Julie and Candy and the flow of Geogaddi

I mean, it's not that I don't think it's a really good track. I love it.

It's that Geogaddi is such an amazing experience, it gets so dark, harrowing and unsettling. I feel that Julie and Candy doesn't quite fit into the Geogaddi mixture as well as the rest of the album.

it's like Geogaddi is a cave, getting deeper and deeper always looking for a way out, then Julie and Candy is like this weird theme park with lots of midgets at the bottom of the cave?

Am I alone here?

you really can't hear the dark undercurrent to that track?

edit: i'm not trying to be a sarcastic cunt or anything, like...literally, i'm perplexed that you can't hear it.

It's not that it isn't dark, it just doesn't fit as well as everything else on the album.

Keep in mind this is also on the BoC scale, where everything is so perfectly placed, this is like getting picky about having one eyelash on a perfectly polished car.

can you elaborate a bit more on why it doesn't sit so well on the album for you?

I'll try it's hard though.

Like most of us (I assume) I listen to this album front to back only, and whenever Julie and Candy comes up I'm all like "ugh, should I skip this?" which happens on no other tracks. It pulls me out of the experience. It doesn't enhance it.

It's something about the length of it being a little too long, and how "In the annex" isn't the perfect launch board into it. The frequencies of the flutes sound a little out of place. It might be dark, but it feels almost like a sarcastic dark compared to somthing like "The Beach at Redpoint". Maybe if it wasn't after Sunshine Recorder, it would have a better reception.

I'm just listing thing as they come in my head, I'll think a bit more about it in the coming hours as I listen to the album on repeat.

Hmmm, I've got a good story on the BOC-scale. It goes like this: having a BOC-track on your mind, but being unable to remember which track it is. After months of listening to your collection and still not having determined which track it was, you finally decide to recreate the melody which got into your skull and post the clip on a messageboard filled with aphex stalkers. The general conclusion: the boc-catalogue sounds so similar!

see, for me, Julie and Candy is one of my favoured tracks on the album, i love how the bass growls in, seemingly from nowhere. and how the percussive elements all come into the fore, particularly nearer to the end. there's a particular percussive sound in there that i love, it's like a wooden 'chok' sound.

i understand what you mean about it being a 'sarcastic' dark, it is definitely playing on the whole 'happy melody / timbre' thing and running with it.

  On 6/23/2011 at 7:09 AM, goDel said:

Hmmm, I've got a good story on the BOC-scale. It goes like this: having a BOC-track on your mind, but being unable to remember which track it is. After months of listening to your collection and still not having determined which track it was, you finally decide to recreate the melody which got into your skull and post the clip on a messageboard filled with aphex stalkers. The general conclusion: the boc-catalogue sounds so similar!

Laughed out loud at this.

This forum, I swear...

  On 6/23/2011 at 6:52 AM, Spittal said:

I mean, it's not that I don't think it's a really good track. I love it.

 

It's that Geogaddi is such an amazing experience, it gets so dark, harrowing and unsettling. I feel that Julie and Candy doesn't quite fit into the Geogaddi mixture as well as the rest of the album.

 

it's like Geogaddi is a cave, getting deeper and deeper always looking for a way out, then Julie and Candy is like this weird theme park with lots of midgets at the bottom of the cave?

 

Am I alone here?

Have you ever seen lots of midgets at a theme park? Because there's usually some dark ass shit going on whenever you see lots of midgets at a theme park.

Not at a theme park, but on a TV series. Game of Thrones, or something similar. There was some dark ass shit going on, btw. So you're spot on.

edit: only one midget though. which is not a lot, but might actually imply it doesn't need many midgets to get dark

Where exactly is the the threshold for amount of midgets that make a regular theme park... dark?

Define regular.

  On 6/23/2011 at 8:01 AM, goDel said:

Define regular.

Do you remember that part in GTA IV, where you take that girl to the "fun fair" and it's the worst place ever... Then you end up running over some dude at full speed when you're driving and she calmly leaves the car after watching you brutally murder someone...

That... kinda.

This is the first thread on the BoC forum that I sincerely hope Mike and Marcus read

  On 6/23/2011 at 9:36 AM, Spittal said:

  On 6/23/2011 at 8:01 AM, goDel said:

Define regular.

Do you remember that part in GTA IV, where you take that girl to the "fun fair" and it's the worst place ever... Then you end up running over some dude at full speed when you're driving and she calmly leaves the car after watching you brutally murder someone...

 

That... kinda.

That'd be a half midget, because he has been run-over. It only takes half a midget for things to turn dark. Even a pinky would be enough already. A drunk Amy Winehouse would help too, btw.

So, where were we again?

@lumpy: you're a sick, sick individual. you know that?

Classic

Glad I read this.

Yes it does fit and I love it.

I think that Julie and Candy and The Smallest Weird Number, which on first listen are very happy, playful tracks, lend a bit of contrast to enhance the darkness of 1969 and subsequent tracks.

However, both Julie and Candy are truly very dark, but in a different way.

I think they flow very well with Geogaddi.

There are supposedly 85+ outtakes from Geogaddi as well, with many of them doubtlessly being more easily apparently dark than Julie and Candy, so there must be a reason BoC chose this track to place right in the middle, almost as if it's a glimmer of hope within the tunnel, soon to be taken away but then exposed out of reach at the very end with Corsair.

What's the "darkness" of BOC? I can't feel it. I've a strong metal music background which might account to it, but really all I can think of when I listen to Boards is bright things. With some melancholia naturally, but nothing dark or occult. I've tried listening to Geogaddi with the assumption that it's sinister, but it only makes me laugh when someone says that for example Opening the Mouth is somehow frightening. I just don't get it. I love BOC to pieces but for me it's really just summery music stripped of all the mysteries that surround them.

if geogaddi doesn't scare you, you're not doing it right.

Maybe the brothers just need some corpse paint.

  On 6/24/2011 at 5:15 AM, 40days said:

What's the "darkness" of BOC? I can't feel it. I've a strong metal music background which might account to it, but really all I can think of when I listen to Boards is bright things. With some melancholia naturally, but nothing dark or occult. I've tried listening to Geogaddi with the assumption that it's sinister, but it only makes me laugh when someone says that for example Opening the Mouth is somehow frightening. I just don't get it. I love BOC to pieces but for me it's really just summery music stripped of all the mysteries that surround them.

  On 6/24/2011 at 5:22 AM, baph said:

Maybe the brothers just need some corpse paint.

oh my fucking lol.

where is plum when you need a photoshop?

  On 6/24/2011 at 5:20 AM, kaini said:

if geogaddi doesn't scare you, you're not doing it right.

  On 6/24/2011 at 4:08 PM, 40days said:

  On 6/24/2011 at 5:20 AM, kaini said:

if geogaddi doesn't scare you, you're not doing it right.

Help me do it right.

goto the twoism forums. they're scary. they also like geogaddi. like, a lot. seriously. they really really like it.

I love it how the fans completely ignore the random banter in between. It feels kind of accepted. In a strange and dark way. Sinister is the word I'm looking for.