New album by Boards of Canada features credits song for ‘Backrooms’ – Stereogum
Boards of Canada, the legendary IDM duo, made a long-awaited return on Friday with the release of their latest album, “Inferno,” after a hiatus of over 13 years. Coincidentally, the same day also saw the premiere of the highly anticipated A24 film “Backrooms,” which was adapted from a popular YouTube series based on a 4chan meme about a spooky yellow-walled room. Interestingly, both projects share more than just a release date; a track from “Inferno,” titled “The World Becomes Flesh,” is featured during the end credits of the film.
In a recent interview with GQ, director Kane Parsons delved into his creative influences, mentioning his interest in liminal-space compilations, the tech-thriller series “Mr. Robot,” and ambient music. Parsons, who also dabbles in music production and releases his own content on the YouTube channel Not Kane Pixels, collaborated with composer Edo Van Breemen to create the film’s score. Their work drew inspiration from renowned artists like Aphex Twin, Burial, and Boards of Canada themselves. The synergy between “Backrooms” and the music of Boards of Canada is palpable, as both entities evoke a sense of eerie familiarity that is challenging to articulate but immediately recognizable.
At just under 21 years old, Parsons was merely a child when Boards of Canada released their last album, adding an extra layer of astonishment to the connection between the two projects. Interestingly, a Reddit user had predicted a link between them a month before the release date. Complex_Drawer4790 pointed out the intriguing parallels, noting the shared themes of liminality, analog aesthetics, and an unsettling atmosphere between the movie and the band’s music. Both projects have a history of mystique surrounding their releases, cryptic clues, and unconventional promotional tactics, further aligning them in an intriguing manner.
Unlike the controversial use of Boards of Canada’s music by the Trump administration in the past, this collaboration feels more harmonious, despite its inherently unsettling nature. The organic growth of the “Backrooms” project, from its origins in the depths of the internet to its explosive popularity, mirrors the enigmatic allure that Boards of Canada has cultivated over the years.
The incorporation of “The World Becomes Flesh” in the end credits of “Backrooms” adds an extra layer of cohesion between the two projects, solidifying their intertwined destinies in the realm of artistic expression. This unexpected collaboration serves as a testament to the interconnectedness of creative endeavors, transcending boundaries of genres, mediums, and generations.