednesday 20 October Thursday 21 October Friday 22 October Saturday 23 October Sunday 24 October Monday 25 October Tuesday 26 October Wednesday 27 October Thursday 28 October Friday 29 October Saturday 30 October Sunday 31 October Monday 1 November Tuesday 2 November Wednesday 3 November Thursday 4 November Friday 5 November Saturday 6 November Sunday 7 November Monday 8 November Tuesday 9 November Wednesday 10 November Thursday 11 November Friday 12 November Saturday 13 November Sunday 14 November Monday 15 November Tuesday 16 November Vordhosbn 3.
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Sin embargo, los primeros pasos como Boards of Canada se dieron en torno a cuando formaron el grupo junto a otros amigos de su pueblo, Pentland Hills. Al no conceder apenas entrevistas y ser muy celosos de su privacidad, los datos que se conocen sobre los hermanos son escasos y difusos.
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