Scottish brothers Michael Sandison and Marcus Eoin had been producing electronic music together since the late 80s before signing to the Warp label and releasing their (un)official debut Music Has The Right To Children in 1998. And they took the electronic music world by storm. Part electronica, part ambient, part post-rock; they appealed to many pockets of music fans with their signature retro-contemporary sound. The eagerly awaited follow-up Geogaddi (2002) – an epic album of 23 shrouded songs – darkened up the proceedings and stretched the electronic boundaries even further. People were on the net publishing their detailed analyses of this loaded work. Backmasking; the Occult; Branch Davidians; numerology; humans Vs God Vs nature – it certainly stirred up the fanbase. Three years later they gave us this, their 3rd album, The Campfire Headphase. The album was another underground event in the electronica sphere. The mysterious brothers – who rarely perform shows or give interviews – produced another aural feast that is simply stunning to listen to. Their electronic brew of styles induces a sort of synesthesia that slows time as the music pours over you, and by the time you’re 3 or 4 songs into it, you’re happily immersed. It has that power. Best to just sit back and enjoy the ride. All their albums get better with every listen. They’re like sonic adventures. You find new details in the far reaches of their songs. As if they’re somehow recording the internal soundtrack to their childhood memories, half of it seems real, and the other half is imagined. Also, the song “Dayvan Cowboy” became the first BoC song to spawn a film-clip. And it’s great – merging footage of Joseph Kittinger’s incredible plummet through the atmosphere, and then morphing out of the ocean as a big wave surfer. This perfectly suited the spacey yet earthly nature of this majestic music.
~ DECOY SPOON