Music for Airports liner notes contains a graphic score designed by Eno himself. That was an example of hardly interfering at all.“ The spacing and dynamics of “his” playing sound very well organized. It sounds like some guy is sitting there playing the piano with quite intense feeling. The interesting thing is that it doesn’t sound at all mechanical or mathematical as you would imagine. I just set all of these loops running and let them configure in whichever way they wanted to, and in fact the result is very, very nice. There are eight loops of girls’ voices and about fourteen loops of piano. Another one would have a group of girls singing one note, sustaining it for ten seconds.
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“The particular piece I’m referring to was done by using a whole series of very long tape loops, like fifty, sixty, seventy feet long. On each round, phrases will intersect differently, sometimes appearing to coalesce into new phrases and variations on existing themes.
The differing tape lengths played simultaneously cause the relationship between the musical phrases to constantly shift. The phrases are all set to loop at different rates, determined by the length of tape they are recorded on. The length of the delay was set by the physical distance between the two machines.įor the recording sessions of Music for Airports, Eno’s approach involved using several small pre-recorded snippets of music single notes or 3-4 note phrases, mostly piano, choir and synth. The musical material runs back and forth between the machines, creating longs delays akin to modern loop pedals.
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In this article I’ll discuss how Music for Airports was created, I’ll break down and recreate the tracks 2/1 and 1/2, and hopefully give you some ideas about how to adopt this approach yourself.Įno’s experiments with tape loops go as far back as 1973’s (No Pussyfooting), a collaboration with King Crimson’s Robert Fripp that employed an early experiment in sound-on-sound tape looping. For the recordings, Fripps’s guitar was run into two tape machines feeding into each other. The album was essentially a continuation of Eno’s experimentation with the tape machine as a compositional tool, as well as his exploration of generative music, music created by systems. Although it wasn’t the first ambient album by any means, it was the first album explicitly released as an ‘ambient music album’. In 1978, Brian Eno released Ambient 1: Music for Airports, a landmark album in ambient and electronic music.
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