Boards Of Canada - Music Has The Right To Children album flac
|2||An Eagle In Your Mind||6:23|
|3||The Color Of The Fire||1:45|
|5||Triangles & Rhombuses||1:50|
|7||Turquoise Hexagon Sun||5:08|
|11||Rue The Whirl||6:40|
|14||Pete Standing Alone||6:07|
|16||Open The Light||4:25|
|17||One Very Important Thought||1:14|
- Manufactured By – Beat Records
- Phonographic Copyright (p) – Warp Records Limited
- Copyright (c) – Warp Records Limited
- Pressed By – Memory-Tech
- Design – Boards Of Canada
- Liner Notes – 星川慶子*, 千布 憲一*
- Producer, Written-By – Marcus Eoin, Michael Sandison
NotesThe 2002 pressing from Beat Records is identical with the exception of the catalogue number.
Catalog#'s on the inner ring of the backsides of the CD's differentiate the releases.
Barcode and Other Identifiers
- Matrix / Runout: BRC-50 MT F05
- Barcode: 4523132112503
|warplp55, skalp1||Boards Of Canada||Music Has The Right To Children (2xLP, Album)||Warp Records, Skam||warplp55, skalp1||UK||1998|
|OLE 299-2||Boards Of Canada||Music Has The Right To Children (CD, Album, RE)||Matador||OLE 299-2||USA & Canada||Unknown|
|warpcd55x, skald1||Boards Of Canada||Music Has The Right To Children (CD, Album, RE, Dig)||Warp Records, Skam||warpcd55x, skald1||UK||2004|
|WARPCDD55||Boards Of Canada||Music Has The Right To Children (18xFile, WAV, Album)||Warp Records||WARPCDD55||UK||Unknown|
|warpcd55, skald1, OLE-299-2P||Boards Of Canada||Music Has The Right To Children (CD, Album, Promo)||Warp Records, Skam, Matador||warpcd55, skald1, OLE-299-2P||US||1998|
Music Has the Right to Children is the debut studio album by Scottish electronic music duo Boards of Canada, released on 20 April 1998 by record label Warp.
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Music Has the Right to Children is the debut studio album by Scottish electronic music duo Boards of Canada. It was released on 20 April 1998 in the United Kingdom by Warp and Skam Records and in the United States by Matador Records.
That’s what Boards of Canada were going for when they recorded Music Has the Right to Children in the late 1990s. At that time, the reigning aesthetic in electronic music was crisply digital, frenetically hyper-rhythmic, and futuristic. But the Scottish duo quietly and firmly abstained from these norms and conventions. The album came out in April 1998, a joint release by scene-leading Warp Records and the rising second-wave IDM label Skam. Although Music Has the Right has the feeling of a debut, a bold entrance statement, Sandison and Eoin-aged 27 and 26 when the album was released-had already accumulated a fairly substantial, if low-profile, discography across the previous three years, including an album and a barely released cassette on their own imprint, Music70, and the Hi Scores EP for Skam.
The album was met with critical acclaim, being hailed as a modern classic and labelled as a thing of wonder - the aural equivalent of old Super 8 movies. Marcus Eoin, in an interview done coinciding the albums release says a lot of it is trying to capture a nostalgic feeling buried somewhere in our minds. We are nostalgic people trying to get back moments from our pasts. He goes on to argue that music for commercials, documentary soundtracks and children's T. iscover more music, concerts, videos, and pictures with the largest catalogue online at Last.
Although Boards of Canada's blueprint for electronic listening music - aching electro-synth with mid-tempo hip-hop beats and occasional light scratching - isn't quite a revolution in and of itself, Music Has the Right to Children is an amazing LP. Similar to the early work of Autechre and Aphex Twin, the duo is one of the few European artists who can match their American precursors with regard to a sense of spirit in otherwise electronic music. This is pure machine soul, reminiscent of some forgotten Japanese animation soundtrack or a rusting Commodore 64 just about to give up the.
Boards of Canada is the duo Michael Sandison and Marcus Eoin, and is based on the Northern Coast of Scotland. They first burst onto the music scene in 1996 releasing an 8-track promotional EP entitled Twoism, which impressed experimental electronica label Scam. This EP prompted Scam to sign the band, and the band made their first release on the label in 1996, with an EP entitled Hi Scores. The sound on the EP was a mix of synth melodies, and hip-hop and electronic references, and drew comparisons to artists like Autechre. In 1998, the band released their first full length album in Music Has the Right to Children.
Released April 20, 1998. Music Has the Right to Children Tracklist. 1. Wildlife Analysis Lyrics. Each songs' sonics are a vignette into the Boards' alien, yet familiar, chilling world, every cut packed with samples and synth-work inspired by documentaries and shows the brothers watched as children. MHTRTC is widely regarded as one of the best and most influential electronic albums of all time, tying as the highest rated electronic album on Pitchfork, and landing 22nd on Slant Magazine’s 25 greatest electronic albums of the 20th century. Music Has the Right to Children Q&A. Design Boards of Canada.
Music Has The Right To Children. With that said, BoC's first major release, Music Has the Right to Children, is an album that has a different meaning for every listener: some may get a hidden message of inspiration, while others (like myself) find this album awesome, but for reasons that aren't easy to explain. However you view it, this album is unique to each listener's taste.
Few albums are treated with the cultish reverence of Music Has The Right To Children, which turned 15 this April. Whichever way you look at it, in the decade and a half since its release, Boards Of Canada’s Warp debut has acquired a mythical prestige that transcends both the Sandison brothers’ original ambitions and the music’s own guileless outlook. By introducing themes of suppression, solitude and grief into Musi. s evocations of childhood, Boards of Canada created a record that was pretty but seldom precious, more faithful to experience than kitsch idealism. This ambiguity has endeared Music Has The Right To Children to its hordes of fans over time: as its listeners grew ever further away from the childhood it evoked, the album, bizarrely, became more relevant. It’s tempting to paint Music Has The Right To Children as a dazzling innovation, but it’s simply not true.