Scottish electronic pioneers Boards of Canada have unveiled their new album, 'Inferno', marking their first release in 13 years. The duo, known for their distinctive, atmospheric sound, has long held a revered status within the electronic music landscape, influencing countless artists across various genres. Their return has been met with considerable anticipation from fans and critics alike, eager to hear how their unique sonic world has evolved over more than a decade.
From its opening notes, 'Inferno' immediately immerses listeners back into the instantly recognisable Boards of Canada aesthetic. An analogue synth, rising and falling with an evocative quality, reminiscent of a sound effect from a forgotten 1960s radio play, sets a familiar tone. This signature approach has always been a hallmark of their work, creating a sense of nostalgia, mystery, and a slightly unsettling beauty that has captivated audiences for decades.
However, despite this immediate familiarity, early critical reception suggests that 'Inferno' may not live up to the high expectations set by their previous, acclaimed works. One particular area of concern highlighted by critics is the album's thematic exploration, specifically its interrogation of religion, which has been described as 'dubious'. This thematic choice represents a potentially new direction for the duo, whose earlier albums often delved into themes of memory, nature, and childhood with a more abstract, less overt approach.
Beyond the thematic content, the album's technical execution has also drawn criticism. The drum programming, a fundamental element in electronic music, has been specifically singled out as 'worse still'. Boards of Canada's intricate and often subtle rhythmic structures have historically been a key component of their sound, contributing to their unique groove and atmosphere. Any perceived weakness in this area could significantly impact the overall listening experience and deviate from the high standards fans have come to expect.
Boards of Canada, comprising brothers Michael Sandison and Marcus Eoin, emerged in the 1990s and quickly established themselves with albums like 'Music Has the Right to Children' and 'Geogaddi', earning a reputation for their meticulously crafted, often melancholic, and deeply immersive soundscapes. Their influence extends far beyond the electronic genre, touching on areas of film scoring and popular culture. The long hiatus between albums only intensified the anticipation for 'Inferno', making its reported shortcomings all the more notable within the context of their esteemed discography.