From the initiation of their career with Catalog 3, their 1987 frenzy of space-ambient, to this unusually polished full-length record, Scottish duo Boards of Canada have kept their style generally consistent. When Eoin and Sandison dropped Music Has The Right To Children, it put BoC at the forefront of a newly stylised subgenre of electronic music. It was the hardship of their use of looping, reversing and distorting retro samples that defined a structural and aesthetical edge to new lounge music.
Like My Bloody Valentine’s 22-year break, though they have not deviated completely from their signature sound completely, Boards of Canada have succeeded in freshening and smoothing the grit of previous records. Diehard BoC fans would have been abstracted to hear the Michel-Jarre-like ‘Gemini’ with its rhythmic tremolo, which is weaved gradually into their hazy promo single ‘Reach For The Dead’. The subsequent drone of ‘White Cyclosa’ would have been aired on Berlin private radio during the 70s, and easily mistaken for Edgar Froese’s work with Klaus Schulze. ‘Cold Earth’ is where it all transports back to the enigma of Music Has The Right To Children, grabbing the vocal samples and wobbling them to the backing, monotone synths.
Subtly, Tomorrow’s Harvest retreats back to their more conventional work, as if the two rediscovered their old selves during the process. The sloppy textures of ‘Palace Posy’ and the horrifyingly dark ‘Uritual’ bring back the kaleidoscopic nature of the duo, as it was so in the eerie Geogaddi. It’s a furnished and neatly waxed 17-track LP that will build an appetite for the new listener, but to the exuberantly loyal BoC fan base, this is a cushion for the duo to rest on for at least one more album.