Not at all Canadian, Boards of Canada took their name from an educational television institution. Fitting, really: if you don't know already, this duo are credited for creating some of the most important work about childhood and memory, relocating the uncanny valley of nostalgia in new, fantastical sound worlds. Brothers Michael Sandison and Marcus Eoin are responsible for a handful of landmark electronic albums that to this day have their own, special emotional language, a type of psychedelic IDM that no artist since has really been able to join in on. People have tried, of course: Boards of Canada have influenced legions of stay-at-home electronica artists and hauntology nerds, but their sound has remained their own.
When you hear their name a certain six word phrase jumps out with it: Music Has The Right To Children. A record of cryptic samples, looping beats and iced sun synths, the record juxtaposes analogue warmth with a distantly ominous vibe, the people speaking through the record feeling lifeless, faceless, and yet somehow related to us. The band's odd, often frightening approach continued in the downtempo of Geogaddi, and into the folksy wilderness of The Campfire Headphase. After disappearing for a good while, they came back with Tomorrow's Harvest, a record that responded to the Boards of Canada sound itself, trying to locate its purpose in a landscape of electronic music that's never been further removed from it. In replicating their own sound, they suggested the special place only they can occupy.