Tomorrows Harvest - Today

What if they've been captured by Kim Jong Un and they're forced to make music for him and only him forever or they get fed to radioactive wolverines

We need to form a rescue squad. 

Im gonna give this album another go because of this thread. Didn't gel with it at the time and MHTRTC I'm only partially still in love with after all these years. World definitely needs more BOC tho.

 

Edit1. Holy shit. Reach for the dead is lush. What was wrong with me.

 

Edit2. Cold earth. Niceness.

 

Edit3. Sick times: Sick.

 

Edit4. Palace post too.

 

Basically think I was in a bad place when it came out.

Edited March 8, 2019 by donquixote

  On 3/8/2019 at 12:31 PM, donquixote said:

Edit1. Holy shit. Reach for the dead is lush. What was wrong with me.

In my opinion it's an album full of corkers but the run order is all off and two or three of the tracks in the second half need culling to stop it from dragging.

It's a great album. I don't understand how this can have a lower RYM-rating than TCH.

Yep I'm really enjoying it so far. I find with BOC I generally prefer their simple stuff these days. I could listen to a whole album of their mono synth noodlings.

  On 3/8/2019 at 12:39 PM, mcbpete said:

 

  On 3/8/2019 at 12:31 PM, donquixote said:

Edit1. Holy shit. Reach for the dead is lush. What was wrong with me.

In my opinion it's an album full of corkers but the run order is all off and two or three of the tracks in the second half need culling to stop it from dragging.

You could cut 5 or so tracks and have a nice tight album, but to me the track list and feel of it all is supposed to be a bit long and slow and sorta menacing/depressing, with some bits of wonder/hope interspersed. I think it’s specifically crafted for that kind of a mood and succeeds at that. Gotta get in its headspace.

  On 3/8/2019 at 12:45 PM, donquixote said:

Yep I'm really enjoying it so far. I find with BOC I generally prefer their simple stuff these days. I could listen to a whole album of their mono synth noodlings.

definetly

 

last bit of transmisiones ferox still my fav moment of this album

You have to admit, it’s pretty dull. I’m not expecting any more stuff from them.

Cold Earth still slaps to this day. I'll have to go back and give this album a relisten.

  On 3/8/2019 at 12:40 PM, scumtron said:

It's a great album. I don't understand how this can have a lower RYM-rating than TCH.

 

just read the comments and you'll understand why - 2013 was probably a ripe year from "iamverysmart" kids from /mu to downvote the shit out of it for being boring compared to Death Grips or some other arbitrary horseshit whereas the older albums already have great legacies. I imagine TCH is a lot more appealing to those who listen to more upbeat chillwave, downtempo, and Lo-Fi Hip Hop Anime Chil Beats To Study and Relax To

Edited March 14, 2019 by joshuatx

Still the best they ever did

having fun with my fabric pens !

This has risen to the very top of my fav BoC. I rank it just under Geogaddi. I just love the darker tones and the flow is damn near perfect. Come to Dust is top tier all the way. I love this album and I want more.

I want somebody to meld this video from the HBO series Chernobyl with Semena Mertvykh:

 

Boc Maxima yo.

Not a bad album, I hated it when it came out, now I don't mind it that much...maybe I will even love it one day? The worst thing about TH is that you really can't just pick a track you'd like to listen to, you either listen to the whole album or the experience simply won't be as good. They really emphasised that cinematicness which you could maybe see at first on TCH (just like the band said, it's a guy on acid cramming a week into a day), on TH every track is connected with one another so for example the abrupt start to Palace Posy doesn't 'make sense' if you know what I mean, quite an interesting album even if it's not my favourite

  On 6/27/2019 at 12:52 PM, bonawentura said:

Not a bad album, I hated it when it came out, now I don't mind it that much...maybe I will even love it one day? The worst thing about TH is that you really can't just pick a track you'd like to listen to, you either listen to the whole album or the experience simply won't be as good. 

yea i dont agree w this at all

That's how it is for me, I always prefer to listen to the preceeding track to get in the mood for TH, but I guess I just don't like Collapse or Uritual enough to listen to them on their own

Nothing that hasn´t already been said here, but its their most soundtrack-y release, it opens up beautifully when reading or watching something where it can enhance the mood.  Example: it makes A+ listening for a wikipedia binge about the Atacama desert (driest place on earth, strange or non existant plant life, abandoned mining towns)

I also need to revisit some of the composer references they name-dropped in interviews when it came out.

