Geogaddi is an entirely different monster than Music Has the Right to Children. If you were to listen to both of these albums only once you might not notice how different they are from each other. Some people have commented that the production on Geogaddi is flat. I disagree. I have been listening to this album for the last three years now and still I am hearing new sounds. The production is so incredibly dense that the music can at first seem deceptively simple. Sometimes I'll play Geogaddi on a different set of speakers and hear a new melody or sample that has previously been buried.
Aside from these technical sonic qualities, the music itself is so evocative and haunting that sometimes I am overwhelmed to the point of incapacity. I have had nightmares from this music and I have been emotionally comforted by it. The wealth of apparently hidden meaning mirrors my own subconscious memories -- the music is so personal and emotional but is unsettlingly suggestive of how much of my life has been only half remembered.
This album is like an old friend who you continually learn new things about. It is very gorgeous but possesses a darkness that is undefined and just barely out of conscious grasp.
A lot of what I've said is also true of Music Has the Right to Children but that album feels a little younger and clearer-minded. Perhaps the Boards themselves describe this best: (Mike): "I would say 'Music Has The Right...' is a record for outdoors on a cold, blue-skied day, while 'Geogaddi' is a record for some sort of trial-by-fire, a claustrophobic, twisting journey that takes you into some pretty dark experiences before you reach the open air again. It has a kind of narrative. That's why we ended it with 'Corsair', it's like the light at the end of the tunnel."
This music means a lot to me and has never become anything less than 4-dimensional. Geogaddi scares me but I can't stop listening to it. Some people might disagree about all the meaning some of us fans place in BoC. All I can say to them is this: everybody is touched differently by different music and if Geogaddi doesn't affect you like it does me, fine. But understand that this album is not flat and one listen to it is not unlike a single date with a potential best friend.
Aside from these technical sonic qualities, the music itself is so evocative and haunting that sometimes I am overwhelmed to the point of incapacity. I have had nightmares from this music and I have been emotionally comforted by it. The wealth of apparently hidden meaning mirrors my own subconscious memories -- the music is so personal and emotional but is unsettlingly suggestive of how much of my life has been only half remembered.
This album is like an old friend who you continually learn new things about. It is very gorgeous but possesses a darkness that is undefined and just barely out of conscious grasp.
A lot of what I've said is also true of Music Has the Right to Children but that album feels a little younger and clearer-minded. Perhaps the Boards themselves describe this best: (Mike): "I would say 'Music Has The Right...' is a record for outdoors on a cold, blue-skied day, while 'Geogaddi' is a record for some sort of trial-by-fire, a claustrophobic, twisting journey that takes you into some pretty dark experiences before you reach the open air again. It has a kind of narrative. That's why we ended it with 'Corsair', it's like the light at the end of the tunnel."
This music means a lot to me and has never become anything less than 4-dimensional. Geogaddi scares me but I can't stop listening to it. Some people might disagree about all the meaning some of us fans place in BoC. All I can say to them is this: everybody is touched differently by different music and if Geogaddi doesn't affect you like it does me, fine. But understand that this album is not flat and one listen to it is not unlike a single date with a potential best friend.