„What I still like about Music Has the Right to Children is all about everything it doesn’t do, in the context of the world of music it came into,“ says Sandison today, one half of Boards of Canada. This time-out-of-joint quality is all the more fitting because the old, twenty years old now, is about the uncanniness of memory, the way we are each haunted by ghosts from a private image-bank as well as from the collective unconscious of shared public culture. It’s not so much that this persistence of the past inside the present is the subject of the record as that it’s the substance out of which Boards of Canada weave their music, its spectral warp-and-weft.
(Simon Reynolds)