 

^agreed on soundtracky type album. share the composer names here if you do hunt them down and think about it, would be curious what they reference

  On 9/6/2019 at 7:40 PM, auxien said:

^agreed on soundtracky type album. share the composer names here if you do hunt them down and think about it, would be curious what they reference

Just did a quick interview check, and they explicitly call the album like a soundtrack in almost every one of them.  So imo.. the album is 'successful' in the goals it set out with

The interviews are catalogued here for further reading: https://bocpages.org/wiki/Interviews#Tomorrow.27s_Harvest_era

Mike: If we’re talking about contemporary composers there are too many to mention really. I’d say maybe Reinhold Heil, Johnny Klimek. Also Mark Isham, Thomas Newman, Clint Mansell

Sandison: "There are quite a few influences on this record. Carpenter is kind of an easy reference point for most people though I'd say the main ones would be Fabio Frizzi, John Harrison and Mark Isham. We're very much into grim 70s and 80s movie soundtracks so there are maybe nods to composers such as Stefano Mainetti, Riz Ortolani, Paul Giovanni, Wendy Carlos, even Michael Nyman

Sandison: "For example, I guess the timing of the whole intro section to the album, the neutral tension in the high strings hanging right at the start of the record, or that short glimmer of hope that takes over in New Seeds near the end of the track. Those things hopefully imply a visual element. Some tracks deliberately finish earlier than you want them to, like actual cues in older soundtracks where they've been ripped out of much longer original masters that nobody ever gets to hear.

MS:. Actually, we decided early on that we wanted to give it a soundtrack feel, but to make this type of album is a real challenge without it sounding too cheesy. So when we started working, we listened to a lot of soundtracks, including some from the 80s, by focusing on specific issues, studying the practices in terms of layout and timing. The ideas we learned gave us a framework, a structure to expand upon. We knew exactly how it should begin and how it would end.

The New Seeds/ Come to dust combo is perfect

  On 9/6/2019 at 10:37 PM, markedone said:

Just did a quick interview check, and they explicitly call the album like a soundtrack in almost every one of them.  So imo.. the album is 'successful' in the goals it set out with

The interviews are catalogued here for further reading: https://bocpages.org/wiki/Interviews#Tomorrow.27s_Harvest_era

Mike: If we’re talking about contemporary composers there are too many to mention really. I’d say maybe Reinhold Heil, Johnny Klimek. Also Mark Isham, Thomas Newman, Clint Mansell

Sandison: "There are quite a few influences on this record. Carpenter is kind of an easy reference point for most people though I'd say the main ones would be Fabio Frizzi, John Harrison and Mark Isham. We're very much into grim 70s and 80s movie soundtracks so there are maybe nods to composers such as Stefano Mainetti, Riz Ortolani, Paul Giovanni, Wendy Carlos, even Michael Nyman

Sandison: "For example, I guess the timing of the whole intro section to the album, the neutral tension in the high strings hanging right at the start of the record, or that short glimmer of hope that takes over in New Seeds near the end of the track. Those things hopefully imply a visual element. Some tracks deliberately finish earlier than you want them to, like actual cues in older soundtracks where they've been ripped out of much longer original masters that nobody ever gets to hear.

MS:. Actually, we decided early on that we wanted to give it a soundtrack feel, but to make this type of album is a real challenge without it sounding too cheesy. So when we started working, we listened to a lot of soundtracks, including some from the 80s, by focusing on specific issues, studying the practices in terms of layout and timing. The ideas we learned gave us a framework, a structure to expand upon. We knew exactly how it should begin and how it would end.

Expand  

sweet! will be checking in to some of those composers, i've heard of a couple but i'm very ignorant of soundtrack type stuff

Split Your Infinities is interesting, I don't see too many people mention that one. I've never noticed one of the interlude tracks when they play and I've played this album front to back many times. 

Yep, my fave track on TH